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movieScope Magazine is a 80-page, full colour bi-monthly hard copy publication that provides a fresh perspective on the
collaborative nature of filmmaking. Each issue features
contributions by key industry professionals, established journalists and
filmmakers from Hollywood, the UK/Europe, the Indie film scene and other global
movie hotspots. The result is an informative and entertaining read
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invaluable and entertaining in equal measure. Ideal for filmmakers and
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| IN FOCUS - THIS ISSUE'S COVER STORY |
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THE SPIDERWICK CHRONICLES: MARK WATERS AND THE UNSEEN WORLD
THE SPIDERWICK CHRONICLES opened in the States in February to strong reviews and even stronger box-office. A remarkable achievement given this time of year is generally considered a dead zone where studios dump their less promising films between the Christmas Oscar® bonanza and the tent pole movies planned for the spring.
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| CASE STUDIES |
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FILM EDITOR MIKE HILL: THE MAN WHO MAKES THE WHOLE FROM PIECES
Mike Hill is a rare human being. He is incredibly happy with where he is in life and how he got there. While working with Ron Howard for the past 26 years he has earned the Oscar® for APOLLO 13 and been nominated two other times (A BEAUTIFUL MIND and CINDERELLA MAN). Without a doubt there will be more in his future because he is j...
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| CASE STUDIES |
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BIRTH OF AN ERA: JOHN SAYLES ON HONEYDRIPPER
John Sayles is one of the great independent filmmakers of North America. In a career spanning almost 30 years he has written and directed 16 feature films, most of them without studio funding. They are renowned for stories that often subtly address social and political issues.
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| INSIDER'S P.O.V. - ACTING |
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JOHN KRASINSKI: AMERICA’S GOLDEN BOY
John Krasinski may just be America’s next hottest silver screen actor, but he is probably best known as Jim Halpert in the U.S. version of Ricky Gervais’ cult hit THE OFFICE.
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| GLOBAL FOCUS |
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CATHERINE BREILLAT: BLACKLISTED AND BELLIGERENT
The revered New Yorker film critic Pauline Kael once called certain proponents of the French New Wave “Movie Brutalists.” She said they were “hurting our eyes to save our souls.” The same might also be said of Catherine Breillat, the grande dame of New French Extreme cinema.
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