If you caught Maya and Jimmy Fallon feeding off their combined hilarity or saw her play Beyonce on SNL this past week, you were among a lucky demographic. DEFINITELY don't miss this talented comedic comet in her new variety show premiere on NBC, Monday, May 19th (or you'll have to be fine with laughing a lot less than me).
It's hot chicks and dragons! Minus the dragons.
But plus Japanese Jiu-jitsu.
Spirit Squad is a Utah-made film about five no-nonsense cheerleaders who give back to their community by taking down the kingpin. If the trailer is telling, it's a big hunk of cheese or the algebraic equivalent of (Wonder Woman = Megan Fox X 5).
Is there anything more awesome than low-budge summer fun?!
With only 18 days left in the Indiegogo campaign, Thom Rockwell (writer, director) and Chris Adler (product manager) have raised $745 (only 2% of their goal) The two Ogden filmmakers will need more cheer than that to get their martial arts super-heroines red capes that can fly.
Check out Indiegogo to see Rockwell's campaign and if you're into geek girls in cheer skirts, arm locks and grappling, give generously, today!
Why attend the Filmed in Utah Awards?
I know everyone has their own reasons to go, but these are the most legitimate ones.
1. Warren Workman hella vacuumed that red carpet.
2. Your hair finally outgrew the mullet.
3. At $10 a pop, there's enough leftover change to buy a sparkly new dress!!!!!
4. The after after after after party.
5. Heather Beers.
Nebraska - Nothing's ramped up around these parts. Alexander Payne's story is shot minimalistically in black and white and inlaid with American bluegrass and brass. Nebraska is so down tempo it's like watching people watch TV.
If you happen to like watching people watch TV, you're in luck because there's huge emotional payoff.
Like all great road trip films that aren't at all about reaching the destination, Payne's Nebraska is as much about not reaching the destination as it is about David (Will Forte) realizing his father, Woody (Bruce Dern) is a human being. Nebraska is a film as important as Rain Man and Schindler's List. If you don't laugh at the absurdity and weep like a forsaken child, your Paxil dosage is too high.
Inside Llewyn Davis - (Srsly spellcheck, it's Welsh)
Cold, beautiful reality on a paper plate with a side of fork. How is it Joel and Ethan Coen can even comprehend consummate failure?!
Plot summary: This world needs its dreamers so it can grind them up whole and spit them out in small indiscernible chunks. Oscar Isaac bleeds (elegantly) for 100 minutes onscreen.
SM: You're a sought after industry veteran--a University of Michigan philosophy graduate who was initially headed toward law school. You've won an Emmy, directed two features and are credited with editing, acting, producing and written work, including founding the non-profit organization, FilmUtah. Tell us about your journey to big-budget producer.
JC: After graduation I took the LSAT and did quite well, but I soon realized I didn't want to attend law school. So I enrolled in the Telecommunication Arts graduate program at University of Michigan because the other programs weren't accepting any more applicants.
SM: So you ended up in filmmaking by default?
JC: Yeah. I sorta fell into it. And for my final thesis, I had to make a film. So I made one in Nicaragua, after the war, and fell in love with making movies.
SM: That project jump-started your career as a director?
JC: Exactly. When I started out, I really wanted to direct. I pushed in that direction and I made my own documentaries. At the low budget range, directing means you have to do everything--shoot, write, direct and produce. I had a tremendous amount of creative control which I associated with directing. For almost ten years, I pursued that. As I progressed though, I realized that to be a commercial, sought after director, you have to constantly do innovative, new, on-your-own-nickel spec stuff and I hated that.
SM: Because you were taking personal risks?
JC: Huge risks. As a low budget director, you live or die by your creation and you get hired once every three or four months. I eventually realized (because at the time, I was both directing and producing) that I can produce and work all the time--every day at a much higher rate and I didn't have to do spec work. I did paid work. So I kinda got addicted to the cash flow and gave up the creative--not the producing creative side but the directing creative side.
SM: And you were okay with that?
JC: Honestly, I like it better. It's not as whimsical on your talent. I'm still a solid director. I understand story. I understand character and camera. I can craft visions in my head in sequence and see the cut before it ever gets to post-production, but I use it to communicate with creatives and translate that directorial vision into dollars.
SM: That directorial context must seem hugely advantageous in your client's' esteem.
JC: The advantage I've found, particularly in marketing films, commercials and branded entertainment, is that translating the creative vision of the director to the client in a way the client can understand from a financial standpoint (in terms of why they should spend money on it) is truly necessary. Because they might otherwise cut out something that could very well benefit them or else keep something in that has little value--and waste a lot of money on it.
SM: What are your current projects?
JC: I'm working on two shows right now. The fourth season of Verses and Flow. It's a show that I'm very proud of which goes directly to TV One. One musical artist does two pieces and there are usually three poets; it's essentially spoken word and rhythm and blues. And it's terrific. The other one is The 365 Black Awards--an award show that celebrates a 365 day per year commitment to the African American community.
SM: There are endless networks. The industry has radically changed in the last several years. Barry Levinson shot his last film on an Iphone. Zach Braff is crowd-funding projects. David Fincher is going straight to Netflix. What's your attitude toward huge industry changes and how have those changes affected your work?
JC: My attitude is, embrace it all. Technology innovations cause hiccups to the industry and throw the wave scales out of whack. They make it possible for young people to do things that haven't been done before. But it's always been changing. It's a technology-based industry and I'm an early adopter. I was one of the first people to shoot digitally and was done with film the minute file-based systems emerged though I wasn't huge into tape--it acted like film but the quality wasn't there. But in the end, it doesn't really matter if you're using the newest, hippest thing. Because having the newest hippest thing doesn't necessarily mean it adds to your creative aspect. People ask: do you have Final Cut or Avid? And to be honest, I don't really care because in the end the question isn't 'what software are you're using'. The question is, can you edit?
It's all in the deets. Consider these auteur filmmakers' obsession with typeface.
It's absolutely impossible to improvise. Making a film is a mathematical operation. It is like sending a missile to the moon.
Stella Artois forayed Stella Cidre into American bars and for the first time the apple-inspired hard cider was available at Village at The Lift's Stella Artois Lounge during Sundance 14. Read my review in Eligible Magazine.
Par usual, Village at the Lift provided top tier talent, media and VIPs a quiet escape from the cold and crowds and this year also treated us to killer breakfast and lunch at the Stella Artois Cafe, featuring the chefs and cuisine from the trendy Los Angeles restaurant, Animal.
A clever Wall Street Journalist, hates cable TV. Possibly even more than you.
"Change will come only when enough customers cut their cords. " Al Lewis
Guess who's gonna be on the new postage stamp? hint: it's probably not you. It's Harvey Milk, the first gay man to hold political office in CA. Milk btw is a 2008 film with social significance rivaling Rain Man and Schindler's List, not to mention screenwriter Dustin Lance Black both a staff writer and editor for Big Love, was raised a California Mormon.
"What set Harvey apart from you or me was that he was a visionary. He imagined a righteous world inside his head and then he set about to create it for real, for all of us." Anne Kronenberg
Forgivably sentimental, dreamily shot and exceptionally cast despite harsh reviews by critics who feel Nazi Germany isn't adequately handled. Newsflash: it's a kid's film. It's not Schindler's List.
Warning: since we were last in line at the discount theater I had the privilege to see it from the second row, offside, so I was secretly hoping for stingier editors. The Book Thief is well over 2 hours running time.
John Malkovich in shorts with an axe. The Coen brothers begat what Dean Parisot adapted.
Burn After Reading/2008
Lorri Vodi Rupard
Lorri grew up in Toronto, is a BYU graduate and former PBS affiliate on-air operator, won first place in the UWIF short screenplay contest 2011 and was a quarterfinalist in Final Draft's Big Break Screenplay Contest 2012. She is a Montreal Review, Eligible Magazine, and The Gate contributor.
A Singular Sonosopher
The Evolution of a Guerrilla Filmmaker
Looper - A Fantasy Film Noir Cry-Fest
Trigonometry in Film - Emerald Bay
Sundance Announces New Frontier Lab
Citizen Kane - He's Not That Different
Win a Role on Arrested Development
A Master and His Unlovable Crew
Pitch Perfect has its Flaws But it's Fun
AC/GC Play Thelonious Monk in Provo
Truffaut's "The 400 Blows" at Cannes
Ava DuVernay's Potency
BYUtv: "Song that Changed My Life"
New York Doll a Win Win with PUMit
Director Whitney to Lecture at DSC
Danor Gerald - Talent..and Southern Charm
Fewer Strong Female Characters
Apply Hot Buttered Popcorn Directly to Your Wounded Ego
Nil Desperandum, There's STIFF
Sugar Man - Deconstructing a Mystery
Why Ladies Might Be Right to Dig "When Harry Met Sally"
Let's Do the Time Warp
Deadlines are Like Tornadoes
Fundraiser: Make a Doritos Ad
The Real Hogwarts
Legend for a Chiller
Best Line Ever
Exercises in Futility
Utah Film Network Site
On The Sundance Red Carpet with Jarecki, Gere and Marling
Jay Simmons: Tell Me What I Can't Do and I'll Do It.
Taunya Gren: Woman at the Wheel
Sean Cisterna: Filmmaking in a Down Market
Levinson Pares it Down and Eco-Horrors it Up
Adams, Limbaugh and Tolstoy
The Perks of Being a Stereotype
Sellable Scripts and How to Direct
Lana Wachowski: You Gotta Know the Rules to Break Them
Flip Men's Doug Clark: I'm a Risk Taker Who Got Lucky
Filmmaking: Walk the Tightrope of Conviction
Cooler Than School: American Ride
Don't Be Encumbered by Your Old Nonsense
Screenwriters: Dont' Believe the Non Hype
David Fincher's Homage to Orson Welles and is Your Screenwriting Like Jazz?
Torben Bernhard: Filmmakers are Interpreters
Girl Power on Sundance Shorts/Less Money Mo Blues
All Things Jackson and Hobbity
Worse Case Scenarios
Hollywood Formulas or Mere Exalted Ideas of Cinematic Potential
2 Utah Boys and Reality Realty
BYU Alumni Jerusha Hess at Sundance
Want to be a Filmmaker? Study Business
Christmas Soup for the Filmmaker's Soul
Not Cool, Ben!
Sundance Sampler Platter
The Hobbit: One Line Review
Be a Pro, Not a Rookie
The Dream of Moving to Big Budget
Jackman has a First Name it's O.S.C.A.R
Fey and Poehler Host Golden Globes
Slamdance: Originality over Big Budget
NYT Best-selling author Hickman in SLC
If you have indie film related news and you seek coverage contact Salt. If you would like to contribute to Salt contact the editor: email@example.com