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MOVIE MAKER
The art & business of making movies.
General, Independent Quarterly Magazine from United States

- First issue: 1993
- Independent films and moviemakers.
- Website: www.moviemaker.com

Last updated:
19 October 2023
(see recent updates)

Special thanks for this page goes to:
Garry Malvern
Scott Matheson

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GALLERIES: 1970 1971 1972 1975 1976 1977 1978 1979 1980 1993 1994 1995 1996 1997 1998 1999 2000 2001 2002 2003 2004 2005 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 2017 2018 2019 2020 2021 2022 2023 All

Issue 10
November/December 1994

What Do Distributors Want From Us, Anyway? The second installment on our continuing series on 'How to Avoid Distribution Hell.' This time we talk to four microdistributors. Lessons From Orson One of Orson Welle's closest friends in his later years, Henry Jaglom shares advice from his mentor. Plus, a review of a 'new' Welles film.

Issue 9
September/October 1994

Wild Hill by Marianne Cotter Like Peckinpah before him, Walter Hill has been accused of making movies that revel in violence. He answers that charge and talks about his new film, Wild Bill. Is Film School Worth It? By Tom Allen Didn't two or three really great movies get made before anyone ever heard of film school? Is formal education really the answer for aspiring moviemakers? Several successful motion picture directors give us their opinions. Lina Wertm?ller, Lost and Found by Jon Silberg Although Ciao, Professore! is an upbeat departure from her previous work, that doesn't mean the brilliant Italian director is any easier to understand. Columns & Departments Freeze Frame: The Motion Picture Association of America: Natural Born Censors? by Jeff Schwager When Clerks got slapped with the dreaded NC- 17, Jeff decided to recap the MPAA's reasoning behind a ratings system he believes is seriously out of order. Home Cinema: Bloody Sam's Misogynistic Vision by Rustin Thompson Did Sam Peckinpah hate women? While the director's cinematic voice was lone and eloquent in his idealized depiction of the traditional American male, his females definitely got no respect. In Gear: 'Heads Up' Video Monitoring Is Here by Kennedy Grey Virtual Vision's 'heads up' video monitor may soon be a practical alternative in the field. On Film Acting: Stars in Your Eyes? Here's Looking at You by Colleen Patrick Take it from Frank Capra - using your eyes effectively is one of the keys to becoming a film star. Festival Beat by Brian O'Hare The Independent Feature Film Market in New York is where indies go to get noticed. MM Notebook by Tim Rice What a long, strange trip it's been - and we're not quite a year old yet. Profiles by L. Bush, K. McKinnis, and K. Bearden In which Rutger Hauer gets old, Alex Winter freaks out, Jonathan Blank does Amsterdam and Terence Stamp gets in touch with his feminine side. How They Did It: How To Lose $1.2 Million And Shoot Your Feature Anyway by Kathleen McInnis Seattle moviemaker Tim Hines gives Crispin Glover the heave-ho, loses $1.2 million in financing and makes his feature anyway. All in one continuous take.

Issue 8
July/August 1994

Decline of the Western by Lyall Bush Sure the Western's back, but do today's directors really understand what made 'cowboy movies' one of the best loved genres in the world? Out of the Shadows by Jeff Schwager Screenwriting has been very good to David Koepp, who's had five of his scripts made into major Hollywood movies in the last two years. Back on the Mainscreen by Tom Allen Moviemakers are starting to take the shorter format seriously, as markets start to open up for the first time in recent memory. First Lady of Horror by Kathleen McInnis In a new book Janet Leigh remembers how she terrified the nation 34 summers ago in one of the greatest horror films of all time. Psycho Analysis by Paula Hunt Long before Friday the 13th, before Nightmare on Elm Street, before Halloween, there was Psycho. You don't need a Ph.D. to understand this film, and after reading this article, you'll realize that wouldn't help anyway. Columns & Departments Freeze Frame: Stillman's Wit by Jeff Schwager Once again Whit Stillman proves that small, dialogue-driven films can still find an audience. Especially if they're witty. Home Cinema: Best of the West by Tom Barr From High Noon to Unforgiven, a glance at some of the great Westerns. In Gear: From Russia with Lens by Jack Watson Are those new Russian cameras a viable alternative to the cameras you can't afford? On Film Acting: Auditioning for Love and Money by Colleen Patrick Auditioning is what actors really do for a living. Here's how to do it better. Festival Beat by Brian O'Hare Colorado's Telluride Film Festival is one of the coolest summer festivals around. MM Notebook Letters Profiles by Pete Sheehy and Keith Bearden Directors D. Russell (Spanking the Monkey,) and J. Dahl (Red Rock West) How They Did It: Tonya Harding Financed My Film by Rustin Thompson Tonya Harding Financed My First Film Shaking It Up On The Internet by Wendy Wilson Moviemaker Tiffany Shlain uses multimedia to take on distributors and Hollywood.

Issue 7
June 1994

Issue 6
May 1994

Cover: The Rage of Innocents Actors Stephen Dorff and Ian Hart talk about youth, passion, and fighting for the right reasons on the set of BackBeat. by Kathleen McInnis BackBeat Cheat Sheet How accurate should moviemakers be when shooting 'docudramas?' by Pete Sheehy Regarding Henry A portrait of Henry Jaglom, the 'West Coast Woody Allen.' This self-made moviemaker, whose latest project is BabyFever, explains why women keep him Eating. by Marianne Cotter Is Seattle Asleep at the Reel? Seattle's hot, it's sexy, and as far as film production goes, it's dead. This potentially lucrative location is definitely missing the ferry, but is it really all the Canadians' fault? by Kathleen McInnis Columns & Departments Freeze Frame: And The Beat Goes On Why The Beatles have always been fertile cinematic territory. by Jeff Schwager Short Runs: The Killer B's Return He was no James Cagney, but Richard Widmark is at his insane best in Fox Video's Gangster Collection. by Tom Barr Festival Beat: Festivals for the Masses A new column highlighting... you guessed it-film festivals. This month we look at Seattles' Asian American and Gay and Lesbian Festivals. by Brian O'Hare Letters Profiles: Steady as He Goes Brad Nelson of Seattle shoots and all-steadicam feature and shakes up the film world. by Tom Allen Parting Shots: Mein Seattle Kampf: Guerrillas in the Midst A tongue-in-cheek look at the struggles of one Seattle-based producer. by Alec Carlin

Issue 5
April 1994

Roman Keeps on Rolling With his devilish new movie, Bitter Moon, Polanski is back. An overview of the influential director's career. by Kathleen McInnis Peter Coyote is Not P.C. The favored son of the cult film circuit tells it like it is. by Kathleen McInnis Grant's a Hugh Success With three features out this month, coming to America is a lucrative proposition for Hugh Grant. by Kathleen McInnis Cut to: The Quick Are the new down-and-dirty, nuts-and-bolts flim seminars a viable alternative to traditional film school? by Tom Allen Columns & Departments Freeze Frame: The Movies are Shrinking A new generation of movie producers are looking to TV for inspiration. by Jeff Schwager Short Runs: Bit Men and Hitmen Corman's Carnosaur is a poor man's Jurassic Park. Not that's scary. by Tom Barr Videoteur: Intravenous Video Movies affect you like a drug. And reading this column could put you in detox. by Kelly Hughes Voice Over: Bullets as a Gimmick A moviemaker 'bites the bullet' to get his film in the limelight. by Taso Lagos Cutting Room: Bitter is Better Hudsucker gets mooned, but Bitter does better. by Mike Walker Letters Profiles: Marty and Me, How I Made a 1 Mil. Feature Virtually for Free Dan Algrant tells Martin Scorsese gave him his big break. And a Seattle man tells how he made a million dollars movie without cash. by Tim Rice Parting Shots: Are Women Psycho or is it Just Hollywood? Women are psycho. A billion movie viewers can't be wrong. Can they? by Shea Salyer

Issue 4
March 1994

Citizen Cotten During his forty-year career, Joseph Cotton's presence was felt in some of the most presitigious films of all time. by Tom Barr Learning the Biz Young moviemakers are seeking a formal education in the craft now more than ever, and it's changing the industry. by Tom Allen Columns & Departments Freeze Frame: Spielberg Finally Wins the Gold Oscar predictions and reflections from the editor of LA's BoxOffice Magazine. by Jeff Schwager Short Runs: Another Getaway With The Getaway remake, Jim Thompson's cult status is alive and well. by Tom Barr Videoteur: Scraping Bottom More than you ever need to know about the Lucky Charm awards. by Kelly Hughes Voice Over: American Messiah American Messiah diary, part IV. In the wee hours, a moviemaker ponders his feature's box office potential. by Taso Lagos MM Notebook Hot air, braggadocio, and ramblings from the editorial department. Cinema Books: Pay Attention to the Man Behind the Curtain Paula Hunt reviews The Phantom Empire, and Tom Barr gives a thumbs up to Behind the Oscar: A Secret History of the Academy Awards. Profiles: Portrait of the Screenwriter as a Young Man An interview with George Wing, a Seattle-based screenwriter with lots of options for his future. by Kelly Hughes

Issue 3
February 1994

Making it' in Super 8 A new film stock is helping make Super 8 a viable format for professional moviemakers. by Tom Allen Mike Leigh With his Cannes Best-Director award and a hot new movie, Director Mike Leigh may finally get the popular recognition he deserves. by Jeff Schwager Extreme Projectionist Dennis Nyback's Pike Street Cinema could be the Northwest's most unusual movie house. by Paula Hunt Columns & Departments Freeze Frame: Making History Hollywood Style Speilberg's spoonful of sugar prevents Schindler's List from being one of the all-time greats. by Jeff Schwager Short Runs: A Touch of Welles Orson Welles must be having a good last laugh at that wrap party in the sky. by Tom Barr Videoteur: Posing at the Posies A brief analysis of 'moshing' as it applies to moviemaking. Seriosly, folks. by Kelly Hughes Voice Over: Making a Movie, Cont. At the editing stage a movie takes ona life of its own. by Taso Lagos Cutting Room: Heaven and Earth More Like Purgatory Unlike Pualine Kael, our indomintable reviewer agrees to sit through another Olive Stone extravaganza. by Mike Walker Letters Profiles: High on Hollywood A strong Washington film industry would be a book for businesses like Steven Wright's helicoptor company. by Kelly Hughes

Issue 2
January 1994

Scapegoat: Hollywood Will the movie industry censor itself now that government has threatened to clean up its act? by Mark Eleison Joy & Luck in Hollywood He may be the busiest screenwriter in Hollywood, but this Oscar-winner wouldn't have it any other way. by Jeff Schwager McElwee's March - Part 2 The art hours phenom talks about the changes success has brought to his career. by Paula Hunt Columns & Departments Freeze Frame: Visions From Down Under The sensibilities of foreign directors seem to change after coming to America. by Jeff Schwager Short Runs: Triumph and Tragedy The only U.S. film ever blacklisted debuts on home video. by Tom Barr Cutting Room: Carlito's Way Off Reviews of The Piano and Carlito's Way. by Mike Walker Videoteur: Video Masturbation You can do it all in the video world... but are you the master of your doman? by Kelly Hughes Voice Over: Providence Comes Through The maker of Seattle's latest no-budget feature has a chance to catch his breath. by Taso Lagos Profiles: Sweet Little Films Seattle moviemakers Zola Mumford and Tom Hodgson do the chin wag, and we write it down. That's a Wrap The First 'Annual' Port Townsend Feature Film Conference is a bust. by Paula Hunt

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