“If I tell you to move a little, it’s not because I don’t think you’re beautiful,” said Rose Troche, speaking to an extra on the set for her latest Vr film, an untitled short based on the Orlando shooting. “I like to have things happening all over.”
Most of the extras were too young to remember “Go Fish,” Troche’s history-making debut feature. (Made for an estimated $15,000, it made over $2.5 million at the box office.) Shot in black and white, “Go Fish” is a lesbian romantic comedy that became the little indie that could when it played Sundance in 1994. “I don’t think ‘Go Fish’ launched a thousand queer filmmakers so much as it launched a thousand indie filmmakers,” Troche said.
Troche went on to direct “Bedrooms and Hallways” in 1998 and “The Safety of Objects” in 2001. Since then she’s moved to TV, directing an episode of...
Most of the extras were too young to remember “Go Fish,” Troche’s history-making debut feature. (Made for an estimated $15,000, it made over $2.5 million at the box office.) Shot in black and white, “Go Fish” is a lesbian romantic comedy that became the little indie that could when it played Sundance in 1994. “I don’t think ‘Go Fish’ launched a thousand queer filmmakers so much as it launched a thousand indie filmmakers,” Troche said.
Troche went on to direct “Bedrooms and Hallways” in 1998 and “The Safety of Objects” in 2001. Since then she’s moved to TV, directing an episode of...
- 8/17/2016
- by Jude Dry
- Indiewire
Chicago-born filmmaker Rose Troche got her start in directing with her debut feature "Go Fish," a lesbian romance that was a '90s indie milestone. After "Bedrooms and Hallways" and "The Safety of Objects," she felt a desire "to keep on working on things that didn't take three years," and began delving into directing hour-long television episodes of shows like "Six Feet Under" and "The L Word," for which she also wrote. Daniel Minahan ended up writing "I Shot Andy Warhol" with Mary Harron after the two found there wasn't enough footage of Valerie Solanas to make the BBC documentary they originally planned to put together. After writing and directing his own feature debut "Series 7: The Contenders," a battle to the death-style skewering of reality TV, Minahan was brought on to helm episodes of "Six Feet Under" himself by show creator Alan Ball, and has since directed...
- 9/19/2012
- by Alison Willmore
- Indiewire
Kevin Kline, Tom Selleck kiss, In & Out Following my Valentine's Day post featuring lots of male-female kisses and embraces (and a few shapely legs, bare breasts, and sensuous lips, courtesy of, respectively, Silvana Mangano, Clara Calamai, and Jane Russell), here's the gay/lesbian version. This Gay Kiss Montage post was originally published in June 2007, when Turner Classic Movies ran a couple of dozen films featuring gay/lesbian/bi/etc. characters as part of their Screened Out series. Created in late 2006 by Robert Eldredge, the video was inspired by the finale of Giuseppe Tornatore's Best Foreign Language Film Academy Award winner Cinema Paradiso, in which Jacques Perrin watches clips — kisses, hugs, embraces, nudity, sensuality, expressions of human desire — that, decades earlier, had been cut from the films screened at his Italian village's old movie house. The local Catholic priest had found those bits of celluloid harmful to the town's morals and family values.
- 2/15/2012
- by Andre Soares
- Alt Film Guide
In 1991 two films changed the landscape of indie cinema by making the frugality of the budget a selling point. Where are the microbudget film directors now?
Hollywood has always operated on the principle that more is more: each time the most expensive film ever made arrives in cinemas, budgetary extravagance becomes a major selling point. But 20 years ago, the Us independent sector stumbled upon its own marketing equivalent: the microbudget. Suddenly it became apparent that a film's financial shortcomings could be exploited to its advantage.
In 1991, two films changed the landscape of indie cinema and the way in which it was sold. Richard Linklater's Slacker, which drops in on around 100 misfits and eccentrics during 24 hours in Austin, Texas, and Matty Rich's Straight Out of Brooklyn, a tale of young no-hopers in New York's housing projects, marked the start of a phenomenon – frugality as a marketing hook
Neither were the...
Hollywood has always operated on the principle that more is more: each time the most expensive film ever made arrives in cinemas, budgetary extravagance becomes a major selling point. But 20 years ago, the Us independent sector stumbled upon its own marketing equivalent: the microbudget. Suddenly it became apparent that a film's financial shortcomings could be exploited to its advantage.
In 1991, two films changed the landscape of indie cinema and the way in which it was sold. Richard Linklater's Slacker, which drops in on around 100 misfits and eccentrics during 24 hours in Austin, Texas, and Matty Rich's Straight Out of Brooklyn, a tale of young no-hopers in New York's housing projects, marked the start of a phenomenon – frugality as a marketing hook
Neither were the...
- 9/23/2011
- by Ryan Gilbey
- The Guardian - Film News
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