News & Updates
July 14, 2017
This year we’ve revamped and consolidated our grants programs into our individual and organization focused community service awards — and we will celebrate both at a combined ceremony in March! Five individuals and five organizations will be recognized for their community service. Each honoree or organization will receive complimentary badges to SXSW, a $5,000 grant, and a chance to spread the word about their work to the SXSW community. Learn more about the SXSW 2018 Community Service Awards below.
SXSW Community Service Awards for Individuals
Five individuals will receive a $5,000 grant to an eligible 501(c)(3) or eligible charity of their choice as well as a complimentary registration to SXSW 2018. The Community Service Award is intended to honor the breadth of community service work of five individuals rather than organizations or groups. We are looking for individuals whose creative community service work bridges the digital divide, impacts the community positively and includes some degree of grassroots or hands-on organizing.
SXSW Community Service Awards for Organizations
Five organizations will also receive a $5,000 grant to continue or begin their work and will be honored at the SXSW Community Service Awards. To qualify, an organization must be a charitable organization exempt from federal income tax under section 501(c)(3) or be otherwise qualified to receive charitable contributions. The selection committee chooses organization grantees based on their connection to one of the following aspects of SXSW: Interactive, Film, Music, Edu, or Gaming.
All applications are free of charge and must be received no later than 11:59pm PT on July 28, 2017.
Who Should Apply?
The SXSW Community Service Awards are for everyone! Whether your interest lies in filmmaking, music, technology, education or gaming, the Community Service Awards recognize good work being done within communities. There’s also a grant for a local Austin charitable organization that does not easily fit into one of those festival categories. SXSW feels that promoting good is one of many ways of helping foster creative innovation.
The post See What’s New for the SXSW Community Service Awards appeared first on SXSW.
Source: SxSW Film
July 13, 2017
With so many PanelPicker proposals, how can you ensure that your amazing idea stands out? As the Friday, July 21 deadline approaches, take a dive into our helpful PanelPicker resources below, from tips for success to an overview of SXSW Conference tracks, as you construct the perfect proposal.
Tips for PanelPicker Success
Follow the instructions and read the FAQ. Reading the PanelPicker FAQ will give you important information about SXSW and some valuable tips for creating a great proposal. For a walk-through of the PanelPicker form and entry process, watch the How to Enter Your Proposal video. Once you’ve watched the video and read the FAQ, you are ready to get started!
Create a future-focused, original proposal that shows what you’re passionate about. Often SXSW previews what you’ll be talking about next year and beyond in tech, culture, music, and film. Give us your perspective on what lies ahead and why.
Depth and specificity. SXSW attendees want advanced, in-depth information, so be sure to delve into the particulars of a topic. The more specific a proposal is, the better. Drill down to what really matters.
Solo sessions and strong moderators. While panels works well as a session format across the Conference, the SXSW community tends to prefer solo presentations for Interactive and tech-focused tracks. Be sure you have a strong moderator if you are going to propose a panel.
Your title should reflect your description. Your title is going to be fighting for attention with hundreds of other titles in PanelPicker, so it’s important for your title to be direct and explanatory. The community should be able to understand what the proposal will cover without reading your description. Remember: think simple, accurate, and succinct. Pro-tip: Avoid using ALL CAPS in your title and proposal.
Diversity matters – all panels (3-4 person sessions) must include diversity in gender, race, location and employment of speakers, and diversity in thought and opinion.
Include a video with your proposal. Your speaking abilities matter and we’d like to see them. Does the video need to be a fancy production? No, the video does not have to be professionally produced and can simply be recorded on your webcam or phone.
Proofread, proofread, proofread. Did we mention to proofread? Spelling, grammar, and punctuation are extremely important. PanelPicker allows you to securely edit your proposal up until you click “Enter Proposal” on the final page.
Meet the deadline. The 2018 PanelPicker entry deadline is 11:59pm PT on Friday, July 21.
SXSW Conference Tracks
The SXSW Conference provides an opportunity for global professionals at every level to participate, learn, and network. Explore what’s next in the worlds of entertainment, culture, and technology within 24 tracks of programming plus our SXSW Eco curated Cities Summit. Learn more from our track overviews for Interactive, Film, Music, and Convergence including additional proposal tips.
While PanelPicker contributes to the majority of the 2018 SXSW Conference programming, it also helps us identify industry trends based on each season’s entries. Explore 2017 Programming Trends and follow SXSW News for the latest updates in trends that emerge from the 2018 PanelPicker.
Enter Your PanelPicker Idea
Visit PanelPicker.sxsw.com, login or create a new profile to begin. All ideas received will be posted online for Community Voting from Monday, August 7 – Friday, August 25. Review the resources and tips to get started – PanelPicker entry deadline is Friday, July 21 at 11:59pm PT. Good luck!
2017 SXSW Conference panel, Jazz in the Digital Age – Photo by Danny Matson
The post Tips for SXSW PanelPicker Entry Success – Deadline Friday, July 21 appeared first on SXSW.
Source: SxSW Film
July 12, 2017
‘The North Pole’ Trailer: Oakland-Bred Climate Change Comedy Will Make You Laugh Until You Cry — Watch
As New York Magazine recently made clear in an anxiety-producing cover story, climate change is accelerating at a rate much faster than even scientists’ most alarming predictions. As fewer resources are stretched between more people, the gentrification of urban areas will continue to displace folks from their homes. Enter “The North Pole”: A smart and stylish web series that manages to find the funny amidst the worries about gentrification and climate change.
Set in North Oakland, California, from which the series takes its name, “The North Pole” follows three friends as they struggle to stay afloat amidst a rapidly changing neighborhood. They fight, dream, and plot half-baked schemes to save the place they call home. They will have to combat evil landlords, crazy geoengineering plots, and ultimately each other if they want to stay grounded.
“We wanted to make ‘The North Pole’ because there’s no place on earth like Oakland,” said filmmaker Josh Healey, who created the series with Yvan Iturriaga and Darren Colston. “Until Neil de Grasse Tyson tells me otherwise, there’s no planet in the universe like earth. I call both these places home—and both are suffering through their own kind of ‘climate change.’ At a time when whole communities and environments are being displaced and disposed of, ‘The North Pole’ is our creative picket line-turned-comedy roast.”
The series features guest appearances from comedian W. Kamau Bell, former Black Panther Party leader Ericka Huggins, and Oakland-based rappers Boots Riley And Mistah FAB. “The North Pole” is executive produced by ecological justice organization Movement Generation, and will launch with a special screening on Thursday, September 7 at Oakland’s historic Grand Lake Theater.
Check out the exclusive trailer below:
For more information on the series, head to the project’s website.
Source: IndieWire Digital TV
July 9, 2017
Every once in a while, you will find that a wide, normal or telephoto lens just won’t do the job. That is when specialty lenses come into play. They …
Source: CW’s Flipboard Feed
July 9, 2017
We’ve all seen the Sad Keanu memes, and a number of details from the “Point Break” and “Matrix” star’s biography do indeed point toward tragedy. The actor is known for thrilling us rather than saddening us nevertheless, not that there aren’t a few exceptions to prove the rule (even if none of them involve him eating a sandwich on his lonesome).
With “To the Bone” premiering on Netflix this Friday, take a moment to relive some of Keanu’s saddest performances.
Maybe it’s the fact that he’s acting opposite River Phoenix, a friend who died just two years after Gus Van Sant’s early classic was released, but it’s hard not to feel for Keanu in “My Own Private Idaho.” A soon-to-be-wealthy heir, his Scott is always looking after his narcoleptic best friend (Phoenix, whose character is also in love with his bestie); they cover a lot of ground during their journey, but don’t exactly have a happy destination. Scott is last seen attending his father’s funeral, leaving him financially secure and potentially friendless — if only their bond were as strong as the one between Theodore Logan and Bill S. Preston, Esq.
“Bram Stoker’s Dracula”
Not his best performance, but one of his most ambitious. Bad things have a habit of befalling anyone who hangs around a certain Transylvanian count, whose hunger for blood is insatiable. Jonathan Harker doesn’t have an easy go of it, and neither did Keanu after Francis Ford Coppola’s take on that most famous of vampires as released: Much of the “Keanu can’t act” discourse centers around “Dracula,” which few would argue finds him at this best. But it does demonstrate how internalized the oft-underrated actor’s style can be, as though it’s more difficult for him to coax whatever emotions he might be feeling to the surface than it is for other performers. That’s sad in and of itself, and a reminder that Keanu’s talents are better suited to a certain kind of material.
“The Matrix Revolutions”
The final chapter in the “Matrix” trilogy made pretty much everybody sad, though not necessarily for the right seasons. Still, there’s no denying that the film finds Neo at his most forlorn — forced to soldier on after the death of his beloved, he eventually makes the ultimate sacrifice to ensure that no more lives are lost in the Great Robot War (that’s what it’s called, right?). All the fun and action of the original movie (and, to a lesser extent, the first sequel as well) gradually give way to a brooding, at times laborious atmosphere of dread. Talk about bogus.
“I saw death rising from the earth, from the ground itself, in one blue field…a present for my friends at Thanksgiving.” Richard Linklater’s rotoscoped adaptation of the Philip K. Dick novel shifts tones throughout, but the book’s status as a memorial to the author’s friends whom drugs got the best of informs its melancholy arc. Keanu plays a detective who’s in over his head without realizing it, and though the film is mordantly funny it’s also increasingly sad — especially as concerns the animated gumshoe. Substance D: just say no.
Widely seen as a return to form for the action star, this franchise-starter is also born of grief. Reeves plays the title character, who’s already mourning his wife when bad guys with no idea what they’ve just done kill his precious doggo. The despair this instills in our trigger-happy hero is nothing compared to the grief he visits upon his enemies. As is often the case in his action movies, though, Reeves doesn’t delight in taking lives and exacting vengeance — there’s a certain melancholy to his murder, and neither his wife nor his pup is ever far from his mind.
Source: IndieWire film
July 9, 2017
“The Amazing Spider-Man 3” will never see the light of day, which many consider a good thing. The first two films starring Andrew Garfield as everyone’s favorite web-slinger inspired a lukewarm reaction, while the just-released “Spider-Man: Homecoming” has earned much more positive notices. A new video looks back at what might have been in the third chapter of Marc Webb’s trilogy, including a resurrection subplot that sounds fairly out-there.
“Part of the discussion was that, possibly in ‘3,’ there was this idea at one point that Spider-Man would be able to take this formula and regenerate the people in his life that had died,” says Dennis Leary, who played Captain George Stacy, in the video. “So there was this discussion that Captain Stacy would come back even bigger in episode three.” Gwen Stacy (Emma Stone) might have returned from the dead as well.
Doctor Octopus, Green Goblin, Rhino, Vulture, Kraven the Hunter and a to-be-named sixth villain were potentially in the mix as well. Watch the full video below.
Source: IndieWire film
July 9, 2017
“Spider-Man: Homecoming” appears to be the return to form that fans have been longing for, as the friendly neighborhood superhero movie has opened to favorable reviews and beaucoup bucks at the box office. Amid the praise for star Tom Holland and the diverse ensemble around him, warm words have also been reserved for composer Michael Giacchino. His score is now available on Spotify; stream it here.
Featuring such punny titles as “No Vault of His Own,” “Pop Vulture” and “A Stark Contrast,” the OST consists of 22 tracks. Giacchino, who’s won an Emmy for his work on “Lost” and an Academy Award and Golden Globe for “Up,” has also composed the scores for such films as “Rogue One,” “Let Me In,” “Jurassic World,” “Doctor Strange” and “War for the Planet of the Apes.”
Here’s the tracklist:
- “Theme From Spider Man (Original Television Series)”
- “The World is Changing”
- “Academic Decommitment”
- “High Tech Heist”
- “On a Ned-to-Know Basis”
- “Drag Racing / An Old Van Rundown”
- “Webbed Surveillance”
- “No Vault of His Own”
- “Monumental Meltdown”
- “The Baby Monitor Protocol”
- “A Boatload of Trouble Part 1”
- “A Boatload of Trouble Part 2”
- “Ferry Dust Up”
- “Stark Raving Mad”
- “Pop Vulture”
- “Bussed a Move”
- “Lift Off”
- “Fly-By-Night Operation”
- “Vulture Clash”
- “A Stark Contrast”
- “No Frills Proto COOL!”
- “Spider-Man: Homecoming Suite”
Source: IndieWire film
July 9, 2017
In his first two films, Trey Edward Shults has focused on families in crisis. The drama is interpersonal in “Krisha,” while “It Comes at Night” adds a post-apocalyptic bent to the filial drama. In a new interview with the Independent, the ascendant writer/director says he says something entirely different in mind for a future project: a movie about Kanye West.
“I have a dream of doing a Kanye West biopic,” says Shults. “My dream is he will somehow see and like my movies and let me pick his brain apart — to make the ultimate one-of-a-kind biopic we haven’t yet seen [that will] explore this man. I think it’d be amazing. There’s so much to explore. I just want to chill out with Kanye and make something great. I think he’ll like this next movie that I’m writing.”
Sounds like A24 needs to have its people reach out to Kanye’s people and see what they can make happen. As for Shults’ next project, he’s vague on details but does hint that he’s going in a new direction: “It’s not genre and it’s not one location.” Read the full interview here.
Source: IndieWire film
July 9, 2017
“A Ghost Story” (A24) joined the recent surge of strong limited openers. Boasting top reviews, David Lowery’s offbeat Sundance hit nabbed a wider than usual arthouse audience. A24 is terrific with the right project at casting a wider specialized market net, so this should join several recent titles led by “The Big Sick” (Amazon Studios/Lionsgate) and “The Beguiled” (Focus Features) that have found wider interest as they expand.
This weekend, as breakout “The Big Sick” reaches a wider audience, it’s on its way to becoming the biggest specialized release of 2017 so far — and Amazon’s biggest grosser to date. It looks perfectly positioned for its nationwide break this Friday.
Syria documentary, likely Oscar-contender “City of Ghosts” (IFC) opened in New York only, landing high-end reviews for a reality-based theatrical release.
A Ghost Story (A24) – Metacritic: 87; Festivals include: Sundance, Seattle, BAM 2017
$108,067 in 4 theaters; PTA (per theater average): $27,017
The summer parade of specialized limited opening successes continues with Sundance entry “A Ghost Story.” Another in a series of films to open with top theater initial averages of over $25,000 in New York and Los Angeles (a rarity for most of this year), it is A24’s biggest platform opener of 2017 (their best since “20th Century Women” at Christmas).
Like indie breakout Colin Trevorrow, who followed a studio franchise smash with indie “The Book of Henry,” David Lowery (“Ain’t Them Body Saints”) followed Disney’s “Pete’s Dragon” with low-budget effort “A Ghost Story.” The supernatural tale of a dead husband returning in a sheet to observe his mourning wife rejoins “Saints” stars Casey Affleck (in his first film since his Oscar win) and Rooney Mara. This time, Lowery kept his feet as an emerging director working within his earlier milieu.
What comes next: Similar to other appealing recent successes, this will have a careful but aggressive expansion before reaching a nationwide footprint in a few weeks.
Photo courtesy of Amazon Studios / A&E IndieFilms / IFC Films.
City of Ghosts (IFC) – Metacritic: 86; Festivals include: Sundance, San Francisco, Tribeca, Seattle 2017
$16,240 in 2 theaters; PTA: $ 8,120
Also backed by Amazon, Matthew Heineman’s follow-up to Oscar-nominated “Cartel Land” shows first-hand recording of life under ISIS. The documentary scored strong reviews and a decent initial response in its two New York theaters. The spate of recent Middle East region war documentaries hasn’t been an easy sell, but this gross shows that with the right push they can be viable.
What comes next: Los Angeles, San Francisco and Washington D.C. come aboard next week
Gunpowder & Sky
The Little Hours (Gunsmoke & Powder)
$193,750 in 36 theaters (+34); PTA: $5,236; Cumulative: $282,023
The little bawdy nun comedy that could had a decent expansion with sufficient exposure that its further growth to over 100 theaters this Friday looks positioned for similar success.
The B-Side: Elsa Dorfman’s Portrait Photography (Neon)
$12,785 in 8 theaters (+5); PTA: $1,598; Cumulative: $40,318
Lesser results than normal for an Errol Morris documentary. This report on a woman whose art encompassed Polaroid pictures broadened to a handful of new cities to minor results.
13 Minutes (Sony Pictures Classics)
$16,174 in 9 theaters (+6); PTA: $1,797; Cumulative: $36,374
Little traction for this 1939 Hitler assassination attempt recreation as it expanded into a handful of additional theaters.
Ongoing/expanding (Grosses over $50,000 in under 1,000 theaters)
The Big Sick (Lionsgate) Week 3
$3,650,000 in 366 theaters (+255); Cumulative: $6,920,000
With its third weekend, Amazon’s romantic cross-cultural dramedy looks to break out into a major mainstream success. In around 300 fewer theaters than “The Beguiled” last weekend, this grossed about $500,000 more, and placed #8 for the weekend despite its modest theater count. Lionsgate goes wide next weekend with a top five placement likely. This could easily become Amazon’s biggest hit yet.
The Beguiled (Focus) Week 3
$2,086,000 in 941 theaters (+267); Cumulative: $7,436,000
The aggressive expansion of Sofia Coppola’s Civil War Gothic tale is accumulating a good total. The gross for the third weekend is slightly ahead of Focus’ “The Zookeeper’s Wife” a few months ago, which was at slightly more theaters (total: $10 million). This looks to reach somewhere in the low teens. That would make it Coppola’s third biggest film after “Lost in Translation” and “Marie Antoinette” (the latter’s adjusted gross is $21 million).
The Hero (The Orchard) Week 5
$651,330 in 447 theaters (+46); Cumulative: $2,810,000
Sam Elliott’s late career triumph as an aging actor summing up his life continues to attract moderate interest with a chance to get to $5 million.
Beatriz at Dinner (Roadside Attractions) Week 5
$518,765 in 417 theaters (-266); Cumulative: $5,980,000
Miguel Arteta’s zeitgeisty meeting of income disparate folks is winding down after a rapid wider release but still looks to end up somewhat over $7 million. Getting out ahead of several other films was a smart move for Roadside.
Maudie (Sony Pictures Classics) Week 10
$190,462 in 67 theaters (+35); Cumulative: $3,203,000
Now with most of its dates in the U.S. (this Canadian co-production opened earlier in the North, which still represents the majority of the total). This story about a rural painter is retaining word of mouth despite considerable competition as it expands wider.
Paris Can Wait (Sony Pictures Classics) Week 9
$158,766 in 131 theaters (-83); Cumulative: $5,065,000
Eleanor Coppola’s French road trip is declining late in its strong run as an early harbinger of the summer specialized revival.
The Book of Henry (Focus) Week 4
$ 96,550 in 154 theaters (-209); Cumulative: $4,218,000
Going wider initially boosted the total, but Colin Trevorrow’s return to smaller-scale film making is fading fast with few theaters left in only its fourth weekend.
The Exception (A24) Week 6
$69,900 in 48 theaters (no change); Cumulative: $518,962
Christopher Plummer as Kaiser Wilhelm II in exile continues to do modest business as another World War II related film tries to attract older audiences.
The Women’s Balcony (Menemsha) – Week 17
$53,469 in 23 (-4) theaters; Cumulative: $851,375
Slowly inching toward a possible $1 million gross, this Israeli religious drama continues to do decent business.
Lost in Paris (Oscilloscope) – $21,000 in 5 theaters; Cunulative: $38,666
Churchill (Cohen) – $13,402 in 17 theaters; Cumulative: $1,219,00
The Bad Batch (Neon) – $9,336 in 25 theaters; Cumulative: $169,546 (also available on Video on Demand)
My Journey Through French Cinema (Cohen) – $6,420 in 4 theaters; Cumulative: $36,360
Source: IndieWire film
July 7, 2017
These 7 technologies are poised to shape the film industry.
Source: CW’s Flipboard Feed