Latest news with #FutureofFilmmaking
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5 days ago
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‘Mad Men' Director Jennifer Getzinger: Ask for What You Want and Ask Again
Faith can be hard to attain when you're working in the entertainment industry. On the one hand, it's all there is to work off of, whether you're a nobody or a long-established player trying to keep in the mix. But with AI on the rise and jobs continuing to remain scarce, one starts to wonder what's even worth believing in. The answer? Yourself. During the latest episode of 'What No One Tells You,' television director Jennifer Getzinger discussed her leap from script supervisor to director and how it only came about because of her own tenacity. For year, Getzinger worked as a script supervisor on shows like 'Strangers with Candy,' 'The Sopranos,' and 'Sex and the City.' Later, 'Mad Men' creator and showrunner Matthew Weiner brought Getzinger onto the project as script supervisor for the pilot, which was shot in New York. Though the show was picked up to series and Getzinger invited to be a part of it, she found out it would require a bit of a sacrifice on her part. More from IndieWire Bella Ramsey Wants 'The Last of Us' Fans to Watch Upcoming Indie Films Like They're 'Game of Thrones' Dan Erickson on the 'Mesmerizing Dynamic' of 'Severance' Auteurs Ben Stiller and Jessica Lee Gagné 'The creator Matt Weiner said to me, 'Well we're going to go shoot the show in Los Angeles and I want my core team to come with me,'' she said. 'As a script supervisor, he wanted me to move to Los Angeles.' Getzinger was 'open' to the idea of moving across the country, but only if Weiner would allow her to direct an episode of the show. It was a huge ask, but based on Weiner's value of her and her own desire to move to the next stage of her career, she saw an opportunity and took it. 'He said to me, 'Look I believe in you, I know you're moving towards this, I know you're ready to do this, but I can't promise you anything. All I can tell you is if you don't come, it will never happen,'' Getzinger told IndieWire's Future of Filmmaking. 'That was what made me move to Los Angeles.' Sadly, Getzinger did not get to direct on the first season of 'Mad Men,' but when the show was renewed for a second season, her moment finally came. 'The producer called me and said, 'You know good news, we're going to get to do this again, bad news is we need a new script supervisor because you're going to be directing,'' said Getzinger. 'So that was my first shot at professional directing.' Getzinger would go on to direct not only for 'Mad Men,' but on 'Orange is the New Black,' 'Westworld,' and most recently on the hit HBO series 'The Penguin.' Watch a clip from her episode of 'What No One Tells You' below. Want to find out more about Future of Filmmaking and 'What No One Tells You?' Visit our new Future of Filmmaking landing page and sign up for our weekly newsletter, 'In Development.' Best of IndieWire Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
Yahoo
7 days ago
- Entertainment
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‘The Penguin' Director Jennifer Getzinger: Learn How to Keep Quiet
When you're first starting out as a director, it can be easy to hold tight to your vision as if it were some kind of North Star that can do you no wrong. It's good to have that passion and confidence, but when it comes to actually executing most productions, time can't be wasted trying to explain the minutiae of your inner thoughts. In fact, as explained by TV director Jennifer Getzinger, more often than not conciseness and clarity is more appreciated from actors than trying to dissect every element of a scene. During the latest episode of 'What No One Tells You,' Getzinger told IndieWire's Future of Filmmaking that when she was training to become a director, she tended to be 'a little bit afraid' of working with actors. To overcome this fear, she took a workshop with Adrienne Weiss, an acting coach and instructor who came out of the Yale School of Drama. It was here that she started to understand what performers really needed out of a director. More from IndieWire 'Hacks' Renewed for Season 5 at HBO Max AI Experts Debate What Will (or Won't) Be Disrupted by the Technology | Future of Filmmaking Summit at Cannes 'You would rehearse the scenes and then you would put them up in front of the class,' Getzinger said. 'And then at the end, the director would sit up on stage and everyone would critique what you did as a director.' This was unusual as typically it's the director commenting on the work of the actor, but in creating this even playing field, Getzinger began noticing patterns within the notes that spoke to a persistent problem amongst many first-time directors. 'It's unlike anything you'll ever ever have in real life as a director because no actor is going to tell you like, 'Oh, this was terrible. That note you gave me was awful,'' she told IndieWire's Future of Filmmaking. 'And the thing I learned the most was just stop talking so much. Stop giving so many notes.' In pursuit of their own objectives, Getzinger realized many directors were treating actors as devices rather than human beings. This didn't ultimately help the performer, but instead just overcomplicated whatever perspective they were trying to bring to the scene. 'You can't give someone 5 things to play in between every take,' said Getzinger. 'I think every new director just keeps talking and talking and talking and is hoping they're saying something that has some wisdom in it and you really need to stop.' Getzinger went on to direct for 'Mad Men,' 'Westworld,' and most recently on HBO's hit series 'The Penguin,' starring Colin Farrell and Cristin Milioti. Watch a clip from her episode of 'What No One Tells You' below. Want to find out more about Future of Filmmaking and 'What No One Tells You?' Visit our new Future of Filmmaking landing page and sign up for our weekly newsletter, 'In Development.' Best of IndieWire Nightmare Film Shoots: The 38 Most Grueling Films Ever Made, from 'Deliverance' to 'The Wages of Fear' Quentin Tarantino's Favorite Movies: 65 Films the Director Wants You to See The 19 Best Thrillers Streaming on Netflix in May, from 'Fair Play' to 'Emily the Criminal'
Yahoo
19-05-2025
- Entertainment
- Yahoo
IndieWire Announces Inaugural Future of Filmmaking Summit at the American Pavilion at Cannes
IndieWire is proud to announce its inaugural Future of Filmmaking summit at the American Pavilion at Cannes, May 15-18. With four panels across four days, these lively conversations will speak to where the industry is going and the opportunities for emerging creatives at a time of unprecedented change. The summit is presented by United for Business. Richard Linklater will be our keynote chat in conversation with Eric Kohn, artistic director of Southampton Playhouse. The ultimate outsider-insider, Linklater has been a celebrated filmmaker for over 30 years. Before he became a Cannes regular, he was a cinephile who worked tirelessly to build a film culture in Austin, Texas. More from IndieWire 'Spring Breakers' Sequel Announced Sans Harmony Korine AMC Will Soon Offer Half-Off Pricing on Wednesdays, but Other Theaters Won't Follow Suit Just Yet The 'many hats' ethos he brought to the early days of the Austin Film Society — funding it with money earned on an offshore oil rig, and later as a bellhop — still reflects the kind of 'get 'er done' scrappiness that filmmaking demands today. With Linklater's new film debuting at Cannes, 'Nouvelle Vague,' he looks back to the start of the French New Wave, the legendary movement that reenergized cinema at another inflection point in the medium's history. He'll speak to why he's more excited about the future of film than he's been in years and why he believes that the Austin Film Society model can be exported to other cities to expand the film-culture footprint. Our panel on the future of international production will be a hot-button topic at a moment when Trump is tacking tariffs on 'foreign movies.' Harris-Bridson will lead a conversation with Watch This Ready executive vice president Emily Korteweg; Fabula North America head of film and TV, Andrew Hevia; Mandalay Pictures president Jason Michael Berman; and Oxbelly executive director Caroline von Kuhn. IndieWire editor at large Anne Thompson will also lead a one-on-one conversation with Mubi head of global distribution Arianna Bocco. She's one of the indie film world's most respected tastemakers and served as president of IFC Films, where she steered the release of major festival titles such as Venice Golden Lion winner 'Happening' as well as bold new visions from filmmakers making their feature debuts. Mubi broke through with last year's Cannes standout, 'The Substance'; with Bocco now at the helm and Mubi currently raising $100 million, the specialty streamer is poised for major expansion. We'll also host 'How to Survive and Thrive in the Age of AI,' moderated by former IndieWire editor Eric Kohn. It features Fable Studios CEO Edward Saatchi, Prezense/NVIDIA's Seth Piezas, DoubleEye Studios founder Kiira Benzing, Asteria Film Co. partner Paul Trillo, and Venice Immersive programmer Liz Rosenthal. The impact of this emerging technology on the future of filmmaking is the industry's favorite existential question and these are the people who can provide a sense of where it's going. Attendance for all panels requires a festival badge and American Pavilion membership, which can be purchased here. If you can't join us, we got you: Videos from the Future of Filmmaking summit will be published on IndieWire. Join us on the American Pavilion May 15-18. Dates and times follow. Thursday, May 1511:45amInternational Distribution: MUBI in Focus • Panelist: Arianna Bocco• Moderator: Anne Thompson Coming off a successful year that began with the launch of The Substance at the Cannes Film Festival, MUBI is riding high as the most promising international streaming entity with a global cinephile reach. The company recently hired veteran distribution executive Arianna Bocco, who ran acquisitions at IFC Films for nearly 20 years, as its SVP of Global Distribution. Bocco will share her insights on the increasing value of international territories in distribution strategy and how the landscape has changed. Friday, May 1611:00amThe Future of International Production• Panelists: Emily Korteweg (Producer, Splitsville), Andrew Hevia (Head of North American Production, Fabula), Jason Michael Berman (President, Mandalay Pictures), Caroline von Kuhn (Executive Director, Oxbelly)• Moderator: Dana Harris-Bridson As production faces increasing budgetary challenges in the U.S., more and more projects are migrating abroad. We will hear from veteran producers and financiers about how to navigate the opportunities and challenges of international co-productions. Saturday, May 172:30pmKeynote Chat: Richard Linklater• Moderator: Eric KohnSunday, May 1811:00amHow to Survive and Thrive in the Age of AI• Panelists: Edward Saatchi (Founder and CEO, Fable Studios), Kiira Benzing (Founder, DoubleEye Studios), Seth Piezas (Senior Product Manager, NVIDA/Founder, Prezense), Liz Rosenthal (Programmer, Venice Immersive), Paul Trillo (Partner, Asteria Film Co.)• Moderator: Eric Kohn The acceleration of artificial intelligence in recent years has led to rampant fears across the entertainment industry, some more founded than others. However, AI isn't going away – and its progress relates to broader changes to the future of storytelling as a whole. On this panel, we'll hear from creatives and executives about how to make the most of a new era defined by dramatic technological change. About United for Business: United's shared purpose is 'Connecting People. Uniting the World.' United offers the most diversified international route network among US airlines based on the number of international destinations served and is proud to offer a specialized travel product designed for the entertainment industry. United for Business comes with everything that will keep your production moving forward – reduced airfare, special rates for equipment, custom booking options, airport escort services and a dedicated entertainment support desk. For more information about United visit and to learn more about United for Business visit Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
Yahoo
19-05-2025
- Entertainment
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Universal Studio Group and IndieWire Present USG University: Consider This, a Celebration of TV Craft in Los Angeles on May 22
Emmy season is ramping up, and now's the time to dive deeper into the creation of some of your favorite shows. Join Universal Studio Group and IndieWire for 'USG University: Consider This, an evening celebrating the art of TV storytelling through craft on May 22. IndieWire will also be partnering with USG for its tentpole FYC campaign, USG University, which encompasses a slate of virtual panels with producers, actors, and artisans from shows such as 'The Four Seasons,' 'The Americas,' 'Saturday Night Live,' 'Hacks,' 'Happy's Place,' and more. The first virtual panel will launch on IndieWire on May 19, with two a week rolling out in the weeks after that. More from IndieWire Newport Beach TV Fest to Honor 'Landman' with Outstanding Drama Series Award Bingeing, Weekly, or Batches? Is There a Right Way to Roll Out a Series on Streaming? (Open to TV Academy and guild members.) This partnership aligns perfectly with IndieWire's in-depth, sharp awards coverage as well as Future of Filmmaking, our new content vertical and newsletter designed to help anyone in the film and TV industry to navigate a entertainment career. The May 22 event, moderated by IndieWire's Jim Hemphill, will take place in person in Los Angeles and gather talent from 'Hacks,' 'A Man on the Inside,' 'The Four Seasons,' 'Fight Night: The Million Dollar Heist,' and 'The Umbrella Academy,' all NBC Universal-produced shows. A reception will immediately follow the panel event. USG University (a Universal Studio Group program) is presented in partnership with Roybal Film & TV Magnet and IndieWire's Future of Filmmaking. USG University is a vehicle to support Roybal, one of the finest High schools for preparing students for a career in below-the-line roles in film and TV, with immersive opportunities to learn about TV craft with an aim for helping students to picture themselves working as a TV artisan. The specific talent on hand for the May 22 event is Everett Burrell, visual effects supervisor of 'The Umbrella Academy'; Sue Federman, editor of 'A Man on the Inside'; Shaye Ogbonna, executive producer and writer of 'Fight Night: The Million Dollar Heist'; Mailara Santana, art director of 'The Four Seasons'; and from 'Hacks,' makeup department head Debra Schrey and hair department head Aubrey Marie. Upon confirmation of your attendance, details will be provided to you about where the event is taking place. Doors will open at 4:15pm PT on the 22nd, with the panel discussion start at 5:00 and the reception following immediately of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
Yahoo
19-05-2025
- Entertainment
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How Low Can You Go: Even at Cannes, Longevity Means Living Lean
📩 Industry insight, unfiltered. Subscribe and check the 'In Development' box. ✉️ Tell us what you think: dana@ or call/text: 323-435-7690 More from IndieWire Kate Mara on Treating 'Friendship' Like a 'Dramatic' Indie and the Surprisingly 'Weird' Connection to Werner Herzog 'Renoir' Review: An 11-Year-Old Girl Ponders the Mysteries of the Universe in Chie Hayakawa's Extremely Low-Key Coming-of-Age Drama 👋 Hello! The Cannes Film Festival was a blur, the American Pavilion was packed, and IndieWire's Future of Filmmaking summit was a huge success. Today I'm flying to Paris for two well-earned days visiting my sister, but here's my take on what Cannes had to tell us about sustainable film careers. Turns out Beverly Hills' sister city had a quite a bit to say. (As always, if you've got anything to say to me reach out at the contacts above.) Richard Linklater on the down low Zero is a minimum guarantee Minimalism is a superpower Here's Richard Linklater's best advice to aspiring filmmakers: 'Keep your overhead low.' Given our location, that might sound ridiculous. We're at the American Pavilion in Cannes and I've asked him how he might advise today's filmmakers, who operate in a world very different than the one that shaped his at IndieWire's Future of Filmmaking summit, the director of Cannes Competition title 'Nouvelle Vague' got real about how much the industry has changed since his 'Slacker' days. 'I don't know if guilty's the word, but when I talk to young filmmakers… it was such a different time that just doesn't exist anymore.' This was my 10th Cannes Film Festival, but my first since 2013. To the naked eye, little changed: massive Carlton Hotel billboards for the latest 'Mission: Impossible'; a stunning Emma Stone on the red carpet, even while being attacked by a bee; and guest appearances by shameless strivers. (The faux Bezos-Sanchez couple was mightily convincing until they were seated in the nosebleed section of the Palais.) However, after talking with independent producers, filmmakers, and sales agents, it's clearly a different world. A $1 million film may make money; $3 million and up is cause for anxiety. We live in the era of the zero m.g., where theatrical distribution doesn't necessarily mean the filmmakers were paid. Negotiations for the advance (or, the minimum guarantee) can start at zero and sometimes that's where they stay. As two producers noted, in separate conversations: 'The worst part is they expect you to be grateful.' So how do you make it work? One unlikely role model is a filmmaker I met in Cannes, Elizabeth Blake-Thomas. Her career doesn't look anything like Linklater's. Originally a U.K. theater director, she's made more than two dozen low-budget genre films you might find on TVODs like Amazon or Tubi, with actors like Mena Suvari or Casper Van Dien. Sometimes the cast includes her daughter and producing partner, Isabella. Blake-Thomas' first film cost $26,000; she's had budgets up to $3 million. Whatever the number, she's never gone over. That applies to her own life as well. She keeps overhead low — very low. Elizabeth and Isabella live in a one-bedroom apartment in the Valley and share a Fiat 500. No debt; no vacations; yes savings. 'If a job wasn't to come straight away, you can still live,' she said. 'That would be awful if I was in that situation.'Most of all, she said, this isn't temporary. Her lean and focused life leaves her the energy to focus on making movies that make money for her investors, which means she can keep making more. 'I don't put time and effort into things that don't matter,' she said. 'I have my dog and my daughter. We love our life. That lets me put my full energy into filmmaking but I have to be really intentional about it, because it takes everything.' This won't be the first time Hollywood's compared to gambling, but: The less you spend at the casino, the longer you last. Aspiring filmmakers need a runway — the time required to meet people, make things, make mistakes. And time is money. 'Everything you do, you're taking a leap,' Linklater said at the summit. 'I tell filmmakers: If no one wants to support you, that just means you are not ready yet. People [need] to believe in you, and that's usually you believing in yourself. You can't fake that. You have to earn that through your own experience, your own confidence, your own hard work and dedication. But I think the timing works out when it's ready.' Not every sustainable career requires sleeping on a sofa bed, but creative lives constantly face factors beyond their control. For people like Blake-Thomas, minimalism means controlling her destiny. Keep it simple, keep costs down, and keep making movies. 'It means I get to be here,' she said from our table overlooking the Mediterranean, 'and do this.' Future of Filmmaking has partnered with Universal Studio Group for a series of virtual panels about the making of TV shows like 'Hacks,' 'Man on the Inside,' and 'The Four Seasons.' Quinta Brunson of 'Abbott Elementary' will also be joining IndieWire at Vidiots on May 20 for another installment of 'Pass the Remote.' Check out USG University: Consider This, starting May to attend 'Pass the Remote' at Vidiots on May 20. 5. by Charles Bastille Pretty self-explanatory from the title and we wish it was more helpful, but this list published on Medium draws a troubling portrait of Trump's effect on American arts programming even before he started bringing up tariffs. From theaters to city parks funding, a huge bite has been taken out of cultural curation in this country and it's time we started recognizing it as an injustice in the same way this piece does. 4. by Dhar Mann Ignoring the eye-catching lead-in, Mann's post on Linkedin this week acknowledges a very important conversation happening in many spaces around Hollywood: Is the creator economy taking over? People tend to balk at the idea of new money and that's what Mann represents with his newly formed YouTube content creation studio in Burbank, but every pipeline we now consider traditional had to start somewhere. 3. by Jon Reiss* With his substack 8 Above, Reiss digs into the fluctuating nuances of global film distribution. For his most recent write-up, he breaks down modern strategies for getting your project seen, with emphasis on eventizing the work for theatrical, as well as building a digital following. 2. by That Final Scene As much as we're intrigued by the creator economy and the opportunities it may bring, we still have an overall appreciation for what some may call 'traditional cinema' and trying to get others to as well is kind of our bag. This seems to be the case with Sophie from That Final Scene as well, who's framework of 'cinema as cultural gyms' might be the most genius marketing tool we've heard in a while. No surprise, considering Sophie was at one point in film marketing herself. 1. by Ted Hope* There's a lot of meat to this breakdown from American film producer Ted Hope via his substack Hope for Film. Some of it is positive, but it mostly serves as a necessary wake-up call. The system that allowed independent filmmaking to thrive has been broken and we deserve better. In an industry that has become all about factoring risk against reward, Hope suggests it's time to be bold in new ways just for the hell of it. *paid subscription Best of IndieWire Guillermo del Toro's Favorite Movies: 56 Films the Director Wants You to See 'Song of the South': 14 Things to Know About Disney's Most Controversial Movie The 55 Best LGBTQ Movies and TV Shows Streaming on Netflix Right Now
