Shorts Film Guide

SHORTS Filmmakers of Georgia

An official guide and collection of interviews for film students

S P R I N G ' 2 0

Introduction This curated guide is a set of interviews from filmmakers in Georgia, studied in Georgia, or from Georgia. The second section of this guide is tips and resources.

All credits are at the end, and content for each page has been formatted appropriately. This guide serves as a taste of local film and opportunities in Georgia.

Contents Pamela Perrine Lynn Appelle Thang Ho Rachel Kessler Philip Rakesh

FILM ISSUE 1

Student Section: Gillian Revoir Diana Garcia & Madeline Zimmer Jordan Anstatt Kai Yost Lorenzo Cooper Joel Myers Sarah Himes Guide: see section for tips and more!

Nicholson Feldman Weston Manders Rob Tiffin Stefanie Abel Horowitz Sarah Alison Hodges Matthew MacCarthy Alexis Nichols

PAMELA PERRINE: "ANGELS IN ROCKETFIELD" Explain Angels in Rocket Field. An inspiring, small-town southern story of a hopeless and

neglected boy, who forges an unlikely friendship with a famous rapper, through their mutual affinity to baseball. Why did you choose the setting and to base it in Watkinsville?

Several reasons, the mayor let me film at Rocket Field for free, Rocket Field has a lot of history and charm that ran parallel to the story, and it was close to much of the crew. What does it mean to be in GA and have local talent? It’s a great time to be in Georgia in this industry,

with production at an all time high, it makes finding crew and resources much easier. How did that contribute to this short? Well, first of all it's my home state, so it was very special to

me. It’s also important to support the film community in which I reside by shooting on location here, and hiring local cast and crew, if I can.

What other stuff are you currently working on?

Currently making its way on the film festival, The Journeyman, shot on location in Atlanta, in which I wrote and directed. It stars Jay Mohr, and features a song from Moby and Skylar Gray.

It deals with mental health. I’m really proud of the story, and hopefully, the impact it will have. Currently in pre-production is, Lunch Hour with the President, written by Frank Vespe, taken from his award-winning script, I directed this short, and it was filmed in Atlanta in March 2020. The trailer is out for both of these on Vimeo.

Where do you see your career in 5 years? 10 years? I hope to have directed at least one

feature film by then. I would also like to option a book, and adapt the story into a screenplay and make a feature. That is in the works, but very slow moving, legal stuff.

What do you like about being a director and being involved heavily in the art of a production (or a writer if that’s more your thing)?

I don’t really like producing because you have to be super organized and have so many responsibilities, that for me, it takes away from the creative process and can be overwhelming- especially when doing both. I’ve always written, so that’s just something I do like breathing. I love directing because I love being able to bring the story to life on film.

Capturing every detail, subtle or obvious, navigating the story with plot twists and surprises, ironies and messages that each audience member ponders in their own way, in their own heart. All this while upholding my cinematic vision and dream for that film. It is a blessing and gift for me.

What do you like about storytelling? Being able to create and then make a film that can

impact even one person, is very powerful. My goal through storytelling is to help make people more aware of important issues, usually family drama or moral dilemmas, by changing their hearts and reminding them that simple acts of kindness go a long way.

Do you have a favorite female director? Kathryn Bigelow What advice would you give to female film students looking to be successful and break the glass ceiling in a male-dominated industry?

Obviously studying, reading, researching and watching films, all those things are critical, but there is nothing like learning on set. You have to see the role and value of every crew member, and how they function in the production of the filmmaking process. Find a mentor or volunteer to work on a set for free. Also, film festivals are an amazing resource to meet other filmmakers, panels, Q&A’s.

Do you have inspirations for the films you create?

My son inspired Angels in Rocket Field, The Journeyman was based on a dream I had as a child, and Lunch Hour with the President, although I did not write it, is inspired by historical events.

What tips do you have to make a good short film?

Have a beginning, middle and end. Even though it’s a short film, it still has to be able to stand on its own like a feature. Also, it’s more likely to get accepted into a film festival if it’s between 8 and 12 minutes! Go make your film!!

LYNN APPELLE: OSCAR-WINNING DOCS How has UGA contributed to your body of work/career?

Well I did switch my career honestly to what my major was,(photography) but I got a nice art education that opened my mind to many people and places. I love to travel because of it.

And have always loved Art. We had an art history teacher back then (geez believe his name was Mr. Lattis or was he a dr? Maybe you can find out his name…he teaches art history, it's possible he passed away recently. ). He was a wonderful teacher and all he did was inspire us. He made us want to travel and see the master paintings…And I did do photography for awhile, but that was sort of short lived.

You are one of two UGA grads to win an Oscar. How did it feel when you won that Oscar?

Ah well pretty surreal. I would def say it was an out of body experience and honestly I don’t know that I processed it for a few years. It wasn’t anything I was ever wanting or going after.

Tell me about your shorts and other work.

I don’t do that many shorts in term of short form. Mostly narrative Independent feature were most of my projects. But I’ve been fortunate to dabble in TV shows, comedy specials, docudramas, commercial and a ton of music videos when I first started out...def a variety.

What’s some advice for current UGA film students and creatives?

Well I am all for going for your passion. I got a BFA in Photography, and it was something I loved since I was 12. So I went after my passion. Film just came by chance after I graduated and moved to Atlanta. Once I started in it I just fell in love. It's not an easy path though as a freelancer, which I am. Which isn’t for everyone. I am just fortunate enough to find a path I really love. I am not as creative as I used to be, now as a Line Producer I deal with budgeting and keeping the project on time and budget, hire crew and keep the train moving so to speak but I love putting teams together and giving the director what they need for their vision. There is something very gratifying about it.

What’s your opinion on being a female creative in the industry right now (sexual harassment, pay gap, voice, Oscar coverage, etc)?

I mean I totally support it. And excited to see so many women at the helm and getting projects off the ground. When I started as a camera assistant in 1991 in Atlanta, there were 3 female camera assistants out of 13-15 total. It was a smaller film community of course. But that's sort of nuts compared to now. And I’m not sure it was harder or easier for us or not.

Honestly I never felt it, although I did see harassment sometimes. But it was rampant in all businesses…We still have a long way to go for women to be in some crafts positions. I think harassment on a total is a big issue to tackle. We are chipping it away slowly. Studios are recognizing it as well as all businesses, not just film/tv. The first is training which I believe is getting implementing and of course changing old regimes…The old is out. Times are def changing, but it will take a generation to most likely do this. I mean this is such a big conversation, but its good to be constantly asking and talking about it. Let's see how the next five years go.

Do you have any film recommendations of your own? What should everyone be watching during quarantine?

Oh dear. So many things to watch. (I do watch a lot!). All the Indie films you always wanted to and documentaries…There are many to choose from. I would go through AFI’s 100 best film list. It’s definitely an education. I have enjoyed going back and watching the whole 7 years of West Wing. It is a master class overall from Aaron Sorkin. Just amazing. But now I’m stuck on Ozark (filmed in GA), The OA (very bizarre), Russian Dolls, Handmaids Tale, Walking Dead (filmed in GA) and so many others. Now I needed something sort of light so

I’m doing Downton Abbey. Had never watched it.

THANG HO: HOCA STUDIO Can you explain the origins of Hoca Studio, what you envision for the media industry, and the kinds of films you make?

[I] founded this company four years ago in 2016. I was a Boston student doing freelance photography. My friend who is a talented graphic designer who put the brand and logo together. I then moved to Atlanta to study at SCAD for my Masters. I met colleagues, six people working in different arenas, which support in areas that they're strong in and I get to learn in different ways. We started a production company with turning projects into video (commercials, music video, wide range). We envision [like] A24 as a distribution company. We focus specifically on the production side and need help with distribution.

What got you into filmmaking and/or storytelling?

There's not one factor. I did photography for a while which got me into cameras in general. In 2014 or 2015, I watched blogger Casey Neistat and started blogging essentially when traveling around the world. In 2017, I did my first film. I had to for applying to film school to try it out as an international student. I fell in love with filmmaking, didn't know that when I signed up. It's bigger than yourself and you learn so many different things.

There's different ways and things to make something, a story to encapsulate experience and transform to audience experience. That experience never stops.

What has been the best/your favorite short you’ve had so far? Why?

Very hard question to answer. It's a diplomatic answer but it's how I feel: every story and part of film is different and that makes it special. I got to learn from somebody in the Bronx last year; it was also wonderful to film in New York. In Caretakers I used sci-fi special effects, visual elements, and re-shots of scenes. It was a huge learning curve. It was a wonderful learning experience and I met some of the most awesome people on that set too. Vanilla Milkshake was a personal story about sexuality. What's After was a SCAD TV sponsored pilot; we picked a director and I worked with the people after. Bilbo and the Last Living Cow was the biggest and one of the most hardest things we ever done. I

hope it is the best thing we have ever done. There's been so many amazing things, but if I had to pick, it would be that.

What’s your favorite part of filming? Of having a studio?

Meeting and learning from people. It's a selfish reason but to have a voice. To make something that tells stories of people’s experiences, it's a privilege to touch one person. I don’t want to go back to the other place where I didn’t like what I was doing.

Where do you see Hoca Studio in ten years and the role of GA in film?

Successful I hope! Hoca's goal is to be a film production place but in Georgia, a production company in Georgia. Georgia is a big film production state, but they are hiring above the line from California. The production is here but not the hiring. We're modeling ourselves as a grassroots production of creatives (web series, festivals, distribution current with content). We want to build a brand of Georgia production - independent films with commercial success (that's our hope) modeled after A24 and Annapurna Pictures. We're also into music videos and and music artists, channeling departments of creatives. The big word here is "community." Production is so much a process You can never do it on your own; there's so many different roles. If you have the right content, find people who have the expertise and build that community and distribution, that kind of production.

We're still trying to figure that out. The majority of our goal for the production company is to have a stance that builds a community of people with expertise, a production that is here and not hiring above-the-line in California. We don't want to put money where people aren't valuable, where there's not a track record. It's a business that can't do everything. We need partners that are valuable and are assets.

Do you have any tips for current film students?

One, don't go into the film industry expecting gratification. It's a long game. Be patient, hone your craft, get good at it, and make it somewhere. This generation is used to things happening really fast and it can bring people down when it doesn't happen. The trifecta is obviously true: talent, good work ethic, and have to know people. If you have two of these things, you will be successful. You can get a network, etc. You can't compete in talent so work hard and compete in work ethic. Respect and build relationships with the community you have and their benefits, who care about you right now. They're giving you jobs and who will remember you first. Treat people around you well, respect their time, and collaborate with them in art. Leave the ego at the door. But to be a devil's advocate: know your worth.

*Taken from a Google Hangout conversation

That's him!

RACHEL KESSLER: "20 BAHT" Talk to me about “20 BAHT.” It’s a tough topic that not a lot of people know about, and one about humanity that needs to be discussed. How did it start for you and what’s the meaning, what you want the audience to know from the short?

I was on vacation in Bangkok when I noticed children, many as young as five, selling roses to tourists on this party street called Khaosan Rd. What caught my eye wasn’t the children, but the adults. Many of the patrons on the street were Western, and everyone seemed so comfortable with the situation. They were drunkenly playing with the kids, happy to take part in a transaction that seemed so obviously heartbreaking to me. So I started asking questions. It didn’t take much digging to find out that many of the children were victims of human trafficking. And the film took off from there. 20 BAHT is about a small purchase with a far reaching effect. Hopefully after watching, the audience will think more carefully about their own footprint on the people around them.

What other things have you been working on recently?I’m currently working on the second

draft of my feature film MINK’S HOLDUP. It’s a heist film that takes place in an alternate reality.

The world in the movie is essentially the same as ours except that social status is based on a binary -- people are either zinis or zobos. Zinis (who are perceived by society to be better) have a mark on their right cheek. Zobos (who have lower social status) do not. The main character, MERY, is a zobo who gets caught up in a heist of this stuff called Setter Ink that’s incredibly valuable in the world.

What’s been your favorite and least favorite thing to make?

I love making music videos because there’s so much freedom to play both visually and narratively. Least favorite...hmmm...while this may seem funny given that we are talking about 20 BAHT, I have trouble with short films. I think because I often want to explore rather expansive

ideas that I have trouble condensing into short form.

How did you get into the industry?

I was a History major in college, and for my final independent study I made a documentary about my grandfather. After that I was sold on the idea of becoming a filmmaker. I lived abroad the year after graduating in 2013. During that time I made 20 BAHT, and since then I’ve tried a lot of different things to see what fits. I spent some time in the documentary space, and then in 2015 I worked on my first narrative feature as the grip intern. I’d never considered working in lighting before, but I loved it. I spent a few years doing lighting on everything from feature films, virtual reality, to commercials, to fashion photography. Now I currently work at a company called honto88 as a Director/Producer.

What’s some advice for film students trying to create short films for a living or wanting to use film to discuss social issues?

My first piece of advice would be to not try to make a living off of short films! Haha. That said, using filmmaking to discuss social issues is very doable. So many places need visual content. You can make videos for newspapers or organizations, and there’s always branded content. It’s a very good time to have filmmaking skills.

What can audiences learn from films and storytelling? What does it do for social concerns?

One of the definitive things we know about people is that we all need stories. We need stories to make sense of the world around us, to understand ourselves, and to engage with one another in meaningful ways. There’s a lot of power in that. I think it’s important to be mindful of the narratives we create as filmmakers. At its best our work can contribute to growth and self reflection in the hopes of making the world more tolerable and just. At its worst our work can be used to fuel fear and entrench stereotypes and misinformation. I try to create the former.

Who is your role model? Toni Morrison What do you want people to know about your work?

It’s ever evolving!

PHILIP RAKESH: "SAY CHEESE" Talk to me about “Say Cheese.”

Say Cheese was my first project after I moved from Singapore to

Atlanta. I spent my first year in Atlanta writing a lot. Everything I wrote needed a bigger budget. So, I wanted to write something small, that can be shot with a skeleton crew. I also wanted this project to be an experiment in holding the audience’s attention by giving them only very little information and finally delivering a film that’s suspenseful and thrilling. It was received well in many local film festivals and was also a part of a Horror Anthology screening at Landmark Midtown theatres. It was also nominated for multiple categories.

What else do you have in store recently?

I’m currently in post-production on my next short film Auteur. I work fulltime as an Animator and Previs Supervisor. So progress has been a bit slow. Once again, I wanted to do something even smaller and quick than Auteur. So I ended up doing an experimental, onetake, action short film A Secret. Here’s the link, https://youtu.be/Au81LLhgoeo What would you like to do with future productions or studio work? I’m leaning more towards web series. I have a Hard Sci-fi

project and a Masked Vigilante project that I’m hacking away at right now. I’m really careful about not being pigeon holed. So I try to work on different genres. Trying to outline a comedy as well. A mix of the show Atlanta and Fleabag. Fingers Crossed!

Why did you want to become a filmmaker?

I started wanting to be an animator. After my first few years in the animation industry I got really interested in storytelling. I started working on Assassin’s Creed and immersed myself in narrative storytelling, and that led to me getting into live-action stuff.

What does it mean to work in Atlanta and use local talent and local industry? What does that contribution mean to you?

Atlanta has given me everything that I need for my filmmaking career. Great pool of talent here. If I decide to make a movie this weekend, I’ll be able to get an amazing cast and crew in no time.

People with great attitude and passion towards filmmaking.

If a movie was made about your career, who would you want to play you?

Myself! Haha Just kidding. I feel safest behind the camera. It would have to be two amazing actors from the Indian Film industryDhanush or Vijay Sethupathi.

What advice do you have for students working on a short film?

Make the movie as if this is the last one. But finish it like you have 10 movies waiting to get started. It’s also an advice for myself as I always keep tweaking the movie in post-production and spend a lot of time.

What does working on a short mean do to help with learning or contributing to an industry? For me it means finding my voice,

honing my skills, and a lot of experimentation. I’ve always said that if you don’t know how to make a good movie with 500$ you’ll never know how to do it with $50 million :) Who inspires you in the industry?

A lot of people and it keeps changing every season. But people who have always been consistent are David Fincher, Paul Thomas Anderson, Quentin Tarantino, Selvaraghavan, Anurag Kashyap.

NICHOLSON FELDMAN Talk to me about your short “Candid Life of a Toothless Buckshot.”

In my last year of college, I met a few guys through a new job who happened to go to my school, Georgia State University. Typically, I spent more time to myself, but these guys quickly turned into friends, and I started spending a lot of my time at their apartment. Our sense of humor was very strange, and very stupid. But they had a lot of quirky habits, like long sips of coffee with intense eye contact, or running into a pantry and slamming the door as if it was their room.The more I hung out with the guys, the more I grew into their sense of humor, and eventually, it was finals season. I had to create a short film for my fictional production class, and I had no ideas, so one night I just sat down and started writing about my friends. ’Im not going to sit here and claim that my film is a masterpiece, even if I do so jokingly. in truth, I drew inspiration from my friends to create a sort of mockumentary on them, and then convinced them to act is out for me. Toothless Buckshot (Ross McWaters) is what I called my closest friend in the group, derived from his broken front teeth and his love of his shotgun. When I screened my film at the end of the semester, my film professor watched it with his mouth wide open for the whole ten minutes, as it makes almost no sense to anybody who isn’t my friends or I. Although, I submitted it to my school’s end of the year film festival, and miraculously, it got into the finals.

What are your favorite and least favorite parts of filming?

Both my favorite and least favorite parts of filming must have been working with my friends. While I cannot imagine that my film turned out any other way, and while I love how much of a time capsule that film is to us for life, they are the worst people to direct. They didn’t act the roles, they were the roles, so not much directing was needed, however they spent most of the hours filming either at each other’s throats or just yelling nonsensical jokes. It is truly a miracle that the film was ever shot.

Do you have a favorite short film?

I do. I have many. If I had to choose, I would say it is, “The Piano Tuner.” I love foreign films, and I love quirky ideas that escalate. “The Piano Tuner” is a true masterpiece of a film, in terms of story, score, editing, and filming.

What else have you been working on recently?

Since I graduated, I have been focusing on my career as a Director of Photography rather than a Director. One of the guys in my short film, Toothless Buckshot himself actually, took a liking to film after the filming of “A Candid Story.”

There is a sort of artistic flow in physically capturing your image and having your footage be chemically created rather than using a fancy hunk of wires with a red button to tell your story.

My two most recent short films, “LIMBO,” and “Another Sunday Morning,” were shot on 16mm, one of which will be screened in this year’s Kodak 100ft of Film Project.

What does it mean to be a local in GA shooting short films? What do you think of including local talent?

Being a local GA filmmaker means much more than people give us credit for. Yes, our state is booming in productions, and the industry has given so many jobs to those who are willing to spend the long hours on set, however, we are still controlled by those who bring their talent from LA. Directors, big time actors, and Cinematographers all come from LA to use our tax incentives to shoot here, and then fly right back home to reap the rewards.

While I think it is great that we have been given this opportunity as a community to grow in the industry, I think we are ready to grow out of Hollywood and become something new, something independant. My friends in New York and LA tell me I live in “Y’allywood,” but I feel like we have more to offer the world than what Hollywood has let us.

Are there any GA influences in your work?

There are not many GA filmmakers that I can say really influence me. A lot of what I see coming out of Atlanta right now are recycled stories that feel like broken records. One filmmaker that I can say has been a true mentor to me is Robbie Land. Robbie taught me the basics of film in my first years of college, and then the more complicated steps of shooting on film. His work pushes boundaries, and he is the one who told me to never stop making films. Robbie shows students that you do not need fancy camera equipment or a big budget to make something that matters. His work speaks messages with all sorts of experimental styles.

When you come to a creative wall, what’s your inspiration?

If I’m being honest here, I turn to a healthy conversation with my close friends. When I cannot think of a new way to turn a story, or an interesting angle to get a shot from, I open up to my creative friend group and they talk me through it. We benefit off of each other, and there’s no weakness in boosting each other’s art and helping each other through a story.

What tips do you have for students starting out in film?

Be original, push yourself, and never stop making films.

What kind of equipment do you like for making short film?

For digital filmmaking, I use Nikon cameras. This is a touchy subject for anybody who shoots, I cannot tell you how much people tell me I should switch to Sony or Canon for video work, but the truth is that your skill comes from you alone, and no brand can really make you better or worse. Nikon’s have a color science that I really enjoy, it has this contrasted filmic appearance that I love, and so I have been using a Z6 since it came out.

For celluloid I have my trusty Bolex H16 that I will have until the day I die. I bought mine off of a filmmaker who had recently passed away, and she had used it since ‘65. It is the workhorse of the industry when it comes to affordable 16mm cameras.

I always use vintage lenses, regardless of my budget. Old glass is extremely sharp and affordable, and you can even send some of your vintage lenses to a company to rehouse them for cinematography!

WESTON MANDERS Tell me about your shorts!

The American South is forever and always my muse. This region of the world is dirty and mean and beautiful and complex and rich in texture and its people are unafraid. This is what I want to bring to the short films that I make. “My Mother When She Was Younger” was my graduate thesis project where I recounted a story my grandfather told me. And then I added a few dreamy elements of my own to highlight the layered nature of memory. My most recent piece , “I Ain’t Leavin”, shows a backwoods family surrounded by mystery and hardship as told from the lips of a twangy fella in a rocking chair. Day to day, I run a corporate video production company called Loud South. With my business partner and Director of Photography, Caleb Courson, we interview Civil Rights leaders, executives, and everything in between to tell the story of a particular organization. Even in the structure of corporate video, it is story that is most important.

What’s your favorite part/role of filmmaking?

Whatever piece of the filmmaking puzzle I am putting together in the moment, that is my favorite part. I love the entire process so much.

Concepting, storyboarding, writing, renting gear, packing the truck for the morning, setting up the Nature Valley bars on the craft services table, framing a shot, offloading the footage at the end of the day...I love it all. Each day on set is a blessing and I always have this clear feeling that I am where I am supposed to be. I personally gravitate toward directing and editing because in those positions I feel like I get to affect the creative vision in the best ways.

What does storytelling mean to you?

I wish every single person was able to sit down and write out the story of their lives. Imagine what we could learn from each other if we treated everyone’s life as an interesting narrative with rising and falling action.

Characters drive story. And we are all characters.

What’s next for your career?

I am working on a documentary that showcases visual artists across the South as humans who live mundane lives and say regular things. Art is a powerful thing and I am excited to be around so much of it in the coming months.

Can you think of a title for a short film at random?

Smashin’ a Whole Bunch of Mama’s Plates” (now I kinda wanna make that piece...)

Does being from GA/working in GA influence your work? What’s your opinions on local talent and film?

Georgia is my home. I have known no other. So I am a bit biased, but I believe this state is full of opportunity to grow. Atlanta is truly a city that welcomes business and encourages entrepreneurs. And there is so much natural beauty to be enjoyed here. I think anywhere that allows for you to make a living and also find fresh air and moments of peace is a place worth an investment. There are dozens of talented, hardworking folks here.

There are artists and technicians and writers and craftspeople all ready to put in the hours it takes to tell stories full time. In Atlanta, I am surrounded by filmmakers who inspire me. It seems like I can’t go a day without a new piece crossing my feed. And that makes me want to work harder.

Who is your film inspiration?

The Coen Brothers will always be at the top of the list for me because they were the first to show me how gritty and funny popular movies could be.

Right now, Donald Glover is probably my idol. He is a Georgia son who started with YouTube videos under the Derrick Comedy moniker back when I was a kid. I was able to follow his career through his writing on 30 Rock and now to the reputation he has built with his music projects and of course with Atlanta. I like folks who refuse to stay in a lane or be defined by any parameters.

For a student needing experience working on a film set, what suggestions do you have?

Show up. When your classmates and friends say they are shooting something over the weekend, be there. You’ve got to make about 20 pieces of crap before you make one that you’re proud of. Do not ever show up on my set thinking that you know it all. I personally respect folks who are willing to learn. Don’t ask “what can I do?” a bunch of times. Just listen and anticipate the needs of the crew around you. And try to solve the problem in the most resourceful way.

How would you describe an average person working in film?

My professor at GSU Ly Bolia told us that resourcefulness is the best trait a filmmaker can have. I agree.

ROB TIFFIN:"SELFHELP" AND "SERENADE" Tell me about your shorts! What’s some of your favorites and what’s their origins? What do the stories mean to you? The shorts I've made have been in

collaboration with my partners Ben Lamm and Mitchell Hardage. We usually make things that are pretty grounded in our own experiences or the experiences of people we know. If something catches our attention we will develop the story into a short. My two favorites are Self-Help and Serenade.

What are you working on next?/What do you envision for your work in the future?

The future is uncertain. I recently made a micro nature documentary (The Puddle) that I shot in Athens at Sandy Creek Nature Center. It got into a few

festivals, so maybe I will make more things like that.

What does it mean to work in GA (“Yallywood”) and have local talent?

Georgia has an incredible depth of talented local cast and crew. We started making movies here before the tax credit and the production boom, so it has been wonderful to watch the growth. There are so many incredibly talented people in this town and we have been very fortunate to work with a few of them.

What got you into the industry?

Two of my biggest influences are Larry Holden and Hanne Kristiansen. They were independent filmmakers that took the time to really help me out when I decided to start making movies. Both of them have passed away unfortunately, but everything I do is informed by them in some way. I watch tons of movies and have also been inspired by lots of other filmmakers. Here are ten of my favorites: Caveh Zahedi, Lynn Shelton, Elaine May, Abbas Kiarostami, Sam Raimi, Shane Carruth, Harmony Korine, Greta Gerwig, Chloé Zhao, Aki Kaurismäki Make up a title for a short. Hogma What advice do you have for film students to make it in the industry?

We put a great deal of time and effort into our films, but they are all self-financed passion projects. We all have day jobs and do not make a living off our work. So I am not the best person to ask how to make it in the industry. Having said that, I have had great success getting help and encouragement from filmmakers doing what I wanted to do after I reached out to them. So get in touch with others doing what you want to do if you can, most people want to help.

What equipment do you like for making a short? Art tools, aesthetics, camera, etc.

Whatever gets the job done. I haven’t shot a movie on a phone yet, but have no doubt I will at some point.

STEFANIE ABEL HOROWITZ:"SOMETIMES I THINK ABOUT DYING" Tell me about Sometimes I Think About Dying.

It’s based on a play I made from 2013. Katie (plays Fran) and I adapted into a short film. We made it in May 2018, and went to Sundance with it and a bunch of [other] festivals. For me personally, I’m interested in work about how we can connect with one another. Fran has a lot of walls up about connecting and vulnerability and moving through that, but I'm always interested in storytelling abilities. Katie was more interested in mental health; but, also me too because of my father being a therapist . [There's] a variation in psychology; [we're] all depressed in some way.

What other things have you worked on and what's been your inspirations?

I have a background in theatre. I've wrote a lot of plays and worked on one short before this. The play was very specific to this project and to tell the story well.

Talk about the Georgia connections.

We made the short in Maine. [It won] for local film in Georgia and was in the "Emory Highlights." I started it with a friend from Emory, and after that, Emory people were working on it. It had seven people from Emory who graduated ten years or more previously.

What's your upcoming or recent works?

I'm continuing to rewrite the feature version of the short, hopefully to be made soon this year. I'm making another short this year.

Do you have any tips for students or advice about short films?

Make a lot of mistakes. It's a long process of growing up before you know what you're doing at all. Don't try to use too much money. . . it's disheartening if it doesn't get made. It's all about the experimentation . . . room to screw up."

*Taken from a phone conversation

SARAH ALISON HODGES: "CRITICAL CROP TOP"

So, I found your website “Critical Crop Top Media” and loved it. Could you tell me the background/origins? What have been your favorite short films you have made and what do those award-winning comedy sketches say about you? Critical Crop Top Media was founded by myself, Nicole Kemper, and

Hillary R. Heath in April 2016. We had been working at a local theater together for three years by that point, and felt that we wanted to branch out and do our own thing. The three of us set out to be a collective of artists - especially artists whose stories weren’t being told in mainstream media, such as women, nongender-conforming people, and people of color. We worked together to make short films, produce live sketch shows, and create podcasts. We wanted to focus on comedy and feminism in the beginning, and that is still our primary directive, though we have recently opened our interests up to other types of work. We have been self-funded for the most part, though we have run crowd-funding campaigns for specific projects.Since 2016, we have made 8 short films, 2 web series, produced 7 live sketch shows, and created 2 podcasts. The short films we are most proud of include ‘Dick Pic Professional,’ ’80’s Dating Video Remix,’ and ‘The Parts That Stay.’ ‘Dick Pic Professional,’ written and directed by me, is about a woman who becomes a professional dick pic photographer because the dick pics she has been getting are not up to par with the kind of high-quality photos that she is capable of taking. The film is in mockumentary style and was inspired by a real-live woman who dresses penises up in costumes and takes photos of them. We do not have full frontal nudity in our film nor any actual dick pics, but it is still not safe for work. ‘DPP’ has won two awards to date - Best Local Comedy Short at the 2018 Atlanta Shortsfest and Best Mockumentary at the 2019 Women’s Comedy Film Festival in Atlanta. While ‘DPP’ is silly and raunchy, it is mostly a social commentary piece that tackles the strange social phenomenon of men sending women dick pics. It not only makes fun of the men who take the pics, but also of millennial and social media culture and the types of artists who engage in art that is both for a cause and is at the same time self-indulgent. I think it is representative of my weirdness and my fascination with psychology and social dynamics. It has strangely gotten the best reactions from men, even though it shamelessly makes fun of and objectifies them.’80’s Dating Video Remix’ was written and directed by Nicole and Hillary. It was inspired by a viral video called ’80’s Dating Video Montage.’ The montage features clips from real dating videos of men in the 1980’s. It is absurd and quite misogynistic. In ’80’s Dating Video Remix,’ Nicole, Hillary, 6 other women, and I dress up as men and repeat the most cringeworthy lines from the original montage, an act which drew more attention to the sexism in the men’s statements. This film was included in several southeastern film festivals. It is another project that shamelessly makes fun of men and points out the troubling nature of how women have been viewed in our society.‘The Parts That Stay’ is our most recent film, written by Nicole and directed by me. It was written 6 years ago in a writing workshop. Nicole and I have always wanted to produce it, and we finally did in 2019. The film is about two sisters on the day of their mother’s funeral. They look into the casket at their deceased mother and discuss their relationships with her and how each thought the other was the favorite. It is poignant, touching, and also has quirky humor.

This is a film you can’t find on our YouTube channel yet, because it just entered the film festival circuit. We are waiting to hear back from festivals in the next few months.Our podcasts are ‘The Feminine Mistake Podcast’ and ‘The Georgia Made Podcast.’ ‘The Feminine Mistake Podcast’ was created in January 2016 and it was co-hosted by Nicole, Hillary, and me, and always featured a different special guest each month. We watched films at least 20 years old through a feminist and comedic lens and discussed how women are portrayed in them. We had a segment called Nervous Breakdowns in which we read sexist, racist, etc. casting breakdowns. [Casting breakdowns, in case you don’t know, are public calls for actors to audition for film projects. Each includes a description of the project and individual character descriptions. So many of these are problematic. Listen to the podcast to find out why!] We had another segment in which we determined if the movie passed the Bechdel Test. [The Bechdel Test, in case you don’t know, is a sequence of questions created by a female author in the 1970’s to essentially suss out if a film (or other storytelling work of art, such as stage plays and literature) is sexist. The questions are: Does the artwork have at least two female characters? Do they have names? Do they talk to each other? Do they talk about something other than a man? Most films, past and present, don’t actually pass this test!] This podcast ran for three seasons. At the end of 2018, Hillary left Critical Crop Top and ‘The Feminine Mistake Podcast’ to pursue her dream of stand-up comedy. She is finding a lot of success at it and we remain peers and friends.Nicole and I started ‘The Georgia Made Podcast’ for one season, in 2019. On that podcast, Nicole and I discussed films made and filmmaking in the state of Georgia. We discussed awards shows, the movie industry in general, our involvement in the local indie film scene, projects by some of our local friends, and mainstream movies made in this state. At the end of 2019, we realized how restrictive only being able to watch movies made in Georgia was and we wanted to get back to discussing feminism and sexism in any movie we wanted to. So, at the start of 2020, Nicole and I revamped ‘The Feminine Mistake Podcast.’ Now, it’s just the two of us, sometimes with a guest and sometimes without, no Nervous Breakdowns, and we are opening up the types of films we watch to include current films and TV shows, not just 20-year-old ones. Our web series are ‘The Mother Load’ and ‘Vera’s Workplace Sensitivity Training Series,’ both written and directed by Nicole. Our live sketch shows were ‘Critical Crop Top Live Sketch Show 2016,’ ‘Artificially Intelligent,’ ‘Critical Crop Top Does Real Theatre,’ ‘Afterlife,’ ‘Feminine AF,’ ‘Critical Crop Top Enters The Multiverse,’ and ‘Critical Crop Top Saves America.’

To produce these shows, we gathered a group of 8 writers and actors (including ourselves), spent 3-6 weeks writing, 2 weeks rehearsing, and had 2-4 performances at local comedy venues, such as The Village Theatre and The Highland Inn & Ballroom Lounge. Our sketches adhered to our socially conscious style while also being tremendously goofy and silly.

What does it mean to be a female-run media company in Atlanta? What is feminism’s role in media?

Being female-run is exciting because we surround ourselves with other women who understand what it’s like to survive in the male-dominated world of media, who support us and cheer us on. But it’s also challenging, because we see more attention and opportunities being given to our male counterparts - production companies run by men. Now, the men we work with at Critical Crop Top are outliers to the casual gender bias and discrimination we see with men from other companies. Critical Crop Top men are supportive and are comfortable with women being in charge. Sometimes, it feels like we exist in a protective bubble, where society’s gender rules don’t apply. After all the work we have done, though, we are being taken more seriously than we were when we were first on the scene. We have been asked to participate in several local live shows curated by other artists, such as The Dad’s Garage Melting Pot, and have been asked by local streaming services, such as Thea, to stream our videos.In media, feminism plays an important role. Aside from being a way to hold certain men accountable for their predatory actions via the “Me Too” Movement, feminism is also a way for women to feel empowered to create their own content without asking for permission or feeling like they need just one more class or one more mentor before they can call themselves a professional in the industry. Feminism is a way to question the status quo in terms of what types of roles women can play on set and in pre- and post-production. Feminism is a way to teach men how sexism negatively impacts them as well. Feminism inspires creative ways to express what you are feeling. You can do it in a socially conscious way and view the stories you want to tell through a lens that encompasses all people, not just men, and not just women, but transgender and gender non-conforming people, too. Feminism is intersectional and applies to people of every race, ethnicity, religion, and ability. Feminism is something that has changed my art and how I work.

Have the GA roots impacted your story?

I don’t think that Critical Crop Top has a story to tell that’s unique to Georgia. Nicole, Hillary, and I were all raised in and around Atlanta, and we sometimes poke fun at the South in our content, but we don’t have an overly Southern feel to our writing. I think this is because Atlanta is kind of like an urban oasis in the South. Being in the South may not affect our flavor, but it has impacted our opportunities. Georgia, and Atlanta in particular, is in the top 3 most important places in the United States for the film industry. The tax incentives have caused hundreds of thousands of people to re-locate here to work in the industry. Some of this is good for us and some of it not so much. The good is that there are a lot more people here who we can make connections with. The bad is that writing, producing, and directing jobs, as well as editing and starring role jobs, are still mostly in L.A., and people only come here to film, not to do pre- and post-production. So while it may seem like we could have more opportunities to be a part of the creation of content here, the only jobs we might be able to find in the mainstream industry are set jobs and smaller acting roles.

There is a thriving indie scene here, though, and we have enough small-time connections that we never have to hold auditions or put up cast or crew notices to find people to work on our stuff. And there’s room to grow in that regard, as well.

What do you want your content to say to audiences?

We would like our content to make audiences both laugh and think. We do what we call “socially conscious comedy,” which is comedy that is written from a sociocultural perspective. We cover sexism, racism, homophobia, and have tackled the psychology of cults, gender issues, and big topics currently at the top of of the collective consciousness, like politics, millennial culture, and current events like people eating tide pods and pop culture like Jordan Peele’s “Get Out” and “Game of Thrones.” We do have a progressive, liberal perspective, so our audiences are mostly people who also ascribe to those views, though we would love to reach across the aisle and deliver laughs to people of different views. We don’t try to make our content easily digestible and are pretty hard-hitting, but our aim is NOT to offend or cause harm, but to assertively confront people with difficult ideas and provide commentary and catharsis. In addition to being socially conscious, our comedy is also just bizarre and absurd. We sometimes have cursing and almost all of our content is not appropriate for kids and not safe for work. However, it is not vulgar or crass; we use cursing and adult situations thoughtfully, to make a point, not just for the fun of it.

Do you have any tips for women trying to break into media, or other minorities too?

It’s always been difficult for women and minorities to break into media, but it’s getting less so now. We love the Women In Film & Television Atlanta organization, which is now very expansive and hosts events and conferences for women to come together, network, take classes, and learn from each other on how to lift each other up, so we all have a place at the table, not just some of us. Another great way to network is by submitting your work to film festivals and attending the festivals, even if your film doesn’t make it in. There are lots of female-run and female-centric film festivals, which are great places to find other women to collaborate with. Most film festivals that aren’t female-centric are overwhelmingly run by and filled with men and problematic content, but it is still important to go and get your message out there among people who don’t necessarily share your experience or perspective. Many men are pleasantly surprised at what you have to offer and will reach out to collaborate with you once they see what you are capable of. There are tons of screenwriting, cinematography, editing, directing, and other filmmaking meet-up groups in Atlanta, more than I can name here, but it would be wise to look them up and try attending some of them. One we like is “Eat, Drink, and Be Indie.” As for breaking into media as a minority, Nicole and I can’t speak to that since we are both straight, White, and cisgender, but many of our collaborators are not. What we can do is include people who aren’t like us in our writing, directing, and other creative positions, not just performing, and that way, we can include perspectives that are not just our own. We feel it is very important to hire writers and directors who can write and direct with authority in subjects that we have no business writing about. Some prominent members of the filmmaking community, such as Lena Dunham, have made the excuse that they don’t have minority characters or stories because they have no business writing about that stuff. The obvious solution is to hire writers who can! There are also groups who are run by people in minority groups. One of our sister groups who is run by people we have worked with at Critical Crop Top is Black As Fuck. So far, they have just done live sketch shows, but they are considering getting into film. They are an all-Black group of writers and performers who tell stories from their perspective as Black men and women in our society. Their humor is just as hard-hitting as Critical Crop Top’s, if not more, and we definitely recommend checking them out. If I could boil down our advice in one sentence, it would be: consume content created by women and other minorities, go to events to network, and submit your work wherever you can.

What got you started in the media world?

I grew up wanting to be a writer and performer, and was always involved in drama programs and writing things for school competitions. My first semester in college was spent in a musical theatre conservatory program at SUNY Fredonia, and there I studied acting, singing, and dancing. However, I decided that I didn’t want to pursue performance as a career, so I moved back to Atlanta at the end of my first semester. I was not involved in any creating from 2007 to 2012, because the heartbreak of realizing that what I grew up imagining I’d do would not actually be what was going to make me happy in reality was devastating. In 2013, though, while I was attending UGA, getting a degree in psychology, I re-connected with an old high school friend from my drama club days, who was involved in the film and theatre scene in Atlanta. I started taking acting classes again, I met Nicole Kemper and Hillary R. Heath, and hundreds of other collaborators over the next few years, and we started creating non-stop. Plays, web series, and short films. I learned everything I know about filmmaking and podcasting from Nicole, who had attended Columbia College Film School in Chicago. In 2016, Nicole, Hillary, and I formed Critical Crop Top, and the rest is history.

What do you think is the power of storytelling?

Storytelling brings people physically together to consume the story being told, but it also brings people mentally and emotionally together. It helps us relate to each other and process what is going on in our personal lives and in the world at large. People start telling stories from an early age. When kids play pretend, before they can even read or write, they are telling stories. What do we turn to when we are depressed or bored or want to have something on to keep us from experiencing the pain of our own emotions? Netflix (or any other streaming service). Where do we go on dates, when we’re trying to get to know someone and see how they think, or are trying to leave our problems from the rest of our lives behind? The movies. Plays. Stand-up shows. What do we listen to on our commutes to work, when we’re stuck in traffic and trying to prepare for our day ahead or unwind from the day we’ve had? Podcasts. Music (which also tells a story). We are obsessed with story. We crave it, from conversations with our friends to things we post on Facebook to dumb videos we watch on YouTube when we’re supposed to be working. It’s all story. I think human beings need story to process what is happening, kind of like how we need sleep to recharge at the end of every day. We need story to make sense of our world and our experiences. Storytelling also helps people see that we are not very different from each other. Pre-conceived notions we have about people from other social groups can be wiped away with the right telling of a story. Representation matters. Who we see in roles and who are hired to create the content we consume affects how we perceive and relate to each other. We are not a uniform mass and our content should not be created by and cast as such. So storytelling not only helps humanity in a broad sense, but also in very specific sociocultural ways that can actually bring to light important subjects and even in recent years with social media, be the catalyst for change. Think of the #MeToo movement. Those stories couldn’t have been told without women being given a platform.

Do you have advice for short films as well?

My advice for filmmakers of short films: 1 - Pick a great script. The single most important part of a film is the story. If you don’t have a good story, you have nothing. Most other technical things can be forgiven, but not story. 2 - Pick a great team. Your most important positions are director, cinematographer, actors, and editor. Every other position is vital, of course, but these four positions are the deciders of how the film’s story will be told. 3 - Plan, plan, plan. Almost all of the work done on a film should be done in pre-production. This is when you assemble your team, find locations, create shot lists and storyboards, design the look and feel, gather equipment and supplies, and prepare for the day(s) of shooting. If you do it right, you will have thought through everything before the first person arrives on set. 4 - On the day(s) of the shoot, if you’ve prepared enough, everything should go smoothly. There of course will be things out of your control that could go wrong, but my advice for shoot day(s), is to be calm, adaptable, assertive (but not aggressive!), sensitive to everyone’s needs and feelings, and have a sense of humor. The more relaxed a director is on set, the more relaxed everyone else will be, from department heads down to PA’s. A director’s mood and attitude determines the mood and attitude of a set. So set a good example! 5 - Post-production. Your movie is not over when you yell “Cut!” Working with the editor, color corrector, sound mixer, sound designer, and composer is the next step. This is a very important time when you can make new discoveries with your footage. Don’t scrimp on time; get it just right. 6 - Distribution. Short films can be submitted to film festivals and there are some pioneers out there trying to figure out a way for short films to make money, but for the most part, short films are a way to express your creativity, show off your skills, network, and gain opportunities to work on projects that could earn you money. They are great projects to make if you are looking to get funding for a feature. If you make a short film on a smaller budget that blows people away, it could gain you attention that could bring you funding for your feature.

What work outside of Critical Crop Top are you proud of?

Outside of Critical Crop Top, I have been a writer and director for The Atlanta One-Minute Play Festival since 2015. The One-Minute Play Festival is a national festival that is held in several cities around the U.S. The Atlanta festival pulls together playwrights, directors, and actors from Atlanta to put on a collection of one-minute plays.

Each collection has between 60 and 80 plays and features 10 or so “clumps” of actors to perform the plays in clusters. It is a thrilling event that I look forward to every year. I have been a playwright for five years and last year was my first year directing one of the clumps.Also outside of CCT, I have been spending most of my free time in 2020 so far writing essays for an essay collection I am hoping to publish in the future. I’m still near the beginning, with only four essays written, but I am loving being able to express my creativity in a format that is not collaborative and is highly personal and under my control. I love collaborating, don’t get me wrong, but it is very satisfying to write these essays alone. I am hoping to start a website soon to gain more followers who then might be interested in buying my book(s) when it/they are done.

MATTHEW MACCARTHY: "MR.BLUE" Can you explain the origins of “Mr. Blue?” Who is Mr. Blue and why did you want to tell the story? There seems to be a lot of mystery and darkness to him, so how would you explain the character and the short itself at a film panel?

The origins of Mr. Blue can best be described as an idea in search of a story. As a Cinematographer I have very specific ideas about how framing, composition, and lighting can be used to support the intention behind the writing. Rather than only explaining these ideas I decided to create a visual reference that would serve as an example, so I searched for short scripts that would be a good fit. When Mr. Blue came to my attention it was a 3 page script written for acting workshops, but I saw the potential. I contacted the writers and told them I wanted to expand it into something closer to 10 pages and use it as a vehicle to showcase my philosophy about cinematography. They were very generous and told me to go for it.

My philosophy is simple: If circumstances are different at the end of a scene than they were at the beginning, the camera work should chart the progression of that change.This principal applies to the film as whole as well. It seems so intuitive, but it amazes me how rarely it is implemented.

I began to embrace this philosophy in response to my frustration at the increased use of handheld and unmotivated camera movement being used as a crutch without any regard for how it will affect the audience experience. It is a mistake to ignore the emotional response a person has to certain stimuli.You can’t change those responses, you can only harness them in a way that either supports the intention of the scene, or if misused works against it. In the case of handheld, it makes a person feel ungrounded and unstable. My favorite example of the perfect application of handheld camera is ‘2001:A Space Odyssey.’The first two hours of the film consists of masterfully composed static shots and graceful, smooth, camera moves. It is not until they are orbiting Jupiter a half billion miles from Earth that the character of Dave Bowman is confronted by the reality that the computer that controls the ship, including their life support systems, has killed all of the other crew members and is now trying to kill him.That’s a perfect time to use handheld; anyone would be panicked in that situation. But too often handheld is used at moments in stories that are antithetical to the emotions it evokes. Every frame is an opportunity to bring to life the intention behind the writing, and when handheld, or any camera movement, is used at the wrong time for the wrong reason, it’s a wasted opportunity and it undermines what the film is trying to convey.

Some Directors who have inspired this philosophy are Orsen Wells, Sidney Lumet, Brian DePalma, David Cronenberg, David Fincher, and of course Stanley Kubrick. I’m sure I’ve forgotten many more.

As this philosophy applies to Mr. Blue, my approach was predicated on the 35mm focal length lens representing the scope and perspective of the human eye. Any lens wider than 35mm will present a wider scope and perspective than the human eye, whereas any lens longer than 35mm will present a scope and perspective more narrow than the human eye. I should note that some say the 32mm lens is what does this. In any case, I wanted to use different focal length lenses to chart the state of the character of Peter’s perspective in regards to what is really happening compared to what he thinks is happening.

-The opening of Mr. Blue is shot on a 300mm lens which has a very narrow perspective which is the tone I wanted to set for the viewer.

-The first moments of Mr. Blue’s interaction with the character of Peter were shot with an 85mm lens, in a profile angle and in silhouette, to represent the reality of the situation being hidden from Peter as well as his narrow perspective about it.

-After Mr. Blue pulls out his badge revealing that he is an undercover police officer, not a hit man, the composition jumps to a 25mm lens shot at a 3/4 front angle to represent that Peter’s perspective has been jolted open—there is more light on his face to represent more information has been illuminated.Additionally the camera is looking down on Peter and up on Mr. Blue to represent that Mr. Blue is in a dominant position.

-The flashback sequence is shot handheld on a 35mm lens to convey Peter’s emotional despair as he is sharing the worst fears realized by a father.

-The scene that follows the flashback is shot on an 18mm lens to continue the trend of a widening perspective, with the camera now positioned above Mr. Blue looking down and below Peter looking up to represent the switch in power.The angle is now front-on and centered, and this is the most light we have seen on the actors in the bar thus far which represents even more information being illuminated.

-Before the camera is center-framed, Mr. Blue is always on the left side of frame and Peter is on the right. In the final scene after Peter grabs the envelope and storms away, they switch sides of the frame to represent that Peter has flipped Mr. Blue.

-Additionally (this has more to do with editing) before the flashback sequence there are moments when the camera is on Peter as Mr. Blue is talking, whereas after the flashback there are moments when the camera is on Mr. Blue as Peter is talking.This is meant to be reminiscent of an interrogation and further enhance the idea of who is in control of the situation at the moment.

I began Mr. Blue with no real mental or emotional investment in the story or the characters. I only saw it as a template to make a point about cinematography. I know that’s not very inspiring. But I did become invested as I dove into the process of expanding it into my own vision. Even I don’t know what happens after Mr. Blue leaves the bar, but I’d be the first in line for the sequel!

How was the music for “Mr. Blue” decided upon?

I was borrowing from David Lynch’s use of music in the opening of ‘Blue Velvet’ where he is setting the tone by introducing a small town like a Norman Rockwell painting come to life before revealing a dark place with truly evil people.

The score was composed by Louis Romano who had the idea of homaging the original ‘Twilight Zone’ series from the early 1960s. I never would have thought of that, but it was brilliant and a perfect example of collaborating with someone who understands your intentions bringing your project to a level you never could on your own.

What was your favorite part and least favorite part of filming (this can also apply to other films or shorts you have done)?

I enjoy the entire process, but I do tend to put an extra emphasis on prep. Prepping allows you to build a strong template that gives you more freedom when you are shooting.When I am directing a project I like to shoot at least two rounds of blocking camera rehearsals with an iPhone and analyze what is and isn’t working, particularly in regards to how the angles are cutting together.

There is a documentary called ‘Kubrick Remembered’ that I highly recommend. His process is an inspiration to me.

Leonardi daVinci said,“art is never finished,only abandoned.” My least favorite part is abandoning it.

What did you want the audience to take away from “Mr. Blue”?

I really just wanted them to feel a sense of gratified exhilaration the way one would feel after riding a roller coaster.

I do believe film can be used to prompt people to think about the world they live in and re-examine how they see it, etc. But for my taste film should entertain people and create an escape first and foremost.Time is the most valuable thing there is, and when people are generous enough to give you theirs with the expectation of being entertained it’s rude to betray that.

I think this attitude extends from my perspective about the origins of film. 100 years ago life was much harder than it is today, and by comparison to today’s cost of living a movie ticket was not cheap.

Film and music created a much needed escape for people that I like to compare to one of those inversion bars you hang upside down from to take pressure off of your spine. In my opinion that is what film and music should do for your brain.

I’m also fascinated by how the farther back in time you go, especially before television, how much easier it was to grab and hold a person’s attention with audio or visual stimuli. I’ve listened to 3 hour operas from the 18th century in their entirety; they have moments that are completely mesmerizing, but they can also be very long-winded and redundant. But 200 years ago the ambient sights and sounds of the world were mostly what a person saw and heard. So just starring at a painting, or sitting in a room for 3 hours listening to live music, any music, would have completely overwhelmed their senses. That must have been so gratifying, like having overly sensitive taste buds that don’t require an excess of salt to appreciate the subtlety in flavors. The modern mind has been desensitized by over stimulation.

I am aware that Mr. Blue begins with a pace that is very slow for a modern audience, but I hope if someone gives it 7 minutes and takes the ride the ending will pay off in a way that is only possible with a slow build up.

In your career, what has been the greatest lesson you have learned?

I’m paraphrasing a line in the BBC series ‘The Office’: It’s better to steer the ship in the right direction than it is to be liked or popular.

If you are the one who will be judged for the outcome be stubborn and do not compromise just so people will like you in the moment.

You will regret not making sure it was done right. It’s a delicate balance. I will never forget one of my film professors telling me there is a surplus of talent, and that being easy to work with is what makes you stand out. I’m still trying to reconcile the two.

Has the GA location ever impacted the stories you’ve made?

Not that I am aware of. But as someone who grew up in GA I have a mental list of places I’d like to use that I would be shocked if anyone who wasn’t from GA knew about.

What does being a filmmaker mean to you?

I love the process, it’s like architecture, you get to build something, and if you get it right the whole is greater than the sum of its parts.There’s nothing better than that.

In one sentence, give some advice if you have any to current film students at UGA.

“Nothing is at last sacred but the integrity of your own mind.” ― Ralph Waldo Emerson

If that doesn’t make sense listen to Cass Elliot’s song ‘Make Your Own Kind Of Music’.

If it still doesn’t make sense watch the film ‘Harold And Maude’.

Actually watch ‘Harold And Maude’ no matter what!

ALEXIS NICHOLS:"BECOMING LUCY" Tell me about your short my professor mentioned!! I’d love to hear about the origins and what it meant for you.

The film Becoming Lucy began as my senior thesis in depth character study for my master’s degree in acting. We were assigned to take on or create a role that challenged us. Once I began acting work, instructors and critics alike compared my comedic timing and vivid wide-eyed expressions to that of Ms. Ball’s. Of course, this came from a deep admiration of her work and desire to integrate her style into my own. This had always been incredibly flattering to me but I didn’t think much beyond that until this project. The similarities between Ms. Ball and myself do not stop with our comparable comedic timings. I Love Lucy was loosely based on Lucille’s hit radio show, My Favorite Husband. As a voice over artist myself with national and regional commercial spots, I found the roots of the series to really hit close. As I am told by my voice over studio, we both share that naturally husky yet warm vocal quality. Because voice over work relies solely on one’s vocals, the amount of energy and enthusiasm it takes to convey a message to an audience is enormous. I find my “in booth” tendencies when recording for various spots have crossed over to my film and theatre presence and have inkling it must have been quite similar for Lucille. She was also a successful model before delving into acting. I too was lucky enough to work as a model for a decade now and the pinup genre is my personal favorite and forte. I even work a WWII reenactment event every summer while selling a pinup charity calendar featuring my images along with those of eleven other girls. These events have familiarized me with the mannerisms of the time. All these previous experiences and circumstances were integral to Lucille’s creation of the Lucy Ricardo character in I Love Lucy and became an important part of my own portrayal of the role.Through the medium of film, we aimed to capture how Lucille Ball herself created and mastered the role of the lovable and mischievous Lucy Ricardo all the while demonstrating my own journey to do the same, hence the film’s title, Becoming Lucy. Through a series of flashbacks, we chronicled the steps she took to create the Lucy character that is still so iconic today. We then endeavored to reveal Lucille’s more personal private persona through an at home interview with Betty Hannah Hoffman which was later used to construct her autobiography. This is said to have been the most candid and open Lucille has ever been in an interview.The top films in our class screened at Warner Brothers Studios and our film was among them. After the class screening, we were approached with offers from investors to create an original score and re-edit the film for festival submissions. After months of additional post production, the film premiered in the court métrage or short film corner at the 66th annual Cannes film festival in the south of France on May 22nd, 2013, fittingly, on my mother’s birthday since the film was dedicated to her and my grandmother. The film has been traveling the world in film festivals ever since.

What other things have you been working on recently?

Since I’ve been focusing mainly on my PhD studies at UGA, I’ve been working more on voice overs than on camera since moving to Georgia. Most recently, I’ve worked on ashort film voicing a fibre optic node for a friend’s Sci Fi project back in LA. I can’t say too much about that just yet but I’m sure the information will be up on IMDB when they are ready to share and approaching release. I am also very proud to be voicing the character of Hope the Butterfly in The Blue Elephant Project as both a short film and an audiobook on Audibly. The story will be used by Hospice to assist children with grieving, a cause I feel strongly about. At this point, I’m most known for playing three characters on the Netflix Original Series Little Witch Academia. I also had a lot of fun recording for the Motorola Help Screen/Siri equivalent.

What was it like to be at school at GA but also making things like your short? How did UGA help with your career?

I just began my PhD in Performance Studies here at UGA in the fall so I am still quite new to the area but I’m currently building an inhome studio to continue working with clients around the world including continuing remote work for former UGA student Ryan Seacrest’s KROQ in Los Angeles. I’d love to direct a stage production here at UGA like I did last year at the California School of the Arts where I was teaching before I moved. I look forward to seeing the numerous ways I expect my time at UGA to shape the remainder of my career.

What does GA talent and production mean to you?

I am thrilled to see the Hollywood of the south growing. My experience thus far has been pretty different from my time in Los Angeles, New York City, and London. Each locale has its own unique style and so far I am really enjoying the friendly and thoughtful cast and crews I’ve encountered. Go Ya’llywood!

Who is your media inspiration?

Beyond the incomparable Lucille Ball, I have always admired Meryl Streep’s versatility. I actually spent a summer at the Yale Summer Actors Conservatory to follow in her footsteps, as that is where she achieved her MFA. I have also been a fan of Phylicia Rashad since childhood watching her on The Cosby Show. I’ve made it a point to see all of her shows in the area in my travels including attending her performing in Cat On A Hot Tin Roof in London’s West End and in August Osage County on Broadway.

What do you want to be doing in ten years?

I hope to be more of a theorist continuing as an adherent, meaning, I’d like to have achieved or be working towards tenure at a university where I can teach and continue to practice in the performing arts field. I’d also love to branch into more directing work.

Advice for students at UGA trying to be successful in the industry?

Be true to yourself and your own vision. Make sure you define what you are looking to do prior to entering the business, as many people will try to sway you to do different things once you’ve joined. Create your own moral stance and stand by it.

How would you describe yourself?

As you can probably tell from my long-winded answers, I’m pretty outgoing and I’ve always been driven to make a difference and help through my art, whether that be modeling (a petite model working in a high fashion world), voice acting (I like to soothe through my voice performances as well as share knowledge), on stage (mainly physical comedy offering an escape to audiences), teaching and coaching the next group of performing arts students, and my own studies.

What makes a good short film?

To me, what makes a good short film is all about quality storytelling. Can you quickly connect with your audience so that they invest the time to continue watching? The writing needs to be solid so the characters are believable and ideally relatable even if they are seemingly different than you. You should also have a clear purpose. Are you aiming to entertain or educate, for example? Or maybe a combination of both?

THE STUDENTS' SECTION

GILLIAN REVOIR '19: MANY FILMS TO NAME! So you’ve directed/wrote lots of shorts at UGA? What’s been your favorite so far? What’s the origins and stories of “Snapped” and “Let’s Not Speak of This Again”?

Yes! I directed 5 shorts while at UGA. Of the 5, I wrote 4 of them, and I also wrote an additional 2 scripts that I decided not to direct. My favorite and most recent is “Let’s Never Speak of This Again”. The inspiration for “Let’s Never Speak of This Again” came from my own spring break trip freshman year, where I ended up going with one good girl friend and 5 boys that I didn’t know as well. Although my trip went much smoother than Ava and Kathryn’s did, I remembered what it was like to be both optimistic and nervous about being around a new group of people for an extended amount of time. I also based Ava and Kathryn’s friendship off of my relationship with my producer and good pal, Kelsey Cunningham. After seeing Booksmart, we both wanted to create something that accurately portrayed female friendship, as that’s rarely seen on screen. While I wrote this short, we both received “story by” credit. "Snapped”, on the other hand, came from a true story I heard about a very young, very broke couple that got engaged with a rubber band. I expanded on the idea and decided the couple in my story would get engaged not because they loved each other or felt they were ready, but because they feared it would fail otherwise. I actually co-wrote this story with my producer Kristin Guy, which turned out to be a very fun writing team.

What’s your favorite and least favorite part of filming?

My least favorite part of filmmaking is all the unexpected problems that will arise. No matter how much you plan, you’re going to run into obstacles in pre-production, production, and post. As the director, it’s my job to solve them. It can be stressful, but it’s also my job not to let that stress affect the cast or crew. My favorite part of filmmaking is the rush I get as a director. I’ll get it when I solve one of those unexpected problems, or when I see a scene unfold exactly as I envisioned it. As Professor Mattison once told us, “The only thing that matters is what’s on the screen.” I like seeing which elements I need to change offscreen to get the perfect product on screen.

Who’s your inspiration for filmmaking?

’I'm a huge fan of both Greta Gerwig and Damien Chazelle.

Now that you’ve graduated, what are your plans for your career? What do you plan to do in the industry?

I recently accepted a position with the NBCUniversal Page Program in Los Angeles, which I’m really excited about! Right now, I’m just preparing for the cross-country move. I’m also trying to keep my mind open to all careers within the entertainment industry, but I do think I’d like to write and direct a feature-length film one day.

What’s the best skills you have learned from UGA and the EMST program?

I learned how the media influences society as a whole, and that what we broadcast to the world matters. I also learned set etiquette from Professor Biddle’s 3210, which has helped me both as a PA and a director. If you have a bad attitude, people won’t want to work with you. So I try not to complain that I’m hot or tired or cold, because I can guarantee the rest of the crew is too, and whining only brings morale down.

What techniques do you think makes a good short film?

I think there are two things that can really make a student film stand out.

First, a good script. Choppy, unrealistic dialogue will not only make for a weak final product, but will also deter experienced actors from auditioning.

Second, bad sound will scream “student film” from a mile away. If you get those two things right, you’ve done what many many students haven’t.

What got you into filmmaking and directing?

I took a few video broadcasting classes during my junior and senior years of high school, which taught me filmmaking basics. As I completed more and more projects within that department, I developed a real passion for visual storytelling. After I applied to the EMST program at UGA, that passion only grew!

"Don’t be afraid to try new things, because the only way to learn about a new role on set is to do it!"

DIANA GARCIA AND MADELINE ZIMMER: "ALL HAIL" So what’s the story with “All Hail” -- origins, what you want to tell the audience, etc? What does the short mean to you?

We met and chatted for 3 hours, figuring out what we wanted to write about. We kept coming back to our relationships with our mom, the similarities and differences. We think this story is really important because there are so few stories that showcase the mother/daughter relationship in its true tumultuous form. We wanted to show how abrasive both sides could be often due to a lack of understanding and compounding stress from their individual sides. There’s also the theme of religion which can often add expectations and standards especially on women, and wanting to explore how that affects teenage experiences. That’s something that personally resonates with both of us.

What were your favorite and least favorite parts of filming?T

he least favorite was definitely waking up at 6am after wrapping at 2am the night before and then shooting again at 8pm. BUT, the pros definitely outweighed the cons, and the best was definitely feeling like everything was going well. I guess, just seeing our vision come to life. Specifically, the first time shooting with Bryn and Eva… it just felt worth it and like it was working really well! It was everything we saw when we wrote it in the beginning. I remember texting each other after the first weekend of shooting and being like “wait, is this actually working?” Also, the quasi-party we threw for the bonfire was LIT! (Ha! Get it???)

What did “All Hail” teach you about making short films?

It’s really hard. It takes over your life, and you just have to be ok with it. You don’t sleep much, in any of the production phases, and think your friends hate you pretty much all time, there’s only so many times you can ask them to be extras without getting a little bit on their nerves. On the flip side of that, we learned to trust your gut on set. It can be intimidating to defend your “vision” on set when things aren’t coming out exactly right.

Don’t make compromises to take the easy way out or to expedite things. But at the same time, know when to compromise. It’s all a balancing act.

Why do you want to be filmmakers? What do you see yourself doing after UGA? I

don’t know if we see ourselves wanting to be “filmmakers”. I think we had a story to tell and this is the way we knew how to put it into the world. It’s definitely not an easy field to pursue, especially if you want a job with healthcare (lol @bernie sanders!!! Plug!). That being said, we have a passion for writing and creating stories that we think matter, and “film making” is how we’re able to exercise that muscle. We’re planning on moving to NYC after graduation to hopefully pursue careers in the entertainment field.

What has UGA and/or the EMST program taught you about filming and also short films? We learned discipline and hard work and pretty much everything, because this

stuff isn’t common knowledge. It’s been so great to be part of Grady because we met each other and so many other super talented and dedicated people!

What other shorts have you worked on? Do you have a favorite one? Class projects

are constantly happening, so we like to help as much as can! Everyone is willing to help their friends with their projects because we get how helpful it is to have as many hands on set as possible! All have been really fun, but ultimately, there’s nothing quite like producing your own work, so we’ll have to go with All Hail.

What’s your favorite movie? MADELINE: Obvious Child DIANA: Frances Ha- ok we

have a type!

In one sentence, please give one piece of advice to current students. MADELINE:

Don’t play it safe, and try to make something you’ve never seen before. DIANA: Be open to compromising, but also know when to stand your ground.

If you had to make a log line of your life, what would it be? MADELINE: I didn’t

mean to. DIANA: Everything’s fine and this is normal.

Diana

Madeline

JORDAN ANSTATT, MFA: "SOMNA" AND MORE Talk to me about Somna.

It started with an image—a sleepwalking man with a knife in his hand in a living room full of people, no one sure what will happen next. I have no idea what made me think of that, but I found it mysterious, so I tried to figure it out. At that point, I was 21 and felt a lot of unknowns about life so the idea of sleepwalking—unconsciousness—felt right. The marital relationship gave it an emotional grounding that made it personal instead of purely philosophical. I was also processing the experience of learning about whole different sides of people who I thought I knew really well. I worked hard to boil all that down into a five-minute film, which was the maximum length of senior films at SCAD. It was a good challenge.

What’s some other cool stuff you’ve worked on/are working on?

Since “Somna” I’ve made a couple of shorts and other projects which are on Vimeo, including my last short, “Blue Bags Float in Saltwater.” Right now I’m finishing up my latest short, “Max is Bleeding.” It’s about a woman who has to secretly hand off an SOS note to a vet receptionist so she can escape from her abusive boyfriend. My friend and colleague Louis Lagayette wrote it based on a viral internet video. It’s a worthwhile story and I’m really excited about it. On top of that, I’m writing my second feature script and my first TV pilot. It’s a lot and I’m loving it.

What’s your favorite short film?

My all-time favorite short is “Volume” by Mahalia Belo. It’s this dreamy suburban neo-noir with incredible depth and perfect execution. The voiceover and flashbacks work perfectly and Belo’s take on the femme-fatales is modern and complex. It’s so visually dreamy but melancholic at the same time. It’s really something else.

You told me you’re currently in an MFA program. Talk to me about your career journey and what it’s like to be in film school?

Yes, I’m in my second year at Columbia University’s Film MFA program. After a couple of years out of undergrad, I realized that there was so much more I wanted to learn, particularly about dramatic writing and directing actors. Columbia was my top choice, so when they called saying I got in, I knew I had to make it work. Film school isn't for everyone, but I learn best with structure and mentorship. Pressure is good sometimes. My professors are also great at pushing me to find my own voice as a filmmaker and that’s been the most exciting part.

What is GA’s role in your film journey and in your shorts?

Georgia was where I decided to become a filmmaker. I grew up in central Pennsylvania so I wasn’t exposed to film production much. Living in Atlanta and Savannah made me realize it was possible for anyone to become a filmmaker. It gave me a sense of setting that made me think really hard about how the sense of place matched or differed from the story. It also made me look at myself and realize that what works for a scene or story might change because of the setting—even just the visual look of it.

Did you always want to be a filmmaker?

I didn’t really even consider it until I was about 19. I had what you might call filmmaking impulses growing up; I was an avid illustrator and painter, loved directing and shooting and editing skateboard videos with my friends, acted, wrote and recorded a music album, did graphic design, tried fashion. I was all over the place. I was a graphic design major at SCAD for a while but something didn’t feel right—I wasn’t able to create the level of meaning that stories hold. I took a film elective and realized that film was the thing that could hold all these interests of mine in one medium. One time I attended a Q&A back when Amy came out and I heard Asif Kapadia say something like, “I’m not a filmmaker because I like to watch movies, I’m one because I like to make movies.” And I was like, oh man! I totally relate to that. It was good to realize other people have that experience.

CONT...

What is your vision of film and media in the future?

Everything’s going to get more and more specific. Not only will creators tell more personal stories (especially in TV—take Insecure, Atlanta, Fleabag as examples) but the media themselves will become more specific in what they offer. It’s happening already, but I think creators will have to really nail down the question of “why am I telling this story with this medium?” The Golden Age of TV has made it clear that quality isn’t an excuse anymore. It has to be suitable for the medium. Is it a feature? Mini-series? VR? TV? Does it go to the cinema or straight to streaming? Making those decisions up-front will mean getting the story to its audience more efficiently and I hope that creators will continue to be open to choosing the platform or media type that best suits the story and its audience.

Who would you love to work with?

Florence Pugh is the first person to come to mind. I loved her work in Fighting with My Family and then Midsommar and Little Women both blew me away. Robert Pattinson did an incredible job in The Lighthouse, too. Both of those actors left me wanting to go make a movie.

There are too many people to list, of course, and the reality is that I always love working with whoever’s right for the job at the time.

How important is it to make films as a student/get hustling?

Whether it’s writing lots of scripts or making lots of films (or both), it’s about the time spent. It’s like a brand new, unsharpened pencil—the sooner you start whittling it down, the sooner you can use it. Many people have asked me if they should become a filmmaker and I always say the same thing: just go try it, do it, mess up. That’s the hardest part. On the other hand, though, if you’re like me and value structure or need resources like school, do it. As long as you’re actually doing the work, growth will happen. Lastly, don’t believe myths about instant success.

Research your favorite filmmakers and see how much work they did to get where they are.

You’ll find that they had to hustle and grow just like everyone else, which is comforting.

"MAKE THE THING YOU FEEL SO PASSIONATE ABOUT THAT IT FRIGHTENS YOU, AND THEN FAIL, AND THEN MAKE IT A HUNDRED TIMES MORE."

KAI YOST: THE CHAPEL BELL PLUS SHORTS! What short films have you worked on at UGA?

I have worked on quire a lot: Unlikely the webseries, Gordo, a social media documentary, Cigarette Buds, Lost Boy, Average, Ordinary, Incredible!, Scelra, Dreams of a Flightless Bird, For Elizabeth, Rich Man, Poor Man, Streak Week, 7 Seconds, The Stranger, Ghosting...and more that I can't

remember.

What has been your favorite and why?

My favorite project was probably Unlikely, which we just wrapped filming.

Part of it is because it's my most recent project and I'm currently in post production with it, so it's fresh in my mind and I'm so deeply invested in it.

But it's also the first time I've returned to directing since last year, so it's been refreshing to be able to lead a project. It helps that Sam, Olivia, and Janna wrote an amazing script that I fell in love with immediately, and my crew was a dream to work with.

What is your favorite and least favorite part of filming?

My favorite part of filming is the actual production, especially when I have a crew I can trust and depend on. My least favorite part is probably waiting for or making the dailies, because I get antsy to see our output for the day.

What got you into EMST?

I came to UGA already knowing I was going to do EMST, although when I applied to UGA it was still the Telecommunications major. They changed it the year I got here. I've wanted to make movies since I was probably ten, maybe younger.

Describe your favorite movie in one sentence to someone who has never seen it before.

A devastating performance from Diane Kreuger, who plays a mother seeking justice for the murder of her husband and son. (In the Fade, Fatih Akin, 2017) Who’s your film inspiration?

I am very inspired by filmmakers of color and queer filmmakers. Lulu Wang, Fatih Akin, and John Cameron Mitchell come to mind. I also like Barry Jenkins and Gus van Sant. In terms of national cinemas, I love German films, and I especially like the work of Helke Sander (Redupers).

Please give advice in one sentence for students making a short film.

Finish your preproduction.

What do you want to do after UGA?

I eventually want to direct my own films, and the ideal would be as an independent filmmaker on the festival circuit. But I'm also planning on working in editing houses on my way there.

Describe your experience at Chapel Bell. What have you been working on?

The Chapel Bell is fantastic! Literally my second family, I love them. I am on the video team, and just finished editing our recruitment video for the spring. Apply today!

Unlikely

LORENZO COOPER'19: GRAPHIC DESIGN GENIUS What are some of the shorts you worked on at UGA? What about after UGA?

Last semester I worked as a graphic designer for Let’s Never Speak of This Again, graphic designer and prop master for All Hail, and title/credits for Dreams of a Flightless Bird. I day-played as 1st AD and sound recordists for a few of my friend’s class

projects. I’m still helping out with Con Amor now.

What short was your favorite to work on?

I really enjoyed working on All Hail. The crew was small but made up of close friends so we were able to switch from casual to professional easily. I was also able to do a lot as propsmaster. It was part scavenger hunt, part experimental cook, and part graphic design.

What are your plans for your career now that you are graduated?

I am looking for jobs as a junior graphic designer in Atlanta. I eventually want to do graphic design for films and television. There’s a lot of work nearby and I’d rather save up in Atlanta before moving further north.

Have you always wanted to work in the film industry?

No. Originally I was a graphic design major but I wanted to work more collaboratively. It wasn’t until the end of sophomore year where I wanted to work within the film industry. That’s when I switched majors.

What’s the best and worst part about filming a short?

I think the best part is around the second day into production. It’s nice to see all of the work done in pre-production come to fruition. The first day is always a little scary but after that, it’s nice to see all of the crew working together towards one goal.I think the worst part is around halfway into post production. That’s always been the most stressful. There’s overlapping deadlines and people have been working for months.

What’s something a professor taught you that you will never forget?

I learned to be really organized before you get into production. It doesn’t matter if it’s setting up master folders for editing or creating an idiot list. The more organized you are before things get messy, the more prepared you and your crew will be.

Create a log line that describes you. Who is Lorenzo Cooper?

I am a recent graduate passionate about the intersection of design and film.

Advice for students in one sentence, go!

Take your time and experiment with all of the resources you have access to.

JOEL MYERS'19:STUDENT SHORTS What short films have you worked on while at UGA?

During my time at UGA, I had the opportunity to work on a few short films. During 3210, I was Lead Editor and Post Production Supervisor on the short film Ghosting. I was also a Cable Wrangler for another 3210 project called Delivery. During Spring Semester of 2019, I was the Cinematographer for a documentary called Across From The Arch as well as the Lead Editor for a different documentary called The Way We Look Online. During Fall Semester of 2019, I was Post Production Supervisor for the indie film All Hail, during that time I was also Writer, Director, Editor, and Cinematographer for my own short film, Demoted. During this time I also wrote, directed, and edited the short film Synonymous.

What’s been your favorite and why?

I would say my favorite experience was probably working on All Hail. It was a great script, and I got the opportunity to work with two people I really respect a lot creatively (Madeline Zimmer and Diana Garcia). In addition to enjoying who I got to work with, it was also a unique experience and challenge to lead a post room. I had led a post room in 3210, but that was such a different experience. This was a jump from 90 seconds, to almost 30 minutes. It was stressful and intense at times, but in the end I’m proud of the final product, and I’m happy to have my name attached to that project.

Favorite and least favorite part of filming?

My favorite part of filming is being done with filming, and my least favorite part is the pre-production buildup to filming. The actual act of filming? I’m relatively ambivalent? I usually enjoy it, but if something goes wrong it doesn’t really bother me too much at this point. Something will go wrong when you film, that’s just always going to happen. If you think it didn’t happen to you, you’ll realize something went wrong when you’re in post and suddenly 3 shots are out of focus. The anticipation of filming always makes me anxious, and I feel great relief when I’m finally done filming. I think that relief happens primarily because it's just nice to have something done. Even if you have to do reshoots, even if you have 4 minutes of usable footage out of a 3-hour shoot, it still represents progress. Plus, it allows you to get into the post production process, which is still my favorite part of the process.

What do you hope to get out of the industry?

My end goal for the industry is to start a production company that focuses on giving members of marginalized and underrepresented groups the opportunity to tell their stories, whatever that story may be. It can be science fiction, horror, romance, anything really, I just want to do my part to help give opportunities to filmmakers who have been purposefully and criminally overlooked in this industry due to institutional prejudice.

Outside of that, I would like to continue writing, directing, and editing my own films and projects.

You have 30 seconds to come up with a new short film idea. What would it be?

A couple breaks up during their 5-year-anniversary, and spend the remainder of their evening breaking down the good and bad about their relationship.

Where do you see yourself in five years?

Hopefully developing a project that I can have a direct creative input on, but to be honest I’ll just be happy to still be working in the industry.

What do you wish you knew about short films before going into EMST?

I wish I knew how draining, exhausting, all-encompassing, and ultimately rewarding they are.

In one sentence, please give some advice to current students.

Just because you’re friends, that doesn’t mean you should work together.

SARAH HIMES'19: CHASING DREAMS TO DISNEY Tell me about your new internship! What do you get to do on a daily basis and what’s your plans for your career?

I spent the last couple months starting in August 2019 doing the Disney College Program in Orlando, Florida. I am a big Disney fan and participating in the program was always something I knew I wanted to be a part of. It was a great learning opportunity to gain experience with a worldwide media company and learn what really goes into operating one of the most successful theme parks in the world. While I enjoyed my time in Orlando, I’m currently looking to move back to Atlanta soon and get some more experience working on productions or with social media video and keep building my portfolio.

What are some of the short films you have worked on at UGA and/or after?At

UGA I worked on a number of student films starting when I got accepted to Grady in 2017. Some of my favorite and most memorable were titled Funding, For Elizabeth, safety & security, and Tattooed.

What’s been your favorite and why? safety & security was my favorite to work on due to the nature of the film. It was a

short form documentary covering sexual assault reporting at the University of Georgia that I made with three other students in my major. I loved working on this because I knew multiple people that had experienced rape or sexual assault while attending UGA and I think the way the university, the university system of Georgia, and our country as a whole handles college sexual violence is a broken system. I wanted to shed light on the issue and I felt like I was able to use my voice as a filmmaker productively and shed some light on an issue that is generally too quickly swept under the rug.

What’s your favorite and least favorite part of filming?

My favorite part of filming is probably the collective feeling of accomplishment when you nail a scene or the shot turned out really well. It takes everyone there to make it happen from the sound person to the actors and the production assistants so when a take goes really well, it’s electric. My least favorite part would just be the mental and emotional fatigue you can get. From beginning to end of a project you are constantly working out the logistics of a project: how much crew do we need, what equipment, where are we filming, when, etc. Then to add in having to be mentally present and creative during a 6-10 hour day of shooting can be really draining.

Who’s your media inspiration? What would your dream job be in the industry?

I change my mind all the time, but at the moment I would love to be a studio executive and make decisions on what scripts to fund and scout up-and-coming directors and new talent. It’s definitely a far off dream, but I think it would be pretty exciting making big decisions like that and giving people their big breaks.

What was your favorite class in Grady? I really enjoyed my documentary

production class! It was with Dr. Miller and he makes class really fun and prepared us well to tackle a genre that was trickier than I thought. Over the course of a semester we researched, interviewed, edited, and created an entire 20 minute documentary that covered a real topic relating to UGA, Athens, or Georgia. I found the class challenging but incredibly satisfying and rewarding.

In one sentence, please give advice to current students.

Say yes to as many opportunities as you can even if you are tired because you will probably never have as much creative freedom and access to incredible resources than you do right now.

GUIDE: Tips and sources

There's Grady glowing as always!

Some more advice!

"Don't wait for opportunities to come along, because you could spend your life waiting. Create your own opportunities, work on personal projects. Most of the bigger projects I've worked on didn't come from some "big break" but from a culmination of all the small projects that allowed me to define my style." - Samuel Laubscher "The one piece of advice I’d give to students with it comes to film, and particularly if you’re looking to be a filmmaker, is to produce as much as you can.There’s an ever lingering sense of fear or excuses that inevitably come along the way to making long or short form films, and the only way to get past that is to practice the discipline of finding a way. There will always never be enough money, resources, people to help you, etc. But, the one thing you can do is make stuff! And the more you make, the more you learn, and the more you learn, the better stuff you’ll make. And, ideally, when you begin to make better stuff, there’s more and more people that will be more inclined to help you out, as your projects become bigger. But simply put, just make stuff." - David Nobles

"Every path is different . . . Don't get discouraged because it will be hard. Be kind to the people that help you and yourself. Focus on finding the stories that actually interest you and don't feel like you have to make films just like everyone else." - David Tabor

Sarah Alison Hodges' Female Inspirations Maria Bamford Elizabeth Banks Rachel Bloom Aidy Bryant Nicole Byer Diablo Cody Maya Erskine and Anna Konkle (creators of Pen15) Anna Faris Fortune Feimster Tina Fey Ilana Glazer and Abbi Jacobson (creators of Broad City) Tiffany Haddish Leslie Jones Rashida Jones Mindy Kaling Melissa McCarthy Kate McKinnon Amy Poehler Issa Rae Phoebe Robinson Maya Rudolph Amy Schumer Sarah Silverman Jenny Slate Robin Thede Lena Waithe Phoebe Waller-Bridge Lindy West Kristen Wiig Jessica Williams Michelle Wolf

Things to Know

"The cost of making a short film is around $500-$1,000 per minute of completed film." Lance Eliot Adams

"Make it visual and tell a story. Film is a visual medium." Raindance

"Networking is really just conversation," and conversation can happen anywhere."

- David Nutter, VICE

"Gear doesn't matter." - Casey Neistat, Laura De Leon

Look up "calling card" films!

"We tried to make movies that people couldn’t see elsewhere. We made something cool, something worth talking about, something for people. We fell in love with taking people on an emotional ride, we ran at hard work, we considered what actually makes people laugh, not what we thought would, and we had great sound because people are still listening." -Jim Cummings

Readings to Consider How I Short by Mark Noonan Start the Short Revolution!

Film Festival at Cannes In Quest of a Festival Books How Not to Make A Short Film: Secrets from a Sundance Programmer The Short Screenplay Making it Big In Shorts Rebel Without a Crew The 101 Habits of Highly Successful Screenwriters The Filmmaker's Handbook The Hollywood Standard Down and Dirty Pictures. . .

Save the Cat! Breakfast with Sharks Adventures in the Screen Trade The Nutshell Technique The Genius of the System Final Cut The Social Media Bible The Complete Book of Screenwriting Good in a Room West of Sunset Hollywood Notebook Valley of the Dolls Behind the Scenes with Hollywood Producers Life Moves Pretty Fast I'll Be in My Trailer Tales from Development Hell Hello, He Lied Hollywood Agents and the Making of Movies

YouTube Series to Consider Film Riot Wolfcrow Jon LeVert BAFTA Guru Indy Mogul The Film Look Ryan Camp Film Courage Tyler Mowery Vanity Fair Film Squad The Willy Dubz Insider Theoffcamerashow Variety Screencraft Lessons from the Screenplay The Hollywood Reporter Behind the Curtain

MEET THE AUTHOR! HANNAH BARRON

Hi! :) Thank you to everyone who contributed to this guide! I have been forever shaped by the media and the influence of storytelling. I aspire to be a voice for the voiceless, and work in television writing and programming that leaves a kind footprint on Earth. To my fellow students. I'm amazed by what you can accomplish and let's show the world what Grady is all about!

Contact me on social: @hannahibarron!

Credits Dr. Fran Teague, Dramaturgy Dr. Hamilton, head of the EMST Department Grady School of Journalism and Mass Communications, UGA The Industry Club

Hoca Studio Photos Photo credits: @hocastudio Avanish @wanderlulz Johnny @stayvisualant @johnnyboytellem_ Glen @stayvisualant @glenkwon @cherryhollowfarm @bluehawaiibus @filmlocalga @dynamiceldorado Film: @hocastudio @thanghofilms

Follow their social media and see their films!

Student photography

by Joybeth Sullivan

Critical Crop Top Social Media

A big THANK YOU to everyone who contributed to this guide whether reading or through interview. Your answers were amazing! You will help many filmmakers and keep the Georgia talent alive. These listed I have named photographers for. This also goes to unnamed photo credits, social media, the Canva platform and other materials! :) And a massive thank you to everyone else!

Alexis Nichols' Credits Director Jare Elkin Producer Orlando Braun Cowriter and AD Tanya Chuturkova Production Designers Ayaka Kuramoto (pictured for wins at Cinerockom in Beverly Hills) and Juliette Sedlacek

Alexis Nichols' Photo Descriptions Film Poster Red Carpet at Cannes Film Festival after a screening Becoming Lucy Lucy & Dezi Vitameatavegamin Behind the Scenes Director Jared Elkin offering support to actress/cowriter Alexis Nichols before their recreation of the iconic Vitameatavegamin Characters played by Alexis Nichols in the Netflix Original Series Little Witch Academia Hosting the panel 2019’s Anime Expo at the Los Angeles Convention Center (promo poster & hosting) Audience cheering at the premiere at the 66th annual Cannes Film Festival with a dedication to the Nichols family up on screen Best Actress win for the WIND Festival (Women, Independence, Nation, & Diversity) Interview with Film Magazine in France Best Supporting Actress win at Nice International Film Festival in France.

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