Independent Streak Magazine -April/ May 2022

In d ep en d en t

St r eak

M a g a zin e Apr il/ May 20 22

MIFF Wr aps Spot light : Scr eenw r it er Donald Mar t in "The Ar t of the Hollywood Backdr op" Celebs f lock t o Boca Rat on Document ar y Explor es bygone Hot spot : The Aut omat Celebr at ing The Oscar s at Villa de Palma & Mor e

I NDEPENDENT STREAK M AGAZI NE Apr i l / M ay 2022

Spot light : Scr eenw r it er Donald Mar t in

By Rachel Gal vin In the last issue of ?Independent Streak Magazine,? our cover girl was actress Alyssa Milano, who was in the Netflix TV movie ?Brazen.? Well, screenwriter Donald Martin worked on that film and countless others in his prolific career, including another recent film, now on Amazon, called ?Queen Bees,? with a legendary cast of seasoned performers like Ellen Burstyn, James Caan, Ann-Margret, Christopher Lloyd and Jane Curtin. This reporter met his successful screenwriter back in 2016 when he was at the Palm Beach International Film Festival with some of the cast and crew for the film ?Tot o,? which was featured in the April 2016 issue of our magazine. It is my pleasure to be able to focus on his career once again.

I asked him first how he got involved with working on ?Brazen.? He said, ?I was approached by Mandalay Pictures and Netflix to adapt the Nora Roberts book 'Brazen Virtue' into a contemporary screenplay. The novel was published decades ago, a story unfolding in the world of telephone sex. I created the world of BDSM web-cam sex for the movie. Edithe Swensen had written an earlier version of a script, which kept the world of telephone sex. I did not work with Edithe or from 1 her script. I worked from Nora?s book, making the characters more

diverse and the story more contemporary. I worked closely with the director Monika Mitchell. I didn?t interact with Nora, but we do know each other?s work. In 2011, I adapted Nora?s book 'Carnal Innocence' into a movie for Lifetime, starring Gabrielle Anwar, and it did very well in the ratings.?

He added, ?As a screenwriter, I love collaboration. That?s what making a movie is all about: collaboration.?

Martin has collaborated with many people through the years working on some extraordinary projects. When asked which was his favorite project, he mentioned two films, which I also mentioned above: ?Queen Bees? and ?Toto.?

Regarding ?Queen Bees,? he said, ?I so loved writing that screenplay because the characters are peppered with bits of my mother and other women I have known and cherished. The story is (basically) 'Mean Girls' meets 'The Golden Girls.' I secretly wrote the lead role with Ellen Burstyn in mind for the part, so imagine my delight when she read the script, and loved it, and said YES! And then to attract such Hollywood icons as James Caan, Ann-Margret, Christopher Lloyd and Jane Curtin ? a dream cast. That script (and that movie) is my love letter to the women who have played such important roles in my life. The story reminds us it is never too late, to find love, to forgive, and to try something new. 'Queen Bees' is now streaming on Showtime and is available on Amazon Prime.?

His reason for liking ?Toto? was more personal. He explained, saying, ?Toto is an indie feature that was shot in Manila. I wrote that script because it was inspired by the story of my husband?s life. He is Filipino. When we first met in 2000, he told me his incredible story. I said, 'That is a movie!' In 2008, he almost died, so I said to myself: I better write this script now, to give him a reason to fight, to survive. I would read parts of the script to him in the hospital. It inspired him to keep fighting, to live. In 2015, we were in Manila, making the movie with some of the best actors from The Philippines. 'Toto' swept the awards at the 2015 Metro Manila Film Festival and won awards at festivals in LA and in New York. That script (and the movie) was also a love letter. I wrote and produced 'Toto' with two collaborators, a passion project. It is a story about never giving up on one?s dream, and that is a universal story. 'Toto' is also available on Amazon Prime.?

Martin has always wanted to become a writer. He began his career as a journalist. During that time, he learned some tools that would help him in his later career as a screenwriter: ?First and foremost, always meet your deadline, and always start a story with an engaging hook,? he said.

He added, ?In 1988, I wrote my first movie script on spec, and it was the first movie ever to deal with HIV/ AIDS from a woman?s point of view. I did not know that the medical and scientific communities were looking at women as the next wave for HIV/ AIDS, so my movie arrived on the scene at an opportune time. Entitled 'No Blame,' the movie starred Helen Shaver and the acclaimed French actress Marie Christine Barrault. It won the Red Cross Award from Prince Albert in Monte Carlo, and it was invited to screen at the 5th International AIDS Conference.

It aired on Lifetime. It kickstarted my career. It led to a five-picture deal with a production company, and I quit my job in journalism. Since then, I have not stopped writing for film and television.?

Most writers have a routine when it comes to putting pen to paper or fingers to computer keys. They need a certain ambiance to get the creative juices flowing. Some prefer music or TV in the background, but not Martin. He wants complete silence. ?My dog even knows there?s no barking when I write!? he quipped, adding, ?I write six days a week. I take Sundays off. I have a specific routine. I get up early ? 5 a.m., 6 a.m. ? I walk the dog, make a pot of coffee and I start writing until around 2 p.m. After that, it?s all about meetings and the business part of my work. I think it is important that a writer writes, period ? daily. It is a process. Writing is all about rewriting.?

Martin said he uses the ?gold standard for screenwriting software? ?

Final Draft-- to create his screenplays. It takes him about three to four months to write a feature film, ?which is well layered and textured,? less for a film for television since it is ?more

plot driven.?

He continued, ?I start with an idea, usually a theme that I wish to explore, the reason for telling a story. Once I am certain of the theme, then I create characters through which that theme can play out, in ways good and bad.

Once I know my characters and their world, then I write an outline. The outline is crucial; it is the foundation of the screenplay, the blueprint. It is easier to work through and resolve story or character issues in the outline stage before going to script. Once I am done with the outline, then I write the screenplay. When adapting a book, it is still important to create a solid outline because a book is not a movie. It is vital to keep in mind that one is ?adapting? the book, so certain creative decisions must be made that honor the book and its characters while still making it a motion picture, which is a very different creature from a book.?

Once the creative part ends, the business begins. He has to sell the script. He explained that process: ?When I am writing a spec script (as opposed to a commissioned work), the first thing I do before I let anyone read it is to register it with the Writers Guild of America (WGA).

On my script?s title page, I include the WGA registration number, to let the reader know that the screenplay is protected. WGA registration can be done online at wga.org and it costs $10 for WGA members and $20 for non-WGA members. WGA registration lasts for a period of five years. It is a simple process, easier than getting it copywritten. WGA registration is the industry standard.

When I put a script out there into the marketplace, I do it through my agent and my manager. We strategize together in terms of which producer or company to target. Having been in this business for a while, I also have my own relationships with various producers, but I always conduct business in tandem with my agent and my manager.

We are a team. Having a good team in place is important.?

He emphasized the importance of the WGA, saying, ?It does help 2

to be a member of the WGA. The Guild protects and serves writers. It wrote a six-part comedy series that has just been optioned.? has a great pension plan and excellent health insurance. There are Through the years, Martin has learned a lot and is continuing to hone other organizations for writers that can be helpful and useful, but the his skills and build his professional career. Asked what he knows now goal for any aspiring screenwriter should be getting into the WGA.? that he wished he had known when he began his career, he said, ?It?s As he mentioned before, having an agent/ manager is also important. all about knowing when to introduce a project into the marketplace He views them as crucial, saying, ?They serve as the conduit to and how, and with whom. That takes years of trial and error. Earlier in producers, networks and studios.? my career, at times I was too hasty in putting out a script, when it was not quite ready. It?s akin to making a fine wine. You need to let it sit for He added, ?Many executives and producers will not read unsolicited a while ? then revisit it ? and fine tune it. You are only allowed to material that comes directly from writers. I can understand why ? this introduce something once, so you must be sure that it is ready when it is a litigious business and claims on intellectual property can be goes out there into the marketplace. That is something I now know, thorny. So, executives and producers prefer to deal with people they and I wish I had known in when I was starting out.? know: the agent, the manager, the entertainment attorney ? as a conduit for material that has been vetted and that is considered to be For more information on Donald Martin, visit his IMDB page. of the highest quality.?

Once he is able to work with his agent or manager and get his screenplay sold, it is out of his hands. ?As a screenwriter, once you sell a script you lose all control. Under the rules of the WGA, the contract is deemed 'work for hire.' So, whoever paid you for your script now owns it. That means the script can be changed without your consultation. It means another writer can be brought on board.

If you want to maintain any control, it is best to be a producer or executive producer. That way, you have a say in who the director will be, who the actors will be, and if any script changes will take place.

At this stage of my career, I am often a producer on my projects.

When I am not, I must understand that I have relinquished all control, and I am okay with that. As the late great Olympia Dukakis once told me (she starred in my movie 'Never Too Late,' with Cloris Leachman): 'Darling, the screenplay was yours, but the movie is ours.'?

He did get a chance to be on set for ?Queen Bees,? which was shot in Atlanta just prior to COVID-19 hitting. ?It was wonderful to see that awesome cast up front and close and witness their professionalism,? he said, adding that, unfortunately, it was a different story for ?Brazen.? Since that film was shot during the pandemic in mid 2020 up in Vancouver, he was unable to be on set due to COVID protocols. ?Brazen? was a huge hit on Netflix, which opened many new doors for him, as did ?Queen Bees.??Since those two projects, I have written two new feature screenplays, both of which have been optioned by production companies,? he said. ?My script ?Bear Season,? which I adapted from the novel by Bernie Hafeli, is now Donal d Mart in wit h IS f ounder Rachel Gal vin, and some of t he cast and crew of casting, scheduled for production in Europe in the fall. And I "Tot o," at t he Pal m Beach Int l . Fil m Fest , 2016.

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I NDEPENDENT STREAK M AGAZI NE 3rd A nnual Rose Warner A w ard

By Rachel Gal vin On March 23, at Savor Cinema in Ft. Lauderdale, the Florida Arts Network (FAN) held their 3rd annual Rose Warner Award for Excellence event. Their group is all about networking and that evening certainly focused on that as people crowded around the red carpet area on the patio to mingle with people in person that they had not seen for a long time, and to meet new people in the biz as well. They also wanted their photos taken, for sure.

But the crux of the evening was the entertainment and awards. The festivities were emceed by Katana Malone and FAN's own Richard Sosa said a few words. Frank Ruffolo , of FAN, and his wife Christine, were in attendance, as well as Chelsea Alvarez, who handles their PR and has a very close personal relationship... ahem... with one Richard Sosa.

The first band to come out was Clementine and they rocked the house even though it was their first gig. Also performing was Kahra Keyes with Bryant August and Steven Avi with his dramatic performance on violin.

Then Rose Warner's daughter, Diana, came up to say a few words about Body text her late mother, a local producer, director and actress, who ran the precursor to this group ? The Florida Hampton Table. Then, Diana helped Richard reveal the award-winner for the evening, who was Juan Alonso, who gave a speech. The nominees were all filmmakers this time.

Following the festivities, most of the crowd went to the "after party," which was held at nearby Lesters.

The Florida Arts Network has events all year. To find out more about the group, visit www.floridaartsnetwork.com.

(Top, L t o R): St even Avi, Kat ana Mal one; (bot t om, L t o R): Cl ement ine, Kahra Keyes & Bryant August . (On l ef t , L t o R): DIana Warner & Richard Sosa; award winner Juan Al onso.

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(L t o R): Diana Warner & Cel ine Al va; FAN's Christ ine & Frank Ruf f ol o, Chel sea Al varez & Richard Sosa; Kimberl y Dougl as, FLOW Fil m Fest ival f ounder makes an appearance wit h husband and f riend; (bot t om): The gang is al l here; Serge Mardy & Cl audine Lee.

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I NDEPENDENT STREAK M AGAZI NE OUTShine Fil m Fest ival

By Rachel Gal vin Phot os provided The OUTshine LGBTQ+ Film Festival Miami returned April 22- May 1 bringing more than 45 international features and documentaries, as well as panel discussions, shorts Thomas Mackie & Landon Woodson, st ars of programs, virtual t he opening night f il m ?B-Boy Bl ues.? screenings and parties.

They honored Venezuelan actress, model and philanthropist Patricia Velásquez with their Vanguard Award. She is perhaps best known for her role in "The Mummy" and "The Mummy Returns." She has also appeared in many other films, including ?The Curse of La Llorona? and television shows, including ?Arrested Development? and ?The L Word.? She is the founder of the Wayuu Taya Foundation which is dedicated to aiding Venezuelans struggling along the Colombian border. She was appointed the UNESCO Artist for Peace and is a Goodwill Ambassador at the Organization of the American States.

The fest kicked off on April 22 at the Black Archives - Historic Lyric Theater, a festival first, with the premier of "B-Boy BLues," an African-American comedy-drama. It wrapped on May 1 at the Sandrell Rivers Theater with the Closing Night film?Cop Secret," an Icelandic action comedy. They had plenty of popular events in between.

AUDIENCE AWARDS BEST FEATURE B-BOY BLUES, directed by Jussie Smollet 7

RUNNER-UP # 1 COP SECRET, directed by Hannes Thor Halldorsson RUNNER-UP # 2 WHO WE LOVE, directed by Grant Cantwell HONORABLE MENTION GIRL PICTURE, directed by Alli Haapasalo

OUTShine's Vanguard Honoree, act ress and phil ant hropist Pat ricia Vel asquez, OUTshine?s Board Treasurer Chris Vast ine, Board Vice-chair Jennif er Kriz, ?B-Boy Bl ues? st ar Landon Woodson, OUTshine?s Int erim Execut ive Direct or Mark Gil bert & Board President Dino Mosquera

BEST DOCUMENTARY MAMA BEARS, directed by Deresha Kyi RUNNER-UP PAT ROCCO DARED, directed by Morris Chapdelaine and Bob Christie HONORABLE MENTION JEANNETTE, directed by Maris Curran BEST SHORT POWERS, directed by Paige Morrow Kimball RUNNER-UP WARRIOR, directed by Angelica Bourland HONORABLE MENTION DRAGGED UP, directed by Laura Jayne Tunbridge To find out more about the festival, visit https://outshinefilm.com.

I NDEPENDENT STREAK M AGAZI NE For t Myer s Film Fest ival May 18-22 Taken at most recent Women in Fil m event at Mil k Money Bar & Kit chen.

Do you k now about Women i n Fi l m?

Have you gotten your tickets for the upcoming Fort Myers Film Festival? It is taking place from May 18-22 primarily at the Sidney & Berne Davis Art Center located at 2301 First St., in downtown Fort Myers.

Many of the details are still to be announced as of press time, but we do know the opening night will feature the film "Calendar Girls," a film about Florida's most dedicated dance team for women over 60, and will take place on May 18 at 7 p..m. at he Sidney & Berne Davis Art Center.

For more information: www.fortmyersfilmfestival.com.

Women in Film & Television has branches all over, including right here in South Florida. They recently relaunched with a new team and had their first networking get together at Milk Money Bar & Kitchen in Wilton Manors.

The new executive director for SAG-Aftra in Miami was in attendance, along with many local women and men in all aspects of the industry. This event gave everyone a chance to meet each other and possibly collaborate in the future.

This organization is all about networking. For those who want to be in-the-know for upcoming events, membership has several levels.

For more information, visit https://womeninfilmfl.org.

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I NDEPENDENT STREAK M AGAZI NE Miami Film Fest Wr aps

By Rachel Gal vin The Miami Film Fest took place March 4-13. In the last issue, IS spotlighted the overview of the fest, including the opening night. Now, we are featuring the closing night festivities. On Saturday, March 12, the night began at the Adrienne Arsht Center.

Filmmakers hit the red carpet before heading in for the awards ceremony.

Actress Penelope Cruz received a Gem Icon Award, which she accepted via video. To see the other award-recipients, see page 12. The presentation was followed by a screening of director Abner Benaim's "Plaza Cathedral." The drama showcased the tragedy of young lives being lost every day in certain Latin American countries.

Following events at the Adrienne Arsht Center, there was a party at the Freedom Tower. Here, guests danced the night away at the Tropical Disco party, trying the food and drinks available and networking for one last time before the film fest was over.

There was a surprising flash mob type experience in the middle of the dance party with outrageously-costumed individuals moving into the crowd doing a very artistic presentation, finding their way to different implements to use, including squirt bottles and shaving cream, and proceeding to squirt it towards attendees. It was called "Caraboom," and it was a wacky take on a car wash show. The show is over now but you can sign up for the next one (www.caraboomlive.com).

For more information on the film fest, visit www.MiamiFilmFestival.com.

Pict ured: (Above) Raf ael Vera, Magnol ia Nunez and Coco Val encia -- ready t o go t o t he af t er part y; (bel ow) t he Adrienne Arsht Cent er.

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At t he Adr ienne Ar sht ...

Top row (L t o R): Jaie Lapl ant e & Lauren Cohen int roducing t he awards; Composer Crist obal Tapia De Veer; Jonat han Cuart as, Est rel l a Araiza, Al exandre Morat t o; Jaie LaPl ant e wit h Ool it e Art s t eam; second row (L t o R): The Knight Concert Hal l at t he Adrienne Arsht Cent er, Magnol ia Nuñez, act ress in "Carajit a," accept s HBO Ibero-American Feat ure Fil m Award; Direct or of "Pl aza Cat hedral ," cl osing night f il m, Abner Benaim; Jaie LaPl ant e wit h Vanessa & Gary Ressl er; t hird row (L t o R): Kal i & Cl audia; Mark Pul aski, Cat hl een Dean wit h IS f ounder Rachel Gal vin.

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At t he Fr eedom Tower...

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Pict ured: (Top) Coco Val encia, Jonat han Cuart as, Raf ael Vera and IS's Rachel Gal vin; Direct or Abner Benaim poses wit h new f riends; serving up t ast y cockt ail s; (Bel ow) greet ing guest s at af t er part y; pael l a was just one del icious bit e avail abl e at t he af t er part y; t he int erior of t he Freedom Tower.

Miami Film Fest ival Awar ds Two family dramas, the feature film "Freda" and short film ?You

Can Always Come Home? earned top prizes at the 39th edition of Miami Dade College?s (MDC) acclaimed Miami Film Festival.

Presented in a hybrid format this year, with both in-theater and virtual presentations the 2022 Festival ran from March 4- (See more page 9).

Knight MARIMBAS Award Making its U.S. premiere at this year?s Festival, "Freda," directed

by Géssica Généus, earned the top award for her first feature set in Haiti, the $25,000 Knight MARIMBAS Award, supported by the John S. and James L. Knight Foundation, an international competition for new narrative feature films that best exemplify richness and resonance for cinema?s future. The winning film was selected by jury members Damon D?Oliveria, April Dobbins and Rubén Peralta Rigaud. The jury said, ?this film resonated with all of us for its strong, female-centered narrative, and its exceptional performances from emerging actors. We couldn?t stop thinking about this world and these characters, and we appreciated being immersed in a place that we don?t often see onscreen ? portrayed in such a realistic, but tender way.?

The jury also gave special recognition to actor Haztin Navarrete from "The Box" and actress Mari Oliveira from "Medusa," saying, ?for two magnetic performances that we couldn?t take our eyes off.? $55,000 Knight Made in MIA Fil m Award The $55,000 Knight Made in MIA Film Award, supported by the Knight Foundation, is given to three films that have a substantial portion of their content in South Florida and that best utilize their story and theme for universal resonance. They were evaluated by jury members Mollye Asher, Nicholas Griffin, Johann Zietsman, and Keisha Rae Witherspoon, who won the Knight Made in MIA Award for her 2020 short drama "T." "You Can Al ways Come Home,? directed by Juan Luis Matos, won the $30,000 first prize. The jury said, ?this is a film that

radiates with the joyous spirit of Miami in its embrace of family, community and place while also embodying the universal meaning of home.?

Second prize ($15,000) went to ?In Beauty It Is Unfinished,? directed by Greko Sklavounos. The jury said, ?this poetic offering is a gorgeous fever dream that captures longing, fragments of memory and a poetic gaze at a Miami that is both familiar but also made a new. Made personal.?

Third prize ($10,000) went to ?Un Pequeño Corte,? directed by Marianna Serrano, which the jury called ?a charming and powerful story that serves as a portrait of an independent spirit in a world demanding conformity.? $10,000 Jordan Ressl er First Feat ure Award The family drama "You Resemble Me," directed by Dina Amer, garnered the $10,000 Jordan Ressler First Feature Award. This honor, sponsored by the South Florida family of the late Jordan Ressler, is presented to the best film made by a filmmaker making a feature narrative film debut. The selection committee, comprised of Estrella Araiza, Jonathan Cuartas and 2019 Jordan Ressler Award winner Alexandre Moratto, said in a statement, ?We chose the film for its bold depiction of fragmented identity and social inequality through its masterful weaving of styles. Part intimate character study, part topical drama and part documentary, this fearless filmmaker, a former journalist who reported on the real life events that inspired the film, takes a personal approach that is at once earnest and troubling, moving and provocative."

HBO Ibero-American Feat ure Fil m Award The drama "Carajita," co-produced by Wooden Boat Productions (Dominican Republic) and Pucará Cine (Argentina), took home the $10,000 HBO Ibero-American Feature Film Award, sponsored by WarnerMedia. The film, about class and racial issues in Latin America and the Caribbean, was selected by jury members Carlos Aguilar, Leslie Cohen and Brandon Harris. The annual prize is given to the best nominated U.S. Hispanic or Ibero-American narrative feature film, and is awarded to the lead producer or production company.

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Rene Rodriguez Crit ics Award Set during the era of China?s Cultural Revolution, the deeply moving war drama "One Second" won the Rene Rodriguez Critics Award, selected by accredited film critics covering the Festival. The film, screened as a Special Presentation, is directed by Chinese filmmaker Zhang Yimou, a three-time Oscar nominee for Best Foreign Language Film.

Al acran Music in Fil m Award Felipe Perez Santiago, composer of "Amalgama," earned the Alacran Music in Film Award, sponsored by Alacran Studios. The award highlights the power of music and film and celebrates the role of the film composer. Art of Light (Composer) Award honoree Cristobal Tapia de Veer selected the winner.

OneFif t y Lat ino Short Fil m Award The short film category is toplined by the $10,000 WarnerMedia OneFifty Latino Short Film Award, judged by HBO and Miami Film Festival programmers, which bestows $5,000 upon the winner and $1,250 each to four runners-up. The top prize went to the dramatic short ?Hector?s Woman (La mujer de Héctor)? from NYC-based Puerto Rican filmmaker Ricardo Varona, with other prizes given to ?Chilly & Milly,? ?It's Not Her (No Es Ella),? ?For Some Horses (Por unos caballos)? and ?The Year of the Radio (El Año del Radio).?

Miami Int ernat ional Short Fil m Award Pakistani filmmaker Ali Sohail Jaura earned the $5,000 Miami International Short Film award, given by select members of Miami Film Festival?s Program Committee, for his historical war drama ?Murder Tongue,? which illuminates one of the most brutal chapters in the history of Karachi, Pakistan.

Universit y of Miami Short Document ary Fil m Award The $500 University of Miami Short Documentary Film Award, as judged by University of Miami School of Communications faculty members, was given to ?The Originals,? directed by Cristina Costantini and Alfie Koetter, a 10-year retrospective through the eyes of their former landlord and his childhood 13

friends about growing up in South Brooklyn. ?Firelei Báez: An Open Horizon (or) The Stillness of a Wound,? directed by Souki Mehdaoui, received an honorable mention.

Audience Short Fil m Award The Audience Short Film Award went to romantic comedy ?Cariño,? directed by Fernanda Lamuño. First runner up was ?Un Pequeño Corte,? directed by Mariana Serrano, and second runner up ?Madame Pipi,? directed by Rachelle Salnave.

Best Post er Award This year?s Best Poster Award went to two images. Designed by Nate Biller of Jump Cut, the poster for the period drama "Parsley" evoked the style of Hollywood epics of the 1930s, according to the festival?s selection panel, while it ?subverts those traditions by foregrounding Black Latinx/ Haitian characters? to create a timely statement at once ?poignant and powerful.? Sander Brouwer?s work for the Chilean thriller "Immersion," spotlighting a man unwilling to help a sinking boat, ?moved? the judges ?immensely? through an inverted submergence in emotion, ?a conflict of morals and paranoia? that can prevent human beings from acting compassionately.

Best Trail er Award Previous Knight Marimbas Award winner Lorenz Metz served as trailer editor of his own film, the Switzerland-produced "Soul of a Beast, "a conflicted romantic drama, which was chosen for this year?s Best Trailer Award by select members of the Festival?s Program Committee.

Fl orida Cinema Sl am St udent Fil m Award Returning in 2022 is the $1,000 Florida Cinema slam Student Film Award, judged by previous Cinema Slam-winning alumni, with its cash prize going to the gay character study "The Truth of a Thousand Nights," directed by Chris Molina. Other non-cash awards were given in five categories: "Offside," directed by Emiliano Gioffre, for Best Writing and Best Actor; "One Call Away, "directed by Camila Marcano, for Best Actress; "Cut Short," directed by Charlie Andelman, for Best Cinematography; and "Symfaunic," directed by Erin Bergin and Darby Kate Snyder, for Best Technical Achievement.

Audience Short Fil m Award ??Cariño," directed by Fernanda Lamuño. Presented to the filmmaker(s) of the Festival audience?s choice of best non-documentary short (30 min or less) of the entire Official Selection.

First runner-up: ?Un Pequeño Corte,?directed by Mariana Serrano Second runner-up: ?Madame Pipi,?directed by Rachelle Salnave

More snaps f rom Miami Fil m Fest -- serving up pl ent y of f ood, and providing ent ert ainment , incl uding a surprising "f l ash mob" t ype preview of "Caraboom."

Audience Feat ure Fil m Award ? Parsley (Perejil), directed by José María Cabral. Presented to the filmmaker(s) of the Festival audience?s choice of best non-documentary feature of the entire Official Selection.

First runner-up: "Mediterraneo: The Law of the Sea," directed by Marcel Barrena Second runner-up: The Lost Children of Jarabacoa (Dossier de

Ausencias), directed by Rolando Díaz

Document ary Achievement Award ? "South Beach Shark Club: Legends and Lore of the South Florida Shark Hunters," directed by Robert Requejo Ramos. Presented to the filmmaker(s) of the Festival audience?s choice of documentary of the entire Official Selection.

First runner-up: "Strangers to Peace," directed by Laura Angel Rengifo and Noah DeBonis Second runner-up: "Keep the Cameras Rolling: The Pedro Zamora Way," directed by William T. Horner and Stacey Woelfel For more information, visit www.miamifilmfestival.com.

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I NDEPENDENT STREAK M AGAZI NE Apr i l / M ay 2022

A w ar d s P ar ty fo r Th e O s c a r s a t Villa d e P a lm a

By Rachel Gal vin A long line of red carpet ready film industry professionals, dignitaries, sophisticates and cinefiles slowly made their way into the majectic Villa de Palma for this year's Oscar Party, put on by owner Steve Savor, who not only is always a huge sponosr of the Fort Lauderdale International Film Festival, but also is its chair this year.

As always, there was plenty to do and see around every corner. Large scale TVs seemed to be everywhere showing the Academy Awards. Although many sat and absorbed every minute of what was on the screen, many others walked around and mingled with those in attendance. After all, the Who's Who were there in all their finery, making it an ideal place for photo ops.

The food and drink was also plentiful and there was a live band up high on a balcony. The party spanned across the full mansion property, as well as upstairs, and got even more festive as the night went on.

Photos: (On right): FLIFF Exec. Director Gregory von Hausch strikes a pose; (below, L to R): Betty tries sushi; Rachel Galvin & George Monteiro; Skip Margerum, Annette, Steve Savor, Estelle Fineberg & Jim Norton.

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(L t o R): Top: Rachel Gal vin & Ant oine Wong; Annet t e Wal ker & Skip Margerum; even pageant queens at t ended; Irwin Levenst ein & Jan Mit chel l ; Gary Jeant y & f riends; (2nd row): hord d'oeuvres were pl ent if ul ; Jim Nort on & George Mont eiro; Vict or George Harvey & Ana Medeiros; girl s just want t o have f un; Gigi & "Jack" enjoy t he part y; (3rd row): The part y was packed! Rachel Gal vin shows of f Oscar props; 3-D phot os; crowd enjoys wat ching t he Oscars.

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I NDEPENDENT STREAK M AGAZI NE

Actress Audrey Hepburn was among the celebrities who enjoyed going to The Automat. Photo by Lawrence Fried, 1951.

What ever happened t o The Aut omat ?

New document ar y uncover s t his lost gem

By Rachel Gal vin Phot os court esy of Sl ice of Pie Product ions Affordable, futuristic, fascinating, convenient? these are just some of the adjectives that describe a culinary idea that was brought from Europe to Philadelphia in 1902. It?s name was The Automat and its concept was a gastronomical revolution. It was more than just a restaurant owned by Joseph Horn and Frank Hardart. The concept was that people could go inside and up to these glass doors framed with brass to see what tasty treat was behind the glass, insert a nickel and be able to reach in and take the item out. This vending machine of sorts supplied everything from roast beef sandwiches to apple pie 17 prepared by unseen cooks in the back. People could even push

down an Italian-inspired dolphin-headed spout and get their own coffee with a perfectly measured splash of cream for five cents.

This idea started long before the concept of fast food we have today.

It was more than just delivering a hot meal in a unique way. The price was right for everyone. The staff really cared. And everyone was welcome; no one was turned away ? creating an atmosphere that included everyone from the homeless to the high class, all races and creeds, the everyman and the socialite. Even well-known stars came for a meal there. This was a haven from the ordinary and that made the Automat really special. The restaurant started in Philadelphia and went on to New York City. It would become the largest restaurant chain in America.

This phenomenon has become the subject of a charming documentary called ?The Automat? by director Lisa Hurwitz. She asks and answers the all-important question ? what happened to The Automat? Within the film, she has many sources giving their own version of the history of the restaurant chain, including what led to their success and their ultimate closure. Included among these experts are people who worked at Horn & Hardart and their descendants, as well as historians and lovers of the Automat. Actor Elliot Gould is one such fan, as well as actors/ filmmakers Carl Reiner and Mel Brooks.

They share their favorite memories of the locale, from their favorite food to interactions with the staff. Brooks, especially, shares a bit about his childhood, including photos, and even wrote a song about it.

The late Supreme Court Justice Ruth Bader Ginsburg and Secretary of State Colin Powell also chimed in. Starbucks CEO Howard Schultz even talked about how the concept inspired him to create Starbucks.

The idea for creating ?The Automat? movie was spurned on from Hurwitz's admiration for cafeterias, she said. When she was a student in college in Olympia, Washington, she found an affection for her school cafeteria and said she started wondering where the idea for cafeterias came from. As she began doing some research, she discovered The Automat, which she had never heard about before, and became fascinated. ?I found The Automat so exciting and interesting, and I learned there was a treasure trove of memorabilia at the New York Public Library,? she said. That was her start delving into the topic.

At the same time, she was working as a 35 mm projectionist at a local theater, so she had her foot in the film industry in that way, but never

The great t hing about The Aut omat is t hat it wel comed everyone -- al l races, genders and cl asses of peopl e. Phot o f rom t he John W. Romas Col l ect ion of Horn & Hardart Memorabil ia.

expected to make a film of her own.

She did take one documentary film class, but was not a film major.

She created a short film about The Automat for school and would realize she had enough to create a feature. She started the feature back in 2013. As with all films, one of the most difficult parts is obtaining a budget. She gained her funds through a Kickstarter campaign, as well as angel donors, grants, etc. It was low budget, her first film, and a labor of love.

And she was able to bring in the big names eventually, as before mentioned: Mel Brooks, Carl Reiner, Elliot Gould, Ruth Bader Ginsburg, Collin Powell, etc. When asked if she had to pay people like Mel Brooks, she said, ?The beautiful thing about documentaries is that celebrities know they will be donating their time. They know documentaries are not known for making money." She added, "In other countries, they put money into documentaries because they know they are preserving history...? etc."

Asked about her process, Hurwitz said when documentarians do

interviews, they transcribe them, which makes it easier for editing.

They can look at it and piece it together more easily.

Another important part of creating the film was obtaining old historical footage and pictures to implement the story. She was scared of doing licensing, but she said she saved a lot of money by doing it herself. She found old Hollywood movies and newspaper clippings were free to use under fair use. She was able to find a lot of free items, but she still had a lawyer go over it, who said how much to use, etc.

Asked about what it was like working with Mel Brooks, she said, ?He is amazing. He is 95 or 96 now and totally the same. It was so amazing to be in the same room with him. I was not expecting to be sitting with him for an hour and ½ . He remembered every little detail from his childhood. It was like watching a poem written before my eyes. I asked him if he would sing a song and he did more than that; he wrote a song.? She said he owns the song 100% but she did buy licensing agreement fee. She said he is now working with Brooks on DVD extras.

She said she began her interviews by talking to employees of The Automat and old customers. Elliot Gould became involved because he was a guest at the theater she worked at. She was working on a fundraising campaign film to get money to convert the theater to digital, which a lot of small theaters were struggling with at the time, and she recruited him to be involved. A lot of celebrities tried to support theaters who were dealing with this issue at the time. He agreed that, since he was coming for that project, he would be part of her film as well.

Act or/ direct or Mel Brooks not onl y shares his memories of The Aut omat in t he movie, but al so wrot e a song about it and perf orms

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Screenwriter Carl Gottlieb happened to come to the theater to see a screener of Jaws 3-D. He wrote ?The Jerk? with Carl Reiner, and also happened to know Mel Brooks. So she was able to secure Reiner and Brooks in the film as well eventually too.

As far as getting Ruth Bader Ginsburg and Colin Powell, she said she sent them letters and both wrote back saying, although they had warm memories of their time at The Automat, they did not think they would have Direct or Lisa Hurwit z at screening of "The enough to say, so they Aut omat " on May 14 at Movies of Del ray passed on the opportunity. So, she wrote them again and said any little bit would help, and they agreed.

She found that the best way to get a celebrity to be in her project was by mentioning who else was on the line to be involved next.

Once the film was complete, Hurwitz looked for distribution, but nothing was coming through. It looked like the project was "too small for them." So, she has been working on it herself. She has been surprised at the huge level of theatrical interest. She was able to open in New York with Film Forum and in LA with Laemmle Theaters, as well as at the Telluride Film Festival and others, and now here in Florida at Movies of Delray and Movies of Lake Worth.

At one of the screenings, on Saturday afternoon, May 14, this reporter saw for herself the popularity of the film. The place was packed. She even had an uber fan in attendance wearing an Automat T-shirt and sporting a scrapbook filled with postcards of The Automat he wanted to show her. It seems it has garnered that type of response everywhere it has gone, with those who remember The Automat fondly and people who find the idea fascinating after finding out 19 about it for the first time. Film Forum, she said, told her her film

was the highest grossing opening film since the pandemic.

She hopes people will come away from the film thinking about some of the themes in the film? . How a business can not just be about making money, but also treating people fairly, that we all can be nice to each other. She plans on making more films that deal with subjects such as these, films that are good for people.

Right now, she is planning on doing a fictional story, a romcom, set in Italy, next, however. She is in early stages on that production. Now that she has learned a bit about the biz, she feels ready to take on the challenge.

She is also dedicating her time to continuing to promote "The Automat" and talking to fans with fond memories all over the country.

As of the screening time, her next stop she said was Milwaukee.

For more information about "The Automat," visit www.automatmovie.com. .

"The Aut omat " t eam, Sl ice of Pie Product ions, at t he Tel l uride Fil m Fest ival .

I NDEPENDENT STREAK M AGAZI NE Apr i l / M ay 2022

P u b lis h e r 's No t e Remember being a kid and asking, "Mother, may I?" or being told to say "may" instead of "can?" When was the last time you said those words? "May I?" It has probably been a long time, but you certainly have asked permission to do something lately. Haven't you? Do you find yourself asking permission a lot in your life, even subconsciously? Do you always question yourself, as in... can I do this? May I? Will the universe let me? Since it is May now, as I write this, this question popped into my mind.

If you are questioning yourself and your abilities and looking to some outside source to give you permission to live your own best life, now if the time for that to stop. If you are not going to stand up for yourself, who will? It is time to give yourself a chance, to move forward in life and allow yourself to be all you can be. It's OK. You've got this. Take a deep breath and have confidence. Take one step at a time and work toward your goal and make it happen. If you believe in yourself, who knows what will bloom in your life next.

Break a leg!

Rachel Galvin Publisher

Go wit h t he FLOW! You don't want to miss the FLOW Fil m Fest ival . Held May 22-28, this year's event is better than ever. Not only are they screening films from around the world and virtual content, but also have masterclasses, Q&As, a pool party, a gala, a beach cookout, a kids block of films & more. There are special guests coming, and special events only for filmmakers, including air boat rides, glass blowing & more.

See t he schedul e of event s at ht t ps:/ / www.f l owf f m.org/ schedul e and see t heir ad on page 4.

Ticket s: ht t ps:/ / www.f l owf f mt icket s.com

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On Cover: Magnol ia Nuñez, act ress f rom "Carajit a," accept s t he HBO Ibero-American Feat ure Fil m Award at t he Miami Fil m Fest ival .

Contact us at w ri terrach el @yah oo.com 20

I NDEPENDENT STREAK M AGAZI NE TBT Magazine Launch

By Rachel Gal vin The Addison in Boca Raton, FL was abuzz Thursday night, April 14, for the launch of the spring issue of TBT Magazine. The lifestyle and fitness magazine, created by 10xlaw.com/ The Berman Law Group, brought in quite the crowd to this soiree, which featured plenty of celebrities. The paparazzi captured people entering the event and walking up to the red carpet with backdrop. The guests mixed and mingled, purchased a drink, tried one of the passed hors d?oeuvres and checked out the silent auction before the real festivities began.

The Berman Law Group?s own Evan Golden took the stage to emcee, bringing up cover girl, fitness guru, host and actress, Brooke Burke, for a round of applause. He also brought out an auctioneer, who has been seen on The Apprentice, to conduct the live auction. People bid on items like a trip to see Bon Jovi, trips to Mexico, tickets to the Country Music Awards and the Kentucky Derby, and more.

Proceeds from the event went toward two local charities. The first is Brandon Novak?s House. Novak is a world-renowned professional skateboarder, MTV Celebrity, best-selling author and recovery speaker. The second is Kulture City, whose organization creates sensory accessibility and inclusion for those with invisible disabilities.

Guests were entertained by dancers, including TikTok faves Sterling Torress and Gaby Valdess shuffling, and by a fashion show featuring fashions by Montce Swim, Lil Bees Bohemian, Bell Beachwear, The Haute and Honey, Feel Green and Serene, and Ola Feroz Swimwear. On the runway was Brooke Burke?s daughter, Neriah, who also is a singer, as well as Kelsey Owens and Amanda Marie Miller from ?Siesta Key,? and plenty of other guests, including more Tik Tok celebs, such as plus size model Sam Page.

(L t o R) : Top: Vincent Marcus, Brooke Burke wit h emcee Evan Gol den; (bot t om): Another highlight was a performance by singer and comedian Some members of t he Berman Law t eam wit h cel ebrit ies & dignit aries, IS' Rachel Vincent Marcus, who has been on America?s Got Talent.

Gal vin wit h Kel sey Owens & Amanda Marie Mil l er f rom "Siest a Key." See more about TBT Magazine at www.tbtmagazine.com.

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I NDEPENDENT STREAK M AGAZI NE New Series on Lif e wit h Long Covid Pl us Rare Disease On Disorder Channel The Disorder Channel, a f ree streaming channel for rare disease stories on TV, is uniting with nonprofit The Solve ME/ CFS Initiative (Solve M.E.) and award-winning director Kimberly Warner in debuting a new series entitled "Long Haul Voices" about individuals who have both long COVID-19 and myalgic encephalomyelitis/ chronic fatigue syndrome (ME/ CFS).

This new mini-series from Warner and Solve M.E. highlights the challenges surrounding these largely invisible, post-infection diseases that affect a rapidly growing population. Before contracting long COVID, two of those featured in the series already had rare diseases: Ehlers-Danlos Syndrome and complex regional pain syndrome.

Episodes of this series began screening exclusively on The Disorder Channel beginning May 5.

This debut marks the third such partnership between Warner and The Disorder Channel since the channel already hosts her other works: "Unfixed," a 20-episode documentary series about people in various stages of living with chronic conditions and disability, and "Life Rebalanced Chronicles," which features six installments about vestibular disorders.

Meanwhile, The Disorder Channel has also recently added to its lineup "Hatching for Health," a couch-chat-style talk show hosted by Jessica Hatch. Over dozens of episodes, Jessica interviews patients,

caregivers and doctors who deal with rare diseases.

Jessica has faced a rare disease of her own, so her connection to these guests is deep and genuine. "I am thrilled to have my show join The Disorder Channel with many other fabulous shows and films all about the rare disease community," says Hatch.

The Disorder Channel continues to add new installments to these current series, both created by rare disease patients: "Joey Sooch is Turning to Stone," on Fibrodysplasia ossificans progressiva (FOP), and "The World of Rare Disease," with host Lisa Deck.

In addition, the Disorder Channel remains the exclusive place to watch episodes of the original series "Once Upon a Gene TV," based on the award-winning audio podcast hosted by Effie Parks. It has added new episodes each month for the past year addressing concerns of rare families including depression, palliative care, and the (previously non-existent) Rare Caregivers Guidebook.

The Disorder Channel is the only streaming channel devoted to programming about rare diseases. Founded by two rare-disease dads, it features over 100 film and video titles exclusively about rare diseases and other disabilities. It is available to download and watch for free on Roku and Fire TV devices.

The Disorder Channel is supported in part by Alnylam, Horizon and Takeda.

For more information, visit http://thedisorderchannel.com.

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I NDEPENDENT STREAK M AGAZI NE

M ak i n g M ov i e M agi c The Ar t of the H ollywood Backdr op

By Rachel Gal vin These days, the background in movies is often created digitally or using green screen. In the last issue of ?Independent Streak Magazine,? that topic was covered with a spotlight toward cutting edge technology that is paving the way toward the future in film. But in the olden days, before the Golden Age of Hollywood and beyond it, backdrops were done differently. They were painstakingly painted in vivid detail, and these early artists were the unsung heroes of the Hollywood blockbusters.

What would a movie like ?Wizard of Oz? or ?Cleopatra? be 23 without the grandiose backdrop? Yet, these monumental

achievements were eventually rolled up like forgotten scrolls to be eventually discarded.

Luckily, 207 of these unique backdrops were saved from being thrown in the trash after Lynne Coakley, the president of JC Backings, one of the largest companies to rent out such backdrops, decided to donate them to the Art Directors Guild instead of tossing them. The guild, under the direction of Art Guild President Thomas Walsh, has been working to preserve these precious items. One of the recipients of some of the backdrops was the University of Texas Austin.

Now, Karen L. Maness, from the university, and Walsh, have curated a collection of these historic backdrops as part of a new exhibit at the Boca Raton Museum of Art. Called ?Art of the Hollywood Backdrop,? the exhibit includes information on how the backdrops were used and those who created them. The artists of these backdrops were usually not listed in the credits at the time. Much like the workers who helped craft the greatest pieces of the Renaissance masters, these artisans would be lost to history ? until now.

Twenty of the backdrops are courtesy of the Texas Performing Arts Hollywood Backdrop Collection at the University of Texas. The Motion Picture Academy in Los Angeles has also loaned two works: the 1952 backdrop for ?Singin' in the Rain,? made famous by Donald O?Connor?s comic performance of ?Make ?Em Laugh;? and the tapestry backdrop for ?Marie Antoinette? (1938), which was reused in ?North by Northwest? (1959) in the auction house scene.

There are so many iconic backdrops on display that serve as perfect photo ops. Here, you can see large scale the grandiosity of Rome as seen in movies like ?Ben Hur,? the Austrian Alps used in ?The Sound of Music,? the majestic Mount Rushmore, which once served as a location in ?North by Northwest? and more. The backdrops all are were used from 1938 to 1968.

The exhibit is perfect for the cinefile who specifically loves old cinema, for those who are in the film industry who love to know all there is to know about the industry, or just for those who want to marvel at the undertaking to create such detailed and grand landscapes.

It is interesting to hear via video the in-depth stories of how the backdrops got their start. One such story discusses Alfred Hitchcock's

From "The Sound of Music."

iconic ?North by Northwest.? In 1958, art designer Robert Boyle was told by Hitchcock that he wanted to create a film with the movie having its climactic scene on Mount Rushmore. He did not even know what the story would be about, but he knew he would want that scene.

Originally, the working title was ?The Man on Lincoln's Nose.? They tried to actually film on Mount Rushmore, but they were unable to get permission because, with a name like that, the park service was afraid the film would mock the landmark.

So, Boyle had to get creative, literally, and make a backdrop. The process was not easy. They had to do their research. They went up on Mount Rushmore and careened down, taking photos all along the way. They realized the final product would need some tweaking. If it was an exact replica, Teddy Roosevelt would not be visible well, so they had to cheat him out a bit. These are just some of the steps to create the ultimate look used in the film.

This is just one story featured via video, and there are plenty of videos and items to read to get a fuller picture on how these early films were brought to life through backdrops.

When you visit the exhibit, don't miss the accompanying exhibit upstairs by Bonnie Lautenberg called ?Art Meets Hollywood.? She is known for taking photos of people all over the world, from politicians to pop stars, but for this exhibit, she utilizes the art and media of others to create something new. She pairs together stills from historic movies and iconic artworks made in the same year. She seeks out pieces that ?speak to each other.? Her exhibit, curated by senior curator Kathleen Goncharov, seems to showcase how different forms of art and culture influence each other. A particularly haunting piece happens to be the first, a pairing of Rene Margritte's ?The Lovers? and ?The Mysterious Lady,? starring Greta Garbo, both made in 1928.

Since she includes film stills, the correlation is made between this and the exhibit downstairs. A crossover is also made with Lautenberg showcasing a still from ?Singin' in the Rain? paired with an artwork by Yayoi Kasuma, and there is a backdrop from the famous musical is downstairs.

Art Meets Hollywood is on display until Aug. 21, 2023 and Art of the Hollywood Backdrop will be on display until Jan. 22, 2023. For more information, visit https://bocamuseum.org.

Make sure t o al so see Bonnie Laut enberg's exhibit upst airs.

Guest s wat ch f il m about t he process of making of backdrops.

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