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My Films

My Greatest Films That No One Has Ever Seen

whathappendposterRecently Jon Brooks at KQED wrote up a very nice piece on Tom Noonan’s WHAT HAPPENED WAS (1994). That film won multiple awards at Sundance but barely go seen.  Unfortunately it does not sleep alone in my bed of barely seen almost-masterpieces.  As strong as my track record may be, it still holds some flops, misfires, and damn bad luck experiences. It’s great that Tom’s flick may get some of the love it so richly deserves, albeit twenty years after it’s debut.

On my pleasure planet, Frank Grow‘s revolutionary LOVE GOD (1997) would have turned our business on its head.  

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Truly Free Film

What Does Sundance Mean To Giamatti & Rockwell

Episode Six Of The Ted & Christine In Sundance Show, where Paul & Sam try to answer what their best Sundance experience has been.

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Truly Free Film

What Makes For A Good Experience For An Actor?

Episode 6: Christine & Ted Talk To Paul Giamatti and Sam Rockwell

And we ask and they answer: “What makes for a good experience?”
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Truly Free Film

What Kind Of Set Do You Want & Can You Ever Know You Are Safe?

Episode Five Of The Christine & Ted In Sundance Show, where Paul Giamatti and Sam Rockwell discuss what it’s like for them on set and what it means for them now that they work all the time.

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Truly Free Film

Why Would You Star In An Indie Film? Giamatti & Rockwell explain it all

The other interview Christine Vachon and I did for FilmCatcher (before they changed direction) at Sundance this year is now up on YouTube. The sounds not great, but the content’s still revealing. It stars two of the greatest actors of our day (and that ain’t CV or me), so check it out.

Episode One:
Episode Two:
The whole 9 yards/episode is up on YouTube here:

http://www.youtube.com/view_play_list?p=7CE37D6CDC9224B4

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Truly Free Film

Who Can Really Help Indie Film? #2: The Established Actors

Last month I asked this question, and now I am asking it again: Who can really help Indie Film?

This month’s answer is the actors whom have benefited so much by indie film — which is not to say that the Indiewoodland has not benefited even more by these actors’ presence.  It has.  But why were there so many super talented actors in the indie sphere ten years ago, and now the list of “names” seems so depleted or recycled?
We need to come up with ways to promote the work of “undiscovered” actors.  There is probably no better judge of talent than the acting community itself.  Similarly there is no better promotional magnet and promotional bullhorn than the acting community itself.
I am completely confident that there are as many good actors emerging now as there were back ten years ago, but there is a problem when even working filmmakers like myself don’t know the new folk.  I have always felt that one of the real draws of indie film was the discovery of new talent, both behind and before the camera.  When we are not as familiar with an actor, it is easier to see them as the character they are portraying than the star they may later turn out to be.  But the joy of discovery would lead you to think that audiences would be served a virtual parade of new faces, yet that parade has not materialized as of late.
Check out what ten years ago had to offer out of NYC alone: Steve Buscemi, Kevin Corrigan, Billy Crudup, Hope Davis, Rosario Dawson, Vince D’Ornofrio, Martin Donovan, Edie Falco, Paul Giamatti, Peter Green, Jared Harris, Phillip S. Hoffman, Michael Imperolli, John Leguizimo, Laura Linney, Julianne Moore, Rosie Perez, Parker Posey, Tim Robbins, Sam Rockwell, Paul Rudd, Mark Ruffalo, Liev Schrieber, Campbell Scott, Chloe Sevigny, John Turtoro, Jeffrey Wright.
These are just the actors I thought of off the top of my head.  And I only put the ones that popped first (to my knowledge) in Indie film, not Hollywood, and those that really came of age in the last decade or decade and a half.  And were from NYC.  I know I have left a bunch off and I apologize for the slight.  Remind me who they were and I won’t do it again (or I will at least try not to).
But who represents the here and now?  It’s hard to have the same legnthy list: Jessica Chastain, Mark Duplass, Jesse Eisenberg, Ryan Gosling, Zoe Kazan, Anthony Mackie, Michelle Williams.    
And I had to cheat to get to seven.  Some aren’t really even NYC anymore.  Or ever were.  And some have been working a long time already, not just emerging now.  If I take it back ten years or so I can add Maggie Gyllenhaal, Emily Mortimer, Alessandro Nivola, and Peter Sarsgaard.
I think I had twenty seven on the old school list.  That’s pretty much a romp in any book: 27 to 7 (or maybe 11) Whassamattawiddis?  Surely it can be fixed.  I want to know who the new school is.  Where can we find them?  How can we make sure they get the good parts that launch them?  
I think it is going to start with the old school really stumping for the new school.  Not to put pressure on them, but it’s time.  The IFP’s Gotham Awards has a Breakthrough Performance category, but why doesn’t SAG?  How come actors don’t suggest other actors when they get cast (okay some do)? I don’t think it is bad form; we need to know who will make all of our work really shine.  How come there isn’t some sort of organization that promotes the new wave?Damn, it doesn’t even have to be organized; it can be personalized.  The whole industry would benefit from this, even Hollywood.   Here’s hoping…