‘Spit’ is one of five features to receive a share of $4.6m (A$6.9m).
Australian filmmaker Jonathan Teplitzky is working on a sequel to his 2003 crime comedy Gettin’ Square – one of five features to receive a share of $4.6m (A$6.9m) in production funding from national body Screen Australia.
The latest round of funding will also support Kriv Stenders’ The Correspondent; Cathy Randall’s Red Rock Run; Kate Woods’ Kangaroo; and Nicholas Clifford’s One More Shot.
Teplitzky’s Spit will mark the return of David Wenham as ex-junkie John Spitieri, who travels back to Australia only to find himself...
Australian filmmaker Jonathan Teplitzky is working on a sequel to his 2003 crime comedy Gettin’ Square – one of five features to receive a share of $4.6m (A$6.9m) in production funding from national body Screen Australia.
The latest round of funding will also support Kriv Stenders’ The Correspondent; Cathy Randall’s Red Rock Run; Kate Woods’ Kangaroo; and Nicholas Clifford’s One More Shot.
Teplitzky’s Spit will mark the return of David Wenham as ex-junkie John Spitieri, who travels back to Australia only to find himself...
- 12/18/2023
- by Sandy George
- ScreenDaily
‘Spit’ is one of five features to receive a share of $4.6m (A$6.9m).
Australian filmmaker Jonathan Teplitzky is working on a sequel to his 2003 crime comedy Gettin’ Square – one of five features to receive a share of $4.6m (A$6.9m) in production funding from national body Screen Australia.
The latest round of funding will also support Kriv Stenders’ The Correspondent; Cathy Randall’s Red Rock Run; Kate Woods’ Kangaroo; and Nicholas Clifford’s One More Shot.
Teplitzky’s Spit will mark the return of David Wenham as ex-junkie John Spitieri, who travels back to Australia only to find himself...
Australian filmmaker Jonathan Teplitzky is working on a sequel to his 2003 crime comedy Gettin’ Square – one of five features to receive a share of $4.6m (A$6.9m) in production funding from national body Screen Australia.
The latest round of funding will also support Kriv Stenders’ The Correspondent; Cathy Randall’s Red Rock Run; Kate Woods’ Kangaroo; and Nicholas Clifford’s One More Shot.
Teplitzky’s Spit will mark the return of David Wenham as ex-junkie John Spitieri, who travels back to Australia only to find himself...
- 12/18/2023
- by Sandy George
- ScreenDaily
By Meg Shields
Is your video essay watchlist a bit of a boys club? Don’t worry. We’re here to help. I watch a lot of video essays. You probably do too. They’re the hot new thing in film analysis and with good reason: they’re engaging, informative, thought-provoking, and tend to make their viewers more critical and appreciative cinema-goers. […]
The article Fantastic Video Essays by Women and Where to Find Them appeared first on Film School Rejects.
Is your video essay watchlist a bit of a boys club? Don’t worry. We’re here to help. I watch a lot of video essays. You probably do too. They’re the hot new thing in film analysis and with good reason: they’re engaging, informative, thought-provoking, and tend to make their viewers more critical and appreciative cinema-goers. […]
The article Fantastic Video Essays by Women and Where to Find Them appeared first on Film School Rejects.
- 1/15/2018
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Why Dirk Gently should be your go-to small-screen sci-fi for interconnectedness, coincidence, and the rarer, sexier coinky-dinks.
The article Serendipity, Sci-Fi, and Silliness: The Holistic Hijinx of ‘Dirk Gently’ appeared first on Film School Rejects.
Why Dirk Gently should be your go-to small-screen sci-fi for interconnectedness, coincidence, and the rarer, sexier coinky-dinks.
The article Serendipity, Sci-Fi, and Silliness: The Holistic Hijinx of ‘Dirk Gently’ appeared first on Film School Rejects.
- 10/9/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
From architects to comic strips: How Blade Runner blends media to create postmodern poetry. Blade Runner: 2049 hits theatres this week, a scant 35 years after its predecessor. As a cultural stimulus, the influence of Ridley Scott’s original cannot be overstated. It christened a surge of Philip K. Dick adaptations, from Total Recall to Minority Report, to […]
The article What I’ve Seen With Your Eyes: The Influences of ‘Blade Runner’ appeared first on Film School Rejects.
From architects to comic strips: How Blade Runner blends media to create postmodern poetry. Blade Runner: 2049 hits theatres this week, a scant 35 years after its predecessor. As a cultural stimulus, the influence of Ridley Scott’s original cannot be overstated. It christened a surge of Philip K. Dick adaptations, from Total Recall to Minority Report, to […]
The article What I’ve Seen With Your Eyes: The Influences of ‘Blade Runner’ appeared first on Film School Rejects.
- 10/2/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Tom Cruise has an age gap problem and it mirrors Hollywood's bias towards older actresses.
The article As Tom Cruise Gets Older, His On-Screen Love Interests Stay the Same Age appeared first on Film School Rejects.
Tom Cruise has an age gap problem and it mirrors Hollywood's bias towards older actresses.
The article As Tom Cruise Gets Older, His On-Screen Love Interests Stay the Same Age appeared first on Film School Rejects.
- 9/27/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Let us be your (TV) guide. The season of so much goddamn TV is upon us. And as we brace with excitement for the incoming avalanche of small-screen content the barrage can also feel pretty overwhelming. Fall TV is like the time-suck Hydra that keeps on giving. Every year it seems to mutate and multiply. […]
The article The Definitive Fall TV Survival Guide appeared first on Film School Rejects.
Let us be your (TV) guide. The season of so much goddamn TV is upon us. And as we brace with excitement for the incoming avalanche of small-screen content the barrage can also feel pretty overwhelming. Fall TV is like the time-suck Hydra that keeps on giving. Every year it seems to mutate and multiply. […]
The article The Definitive Fall TV Survival Guide appeared first on Film School Rejects.
- 9/11/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
In praise of del Toro's Gill-Man: Why fantasy is the political genre we need and deserve right now.
The article ‘The Shape of Water’ and How Falling in Love with Monsters Can Set You Free appeared first on Film School Rejects.
In praise of del Toro's Gill-Man: Why fantasy is the political genre we need and deserve right now.
The article ‘The Shape of Water’ and How Falling in Love with Monsters Can Set You Free appeared first on Film School Rejects.
- 9/5/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Lights! Madmen! Action!
The article Disaster Artists: Despotism, Directing, and the Troubled Production appeared first on Film School Rejects.
Lights! Madmen! Action!
The article Disaster Artists: Despotism, Directing, and the Troubled Production appeared first on Film School Rejects.
- 8/21/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Call the plumber. It’s an emergency.
The article Alfred Hitchcock and The Terrors of the Bathroom appeared first on Film School Rejects.
Call the plumber. It’s an emergency.
The article Alfred Hitchcock and The Terrors of the Bathroom appeared first on Film School Rejects.
- 8/14/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Here's to the promised lands that make good on their promise.
The article Paradise Found: 7 Apocalyptic Safe Havens That Didn’t Betray Us appeared first on Film School Rejects.
Here's to the promised lands that make good on their promise.
The article Paradise Found: 7 Apocalyptic Safe Havens That Didn’t Betray Us appeared first on Film School Rejects.
- 8/9/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
In praise of the cinematic lady trucker: From Furiosa to Jill from 'Brazil', why badass women driving badass trucks are pioneers of your new favorite trope.
The article Mother Truckers: The Badass Big Rig Driving Women of Cinema appeared first on Film School Rejects.
In praise of the cinematic lady trucker: From Furiosa to Jill from 'Brazil', why badass women driving badass trucks are pioneers of your new favorite trope.
The article Mother Truckers: The Badass Big Rig Driving Women of Cinema appeared first on Film School Rejects.
- 7/31/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Why the joy of comfortable stasis is our national quest.
The article The Hangout Film, the American Dream, and the Pursuit of Straight Chilling appeared first on Film School Rejects.
Why the joy of comfortable stasis is our national quest.
The article The Hangout Film, the American Dream, and the Pursuit of Straight Chilling appeared first on Film School Rejects.
- 7/2/2017
- by Meg Shields
- FilmSchoolRejects.com
By Meg Shields
Hereditary Horror: Lon Chaney, his son, and confronting the human grotesque.
The article The Monstrous Empathy of Lon Chaney appeared first on Film School Rejects.
Hereditary Horror: Lon Chaney, his son, and confronting the human grotesque.
The article The Monstrous Empathy of Lon Chaney appeared first on Film School Rejects.
- 6/25/2017
- by Meg Shields
- FilmSchoolRejects.com
No, but Netflix can. Our streaming overlords buy themselves some Orson Welles.
Movies need money. They can win hearts, minds and lay the ground for thousands of little websites like this one to talk about them, but ultimately they need someone with bags of cash behind the scenes. Netflix, proud owner of one thousand hours of original content among other things, just dumped some of their cash bags on a movie called The Other Side of the Wind. It was filmed by Orson Welles in the early ’70s, stared Susan Strasberg, John Huston and Peter Bogdanovich, and was never fully edited or released to a general audience.
Welles’ movie had been initially funded by a mysterious Spanish producer (rumored to be Andrés Vicente Gómez) who, in turn, embezzled the money. It was then funded by Mehdi Bushehri, brother of the Iranian Shah, whose assets were seized after the Shah was overthrown in the Iranian Revolution. Then...
Movies need money. They can win hearts, minds and lay the ground for thousands of little websites like this one to talk about them, but ultimately they need someone with bags of cash behind the scenes. Netflix, proud owner of one thousand hours of original content among other things, just dumped some of their cash bags on a movie called The Other Side of the Wind. It was filmed by Orson Welles in the early ’70s, stared Susan Strasberg, John Huston and Peter Bogdanovich, and was never fully edited or released to a general audience.
Welles’ movie had been initially funded by a mysterious Spanish producer (rumored to be Andrés Vicente Gómez) who, in turn, embezzled the money. It was then funded by Mehdi Bushehri, brother of the Iranian Shah, whose assets were seized after the Shah was overthrown in the Iranian Revolution. Then...
- 3/15/2017
- by Andrew Karpan
- FilmSchoolRejects.com
Plus: Jordan Peele makes history, a couple new trailers, and perfect shots.~
In 1970, renowned auteur and wine lover Orson Welles began production on a film entitled The Other Side of the Wind about a legendary director who’d been in European exile for a number of years but had at last returned stateside to make his masterpiece, which bears the same name as this film. John Huston was cast as the director alongside such talents as Peter Bogdonovich, Susan Strasberg, Lili Palmer, Cameron Crowe, Dennis Hopper, Natalie Wood, and Edmond O’Brien. It was, naturally, meant to be Welles’ own comeback film, a send up of Hollywood, art, and the myriad struggles to unite the two. Shot mockumentary style over a six-year period, the film became more famous for its struggles, and even though principal photography was completed, financial and legal issues resulted in the negatives being impounded; Welles wouldn’t live to get them back.
But...
In 1970, renowned auteur and wine lover Orson Welles began production on a film entitled The Other Side of the Wind about a legendary director who’d been in European exile for a number of years but had at last returned stateside to make his masterpiece, which bears the same name as this film. John Huston was cast as the director alongside such talents as Peter Bogdonovich, Susan Strasberg, Lili Palmer, Cameron Crowe, Dennis Hopper, Natalie Wood, and Edmond O’Brien. It was, naturally, meant to be Welles’ own comeback film, a send up of Hollywood, art, and the myriad struggles to unite the two. Shot mockumentary style over a six-year period, the film became more famous for its struggles, and even though principal photography was completed, financial and legal issues resulted in the negatives being impounded; Welles wouldn’t live to get them back.
But...
- 3/15/2017
- by H. Perry Horton
- FilmSchoolRejects.com
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.