Contents Scapegoat: Hollywood
Will the movie industry censor itself now that government has threatened to clean up its act?
by Mark Eleison

Joy & Luck in Hollywood
He may be the busiest screenwriter in Hollywood, but this Oscar-winner wouldn't have it any other way.
by Jeff Schwager

McElwee's March - Part 2
The art hours phenom talks about the changes success has brought to his career.
by Paula Hunt

Columns & Departments

Freeze Frame: Visions From Down Under
The sensibilities of foreign directors seem to change after coming to America.
by Jeff Schwager

Short Runs: Triumph and Tragedy
The only U.S. film ever blacklisted debuts on home video.
by Tom Barr

Cutting Room: Carlito's Way Off
Reviews of The Piano and Carlito's Way.
by Mike Walker

Videoteur: Video Masturbation
You can do it all in the video world... but are you the master of your doman?
by Kelly Hughes

Voice Over: Providence Comes Through
The maker of Seattle's latest no-budget feature has a chance to catch his breath.
by Taso Lagos

Profiles: Sweet Little Films
Seattle moviemakers Zola Mumford and Tom Hodgson do the chin wag, and we write it down.

That's a Wrap
The First 'Annual' Port Townsend Feature Film Conference is a bust.
by Paula Hunt

Contents Making it' in Super 8
A new film stock is helping make Super 8 a viable format for professional moviemakers.
by Tom Allen

Mike Leigh
With his Cannes Best-Director award and a hot new movie, Director Mike Leigh may finally get the popular recognition he deserves.
by Jeff Schwager

Extreme Projectionist
Dennis Nyback's Pike Street Cinema could be the Northwest's most unusual movie house.
by Paula Hunt

Columns & Departments

Freeze Frame: Making History Hollywood Style
Speilberg's spoonful of sugar prevents Schindler's List from being one of the all-time greats.
by Jeff Schwager

Short Runs: A Touch of Welles
Orson Welles must be having a good last laugh at that wrap party in the sky.
by Tom Barr

Videoteur: Posing at the Posies
A brief analysis of 'moshing' as it applies to moviemaking. Seriosly, folks.
by Kelly Hughes

Voice Over: Making a Movie, Cont.
At the editing stage a movie takes ona life of its own.
by Taso Lagos

Cutting Room: Heaven and Earth More Like Purgatory
Unlike Pualine Kael, our indomintable reviewer agrees to sit through another Olive Stone extravaganza.
by Mike Walker

Letters

Profiles: High on Hollywood
A strong Washington film industry would be a book for businesses like Steven Wright's helicoptor company.
by Kelly Hughes

Contents Citizen Cotten
During his forty-year career, Joseph Cotton's presence was felt in some of the most presitigious films of all time.
by Tom Barr

Learning the Biz
Young moviemakers are seeking a formal education in the craft now more than ever, and it's changing the industry.
by Tom Allen

Columns & Departments

Freeze Frame: Spielberg Finally Wins the Gold
Oscar predictions and reflections from the editor of LA's BoxOffice Magazine.
by Jeff Schwager

Short Runs: Another Getaway
With The Getaway remake, Jim Thompson's cult status is alive and well.
by Tom Barr

Videoteur: Scraping Bottom
More than you ever need to know about the Lucky Charm awards.
by Kelly Hughes

Voice Over: American Messiah
American Messiah diary, part IV. In the wee hours, a moviemaker ponders his feature's box office potential.
by Taso Lagos

MM Notebook
Hot air, braggadocio, and ramblings from the editorial department.

Cinema Books: Pay Attention to the Man Behind the Curtain
Paula Hunt reviews The Phantom Empire, and Tom Barr gives a thumbs up to Behind the Oscar: A Secret History of the Academy Awards.

Profiles: Portrait of the Screenwriter as a Young Man
An interview with George Wing, a Seattle-based screenwriter with lots of options for his future.
by Kelly Hughes

Contents Roman Keeps on Rolling
With his devilish new movie, Bitter Moon, Polanski is back. An overview of the influential director's career.
by Kathleen McInnis

Peter Coyote is Not P.C.
The favored son of the cult film circuit tells it like it is.
by Kathleen McInnis

Grant's a Hugh Success
With three features out this month, coming to America is a lucrative proposition for Hugh Grant.
by Kathleen McInnis

Cut to: The Quick
Are the new down-and-dirty, nuts-and-bolts flim seminars a viable alternative to traditional film school?
by Tom Allen

Columns & Departments

Freeze Frame: The Movies are Shrinking
A new generation of movie producers are looking to TV for inspiration.
by Jeff Schwager

Short Runs: Bit Men and Hitmen
Corman's Carnosaur is a poor man's Jurassic Park. Not that's scary.
by Tom Barr

Videoteur: Intravenous Video
Movies affect you like a drug. And reading this column could put you in detox.
by Kelly Hughes

Voice Over: Bullets as a Gimmick
A moviemaker 'bites the bullet' to get his film in the limelight.
by Taso Lagos

Cutting Room: Bitter is Better
Hudsucker gets mooned, but Bitter does better.
by Mike Walker

Letters

Profiles: Marty and Me, How I Made a 1 Mil. Feature Virtually for Free
Dan Algrant tells Martin Scorsese gave him his big break. And a Seattle man tells how he made a million dollars movie without cash.
by Tim Rice

Parting Shots: Are Women Psycho or is it Just Hollywood?
Women are psycho. A billion movie viewers can't be wrong. Can they?
by Shea Salyer

Contents Cover: The Rage of Innocents
Actors Stephen Dorff and Ian Hart talk about youth, passion, and fighting for the right reasons on the set of BackBeat.
by Kathleen McInnis

BackBeat Cheat Sheet
How accurate should moviemakers be when shooting 'docudramas?'
by Pete Sheehy

Regarding Henry
A portrait of Henry Jaglom, the 'West Coast Woody Allen.' This self-made moviemaker, whose latest project is BabyFever, explains why women keep him Eating.
by Marianne Cotter

Is Seattle Asleep at the Reel?
Seattle's hot, it's sexy, and as far as film production goes, it's dead. This potentially lucrative location is definitely missing the ferry, but is it really all the Canadians' fault?
by Kathleen McInnis
Columns & Departments

Freeze Frame: And The Beat Goes On
Why The Beatles have always been fertile cinematic territory.
by Jeff Schwager

Short Runs: The Killer B's Return
He was no James Cagney, but Richard Widmark is at his insane best in Fox Video's Gangster Collection.
by Tom Barr

Festival Beat: Festivals for the Masses
A new column highlighting... you guessed it-film festivals. This month we look at Seattles' Asian American and Gay and Lesbian Festivals.
by Brian O'Hare

Letters

Profiles: Steady as He Goes
Brad Nelson of Seattle shoots and all-steadicam feature and shakes up the film world.
by Tom Allen

Parting Shots: Mein Seattle Kampf: Guerrillas in the Midst
A tongue-in-cheek look at the struggles of one Seattle-based producer.
by Alec Carlin

Contents Decline of the Western
by Lyall Bush
Sure the Western's back, but do today's directors really understand what made 'cowboy movies' one of the best loved genres in the world?

Out of the Shadows
by Jeff Schwager
Screenwriting has been very good to David Koepp, who's had five of his scripts made into major Hollywood movies in the last two years.

Back on the Mainscreen
by Tom Allen
Moviemakers are starting to take the shorter format seriously, as markets start to open up for the first time in recent memory.

First Lady of Horror
by Kathleen McInnis
In a new book Janet Leigh remembers how she terrified the nation 34 summers ago in one of the greatest horror films of all time.

Psycho Analysis
by Paula Hunt
Long before Friday the 13th, before Nightmare on Elm Street, before Halloween, there was Psycho. You don't need a Ph.D. to understand this film, and after reading this article, you'll realize that wouldn't help anyway.

Columns & Departments

Freeze Frame: Stillman's Wit
by Jeff Schwager
Once again Whit Stillman proves that small, dialogue-driven films can still find an audience. Especially if they're witty.

Home Cinema: Best of the West
by Tom Barr
From High Noon to Unforgiven, a glance at some of the great Westerns.

In Gear: From Russia with Lens
by Jack Watson
Are those new Russian cameras a viable alternative to the cameras you can't afford?

On Film Acting: Auditioning for Love and Money
by Colleen Patrick
Auditioning is what actors really do for a living. Here's how to do it better.

Festival Beat
by Brian O'Hare
Colorado's Telluride Film Festival is one of the coolest summer festivals around.

MM Notebook

Letters

Profiles
by Pete Sheehy and Keith Bearden
Directors D. Russell (Spanking the Monkey,) and J. Dahl (Red Rock West)

How They Did It: Tonya Harding Financed My Film
by Rustin Thompson
Tonya Harding Financed My First Film

Shaking It Up On The Internet
by Wendy Wilson
Moviemaker Tiffany Shlain uses multimedia to take on distributors and Hollywood.

Contents Wild Hill
by Marianne Cotter
Like Peckinpah before him, Walter Hill has been accused of making movies that revel in violence. He answers that charge and talks about his new film, Wild Bill.

Is Film School Worth It?
By Tom Allen
Didn't two or three really great movies get made before anyone ever heard of film school? Is formal education really the answer for aspiring moviemakers? Several successful motion picture directors give us their opinions.

Lina Wertm?ller, Lost and Found
by Jon Silberg
Although Ciao, Professore! is an upbeat departure from her previous work, that doesn't mean the brilliant Italian director is any easier to understand.

Columns & Departments

Freeze Frame: The Motion Picture Association of America: Natural Born Censors?
by Jeff Schwager
When Clerks got slapped with the dreaded NC- 17, Jeff decided to recap the MPAA's reasoning behind a ratings system he believes is seriously out of order.

Home Cinema: Bloody Sam's Misogynistic Vision
by Rustin Thompson
Did Sam Peckinpah hate women? While the director's cinematic voice was lone and eloquent in his idealized depiction of the traditional American male, his females definitely got no respect.

In Gear: 'Heads Up' Video Monitoring Is Here
by Kennedy Grey
Virtual Vision's 'heads up' video monitor may soon be a practical alternative in the field.

On Film Acting: Stars in Your Eyes? Here's Looking at You
by Colleen Patrick
Take it from Frank Capra - using your eyes effectively is one of the keys to becoming a film star.

Festival Beat
by Brian O'Hare
The Independent Feature Film Market in New York is where indies go to get noticed.

MM Notebook
by Tim Rice
What a long, strange trip it's been - and we're not quite a year old yet.

Profiles
by L. Bush, K. McKinnis, and K. Bearden
In which Rutger Hauer gets old, Alex Winter freaks out, Jonathan Blank does Amsterdam and Terence Stamp gets in touch with his feminine side.

How They Did It: How To Lose $1.2 Million And Shoot Your Feature Anyway
by Kathleen McInnis
Seattle moviemaker Tim Hines gives Crispin Glover the heave-ho, loses $1.2 million in financing and makes his feature anyway. All in one continuous take.

Contents What Do Distributors Want From Us, Anyway?
The second installment on our continuing series on 'How to Avoid Distribution Hell.' This time we talk to four microdistributors.

Lessons From Orson
One of Orson Welle's closest friends in his later years, Henry Jaglom shares advice from his mentor. Plus, a review of a 'new' Welles film.