“It’s not ‘what goes around will come around,’ it’s, ‘what you put in is what you get out.’ We want to have it be a meritocracy. If you’re good, it happens organically that people notice and things get made.” – Co-Founder of We Make Movies, Sam Mestman
“What was it that lead the group of you to start Slamdance? On what basic, independent principles did you found it,” I ask.
“Rejection,” he says.
Hitchcock is a quirky meditation on madness and the genius that often can spring forth from it.
Rockin’ Reverend is an indie comedy about an agnostic actor turned priest. Brilliant sounding plot? I think yes…
Ryan Philander takes the creative process very seriously, which is why he doesn’t ever stop, even when he’s not getting paid. He’s embarked on his biggest task to date – writing, producing and directing a pilot – UNDERBELLY.
Rex Pickett’s stage adaptation of his novel “Sideways” takes the Los Angeles indie stage scene eight years after the Alexander Payne adaptation took the indie screen scene. Pickett talks creative control and Pinot Noirs – two things very dear to his heart.
The French do a thriller channeling Marilyn Monroe in the snowy north of France. Atypical all around, but enjoyable nonetheless.
From the makers of Another Earth comes Sound of My Voice – another thought-provoking indie
NAB Show proves a valuable trade show for all levels of filmmakers.
Steadily and slowly, a new group of young and fiercely ambitious females are knocking on the doors of top production companies like HBO, Apatow Productions, and in general permeating the entire indie community.
Two Brit actors take matters into their own hands with their TV pilot Sunset Bar.
Courteney Cox directs a Lifetime movie with cinematographer Doug Emmett. It’s a remake of a true-life documentary, Talhotblond. Cyber sex, lies and murder – perfect for television.
The dramatically dark takes on Berlin, and wins.
Nick Ondras’s review of Nash Edgerton’s indie THE SQUARE.
MAN OF STEEL 
PACIFIC RIM 
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