Louisiana Film & Video by Media Index Publishing Group

ISSUE THREE

LOUISIANA FILM & VIDEO MAGAZINE

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CONTENTS

VOLUME EIGHT

ISSUE FOUR

(left) Local director Kd Amond between shots on her thesis film The Woodshed.

EXECUTIVE EDITOR/ASSOCIATE PUBLISHER Shanna Forrestall shanna@louisianafilmandvideo.com ASSOCIATE EDITOR Katie Sauro contact@louisianafilmandvideo.com CONTRIBUTING WRITERS W.H. Bourne, Shanda Quintal, Jared Townsend, Andrew Vogel SALES MANAGER Katie Higgins SALES Eric Iles, Kori Valentine, Paul Yarnold PRODUCTION MANAGER John Rusnak DESIGNERS Dawn Carlson, Jenny Carlson, Christina Poisal WEBMASTER Eric Pederson OFFICE MANAGER Audra Higgins INFORMATION SERVICES MANAGER Lois Sanborn

LETTER FROM THE EDITOR

THE TOMB

THE EXPO: LOUISIANA ACTORS & FILM INDUSTRY CONFERENCE

LOCAL BUSINESSES MAKE AN IMPACT IN THE INDUSTRY

CHRISTMAS ANGEL FILMS IN HAMMOND

ON THE ROAD AT SIGGRAPH WITH PIXOMONDO AND GAME LOFT

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ON THE COVER: Preparing for a VFX shot on the set of The Tomb. PHOTO COURTESY OF SUMMIT ENTERTAINMENT.

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LETTER FROM THE EDITOR I

n July I was honored to attend a pre-release screening of Beasts of the Southern Wild, and to escort Dwight Henry (“Wink”) down the red carpet in our capitol city of Baton Rouge. It was an incredible night, and local film lovers, as well as key corporate and production industry representatives, braved a terrific storm to fill the house, and then stood for one to two minutes after the film finished to give the cast and crew a standing ovation for a job well done. It was a beautiful event organized by the Louisiana International Film Festival (LIFF). It’s been a spectacular year already for film in Louisiana, as a result of homegrown projects making “serious waves” in the industry. As a result of the incredible growth opportunities here in the state, the hard-working people around me (and myself included) are moving forward at speeds formerly unheard of in production-clogged cities like Los Angeles. Louisiana’s residents are benefiting on all fronts. The LED just released a new report (from 2011) with key findings on the economic impact of the industry, and of course the results are positive. “In 2010 alone, it is estimated that the entertainment industry activity contributed $1.1 billion to Louisiana’s economy, representing a 52% increase over the previous two years’ annual average.” The report also pointed out that “despite the downturn in the national economy, and in the national motion picture industry, Louisiana’s production activity continues to climb, showing a 175% increase.” And those monies don’t just benefit those working directly in the industry. I speak to small and family-owned businesses across

colorful colorful scenes? scenes? Unique Unique locations? loca at tions? Production Production incentives? incent tives?

Gotcha covered. G vered Jeff Davis Parish Film Commission www.jeffdavis.org (800) 264.5521

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the state every week that have been directly impacted by the industry’s needs. Whatever we’re selling, the industry appears to be buying—coffee, lingerie, barge equipment, sewing materials, dry-cleaning, top-level talent and more! So, I’d encourage everyone who understands these benefits to take the time when you have the opportunity to educate your friends and neighbors about the impact of this “green” industry on our state. It might just make a difference when their normal parking spot is out of use, or a familiar road blocked off, to realize that the thousands of people being positively impacted by that small inconvenience is well worth the effort, and it’s important to keep our morale and legislation strong to guarantee continued prosperity for all of us! Sincerely, Shanna Forrestall Executive Editor & Associate Publisher

Quvenzhané Wallis (“Hushpuppy” in Beasts of the Southern Wild), Shanna Forrestall and Mrs. Qulyndreia Wallis.

THE TOMB

RANDALL EMMETT AND ELSTON HOWARD ON SOLVING THE FILM’S LOCATIONS PUZZLE

STORY BY W. H. BOURNE • PHOTOS COURTESY OF SUMMIT ENTERTAINMENT

n The Tomb, lead character Ray Breslin (played by Sylvester Stallone) notes, “A prison is a puzzle to be solved... The whole thing becomes a three-dimensional model, an architect’s schematic. And everything inside that puzzle becomes a key.” Apparently, finding the right locations for this challenging shoot was much like Breslin’s puzzle.

“We were looking for stage space and New Orleans, which is busy all the time, was beyond busy,” says producer Randall Emmett. “Second Line (Stages) was booked with Quentin’s movie (Tarantino’s Django Unchained) and so many other spaces just weren’t available.” “In December of last year, I was trying to find adequate stage space for The Tomb,” says Louisiana native and local location scout and manager Elston Howard. “We needed to build some really big interior sets that weren’t going to be practical locations. We really liked the Big Easy Studios, which is located at the NASA assembly facility at Michoud in New Orleans East, but Ender’s Game was already taking up more than half of the facility.” “(But) the NASA stage was the only facility that was large enough to handle some of the big sets we needed to build,” adds Emmett, “and line producer Nicolas Stern was able to make it all work.” He continues, “In January, we decided on our stages. In addition to Big Easy, we used a coffee bean warehouse in Algiers (the Thayer stages) because there just wasn’t enough space at the Michoud facility. But it actually worked out well because at the NASA facility, we were able to use some of the practical locations there too, so it was kind of like a backlot in addition to a soundstage. We were where they manufacture the external tanks for the space shuttle. We had vertical space that went as high as 275 to 300 feet.” “I think that this will be my most rewarding moment with The Tomb,” says Howard. “When people see it and some of the unique locations we were able to photograph at NASA, and see the enormous scale and size of some of the sets. Even with some of the original set plans, we would have never gotten the scale and size of it, if it weren’t for the preexisting structures.” For Emmett, the reward was working with his childhood icons, Sylvester Stallone and Arnold Schwarzenegger. “It was a high walking on set the first day and seeing the two of 8

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them,” says Emmett. “I think it was a little surreal for me. Before I went to the location, I re-watched Rocky and The Terminator. I try not to do that anymore because you can psyche yourself out. These are your partners that you’re working with, your equals, but I just had to do it...” Admittedly, I was surprised to hear this from Emmett since he worked with Stallone on the 2008 film Rambo. But Emmett’s career itself is fascinating and diverse, ranging from indie favorites such as Wonderland to horror films such as George Romero’s Day of the Dead. In 2009, he produced a horror film also called The Tomb, which makes one wonder, “Why choose another film project with the same name?” “I fell in love with the script,” says Emmett. “It was owned by Summit Entertainment, who I went to and partnered up with to co-finance the movie. We were lucky enough to get Sylvester Stallone on board, and from there we went to Arnold Schwarzenegger, and got him to co-star in the movie. Mikael (Håfström, the film’s director) was a creative choice that the

"Action" on the set of The Tomb.

studio, myself (and the other producers) made. We looked at different directors but thought he had the right sensitivity and the right pulse. Mikael really believed in the script and thought he could do something special with it—which he’s done.” “This movie had a unique vision to it,” says Howard. “It was more than your traditional prison breakout movie. It had various stages of prisons—from your traditional prison to your more futuristic, high-tech prison. In the beginning stages (of my work on the film, I met) with the production designer Barry Chusid. We went through different types of images in his design book. Most designers will, with any project, put together a visual book to present to the executive (producers) and the director of how they see the production before any detailed scouting is done to make sure everyone is on the same page. Myself and Barry and another scout, Jimmy Trotter, we all sat down, countless hours, looking at that book to lay down a visual plan and see how many of these images truly existed in the close proximity of New Orleans.” “Barry Chusid was selected by the director,” adds Emmett. “He was the first person we hired after Mikael Håfström came on board. Barry has done big Hollywood blockbusters and he’s also done some smaller budgeted films. He has worked on some really big classy films—everything from Day After Tomorrow to 2012 and Source Code. The director brought

him to us because he felt Chusid would elevate the film. Mikael was really confident in him because the production design was very complicated. We had a lot of stage work and a lot of construction.” “We started (scouting) in mid-January and went through March, maybe the beginning of April,” says Howard. “And we started principal photography in May. Most of the sets were based on a schedule designed to be built in three to four weeks. So we started building around the second week of April for shooting in May.” “Approximately 60 percent of the production was stage work,” adds Emmett. “And we were lucky on this movie to be at our stages for long periods. You could close the doors at night, lock it, and come back in the morning and shoot. It was really nice.” The Algiers studio, however, remained busy all the time, even at night. “One of the complications with the stage in Algiers was that it wasn’t designed as a soundstage,” says Howard, “so there were issues shooting on one of the stages while construction was going on at another stage in the same facility, to the point that construction was shifted to night time as to not cause noise problems while shooting. So in order to meet our time limits, we had a construction crew that came in from six at night to six in the morning to build our sets.” In addition to stages, The Tomb used a variety of other locations, including several in the French Quarter. “The French Quarter always presents some unique and interesting challenges… it’s the number one tourist spot in the state… but we needed the Pontalba and Cabildo around Jackson Square to stand in for older-looking buildings, like in Europe,” says Howard, who also had to deal with some challenging weather during the French Quarter shoot. He continues, “Prior to tax credits, everything that came into Louisiana to shoot was scripted as ‘the South’ or ‘the French Quarter.’ Since then, they’re shooting New Orleans for everything from Colorado to Europe. Essentially, now they’re coming here to shoot locations that aren’t scripted for here. It means you have to be more creative locations-wise, ‘cause a lot of the scripts you get are not (geographically) for New Orleans.” Emmett concurs. “The economy forces us to be fiscally innovative,” he explains. “With the economic downturn, you have to use tax incentives. When you’re raising independent money, investors probably wouldn’t be comfortable if you didn’t. I think I was the second movie to film here after the tax incentives were created with (A Love Song for) Bobby Long. Since then I’ve shot movies all over Louisiana throughout the years, in New Orleans, Shreveport and Baton Rouge. I know that at one point, we were in Michigan looking at it for the long-term, and a new 10

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Producer Randall Emmett with The Tomb on location in the French Quarter.

governor came in and whittled the incentives away to nothing. We had to leave and were lucky that Louisiana took us in. If you look around, there’s really not much incentives left in the U.S., so we decided to set up shop here.” “I just did a film in Alaska,” continues Emmett. “They have incentives there, and we had a great experience, but we had to fly in almost everyone except for, like, 20 people. But you go to Louisiana and you can find 75 to 80 percent of your crew there. That in itself is a really big incentive when you can save on travel and expenses from bringing people in because there’s such a big local crew base in Louisiana.” He adds, “You can still run into shortages in certain departments. At times you have up to 12 movies shooting at once (in New Orleans). Everybody struggles a little bit. But I’m blown away at how deep the crews are in New Orleans right now. We’ve been really lucky that we were able to crew up on every single movie. We’ve done enough movies in New Orleans now where people know us. I’ve been able to create a relationship with certain crews. Our focus is to continue working the crews that have been loyal to us, as well as expanding those relationships with people we don’t know… and to do this over the next couple of years.” With productions clamoring to shoot in New Orleans, it has been a boon to local crewmembers like Howard. “Before the tax incentives, there were maybe five or six movies a year (in the entire state),” he says. “Now there’s at least five to six (in New Orleans) every quarter of a year. Now you can (choose your projects and) take a project that favors your skills more.” “Louisiana is really a (film) fixture in the U.S.,” says Emmett. “To me, it’s the best one of the tax incentive programs that exists. It’s what brought us here. On top of that, there’s incredible crews and support and production facilities that just makes things even easier. We’re really happy with Louisiana and the way they’ve built up the industry, and we hope they stand behind what they’ve done. I know tourism is a big industry, but the film industry

has really started to flourish. I’m happy for the state and especially the city. After (Hurricane) Katrina, they deserve it more than anybody, and I’m glad to be able to contribute a financial infusion to the state.” Recently, Emmett and production partner George Furla signed a 10-picture deal with Lionsgate/Summit. Additionally, they just added $275 million to their film fund that they established with Envision Entertainment. The fund was founded last September to help finance “high-end, star-driven, commercial features” in collaboration with prominent partners like Lionsgate and Summit. For films like The Tomb, with a budget of over $70 million, that translates to big in-state spends, which means a lot to both the city and the state. “While The Tomb is one of the largest films I’ve ever produced, I’m currently doing 2 Guns (starring Mark Wahlberg, Denzel Washington and James Marsden), which is my largest-budgeted film so far at around $88 million,” says Emmett. “All the Lionsgate movies we’ve done so far, except one, was shot in New Orleans. And the next one we’ve got scheduled for a November/December start will be shooting in Baton Rouge. And we are putting together a couple of big movies to shoot in February and March in New Orleans.” Obviously, Randall Emmett is a very busy man. On set with the camera crew of The Tomb.

“I have a place in New Orleans and I’m back and forth,” says Emmett. “This past year, I’ve been in New Orleans more than in Los Angeles, which is really shocking to me. I like the South and I really like it in New Orleans. I grew up in Southern Florida, so it’s very similar temperature-wise. I actually like the heat and the humidity. And the food is great and the people are great.” He continues, “If I didn’t like Louisiana, there are other states with incentives where I can go. But we secured long-term office space here for our production and corporate offices. We always have at least one movie shooting here, if not two or three...” LFV

THE EXPO: LOUISIANA ACTORS & FILM INDUSTRY CONFERENCE STORY BY SHANDA QUINTAL GUEST COLUMNIST

f you listen to the buzz, you will know that Louisiana is ranked at the top with Los Angeles and New York in film and TV production.

There are more film resources coming to the state every year and our industry is growing by leaps and bounds. New studios are opening, more equipment rental facilities are setting up shop, and more creative people are moving here. We already have a resourceful and strong creative community, and now the infrastructure to support a solid indigenous independent film community is being built. On September 28 and 29, The Expo: Louisiana Actors & Film Industry Conference will come to New Orleans for a fourth round

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of panel discussions, demonstrations, presentations, networking, and career development opportunities for the Louisiana film industry. Also featured is an exhibit area where actors and filmmakers can connect with businesses that provide the tools and services they need to advance their careers. What started as a one-day event in 2009 for actors has expanded into two full days of dynamic programming for actors, screenwriters and filmmakers. For three years, actors throughout the Gulf South have anticipated The Expo, a yearly

conference, as a place to learn more about their craft and the business of acting. They have had the opportunity to further their careers by meeting with agents and casting directors who are invested in the Louisiana film industry and support its growth. And now, these opportunities are available to everyone working or wanting to work in one of the top states for film and TV production. Friday, September 28, is the Film Expo, and this is where aspiring and experienced filmmakers alike will learn from film industry profes-

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LOUISIANA FILM & VIDEO MAGAZINE

sionals and be able to get many of their questions answered. Writers Guild of America (WGA) writers, executive producers, entertainment and film tax credit attorneys, producers, editors, literary agents and a host of other film industry professionals are coming to this year’s Expo to discuss many of the topics that filmmakers need to know. The end of the day will culminate with the highly anticipated Pitch to Producers, a new program this year, which will give filmmakers a rare opportunity to actually pitch their projects to professional producers who can help them get their project off the ground. Among the presentations and topics for discussion are the “Film Finance Forum: Financing Your Film,” “The Treatment Project: Marketing Your Script,” and “Editing for Filmmakers.” In addition, there will be a special presentation by MIO 3D, developers of a new, cutting-edge affordable 3D technology, coming right out of Louisiana. Confirmed for the Film Expo on Friday is our title sponsor Actors Access/Breakdown Services’ Jason Teresi and Shawn Summerer, who are presenting “Casting Your Film.” Also confirmed for Friday are Eric W. Thompson, Esq., Twentieth Century Fox legal representative; Jason Hewitt, executive producer and CEO of Films In Motion; Will French, Esq., of Film Production Capital; Rob Wollfarth, Esq., of Baker Donelson; Ben Balser, Apple certified Final Cut Pro trainer; Sean

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Fairburn, CEO and developer of MIO 3D; WGA writers David DuBos, Steven Esteb, Henry Griffin and Mari Kornhauser; and literary agent Sarah Nunez. More special guests will be announced. On Saturday, we return for a full day of programming and career development opportunities for actors. As in previous years, The Expo will offer casting sessions and agent meetings, as well as panel discussions and presentations, all presented by film industry professionals and developed to help actors move forward in the Louisiana film industry. The presentations and panel discussion topics will include: “Headshot and Resume Critique,” “Casting Director Critique,” “Don’t Get Cut: Editing for Actors,” an EcoCast selfsubmission presentation by Expo sponsor Actors Access, and a chat with actor Nick Krause of the Academy Award-winning film The Descendants, starring George Clooney. The Casting Director Critique panel presents a new, interactive way for actors to learn the audition process. Four taped auditions with four different actors reading the same scene will be presented and critiqued. It is a rare opportunity to see how different actors interpret the same material. Casting directors Brent Caballero, Lisa Marie Dupree, Ryan Glorioso, Meagan Lewis and Beth Sepko will discuss what worked, what didn’t, and who will get the call-back.

Ending the day will be an intimate conversation with rising star Nick Krause, who has been a huge supporter and special guest of The Expo since its inception. Nick spent the entire month of August in Louisiana filming the long-awaited independent film White Rabbit, in which he plays the lead character, Harlon Mackey. The Expo is sponsored by Actors Access/Breakdown Services. Local sponsors are NOVAC and Louisiana Film & Video Magazine. Produced, in part, with contribution from the City of New Orleans. To find out more or to register for The Expo, visit www.LouisianaActorsExpo.com, or e-mail shanda@neworlearnsactors.org or lolita@neworleansactors.org. LFV Shanda Quintal is the founder and producer of the Louisiana Actors & Film Industry Expo, the largest film industry conference in the Gulf South region. The event draws nearly 1,000 actors, writers, studio executives, directors, casting directors, producers, editors, talent agents, and other key industry players from all over. Shanda has been working in the Louisiana film industry since 1991, before there really was an “industry.” She studied under Aaron Speiser in Los Angeles for 8 years. Her theatre credits include “Bess” in the American Theatre Project’s 2011 production of Porgy, and her film credits include A&E’s Breakout Kings, and Lifetime’s Justice for Natalee. This fall, she can be seen on HBO’s hit series, Treme. Her two little boys--Nico and Tai--make her laugh so hard her belly hurts and her eyes water.

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LOCAL BUSINESSES MAKE AN IMPACT IN THE INDUSTRY STORY BY ANDREW VOGEL

he film industry in Louisiana has extended its economic arm to local businesses. Businesses are learning to build relationships with film productions, and productions are utilizing businesses more and more. The state recently released a statistic showing just how beneficial big-budget filming has been for the economy: Every $1 of tax credits issued to film production generates $5.71 in total economic output. Knowledge of such a positive asset to Louisiana life has sparked local businesses to find their niche in the film industry.

Here are a few examples of local businesses successfully offering their wares to the production industry to fill niche needs. Jazzy Bird Coffee Production crews have formed lines for a taste of the latest in crew-friendly coffee from Jazzy Bird. Among the many festivals and events with whom the company has shared its brew, Jazzy Bird has been a part of local bigbudgets like Oblivion and A Haunting in Georgia. This coffee cart stands out with an open view of one of the largest espresso machines in the state.

Jazzy Bird serves up fresh espresso.

Company owner and coffee connoisseur Brian Leblanc says, “Our cart is very unique, and it draws crowds and cameras all on its own. Our motto is ‘freedom to self-expresso.’” Jazzy Bird uses a distinctive method in their brewing process to make for a speedy yet high16

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quality product. “We have a mobile unit that is capable of providing quick and excellent coffee and smoothies,” says Leblanc. “Our coffee is extremely fresh because our beans are straight from the roaster. You can’t appreciate the process until you try our coffee.” The film industry has put Jazzy Bird to the test with large and timely demands, but Leblanc and crew have proven themselves to be a high commodity on set. Proud staff member Carrie Kunschner says, “We are very accommodating for large crews. We can make their coffee with almond milk or soy milk and get it out to them when they need it.” Foodie Call Foodie Call brings gourmet food on wheels to the set of Seth Rogen’s The End of the World, local indie Homelicide, and other productions, including a local commercial shoot. Owners and brothers Eric and Paul Theard are making their presence felt in the film industry with a different approach to the typical late-night food truck. “We are not a typical taco truck. We have been cooking for years. We serve upscale food with a lot of flavor, and we use a lot of local ingredients,” says Eric Theard. Prior to Foodie Call, the Theard brothers were sous chefs at local fine dining restaurants, including Bourbon House. Their menu is flexible, and they are able to cater for large production crews in a timely manner, while still providing a taste to remember them by. “We make our burgers from scratch. We make our own ketchup, and we make our own pickles,” says Paul Theard, describing the quality they are able to provide to customers by making so much of their food from scratch. The quality of their food, in combination with the service they provide, has given the brothers a unique niche in the film industry. The

Foodie Call’s Eric and Paul Theard.

brothers are thrilled to see their services being utilized for film production, and they look forward to many more Foodie Calls in the future. Suzette’s Romantic Boutique Suzette’s Romantic Boutique has finally come into the light of the Louisiana film industry after almost 20 years in the business of ‘romantic’ clothes, toys and accessories. Owner Suzette Gandolfo has had a Lifetime movie filmed partly in her store, and she has most recently provided supplies for the A&E television show Storage Wars. “We have a very wide variety,” says Gandolfo. “We have the largest selection of corsets and the best prices. We have clothes and accessories that can fit almost any time period.” Suzette’s has catered to all walks of life, ranging from pirate groups to burlesque groups, and has access to an even larger selection than can be found in the store. “I love the idea of movies being made in New Orleans,” says Gandolfo, a New Orleans native. “I love to be a part of it all and contribute in any way I can.” LFV

Suzette Gandolfo, owner of Suzette’s Romantic Boutique.

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CHRISTMAS ANGEL FILMS IN HAMMOND

hreveport, New Orleans and Baton Rouge are not the only cities in Louisiana to benefit from the film and production industry. Outlying cities like Hammond are also hosting productions like Christmas Angel, a faith-based film that was shot entirely in the Hammond area earlier this summer.

Tamera Mowry-Housley on set with local child actor Tyler Humphries.

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The film stars Della Reese, Kevin Sorbo, Teri Polo, Izabel Vidovic and Tamera MowryHousley. Christmas Angel was written by Andrea Nasfell for Pure Flix Entertainment. The investors were looking for a small town to film this unique story in and, drawn by the tax incentives, decided to partner with local production company Check the Gate Productions and producer Lisa Arnold to film the project in Louisiana. Arnold is proud of this family-oriented film.

“Christmas Angel is a faith-based film that the entire family can enjoy for generations to come,” she said. “Everyone will walk away with an understanding of how one person can impact another’s life and the wonderful gift of second chances that we are given through God’s amazing love and grace.” Arnold’s company, Check the Gate Productions, strives to create films that encourage, inspire and demonstrate God’s love. She continues, “That is exactly what you will find in the story of Christmas Angel—an encouraging and inspiring story.” Arnold partnered with Pure Flix Entertainment on the film, and expressed her gratitude for everyone who helped make the film possible. She continues to work towards her goal of building a “strong Christian film base here in Louisiana.” Christmas Angel is currently in post production with a release scheduled for Christmas season 2012. LFV

ON THE ROAD AT SIGGRAPH WITH PIXOMONDO AND GAME LOFT STORY BY W. H. BOURNE • PHOTO BY WÉLAND BOURNE

omputer graphics and interactive technology professionals from six continents traveled to Los Angeles for the 39th SIGGRAPH, which ran Sunday, August 5, through Thursday, August 9.

SIGGRAPH, the leading industry conference focused on research, science, art, animation, music, gaming, interactivity, education and the Web, saw over 21,000 attendees this year. The expansive exhibit floor was full of the latest technological advances in software and hardware, while offering a glimpse of what the future of entertainment holds with Christie’s holographic projector and Canon’s augmented reality system. Pixomondo was at SIGGRAPH presenting a production session about creating visual effects (VFX) for Martin Scorsese’s Hugo and about the current VFX industry trend towards globalization. “When we worked on Hugo, we spread out the work over 10 of our 11 offices,” said Hugo VFX supervisor Ben Grossman. “With visas being so difficult, we decided it was easier to just bring the work to the talented people.” This philosophy has been the impetus of Pixomondo’s recent opening of their Baton Rouge facility this past June. Grossman explained, “The tax incentives are important to producers and studios, but not so much for VFX. We are more interested in being where there’s talented people. Of course, being where there’s more affordable costs of living (as opposed to Los Angeles) helps, too, as far as making our artists happy.” Grossman talked about dividing Hugo’s workload up among the various Pixomondo offices. “We don’t really base it off of tax incentives. Instead, we look at what each office specializes in and divide up the work like that.” Pixomondo was also exhibiting at the Job Fair at SIGGRAPH, trying to fill positions at their ever-expanding global facilities, which

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The Pixomondo booth at SIGGRAPH.

now number 16. Lance Ranzer, a paint and roto supervisor for Pixomondo, just returned to Los Angeles from Baton Rouge after helping bring the new facility up to speed on the production pipeline. Currently the studio is located in a space at the Celtic Media Centre, while Pixomondo’s permanent Baton Rouge offices are being built right next door. “Currently, we have about 60 employees working there,” said Ranzer, “but we don’t have enough space. We have people waiting to be hired as soon as the new facility opens in September.” “The Baton Rouge facility is a young team, both in age and experience,” added Ranzer, as he described the group of artists at Celtic and explained the company’s hiring process. “Typically, we hire someone on for a ‘tour of duty,’ which is usually one movie. Once you prove your quality of work, in addition to your ability to work well with others, you’re usually offered a staff position with full benefits and perks.” “I started as a contractor and went staff right away,” said employee Paul Hormis, who also recently returned to L.A. from Baton Rouge. “I’m a studio technical director, but I’m also a VFX artist, which is unusual in the industry to be able to get to do both.” Said Ranzer, “I’m here in Los Angeles at SIGGRAPH recruiting because we’re opening so many locations, and we just need talented

people. John Bowers, a compositing supervisor at the Baton Rouge facility, is even teaching free Saturday morning classes in roto and paint at a local community college in Baton Rouge in hopes of finding talented people.” Also in Los Angeles recruiting at SIGGRAPH was Louisiana’s Juliette Dupree Clark, a recruiter for Game Loft, which opened offices in New Orleans in September of 2011. “Game Loft was initially attracted to the state by the digital media tax credit,” said Clark, “but the city is such a dynamic and creative place to work and live. Corporate as well as new employees were very happy with what they found here. They like the lifestyle, the food, the music, the nightlife, and what the city has to offer. But we can’t deny that the tax credits have (positively) impacted our ability to do work here.” Clark continued, “We’ve been growing rapidly at Game Loft. We’ve exceeded our initial employee estimates. We’re very happy with the talent we’ve found here (in New Orleans), and currently we have more jobs available in New Orleans. You can find out more about our job openings at www.jobsinnola.com.” But signs of a depressed economy loomed at SIGGRAPH as seasoned professionals also roamed the job fair aisles. “I have 12 years’ experience,” said one applicant. “Five years ago, I could have worked as a VFX supervisor anywhere. Now they want 16 years’ experience.” The show’s theme, I am art; I am science, resonated in educational sessions focused on everything from mathematical algorithms for designing game worlds like SSX, to the latest technology and techniques in animation and VFX as seen in current blockbuster films like Avengers, Spiderman, Brave and ParaNorman. Courses were offered on everything from how to improve your animation rigging to improving your color grading skills for both film and compositing. Sessions were attended by both students and professionals alike, looking to sharpen their skills or learning new tricks and techniques to solve complex problems. Pixomondo’s Lance Ranzer remained optimistic with applicants. “If you’re good, your demo reel will show it.” LFV

ISSUE FOUR

LOUISIANA FILM & VIDEO MAGAZINE

SPOTLIGHT ON BATON ROUGE

ALL EYES ON BATON ROUGE STORY BY ANDREW VOGEL

blivion, The Host, Pitch Perfect, and Whiskey Bay can only highlight the recent flood of film production in the Baton Rouge area. Donna Reichman, executive director of the Baton Rouge Film Commission, speaks positively about the growth of the film industry, stating that there are constant requests from productions looking to host their projects in Baton Rouge. “The mayor makes it so conducive to new companies coming here—welcoming and supporting them,” says Reichman. “There is

Donna Reichman

a lot of activity to support the infrastructure of the film industry and Mayor Holden is

aton Rouge has been a hotbed of production for many years, with hundreds of major films and TV shows swarming the city and utilizing local cast, crew and infrastructure. Though there’s not enough room here to list all of the Red Stick’s starring roles, here’s a look back at some of the city’s biggest productions of the past decade. Ray (filmed in 2003) This Oscar-winning film about the life of Ray Charles, portrayed in the film by Jamie Foxx, shot in various locations around Baton Rouge. Many Louisiana locations doubled for Georgia.

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BATON ROUGE FILM GETS NEW ASSISTANT DIRECTOR The Baton Rouge Film Commission recently brought Liza Kelso on board as assistant director. Kelso began her career in the film industry by working for the Mississippi Film Office upon graduating from college. Her career in production accounting spanned several years on feature films such as The Jungle Book, Empire Records and A Time to Kill. She met her husband, Gary, on location in Charleston, South Carolina, on the set of Ace Ventura II: When Nature Calls. Married and relocated to Los Angeles, Kelso worked for Propaganda Films as a post-production accountant for several features, including Nurse Betty and Being John Malkovich. The South called Kelso home in 2010 when her husband continuously was called to work as a dolly grip for films in New Orleans, Shreveport and Baton Rouge. Along with her film work, Kelso has had an accomplished career in sales and business analytics for a global pharmaceutical

company where she received several awards for her ability to drive growth. It is this combination of sales success and film industry expertise that Kelso is ready to bring to the table for the Baton Rouge Film Commission. Liza Kelso

extremely supportive.” Reichman has been with the commission for about a year. She got her start in film while living in New York doing script supervision for a friend’s NYU film project. Reichman then went on to work in film production with HBO for 23 years.

“It’s the most exciting business I think possible,” says Reichman. “I love serving and working with producers and directors. It’s a vast industry and I don’t think you could ever master the whole business. It’s changing constantly and now with digital media being such a big part of the industry, every project is very different.

The Dukes of Hazzard (2005) Based on the hit television series, this comedy follows the adventures of Bo (Seann William Scott) and Luke (Johnny Knoxville) Duke and their eye-catching cousin Daisy (Jessica Simpson). Filming took place at LSU, among other Baton Rouge locations.

The Loss of a Teardrop Diamond (2007) Baton Rouge stood in for Memphis and North Mississippi for this Southern period piece, based on Tennessee Williams’ long-forgotten 1957 screenplay of the same name. The film stars Bryce Dallas Howard in the leading role of Fisher Willow.

The Reaping (2005) Midway through production of this Hilary Swank picture, Hurricane Katrina hit, and filming was suspended. Ten days later, cast and crew of the supernatural thriller returned to finish production, making it the first post-Katrina film to inject money into the local economy.

Battle: Los Angeles (2009) Most of this big-budget, big-studio sci-fi flick was filmed at Raleigh Studios and the Celtic Media Centre in Baton Rouge. Various other parts of town got in on the action, though, too. Baton Rouge Metro Airport transformed into the Santa Monica Municipal Airport,

It’s extremely stimulating and creative.” Moreover, Pixomondo is a nationally acclaimed production and visual effects company that recently found a home at Celtic Media Centre in Baton Rouge. “Having Pixomondo here is a terrific statement about Baton Rouge,” says Reichman. “They hit the ground running and are extremely busy and doing projects that have shot here, including Oblivion, among others.

THE BATON ROUGE FILM COMMISSION HAS AN APP FOR THAT! The Baton Rouge Film Commission launched an iPhone app in February designed to bridge the film and television industry to Baton Rouge-area crew, locations, businesses and service providers. BY BATON ROUGE is a play on words meaning “BUY” locally and “BY,” meaning produced locally. The BY BATON ROUGE campaign/iPhone app is an opportunity for the entertainment industry to secure addi-

Donna Reichman and Liza Kelso serve the growing Baton Rouge film industry.

It’s a statement of quality about the work coming through this city.” Pixomondo recently hosted free visual effects training classes at Baton Rouge Community College and is working hard to tap into local talent and increase the development of a creative workforce. The film commission in Baton Rouge is certainly a growing organization with evergrowing responsibility. To keep up with demands, Liza Kelso has joined the Baton Rouge team.

while the Spanish Town neighborhood stood in for Venice. Battleship (2010) Baton Rouge doubles for Oahu—in arguably its most exotic role—for this epic actionadventure film. Another production based at Celtic Media Centre, Battleship unfolds across the seas, in the skies and over land as the U.S. Navy (led by Liam Neeson and Taylor Kitsch) fights to save Earth from an alien invasion. Flypaper (2010) This indie bank-heist comedy, starring Patrick

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tional incentives, setting the Baton Rouge market apart from others within the state. All area businesses have been targeted to participate in the program. Whether your production needs a plethora of items for the set (such as lumber, office supplies, furniture, a plant nursery) or your crew is looking to fulfill personal needs (such as locating a restaurant, nightclub, hair salon, spa, etc.), this program is for you and will positively affect everyone’s bottom line. The program is very simple: Simply download the free app through the Apple Store and begin searching in real time. Powered by Reel Scout and Reel Crew and armed with a built-in mapping system, you are well on your way to saving time and money in the Baton Rouge area. Once your production is permitted through the BR Film Commission, identification cards are distributed to all cast and crew to be used at participating vendors. LFV

“It’s a vast industry and I don’t think you could ever master the whole business. It’s changing constantly and now with digital media being such a big part of the industry, every project is very different.” “It’s certainly going to be positive. We can reach out to more productions and bring them to Baton Rouge,” says Reichman of the office’s newest hire.

Dempsey and Ashley Judd, premiered at Sundance. Filming took place in June 2010 in Baton Rouge. The Twilight Saga: Breaking Dawn Part One and Two (2010) The final two installments of the Twilight series were filmed back to back in Baton Rouge (as well as a few scenes in Rio de Janeiro and Vancouver). The films were shot on Celtic Media Centre’s soundstages, and one key scene in particular was shot in Arsenal Park.

For more information on Baton Rouge film, please visit www.filmbatonrouge.com or contact Donna Reichman at film@visitbatonrouge.com.

Pitch Perfect (2011) LSU has a starring role in Pitch Perfect, a comedy centered around collegiate a capella singing. Starring Anna Kendrick and Brittany Snow, and produced by Elizabeth Banks, filming took place last fall at LSU locations like Swine Palace, the Greek Amphitheatre, the Pentagon, the Quad, the Evangeline Horseshoe and Huey P. Long pool. Oblivion (2011) This sci-fi thriller shot briefly in New Orleans before shooting the bulk of the film at Raleigh Studios at the Celtic Media Centre. Continued on pp. 28

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LOUISIANA FILM & VIDEO MAGAZINE

SPOTLIGHT ON BATON ROUGE

LOCATION, LOCATION, LOCATION! BATON ROUGE BOASTS A MULTITUDE OF DIVERSE FILMING SITES

PHOTOS COURTESY BATON ROUGE FILM COMMISSION

urrounded by nine parishes, the Baton Rouge area features a wide array of locations and topography to fit any production, large or small. Here is a look at just a few of the filming options in the Capitol City.

Louisiana State University Located on more than 2,000 acres of land in the southern part of Baton Rouge and bordered on the west by the Mississippi River,

LSU Campus

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the breathtaking LSU campus is a perfect setting for college-themed movies and beyond. Standing amid the campus’ towering oaks and blooming magnolias, the university’s

hallowed buildings have starred in films as wide-ranging as The Dukes of Hazzard (HoweRussell Geoscience Complex), The Reaping (Bo Campbell Auditorium), Pride (LSU Nata-

LSU Quad

torium), and Glory Road (Parker Coliseum). Most recently, Pitch Perfect filmed on LSU’s campus, utilizing various locations around the school, such as Swine Palace, the Greek Amphitheatre, the Pentagon and the Quad.

features two runways for air carrier operation and an additional shorter runway designed for smaller general aviation aircraft. Located just 10 minutes from downtown Baton Rouge, the airport is a convenient filming location. It proved to be film-friendly in 2009 when it doubled for the Santa Monica Municipal Airport in the big-budget action

LSU Law Building

Baton Rouge Metropolitan Airport Another popular and supportive location for filming is the Baton Rouge airport. Occupying about 1,800 acres of land, the airport

Continued from pp. 24 The Tom Cruise vehicle, which just recently wrapped production, is about a veteran soldier who is sent to a distant planet to destroy the remains of an alien race. Breakout Kings – Season 2 (2011-2012) The hit A&E series relocated to Baton Rouge for its second season, filming in late 2011 through early 2012 in the downtown area and surrounding areas. Starring Laz Alonso and Domenick Lombardozzi, Breakout Kings is about a team of U.S. Marshals who recruit convicts to help track down prison escapees.

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Baton Rouge’s airport and hangars served as the backdrop for Battle: Los Angeles.

The Host (2012) Based on the novel by Twilight author Stephenie Meyer, this sci-fi film stars Saoirse Ronan as a girl who is captured by aliens and injected with a parasitic alien soul that takes over her body. The film shot in Baton Rouge, including at Celtic’s soundstages, earlier this spring. Pawn Shop Chronicles (2012) A star-studded cast filled Baton Rouge for the month-long production of Pawn Shop Chronicles. Starring Paul Walker, Elijah Wood, Matt Dillon, Brendan Fraser and Vincent D’Onofrio, the dark comedy was shot in Baton Rouge in June.

Whiskey Bay (2012) Matt Dillon and Willem Dafoe star in this independent crime drama, which is set to wrap shortly in Baton Rouge and Angola. The film is about a white supremacist and ex-con (Dillon) who is enlisted by a veteran cop (Dafoe) to go undercover in the Aryan Brotherhood in an effort to bring it down. Thunder Run (2012) Gerard Butler, Matthew McConaughey and Sam Worthington are set to star in this Iraq War picture. VFX work began in the spring on the 3D action thriller, and principal photography is being completed this summer/fall. LFV

Best of Baton Rouge

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LOUISIANA FILM & VIDEO MAGAZINE

flick, Battle: Los Angeles. Most of the airport filming took place in front of the Louisiana aircraft hangars.

Baton Rouge Airport

Angola Prison The Louisiana State Penitentiary, also known as Angola, is the largest maximum security prison in the United States. Located in unincorporated West Feliciana Parish— about 50 miles northwest of Baton Rouge— Angola has been the site of many major motion pictures. In the late spring and early summer of 2001, the fields, cellblocks and death house of Angola were used to shoot prison interiors and exteriors for the feature film Monster’s Ball, starring Billy Bob Thornton and Halle Berry.

Susan Sarandon and Sean Penn also shot parts of Dead Man Walking at the prison. Though it may seem strange for a maximum security prison to host films, warden Burl Cain maintains an open-door policy with Hollywood. Other features that have shot at Angola include JFK, Out of Sight and I Love You Phillip Morris. In 2007, William Hurt spent four days there to prepare for his role in The Yellow Handkerchief. LFV For more information about these and other Baton Rouge-area locations, visit www.filmbatonrouge.com.

Angola Prison (above and at right) has been the site of many Louisiana productions.

The fields, cellblocks and death house of Angola were used to shoot prison interiors and exteriors for the feature film Monster’s Ball.

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ISSUE FOUR

SPOTLIGHT ON BATON ROUGE

FEAR FÊTE BRINGS THE SCREAMS

SECOND ANNUAL HORROR FILM FESTIVAL RUNS OCTOBER 5 – 7 IN BATON ROUGE

STORY BY JARED TOWNSEND GUEST COLUMNIST

rightful laughs, zombies, psychos, vampires and terror. Those are the film categories that will be featured at Baton Rouge Rave Motion Pictures at the Mall of Louisiana October 5 – 7, courtesy of the second annual Fear Fête Horror Film Festival.

Fear Fête executive director and Louisiana native Derek Morris initially conceived the idea for the event nearly two years ago, wanting to share his love for the horror genre. The best way to do it? Showcase the most intriguing independent horror shorts and full-length features via the big screen. Last year the film festival made its debut. And while it was a hit in the Baton Rouge area, this year Morris has set his sights on making it even more compelling. “Our first festival was great. This time we’re doing it even bigger,” explains Morris. “In 2012 we received over 125 film submissions from all over the globe. Cutting them down to just 19 films was a rigorous process, and I’m confident that we’ll provide horror fans with some of the best on-screen horror thrills.” While all horror fans can appreciate movie classics, from Psycho to The Shining, along with modern-day hits such as Paranormal Activity, shedding light on a less recognized segment of the genre was something Morris had in mind.

“Through the festival format, we’re giving upcoming and independent filmmakers their chance to showcase their work to a receptive audience that really, really loves this genre,” he says. “And on our end, we really enjoy seeing new concepts from filmmakers who could become much larger players in the near future.” To give you an idea of the type of interest this year’s festival has drawn, some of the films that will be screened come from countries including England, Italy, Austria and Australia. That’s not to mention other films that originated from U.S. states such as Iowa, Mississippi, Colorado and, of course, Louisiana. This year the event will be hosted by the cast of Haunted, a show that covers some of the South’s spookiest landmarks with intriguing reality-style filming. The start of Fear Fête will be preceded by the VIP Dead Carpet Party, held at the Spanish Moon. That’s where much of Fear Fête’s networking will occur. “One of the coolest things about holding a festival to view horror films is the actual networking process,” explains Morris. “Filmmakers come from all over just to discuss new concepts, share film recommendations and receive audience feedback for their titles. Meeting new people provides them with a format to conceptualize new ideas and helps

set up collaborations for future projects. “We’re really helping shape the industry in a very exciting way at the grassroots level.” You’re probably wondering what you can expect if you’re considering attending this year’s most fun-filled horror event. Fear Fête will offer horror fans six film blocks, shown in different genre categories. Blocks include the Die Laughing Block (Comedy Horror), Psychoville (Psychological Thrillers), Vampires Suck (Vampire Horror), Terror Time (Traditional Horror), Fantasy Frights (Sci-Fi Horror), and Zombie Invasion (Zombie Horror). “We really worked hard to make sure we covered some of the most popular genre categories of horror, while providing a variety of films that are unique in their own regards,” says Morris. As for the titles themselves, awards will be provided for the best feature film, the best short and the best micro short. And don’t forget on-screen performances—other awards will be given to titles based on the best actors, actresses, and directors. “All the titles we’re showing in each block have already received awards just by getting here, but we’re happy to provide something extra for the films that we think will really make a great impression during the actual event,” says Morris. So are you ready to start the year’s spookiest month in a truly horrifying way? Fear Fête Horror Film Festival kicks off October 5. More information about the festival and ticket purchasing can be found at www.fearfete.com. LFV

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his journey through the state of Louisiana to find her most talented and promising filmmakers has been interesting to say the least. Finding a diversity of artists, and a spectrum of views about the current and future state of the industry, is a positive sign reconfirming that no matter what happens with Louisiana’s tax credits, independent film will continue to thrive in Louisiana.

Here are a few more filmmakers you must meet.

entitled Family Tree.

JonGunnar Gylfason – SARSPARILLA PRODUCTIONS JonGunnar Gylfason moved to his current home of New Orleans on August 2, 2008— four years to the day after he moved to Minnesota from Iceland.

“Family Tree has my dark twist on it, but has what I would consider a happy ending, although it might not be the most comfortable one for the audience,” he explains. “It touches something we all know: the family structure, or rather, the lack of structure in the family.”

“I had been looking for an apartment online before my move here, and I figured that I needed to fly down here and see for myself the apartments and neighborhoods,” recalls Gylfason. “I knew as soon as I drove into the city that I was in love. I love the thick soul of New Orleans, its cocktail lounges and dive bars, its fancy pants of uptown and the decadent Marigny, its food and music.”

Gylfason is known for bringing a European eye to his work. He is adamant that if you want to shoot something that looks commercial, he’s not your guy, and that there are others who enjoy that type of work and can do a much better job.

JonGunnar Gylfason

“I believe in simplicity, both in directing and shooting,” he says. “When I am directing, I try to do simple things and do them well, rather than try to hide a bad story with cinematic tricks. It’s in the story where it all starts. I am that writer/director combo and I consider myself a storyteller. Many times have I heard ‘It looked great, but the story was silly’ about a film where there is hardly any story to remember. I believe that the visuals should support the story, rather than overtake it.”

Gylfason works closely with the UNO Film Program, and has DP’d about 40 short film projects in the last 4 years, and directed another 7. Fleshlight is his latest personal project, a short film that is in consideration for several festivals right now. It’s a rumpus comedy starring Jeff Pope and Natalie Hultman.

Looking towards the future, Gylfason believes Louisiana needs to “step up its game to secure its place as the top film production state.” He feels that the Louisiana Economic Development (LED) has done a great job securing film production, but that there is room for improvement in the infrastructure, and that Louisiana’s indigenous workforce needs to aspire to higher standards.

“I am most proud of the work I did on a short film directed by Zac Manuel called The Clock,” says Gylfason. “We shot it in two days and it was influenced by all my favorite filmmakers and cinematographers. I have high hopes for that film and I am guessing it will go pick up some awards in the coming months.”

“We need more local hands that are really good at what they do, and can compete for feature film jobs,” says Gylfason. “I believe this is happening with the younger generation of filmmakers right now and those who are getting training through the films being shot down here now.”

Gylfason is currently producing a short film for Chen Gu that he calls “one of the best scripts I have seen in ages,” before he starts fundraising for his own feature film project

For more information, visit www.poetry.is.

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Kd Amond – SOME PULP PRODUCTIONS Kd Amond is a local filmmaker focused on

producing quality independent projects, ranging from short films to pilots and teasers for pitches. “I am mainly focused on story,” she says. “I love Southern Gothic, drama, comedy, and there’s a special place in my heart for the horror genre.” Amond, who’s from Livingston, Louisiana, moved to New Orleans a few years ago to get Kd Amond

her MFA in film production from the University of New Orleans (UNO). She’s worked on numerous local projects, including a romantic comedy she wrote and directed starring Garrett Allain and Brittany VanDyke called Lavender and Peroxide, which just finished a successful film fest run. Amond’s last project was her thesis film, The Woodshed. At UNO’s film festival, The Woodshed took home awards in Directing, Production Design, and Best of Fest. Also, The Woodshed was an official selection of Los Angeles’ International Television Festival, where it was nominated for Best Dramatic Pilot, Best Actor (Hunter Burke), Best Writing and Best Directing. Amond took home the award for Best Directing. “I am most proud of The Woodshed because it was such a grueling process, but such a rewarding outcome,” says Amond. “We shot over 11 very long, very hot, very rainy days. But with the help of an extremely hardworking crew and cast, and of course UNO’s awesome equipment, we all sacrificed sleep and sanity to make a very special film happen.” Amond also co-wrote, edited, and served as creative producer on a short film under Some Pulp called Fragments, directed by Rebeccah Rodrigues-Metlen, which is presently on the festival circuit. Currently, Amond is working on several new projects in the role of producer, editor and

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LOUISIANA FILM & VIDEO MAGAZINE

writer, and has plans to start pre-production on her first feature within the year. “My projects and the people who work on them are unique in the fact that we agree on one thing: Story ranks supreme,” she explains. “Story is so important. Because what sells today is typically sequels, prequels, superheroes, and gross-out comedy… the only way to stand out in the crowd is to have a great story. On a local level, Beasts of the Southern Wild proves that. Story is what we are after.” Amond believes the fact that her team is capable of producing great work in Louisiana is one of the factors that makes them unique. “New Orleans is such a wonderful city that is so full of culture and art. It is one of the few places you can literally go any night of the week and consume some type of art, be it music, films, live shows, art shows, festivals,” says Amond. “We film here because we’ve built a network of film lovers who are all trying to put Louisiana on the map. We want to make films, and here in Louisiana we have the talent and the means to do so. And do it well.”

built in the making of each film.” Godshall is currently working on a documentary film about Leeville, Louisiana. The film tells the story of the community, which has undergone much change in the past 100 years. “In many ways, the story of Leeville is a microcosm for much of what is happening all across Louisiana, and wetland regions in general,” explains Godshall. “As the community loses land, it loses people, memories, and language. What is left are artifacts, dim memories, and the sense of something unfinished, unresolved, of something broken that cannot be put back again.” Godshall feels that there is a “sense of community and togetherness in Louisiana” that speaks to something far more enduring than what is now being called Hollywood South. And he believes that if there is “hope” for film in Louisiana, it necessarily exists in Zach Godshall

“I have great expectations for the future of film in our state,” she says.

Zach Godshall – ZACH GODSHALL PRODUCTIONS Zach Godshall grew up in Lafayette, but now lives primarily in South Louisiana, the city dependent on where he’s currently filming. “I like Louisiana, and I’m more inspired here than when elsewhere,” says Godshall. “I make films based on stories that inspire me in some way, be it imaginatively, intellectually or emotionally, and ideally in all three ways. I’m particularly interested in the place where the lines that distinguish the two genres diminish. When generic distinctions fade, cinema and stories emerge.” Godshall has several finished works currently getting recognition worldwide, including such projects as Low and Behold, God’s Architects and Lord Byron. “I’m proud of each project,” he says, “particularly of the relationships that were 36

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O’Donnel believes that reading books on acting and trying to implement these lessons on set proved to be on the shy side of sufficient. “Acting is about doing, and about doing publicly. Book knowledge is cerebral. It exists in the head, not in the real world,” says O’Donnel. “There is a huge disconnect between the intellectual understanding of acting, and acting. As a result, I sought out a position as an acting teacher—my goal was to learn to work with actors and get performances out of actors, not necessarily to become an actor. This evolved into running a free acting workshop out of local actor Tommy Vita’s house. We met every week with a group, ranging from about five to eight actors, for a few years.” On the producing side, O’Donnel says he learned after many failed attempts that he didn’t want to spend his time chasing money and writing business plans. As a result of these personal revelations, and adding Bruno Doria to his team (as cinematographer, etc.), his team has shot four feature films and close to a dozen shorts together.

Amond sees the future of Louisiana film getting bigger and bigger, as long as the tax incentives stay in place. She feels that the amount of talent coming out of UNO’s film program, and the quality of that talent, is stocking the city and the state with local knowhow and local talent.

Visit www.somepulpproductions.com for more on Amond and Some Pulp.

‘safe in this cage’ from a piece written by Philadelphia writer Brian Pease,” explains O’Donnel. “I chose this name as a reminder that growth is more valuable than comfort. The last six or seven years for me have been focused on how to make movies for little-tono money, and secondly, how to direct actors.”

communal filmmaking—filmmaking that relies less on money and more on the collaborative spirit that already pervades Louisiana’s culture. “I sense a return to this more tribal, communal aspect to art-making, even in the midst of the Hollywood South boom,” says Godshall. “And if communities continue to work collaboratively to produce art and films, then I’d say the future would continue to look bright for film in Louisiana.” Visit www.zachgodshall.com for more. Miceal O’Donnel – CAGESAFE PRODUCTIONS Miceal O’Donnel ended up in New Orleans via the Coast Guard in 2002. He started working on independent short films while off duty. When his time in the Coast Guard had come to an end in 2004, he and his wife Eileen decided to stay in New Orleans and continue to work on independent films. His company name, Cagesafe Productions, came about as O’Donnel evolved from being a crewmember on others’ films to making his own films. “The name Cagesafe comes from the line

“All of the actors learned positions on the crew, so on their non-acting days, they were crewmembers,” O’Donnel says. “They became resources for locations, vehicles, food and equipment. This has cut the major expenses out of filmmaking, and has allowed us to keep shooting, instead of hitting the financial roadblock associated with the most expensive art medium.” Prior to forming his group of filmmakers, Miceal O’Donnel

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LOUISIANA FILM & VIDEO MAGAZINE

O’Donnel directed the feature film The Jack of Spades, written by Thomas Johnson. Since forming this group of filmmakers, through the acting workshop, he has written and directed the feature films Simple, Dante and Minnie, Bye Bye Betsy, and The Victory Lounge. Bye Bye Betsy takes place in New Orleans, Baltimore, and New Jersey. The rest are all shot entirely in New Orleans.

the capacity of producers, actors, directors, cinematographers, production designers, production managers, 1st ADs, and all of the higher jobs. They need the opportunity to lose someone’s money a few times. They need to understand the beast that is distribution. With this, we can have a ‘New Orleans Film Industry,’ instead of just a ‘Hollywood South.’”

prose, and that we “make films based in the actual world we live in, rather than some filmmaker’s fantasyland of movie references and ‘in’ jokes.” Aaron Rushin

Visit www.facebook.com/TheVictoryLounge. Says O’Donnel, “Hopefully we’ll get to the point soon where we can pay people, but when you ask ‘Why shoot in Louisiana? Why shoot in New Orleans?’ My answer is, ‘Where else are you going to get that many professional talented people who will enthusiastically come together for a large unpaid art project?’” O’Donnel’s degree is in fine arts, and he feels that it’s ironic that it has been the visual side of filmmaking that has been neglected in modern-day films. “We regularly put ourselves on schedules where we are shooting seven to ten pages a day,” he says. “We will work on trying to get solid compositions, solid lighting, and the right lens, but then let the actors do the hard work of telling the story.” For his upcoming projects, O’Donnel wants to cut the per-day page count down so that he can start to more effectively use the camera to supplement the acting and the storytelling. O’Donnel believes the future of film in Louisiana is not in Hollywood South, but in the New Orleans independent film community. “People with an emotional connection to the city will be the ones who are here making films, regardless of tax credits or other incentives,” he says. “Locals have to have the opportunity to work through feature films in

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Aaron Rushin – neverMIND PRODUCTIONS / TIME CODE: NOLA INC. Aaron Rushin has been living in New Orleans for 15 years, and can’t figure out why he should leave now. “We make the films we wanna make,” he says. “I do it because I have to; it gets in the blood.” Rushin has directed and produced several short films, many of which have been screened at film festivals all over the world. His latest projects are Lost Night, a co-production with Jason Affolder’s Gargantuan Films that recently screened at the Little Rock Film Festival, and Spare Change, a neverMind coproduction that is now in post-production. He has also recently produced several music videos by artists such as Impulss and Los Poboy-citos. In addition to his film and music video work, Rushin co-founded and produces Timecode: NOLA, a local television show on New Orleans Cox Cable 4 that features short film projects by local filmmakers. “I’m working on another short for me to direct that will tell its story of chance and missed opportunity through images and voiceover, and without dialogue,” says Rushin. “Hopefully this won’t be as stereotypically ‘indie film’ as it sounds.” Rushin believes that films are poetry, not

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“Although New Orleans is ‘pretty’ visually, if I lived somewhere else, I’d make films there,” he says. “There is nothing intrinsically special or interesting about Louisiana that you can’t find elsewhere, if you know where to look.” Rushin believes this “seeming renaissance in filmmaking in Louisiana” will only last as long as the leadership in the state sees fit to continue the tax breaks. “Once that’s gone, Hollywood is gone in an instant, so it’s important that we (artists in our state, city) support other artists (in this case, filmmakers) as much as we can without relying on the whim of a state government,” says Rushin. He believes that organizations like Timecode: NOLA that support local filmmakers by helping artists get their work shown will become even more important as the years roll on. For more information and to view some of Rushin’s short films, visit www.nevermindproductions.com. LFV

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LOUISIANA FILM & VIDEO MAGAZINE

I NEED A HERO FLIES ONTO THE FESTIVAL CIRCUIT

ouisiana native White Hawk Bourne is busy designing postcard and poster art for her documentary short film, I Need a Hero, which began its festival run in August. “The film is a brief examination about the evolution of LGBT (lesbian, gay, bisexual and transgender) representation in U.S. comic books,” said Bourne. “It’s a blueprint for a feature that I’m currently working on based on the same topic.”

“In 2011, I met Brian Anderson, a LGBT comic creator, at San Diego Comic Con,” continued Bourne. “He was working with Prism Comics, a non-profit organization that promotes LGBT comics and creators, to publish his queer-themed superhero comic Sosuperduper. After meeting Brian, I called up fellow screenwriter and comic book fan James Mercel and asked him to work on the project. Mercel has an encyclopedia of knowledge of mainstream comics from the past 35 years, and I was eager to work with him. Being gay himself, Mercel was extremely interested in the project, and we quickly put together our small team to shoot at Wondercon in March of 2012.” I Need a Hero features interviews with LGBT comic fans and creators, including Archie Comics’ Dan Parent, who created Kevin Keller; Scott Lobdell, who created Bunker, the new gay Teen Titan; and Bob Schreck, former editor for Green Lantern, who was involved in the award-winning Terry Berg “Hate Crimes” two-issue story arc. The film, which premiered at the Minneapolis Underground Film Festival in August, will also

Wéland Bourne preparing to shoot at Wondercon.

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White Hawk Bourne

be showing at Chicon 7, the World Science Fiction and Fantasy Convention held Labor Day weekend in Chicago. But Bourne is most excited about the film playing in Shreveport at the Phenom Film Festival in September. “It’s great to be able to have your film play in your home state so friends and family can view it on the big screen,” said Bourne. “I Need a Hero has so many ties to Louisiana. Our executive producer, Odin Lindblom, and producer, Joan Gossett, are both Louisiana residents. Cinematographer Wéland Bourne is a New Orleans native that attended NOCCA before he was displaced by Katrina.” I Need a Hero will also be hitting the film festival circuit internationally. In December, it’s scheduled to play at the Queer Fruits Film Festival in Australia. Bourne said she is determined to find a way to get to Australia for the film’s Australia premiere. “We’re thrilled that festival directors have been responding so positively to I Need a Hero,” said Bourne. “It’s really important, especially for LGBT youth to be able to see a reflection of themselves in media. Not only does it foster confidence and self-esteem, but it helps promote inclusion, tolerance, and even acceptance in the school and work environments. I mean, think about it...would Superman still be super if he were gay?” Added Bourne, “We expected some support from LGBT festivals, but the overwhelming support from mainstream festivals, particularly in small towns across the United States, is thrilling. We’re playing a documentary film festival in Chagrin Falls, Ohio, in October. They were the first festival to accept the film, and I’m very excited about it playing there. And we still have over 100 entries out to festivals for review and are waiting on more notifications.” Bourne began her letter-writing campaign to

festival directors at the end of May, just as she finished her documentary short. “To date we have received over 85 fee waivers to festivals all over the world,” she said. “Even if these programmers can’t manage to find a slot in their festival for our movie, it’s refreshing to know they’re open to our film and the message we’re promoting that everyone deserves a hero.” With festival entries ranging from $10 to $120, Bourne estimates that her fee waivers have easily saved her over $4,000. “We barely have enough money for postage and blank DVDs,” she said, “and we want as many people to see the movie as possible. Without the fee waivers, it would be impossible.” “D.C.’s recent announcement that Green Lantern Alan Scott is gay has really helped create interest in our film,” said Bourne. “Perhaps the interest will lead investors to our feature. In the meantime, I believe festival circuit play is really important for networking and building our audience. We hope that the interest and exposure we generate at festivals will eventually help support our film through fundraising and crowdsourcing.” LFV For more information on I Need a Hero, go to www.facebook.com/ineedaheromovie.

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BEASTS OF THE SOUTHERN WILD PRE-RELEASE SCREENING

he Louisiana-made and internationally acclaimed film Beasts of the Southern Wild traveled all over the world and returned home to screen for an eager audience in Baton Rouge on July 19 at a pre-release screening sponsored by the Louisiana International Film Festival. The film won the prestigious Sundance Grand Jury Prize for best dramatic feature and the Cannes Camera d’Or for best first-time filmmakers. Even though there was a torrential downpour before and during the screening, there was a packed house with a long and genuine standing ovation. And the audience was eager to stay for the Q&A with key cast and associate producer Nathan Harrison. It was a night highlighted by the number of movie industry locals in attendance, including several New Orleans-based actors who had recently completed key roles in projects like Treme, Django Unchained and 12 Years a Slave. The Toon Squad, a local break dance troupe, also provided entertainment on the red carpet, in the theater before the screening, and at the after party at The Famous Theater.

Left: Quvenzhané Wallis (star of Beasts of the Southern Wild). Photo by Christopher Bond, El Mundo Photography. Below: Levy Easterly (of BSW), Christopher Bond (El Mundo Photography), Dwight Henry (of BSW), Henry D. Coleman (of BSW), Nathan Harrison (assoc. producer of BSW), and Andrew Vogel (New Orleans-based actor). Photo by Christopher Bond, El Mundo Photography.

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Top Left: Quvenzhané Wallis of Beasts of the Southern Wild and Chesley Heymsfield, director of Louisiana International Film Festival, at the event after party at the Famous Theater. Photo by Christopher Bond, El Mundo Photography. Middle: Toon Squad (Baton Rouge-based dance troupe) who performed before the screening and at the after party. Photo by Glen Warner, iMonster. Top Right: Shanna Forrestall (New Orleans actress) and Dwight Henry (star of Beasts of the Southern Wild). Photo by Glen Warner, iMonster.

5TH ANNUAL CHILDREN’S FILM FESTIVAL n August 11-12, the New Orleans Film Society celebrated the fifth anniversary of the New Orleans International Children’s Film Festival at the Contemporary Arts Center.

A free event designed for the city’s youngest audiences, the Children’s Film Festival brought a diverse slate of 60-plus indep e n d e n t animated, documentary and narrative films for a weekend of (left) Jolene Pinder, cinematic fun. executive director of New Each summer, Orleans Film Society, and the founder of filmmaker Jackie Marion. the Los Angeles International Children’s Film Festival and the San Diego International Children’s Film Festi-

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val, Dan Bennett, travels to New Orleans with a library of stellar children’s films culled from hundreds of submissions. Bennett’s mission: To screen quality films made for children and teens from around the world, introducing young audiences to new cultures, nationalities, and creative filmmaking and animation techniques. The New Orleans International Children’s Film Festival set a record for attendance this year, drawing 553 attendees over the course of the two-day festival. For the first time, the festival had two filmmakers in attendance. Alison Chin, the director of Fish Tank Fantasy, traveled from Los Angeles to attend the festival and participated in two lively Q&As with the young audience. The festival also welcomed a surprise visit from a second featured filmmaker,

Jackie Marion. Her two films, Wepo and Elmer’s Nest, played both days of the festival. The New Orleans International Children’s Film Festival is presented by the New Orleans Film Society, the Contemporary Arts Center, and the Los Angeles International Children’s Film Festival. Stay tuned for 2013 Children’s Film Festival dates by visiting www.neworleansfilmsociety.org. LFV Mark Your Calendars: NOFF Coming this Fall New Orleans Film Society presents the 23rd annual New Orleans Film Festival (NOFF), to be held October 11-18, 2012. A major showcase of local, regional, national and international films, NOFF features an eclectic program of films, panels and parties each fall with legendary New Orleans as its backdrop. Watch for a 2012 NOFF preview in the next issue of Louisiana Film & Video Magazine.

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LOUISIANA FILM & VIDEO MAGAZINE

BRIEFS I.D.D.O PRODUCTIONZ PARTNERS WITH LOUISIANA FILM RESOURCES FOR VIDEO PROJECT Many people from the United States have never even heard the term “eunuch,” but Louisiana producer Shanna Forrestall met a family of eunuchs in India years ago whose story changed her life. Now one of her current video projects is a “teaser” video aimed at raising awareness for this underserved people group in India. In 2011 Forrestall brought a team of Louisiana filmmakers to India to work on a non-profit project called Enter Namaste. The team was there to shoot a video documentary and commercial to assist in raising awareness and funding for a series of schools for disabled children in southern India. While there, she entreated her team members to help acquire footage of her friends, a family of eunuchs living in the outskirts of Mumbai. The team discovered that the eunuchs in India are treated almost sub-human, and until as recently as one to two years ago had no basic rights to vote, get married or claim unemployment in India because these

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castrated males who dress as females could not be classified as a man or woman to complete government paperwork. After video footage of this rare group shot by Alex Willson and Han Soto (both of New Orleans) was brought back to Louisiana, Forrestall was on the hunt for someone to help her edit and finalize the video. Kendal Odom of I.D.D.O. Productionz volunteered his time to edit the footage using original music created and donated by Johnny Burgard, a local composer. For more information about the project, visit www.lafilmresources.com.

FF ONE: NEW FILM FESTIVAL SET TO PREMIERE Timecode:NOLA has announced the debut of their first annual film festival, called FF ONE, which will be held September 28 – 30. FF ONE is a film fest focused on cultivating the New Orleans filmmaking community by utilizing the creative energy of the city into a festival that connects filmmakers, professionals, students and independent film organizations for contests, screenings, discussions, workshops and panels. This three-day event is

designed to fulfill Timecode’s mission of empowering storytellers and building a longterm sustainable independent film community in New Orleans. For more information about FF ONE, visit www.timecodenola.com/FFONE.

UNO FILM STUDENT WINS BEST DIRECTOR AT 2012 ITVFEST IN LOS ANGELES Kd Amond, a 2012 graduate of the University of New Orleans (UNO), took her thesis film The Woodshed to the International Television Festival in Los Angeles and brought home the award for Best Director. The Woodshed, written and directed by Amond for her MFA in film production from UNO, received nominations in three other categories: Best Writer, Best Drama, and Best Actor—Hunter Burke. “This is the best thing that could happen to me at this time. I’ve met some wonderful people and learned so much about the industry,” said Amond of her festival experience. Her two lead actors, Burke and Ashton Leigh, accompanied her to Los Angeles to support their film. LFV

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