FilmClick

The Gift Wrapper is a beautiful Christmas Tale and a truly heartwarming love story. Sweet and simple; old fashioned, even, like a cup of hot chocolate.

What led you to make this film?

I wanted to tell a story with as few words as possible to really explore the cinematic form.

What were some of the greatest challenges you faced in making this film?

Having a full time job while producing and directing it myself.

What do you hope an audience gets from your film?

A smile on their faces and a good old romantic sigh.

What do you get from your film?

Tremendous joy in seeing how much people like it.

Tell me about your Director of Photography and what they added to the film. 

My D.P., Rob Webb is a great friend and collaborator. We meet A LOT in pre-production and build together a cinematographic language for each piece. He is great in giving me all the technical solutions to my creative intuition.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?

Panasonic HD, the one that uses the P2 cards.  (I’m guessing HVX-200 here)

I’d use it again because it gives you great quality, it’s not expensive and you know you can shoot as much as you need to without going over-budget.

What other festivals is your film appearing in?
Please visit: http://thegiftwrapper.blogspot.com/

What was your goal when you decided to make the film?

Have a nice e-Christmas Card that would also serve as a good presentation letter for myself as a Director.

How much did it cost to make the film?

Less than $2,000.-

What are you working on now, or next?

Many many many different and exciting projects!!!! 2 feature films that take place in the US and 3 feature films that take place in Buenos Aires, my hometown.

What are your three favorite films?

I can’t pick three favorite films but I can tell you I was pretty devastated when Sydney Pollack died. He left behind such an amazing array of movies. I particularly love TOOTSIE and OUT OF AFRICA, two of the ones he directed and THE LIVES OF OTHERS, which he produced.

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

Follow your dreams and have hope, but, most importantly, DO THE WORK!!!! Go out there and SHOOT!

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

Hell, yeah!

Did you go to film school?  If yes, where and what did you think of the experience?

No film school, but I’ve been a film studious film-goer and lover since I was a little girl. I graduated in Advertising with a creative major in Argentina, my home country, and then took a course @ UCLA Extension as soon as I arrived in the US and took it from there.

What are some other films you have made?

Pump up your life (a spec commercial) and The End (a video art piece)

Which filmmakers have most influenced your work?

Nora Ephron, Giuseppe Tornatore, Sydney Pollack, Robert Benton, Alexander Payne and so many more…

What’s you motto?

Let’s go to the movies!

What’s next?

So many more festivals, Chris!!!!! Philadelphia First Glance, Santa Fe FF, Rockport, Orlando Hispanic, Tacoma Film Festival, Filmstock (UK) and counting.

“Bluff Point” is a six-minute thriller that explores the dark heart of desire and takes us on a headlong race to the further reaches of human frailty and madness. A perfectly crafted miniature, Bluff Point is dazzling, intense and totally unforgettable.’

What led you to make this film?
My partner Kieron Barry and I created this story from a series concept we were working on.  We worked for a year crafting a series and took that series to L.A., pitched it to many production companies and independent producers and ultimatley just didn’t get very far. 

We came back to Knoxville and evaluated all of our hard work and decided we should ave something to show for the time and effort we had commited to the project.  In the end we found an intrigueing short story within the confines of the series.  We extracted it and re-shaped it to work in the short film platform.

What were some of the greatest challenges you faced in making this film?
Funding is one of the toughest things for short filmmakers.  Because there really is no market for a short film, you basically have to go out and convince people that the film you are doing is worth supporting from a completely artistic perspective.  We had some luck and certainly found some people willing to contribute to our cause, but it was a very difficult process.

A couple more comments about this, first, I am not a fund-raiser.  I am terrible at sales and at cold-calling to ask for money, but ultimately I wanted this bad enough that I was willing to do jst that.  Second, there is a pretty good website out there called “Fundable.com” that all indy filmmakers should explore. 

What do you hope an audience gets from your film?
Our audiences have been limited mostly to people we know or friends of friends.  Secret City will be our first screening, since we are still in post-production we may still be tweaking the cut even after the screening. 

That said, we have gotten a great deal of postive reaction to our film.  People are taken by the work of our actors and the incredible job they did in their performances.  It is a real tribute to the amount of work they did as well as the depth they went to to understand their characters.  Real pros.

We also get a lot of people surprised with the outcome of the movie.  It is a real thrill to hear people gasp as the last scene closes.

What do you get from your film?
There are few things in life that are as satisfying as creating your own world.  You ask the creatures that live in this world to talk a certain way, look a certain way.  You plan and gather all of the resources to create the environment and then you see it all come together and work in symphony to tell a story that is close to your heart.  And you see all of these people rally around you and for just a moment in your life you think you have figured out why people do this and what that majis is that people tlak about in the art of creation.

Tell me about your Director of Photography and what they added to the film.
Tony Corapi is one of the most decorated members of our production community.  His reputation is well-established as one of the great shooters and no matter whether he is working on a big-budget feature or a small project like ours he finds way to increase the value of the film.  Kieron and I sat down with Tony early in the process and asked him to come along with us on this adventure.  He agreed, and then he stayed on me to make sure all of the bases were covered.  He is a general.  In the sense that going on a shoot is a bit like going to war, he is a general.  I was more like a lieutenant, wet behind the ears in comparison to his wise and effective style of leading.

Beyond his leadership, his eye and sense light and composition were spot on with my vision and he consistently blew me away with the final visuals and the richness they have.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera? If you had a choice, would you use that camera again?

We used a RED One camera.  We chose that format because it was touted as the latest greatest form of picture gathering in the industry.  It claimed to have an image that could compete with film on every level and even old school directors like Peter Jackson were out there making these claims.  In what is a very rare happening in my experience the end result has lived up the hype and there is no reason why I would ever use any other format going forward, film included.  The images, the motion, the workflow from post production and the flexibilty all made for a great experience.

What other festivals is your film appearing in?
We have high hopes, but have yet to submit to anything other than Sundance. 

What was your goal when you decided to make the film?
To make something that have rich textures and felt as big and real as any big budget motion picture from LA. 

What are you working on now, or next?
We have several short stories we are cooking up and have some new friends we made through this process that have projects they would like us to participate on.  Right now we are really focused on finished Bluff Point and then getting it out and in front of some audiences.  Right now it is really about follow-through.

What are your three favorite films?
13 Tzemeti, The Godfather, Scarface

Many of our users are just starting out; what advice do you have for aspiring filmmakers?
Just get out there and start doing whatever it is you are interested in doing.  Start shooting, start writing, start acting.  Just go for it.  Right now!

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?
I think the web is just another tool at the hands of the filmmaker and used well it can proprel a film and it maker into the stratusfere.  We will likely land there eventually.  Right now we are focused on the live experiment and really enjoy seeing peoples reaction to seeing it for the first time.  Nothing quite beats that moment.

Did you go to film school? If yes, where and what did you think of the experience?
I did not, although I did take some courses from Avid to learn to edit early in my career.

What are some other films you have made?
Static, a short film I made last year.  Perpetual War, an experimental I did last year as well.  I have about a dozen music videos I shot over the last half decade.

Which filmmakers have most influenced your work?
Coppola, Tarantino, Scorcese, Aronofsky, Fincher

What’s you motto?
“Pros play hurt!!”

“Hanging by a Thread” is a film about marriage from four different perspectives. There is the sitcom view- where differences are laughable, a glance at times in a relationship when there is a second chance with lots of promise, the marriage counselor’s view,  and the couple’s view in the midst of the turmoil.

 

What led you to make this film? 

 

Truthfully, making my first film, period.  I had been going through ideas over and over for a couple of years and knew I just needed to bite the bullet and do it-  just get the experience.  Then one day after a frustrating day with my husband, I thought how interesting it would be to set up a hidden camera and observe our interactions together, and quickly realized that there would be two sides to that and I might not like what I saw in myself either.

 

What were some of the greatest challenges you faced in making this film?  

 

Getting started.  Finding an idea I was happy with and getting the script to the point that I felt I could move forward.  Also, as a blessing and a curse, I am a very two-sided person, meaning I always have to look at point and counter-point.  That can sometimes mean I’m a little indecisive.  Consequently I wouldn’t always trust myself like I should, but I found that when I trusted my instincts it paid off far more than when I didn’t.

 

What do you hope an audience gets from your film?  

 

I hope they are able to look at themselves and not want to place blame on the other person in their relationship.  It is a film about seeing yourself from a third person perspective, and how that can change how we view ourselves and others.

 

What do you get from your film? 

 

I think one thing I see about it is the ups and downs of a marriage.  One day you feel like things are at their worst and then you look back and realize that there was a lot more hope there than you could see at the time.  So, I see hope.

 

 

Charity Battles 

 

 

Tell me about your Director of Photography and what they added to the film.  

 

We had two different DPs with different styles.  One was very slow-paced with an artistic eye.  He really liked for things to play out, which worked great for some of the scenes without dialogue.  He also shot the hand-held footage, and had very good instincts on when to push-in and pull back.  The other shot most of everything else.  He was a lot quicker-paced and prefered more coverage.  He handled most of our crane shots, which are some of my favorite shots in the film.

 

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?   

 

We shot on video, the Panasonic DVX 100A.  My producers had shot a film in 2006 using this camera and we were all very pleased with its look.  Also, we had access to the camera, so that helps a lot, but I’d use it again in a heartbeat.

 

What other festivals is your film appearing in?  

 

“Hanging by a Thread” had it’s first screeing at the All-American Film Festival in Durham, NC on March 8, 2008.  We are just now really beginning submissions though.  It will screen at Dixie Film Festival in Athens, GA on Oct. 4th, and I have submitted to about 10 other festivals at this point, most of which take place in 2009.

 

What was your goal when you decided to make the film? 

 

To get the experience of making my first film, to see if I could direct and if I had the ability to, and to get the film into festivals.  It wasn’t about distribution for me, it was about making those first steps to get me to a point to do a feature film in the future.

 

How much did it cost to make the film?  

 

It came in right under $600.  Fortunately we weren’t charged for craft services, which was a huge help.  This excludes festival costs.

 

 

What are you working on now, or next? 

 

I’ve had a feature film that I’ve wanted to write for a few years now.  I’m trying to do some research before I dive into that.  When it is written, I plan to shoot a scene or two before I jump into a feature.

 

What are your three favorite films?  

 

It is hard to pick just three, but three that really inspire me would be:  Life As A House, Fried Green Tomatoes, and Good Will Hunting.

 

Many of our users are just starting out; what advice do you have for aspiring filmmakers?  

 

Realize your limitations.  Don’t try to do it all.  If you must, find good people to learn from, but don’t spread yourself too thin.  Besides sometimes the more you do, the harder it is to be objective in what is best for the film.

 

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?  

 

HBAT is not, but we do have a trailer online.  Though I do think it is good exposure if you are cleared to do it.  We worked on a short film in the spring under a SAG agreement, which limits it’s exposure, but the trade off of working with professional actors is worth the restrictions placed on how you can exhibit the film online.  I also have some restrictions with HBAT based on music licensing, but I’m very pleased with the music and have no regrets.

 

Did you go to film school?  If yes, where and what did you think of the experience?  

 

No, I didn’t go to film school.  I’ve just tried to learn what I can from the talented people I am surrounded by.

 

What are some other films you have made?  

 

HBAT is my first, but my company, Coming Soon Productions, has partnered with BearHood Productions to work on a couple of short films, “Mr. Extion,” and ”LumberJacque.”

 

Which filmmakers have most influenced your work?

 

Penny Marshall, Cameron Crowe, and Robert Zemeckis.  I feel like all three of these have a knack for telling stories with heart, but humor.  They are great at finding those little human moments in life.

 

What’s you motto?  

 

I haven’t really thought about a motto, but I would probably say, there is alway a way.  There is always a way to make things better or make it happen.  You just need determination, a good attitude, a speck of talent, a little creativity, and to surround yourself with talented people.

 

Hanging by a Thread screens at the 2008 Secret City Film Festival on Sunday, October 12th in Oak Ridge, Tennessee.

 

For more info on the Secret City Film Festival, visit:

http://www.secretcityfilmfestival.com/index.htm

 

For more info on Hanging by a Thread, visit:

http://www.hangingbyashort.com/

Tell me about your film.
“This Bus, Every Day” is a short film about the meaning our memories can bring to our lives. It’s also about our perceptions, especially of the people around us every day, whose stories we may never know, but who carry the history of their lives deep inside them.

 

Why should people see it?

 

People who have seen this film often say that it has touched them deeply, and that it has opened their eyes to the hidden pains and experiences of others around them.

 

What led you to make this film?

 

I was traveling on public transportation, and took a good look around me. I looked at faces and gazed into eyes. I realized that everyone on that bus, the students, the elderly, the homeless, and me, all had amazing thoughts and cherished memories deep inside of them. I thought, “What if I could look even deeper and actually see some of these stories?” This film was the result.

 

What were some of the greatest challenges you faced in making this film? 

 

Although I had already written, directed and edited over a dozen short films, I was not very experienced with actually using a professional-level video camera. So I had to experiment quite a bit to get the look I wanted. No post-production visual effects were used to give this film its unique look. That was all done while shooting.

 

What do you hope an audience gets from your film?

 

I’d hope that people who see my film come away with an awareness that everyone around them, at every moment, has within them a rich and fascinating inner life, no matter what their outer circumstances.

 

What do you get from your film?

 

This film always gives me a renewed awareness of the inherent value of everyone in he world.

 

This Bus, Every day 

 

Tell me about your Director of Photography and what they added to the film. 

 

I was the DP for this film. It was one of my first attempts at shooting. A lot of the beauty of this film comes from my lack of formal education, an education that might have told me “that’s not the correct way to do it.” Without that sort of limitation, I am free to experiment and discover while I shoot.

 

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera? 

 

I borrowed a friend’s Sony Z1U one day and shot the film in 1080I 60 in one day. I had no idea what those numbers (1080I 60) meant at the time. That’s what the camera was set on when I got it.

 

If you had a choice, would you use that camera again?

 

Yes.

 

What other festivals is your film appearing in?

 

* 2008 Kent Film Festival, Kent, CT, USA- March

* 2008 Gold Lion Film Festival, Swaziland, Africa- Upcoming

* 2008 SNOB Film Festival, Concord, NH- Upcoming

* 2008 Long Island International Film Expo, LI, NY- April

* 2008 Estes Park Film Festival, Estes Park, CO- Sept

* 2008 Secret City Film Festival, Oak Ridge, TN- Upcoming

 

What was your goal when you decided to make the film?

 

To express my ideas clearly and creatively, in a way that would be moving and memorable.

 

How much did it cost to make the film?

 

$0

 

What are you working on now, or next?

 

I began shooting a trilogy of quirky short films this summer. The first, AMERICAN SHORT, has just recently been completed and sent off to festivals. The second, AMERICAN SAINTS, is currently in post-production. A third, film AMERICAN SAVIOR, is in pre-production.

 

 

What are your three favorite films?

 

LONE STAR, John Sayles

The Spirit Of The Beehive, Victor Erice

A Cigar At The Beach, a short film by Stephen Keep Mills

 

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

 

Surround yourself with people who know much more than you about filmmaking. Encourage them to bring their best to the shoot every day.  Listen, learn, and show amazing and honest gratitude.

 

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

 

Some of my films are available for viewing online. Sure, it’s a good way to get exposure. But it is just one of many. And, like all of them, the web has it’s share of drawbacks. One being that most of the big and better festivals do not want films that are available online.

 

Did you go to film school?

 

No.

 

What are some other films you have made?

 

I made my first short film, AND THEN THERE WERE NUN in 2005. It screened at more than 30 film festivals including the Vienna International Short Film Festival (Austria). Since then, I’ve completed a dozen short films that have screened at over 250 film festivals around the world. My films have also won a number of awards.

 

In 2007, I was awarded the FOUNDERS AWARD FOR THE ADVANCEMENT OF INDEPENDENT FILMMAKING from Keith McDaniel at the Secret City Film Festival in Oak Ridge, TN.

 

My film LOST & FOUND (2007) won BEST SHORT FILM at the 2008 Kent Film Festival in Kent, CT.

 

My film, SADIE TURNS SEVEN (2006) was my first “family” film. It has screened at over 70 film festivals on 5 continents, including the Rhode Island International Film Festival,  the Staten Island Film Festival, the Tiburon International Film Festival, the San Francisco  International Children’s Film Festival, the Gold Lion Film Festival (Africa), the Heart Of Gold International Film Festival (Australia), the Tirana International FF (Albania), the Swansea Bay Film Festival (UK), the Flicks International Film Festival For Young People (Canada) and the Short Film Festival of India.

 

My film, ALEXA, (2007) will screen at the 2009 SLAMDANCE FILM FESTIVAL in Park City, UT. ALEXA won SLAMDANCE’S Anarchy Online Competition in April 2008, and will compete for the Global Anarchy Award at next year’s SLAMDANCE.

http://www.slamdance.com/videos/products/07-12.html

 

Which filmmakers have most influenced your work?

 

John Sayles, Abbas Kirostrami, Victor Erice, Werner Herzog, Fassbinder,

 

What’s you motto?

 

Forget perfection. Be certain enough to move forward. Then, move forward.

 

This Bus, Every Day is screening at the 2008 Secret City Film Festival on Saturday, October 11th in Oak Ridge, Tennessee.

 

For more information on the Secret City Film Festival, visit:

http://www.secretcityfilmfestival.com/index.htm 

 

For more information on Todd Tinkham, visit:

www.tinkhamtown.com

www.tinkhamtown.org

 

 

“Veronica Always”, is a story of longing.  One character has a dream, the other has a memory.  Together, the possibilities are endless.  This is a magical little film that is touching and inspiring.

 What led you to make this film?

This year I decided to make four shorts.  This is the second in my tetralogy.  Anyhow, after visiting my terminally ill uncle in rural Texas I came upon this idea.  A senior in his twilight years, missing his wife, and a young woman with a dream to be a dancer on the broadway stage.

What were some of the greatest challenges you faced in making this film?

Finding the lead female, Laura.  She needed to be able to dance ballet and act.  It took a long time to find a wonderful dancer.  Fallon D’elisiowas perfect.

What do you hope an audience gets from your film?

I hope they enjoy the film.  I am told that it is touching, moving, andinspiring.  What I get out of the film does not need to be what the viewergets.  I hope they find something in it that resonates.

What do you get from your film?

I get a special feeling of remembering my Uncle Gene, remembering the great experience of shooting the film, and inspiration to be the best that I can be.

Nic Beery

Tell me about your Director of Photography and what they added to the film.

Todd Tinkham, another filmmaker, shot this film.  Todd brings a wealth of experience and ideas to everything he works on.  This year, I have shot his shorts and he has shot mine.  We make a good team.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?

We shot on the Sony EX-1.  Shot in HD.  I would use it again.  Light weight, great image, easy to use the footage in Final Cut.

What other festivals is your film appearing in?

“Veronica Always” is being well received.  It has been in the Revolve Film and Music Festival, Deep Fried Film Festival, and a few others.

Veronica Always

What was your goal when you decided to make the film?

I wanted to tell a good story and to try some new things, such as dolly shots, fog, night shots, shoot a dance sequence.

How much did it cost to make the film?

I spent about 500 bucks making this film.  It feels like I’m spending morethan that in submission fees.

What are you working on now, or next?

I am presently writing three more shorts, Judy Meatbahl, Frame, and Reel Hypnosis.

What are your three favorite films?

Buster Keaton’s “The General”, “spring, summer, fall, winter, spring”, and “Meatballs”.

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

Just go for it.  Remove any obstacles you have to making that first short. Yes, it costs a few bucks for food, gas, etc.  But you can buy a consumer HD camera at Best Buy for 400 bucks nowadays.  Make a short.  If it is no good, make another.  Keep doing it.  Most of the obstacles are mental.  You can do it.

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

Yes.  I think just getting your film out there is healthy.  Once I complete a film, it is not mine anymore.  I love constructive criticism.  It is how Iget better.

You can preview my short here:

http://www.vimeo.com/1668617

Did you go to film school?  If yes, where and what did you think of the experience?

Yes, I went to NYU for film.  I got a lot out of it.  But now I am getting more out of making films with my group of tech and acting friends.

What are some other films you have made?

I have made several shorts, narratives, and docs.  My doc on the musical act “the mad tea party” has been embraced on YouTube.  My other titles include “NightLife”, “Borderline Bonfire”, “Ted’s 12″, “Boy with the wet thumb”, and “I love my girlfriend”.

Which filmmakers have most influenced your work?

Buster Keaton, Spielberg, my friends who I make films with, Todd Tinkham, Ajit Anthony Prem.

What’s your motto?

Use your resources.

Veronica Always screens at the 2008 Secret City Film Festival on Thursday, October 9th in Oak Ridge, Tennessee.

For more info on the Secret City Film Festival, visit:

http://www.secretcityfilmfestival.com/index.htm

For more info on Nic Beery, visit:

http://beerymedia.com/Site/Welcome.html

Prism is about  woman who believes she has a stalker and has discovered who he is. Her psychologist believes differently and that this would stalker is a figment of the woman’s imagination. But the truth lives somewhere in the middle.
We tell stories of the human condition and if we can influence that condition in a positive way, we succeed as storytellers. (Jeff Delany JD)
Paul Izbicki: ‘Cause we worked really really hard on it for 48 hours?

What led you to make this film?

JD: Funny story. A group approached us about being part of their group to partake in a 48 Film Challenge. We did not make it in because the organizer of the challenge had emergency heart surgery and never received our request. Being lovers of film, we went ahead and wrote and produced the film in about the 48 hours we had already set aside.
Pi: Filmmakers endorphin addiction

What were some of the greatest challenges you faced in making this film?

JD: Editing. Indies do not have the luxuries of a whole lot of pre-production so we were limited as far as painting walls, secure studio space, etc. Color correction and audio was a bit challenging in all that noise (visually and audibly) that we had to overcome. The other was locations. Our motto: the sheriff’s department is 9 minutes away. SHOOT!
Pi: Communicating a complicated script. We hadn’t really collaborated before, so hadn’t developed the shorthand communication that comes with established teamplay. We’re almost there now!

What do you hope an audience gets from your film?

JD: A good story told with quality writing and filmmanship.
Pi:  I’m one of those arrogant types that makes films for myself and one other person; my ideal audience member. Bright, curious, and playful. Everyone else is welcome to come along, and hopefully they’ll enjoy the ride too.

What do you get from your film?

JD: Practice. It is good for filmmakers to do something to stay in tune with the craft. And to do it under such time restraints is ever more fulfilling.
Pi: Practice and self-satisfaction. Wait, make that personal satisfaction.

Tell me about your Director of Photography and what they added to the film.

JD: Paul Izbicki.  Paul bring s a ton of experience and know how but more than that, he is committed to filmmaking and therefore loves it like a dear family pet. His eye for beauty on film is amazing. He also had some lights.
Pi: Aw shucks. It was the lights that got Jeff. And my amazing skills with a reflector.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?

JD: DV. Panansonic DVX100. I own that camera for one and for another I love its cinema like features. Absolutely.
Pi: I own the same model as Jeff. I think that was what cemented my participation.

What other festivals is your film appearing in?

JD: Our film is quite new so we are in the process of shopping it around to different festivals.
Pi:  There are OTHER festivals?

What was your goal when you decided to make the film?

JD: To tell a good story, to execute the shooting with quality acting and cinematography, and to create a piece that left people asking all about it.
Pi: That, and the chance to develop our patent-pending “BBC Look” process.

How much did it cost to make the film?

JD: Two tubes of lipstick and a dip dish pizza.
Pi: The usual pound of flesh. That’s all indie filmmakers can afford.

What are you working on now, or next?

JD: As many filmmakers, the other 4 thousand scripts I have sitting on my desk.
Pi:  I’m still working on my original concept of cowboy meets spaceship meets princess meets Bond villain. Really rad. And I’ve got more!

What are your three favorite films?

JD: Hum. The Cabinet of Dr. Caligari (silent), A Clockwork Orange, and…It’s a Wonderful Life.
Pi: Dude!? Three? Impossible. How about influential? 2001, Blade Runner, Throne of Blood (or any classic Kurosawa), The Professional, the Wild Bunch, somebody stop me…

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

JD: Story board, story board, story board. Even if it is just a doodle of what you want to see on film, draw it out and try to stick to it. There is no greater frustration than wrapping a shoot and realizing what you forgot. And tell a good story. All the effects in the world can’t save a story-less film.
Pi: Do short shoots on weekends, to try out techniques. Read Rebel Without A Crew for inspiration, and the DV Rebels Guide for techniques. Steal, steal, steal-until you develop your own voice. Remember, stealing from one source is plagiarism, stealing from many is research.

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

JD: I have and yes and no. We need to protect our market so that we can make a living at filmmaking and not giving it away for free. It is good for those just starting out as a outlet for exposure.
Pi: Depends on your end objective. Web movies are good for exposure, esp if you have an advanced skill, like the guys who did “405, The Movie”, especially if you know it’s not saleable. Trailers for pieces you are shopping around are a good idea, trailers for projects for which you’d like to raise money are a waste, in my book. (Currently under development).

Did you go to film school?  If yes, where and what did you think of the experience?

JD: No
Pi: No, I made up all my bad habits myself, leading to a 25 year career as a Corp/Industrial Producer/Director. Now I teach them to others at a local Community College-Introduction to Independent Filmmaking/Guerilla Filmmaking

What are some other films you have made?

JD: DAS SPANDAU BALLETT, KnxVilGrl89, JUST IN CASE
Pi: You and Your Widget, and 300 similar training/motivational/Industrials. Rose (a 10 Hr FF entry)

Which filmmakers have most influenced your work?

JD: Stanley Kubrick, Tim Burton
Pi: Kubrick, Spielberg, Ridley Scott, Hitchcock, Peckinpah, Altman, John Huston, Scorcese, others, down to the subconscious level.

What’s your motto?

JD: Careful the tale you tell, that is the spell, children will listen
Pi: I hafta’ have a motto? OK, try this: Always learn from the mistakes of others. You won’t live long enough to make them all yourself.

What was your goal when you decided to make the film?

 

To stay as true to the story and the screenplay as possible, the obstacles of production can sometimes deny you those accuracies. For me it was all about making sure everyone cared for the narrative, otherwise I would not have of made it.

 

How much did it cost to make the film?

 

An arm and a leg.

 

What are you working on now, or next?

 

Well, a feature, that’s for sure. I can’t seem to write shorts anymore. I think I’m ready for a longer story to tell.

 

What are your three favorite films?

 

I’ll go contemporary here: Fear and Loathing in Las Vegas, My Own Private Idaho, I’m Not There.

 

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

 

Find funding, or use the money you were paying your school (it is probably a lot), go out there, make a movie. Whether you succeed or fail miserably, those are lessons you can not get in a classroom. And you can not learn story telling, if you can not tell a good story, find someone who can.

 

The Duel 

 

Have you placed your films online and do you think it’s a good

outlet for young filmmakers to get exposure?

 

I have, and it depends where you put it. Ultimately you want it in a festival.

 

Did you go to film school?  If yes, where and what did you think of the experience?

 

I did (The Art Institute of New York City), and it was not challenging at all.

 

What are some other films you have made?

 

Just shorts no one would know of.

 

Which filmmakers have most influenced your work?

 

It depends on what aspect. Most French or Italian directors have impacted how I see color and textures. Kubrick has been a big part of my structure and so has Quentin. I get successful sappiness in my stories from Speilberg. Like I said, it depends on the aspect of the integration.

 

What’s you motto?

 

Anything and anyone at any given time.

 

The Duel screens at the 2008 Secret City Film Festival on Sunday, October 12th in Oak Ridge, Tennessee.

 

For more info on the Secret City Film Festival, visit:

http://www.secretcityfilmfestival.com/descriptions.htm

Tell me about your film.  Why should people see it?
Rhett McLaughlin and I (Link Neal) have been best friends since we were seven years old.  On the first day of first grade, Ms. Locklear held us both in from recess for writing profanity on our desks.  That’s how we met.  During the summer of 2006, we decided to search for our beloved teacher (we hadn’t really seen her since way back when). We chose not to use the internet or the telephone, but instead to rely on face-to-face contact with people. Looking for Ms. Locklear is a documentary chronicling our search, which led us far from home and into the company of a host of characters. The movie prominently features the Lumbee Tribe of North Carolina, as our search led us to the center of Lumbee culture, Pembroke, NC.

What led you to make this film?
Even in middle school, we had dreams of being filmmakers.  So this is a dream come true.  Our friend David did 90% of the camera work.  We did pretty much everything else ourselves.  There’s a subplot within the film that tracks our hopes for the film, even as it’s being made.

What were some of the greatest challenges you faced in making this film?
It was totally unscripted–really an exercise in faith.  We really were committed to limiting our search to face-to-face contact with people.  What if all we found were dead ends?  What if the process turned out to just be plain boring?  The greatest challenge was mustering the courage to jump in the deep end, roll tape, and start looking for our teacher.

What do you hope an audience gets from your film?
A renewed sense of the value of a sincere conversation.  The value of giving time to people.  And, of course, an awareness of the cause of the Lumbee Tribe of North Carolina–their political struggle.

What do you get from your film?
Unforgettable experiences with the people we met, a refined passion for homegrown filmmaking.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?
We shot it all on two Panasonic DVX100’s (mini-DV).  Of course, we want to shoot in HD from now on.

What was your goal when you decided to make the film?
To complete it.  to make people laugh and cry.

How much did it cost to make the film?
ummm…gas money, miniDV tapes, meals, and time for 3 guys…maybe around $15,000

What are you working on now, or next?
We make a living through our comedic internet videos–through our website and YouTube.  check it out:
http://rhettandlink.com
so our film represents us giving up our bread-and-butter:  the internet, social networking, etc.
we’re formulating concepts for our next documentary now.

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?
No, we only released the trailer.

Did you go to film school?  If yes, where and what did you think of the experience?
No,  Rhett and I both have engineering degrees, actually.  Rhett, civil.  Link, industrial.  From NCSU.

Which filmmakers have most influenced your work?
Ross McElwee is one.

What’s you motto?
“just shoot it”

Leto follows the story of, Mr. Leto, a motel’s assistant manager who spends his days people watching and envying the lives of the motel’s occupants.  One day, Mr. Leto wakes to find himself in one of the motel rooms.  When he catches himself in the mirror, he discovers he has become the occupant of the room, his envious dream come true.  Yet as he begins to live out this new life, Mr. Leto discovers everyone has their vice.  I think people should see “Leto” because it’s said to be one of those films that you think about long after it’s over, in a good way.

What led you to make this film?

-We wanted to do a small film that encompassed a “one room” location, so we decided to focus on a motel room as our setting.  However as the idea grew, so did our location.  The film now spans several rooms as well as the motel exterior.

What were some of the greatest challenges you faced in making this film?

-The language barrier was our biggest challenge.  The people that ran the motel were foreign and their English was very plain.  They did not understand the methods of filmmaking and that made it extremely difficult in trying to cooperate with us.  However when the cameras were rolling, they enjoyed spectating

What do you hope an audience gets from your film?

-We hope the audience is entertained for twenty-nine minutes.  We hope they think about the film once It’s over, perhaps being able to relate to the main character.  We hope they would want to see it again to see what they missed in the first run.

What do you get from your film?

-We get the opportunity to tell a good story and have people see what we can create.

Tell me about your Director of Photography and what they added to the film.

-Matthew and Scott Pessoni:  twin geniuses.  Matthew sets the lights while Scott runs the camera.  Together they really added a very crisp look to the film.  They certainly set the film’s tone and overall mood.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera?  If you had a choice, would you use that camera again?

-We shot on High Definition with the Varicam using prime lenses.  I would use the Varicam again unless I wanted  a steadi-cam heavy shoot, in which case I would opt for something a tad lighter.

What other festivals is your film appearing in?

-The Dixie Film Festival in Athens, GA.  “Leto” is currently in contention for several other festivals as well.

What was your goal when you decided to make the film?

-We wanted to show people what we could do, what story we could tell. And like many filmmakers who bring their films to festivals, we hope someone sees the film who can help us take that next step.  In our case, the next step is a feature.

How much did it cost to make the film?

-$20,000.

What are you working on now, or next?

-I’m working on two feature scripts at the moment.  One is a mystery in the same vein as “Leto.”  The other is a horror/comedy.

What are your three favorite films?

3.    The Goonies- As a kid, the movie made me love movies.  Now as an adult, the movie makes me feel like that kid again.
2.    M. Night Shyamalan’s Unbreakable- Just a great story with great direction. It’s a superhero movie that gets to me every time.
1.    Chan-wook Park’s Oldboy- A Korean film that’s brilliantly twisted from beginning to end.

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

-Get a video camera, get your buddies together, and just make a movie.   You’ll learn everything you need to know by doing it yourself.  It’s trial and error and experimentation.

Did you go to film school?  If yes, where and what did you think of the experience?

-Nope.  My learning came from the streets.  Guerrilla-style was our way of filmmaking from the get-go.

Which filmmakers have most influenced your work?

-Jackie Chan made me want to make my first film.  M. Night Shyamalan taught me about subtlety.  Quentin Tarantino taught me about dialogue and not always sticking to the “narrative discipline.”  Chan-wook Park taught me to keep the audience interested.

What’s you motto?

-“It’s gonna be awesome!”

---

Want to do more with Windows Live? Learn “10 hidden secrets” from Jamie. Learn Now

People will say to me “so you and your wife are the ones who made that Abraham Lincoln film.” I have to kindly say no and explain that it is not a film about Abraham Lincoln. It’s a film about the over 160 men in 38 states across America who eat, sleep and breathe our 16th President. If you see our film expecting a history lesson, you’ll be disappointed. In the film, we follow Lincoln Presenter (don’t EVER call them impersonators!) John Mansfield as he competes in his first ever “Lincoln Look-alike” contest in Hodgenville, Kentucky, the birthplace of Abraham Lincoln. All his life, people tell John he looks like Lincoln, and now he wants to see if he can “be” Lincoln. With the help of veteran Lincoln Presenter Dennis Boggs, John finally has his big day. Will he win? I’m not going to tell you! See the movie!

Why should people see it?

First and foremost, folks should see our film, BEING LINCOLN–MEN WITH HATS because it’s entertaining. There’s a lot of serious stuff going on in the world and a lot of serious films are addressing those issues. But I truly believe that people need to come up for a breathe of air from time to time and just enjoy themselves. In my opinion, documentaries have an understood predisposition of being only about social issues, and that’s good, but if the medium and audience is to grow for the genre, festivals need to be more accepting of the lighter fare of some documentaries. Thank goodness for Secret City!

What led you to make this film?

My wife and Executive Producer Victoria Radford, is not only beautiful, but she is also brilliant. She wrote a book called “Meeting Mr. Lincoln” published out of Chicago by Ivan R. Dee. It is a collection of first hand accounts of people great and small who actually met Lincoln. In about 2005, TIME magazine wrote an article about the opening of the Presidential Library and Museum in Springfield, Illinois along with pictures of all these kooky Lincolns who came out for the opening ceremonies. She handed the magazine to me and said, “Honey, this would make a great story”. I had written and directed two short films, and being in Nashville and working in advertising, I’ve shot my share of commercials and music videos, but I really wanted to make a feature. A documentary was a great way to break into features where we could have more control. A good story is a good story, right? Having written a feature script, I wanted the film to have a tight story and structure with a beginning, a middle, and an end. We jumped in and never looked back.

What were some of the greatest challenges you faced in making this film?

The greatest challenge in making the film was getting people to participate. We hashed out dozen of story lines. I even considered myself as becoming a Lincoln! Vicki had nothing to do with that.

Money was a big factor. We have two children, jobs, and a mortgage and we didn’t want to put a strain on the family finances, but we wanted to own our film. The next film I make will have to be for someone else, or my kid will have to get a job to buy his milk money (for the social services folks reading this, that was a joke).

Also, our shooting ratio was about 10:1, so we shot a truckload of stuff. I could probably make a mini-series out of the out-takes. I traveled and shot every scene myself and I wished we had the money for a sound crew, so I think the sound could have been much better. I minored in photography, so if I had the time to light a scene, I would, but that was rare. More hands would have made my life much easier. Vicki couldn’t travel with me as much, because of our children, but she structured the interviews and came up with most of the questions. She is a real substance person, so I think that’s why we got a lot of good interview footage.

links.jpg

What do you hope an audience gets from your film?

I’m an open book. You can ask me just about anything. So, I’ll tell you this, I had a crummy childhood. When I was young, I would loose myself in a good movie when some really ugly stuff was going on in my life or family. If I entertain people, possibly move them in some way, or just help them kick back a little, that would be my mission. The real world happens off-screen, so the film experience needs to be an outlet for my audience.

What do you get from your film?

I love the idea of people taking time out of their lives to participate in something that came out of my head. That is extremely gratifying.

Tell me about your Director of Photography and what they added to the film.

I was the DP on my film because of budget, but I don’t think I entirely blew it. Even though my film was a documentary, I tried extremely hard to block and light the shots if time permitted. I was always looking for b-roll footage and I shot a lot of time-lapse. I thought the juxtaposition of the interviews and time-lapse sequences gave the film an interesting visual rhythm and helps pace the action against the dialog.

What format (film, video, hi-def) and camera did you use and why did you choose the format and camera? If you had a choice, would you use that camera again?

I do wish I had a full-blown HD rig and was able to shoot entirely in progressive frame instead of HDV. My Sony FX-1 (and a rental Sony ZU-1) was awesome, but the extra frame information would have been nice, especially in the blacks and shadow. Lincolns wear a lot of black!!!

What other festivals is your film appearing in?

We have been in a total of three festivals so far. A highlight for us was being chosen to be the opening night film at the Derby City Film Festival in Louisville, Kentucky. That is just 50 minutes north of where Lincoln was born in Hodgenville, Kentucky. We got a letter from the Governor! Sweet.

What was your goal when you decided to make the film?

We wanted to make a feature. We wanted to make it about something we know and love. We wanted to have fun making it since it was going to be a three to four year commitment.

How much did it cost to make the film?

I haven’t totaled it up yet. I have two 3-inch binders at home with all my paperwork and receipts in it, but I would guess we spent about $25K.

What are you working on now, or next?

I wrote a feature script called “Time of Death” that did really well in several screenwriting competitions. It’s a forensic thriller in my 7th draft (yes, 7 drafts) and I’m going to start shopping that around for representation. After that, I have a good 10 pages and extensive notes on a romantic-comedy that I’m dying to finish about the wonderful world of bowling.

What are your three favorite films?

That’s an unfair question, dammit! But, I’ll try…

Comedy: Raising Arizona

Documentary: American Movie

Horror: The Changling (That ball bouncing down the stairs still freaks me out!)

Drama: The River’s Edge

Sorry, that’s four. There are so many.

Many of our users are just starting out; what advice do you have for aspiring filmmakers?

Read Robert Rodriguez’s “Rebel Without A Crew” and go shoot something! Even if it turns out crappy, shoot something. Unfortunately, with filmmaking there is a huge learning curve with the “craft” of the profession. The sooner you get past the technical stumbling blocks, the sooner you get to hone in on your content and substance. Turn your computer off and go shoot something, now! Ultimately, you must have a good story. So read a lot, and write more.

Have you placed your films online and do you think it’s a good outlet for young filmmakers to get exposure?

I think the eventual medium/media for everything will be online. However, I am waiting for legislation to focus more on the issues of compensation of creative works online. But, I am definitely excited about the prospect of reaching international and possibly galactic audiences in cyberspace.

Did you go to film school? If yes, where and what did you think of the experience?

No film school for me. The year I went from Jr. College to a four-year school, they killed the film program. I was poor and I was going to school on a United Way Scholarship, so I couldn’t go to a specialized film school. But, like Kevin Smith, I’ve watch a lot of films! And I mean a LOT of films.

What are some other films you have made?

I have made two narrative short films.

PREMONITION. A man gets a premonition about his own death through prints made by an old Polaroid camera (I wrote this before I read the Stephen King short story “The Sun Dog”). Shot on Mini-DV.

THE VISITOR is about a young man in college who pays his last visit to his dying Grandmother. She has a dark secret she wants to tell him because he is her favorite. I shot this movie completely on film which was extremely expensive, but what an education I got doing it!

Which filmmakers have most influenced your work?

The Coen Brothers, Michael Mann, Katherine Bigelow, Michael Moore, Takashi Mike, so many. I think Buster Keaton was a genius.

What’s you motto?

Nothing is cheap or easy. But most likely, nothing cheap or easy is worth doing.

Being Lincoln-Men With Hats screens at the 2008 Secret City Film Festival on Thursday, October 9th in Oak Ridge, Tennessee.

 

For more info on the Secret City Film Festival, visit:

http://www.secretcityfilmfestival.com/index.htm 

 

For more info on Being Lincoln-Men With Hats, visit:

http://www.beinglincoln.com/about.html