FilmClick

The fest is wrapping up, and the award winners have been announced, but for the hundreds of filmmakers that make Sundance one of the world’s premier stages for emerging cinematic talent, this is only the beginning. The two-week event that yearly takes place in the idyllic ski town of Park City, Utah comprises programs in a variety of categories, including US and international, dramatic and documentary, with films screened in and out of competition.

Short Term 12

As Sundance has grown in recent years, high budget feature premiers have overshadowed many smaller productions, but for true cinephiles, often it’s the under-the-radar releases that make a festival great, and what could be more under-the-radar than the short films?

Short Term 12 earned this year’s Jury Prize in US Short Filmmaking. Directed by Destin Daniel Cretton and featuring a remarkable dramatic performance by fringe Hollywood funnyman Brad William Henke, this story set in a halfway community for troubled youth poses difficult questions about choosing to bring a child into the world. Lies by Jonas Odell earned the International Jury Prize.

Jerrycan

An Honorable Mention when to Chema García Ibarra’s unsettling Spanish short, The Attack of the Robots from Nebula-5, which depicts a young man’s attempts to warn his community of an impending alien attack, shedding more light on the relationships with his family and friends than on the aliens. Another mention went to a subtly complex film, Jerrycan, about an improvised boyhood masculinity trial, where a bully forces his playmates to light a fuel can on fire, causing a massive explosion. The film says much about the experience of childhood, proving that sometimes seemingly trivial events can be the most formative. It was directed by Julius Avery

Next Floor

But it’s not just the award winners that enrich these programs. Ten for Grandpa, written and directed by Doug Karr, is one continuous, compounded conspiracy theory. Knife Point is a visually satisfying exploration into the darker mindset of fundamentalist Christians, directed by Carlo Mirabella-Davis. Countertransference takes emotional therapy to hilarious new heights, and Next Floor is an incredibly elaborate allegory, with stunning production design, that warns of the dangers of an over-consumptive society.

For more information, please visit: http://www.sundance.org/festival

Written by Michael Lee, mlee@filmclick.com

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

 My short film, “Veronica Always”, is a story of longing.  One character has a dream, one 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 on my quadrology. (is that a word?)  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’elisio, who is 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, inspiring.  What I get out of the film doesn’t need to be what the viewer gets.  I hope they find something in it that resonates.  I have been told that it has inspired a few other filmmakers to use some shot ideas i used in their films.  flattering.

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 I can be.

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 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 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’s been in the Revolve Film and Music Festival, Deep Fried Film Festival and a few others.

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

I wanted to tell a good story, try some new things for me, 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 more than 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, food, gas, etc.  but you can buy a consumer HD camera at best buy for 400 bucks nowadays.  Make a short, if it’s 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’s not mine anymore.  I love constructive criticism, it is how i get 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 I am getting more out of making my films now with my group of tech and acting friends.

What are some other films you have made?

I have made several shorts, narrative’s 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.