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

- First issue: 1993
- Independent films and moviemakers.
- Website:

Last updated:
11 November 2020
(see recent updates)
Special thanks for this page goes to:
Garry Malvern
Scott Matheson

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CONTENTS: 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 All GALLERIES: 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 All

Issue 40
September/October/November 2000
How New Directors Get Their Way by Elayne Taylor Moviemakers know that to direct is to do battle. But savvy first-timers like Valerie Breiman say that the power of a secret agenda-knowing when to stand tough and when to comply-takes wisdom and vision. The MPAA vs. The Pornographer by Doug Atchison They may not know what a cutaway shot is, but when it comes to fellatio, MPAA censors know when they're satisfied: One-and-a-half head bobs will do nicely, please. Oh, yes. Creative Casting by Dan Coplan Casting may be the most important decision you make as a moviemaker, and finding ththe best actors involves more than a call to the casting director. Here's one method for discovering 'gold.' Silent Movie Theater Rises Again by Jeremy Arnold Charlie Lustman rescued LA's Silent Movie Theater from imminent demise after the surreal murder of its former owner. Now he plans to bring silent film to 'every city in the United States.' Don't bet against him. Digital Showdown: Flicks On 66 by Adam Goldstein This is as close to an old wild west shootout as it gets: In New Mexico this summer, 10 directors got a chance to compete for a prize package by making a DV movie in one week. Who was the survivor? Preparing for Digital Post Production by Andy Rose You've scrimped and schemed and slaved and dreaved and dreamed about making your digital feature. But have you really mapped out your post-production? Thinking ahead will save money and hassle later. Mike Figgis on the Vision Award by Mike Figgis and Elayne Taylor 'A group of people with a collective approach and the desire to make good films has created an alternative to the studio system. They'll make money along the way, but that's not the point ... they care about creative expression.'&emdash;Mike Figgis on receiving the Filmmakers' Alliance Vision Award. 'Write on Film' Winner by Debra Morris Column & Departments MM Notebook Letters Home Cinema: Michael Mann by Rus Thompson Ask Mr. Hollywood by Dov Simens Festival Beat Cannes, LA italian, Florida, Method Fest Shorts: Zoltar from Zoron by Erik Paesel How They Did It: A Sign From God By T. Logoreci Profiles: Ballad of Ramblin' Jack by Larry Getlen Mixed Reviews Documentary: Collectors by Charles martin Flash Forward by Victoria Rong Crossing the Line Paul Bartel & Walter Matthau - by Carmen Ficarra Loretta Young - by John Gallagher Alec Guinness - by Bob Mastrangelo Erich Leon Harris - by Carmen Ficarra

Issue 39
June/July/August 2000
On the Cover: John Singleton's Back by Erich Leon Harris He was the darling of critics, then the goat. Now they say he 'needs a hit like a crackhead.' As Shaft is about to be released, does John Singleton even care anymore. Winning Screenplay Contests by George Wing Writing contests are popping up everywhere. You've always known that a good showing will help sell your script &endash; but id you also know it can help you make your movie? The Dark Genius of Jack Pierce by Scott Essman The man who really brought Frankenstein's monster to life was arguably the greatest movie make-up artist ever. A new Hollywood tribute celebrates shi life and work. Digital Distribution: Dream Come True? by Greg Melick Last issue we talked about the distribution business and the changes a digital future will bring. This time you'll see how it will happen and the opportunities for indies. The Summer of Sam by A.G. Basoli This spring young Brit Samanta Morton was nominated for an Oscar for her role in Woody Allen's Sweet and Lowdown. This summer she stays on top in Alison Maclean's Jesus' Son. 'New Media' Schools Take Off by Andy Rose Film schools are being re-tooled for the digital age, and you don't have to live in New York or LA anymore to enroll. The next generation of film schools has now arrived. Beyond Blair Witch by Glen Barry Suddenly indie moviemakers have a direct, inexpensive way of accessing an audience of millions via the internet. Education of a Moviemaker by Neil Kendricks Steven Soderbergh, David Mamet, Paul Thomas Anderson and other working moviemakers discuss the film school experience. Rekindling our Love Affair with Italian Cinema by A.G. Basoli Life is Beautiful had a successful US release, and now young moviemakers are taking a fresh look at the Italian neo-realists who inspired a generation of classic American films. Are the Kids Alright? Visiting the Set of Pups by E.L Harris Ash talks about dual challenges on his new movie: subject matter and young cast. Column & Departments MM Notebook Letters Home Cinema by Rus Thompson Documentaries. Shorts by Ken Scott How the did it by Harry Ralston The Last Man & Men Cry Bullets On the Set by Scott Essman Mimi Leder & Greg Hobblit. Profiles by Scott Essman Beth Colt & Gary Chang. Mixed Reviews Documentary by A.G. Basoli Dark Days Festival Beat SxSW, NY/Avignon, Portland (OR), Sarasota East/West Indies Crossing the Line by Carmen Ficarra Claire Trevor by Rustin Thompson Douglas Fairbanks, Jr.

Issue 38
March/April/May 2000
Stanley Tucci's Secrets, by Tim Rhys: 'Auteur' is a word that gets bandied about a lot these days, but Stanley Tucci is the real deal. The talented New Yorker talks with MM's editor about career highlights and frustrations, and his amazing new film, Joe Gould's Secret.
How Burt Kennedy Got to Call the Shots, by Jeremy Arnold: Burt Kennedy wrote some of the most highly-praised westerns ever, and directed many of the greatest actors.
Digital Exhibition: Dream Come True?, by Greg Melick: Theaters may re-open in 'shuttered' towns throughout America. When they do, programming possibilities will be nearly limitless. But first the distributors' stranglehold on exhibition needs to be broken...
Anderson and Coppola on Screenwriting by Neil Kendy Neil Kendricks and A.G. Basoli One is 'a genius,' the other hails from bona fide genius lineage and shows promise... The writer-directors of Magnolia and The Virgin Suicides discuss screenwriting and the influence of their fathers. The Path of the Artist, Part III by Ray Carney The controversial author and professor tells indie moviemakers why Plato and Aristotle were wrong, and that 'Even Jesus only had an audience of 12 on most nights...' From Novel to Screenplay by Eric Nazarian The founding director of the Graduate Screenwriting Program at USC discusses the fundamentals of translating a work of literature into a screenplay. Transferring from DV to Film by William Azaroff You're finally on board with shooting on DV. But you've always envisioned your masterpiece playing theatrically. Should you transfer to film just to have that chance? Here's a discussion of your options and a look at some of the new transfer houses. Spec Script Sales on the Internet by Glen Berry Recently, independents have turned to the Internet for all aspects of their film, including buying or selling scripts and financing their productions. Here's how&emdash;and why&emdash;they do it. Robert Bresson's Legacy by Rustin Thompson and Eric Nazarian The moviemaking world will miss the pure auteur style of this enigmatic French genius. The IMAX Event Movie Craze by Scott Essman MacGillivray and Freeman brought large-format films to the public 24 years ago, and plans are now afoot to bring many moreing many more subjects to 7,000 square-foot screens all over the world. The Screenplay Software Skinny by Andrew Rose These days software innovations happen almost monthly. Here's some advice from the experts. Column & Departments MM Notebook Letters Home Cinema: Jean-Luc Godard by Rus Thompson MM Breakthrough How They Did It: Wisdom from the Director of The Hi-Line by Ron Judkins and Stephen Kinsella Frame by Frame: Tried and True Strategies for Curing Writer's Block by Eric Sherman Profiles: Stephen Chin and John Logan by Scott Essman Documentary: Group Sex and George Wallace by A.G. Basoli and Max Harrold Crossing the Line: Roger Vadim by Carmen Ficarra

Issue 37
January/February 2000
Park City Goes Digital, by Rustin Thompson and David Geffner Geffner: Sundance has finally joined Slamdance, No Dance and Slamdunk at the digital party. Here's what that means to you. (ADDITIONAL REPORTING BY A.G. BASOLI)
Tim Roth's War Zone, by Larry Getlen: Intense. Shocking. Disturbing. Roth admits his directorial debut is a movie 'that should not have been made.'
Internet Distribution, by Mark Litwak, Esq.: Be sure to read this article before you grant internet rights to your distributor.
The Path of the Artist: Part II, by Ray Carney: Plenty of people will tell you how to make a movie. Carney reminds us why moviemaking matters.
The Method to His Madness, by Adam Goldstein: Topsy Turvy is Mike Leigh's most ambitious work. How did he apply his famous 'no script' method to a production this elaborate?
Animation: The State of the Art, by Scott Essman: The new millennium will see an explosion of animated movies. But does the new technology mean they'll be better or even as good as the classics we all know and love?
Jim Jarmusch & Cinematic Samurai, by Stephen Ashton: Ghost Dog juxtaposes the code of the Samurai warrior with the code of a goofy, crumbling Mafia family. The results are surprisingly thought-provoking.
The Women of Sundance, by A.G. Basoli: There are more women moviemakers represented at the Sundance film festival this year than ever before. Why? And more importantly, how long will the trend last?
MM Notebook: A Letter to The Reader: Publisher Timothy Rhys invites you to the digital revolution in indie moviemaking.
How They Did It: The Making of Two Ninas: Maine Native 'without a clue' turns first novel into first screenplay into first movie.
Home Cinema: Best and Worst of '99, by Rus Thompson
Art House, by Max Harrold and a.g. basoli
Ask Mr. Hollywood: Digital Do's and Don'ts, by Dov S-S Simens
Frame by Frame: Beat the Sophomore Jinx: Marketing schedule needs to be as rigorous as production schedule, by Eric Sherman
Flash Forward: Cara Buono, by Timothy Rhys
Festival Beat: Sondrio, Italy, Northampton, Fort Lauderdale
Mixed Reviews: An Exploration of Masterworks
Shorts: Big Dividends for Dreamer, by Ray Spiess, Jr.
Crossing the Line: Force of Evil on a Brilliant Career, by Carmen Ficarra

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