tom quinn

I'm just jumping in, long after this thread, because I finally saw The Double Life of Veronique last night and was so struck by the bold color choices. They reminded me of a vibrant version of Tarkovsky's Polaroids, which also have have a green/cyan/yellow sunlight -- I've rarely seen that color palette as beautifully rendered in moving images. https://www.anothermag.com/art-photography/2939/andrei-tarkovskys-polaroids

I was happy to read this because I have felt crazy and immodest criticizing, but had to turn War Horse off for this reason (something I never do). The over-apparent sources outdoors was distracting me to the point that I was not watching the film and I felt that each time an actor moved in the "wrong" way, the edges of that light were revealed. Of course, my brother and I have similar tastes minus the filmmaking background and he very much enjoyed the film in a theater so I may be focusing more than necessary. I love many of their collaborations, but would love to see Spielberg try someone new. There is a moment in the new Lincoln trailer where he says "Now, now, now" and the shadow of his hand moves over his face. It feels like a "movie" shadow, not any type of practical source and reads more as self-conscious parody than homage. Of course there are many gorgeous shots, but also a stiffness as if this style would work better for stills than in moving cinema. It certainly seems intentional, but seems to be pushing to reveal the filmmaking process to a degree that does not make sense. Spielberg often goes big and Williams often goes big. When the cinematography also goes this big, the combination feels too much and the film feels overwrought (to my tastes). I say all of this with a great deal of modesty and am embarrassed to make the comment, but I've been confused by the decision.

That's awesome -it was at the Ritz! Congrats on your screening - I hope it went well!

Hi Kyle, I had shot a feature called The New Year Parade on the DVX and we did a limited theatrical release last fall. Before our 2 week run in Philly, I had the film upconverted at The Dive, which is a great local post house (they did the digital effects on The Road). I'll be honest, I wasn't expecting much and was really blown away. Due to some technical issues at the theater, we had to transfer to Blu Ray at the last minute, but it really looked fantastic (of course, this is relative - we shot the film for $7,000 and it's clear we did not film on 35mm). So, if you're really in a pinch, it is possible. Take care, Tom www.thenewyearparade.com

Hey all, My film, The New Year Parade, was fortunate enough to participate in the IFP Narrative Rough Cut Lab in 2007. It was a game changer for us - providing feedback on the cut music, helping us devise a fest strategy, setting us up to meet fest programmers and sales agents, and even sitting 10 of us down with John Sayles and Maggie Renzi for a few hours! The whole experience was incredible! It opened the doors to our screening at Slamdance & SXSW and our little $7,000 film is now nominated for an Independent Spirit Award. So, I feel very grateful to IFP and wanted to spread the word. Anyway, the labs are open for submissions and I thought it worth passing the info on for other first and second time doc and narrative filmmakers who currently are in the rough cut stage. If you have questions, drop a line: dulouz@gmail.com IFP'S 2010 INDEPENDENT FILMMAKER LABS OPEN FOR SUBMISSIONS Documentary Lab – April 12–16, 2010; Application deadline FEBRUARY 12 Narrative Lab – June 7–11, 2010; Application deadline MARCH 26 IFP’s Independent Filmmaker Labs is the only program in the U.S. supporting first-time feature directors at the crucial rough cut/post production stage. The Labs play a pivotal role in helping emerging filmmakers to realize the full potential of their stories – and their careers. Through five days of workshops, mentorship, networking opportunities and creative guidance on their project, Lab filmmakers are able to gain editorial feedback, assess strategic partnerships & marketing opportunities, and evaluate their options for maximizing the reach of their film via festivals, traditional theatrical roll-outs or through innovative, DIY distribution methods. Drawing from a national candidate pool, 20 projects (10 documentaries and 10 narratives) are selected for this year-long Lab fellowship which, includes the five-day Lab in New York City, one-on-one mentorship with industry innovators and icons, and during IFP’s Independent Film Week in September - pre-scheduled meetings with potential buyers, sales agents and festival programmers and inclusion in a Lab “Sneak Preview” Showcase presentation. Criteria, additional information, and online applications available at http://Labs.ifp.org Criteria, additional information, and online applications available at http://Labs.ifp.org

hey guys, i thought it may be worth dropping this info: IFP is currently taking submissions for their 2008 Narrative Rough Cut Lab. I did the lab last year for my film, The New Year Parade, which won the jury prize at Slamdance and will soon play SXSW. It was an incredible experience and changed the course of our film. Basically, they take 10 films in the rough cut stage, bring you to NYC, pair you up with producers, sales agents, editors, composers, festival programmers, etc, to get the most out of your raw material and to take your project to the next level. I received feedback and counseling from folks I would never get access to otherwise. I don't work for IFP or anything like that, it was just a great experience so figured I'd pass it on as another filmmaker had done to me last year. you can get info at www.ifp.org/labs. The lab filmmakers from last year have also been keeping a blog at: lab.workbookproject.com. later, tom www.thenewyearparade.com

hey adrian, I'm actually at Temple myself in the MFA program. I'll keep my eye out for you. later, tom

Hey Adrian, Thanks! It's funny you mention that because some of the guys who acted in the film are now in PA : )

Hi Sam, Thanks! We've been talking to the County about a Fall screening, so I'll keep you posted. I hope you're well. Tom

thanks Walter! we need to have a premiere party in philly with cheesesteaks for everyone!

hey guys, here's a trailer for my film The New Year Parade, which will be at SXSW and was just at Slamdance. We shot on the DVX-100 and I'm fairly happy with how things turned out. If you're in Austin next month, come on out! www.thenewyearparade.com Take care, Tom

Hey guys, I don't know if any of you will be at SXSW, but my film The New Year Parade will be screening. We were just fortunate enough to win the grand jury prize for best narrative at Slamdance and are really excited! Most of the film was shot with a 2 person crew with minimal lighting. Here's a new trailer if you're interested: www.thenewyearparade.com. Take care, Tom

some abandonded strip mines in pa are all ash colored grit for as far as you can see.

Hey Kevin, If I remember correctly, we put a 2 ft paper lantern with a 200 w bulb above them and made a skirt out of black wrap to keep it off the walls. 3/4 above/behind him was a 4 x 4 tungsten balanced kino (with lots of black wrap to shape it). above/behind her (tight corner) was a 300w arri heavily diffused and scrimmed. I can't remember what was in the practicals - I think they were 40w bulbs. Good luck with your project! Throw up some stills when you're done! tom

it's an interesting question, because even Visions of Light, which is a great piece of work and is really interesting, definately feels very much of its time period (which is only about 15 years ago). Even though each interview compliments the style of the particular cinematographer interviewed, it still feels 'early 90's'. It'd be great to take that doc, break down what stylistic elements have changed and then double those. It'd be even more fun to take a few interviews from 1978, Visions of Light from 93, and then some from now and plot a timeline that you can project further. sounds like a neat project. have fun!