list http://www.spout.com/ Recent community activity around Frownland on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Frownland/324627/default.aspx Title: Frownland
Year: 2007
Director: Ronald Bronstein
Plot: Director Ronald Bronstein tells the bizarre tale of a door-to-door coupon salesman who sustains himself on popcorn and eggs eaten off the opened door of his kitchen oven. ~ Jason Buchanan, All Movie Guide
Times Tagged: 3
Number of Lists: 3
Number of blog posts: 23
Number of discussion threads: 2
SpoutRating: 3
]]>Tue, 29 Jul 2008 15:01:14 GMTFrownland2007Ronald BronsteinDirector Ronald Bronstein tells the bizarre tale of a door-to-door coupon salesman who sustains himself on popcorn and eggs eaten off the opened door of his kitchen oven. ~ Jason Buchanan, All Movie Guide3Slightly Tagged (1-5)32323http://www.spout.com/ProductImages/s324627.jpghttp://www.spout.com/films/Frownland/324627/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/7/29/33216.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 7/29/2008 11:01:14 AM
Body: FILMMAKER Magazine is doing a sort of “where are they now?” with past with former honorees of their “25 New Faces of Independent Film” list (see this year’s installment here). This catch-up with Ronald Bronstein has some interesting bits of news about how the Frownland director/Butterknife star has been spending his time. First, though Frownland is still without U.S. distribution, it has been added to the permanent collection of the Museum of Modern Art. “I took this as a good indicator that it was time to stop pushing the forlorned thing, assume it’ll have some kind of life ahead of it, and move onto my next project with more active fervor,” Bronstein says. That project is currently in rehearsals, with plans to shoot this winter. Meanwhile, Bronstein says he plans to continue his “semi-reluctant plunge into acting” with a lead role in the next feature by Josh and Bennie Safdie. To celebrate that bit of good news, I’ve embedded the Jerry Lewis-inspired Safdie short Jerry Ruis, Shall We Do This? above, which we gave an award to when I was on the short film jury at CineVegas last month. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 29 Jul 2008 15:01:14 GMTKarinaKarina on SpoutBlog7/29/2008 11:01:14 AM FILMMAKER Magazine is doing a sort of “where are they now?” with past with former honorees of their “25 New Faces of Independent Film” list (see this year’s installment here). This catch-up with Ronald Bronstein has some interesting bits of news about how the Frownland director/Butterknife star has been spending his time. First, though Frownland is still without U.S. distribution, it has been added to the permanent collection of the Museum of Modern Art. “I took this as a good indicator that it was time to stop pushing the forlorned thing, assume it’ll have some kind of life ahead of it, and move onto my next project with more active fervor,” Bronstein says. That project is currently in rehearsals, with plans to shoot this winter. Meanwhile, Bronstein says he plans to continue his “semi-reluctant plunge into acting” with a lead role in the next feature by Josh and Bennie Safdie. To celebrate that bit of good news, I’ve embedded the Jerry Lewis-inspired Safdie short Jerry Ruis, Shall We Do This? above, which we gave an award to when I was on the short film jury at CineVegas last month. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/7/29/33215.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/29/2008 11:01:06 AM
Body: FILMMAKER Magazine is doing a sort of “where are they now?” with past with former honorees of their “25 New Faces of Independent Film” list (see this year’s installment here). This catch-up with Ronald Bronstein has some interesting bits of news about how the Frownland director/Butterknife star has been spending his time. First, though Frownland is still without U.S. distribution, it has been added to the permanent collection of the Museum of Modern Art. “I took this as a good indicator that it was time to stop pushing the forlorned thing, assume it’ll have some kind of life ahead of it, and move onto my next project with more active fervor,” Bronstein says. That project is currently in rehearsals, with plans to shoot this winter. Meanwhile, Bronstein says he plans to continue his “semi-reluctant plunge into acting” with a lead role in the next feature by Josh and Bennie Safdie. To celebrate that bit of good news, I’ve embedded the Jerry Lewis-inspired Safdie short Jerry Ruis, Shall We Do This? above, which we gave an award to when I was on the short film jury at CineVegas last month. Originally posted on:SpoutBlog
]]>Tue, 29 Jul 2008 15:01:06 GMTSpoutBlogSpoutBlog on spout.com7/29/2008 11:01:06 AM FILMMAKER Magazine is doing a sort of “where are they now?” with past with former honorees of their “25 New Faces of Independent Film” list (see this year’s installment here). This catch-up with Ronald Bronstein has some interesting bits of news about how the Frownland director/Butterknife star has been spending his time. First, though Frownland is still without U.S. distribution, it has been added to the permanent collection of the Museum of Modern Art. “I took this as a good indicator that it was time to stop pushing the forlorned thing, assume it’ll have some kind of life ahead of it, and move onto my next project with more active fervor,” Bronstein says. That project is currently in rehearsals, with plans to shoot this winter. Meanwhile, Bronstein says he plans to continue his “semi-reluctant plunge into acting” with a lead role in the next feature by Josh and Bennie Safdie. To celebrate that bit of good news, I’ve embedded the Jerry Lewis-inspired Safdie short Jerry Ruis, Shall We Do This? above, which we gave an award to when I was on the short film jury at CineVegas last month. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/6/15/31257.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/15/2008 9:01:19 PM
Body: FINALLY, LILLIAN AND DAN Trailer Finally, Lillian and Dan comes to CineVegas almost a full year after its first and only significant public screening, as part of the M-word heavy Summer 2007 Independents Week series at Harvard Film Archives. It’s a find, a definite cousin of the work being made in the Bronstein household––as with Frownland, the mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtelties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker. Lillian, a twenty-something whose lovely face is weighted down with permanent post-crying jag bags, lives with her grandmother and answers phone for some kind of businessman. When her apparently married boss asks her out via lengthy dissertation on the possibilities of urban social life (”There are restaurants, and bars, that people go to…”), she trembles and stares, trying to hide her humiliation behind a cup of tea. When he continues the courtship by leaving flowers and a novelty balloon at her desk, she quits. Meanwhile, the scruffy, borderline mean-looking Dan fills his days chain smoking, wandering, driving around in his old Volvo. These two lonely, prickly fuck-ups end up in line next to each other at Whole Foods, and each takes notice of the other. Peripheral glances, head jerks, a panoply of figits: they look like they’re dancing. They don’t speak. Soon, Dan is putting on a suit every day and returning to the Whole Foods, coming up with excuses to comb aisles and haunt the cafe, in hopes that his checkout line dance partner will return. Lillian needs something to do, so she throws a “lil’ block party,” which she advertises by stapling flyers to telephone poles and to the community board at Whole Foods. Dan, arriving with rotisserie chicken in hand, is the only person who shows up. Seeing him, recognizing him, Lillian reflexively puts her fingers to her mouth to block her glowing, uncontrollable grin. Then the courtship gets weird. Lillian shares some production tropes with thematic cousins like Kissing on the Mouth and Yeast––namely shaky handheld low gauge lensing and improvised performances––but director Mike Gibisser so perfectly and versatilely weds form to content that his use of such stylistic touchpoints seems less like the result of a low budget and micro crew than deliberate, and often brave, aesthetic choices. Shot on Super 16, Lillian has a grainy, soft-contrast look at times reminiscent of Harmony Korine’s MiniDV-blow up julien donkey-boy. The director fixes the camera when he needs to, but also takes brilliant advantage of the handheld bounce sparingly and purposefully. The image is shaky when the people are shaky; when they’re stuck, it’s static. To see such simple logic put to practice in a first feature maybe shouldn’t feel exciting, but it is. Most impressively, Gibisser uses light as a vehicle for emotional exposition. External shots of Lillian and Dan isolated in urban spaces seem slightly underexposed, tinted grey-blue to match these kids’ mundane blues. There are two night scenes which seem to be shot using only available street lamps; in the first, a first sweet and then abortive makeout, Lillian’s amber-limned silhouette cuts through blackness as she moves towards Dan and away from him. In the second scene, there is no such glittered lining. It’s the darkest scene of the film emotionally, and it’s definitely the darkest––nearly completely black––visually. Gibisser is also doing some really interesting things with sound, and the ambient blip-bloop score heard in the above trailer is the least of it. In the Q & A after Saturday’s screening, he explained that whenever a character wasn’t speaking, they shot without recording sound and re-created the soundtrack later. That had to make for a lot of post work, because for long stretches, Lillian is dialogue free. It ends up playing almost as a silent film, and when someone is speaking, the clear focus of the scene is not on what they’re actually saying, but on what they other person is thinking, feeling, interpreting from the words and the tone. Everything actually said is said on faces, with figits and dance steps, through the flailing of limbs. There’s a scene in this film where one character attempts to bring another back from a gut hollowing sadness by silently dancing and encouraging the other to join them. It’s such a beautifully done depiction of an intimate ritual that it had me in tears. So where can you see it? Dunno. Distribution is certainly nowhere near on the horizon, and wouldn’t be until/unless it started winning festival awards and/or the notice of major critics. And based on his comments after the film, it seems like Gibisser hasn’t put much effort into submitting Lillian to festivals. If you’re an interested programmer, you can email him through his website or the film’s MySpace. Originally posted on:SpoutBlog » Karina Longworth
]]>Mon, 16 Jun 2008 01:01:19 GMTKarinaKarina on SpoutBlog6/15/2008 9:01:19 PMFINALLY, LILLIAN AND DAN Trailer Finally, Lillian and Dan comes to CineVegas almost a full year after its first and only significant public screening, as part of the M-word heavy Summer 2007 Independents Week series at Harvard Film Archives. It’s a find, a definite cousin of the work being made in the Bronstein household––as with Frownland, the mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtelties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker. Lillian, a twenty-something whose lovely face is weighted down with permanent post-crying jag bags, lives with her grandmother and answers phone for some kind of businessman. When her apparently married boss asks her out via lengthy dissertation on the possibilities of urban social life (”There are restaurants, and bars, that people go to…”), she trembles and stares, trying to hide her humiliation behind a cup of tea. When he continues the courtship by leaving flowers and a novelty balloon at her desk, she quits. Meanwhile, the scruffy, borderline mean-looking Dan fills his days chain smoking, wandering, driving around in his old Volvo. These two lonely, prickly fuck-ups end up in line next to each other at Whole Foods, and each takes notice of the other. Peripheral glances, head jerks, a panoply of figits: they look like they’re dancing. They don’t speak. Soon, Dan is putting on a suit every day and returning to the Whole Foods, coming up with excuses to comb aisles and haunt the cafe, in hopes that his checkout line dance partner will return. Lillian needs something to do, so she throws a “lil’ block party,” which she advertises by stapling flyers to telephone poles and to the community board at Whole Foods. Dan, arriving with rotisserie chicken in hand, is the only person who shows up. Seeing him, recognizing him, Lillian reflexively puts her fingers to her mouth to block her glowing, uncontrollable grin. Then the courtship gets weird. Lillian shares some production tropes with thematic cousins like Kissing on the Mouth and Yeast––namely shaky handheld low gauge lensing and improvised performances––but director Mike Gibisser so perfectly and versatilely weds form to content that his use of such stylistic touchpoints seems less like the result of a low budget and micro crew than deliberate, and often brave, aesthetic choices. Shot on Super 16, Lillian has a grainy, soft-contrast look at times reminiscent of Harmony Korine’s MiniDV-blow up julien donkey-boy. The director fixes the camera when he needs to, but also takes brilliant advantage of the handheld bounce sparingly and purposefully. The image is shaky when the people are shaky; when they’re stuck, it’s static. To see such simple logic put to practice in a first feature maybe shouldn’t feel exciting, but it is. Most impressively, Gibisser uses light as a vehicle for emotional exposition. External shots of Lillian and Dan isolated in urban spaces seem slightly underexposed, tinted grey-blue to match these kids’ mundane blues. There are two night scenes which seem to be shot using only available street lamps; in the first, a first sweet and then abortive makeout, Lillian’s amber-limned silhouette cuts through blackness as she moves towards Dan and away from him. In the second scene, there is no such glittered lining. It’s the darkest scene of the film emotionally, and it’s definitely the darkest––nearly completely black––visually. Gibisser is also doing some really interesting things with sound, and the ambient blip-bloop score heard in the above trailer is the least of it. In the Q & A after Saturday’s screening, he explained that whenever a character wasn’t speaking, they shot without recording sound and re-created the soundtrack later. That had to make for a lot of post work, because for long stretches, Lillian is dialogue free. It ends up playing almost as a silent film, and when someone is speaking, the clear focus of the scene is not on what they’re actually saying, but on what they other person is thinking, feeling, interpreting from the words and the tone. Everything actually said is said on faces, with figits and dance steps, through the flailing of limbs. There’s a scene in this film where one character attempts to bring another back from a gut hollowing sadness by silently dancing and encouraging the other to join them. It’s such a beautifully done depiction of an intimate ritual that it had me in tears. So where can you see it? Dunno. Distribution is certainly nowhere near on the horizon, and wouldn’t be until/unless it started winning festival awards and/or the notice of major critics. And based on his comments after the film, it seems like Gibisser hasn’t put much effort into submitting Lillian to festivals. If you’re an interested programmer, you can email him through his website or the film’s MySpace. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/15/31256.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/15/2008 9:01:11 PM
Body: FINALLY, LILLIAN AND DAN Trailer Finally, Lillian and Dan comes to CineVegas almost a full year after its first and only significant public screening, as part of the M-word heavy Summer 2007 Independents Week series at Harvard Film Archives. It’s a find, a definite cousin of the work being made in the Bronstein household––as with Frownland, the mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtelties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker. Lillian, a twenty-something whose lovely face is weighted down with permanent post-crying jag bags, lives with her grandmother and answers phone for some kind of businessman. When her apparently married boss asks her out via lengthy dissertation on the possibilities of urban social life (”There are restaurants, and bars, that people go to…”), she trembles and stares, trying to hide her humiliation behind a cup of tea. When he continues the courtship by leaving flowers and a novelty balloon at her desk, she quits. Meanwhile, the scruffy, borderline mean-looking Dan fills his days chain smoking, wandering, driving around in his old Volvo. These two lonely, prickly fuck-ups end up in line next to each other at Whole Foods, and each takes notice of the other. Peripheral glances, head jerks, a panoply of figits: they look like they’re dancing. They don’t speak. Soon, Dan is putting on a suit every day and returning to the Whole Foods, coming up with excuses to comb aisles and haunt the cafe, in hopes that his checkout line dance partner will return. Lillian needs something to do, so she throws a “lil’ block party,” which she advertises by stapling flyers to telephone poles and to the community board at Whole Foods. Dan, arriving with rotisserie chicken in hand, is the only person who shows up. Seeing him, recognizing him, Lillian reflexively puts her fingers to her mouth to block her glowing, uncontrollable grin. Then the courtship gets weird. Lillian shares some production tropes with thematic cousins like Kissing on the Mouth and Yeast––namely shaky handheld low gauge lensing and improvised performances––but director Mike Gibisser so perfectly and versatilely weds form to content that his use of such stylistic touchpoints seems less like the result of a low budget and micro crew than deliberate, and often brave, aesthetic choices. Shot on Super 16, Lillian has a grainy, soft-contrast look at times reminiscent of Harmony Korine’s MiniDV-blow up julien donkey-boy. The director fixes the camera when he needs to, but also takes brilliant advantage of the handheld bounce sparingly and purposefully. The image is shaky when the people are shaky; when they’re stuck, it’s static. To see such simple logic put to practice in a first feature maybe shouldn’t feel exciting, but it is. Most impressively, Gibisser uses light as a vehicle for emotional exposition. External shots of Lillian and Dan isolated in urban spaces seem slightly underexposed, tinted grey-blue to match these kids’ mundane blues. There are two night scenes which seem to be shot using only available street lamps; in the first, a first sweet and then abortive makeout, Lillian’s amber-limned silhouette cuts through blackness as she moves towards Dan and away from him. In the second scene, there is no such glittered lining. It’s the darkest scene of the film emotionally, and it’s definitely the darkest––nearly completely black––visually. Gibisser is also doing some really interesting things with sound, and the ambient blip-bloop score heard in the above trailer is the least of it. In the Q & A after Saturday’s screening, he explained that whenever a character wasn’t speaking, they shot without recording sound and re-created the soundtrack later. That had to make for a lot of post work, because for long stretches, Lillian is dialogue free. It ends up playing almost as a silent film, and when someone is speaking, the clear focus of the scene is not on what they’re actually saying, but on what they other person is thinking, feeling, interpreting from the words and the tone. Everything actually said is said on faces, with figits and dance steps, through the flailing of limbs. There’s a scene in this film where one character attempts to bring another back from a gut hollowing sadness by silently dancing and encouraging the other to join them. It’s such a beautifully done depiction of an intimate ritual that it had me in tears. So where can you see it? Dunno. Distribution is certainly nowhere near on the horizon, and wouldn’t be until/unless it started winning festival awards and/or the notice of major critics. And based on his comments after the film, it seems like Gibisser hasn’t put much effort into submitting Lillian to festivals. If you’re an interested programmer, you can email him through his website or the film’s MySpace. Originally posted on:SpoutBlog
]]>Mon, 16 Jun 2008 01:01:11 GMTSpoutBlogSpoutBlog on spout.com6/15/2008 9:01:11 PMFINALLY, LILLIAN AND DAN Trailer Finally, Lillian and Dan comes to CineVegas almost a full year after its first and only significant public screening, as part of the M-word heavy Summer 2007 Independents Week series at Harvard Film Archives. It’s a find, a definite cousin of the work being made in the Bronstein household––as with Frownland, the mumbling here is so stylized and disturbed that it’s like a precision bomb against the twee subtelties explored by other contemporary filmmakers––it’s more like Tourettescore. But there’s also a tenderness here, and lofty aesthetic ambitions underpinned with authentic melancholy. It’s a heartbreaker. Lillian, a twenty-something whose lovely face is weighted down with permanent post-crying jag bags, lives with her grandmother and answers phone for some kind of businessman. When her apparently married boss asks her out via lengthy dissertation on the possibilities of urban social life (”There are restaurants, and bars, that people go to…”), she trembles and stares, trying to hide her humiliation behind a cup of tea. When he continues the courtship by leaving flowers and a novelty balloon at her desk, she quits. Meanwhile, the scruffy, borderline mean-looking Dan fills his days chain smoking, wandering, driving around in his old Volvo. These two lonely, prickly fuck-ups end up in line next to each other at Whole Foods, and each takes notice of the other. Peripheral glances, head jerks, a panoply of figits: they look like they’re dancing. They don’t speak. Soon, Dan is putting on a suit every day and returning to the Whole Foods, coming up with excuses to comb aisles and haunt the cafe, in hopes that his checkout line dance partner will return. Lillian needs something to do, so she throws a “lil’ block party,” which she advertises by stapling flyers to telephone poles and to the community board at Whole Foods. Dan, arriving with rotisserie chicken in hand, is the only person who shows up. Seeing him, recognizing him, Lillian reflexively puts her fingers to her mouth to block her glowing, uncontrollable grin. Then the courtship gets weird. Lillian shares some production tropes with thematic cousins like Kissing on the Mouth and Yeast––namely shaky handheld low gauge lensing and improvised performances––but director Mike Gibisser so perfectly and versatilely weds form to content that his use of such stylistic touchpoints seems less like the result of a low budget and micro crew than deliberate, and often brave, aesthetic choices. Shot on Super 16, Lillian has a grainy, soft-contrast look at times reminiscent of Harmony Korine’s MiniDV-blow up julien donkey-boy. The director fixes the camera when he needs to, but also takes brilliant advantage of the handheld bounce sparingly and purposefully. The image is shaky when the people are shaky; when they’re stuck, it’s static. To see such simple logic put to practice in a first feature maybe shouldn’t feel exciting, but it is. Most impressively, Gibisser uses light as a vehicle for emotional exposition. External shots of Lillian and Dan isolated in urban spaces seem slightly underexposed, tinted grey-blue to match these kids’ mundane blues. There are two night scenes which seem to be shot using only available street lamps; in the first, a first sweet and then abortive makeout, Lillian’s amber-limned silhouette cuts through blackness as she moves towards Dan and away from him. In the second scene, there is no such glittered lining. It’s the darkest scene of the film emotionally, and it’s definitely the darkest––nearly completely black––visually. Gibisser is also doing some really interesting things with sound, and the ambient blip-bloop score heard in the above trailer is the least of it. In the Q & A after Saturday’s screening, he explained that whenever a character wasn’t speaking, they shot without recording sound and re-created the soundtrack later. That had to make for a lot of post work, because for long stretches, Lillian is dialogue free. It ends up playing almost as a silent film, and when someone is speaking, the clear focus of the scene is not on what they’re actually saying, but on what they other person is thinking, feeling, interpreting from the words and the tone. Everything actually said is said on faces, with figits and dance steps, through the flailing of limbs. There’s a scene in this film where one character attempts to bring another back from a gut hollowing sadness by silently dancing and encouraging the other to join them. It’s such a beautifully done depiction of an intimate ritual that it had me in tears. So where can you see it? Dunno. Distribution is certainly nowhere near on the horizon, and wouldn’t be until/unless it started winning festival awards and/or the notice of major critics. And based on his comments after the film, it seems like Gibisser hasn’t put much effort into submitting Lillian to festivals. If you’re an interested programmer, you can email him through his website or the film’s MySpace. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/2/25/25586.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/25/2008 7:00:54 PM
Body: BUTTERKNIFE 5: Laugh AttackAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams (again), the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Bongo Board (with Sean Prince Williams) Originally posted on:SpoutBlog » karina
]]>Tue, 26 Feb 2008 00:00:54 GMTKarinaKarina on SpoutBlog2/25/2008 7:00:54 PMBUTTERKNIFE 5: Laugh AttackAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams (again), the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Bongo Board (with Sean Prince Williams) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/2/25/25585.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/25/2008 7:00:40 PM
Body: BUTTERKNIFE 5: Laugh AttackAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams (again), the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Bongo Board (with Sean Prince Williams) Originally posted on:SpoutBlog
]]>Tue, 26 Feb 2008 00:00:40 GMTSpoutBlogSpoutBlog on spout.com2/25/2008 7:00:40 PMBUTTERKNIFE 5: Laugh AttackAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams (again), the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Bongo Board (with Sean Prince Williams) Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/2/18/25289.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/18/2008 6:01:15 PM
Body: BUTTERKNIFE 4: Bongo BoardAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams, the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Originally posted on:SpoutBlog » karina
]]>Mon, 18 Feb 2008 23:01:15 GMTKarinaKarina on SpoutBlog2/18/2008 6:01:15 PMBUTTERKNIFE 4: Bongo BoardAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams, the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/2/18/25288.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/18/2008 6:01:08 PM
Body: BUTTERKNIFE 4: Bongo BoardAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams, the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Originally posted on:SpoutBlog
]]>Mon, 18 Feb 2008 23:01:08 GMTSpoutBlogSpoutBlog on spout.com2/18/2008 6:01:08 PMBUTTERKNIFE 4: Bongo BoardAdd to My Profile | More Videos This episode of Butterknife co-stars Sean Prince Williams, the cinematographer of Frownland. You can go to Spout.com???s Butterknife page for more info on the series, to watch future episodes, to talk about the show, and to sign up for email updates. Previous episodes: Plastic Hassle (with Kentucker Audley) Sicilian Style (with Tony Baker and Frank V. Ross) Key Witness (with Michael Tully) Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/2/18/25271.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 2/18/2008 1:01:35 PM
Body: Yeast [trailer]Add to My Profile | More Videos Welcome to the first of many posts that we’ll be doing over the next couple of weeks, previewing upcoming SXSW premieres and profiling their makers. I’m so excited to start this plug fest with the work of a good friend of Spout, Mary Bronstein’s Yeast. Mary, of course, is the co-star of the Spout current webseries Butterknife, and she also starred in her husband Ronnie Bronstein’s debut feature, Frownland (which, incidentally, will be running for a week at the IFC Center in New York concurrent with Yeast’s debut in Austin). Mary stars again in Yeast, alongside Greta Gerwig (Hannah Takes the Stairs), and together they explore friendships that are, according to the SXSW synopsis, “Ebola-infested, maggot-filled and bursting at the seams.” You can watch the trailer for Yeast above. Below, check out Mary’s answers to the 4 Questions We’re Asking Everybody (heretofore known as the 4QWAE). Yeast, which is screening in the Narrative Competition at SXSW, premieres at 7pm on Monday, March 10 at the Alamo Ritz; for more information, go here. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. ???It???s like Laverne and Shirley meets Mike Leigh???s Nuts in May???on PCP!!??? Sorry???here???s the real 25 word-or-less: Yeast is a film about a maddeningly oblivious, tyrannical and stunted young woman trying to negotiate two toxic friendships. Something that the synopsis doesn???t say is that Yeast turned out to be a lot funnier than I had originally anticipated. Another thing to know is that it isn???t a study in realism, or the way people ???really??? behave. It is more hyper-realism. We were interested in telling the story from the inside-out. Showing on the outside what the character is feeling on the outside. I find this more interesting than dialog about how characters feel. For example, sometimes you may be so frustrated at someone you wish you could just hit that person in the face. In real life you don???t, but you might say ???You know, you are like, kind of being a little bit annoying right now.??? In this movie you would actually hit the person. I decided to make this film after I realized that I didn???t want to wait around for other people to make projects. I wanted to make a film about female friendships that dealt with the issues of resentment, hostility and emotional manipulation that often are present in too-close enmeshed friendships of either sex. I wanted to make a film about women that I???ve never seen before, about people who have no business being friends with each other but don???t know how to stop. And I wanted to see if I could pull it off. (more…) Originally posted on:SpoutBlog » karina
]]>Mon, 18 Feb 2008 18:01:35 GMTKarinaKarina on SpoutBlog2/18/2008 1:01:35 PMYeast [trailer]Add to My Profile | More Videos Welcome to the first of many posts that we’ll be doing over the next couple of weeks, previewing upcoming SXSW premieres and profiling their makers. I’m so excited to start this plug fest with the work of a good friend of Spout, Mary Bronstein’s Yeast. Mary, of course, is the co-star of the Spout current webseries Butterknife, and she also starred in her husband Ronnie Bronstein’s debut feature, Frownland (which, incidentally, will be running for a week at the IFC Center in New York concurrent with Yeast’s debut in Austin). Mary stars again in Yeast, alongside Greta Gerwig (Hannah Takes the Stairs), and together they explore friendships that are, according to the SXSW synopsis, “Ebola-infested, maggot-filled and bursting at the seams.” You can watch the trailer for Yeast above. Below, check out Mary’s answers to the 4 Questions We’re Asking Everybody (heretofore known as the 4QWAE). Yeast, which is screening in the Narrative Competition at SXSW, premieres at 7pm on Monday, March 10 at the Alamo Ritz; for more information, go here. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. ???It???s like Laverne and Shirley meets Mike Leigh???s Nuts in May???on PCP!!??? Sorry???here???s the real 25 word-or-less: Yeast is a film about a maddeningly oblivious, tyrannical and stunted young woman trying to negotiate two toxic friendships. Something that the synopsis doesn???t say is that Yeast turned out to be a lot funnier than I had originally anticipated. Another thing to know is that it isn???t a study in realism, or the way people ???really??? behave. It is more hyper-realism. We were interested in telling the story from the inside-out. Showing on the outside what the character is feeling on the outside. I find this more interesting than dialog about how characters feel. For example, sometimes you may be so frustrated at someone you wish you could just hit that person in the face. In real life you don???t, but you might say ???You know, you are like, kind of being a little bit annoying right now.??? In this movie you would actually hit the person. I decided to make this film after I realized that I didn???t want to wait around for other people to make projects. I wanted to make a film about female friendships that dealt with the issues of resentment, hostility and emotional manipulation that often are present in too-close enmeshed friendships of either sex. I wanted to make a film about women that I???ve never seen before, about people who have no business being friends with each other but don???t know how to stop. And I wanted to see if I could pull it off. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/2/18/25270.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 2/18/2008 1:00:54 PM
Body: Yeast [trailer]Add to My Profile | More Videos Welcome to the first of many posts that we’ll be doing over the next couple of weeks, previewing upcoming SXSW premieres and profiling their makers. I’m so excited to start this plug fest with the work of a good friend of Spout, Mary Bronstein’s Yeast. Mary, of course, is the co-star of the Spout current webseries Butterknife, and she also starred in her husband Ronnie Bronstein’s debut feature, Frownland (which, incidentally, will be running for a week at the IFC Center in New York concurrent with Yeast’s debut in Austin). Mary stars again in Yeast, alongside Greta Gerwig (Hannah Takes the Stairs), and together they explore friendships that are, according to the SXSW synopsis, “Ebola-infested, maggot-filled and bursting at the seams.” You can watch the trailer for Yeast above. Below, check out Mary’s answers to the 4 Questions We’re Asking Everybody (heretofore known as the 4QWAE). Yeast, which is screening in the Narrative Competition at SXSW, premieres at 7pm on Monday, March 10 at the Alamo Ritz; for more information, go here. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. ???It???s like Laverne and Shirley meets Mike Leigh???s Nuts in May???on PCP!!??? Sorry???here???s the real 25 word-or-less: Yeast is a film about a maddeningly oblivious, tyrannical and stunted young woman trying to negotiate two toxic friendships. Something that the synopsis doesn???t say is that Yeast turned out to be a lot funnier than I had originally anticipated. Another thing to know is that it isn???t a study in realism, or the way people ???really??? behave. It is more hyper-realism. We were interested in telling the story from the inside-out. Showing on the outside what the character is feeling on the outside. I find this more interesting than dialog about how characters feel. For example, sometimes you may be so frustrated at someone you wish you could just hit that person in the face. In real life you don???t, but you might say ???You know, you are like, kind of being a little bit annoying right now.??? In this movie you would actually hit the person. I decided to make this film after I realized that I didn???t want to wait around for other people to make projects. I wanted to make a film about female friendships that dealt with the issues of resentment, hostility and emotional manipulation that often are present in too-close enmeshed friendships of either sex. I wanted to make a film about women that I???ve never seen before, about people who have no business being friends with each other but don???t know how to stop. And I wanted to see if I could pull it off. (more…) Originally posted on:SpoutBlog
]]>Mon, 18 Feb 2008 18:00:54 GMTSpoutBlogSpoutBlog on spout.com2/18/2008 1:00:54 PMYeast [trailer]Add to My Profile | More Videos Welcome to the first of many posts that we’ll be doing over the next couple of weeks, previewing upcoming SXSW premieres and profiling their makers. I’m so excited to start this plug fest with the work of a good friend of Spout, Mary Bronstein’s Yeast. Mary, of course, is the co-star of the Spout current webseries Butterknife, and she also starred in her husband Ronnie Bronstein’s debut feature, Frownland (which, incidentally, will be running for a week at the IFC Center in New York concurrent with Yeast’s debut in Austin). Mary stars again in Yeast, alongside Greta Gerwig (Hannah Takes the Stairs), and together they explore friendships that are, according to the SXSW synopsis, “Ebola-infested, maggot-filled and bursting at the seams.” You can watch the trailer for Yeast above. Below, check out Mary’s answers to the 4 Questions We’re Asking Everybody (heretofore known as the 4QWAE). Yeast, which is screening in the Narrative Competition at SXSW, premieres at 7pm on Monday, March 10 at the Alamo Ritz; for more information, go here. Tell us about your movie. Who did you work with, why did you make it? Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out. ???It???s like Laverne and Shirley meets Mike Leigh???s Nuts in May???on PCP!!??? Sorry???here???s the real 25 word-or-less: Yeast is a film about a maddeningly oblivious, tyrannical and stunted young woman trying to negotiate two toxic friendships. Something that the synopsis doesn???t say is that Yeast turned out to be a lot funnier than I had originally anticipated. Another thing to know is that it isn???t a study in realism, or the way people ???really??? behave. It is more hyper-realism. We were interested in telling the story from the inside-out. Showing on the outside what the character is feeling on the outside. I find this more interesting than dialog about how characters feel. For example, sometimes you may be so frustrated at someone you wish you could just hit that person in the face. In real life you don???t, but you might say ???You know, you are like, kind of being a little bit annoying right now.??? In this movie you would actually hit the person. I decided to make this film after I realized that I didn???t want to wait around for other people to make projects. I wanted to make a film about female friendships that dealt with the issues of resentment, hostility and emotional manipulation that often are present in too-close enmeshed friendships of either sex. I wanted to make a film about women that I???ve never seen before, about people who have no business being friends with each other but don???t know how to stop. And I wanted to see if I could pull it off. (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/awkward/MemberTagFilms.aspxawkward
Number of films tagged: 49

Number of people who tagged: 47

Number of times used: 72

]]>Wed, 14 Oct 2009 19:09:23 GMT494772Tag http://www.spout.com/members/0/tags/heartfelt/MemberTagFilms.aspxheartfelt
Number of films tagged: 39

Number of people who tagged: 24

Number of times used: 43

]]>Mon, 30 Nov 2009 02:02:59 GMT392443Tag http://www.spout.com/members/0/tags/salesperson/MemberTagFilms.aspxsalesperson
Number of films tagged: 280

Number of people who tagged: 3

Number of times used: 4

]]>Fri, 15 May 2009 13:02:12 GMT28034Tag http://www.spout.com/members/0/tags/filmfriday/MemberTagFilms.aspxfilmfriday
Number of films tagged: 12

Number of people who tagged: 1

Number of times used: 12

]]>Fri, 29 Feb 2008 21:12:58 GMT12112Tag