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    <channel>
    
    <title>MovieMaker Magazine Articles</title>
    <link>http://www.moviemaker.com/articles/</link>
    <description>Articles</description>
    <dc:language>en</dc:language>
    <dc:creator>staff@moviemaker.com</dc:creator>
    <dc:rights>Copyright 2012</dc:rights>
    <dc:date>2012-02-09T15:00:00-05:00</dc:date>
    <admin:generatorAgent rdf:resource="http://www.expressionengine.com/" />
    

    <atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="self" type="application/rss+xml" href="http://feeds.feedburner.com/MoviemakerMagazineArticles" /><feedburner:info uri="moviemakermagazinearticles" /><atom10:link xmlns:atom10="http://www.w3.org/2005/Atom" rel="hub" href="http://pubsubhubbub.appspot.com/" /><item>
      <title>Bringing Together Comedy, Politics and Economic Meltdown in Gnarr</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/QhTQrtEB93M/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/directing/article/gaukur_ulfarsson_gnarr_documentary_tribeca_vod_20120208/#When:16:00:00Z</guid>
      <description>In case you haven't heard, the economy hasn't been doing that well for the past few years. No country has felt the economic crisis so keenly as Iceland, where the collapse of a once-soaring economy left citizens feeling betrayed by their politicians. Against this backdrop rose an unlikely political hero: Jón Gnarr, the comedian who ran for mayor of Reykjavík as a joke… and won. His campaign—in which he promised to build a Disneyland in the city and refused to talk to his opponents if they hadn't watched "The Wire"—was filmed, from start to finish, by Gaukur Úlfarsson for his feature documentary Gnarr.</description>
      <content:encoded><![CDATA[
        In case you haven't heard, the economy hasn't been doing that well for the past few years. No country has felt the economic crisis so keenly as Iceland, where the collapse of a once-soaring economy left citizens feeling betrayed by their politicians. Against this backdrop rose an unlikely political hero: Jón Gnarr, the comedian who ran for mayor of Reykjavík as a joke… and won. His campaign—in which he promised to build a Disneyland in the city and refused to talk to his opponents if they hadn't watched "The Wire"—was filmed, from start to finish, by Gaukur Úlfarsson for his feature documentary <i>Gnarr</i>.<p><a href="http://www.moviemaker.com/directing/article/gaukur_ulfarsson_gnarr_documentary_tribeca_vod_20120208/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/QhTQrtEB93M" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing</dc:subject>
      <dc:date>2012-02-09T16:00:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/directing/article/gaukur_ulfarsson_gnarr_documentary_tribeca_vod_20120208/#When:16:00:00Z</feedburner:origLink></item>

    <item>
      <title>Into the Sunset: Cinema’s Greatest Swan Songs</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/uWjjBsRklVY/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/directing/article/final_films_directors_bela_tarr_turin_horse_kubrick_bunuel_kieslowski/#When:15:00:00Z</guid>
      <description>There’s a circular pattern to the careers of many directors: Their early films tend toward rough experiments. Then they mature and develop their own distinct artistic voice. Finally, secure in their success, they drive off into the sunset of their career, all too often trading in the fame they had at their peak for something more like the obscurity they started with. The decline of a director’s work at the end of their career is an all-too-common trend, but it's one that Hungarian director Bèla Tarr, with his final film The Turin Horse, has managed to avoid. With The Turin Horse coming out on Friday, we're taking a look at three other directors who refused to leave their legacy poorly wrapped.</description>
      <content:encoded><![CDATA[
        There’s a circular pattern to the careers of many directors: Their early films tend toward rough experiments. Then they mature and develop their own distinct artistic voice. Finally, secure in their success, they drive off into the sunset of their career, all too often trading in the fame they had at their peak for something more like the obscurity they started with. The decline of a director’s work at the end of their career is an all-too-common trend, but it's one that Hungarian director Bèla Tarr, with his final film <i>The Turin Horse</i>, has managed to avoid. With <i>The Turin Horse</i> coming out on Friday, we're taking a look at three other directors who refused to leave their legacy poorly wrapped.<p><a href="http://www.moviemaker.com/directing/article/final_films_directors_bela_tarr_turin_horse_kubrick_bunuel_kieslowski/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/uWjjBsRklVY" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing</dc:subject>
      <dc:date>2012-02-08T15:00:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/directing/article/final_films_directors_bela_tarr_turin_horse_kubrick_bunuel_kieslowski/#When:15:00:00Z</feedburner:origLink></item>

    <item>
      <title>Don’t Go in There! Cinema’s Scariest Haunted House Movies</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/7CWoT9QOX4I/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/haunted_house_paranormal_activity_beetlejuice_shining_poltergeist_20110930/#When:15:31:00Z</guid>
      <description>Creaky floorboards. Rattling window shutters. Creepy noises in the attic. What could be scarier than a lonely old house on a dark and stormy night? The haunted house subgenre has been around for a long time and has proven to be endlessly fascinating to moviemakers and audiences alike. With the two newest entries in this enduring subgenre—The Woman in Black and The Innkeepers—hitting theaters today, MM is taking a look back at some of the scariest haunted house movies of all time.</description>
      <content:encoded><![CDATA[
        Creaky floorboards. Rattling window shutters. Creepy noises in the attic. What could be scarier than a lonely old house on a dark and stormy night? The haunted house subgenre has been around for a long time and has proven to be endlessly fascinating to moviemakers and audiences alike. With the two newest entries in this enduring subgenre—<i>The Woman in Black</i> and <i>The Innkeepers</I>—hitting theaters today, <i>MM</i> is taking a look back at some of the scariest haunted house movies of all time.<p><a href="http://www.moviemaker.com/distribution/article/haunted_house_paranormal_activity_beetlejuice_shining_poltergeist_20110930/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/7CWoT9QOX4I" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing, Distribution</dc:subject>
      <dc:date>2012-02-03T15:31:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/haunted_house_paranormal_activity_beetlejuice_shining_poltergeist_20110930/#When:15:31:00Z</feedburner:origLink></item>

    <item>
      <title>The Challenges (and Rewards) of Big Miracle</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/Wrw_gUp2uFc/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/directing/article/ken_kwapis_big_miracle_everybody_loves_whales_drew_barrymore_20120202/#When:15:00:01Z</guid>
      <description>Let's not beat around the bush: Directing a movie with ten major characters sounds pretty tough. Directing a movie with ten major characters, a bunch of non-professional actors and three massive animatronic whales that can only be reached for repairs by diving into some pretty chilly water? Even tougher. Shooting in Alaska, where one of the only weather conditions that stays consistent from day to day is the freezing cold? Was Big Miracle director Ken Kwapis nuts?!</description>
      <content:encoded><![CDATA[
        Let's not beat around the bush: Directing a movie with ten major characters sounds pretty tough. Directing a movie with ten major characters, a bunch of non-professional actors and three massive animatronic whales that can only be reached for repairs by diving into some pretty chilly water? Even tougher. Shooting in Alaska, where one of the only weather conditions that stays consistent from day to day is the freezing cold? Was <I>Big Miracle</i> director Ken Kwapis <i>nuts</i>?!<p><a href="http://www.moviemaker.com/directing/article/ken_kwapis_big_miracle_everybody_loves_whales_drew_barrymore_20120202/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/Wrw_gUp2uFc" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing, Locations</dc:subject>
      <dc:date>2012-02-02T15:00:01-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/directing/article/ken_kwapis_big_miracle_everybody_loves_whales_drew_barrymore_20120202/#When:15:00:01Z</feedburner:origLink></item>

    <item>
      <title>Who Needs HD When You’ve Got 4K?</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/DiFIQYLvkdE/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/cinematography/article/jvc_handheld_4k_camcorder_gyhmq10_20120201/#When:22:28:00Z</guid>
      <description>Techies rejoice! A new toy is hitting the market. Of course, JVC's GY-HMQ10, the world's first handheld 4K camcorder, isn't a toy, per se; the high-tech wonder captures, records and plays video at a resolution that trumps the 1080p image quality of high-definition television four times over.</description>
      <content:encoded><![CDATA[
        Techies rejoice! A new toy is hitting the market. Of course, JVC's GY-HMQ10, the world's first handheld 4K camcorder, isn't a <i>toy</i>, per se; the high-tech wonder captures, records and plays video at a resolution that trumps the 1080p image quality of high-definition television four times over. <p><a href="http://www.moviemaker.com/cinematography/article/jvc_handheld_4k_camcorder_gyhmq10_20120201/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/DiFIQYLvkdE" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Cinematography</dc:subject>
      <dc:date>2012-02-01T22:28:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/cinematography/article/jvc_handheld_4k_camcorder_gyhmq10_20120201/#When:22:28:00Z</feedburner:origLink></item>

    <item>
      <title>Supporting Global Film, One Director at a Time</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/W6y8HU_kD2A/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/festivals/article/sundance_institute_2012_mahindra_global_filmmaking_award_india_20120131/#When:17:50:00Z</guid>
      <description>A hefty check of $10,000 and year-round support from one of indie film’s leading role models? This fantastic prize has been awarded to four moviemakers courtesy of the Mahindra Global Filmmaking Award, presented by India-based conglomerate the Mahindra Group in cooperation with the Sundance Institute. Designed to recognize and support moviemakers from around the globe, the award provides its winners with financial support, mentoring from creative advisers, participation in a Sundance Institute Directors or Screenwriters Lab, attendance at the Sundance Film Festival and additional support over the course of the year.</description>
      <content:encoded><![CDATA[
        A hefty check of $10,000 and year-round support from one of indie film’s leading role models? This fantastic prize has been awarded to four moviemakers courtesy of the Mahindra Global Filmmaking Award, presented by India-based conglomerate the Mahindra Group in cooperation with the Sundance Institute. Designed to recognize and support moviemakers from around the globe, the award provides its winners with financial support, mentoring from creative advisers, participation in a Sundance Institute Directors or Screenwriters Lab, attendance at the Sundance Film Festival and additional support over the course of the year.<p><a href="http://www.moviemaker.com/festivals/article/sundance_institute_2012_mahindra_global_filmmaking_award_india_20120131/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/W6y8HU_kD2A" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Festivals</dc:subject>
      <dc:date>2012-01-31T17:50:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/festivals/article/sundance_institute_2012_mahindra_global_filmmaking_award_india_20120131/#When:17:50:00Z</feedburner:origLink></item>

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      <title>Box Office Goes to the Wolves with The Grey</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/4Z71jEehg8g/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/top_of_the_box_office_the_grey_one_for_the_money_man_on_a_ledge_20120130/#When:16:11:00Z</guid>
      <description>The box office went to the wolves this weekend, with Joe Carnahan's The Grey beating out last week's reigning champ Underworld: Awakening to land at the number one spot. The man vs. nature actioner did better than expected, earning $20 million in its first weekend; meanwhile, the latter film's weekend haul of $12.5 million brings its total gross to $45.1 million.</description>
      <content:encoded><![CDATA[
        The box office went to the wolves this weekend, with Joe Carnahan's <i>The Grey</I> beating out last week's reigning champ <i>Underworld: Awakening</i> to land at the number one spot. The man vs. nature actioner did better than expected, earning $20 million in its first weekend; meanwhile, the latter film's weekend haul of $12.5 million brings its total gross to $45.1 million.<p><a href="http://www.moviemaker.com/distribution/article/top_of_the_box_office_the_grey_one_for_the_money_man_on_a_ledge_20120130/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/4Z71jEehg8g" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Distribution</dc:subject>
      <dc:date>2012-01-30T16:11:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/top_of_the_box_office_the_grey_one_for_the_money_man_on_a_ledge_20120130/#When:16:11:00Z</feedburner:origLink></item>

    <item>
      <title>Where the Wild Things Are: The Best Man vs. Nature Movies</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/E_FvC7H2SGY/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/screenwriting/article/man_vs_nature_movies_deliverance_cast_away_into_the_wild_127_hours_20120127/#When:14:53:00Z</guid>
      <description>It's like a bad nightmare: Being stranded in the wild with scant resources and no guarantee of survival, your very existence hanging in the balance. What can you eat? How do you make it out alive? How do you manage to hang on to your humanity? This harrowing scenario has provided grist for many movies over the years. The latest of these is The Grey, in which Liam Neeson plays a man stranded in the Alaskan wilderness and hunted by a pack of hungry wolves. With the film hitting theaters today, it seems a perfect time to take a look back at some of the most thrilling man vs. nature movies from the past 40 years.</description>
      <content:encoded><![CDATA[
        It's like a bad nightmare: Being stranded in the wild with scant resources and no guarantee of survival, your very existence hanging in the balance. What can you eat? How do you make it out alive? How do you manage to hang on to your humanity? This harrowing scenario has provided grist for many movies over the years. The latest of these is <i>The Grey</i>, in which Liam Neeson plays a man stranded in the Alaskan wilderness and hunted by a pack of hungry wolves. With the film hitting theaters today, it seems a perfect time to take a look back at some of the most thrilling man vs. nature movies from the past 40 years.<p><a href="http://www.moviemaker.com/screenwriting/article/man_vs_nature_movies_deliverance_cast_away_into_the_wild_127_hours_20120127/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/E_FvC7H2SGY" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Screenwriting</dc:subject>
      <dc:date>2012-01-26T14:53:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/screenwriting/article/man_vs_nature_movies_deliverance_cast_away_into_the_wild_127_hours_20120127/#When:14:53:00Z</feedburner:origLink></item>

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      <title>Distribution in the Year 2012</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/aGD-ePp3skg/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/distribution_in_the_year_2012_netflix_online_theatrical_distribution_vod_if/#When:15:00:00Z</guid>
      <description>Distribution is the sole source by which film revenue is earned, but between the advent of digital theatrical distribution, the rise of Netflix and VOD and the collapse of the DVD market, recent years have seen some radical changes in how films are distributed. It makes sense that independent moviemakers, always been on the cutting edge themselves, should be the ones to race to exploit emerging distribution methods.</description>
      <content:encoded><![CDATA[
        Distribution is the sole source by which film revenue is earned, but between the advent of digital theatrical distribution, the rise of Netflix and VOD and the collapse of the DVD market, recent years have seen some radical changes in how films are distributed. It makes sense that independent moviemakers, always been on the cutting edge themselves, should be the ones to race to exploit emerging distribution methods.<br />
<br />
<p><a href="http://www.moviemaker.com/distribution/article/distribution_in_the_year_2012_netflix_online_theatrical_distribution_vod_if/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/aGD-ePp3skg" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Distribution</dc:subject>
      <dc:date>2012-01-26T15:00:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/distribution_in_the_year_2012_netflix_online_theatrical_distribution_vod_if/#When:15:00:00Z</feedburner:origLink></item>

    <item>
      <title>Say Hello to Your 2012 Oscar Nominees</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/dlIGb_w8xf0/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/producing/article/2012_oscar_nominations_the_artist_hugo_20120124/#When:15:19:00Z</guid>
      <description>This morning saw the announcement of the 2012 Academy Award nominations, and while many of the films to have their names called out by nominee presenters Jennifer Lawrence and Academy of Motion Picture Arts and Sciences (AMPAS) president Tom Sherak came as no surprise, there were (as always) some additions and snubs that have Oscar pundits scratching their heads.</description>
      <content:encoded><![CDATA[
        This morning saw the announcement of the 2012 Academy Award nominations, and while many of the films to have their names called out by nominee presenters Jennifer Lawrence and Academy of Motion Picture Arts and Sciences (AMPAS) president Tom Sherak came as no surprise, there were (as always) some additions and snubs that have Oscar pundits scratching their heads.<br />
<p><a href="http://www.moviemaker.com/producing/article/2012_oscar_nominations_the_artist_hugo_20120124/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/dlIGb_w8xf0" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Producing</dc:subject>
      <dc:date>2012-01-24T15:19:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/producing/article/2012_oscar_nominations_the_artist_hugo_20120124/#When:15:19:00Z</feedburner:origLink></item>

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      <title>PGA Win Helps The Artist Break (Further) from the Pack</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/lkDS1OhP4lU/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/producing/article/2012_pga_awards_the_artist_the_adventures_of_tintin_beats_rhymes_life_20120/#When:16:21:00Z</guid>
      <description>The Artist continued its intermittent awards season domination on Saturday, winning the Producers Guild of America (PGA) Award for Best Feature Film and shoring up its chances for Best Picture victory come Oscar night. While Steven Spielberg and co-producer Kathleen Kennedy didn't take home an award for War Horse, nominated in the Best Feature Film category, the producing duo didn't go home empty-handed; their The Adventures of Tintin was named the year's Best Animated Film. In the documentary category, director Michael Rapaport's Beats Rhymes &amp; Life: The Travels of a Tribe Called Quest was the surprise winner.</description>
      <content:encoded><![CDATA[
        <i>The Artist</I> continued its intermittent awards season domination on Saturday, winning the Producers Guild of America (PGA) Award for Best Feature Film and shoring up its chances for Best Picture victory come Oscar night. While Steven Spielberg and co-producer Kathleen Kennedy didn't take home an award for <i>War Horse</i>, nominated in the Best Feature Film category, the producing duo didn't go home empty-handed; their <i>The Adventures of Tintin</i> was named the year's Best Animated Film. In the documentary category, director Michael Rapaport's <i>Beats Rhymes & Life: The Travels of a Tribe Called Quest</i> was the surprise winner.<p><a href="http://www.moviemaker.com/producing/article/2012_pga_awards_the_artist_the_adventures_of_tintin_beats_rhymes_life_20120/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/lkDS1OhP4lU" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Producing</dc:subject>
      <dc:date>2012-01-23T16:21:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/producing/article/2012_pga_awards_the_artist_the_adventures_of_tintin_beats_rhymes_life_20120/#When:16:21:00Z</feedburner:origLink></item>

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      <title>Underworld: Awakening Takes a Bite Out of the Box Office</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/mW51ttbiv88/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/top_of_the_box_office_underworld_awakening_red_tails_haywire_20120122/#When:14:00:00Z</guid>
      <description>Underworld: Awakening took a bite out of the box office last weekend, earning $25.4 in its first three days and beating out second-place finisher, fellow new release Red Tails, by a substantial margin. Last week's number one film, Contraband, fell two spots to number three, while Extremely Loud and Incredibly Close celebrated its first weekend in wide release—it hit select theaters across the country over Christmas weekend—with a weekend gross of $10.5 million. Rounding out the top five was the newest from Steven Soderbergh, Haywire, which earned $9 million over its first weekend.</description>
      <content:encoded><![CDATA[
        <i>Underworld: Awakening</i> took a bite out of the box office last weekend, earning $25.4 in its first three days and beating out second-place finisher, fellow new release <i>Red Tails</i>, by a substantial margin. Last week's number one film, <i>Contraband</i>, fell two spots to number three, while <i>Extremely Loud and Incredibly Close</i> celebrated its first weekend in wide release—it hit select theaters across the country over Christmas weekend—with a weekend gross of $10.5 million. Rounding out the top five was the newest from Steven Soderbergh, <i>Haywire</i>, which earned $9 million over its first weekend.<br />
<p><a href="http://www.moviemaker.com/distribution/article/top_of_the_box_office_underworld_awakening_red_tails_haywire_20120122/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/mW51ttbiv88" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Distribution</dc:subject>
      <dc:date>2012-01-23T14:00:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/top_of_the_box_office_underworld_awakening_red_tails_haywire_20120122/#When:14:00:00Z</feedburner:origLink></item>

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      <title>Why Sundance?</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/80uc5NejmCs/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/festivals/article/why_sundance_2012_price_check_goats_kid_thing_robot_and_frank_compliance_20/#When:19:26:00Z</guid>
      <description>With the 2012 Sundance Film Festival now in full swing, we've asked some Park City-bound moviemakers one burning question: Why Sundance? Here's what they had to say.</description>
      <content:encoded><![CDATA[
        With the 2012 Sundance Film Festival now in full swing, we've asked some Park City-bound moviemakers one burning question: Why Sundance? Here's what they had to say.<p><a href="http://www.moviemaker.com/festivals/article/why_sundance_2012_price_check_goats_kid_thing_robot_and_frank_compliance_20/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/80uc5NejmCs" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Festivals</dc:subject>
      <dc:date>2012-01-20T19:26:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/festivals/article/why_sundance_2012_price_check_goats_kid_thing_robot_and_frank_compliance_20/#When:19:26:00Z</feedburner:origLink></item>

    <item>
      <title>Re-Vamping: Ten Unique Takes on Vampire Mythology</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/3Nrkw3vDE3g/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/screenwriting/article/unique_vampire_mythology_underworld_awakening_cronos_thirst_martin_romero/#When:15:00:00Z</guid>
      <description>It’s pretty much impossible to escape vampires these days. The Twilight movies are as insanely popular as ever, the HBO series “True Blood” has a large and dedicated fanbase and Justin Cronin’s best-selling novel The Passage looks poised to kick off the next must-read vampire series. The newest piece of vampire pop culture to sink its teeth into movie audiences’ necks is Underworld: Awakening, out in theaters today. With so many blood-suckers baring their fangs, vampires have started to feel a bit tired and clichéd. But never fear, MM is here to save the day. We’ve come up with a selection of ten films that put wonderfully original spins on vampire mythology.</description>
      <content:encoded><![CDATA[
        It’s pretty much impossible to escape vampires these days. The <i>Twilight</i> movies are as insanely popular as ever, the HBO series “True Blood” has a large and dedicated fanbase and Justin Cronin’s best-selling novel <i>The Passage</i> looks poised to kick off the next must-read vampire series. The newest piece of vampire pop culture to sink its teeth into movie audiences’ necks is <i>Underworld: Awakening</i>, out in theaters today. With so many blood-suckers baring their fangs, vampires have started to feel a bit tired and clichéd. But never fear, <i>MM</i> is here to save the day. We’ve come up with a selection of ten films that put wonderfully original spins on vampire mythology. <p><a href="http://www.moviemaker.com/screenwriting/article/unique_vampire_mythology_underworld_awakening_cronos_thirst_martin_romero/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/3Nrkw3vDE3g" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Screenwriting</dc:subject>
      <dc:date>2012-01-20T15:00:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/screenwriting/article/unique_vampire_mythology_underworld_awakening_cronos_thirst_martin_romero/#When:15:00:00Z</feedburner:origLink></item>

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      <title>Haskell Wexler: The Last Indie Rebel</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/aQ9HTEHnjII/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/cinematography/article/haskell_wexler_latino_medium_cool_20120119/#When:20:07:00Z</guid>
      <description>Haskell Wexler is simply one of our greatest living cinematographers. He’s in a class by himself as much for his fearless sense of justice as for his groundbreaking technical innovations, but it’s his lifelong commitment to putting his lens where his mouth is—as with his second film as a writer-director, 1985's stunning  Latino—that makes Wexler such a unique source of inspiration to so many moviemakers.</description>
      <content:encoded><![CDATA[
        Haskell Wexler is simply one of our greatest living cinematographers. He’s in a class by himself as much for his fearless sense of justice as for his groundbreaking technical innovations, but it’s his lifelong commitment to putting his lens where his mouth is—as with his second film as a writer-director, 1985's stunning  <i>Latino</i>—that makes Wexler such a unique source of inspiration to so many moviemakers. <br />
<p><a href="http://www.moviemaker.com/cinematography/article/haskell_wexler_latino_medium_cool_20120119/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/aQ9HTEHnjII" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Cinematography, Directing</dc:subject>
      <dc:date>2012-01-19T20:07:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/cinematography/article/haskell_wexler_latino_medium_cool_20120119/#When:20:07:00Z</feedburner:origLink></item>

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      <title>The World’s Weirdest Shakespeare Adaptations</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/Dr6WCkCbQBU/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/screenwriting/article/strange_shakespeare_adaptations_coriolanus_west_side_story_lion_king/#When:16:35:00Z</guid>
      <description>In Coriolanus, out in theaters tomorrow, director and star Ralph Fiennes brings to the screen one of Shakespeare's least-adapted plays. Replete as it is with guns, tanks and army fatigues, Fiennes' directorial debut is a decidedly modern take on a story that was originally set in pre-Imperial Rome. Still, even with all its modern accoutrements, Coriolanus is actually fairly traditional adaptation of the Bard's work... at least compared to some of the more off-the-wall approaches that other directors have taken in years past.</description>
      <content:encoded><![CDATA[
        In <I>Coriolanus</i>, out in theaters tomorrow, director and star Ralph Fiennes brings to the screen one of Shakespeare's least-adapted plays. Replete as it is with guns, tanks and army fatigues, Fiennes' directorial debut is a decidedly modern take on a story that was originally set in pre-Imperial Rome. Still, even with all its modern accoutrements, <i>Coriolanus</i> is actually fairly traditional adaptation of the Bard's work... at least compared to some of the more off-the-wall approaches that other directors have taken in years past. <p><a href="http://www.moviemaker.com/screenwriting/article/strange_shakespeare_adaptations_coriolanus_west_side_story_lion_king/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/Dr6WCkCbQBU" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing, Screenwriting</dc:subject>
      <dc:date>2012-01-19T16:35:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/screenwriting/article/strange_shakespeare_adaptations_coriolanus_west_side_story_lion_king/#When:16:35:00Z</feedburner:origLink></item>

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      <title>Exploring the Mystery of Creativity with Old School New School</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/wvYy0VNv4nk/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/directing/article/steven_fischer_exploring_creativity_old_school_new_school_20120118/#When:20:27:00Z</guid>
      <description>My documentary Old School New School explores the nature of creativity, all within the context of storytelling through various crafts, including acting, cinematography, music, theater, dance and poetry. The film is an extension of many conversations I’ve had over the years with my artist friends. We’d meet in a café to talk about life, art and philosophy. They were stimulating discussions that ultimately segued to the obligatory question all serious artists eventually examine: How can we, as creative people, grow in the direction we want to grow?</description>
      <content:encoded><![CDATA[
        My documentary <i>Old School New School</i> explores the nature of creativity, all within the context of storytelling through various crafts, including acting, cinematography, music, theater, dance and poetry. The film is an extension of many conversations I’ve had over the years with my artist friends. We’d meet in a café to talk about life, art and philosophy. They were stimulating discussions that ultimately segued to the obligatory question all serious artists eventually examine: How can we, as creative people, grow in the direction we want to grow? <p><a href="http://www.moviemaker.com/directing/article/steven_fischer_exploring_creativity_old_school_new_school_20120118/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/wvYy0VNv4nk" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing, Producing, Screenwriting</dc:subject>
      <dc:date>2012-01-18T20:27:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/directing/article/steven_fischer_exploring_creativity_old_school_new_school_20120118/#When:20:27:00Z</feedburner:origLink></item>

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      <title>Ed Burns Is Forever Indie</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/fynwfsHRohk/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/directing/article/ed_burns_newlyweds_self_distribution_20120202/#When:17:58:00Z</guid>
      <description>Edward Burns is no stranger to the world of indie film. He launched his career with the $25,000 The Brothers McMullen at the Sundance Film Festival back in 1995, during the dark, pre-digital days of 16mm cameras and now-foreign concepts like optical houses and film prints. In 2010, after seven larger-budget features as a writer-director, Burns returned to the low-budget arena with Nice Guy Johnny. He bypassed traditional distribution methods by releasing the film himself, first with a short festival tour and then with a simultaneous day-and-date rollout on VOD, DVD and Pay-Per-View. Now Burns is taking this new model even further with Newlyweds, which he produced for a staggering $9,000 sum.</description>
      <content:encoded><![CDATA[
        Edward Burns is no stranger to the world of indie film. He launched his career with the $25,000 <i>The Brothers McMullen</i> at the Sundance Film Festival back in 1995, during the dark, pre-digital days of 16mm cameras and now-foreign concepts like optical houses and film prints. In 2010, after seven larger-budget features as a writer-director, Burns returned to the low-budget arena with <i>Nice Guy Johnny</i>. He bypassed traditional distribution methods by releasing the film himself, first with a short festival tour and then with a simultaneous day-and-date rollout on VOD, DVD and Pay-Per-View. Now Burns is taking this new model even further with <i>Newlyweds</i>, which he produced for a staggering $9,000 sum. <p><a href="http://www.moviemaker.com/directing/article/ed_burns_newlyweds_self_distribution_20120202/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/fynwfsHRohk" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Directing, Distribution</dc:subject>
      <dc:date>2012-01-16T17:58:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/directing/article/ed_burns_newlyweds_self_distribution_20120202/#When:17:58:00Z</feedburner:origLink></item>

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      <title>Sorry, Disney: Contraband Beats Beauty and the Beast 3-D to Number One</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/QivMF4X-51s/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/top_of_the_box_office_contraband_beauty_and_the_beast_3d_joyful_noise_20120/#When:17:29:01Z</guid>
      <description>Crime drama Contraband had a better-than-expected opening weekend run at the box office, earning $24 million in three days and outpacing second-place finisher, Beauty and the Beast 3-D, by a substantial amount. The re-released Disney classic earned $18.4 million over the weekend—less than the 3-D release of The Lion King earned on its opening weekend last September, but still pretty good for a movie that's only one year shy of being able to buy itself alcohol.</description>
      <content:encoded><![CDATA[
        Crime drama <i>Contraband</i> had a better-than-expected opening weekend run at the box office, earning $24 million in three days and outpacing second-place finisher, <i>Beauty and the Beast 3-D</i>, by a substantial amount. The re-released Disney classic earned $18.4 million over the weekend—less than the 3-D release of <I>The Lion King</I> earned on <i>its</i> opening weekend last September, but still pretty good for a movie that's only one year shy of being able to buy itself alcohol. <p><a href="http://www.moviemaker.com/distribution/article/top_of_the_box_office_contraband_beauty_and_the_beast_3d_joyful_noise_20120/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/QivMF4X-51s" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Distribution</dc:subject>
      <dc:date>2012-01-16T17:29:01-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/top_of_the_box_office_contraband_beauty_and_the_beast_3d_joyful_noise_20120/#When:17:29:01Z</feedburner:origLink></item>

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      <title>The Artist Comes Out on Top at the Golden Globes</title>
      <link>http://feedproxy.google.com/~r/MoviemakerMagazineArticles/~3/qCwFFrpDlf8/</link>
      <guid isPermaLink="false">http://www.moviemaker.com/distribution/article/2012_golden_globes_winners_the_artist_the_descendants_20120116/#When:15:50:00Z</guid>
      <description>At last night's Golden Globes, it was Oscar frontrunner The Artist that came out on top, winning three awards, including Best Picture—Comedy or Musical. Still, it's probably best to keep the film's name written in pencil on your Oscar ballot for now; though it was one of only two films to win multiple awards, the winner in the Best Picture—Drama category (this year, The Descendants) historically has a better chance at victory come Oscar night. Additionally, The Artist missed out in both the Best Screenplay and Best Director categories, in which Midnight in Paris and Hugo, respectively, walked away with the gold.</description>
      <content:encoded><![CDATA[
        At last night's Golden Globes, it was Oscar frontrunner <I>The Artist</I> that came out on top, winning three awards, including Best Picture—Comedy or Musical. Still, it's probably best to keep the film's name written in pencil on your Oscar ballot for now; though it was one of only two films to win multiple awards, the winner in the Best Picture—Drama category (this year, <i>The Descendants</i>) historically has a better chance at victory come Oscar night. Additionally, <i>The Artist</i> missed out in both the Best Screenplay and Best Director categories, in which <I>Midnight in Paris</I> and <i>Hugo</I>, respectively, walked away with the gold.<p><a href="http://www.moviemaker.com/distribution/article/2012_golden_globes_winners_the_artist_the_descendants_20120116/">Read the Whole Item...</a></p>
        
      <img src="http://feeds.feedburner.com/~r/MoviemakerMagazineArticles/~4/qCwFFrpDlf8" height="1" width="1"/>]]></content:encoded>
      <dc:subject>Moviemaking, Acting, Directing, Distribution, Producing, Screenwriting</dc:subject>
      <dc:date>2012-01-16T15:50:00-05:00</dc:date>
    <feedburner:origLink>http://www.moviemaker.com/distribution/article/2012_golden_globes_winners_the_artist_the_descendants_20120116/#When:15:50:00Z</feedburner:origLink></item>

    
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