Back to the Past: Keva Rosenfeld’s 1987 Documentary "All American High" Finds a New Audience

Michele Meek talks with director Keva Rosenfeld about his decision to re-master his 1987 original.

Is this how we remember high school? Photo courtesy of Keva Rosenfeld.

Is our nostalgia for the 80s replacing our nostalgia for the 50s? Michele Meek suggests so, using a resurgence of interest in Keva Rosenfeld's 1987 documentary, All American High, as her primary example. It screens March 9th and 12th at SXSW.

The 1980s are the new 1950s. We have entered an era where big hair, landlines, and nightly news feel as remote and charming as poodle skirts and soda shops did in Back to the Future.

All Indie Family

Third generation Trosts, siblings Jason and Sarah, combine hyphens and skills for an indie trifecta.

On location in Thailand for #wetandreckless.

You can't dump siblings and they don't blow smoke up your $#@... Rebecca Reynolds talks to siblings Jason and Sarah Trost about their collaboration on three indie projects, The FP, All Superheroes Must Die, and Wet and Reckless.

In the land of Hollywood hyphens, the Trost family shares more than titles and a familiar last name. Together, they have enough skills to staff their own projects.

Artifacts from Cinematic Heaven and Hell: The Kubrick Cult Lives at LACMA!

This singular exhibit can be seen now through June 30, 2013.

Stanley Kubrick turned Stephen King's sisters into twins. Photo courtesy LACMA.

Do you heart Kubrick? Or the fine art of movie-making? "With its numerous production-design sketches, props, and annotated screenplays on display, the show might be the greatest example of a museum exploring the crossroads where the parallel worlds of art and film merge..." That's Neil Kendricks on an exhibit he saw, loved, and writes about here. Now through June 30, 2103 at LACMA.

Cinephiles and art lovers alike who will make the trek to the Los Angeles County Museum of Art (LACMA) to see the popular Stanley Kubrick retrospective should be prepared to have their minds blown in spectacular fashion.

It's Alive!

Doc filmmaker Chris Paine assures viewers and environmentalists--the electric car was just taking a very long nap.

The Chevy Volt makes an appearance in "Revenge," as do vehicles converted by motivated car owners.

If you thought the electric car died a slow, tragic death, you're right. And if you're like filmmaker Chris Paine, who helped document its demise in Who Killed the Electric Car? or the inventors and advocates in his new film, Revenge of the Electric Car then you believe, beyond a shadow of the doubt, electric can and will power vehicles of the future. Read what Paine told the The Independent's Katherine Brodsky after his film premiered.

Director Chris Paine is back with a follow-up to his highly touted documentary, Who Killed the Electric Car?, which celebrated the birth and mourned the death of the electric car. With help from a cast of unwavering advocates, Paine resurrects the vehicle in Revenge of the Electric Car.

"Losing Control" Melds Science and Romance

Staff writer Maddy Kadish caught a screening of "Losing Control" and suggests you do, too.

Sam (Miranda Kent) looks for the formula for romance in "Losing Control."

Thanks to the candid film journal written by Valerie Weiss throughout the making of Losing Control, The Independent had an insider's view throughout its production. Now it's screening at venues throughout the US and Maddy Kadish explains why it's must-see viewing.

When describing their work, directors often talk about their need to reveal the truth. In her narrative feature Losing Control, scientist-turned-filmmaker, Valerie Weiss, shows us how both science and filmmaking involve the pursuit of truth.

Film Journal: Navigating the Uncertainty of Post-Production

Valerie Weiss finds that trial and error can be scary when editing, adding animation, and mixing sound, but it can also bring the filmmaker’s vision, finally, to life.

In the edit room with "Losing Control" (photo by Peter Lago).

Filmmaker Valerie Weiss shares her experiences financing, planning, and producing her independent feature film, Losing Control, through a behind-the-scenes series. In this installment, Weiss writes about how she chose and collaborated with her editor, colorist, sound mixer, and others involved with the tricky but rewarding post process.

In my last film journal, I talked about the production of my feature independent film, Losing Control, a quirky, romantic comedy about a female scientist who wants proof that her boyfriend is “the one.” I discussed the trials of production—locations falling through, lack of sleep, and stretching an already

Film Journal: Survival Strategies During Production

While shooting Losing Control, director Valerie Weiss discovers that the right support system can trump location changes, technical difficulties, and anything unexpected.

Like mother, like daughter; Valerie Weiss on-set with her daughter. (credit: Robert Johnson).

Lights fall and break, talent doesn't show, locations fall through. The process of making a film can be stressful. So, as director Valerie Weiss points out, it's helpful to surround yourself with a supportive family—both on-set and off.

In my last installment of my film journal, I wrote about the importance of pre-production for laying the groundwork for principal photography.

Film Journal: The Importance of Pre-Production

Pre-production is one of the most vital aspects of filmmaking. In the third installment of her journal, Valerie Weiss discusses how she laid the groundwork for a successful film.

Filmmaker Valerie Weiss (L) with Miranda Kent (R), <i>Losing Control</i>'s lead. (Photo by Richard Salazar.)

Filmmaker Valerie Weiss shares her experiences of financing, planning, and producing her first independent feature film Losing Control in this monthly film journal. In her third installment, Weiss writes about the trials and triumphs she experienced during pre-production.

In my first two installments of my Film Journal for The Independent, I wrote about the philosophy behind the $200,000 independent film. In this installment, I will talk about laying the groundwork to make our film at this budget, the period known as pre-production, and how the making of Losing Control reinforced the film's theme that faith is more valuable than proof.

10 Most Innovative Animation Programs

The Independent highlights 10 of the best animation programs in the United States. Did your alma mater make the cut?

Ringling animation student Lindsey Olivares recently won an award for her film, "Anchored."

The Independent scours the United States to find the 10 most innovative animation programs the country has to offer. The schools on this comprehensive list were picked based on reputation, creativity, and where their students find work after they earn their diplomas.

Opportunities abound today for animators to contribute to film — both independent and mainstream — television, and games, but it is still a competitive field, and choosing the right animation program can mean the difference between pushing the animation envelope at studios such as Pixar and

Film Journal: The Making of an Independent Feature

Filmmaker Valerie Weiss presents the first in a series about the making of her first feature Losing Control.

Valerie Weiss shares her experiences of writing and directing her first feature "Losing Control."

In The Independent's new series Film Journal: The Making of an Independent Feature, filmmaker Valerie Weiss will share her experiences of financing, making, and marketing her first independent feature film Losing Control. Here, she discusses her inspiration for making the film and her method of fundraising.

Filmmaker Valerie Weiss will share her experiences of financing, making, and marketing her first independent feature film Losing Control in this monthly film journal.

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