The top coin getter (an impressive quarter of a million dollars) from last year’s The MacArthur Foundation grants, we’re thinking our third time at predicting this among the line-up will be a charm. As is the case with most docus, the production phase can be a lengthy and difficult to determine one, but we’re thinking this extra time will help shake the foundations of Park City. As we mentioned before, Yance Ford’s Strong Island has received all-round support from docu groups including Cinereach, Idfa Forum and the Sundance Institute.
Gist: In April 1992, William Ford, a black 24-year-old teacher argued with a white 19-year-old mechanic about the quality of a repair job. This common scenario turned deadly when the mechanic retrieved a .22 caliber rifle from the shop office and shot Ford once in the chest. Though he was unarmed, the mechanic claimed self-defense. When a Grand Jury decided not to pursue charges,...
Gist: In April 1992, William Ford, a black 24-year-old teacher argued with a white 19-year-old mechanic about the quality of a repair job. This common scenario turned deadly when the mechanic retrieved a .22 caliber rifle from the shop office and shot Ford once in the chest. Though he was unarmed, the mechanic claimed self-defense. When a Grand Jury decided not to pursue charges,...
- 11/25/2015
- by Eric Lavallee
- IONCINEMA.com
Applications are now being accepted through June 6 for the Women In Film Foundation’s 2014 Film Finishing Fund grants. Women In Film will give up to $15,000 in cash, in-kind and consultation grants for the selected entries. Since its inception 29 years ago, the Film Finishing Fund has awarded more than $2 million worth of grants to over 170 films from all over the world. The Film Finishing Fund has an impressive track record selecting films for completion that went on to win major awards, distribution and network deals, including:-Cynthia Wade’s Freeheld, the 2008 Academy Award-winner for Best Documentary Short Subject-Freida Lee Mock’s Maya Lin: A Strong Clear Vision, the 1994 Academy Award-winner for Best Documentary-Esther Robinson’s A Walk Into The Sea: Danny Williams and the Warhol Factory, 2007 Teddy Award Winner at the Berlin Film Festival-Maryam Keshavarz’s Circumstance, the 2011 Sundance Audience Award winnerWinners will be announced in October 2014. More info on.
- 3/17/2014
- by Beth Hanna
- Thompson on Hollywood
It was a wonderful night celebrating documentary filmmaking at the fourth annual Cinema Eye Honors, held in the beautifully renovated Museum of the Moving Image in Astoria, Queens, N.Y. on January 18th. Hosted by filmmakers Aj Schnack (Kurt Cobain: About a Son) and Esther Robinson (A Walk Into the Sea: Danny Williams and the Warhol Factory), the nominees comprised of some of the best documentary films of 2010, truly a celebration of nonfiction filmmaking rather than a competition. David Schwartz, the chief curator of the Museum, relayed the thoughts of many filmgoers who say that “the best films at festivals are the documentaries.” The night kicked off with musical accompaniment by the Quavers and an excerpt of Utopia in Four Movements, performed by Sam Green. His excerpt was at both funny and poignant, touching upon a mix of history and comedy, segueing between 1960s ideas of the future world to...
- 1/19/2011
- IONCINEMA.com
The Chaplin Festival at the Belcourt in Nashville opens today and runs through December 5. Poster by Sam Smith.
This evening at 7, Not Coming to a Theater Near You is presenting Freddie Francis's Dracula Has Risen from the Grave (1968) at the 92YTribeca. Also in New York: UnionDocs presents A Walk into the Sea: Danny Williams and the Warhol Factory along with three of Williams's works. And Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I carries on at MoMA. Related reading: Vadim Rizov for the L on Elia Suleiman's Chronicle of a Disappearance (1996), Divine Intervention (2002) and The Time That Remains (2009), a "loose trilogy of occupation comedies [that] politicize the international language of deadpan."
Tonight in San Francisco, at Other Cinema, Patrick Macias, editor of Otaku USA, and August Ragone, author of Eiji Tsuburaya: Master of Monsters, pay tribute to Ishiro Honda, director of the original Godzilla,...
This evening at 7, Not Coming to a Theater Near You is presenting Freddie Francis's Dracula Has Risen from the Grave (1968) at the 92YTribeca. Also in New York: UnionDocs presents A Walk into the Sea: Danny Williams and the Warhol Factory along with three of Williams's works. And Mapping Subjectivity: Experimentation in Arab Cinema from the 1960s to Now, Part I carries on at MoMA. Related reading: Vadim Rizov for the L on Elia Suleiman's Chronicle of a Disappearance (1996), Divine Intervention (2002) and The Time That Remains (2009), a "loose trilogy of occupation comedies [that] politicize the international language of deadpan."
Tonight in San Francisco, at Other Cinema, Patrick Macias, editor of Otaku USA, and August Ragone, author of Eiji Tsuburaya: Master of Monsters, pay tribute to Ishiro Honda, director of the original Godzilla,...
- 10/30/2010
- MUBI
Arthouse Films/Red Envelope Entertainment
NEW YORK -- Two spectral presences haunt A Walk Into the Sea, filmmaker Esther Robinson's portrait of her uncle Danny Williams. One is the subject himself, who apparently committed suicide at age 27 by carrying out the titular act late one night in 1966; the other is Andy Warhol, in whose Factory Williams toiled as a filmmaker and lighting designer, and who was also -- if only briefly -- the young man's lover.
A veritable cottage industry of Warhol-themed documentaries has sprung up in recent years, and it's easy to see why. This endlessly colorful figure serves as both a fascinatingly enigmatic character and an emblematic icon of his times.
He's a far more vivid presence in this film than Williams, who, as the many interviews included here demonstrate, is barely remembered by his cohorts in Warhol's group and is only briefly referred to in the artist's diaries. But the snippets of 16mm films he shot, featuring Warhol and such characters as Bridget Polk, Gerard Malanga and many others, vividly attest to his presence on the scene.
Williams, a Harvard dropout who briefly apprenticed with the Maysles brothers (Albert is interviewed here), designed and operated the light show for the multimedia Exploding Plastic Inevitable shows that featured the Velvet Underground.
He later became estranged from the Factory because of the jealousy of several of its other members and Warhol's eventual disinterest. Addicted to amphetamines, he moved back to his family home in Massachusetts. One night, he excused himself after dinner and was never seen again. His car was found near a cliff overlooking the sea, and his body was never found.
The ambiguity of his disappearance adds even more resonance to a story filled with vague recollections by the aged members of Warhol's coterie, whose lined faces contrast dramatically with the gorgeously youthful portraits captured in Williams' films.
NEW YORK -- Two spectral presences haunt A Walk Into the Sea, filmmaker Esther Robinson's portrait of her uncle Danny Williams. One is the subject himself, who apparently committed suicide at age 27 by carrying out the titular act late one night in 1966; the other is Andy Warhol, in whose Factory Williams toiled as a filmmaker and lighting designer, and who was also -- if only briefly -- the young man's lover.
A veritable cottage industry of Warhol-themed documentaries has sprung up in recent years, and it's easy to see why. This endlessly colorful figure serves as both a fascinatingly enigmatic character and an emblematic icon of his times.
He's a far more vivid presence in this film than Williams, who, as the many interviews included here demonstrate, is barely remembered by his cohorts in Warhol's group and is only briefly referred to in the artist's diaries. But the snippets of 16mm films he shot, featuring Warhol and such characters as Bridget Polk, Gerard Malanga and many others, vividly attest to his presence on the scene.
Williams, a Harvard dropout who briefly apprenticed with the Maysles brothers (Albert is interviewed here), designed and operated the light show for the multimedia Exploding Plastic Inevitable shows that featured the Velvet Underground.
He later became estranged from the Factory because of the jealousy of several of its other members and Warhol's eventual disinterest. Addicted to amphetamines, he moved back to his family home in Massachusetts. One night, he excused himself after dinner and was never seen again. His car was found near a cliff overlooking the sea, and his body was never found.
The ambiguity of his disappearance adds even more resonance to a story filled with vague recollections by the aged members of Warhol's coterie, whose lined faces contrast dramatically with the gorgeously youthful portraits captured in Williams' films.
- 12/19/2007
- The Hollywood Reporter - Movie News
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.