A British reporter got a tip-off about ‘big news’ 25 minutes before JFK was shot

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It’s not an exaggeration to say that the assassination of John F. Kennedy in Dallas on 22 November 1963 is the mother of all conspiracy theories. 

So even small events that preceded the murder, contained in the fresh batch of JFK files just published on the U.S. government’s site, take a sinister, prescient light. 

A memo from the C.I.A.’s deputy director (Plans), James Angleton, refers to an anonymous phone call that senior reporter from local paper the Cambridge Evening News, received just 25 minutes before the president was shot.  Read more…

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How the DIY Safdie Brothers Shot the Genre Thriller of the Year on 35mm Cinemascope

In ‘Good Time’, the Safdie brothers use their characteristic scrapyard DIY to bring Robert Pattinson into the ‘warped moment.’

“We wanted it to feel like lightning,” Josh Safdie said of his new film in an interview with No Film School.

And it does. Good Time is electrifying: every turbocharged moment of the bungled heist film has a lightning rod’s power to transform or destroy. Co-directors Josh and Benny Safdie, brothers who are known for their gritty, homemade movies, put the audience through its paces. Their film teems with manic energy, breathless performances, neon and strobe lights, and a pulsing synth soundtrack from Daniel Lopatin that underscores the film’s relentless experience.

In fact, watching Good Time is like riding the Coney Island Cyclone: it’s a genre film, or a “pulp movie,” as the brothers describe it—a thrill ride old as time. Its rickety structure threatens to collapse at every turn, and you emerge from the theater with whiplash.

“Once the movie starts, you have no option but to just accept it as, ‘I’m in the crazy story and I’m experiencing it.'” — Josh Safdie

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No Film School

Steven Soderbergh Has Already Shot Another Movie – Using an iPhone

steven soderbergh iphone movie

Next month, after a four-year absence from filmmaking, it’s time to praise the heavens because Steven Soderbergh has another movie coming to theaters, Logan Lucky. It looks like we might not have to wait long for his follow-up to the new heist movie, either. Soderbergh has already shot another movie, titled Unsane, on an iPhone.

Below, learn more about the Steven Soderbergh iPhone movie.

According to VarietyUnsane stars Juno Temple (Vinyl) and Claire Foy (The Crown). Zero is known about the plot. Only his two stars and the fact he shot the movie on an iPhone have come to light. The director has always gravitated towards trying new things and new genres, so making a movie on an iPhone almost seems like a logical step for him. Soderbergh recently gave this advice to aspiring filmmakers in a reddit Q & A: “get a script and an iPhone and start shooting. Seriously.” He knows from experience that this works, and it also worked great for Sean Baker’s 2015 movie Tangerine, which was famously shot using that technology.

The Tracking Board‘s insiders tell them Soderbergh plans to self-distribute through his banner, Fingerprint Releasing, which is handling the wide release of Logan Lucky. Soderbergh, who was frustrated by the cost of releasing a studio movie, explained how he’s found a cheaper way to do it: “sell the foreign [rights] to cover the cost of the [film] negative” and “sell the non-theatrical rights to cover the cost of the [prints and advertising], and that’s it.” It’s a simple model, as he explained to EW, and a way for filmmakers like himself to get different movies out in the world without costing an arm and a leg to market.

He also told EW how the experience of his recently canceled (and excellent) Cinemax series, The Knick, inspired him to keep working behind the camera:

First, I was not going to be directing at all and just really take a sabbatical. Right as we were going to Cannes with Behind the Candelabra, which was in my mind going to be the official start of my enforced vacation, I got the script for The Knick. So I went from not doing anything and exploring my future as a painter to starting to shoot a ten-hour television show in four months. The Knick scared me. We had to shoot 600 pages in 73 days. I’ve worked on some films with pretty aggressive schedules. This was on another order of magnitude, and I was terrified. This was something that was keeping me up at nights, wondering if this was really too big a reach. About a week in, I realized that there was a rhythm that was actually really exhilarating to be had and we were going to make it. I was sitting there on set, realizing that this is the job that I should be doing. This is my job. I should be directing stuff. Nobody’s waiting around for my paintings. So I kind of flipped a switch. I got reconnected with what I like about the job. For a while, I was just very, very happy to be working in that form. I loved working with a ten-hour canvas. It was really fun, and I wasn’t really thinking about movies… until this script came in over the transom. If it hadn’t, I think everything would be TV oriented.

Soderbergh has a few TV projects in the works at the moment. He’s producing Scott Frank‘s Netflix series, Godless, and Starz’s The Girlfriend Experience. Soderbergh also worked with HBO again on a TV movie, Mosaic, which he directed; that stars Sharon Stone. Like Unsane, few details have been shared about the project, but all we really need to know to get excited is it’s from Steven Soderbergh.

The post Steven Soderbergh Has Already Shot Another Movie – Using an iPhone appeared first on /Film.


/Film

How they pulled off the “Impossible Mirror Shot” in Contact

“You’re an interesting species. An interesting mix. You’re capable of such beautiful dreams, and such horrible nightmares. You feel so lost, so cut off, so alone, only you’re not. See, in all our searching, the only thing we’ve found that makes the emptiness bearable, is each other. ”

The post How they pulled off the “Impossible Mirror Shot” in Contact appeared first on FilmmakerIQ.com.

FilmmakerIQ.com

Pregnancy Horror ‘Prevenge’: The Twisted Female ‘Taxi Driver’ Shot in 11 Days

A very pregnant Alice Lowe wrote the slasher ‘Prevenge’ in two weeks and shot it in 11 days.

“I’m just here with my daughter, so apologies if she makes some gurgling noises,” said Alice Lowe, writer, director, and star of the new pregnancy horror film, Prevenge. Unwittingly, Lowe has called to mind the gurgling noises that her character, Ruth, a murderous mom-to-be, elicits from her victims as she exacts violent vengeance—following the commands of her unborn child, a misanthropic voice that’s hijacked her conscience.

Lowe shot Prevenge while eight months pregnant with her daughter (who makes a cameo at the end of the film), but the fact of the pregnancy was initially a non-starter. After years spent in development hell with her last film, Ben Wheatley’s Sightseers, which she co-wrote and starred in, Lowe witnessed firsthand just how difficult it is to get an indie film off the ground. Put a pregnant woman at the helm? No way. Lowe knew not a single female director with a baby. She thought her career would go dormant.

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No Film School

How To Pull Off an Entire Short as One Continuous Drone Shot

When your entire short is one continuous drone shot, planning is essential.

Filming always requires planning and preparation. But when you’re trying something as ambitious as creating a dialogue-driven short filmed entirely from a drone in one, continuous take, things get a lot more complicated. At the End of the Cul-de-Sac is set in a quiet neighborhood—you guessed it—at the end of a cul-de-sac where a man is having what appears to be an emotional breakdown. Neighbors gather to watch, comment, and pass judgment while the drone glides through the scene, watching the action unfold from an omniscient perspective.

Watch the film below, selected this month as a Vimeo Staff Pick Premiere, and then read our conversation with director Paul Trillo to find just how they pulled it off. What became clear was that meticulous planning and perfect execution were necessary for this to work and—even with that—there were some daunting post-production challenges to work through.

“I was looking at the tool as less of a replacement for a helicopter and more of a way of placing the camera wherever you wish.”

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No Film School

Why SXSW ‘Easy Living’ Director Shot with 2 Cameras

First-time director Adam Keleman wanted to make a narrative that captured the feel of iconic 1969 documentary Salesman, but with women.

Easy Living, a SXSW 2017 Narrative Spotlight film, is a unique blend of auteur-era cinema and contemporary character study. Two distinct visual strategies parallel the main character’s duality as she goes door to door selling cosmetics.

Director Adam Keleman sat down with No Film School in Austin to talk about shooting on two very different cameras and getting a tour de force performance from lead actress Caroline Dhavernas.

“I designed this film around resources at my disposal.”

No Film School: How did you come up with the story of the main character, Sherry, a woman struggling between two different worlds that she is trying to balance?

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No Film School

Watch: How to Combine Slow Motion and Fast Motion All in One Shot with Premiere Pro

Learn how to make different sections of your shot play in varying speeds at the same time in Adobe Premiere Pro.

Sometimes you’ve got to think outside of the box if you want to add some style to your projects. One way of doing that is by having certain elements in your shot play at one speed while others play at another. This occurs a lot in music videos (like the greatest one of all time, Soundgarden’s “Black Hole Sun”), but instead of using a green screen to get the effect, you can actually layer your shot, mask out certain portions, and adjust speeds as you like. Here to teach you how to do this in Premiere Pro is Justin Odisho.

Okay, admittedly this is kind of a weird, very specific tutorial, but that doesn’t take away from the fact that his method of creating this effect is incredibly clever—and simple.

Odisho shows you three different ways to achieve this effect: cropping, masking, and keying.

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No Film School

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