Universal Film Magazine Issue 10

UNIVERSAL FILM azine ISSUE 10 - 2013 - www.ufmag.biz

P 17 THE BLACKLISTING BRIGADE P 41 MOVIE MONEY MAGAZINE LAUNCH

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Issue 10 - 2013

About UFM The Universal Film Magazine is a free magazine that delivers passionate and creative coverage about the global film and festival communities. The publication differs from the competition because it is totally free.

It is the mission of the Universal Film Magazine to uphold our uncompromising high standards in professional journalism with compelling stories that are unbiased and fact-based.

We are committed to the advancement of the industry by providing the very best in-depth features and coverage that will have a positive impact in the world. We aim to give our readers motivational and inspirational stories that embrace the spirit of independent film and festivals and give them a voice in the media.

Universal Film

Magazine

Editor Dom Muricu Proof Editors Todd Volz Michelle goode papul woods kate spatola roger howard Photography Kevin A Murphy SHAH Photography Katerina Shenderovska JACQUES ROCCA SERRA HELLO NEWS Marketing Director Ev Johnson Contributors Patricia J. Pawlak atalanta harmsworth J.R. Beardsley Paula Devlin Tyrone D Murphy CHRIS TEMPLETON Steve Rumblow Radmila Djurica Kevin A Murphy Elizabeth Fraley Carina Bonicelli

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Contents FEATURED STORIES:

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CANNES, History & Posters

A look at the history of Cannes and the Film Festival posters over the years

CANNES, awards

A rundown of the awards this year for the Cannes International Film FestivaL

Cannes Film Festival

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The Great Gatsby

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Blacklisting Filmmakers

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Movie Money Magazine 19 Movie Money Magazine, the only publicaton

dedicated entirely to film finance

Film Festival 25 Epidemic Our regular, Pat Pawlak’s review of the

Epidemic Film Festival

27 Interview with the creator of igottapitch, which igottapitch

is changeing the industry

Dating 31 ACreative look at the online dating site for professionals

in the industry

Mediacon 32 Universal Film Magazine’s partner, NHMC

Gears Up for Second Annual MediaCon

of the Stars 34 Palace Celebrity Gifting Suite, Elizabeth Fraley looks

at the gifts on offer to celebrities at Cannes

39 Festival Wars - Blacklisting Brigade

Update on the ongoing blacklisting of UFFO & filmmakers by festival group on facebook

A Distributor Wants 45 What Pat Pawlak talks about what a distributor is

looking for when it comes to films

University of South Wales 47 The University of South Wales is launched combining other universities THE ROYALTY/LOYALTY TRAP 59 Interesting story by Chris Templeton on the

royals

COA 62 COL City of Lights, City of Angels Fest Shines

Bright

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Universal Film Issue 10 - 2013

THE CANNES FILM FESTIVAL AND POSTERS OVER THE YEARS

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his year’s Cannes Poster was inspired by the movie “A New Kind Of Love” starring Paul Newman and his wife, Joanne Woodward. The history of the Cannes Film Festival is interesting, as is the history of its posters, which clearly reflect the years during which the festival was not held – particularly those of the Second World War. In 1935 and1936, the representatives of many Western governments who attended the Venice Film Festival (Mostra di Venezia) were appalled at the impact that the fascist governments of Italy and Germany were having on the selection of the films and the jury. The French Minister for Education and Fine Arts, Jean Zay, suggested the creation of an international film event in Cannes, and the Cannes Film Festival was born.

In June 1939, the festival was scheduled to take place in Cannes, from 1st to 20th September. Its aim was simple: “To encourage the development of all forms of cinematographic art and foster a spirit of collaboration between film-producing countries.” On 1st September 1939, the Second World War broke out, and stopped the festival before it had even begun.

After the War had concluded, the festival was held in 1946. Films such as René Clément’s “La Bataille du Rail,” Jean Cocteau’s “La Belle et la Bête,” Charles Vidor’s “Gilda,” and Alfred Hitchcock’s “Notorious,” had top billing in this first Cannes Festival, defined by Jean Cocteau as “a living comet that has touched down for a few days on La Croisette.” In 1948, the festival faced problems, and did not take place due to budgetary constraints. Following the Inauguration of the Festival Hall in 1949, film stars finally came to Cannes – Tyrone Power, Orson Welles, Norma Shearer, Errol Flynn and Edward G. Robinson were all there.

In 1951, The Cannes Festival took place in spring for the first time. In 1952, the year’s discoveries were Minnelli’s “An American in Paris,” Orson Welles’ “Othello” and Kazan’s “Viva Zapata.” In 1953, an up and coming star, Brigitte Bardot, made her appearance on La Croisfette, and in 1955, the Festival created the Palme d’Or. Until then, one or several “Grand Prix” had been awarded, with paintings

by Marquet, Humblot, Cavaillès or Klein as prizes.

of Federico Fellini’s controversial film “La Dolce Vita.” In 1962 the “Critics’ Week” was created. In 1968, the festival opened with the screening of “Gone with the Wind,” which was was interrupted at noon on 19 May, when François Truffaut, Claude Berri, Jean-Gabriel Albicocco, Claude Lelouch, Roman Polanski and Jean-Luc Godard forced their way into the main auditorium of the Palais and demanded that the screening be stopped. Jean-Luc Godard tried to swing from the curtains. The previous day, Louis Malle had resigned from the jury.

In1971, the festival celebrated its 25th anniversary, and Charlie Chaplin was awarded the Légion d’Honneur. From 1975-77, Maurice Bessy created three official, non-competitive sections: Les Yeux Fertiles, presenting films devoted to other arts; L’Air du Temps, privileging films dealing with contemporary issues; and Le Passé Composé, showing compilations on the cinema itself. In 1987, the festival celebrated its 40th anniversary, and a montage, Le Cinéma dans les Yeux was presented. The festival also published a book, “Les Années Cannes.”

In 1993, for the first time, a woman received the Palme d’Or: Jane Campion, for The Piano. In 1994, the festival had a stage curtain constructed as a homage to Federico Fellini. In 1997, the festival celebrated its 50th anniversary, awarding “The Palme des Palmes” to Ingmar Bergman. In 2002, the American Jewish Congress pressured Americans to stay away from the festival due to France’s feelings toward the repression of the Palestinians by the Israeli regime.

In 2004, the 57th Cannes Film Festival created a stir by presenting its highest award to director Michael Moore for his documentary film, “Fahrenheit 9/11.” In 2012, the festival opened with Wes Anderson’s new film, “Moonrise Kingdom.” Celebrities attending included Brad Pitt, Robert Pattinson, Kristen Stewart, and Angelina Jolie.

Held in 2013, the 66th annual festival was another star-studded affair.

Steven Spielberg headed up the Jury.

The festival opened with “The Great Gatsby,” directed by Baz Luhrmann.

The French film, “Blue Is the Warmest Colour,” won the Palme d’Or, and in an unprecedented move, the Jury decided to award the film’s two main actresses with the Palme d’Or along with the director.

In 1959, the Film Market was created. 1960 was the year

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CANNES 13 Best Actor Bruce Dern

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he Award for Best Actor went to Bruce Dern for his role in Nebraska directed by Alexander Payne. The award was handed over by the French actress, Laetitia Casta.

Alexander Payne accepted the award on stage on Bruce Dern’s behalf, uttering the following words: “If Bruce Dern had been here tonight, he would have said that he was proud of his work in this film. He would have thanked the Jury and the public, and he would probably have thanked me, too. I share his feeling of pride about what we have achieved with this film, and I – like him – am also proud to have formed part of this Selection”.

Bruce MacLeish Dern (born June 4, 1936) is an American actor. He frequently takes roles as a supporting character actor, often playing villains

of unstable nature. Dern has appeared in more than 80 feature films, and was nominated for an Oscar for his work in Coming Home. Dern is the father of actress Laura Dern (1967) by his ex-wife Diane Ladd; married 1960–1969. He married Andrea Beckett in 1969.

His most recent efforts include the independent movies The Astronaut Farmer and Monster, a recurring role on the HBO series Big Love, and the monster movie Swamp Devil for RHI Films New York and the Sci Fi Channel.

On November 1, 2010, he was presented the 2,419th star on the Hollywood Walk of Fame. His daughter Laura Dern and his ex-wife Diane Ladd received stars on the same date. He was honored with a Legend Award at the inaugural Gold Coast International Film Festival on June 1, 2011.

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LLO LLO WINS CANNES Caméra d’Or l

lo Ilo won the Camera d’Or award, the film is a 2013 Singaporean family film. The debut work of director Anthony Chen, this film features an international cast, including Singaporean actor Chen Tianwen, Malaysian actress Yeo Yann Yann and Filipino actress Angeli Bayani.

Ilo Ilo was first released at the 2013 Cannes Film Festival as part of the Directors’ Fortnight on 19 May 2013.[2] At this festival, the film was awarded the Camera d’Or award, thus becoming the first Singaporean feature film to win an award at the Cannes Film Festival.

This is the first time a Singaporean feature film wins a major prize at Cannes, the film, which is in Chinese, English and Tatalog, tells the story of a dysfunctional family in Singapore that

brings in a Filipino nanny who tries to bring order to their lives.

Newbies - The Caméra d’Or (“Golden Camera”) is an award of the Cannes Film Festival for the best first feature film presented in one of the Cannes’ selections (Official Selection, Directors’ Fortnight or International Critics’ Week). The prize, created in 1978

by Gilles Jacob, is awarded during the Festival’s Closing Ceremony by an independent jury Film Movement has acquired North American rights to first-time feature director Anthony Chen’s Ilo Ilo, which won the Camera D’Or at the Cannes Film Festival where it played in the Directors Fortnight. The distributor is planning a New York theatrical opening in the first quarter of 2014, with a limited national roll-out to follow as well as a day-and-date VOD premiere.

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BLUE IS THE WARMEST COLOUR WINS CANNES 2013 Palme d’Or

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bdellatif Kechiche’s coming of age drama “Blue is the Warmest Color” won the Palme d’Or at the 2013 Festival de Cannes. The film, caused a stir at the festival for the explicit lesbian sex scenes depicting a coming of age of a fifteen year old. girl who believes that the opposite sex are meant to be together. Later she falls in love with another girl.

The film also made history at Cannes when Steven Spielberg presented the Palme d’Or not only to the film’s director, but also the film’s two female stars, Adèle Exarchopoulos and Léa Seydoux. They are the second and third women ever to receive the coveted award. Jane Campion previously received the Palme d’Or for The Piano. The festival favourite had been the Coen Brothers’ Inside Llewyn Davis, which took home the Grand Prix award this year.

The Palme d’Or is the highest prize awarded at the Cannes Film Festival and is presented to the director of the best feature film of the official competition. It was introduced in 1955 by the organising committee. From 1939 to 1954, the highest prize was the Grand Prix du Festival International du Film. In 1964 it was replaced once again by the Grand Prix du Festival before being reintroduced in 1974.

In 1955, the first Palme d’Or was awarded to Delbert Mann for Marty, and it remained the highest award until 1964, when copyright issues with the Palme led the Festival to return to the Grand Prix. In 1975 the Palme

d’Or was reintroduced and has since remained the symbol of the Cannes Film Festival, awarded every year to the director of the Best Feature Film of the Official Competition, and presented in a case of pure red Morocco leather lined with white suede.

As of 2013, Jane Campion is the only female director to have won the Palme d’Or, for The Piano. However, in 2013 the actresses Adèle Exarchopoulos and Léa Seydoux were also awarded the Palme d’Or; they were given the award as the stars of Blue Is the Warmest Colour, alongside director Abdellatif Kechiche, in an unorthodox move by the Steven Spielberg-headed jury. These choices were due to a Cannes policy that forbids the Palme d’Or winning film from receiving any additional awards, which would prevent the Jury from rewarding the film’s two main actresses. According to Spielberg: “Had the casting been 3% wrong, it wouldn’t have worked like it did for us.

Since its reintroduction, the prize has been redesigned several times. At the beginning of the 1980s, the rounded shape of the pedestal, bearing the palm, gradually transformed to become pyramidal in 1984. In 1992, Thierry de Bourqueney redesigned the Palme and its pedestal in hand-cut crystal. The current design from 1997 is by Caroline Scheufele at Chopard. A single piece of cut crystal forms a cushion for the 24-carat gold palm, which is hand cast into a wax mould and presented in a case of blue Morocco leather.

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Universal Film Issue 10 - 2013

CANNES Best Actress Bérénice BEJO

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rench actress Berenice Bejo won the prize for best actress at the Cannes Film Festival 2013 for her role in Iranian director Asghar Farhadi’s film “The Past”.

she starred in OSS 117: Cairo, Nest of Spies, where she met director Michel Hazanavicius whom she later married.

They have two children: Lucien and Gloria.

Bérénice Bejo WAS born 7 July 1976 is a French-Argentine actress, who played Christiana in the 2001 film “A Knight’s Tale” and Peppy Miller in the 2011 film “The Artist”. Her work in The Artist received a nomination for the 2011 Academy Award for Best Supporting Actress and won her the César Award for Best Actress.

The movie “The Past” french”Le passé”

Bejo was born in Buenos Aires, Argentina, and is the daughter of the Argentine filmmaker Miguel Bejo and his wife Silvia, a lawyer. When she was three, her family moved to France, escaping from the Argentine Dirty War. She made her American film debut as Christiana in 2001’s A Knight’s Tale. She later starred as Olivia in the 2002 film, 24 Hours in the Life of a Woman.In 2006,

tells the story of Iranian, Ahmad (Ali Mosaffa), left his French wife, Marie Brisson (Bérénice Bejo), and two children returned to live in his own country, Iran. After four years of separation, he arrived in Paris from Tehran, at the request of her, to complete the divorce papers because she wants to start a new life with a young man, Samir (Tahar Rahim).

He is ready to conclude the divorce but discovers that the situation is tense, especially between his ex-wife and his eldest daughter, Lucie (Pauline Burlet).

He tries to improve this problematic relationship, but a secret and more information are revealed from the past.

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CANNES 2013 BEST SCREENPLAY

JIA Zhangke for TIAN ZHU DING

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Universal Film Issue 10 - 2012

Chinese director Jia Zhangke (R) and his wife, actress Zhao Tao after being awarded with “Best Screenplay” for the film “Tian Zhu Ding (A Touch of Sin)” at the 66th Cannes Film Festival in Cannes, France, on May 26, 2013.

This film is about four deaths, four incidents which actually happened in China in recent years: three murders and one suicide. These incidents are well-known to people throughout China. They happened in Shanxi, Chongqing, Hubei and Guangdong – that is, from the north to the south, spanning much of the country. I wanted to use these news reports to build a comprehensive portrait of life in contemporary China.

China is still changing rapidly, in a way that makes the country look more prosperous than before. But many people face personal crises because of the uneven spread of wealth across the country and the vast disparities between the rich and the poor. Individual people can be stripped of their dignity at any time. Violence is increasing. It’s clear that resorting to violence is the quickest and most direct way that the weak can try to restore their lost dignity.

For reasons I can’t fully explain, these four individuals and the incidents they were involved in remind me of King Hu’s martial arts films.

I’ve drawn on inspiration from the martial arts genre to construct these present-day narratives. Throughout the ages, the predicaments that individuals face have changed very little – just as their responses to those predicaments have also changed very little. I also see this as a film about the sometimes hidden connections between people, that make me want to question the way our society has evolved. In this ‘civilised’ society that we have taken so long to evolve, what actually links one person with another?

Jia Zhang-Ke (April 2013)

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Universal Film Issue 10 - 2013

CANNES Best Director Amat Escalante

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he Award for Best Director went to Amat Escalante for Heli. After receiving his award from Forest Whitaker, the winner said: “I’d like to thank this Jury for making this brave decision. It is a sign of hope for Mexico. Hopefully our suffering will come to an end very soon.”

Escalante was born fortuitously in Barcelona, Spain, as his family composed by a Mexican father and an American mother had been living in Norway. He spent most of his early years in Guanajuato, Mexico, but moved to Spain in 2001 to study film editing and sound at the Center for Cinematographic Studies of Catalonia (Centre d’Estudis Cinematogràfics de Catalunya, CECC) and apply for Spanish citizenship; which he failed to secure.

After his stint in Barcelona, he joined the International School of Film and

Television (EICTV) in Havana, Cuba; an institution founded by Nobel prize-winner Gabriel García Márquez, Fernando Birri and the Julio García Espinosa “to support the development of national audio-visual industries” in non-aligned countries. Back in Mexico, he directed a short film (Amarrados, 2002) that received an award at the 2003 Berlin Film Festival.

He worked as an assistant of Carlos Reygadas in Batalla en el cielo (2005).

During the filming of the movie which entered the 2005 Cannes Film Festival both became close friends, and Reygadas ended up co-producing some of Escalante’s first films. One of those films, Sangre (2005), filmed in November 2004 with a budget of US$60,000, was included in Un Certain Regard (a section of the same festival) and in both Rotterdam and San Sebastián.

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MOVIE MONEY e n i z a mag Universal Film

all about

FILM FINANCE IF you’Re looking for money YOU’VE COME TO THE RIGHT PLACE www.moviemoneymag.com 7

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Issue 10 - 2013

MOVIE MONEY e n i z a g a m Movie Money Magazine is dedicated entirely to film funding and film investment sources. Each issue contains in-depth interviews and contributions from many of the worlds leading industry experts on film funding, film investing.

If You’re a filmmakers looking for production funds, a writer looking for devlopment funds or a fund manager wanting to stay informed of industry trends then Movie Money Magazine is a must.

Subscribe to Movie Money Magazine online edition for one year for $50 or for the printed edition $65 for one year. Click Here to Subscribe Adrian Ward is the Senior Vice President - Entertainment Industries Division at Pacific Mercantile Bank in California, USA.

Jeanette Buerling, CEO of MMG, a film finance and production company, with offices in Beverly Hills, Cologne, and London

Steve Rogers is the CEO of Premier Pictures; a provider of funding to producers via structured finance, pre-sales, tax credits and EIS equity.

Paul Brett is a director of Prescience which is an integrated media company that focuses on film production, financing and international sales.

Bernd Stephan is the president & CEO at Media Finance Group, LLC. He is a seasoned expert in all aspects of film finance.

Craig Smith is a successful publisher and fund and investment advisor. He is also the CEO of the Film Finance Awards

Some of the Industry experts who contribute to Movie Money View Movie Money free free issue here www.moviemoneymag.com

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Universal Film Issue 10 - 2013

IBC Amsterdam M

Escape From Iran

aking the Most of IBC, One of the noticeable features of IBC is its size. Over the years it has grown to become one of the largest global gatherings of the world’s electronic entertainment industry, and the numbers alone are impressive 50,000 + attendees from 160 countries and more than 1,400 exhibitors attend the show, while 300 leading figures speak in over 60 compelling conference sessions.

That is why over the years IBC has evolved a number of different tools and strategies to help visitors cope with the dimensions of the show and get the experience they need out of their time in Amsterdam.

For a start, there are a wide range of passes available.

These start from the currently free IBC Exhibition Pass which grants access to the whole five days of the exhibition, and extend all the way up to the IBC Gold Pass, which provides multiple benefits to delegates to the conference, including access to all of the conference sessions, reserved seating, unrivaled networking opportunities and much more. In-between there are a range of options available, including excellent value five-session Bronze Pass and even a Single Session pass.

On the showfloor, care has been taken to allow people to maximise their time at the RAI and the exhibition is carefully themed into fourteen halls – if you’re interested in post production equipment, for instance, Hall 7 is where you want to head to and there are a range of specialist areas that focus attention on particular sectors of the industry. The IBC Connected World looks at the impact of internet delivery and the new connectivity, both in and out of the home; IBC Workflow Solutions examines file-based production methodologies; IBC Production Insight is the place to test drive the latest camera kit; the IBC Big Screen leverages the enormous cinema in the heart of the RAI to showcase the latest tools and techniques; and the Future Zone is where many of the technologies that will disrupt the industry are first glimpsed.

At the other end of the spectrum is the IBC Leaders’ Summit, an exclusive invitation-only event, designed specifically for the most influential and visionary people at the top of the electronic media and entertainment industry. This year’s theme is ‘The Second Screen, Big Data & Regulation: Unlocking the Potential and Harnessing the Power’, and an intensive oneday programme will seek to examine the subjects in forensic detail as these disruptive technologies further embed themselves into the industry’s framework.

So, whether you’re a captain of industry or just starting out, whether you can attend all six days of the conference or just a single session, whether you want to investigate the latest camera gear or are interested in apps...Whatever your needs IBC has something for you.

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scape from Iran, is a feature film reflecting upon the true story and chilling account of an American family. An Iranian husband and his young American wife with there two young children, got caught in the cross fires of the political upheaval which had ripped through Iran back in the late 1970’s. This resulted in a Violent revolution which consequently brought about the collapse of the Shah of Iran’s Imperial government and establishing in its stead the present Islamic Republic of Iran.

The story gives a clear and detailed account of the many difficulties and tribulations this family had been forced to endure, the many hardships they had to over come both during the revolution and the nine long years preceding that catastrophic event. They had been subjected to the horrors of the Iran and Iraq war of the 1980’s, where their days and nights had been engulfed with the fear of constant aerial raids

by Iraqi Mig’s over Iranian cities, the brutality of the newly established revolutionary Guards, and the new terror of violence which had cast its dark shadow upon the country. Hundreds of thousands of innocent men, women and in many cases even children fell victim almost daily to the tyranny of the extremism which had taken hold of Iran. Mass executions became daily occurrences and stories of torture and rape were echoed every where.

Though ‘ Escape From Iran’ is the story of the captivity and eventual escape of an American family, it is also a reflection upon the plight, struggle and cry of the noble and courageous people of Iran, whom for the past thirty years have been forced to endure horrors which the western world could not even begin to understand or comprehend.’ Escape From Iran’ is ultimately the story of the struggle, courage and quest for freedom of an American family, the courageous nation of Iran, and ultimately of all mankind against oppression and servitude.

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This latest production of Cinderella, now playing at the Broadway. Maintaining this unique atmosphere is critical to the overall impression of the show, which is why Cinderella Sound Designer Nevin Steinberg chose to outfit the cast with 30 DPA 4061 Omnidirectional Miniature wireless microphones.

BRANKO TOMOVIC TO PLAY NIKOLA TESLA IN BIO-PIC

by Tyrone D Murphy Silvermask Productions and North Shore Pictures have teamed up to produce director Michael Anton’s Nikola Tesla movie “The Mad Scientist”. The film is set to shoot in Pittsburgh in late August of this year. After weeks of anticipation Michael Anton has selected Serbian actor, Branko Tomovic, to play Nikola Tesla in this anticipated bio pic.

“We knew if we were to bring Nikola Tesla to life on the screen appropriately we had to find a great actor who could handle the challenge of the role as well as understand the culture of the man. It came down to two very talented actors who were very passionate about the script and the history behind the man, but in the end, Branko’s performance just blew us away. He made an impossible decision a simple one. He is the perfect Nikola Tesla.” - Writer/Director Michael Anton.

Branko Tomovic, who was named ‘One to Watch’ by MovieScope Magazine, can soon be seen opposite Debbie Harry in Jimmy Cauty’s Road movie “Believe the Magic” and Steve Stone’s ghost thriller “Entity”.

His film credits include “The Bourne Ultimatum”, “Interview with a Hitman”, “The Wolf Man”, “Pope Joan” and “Silent River” (which was recently nominated for a European Film Award). He has also won several Best Actor awards for his work on distinguished innovative short films.

“Nikola Tesla has been a great idol of mine for a very long time. It’s a very great honour to be allowed to breath life into his wonderful character and tell his remarkable story. Michael Anton’s script is a very wellwritten biopic which captures Tesla’s essence and persona, his passion for his work, his extraordinary mind, his eccentricity, his ambition... and the movie will show that he was not a mad scientist, but one of the greatest inventors that ever lived.” - Branko Tomovic.

Synopsis: The Mad Scientist follows the life of Nikola Tesla from when he first stepped foot on American soil in 1884 to his final days living alone in his New York Hotel room. The film follows Nikola Tesla from his battles with Thomas Edison and JP Morgan to his friendships with Mark Twain and George Westinghouse.

Nikola Tesla battled the strong arm of American Inventor lobbyism, led by Thomas Edison, with inventions that would change how we view the world forever.

Rambo’s Hotel

by Carina Bonicelli

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his year sees another historic American film site quickly placed on the endangered list. Rambo’s Hotel at 2423 First Street in the Coytesville section of Fort Lee, NJ. This structure was built in 1867.

The Rambo family ran it as a hotel/bar, and in the 20th century Gus Becker tended bar there and eventually purchased the house. It became known as Gus Becker’s Saloon until Gus passed away in 1977, after which his family closed it, around 1980, and reconfigured the interior into rental apartments. Three-time Academy Award-winning cinematographer Arthur C. Miller is the cameraman in the photo of Pearl White that accompanies this article. This image is a production still from the 1918 movie serial The House of Hate, shot on Fort Lee’s cliffhanger point. In his 1967 book One Reel a Week, he recounts the time he spent in Fort Lee: “It certainly never occurred to any of us that this small rural town would soon become the movie capital of the world, years before Hollywood, California, gained that title. The trolley tracks from the ferry joined Main Street, a little beyond the top of the hill, and about four blocks farther we turned onto Fourth Street, now Lemoine Avenue, and drove through the woods to Coytesville, a little over a mile up the river, and two miles west of the cliffs of the Palisades. First Street was perhaps a mile long, and about halfway was Rambo’s roadhouse and saloon.”

Rambo’s is a landmark and a historic spot of the early movie-making days. The saloon was then a two-story frame building with a wooden front porch topped by a steep, slanted roof. There were no poles or wires to spoil photography from any direction, and the dirt road Rambo’s faced had a typical western appearance. Many a pair of ugly cowboys stepped out the front door of Rambo’s Saloon and squared off on the dusty road for a shoot out. This was also the place where the stagecoach picked up passengers and reported the hold-up to the sheriff, who immediately formed a posse and started the chase of the bandits.

Within a stone’s throw was a tree where each day at least one bad man finished his life dangling from the end of a rope.

The second floor of this now iconic place was used as dressing rooms for early stars of the motion picture business. Though this building is on the County Register of Historic Sites and is eligible for the National Register of Historic Sites, neither prevents its demolition, which will happen soon as a developer has purchased the property and is applying for a variance to do just that! We - The Fort Lee Film Commission - are petitioning the Fort Lee Mayor & Council to purchase the building so it can be used as a screening room/archive, where we can have educational outreach programs for local students.

Please visit www.fortleefilm.org to sign the online petition.

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TAOS FEST Call for Entries OPEN for the 2014 Taos Shortz Film Fest Come join the hottest shorts film fest in the country. Taos Shortz is dedicated to featuring quality juried short films from around the globe and provide filmmakers with a venue to showcase their work, participate in workshops, panels, and network with fellow filmmakers, media companies, producers and distributors.

The Universe Multicultural Film Festival (UMFF),

Sixteen full-length and two

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short films depicting Chinese culture were presented at the UMFF this year. On the first day, a distinguished Chinese delegation attended the 2013 UMFF and hosted the “Film Pitch and Catch” panel. This invitation-only seminar was directed towards filmmakers looking for potential partners and included an exchange of deal-making advice.

Do you have a tale to tell? A secret to reveal? A truth that screams to be heard? If you think you have what it takes...

SUBMIT YOUR FILM! www.taosshortz.com

The UMFF is a unique event to the Palos Verdes community and is one to be praised.

The hard work and dedication of the UMFF committee has shown through this exciting festival. The Maeya Cultural Exchange Group will also be hosting the San Diego International Kids’ Film Festival later this summer.

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The Universe Multicultural Film Festival (UMFF), hosted by the Maeya Cultural Exchange Group, is an outstanding way for the public to experience various cultures through a film festival held in Palos Verdes, California. This exciting threeday event consists of original shorts, features, documentaries, and animations from over ten countries, including the United States, Argentina, Mexico, Bangladesh, China, Peru, Cuba, and Cyprus, and is attended by thousands of open-minded audience members looking to be entertained and educated on different lifestyles, traditions, and beliefs presented through influential films.

This year we are excited to join in the Film Festival Life Community for our online submission service. Film Festival Life is an innovative community based festival submission service, tailored to meet the unique needs for film festivals, filmmakers, and industry professionals.

Universal UniversalFilm Film

Issue - 2013 Issue 1010 - 2013

Epidemic Film Festival

Epidemic Film Fest Is Infectious Fun

T

by Pat J. Pawlak

he 7th annual Epidemic Film Festival is catching to All The Same by Axel Johansson, with another standon in San Francisco. The event got off to a lively out Streets by Tobias Levene; Best Commercial Film, Tesla start at the historic and elegant Castro Theater in Model S by Diane Phan. Of substantial interest was Beyond the Castro District of the city. A cocktail reception Redemption by Nino Macias. A man goes to a church to was held in the grand dame lobby to meet and confess his sins and turn his life around, only to find a very greet the finalists of the Competition. Master of drunk and less then sympathetic man of the cloth at the Ceremonies Mr. Marvin C. Greene did a solid and enteraltar who himself is filled with rage. Best Documentary taining job of starting the evening off by introducing went to Chih Yang Cheng for his moving The Last our host for the evening, Golden Globe, Emmy Award “it was an Tournament which dealt with a martial artist comnominee and Director of the School of Motion Picing to terms with failure and resurrection in his inspiring ture & Television, Ms. Diane Baker. Ms. Baker brings sport. evening” experience to her post having starred in such films as Silence of Lambs, Alfred Hitchcock’s Marnie and such And the winners are…..

TV series as ER, Law & Order: SVU, and Inherit The Wind for which she received an Emmy nomination. She has Special Achievement in Cinematography also, produced several documentaries for which she has won

By A Thread: Jeffrey Carroll awards. Dr. Elisa Stephens, President of the Academy gave Best Documentary a warm welcome. Luminaries were in attendance as Randal The Last Tournament: Chih-Yang Cheng Kleiser, director of Grease and Harry Winer, director of such Special Achievement in Sound TV series as Veronica Mars and Felicity…. The highlight of the Beyond Redemption: Nino Macias evening was the tribute to Academy Award winning editor Best Actress in a Student Short Film (and five time nominee), Ms. Anne V. Coates as Ms. Baker beGrant and Allison: Tessa Evelyn stowed Ms. Coates with an Honorary Doctorate to the Academy. Ms. Coates won her Oscar for Lawrence of Arabia and Best Actor in a Student Short Film edited such notable films as The Elephant Man, Beckett, What Vox Populi: Josharmond Romney About Bob? Erin Brockovich, Chaplin, Farewell to the King Best Music Video - All the Same: Axel Johansson and Unfaithful. An affectionate and educational film tribute Best Actor in a Class Scene - Dois Perdiddos: Vitor Ferproceeded showing clips of Ms. Coates discussing her editing reria decisions on some of her favorite films while collaborating Best Actress in a Class Scene - Funeral Parlor: Helen with directors such as David Lean. This film tribute was inspirPappas ing to everyone lucky enough to have seen it. A Q & A with Best Commercial - Tesla Model S: Diane Phan Ms. Coates had preceded the night before moderated by the Special Achievement in Screenplay To Be A Big Liar: Turner Classic Movies host (since 1994) Robert Osborne to a Shuntian Jiang packed audience.

Special Achievement in Production Design By A The final films in the various categories were then screened with winners being announced by Mr. Marvin Greene. Some Thread: Katy Planchette of the highlights were Enigma, about a young man being Special Achievement in Editing - Enigma: Kelsey Winforced to come to terms with the fact that he has developed frey a consummate knowledge of all things in the Universe which Best Director - Acceptance: Nathan Carter won Best Film and Acceptance, how a family deals with a Best Picture - Enigma: Derek Eaker death of a young son and carries on. Best Music Video, went

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Issue 10 - 2013

Universal Film Issue 10 - 2013

by Kev Murphy

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see that, too. We connect the producer with the person pitching.

hat gave you the idea for iGottaPitch. com?

How does iGottaPitch work?

The idea came to me one day as I was thinking of creative ways to blend anyIt’s very easy! Our society is already so savvy with all the one’s ideas, the Hollywood industry, and the electronics at our disposal. Basically, you practice your Internet. Many people love using their smartphone pitch at home, then shoot it, and then upload it – that’s to shoot short videos. Many people have wonderful it. People can use their smartphones, iPads, or regumovie ideas, but no outlets to pursue them. Lack lar camcorders to shoot their pitch. It’s their preferof script writing experience, location and connecand many people have access to at least one tions keep those regular folk from doing any“go pitch ence, of these options. When you submit a pitch, you thing with their story ideas. We all have friends that tell us their idea for the latest blockbuster will change get your own personal page on the website which your video and who has watched your hit. I wanted to create a tool that would be the indus- shows video. The only people who have access to the mutually beneficial to both the person with try pitches are legitimate Hollywood Industry prothe idea and the Hollywood executive. fessionals. These professionals include production companies, literary agents and managers. The Then there are the people trying to break into the industry is able to not only view pitches, but they also biz. They have scripts, but no connections. They will have an opportunity to request both a treatment and/or try various ways to be heard by production companies, script (if it is available). whether it’s through an agent or a pitchfest. Agents cannot always schedule a personal pitch session for Will the producers with whom you currently work be on their clients; however, if you do get that unattainable board with this new concept? face-to-face with a producer to pitch your idea, you have one shot to NOT screw it up. No retakes.

Or, how does the industry feel about video pitching? Yes, the response has been overwhelming. Everyone we talk There are many pitchfests around Hollywood that octo has said, ”How come nobody ever thought of this? cur a few times of the year. You and hundreds of othIt’s a great idea!” This, of course, is a huge relief for me ers have your allotted time to make an impression. It’s because it is being accepted. As with all new ideas and a nerve-wracking situation. It’s pretty hard to pitch in formats, it will take time to build an awareness among person, and I think I’m not alone when I say that people the public. That being said, the response so far has been don’t like to pitch live, in front of a producer. They fumpositive. Keep in mind: for the Industry, this is a tool that ble their words, get nervous, forget certain things that makes their job easier. By creating iGottaPitch and funare important to say. And, a producer sitting there and neling pitches from all around the world onto one webhearing 50 or so pitches that day – do you really think site, it allows a key decision maker to expand their arena they can remember anything? when looking for creative ideas. iGottaPitch will change that. It will give the producer, It’s obviously the wave of the future. Do you think Hollymanager or agent the opportunity to view pitches at wood’s development people will participate, since it will their leisure, and view certain genres they want. It save them so much time and money? makes everything easier. It’s a win-win situation.

”

The person pitching can take their time and re-shoot their 2-minute video as many times as they want.

There’s no pressure here. They get it right and then upload it to our website.

Do you think iGottaPitch is going to change things?

I feel it will. It makes great use of the Internet and everyone’s time. It just makes it easier and takes the pressure off both parties. A producer can view pitches on their smartphone, iPad, computer, whenever and wherever. If the producer is interested in the pitch, they can click right below it to contact the person pitching; also, if the person pitching has a script, the producer can

Currently, we have close to 70 producers onboard, and more are registering daily. Everyone is very excited because this is the new way to pitch to Hollywood. You don’t have to live in LA, or be related to a Hollywood actor. The housewife in Iowa or the wine grower in France can pitch their idea now – it’s that easy. I think it’s exciting for anyone who has thought of a great idea to actually have this available to them. It literally opens up the doors to everyone.

Thanks to the igottapitch guys UFM

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Issue 10 - 2013

Universal Film Issue 10 - 2013

THE GREAT GATSBY

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rom the uniquely imaginative mind of writer/producer/director Baz Luhrmann comes the new big screen adaptation of F. Scott Fitzgerald’s novel, “The Great Gatsby.”

In his adaptation, the filmmaker combines his distinctive visual, sonic, and storytelling styles in three dimensions, weaving a Jazz Age cocktail faithful to Fitzgerald’s text, and relevant to now. Leonardo DiCaprio

stars in the title role.

“The Great Gatsby” follows would-be writer Nick Carraway as he leaves the Midwest and comes to New York City in the spring of 1922, an era of loosening morals, glittering jazz, bootleg kings, and skyrocketing stocks. Chasing his own American Dream, Nick lands next door to a mysterious, party-throwing millionaire, Jay Gatsby, and across the bay from his cousin, Daisy, and her philandering, blueblooded husband, Tom Buchanan. It is thus that Nick is drawn into the captivating world of the super rich, their illusions, loves and deceits. As Nick bears witness, within and without of the world he inhabits, he pens a tale of impossible love, incorruptible dreams and high-octane tragedy, holding a mirror to our own modern times and struggles.

Academy Award nominee DiCaprio (“Django Unchained,” “The Aviator”) plays Jay Gatsby; Tobey Maguire stars as Nick Carraway; Oscar nominee Car-

ey Mulligan (“An Education”) and Joel Edgerton as inhabit Daisy and Tom Buchanan; Isla Fisher and Jason Clarke play Myrtle and George Wilson; and newcomer Elizabeth Debicki appears as Jordan Baker. Indian film legend Amitabh Bachchan plays the role of Meyer

IN CANNES as executive music supervisor and coproducer.

Writer/producer/director Baz Luhrmann first encountered The Great Gatsby on the screen in 1974, in remote Heron’s Creek, Australia, where his father ran the town’s gas station and, briefly, the cinema.

Cut to 2004, cold, northern Russia. The clatter of train tracks. The flicker of light through

Wolfshiem.

Oscar nominee Luhrmann (“Moulin Rouge!”) directed the film in 3D from a screenplay he co-wrote with frequent collaborator Craig Pearce, based on Fitzgerald’s novel. Luhrmann produced, along with Catherine Martin, Academy Award winner Douglas Wick (“Gladiator”), Lucy Fisher and Catherine Knapman. The executive producers are Academy Award winner Barrie M. Osborne (“The Lord of the Rings – The Return of the King”), Shawn “JAY-Z” Carter, and Bruce Berman.

Two-time Academy Award winning production and costume designer Catherine Martin (“Moulin Rouge!”) designed the film, as well as produced.

The director of photography is Simon Duggan, and the editors are Matt Villa, Jason Ballantine and Jonathan Redmond. The music is by Craig Armstrong, with Anton Monsted serving

the frosty window. “I had just wrapped ‘Moulin Rouge!’ and was off on a debriefing adventure,” Luhrmann recalls. “Crazily enough, I’d decided to take the TransSiberian Express from Beijing, across northern Russia, and then on to Paris to meet my wife and newly born daughter, Lilly.” And it was in Siberia, in a sardine box of a cabin, that Luhrmann reencountered “The Great Gatsby” – this time as an audio book, one of two he had with him.

“My life has got to be like this… It has got to keep going up.”

—Jay Gatsby Warner Bros. Pictures presents, in association with Village Roadshow Pictures, in association with A&E Television, a Bazmark/Red Wagon Entertainment Production, a Film by Baz Luhrmann, “The Great Gatsby.” The film will be distributed in RealD 3D, 3D and 2D by Warner Bros. Pictures, a Warner Bros.

Entertainment Company, and in select territories, by Village Roadshow Pictures.

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Issue 10 - 2012

Universal Film

Creative dating Issue 10 - 2013

avatar who wears Raybans (instead of posting a photo) and, of course, they don’t have to use their real names, which helps with our more famous members.

“There is also a Twitter (@CreativesDating) and Facebook page where members can promote their work, as the site likes to celebrate the talents that the members possess.”

On a Creative Date with Actress, Sarah Dorsett

C

Well, I can’t exactly report that the innovative Twitter/ Facebook facility prompted me to feel like dating...but I decided to give it a go anyway, as I am currently single. The website looked welcoming in a lush red sort of way, and I was heartened to see the couple on the front, as Atalanta had told me that they are a genuine couple.

Once I had thought of a moniker and password, I had to tick the relevant unions, etc., that I belong to, and tick my occupation. There is quite a comprehensive list, which made me even more curious to see fellow professional creatives on the site.

reative Professionals have finally been put on the internet dating map. With the way that modern life has changed and lives are busier than ever, it is no wonder that internet dating has grown prolifically. Every sector from Religion to Uniforms has been covered (no pun intended), but at long last www.creativesdating.com has arrived!

I had to fill out my appearance etc., and once that was done - I was in! I was able to check out the other professional creatives, but I couldn’t contact anyone until I had paid for a full subscription. When I saw that it worked out at £3.26 a week, it wasn’t a hardship and I readily signed up.

“Unlike other dating websites, if you want to, you can see everyone, male and female, so that you can make friendships as well as dating. Given the nature of some of the professions, the members can use our

As for my single status? Let’s just say that I have a dinner date tonight with an accomplished actress , Sarah Dorsett who bears more than a passing resemblance to Marilyn Monroe. So who knows…?!

I have now been on the site for almost a month, and it is a completely different experience to what I’ve Opposites may sometimes attract, but lasting relaencountered before with other better-known dattionships flourish when couples have a common ing sites, coincidentally that I’d had bad experi“the expeground. This is the ethos behind Creatives Dating which was started by Atalanta Harmsworth, rience was ences with. On here, it seems to be less ‘in your a positive face’, with people being more respectful. an Equity/MU Member, who wanted to find one” other people in a similar creative career. This Talking to other members online, the consensus came out of her own experience, because she’d was all positive. One woman wrote to me, “I think had two failed marriages partly down to, she felt, it is a fantastic idea. Creatives usually need parther spouses not understanding her commitments ners who understand our ups and downs and who betwhen working. Finding that there were no dating sites ter than another creative?”. Whilst another said, “I think strictly for professional creatives, she decided to start it is a great idea for anyone wanting to find love with her own. someone in the industry specifically. Sometimes it helps to both have an understanding what it takes to work in “It’s a really exciting project to be a part of” said the industry and the crazy hours which I have found in founder Atalanta Harmsworth, “Although the site the past has caused a few issues if in a relationship with only started late last year, the membership has grown someone in a 9-5 job.” Glowing praise indeed. rapidly and with an even wider range of professional creatives than I had anticipated.

As for me? Well, I’ve found the whole experience a positive one. The people I had communications with “Also, being that all the members are Professional all seemed to understand that if I took a while getting Creatives, we have responded to their creative input. back to them, it wasn’t a slur just me being busy with For instance, a composer asked if he could join the my work. A refreshing change also was reading the ‘Insite but on a purely platonic basis, so that he could formation’ section, which the site recommends, as they widen his network of people he knew, as he is happily actually go out of their way to make sure that when you married. So we created a Platonic membership option, cancel your subscription, you don’t forget to cancel your which has worked well for him, as it has led onto him payment and get every last benefit out of the site! gaining more commissions.

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Universal Film Issue 10 - 2012

Mediacon NHMC Gears Up for Second Annual MediaCon

MediaCon is uniquely designed to advance the image of Latinos in media by providing timely information through sessions such as the opening plenary which will address the state of Latinos in media. Thought-provoking panels that will inform how advertisers are courting the Latino consumer, the ways Latinos are using alternative platforms such as the internet to produce and monetize content; as well as MediaCon’s signature Empowering Latinas in Entertainment session to name a few. Attendees will include TV, cable, and film executives, as well as agents, managers, producers, writers, and directors.

“We received overwhelmingly positive feedback from last year’s inaugural conference. We are excited to put on MediaCon for a second year” said Alex Nogales, President and CEO of

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NHMC. “The 2010 census combined with the 2012 Presidential election has made it clear that the Latino political and purchasing power are a force to be reckoned with. The purpose of MediaCon is to bring media and entertainment players together under one roof to discuss what is happening in the industry and how to use that information to further Latino interests.”

Discussing new ways to succeed in en evolving media industry will be distinguished leaders including Vincent Cordero, EVP and General Manager of Fox Deportes; Inez Gonzalez, Executive Vice President of NHMC; Harold Feld, Senior Vice President of Public Knowledge; Ivette Rodriguez, President of American Entertainment Media, the agency of record for the Hispanic market for filmmaker Robert Rodriguez, Giselle Fernandez, Emmy award winning journalist; Gina Rodriguez, rising star of Filly Brown; Sandra Condito, Consultant/Producer whose credits include Grindhouse and Planet Terror; Susan Cleary, VP and General Counsel of the Independent Film and Television Alliance; Carlos Portugal, Creator of East Los High; Rodrigo Mazon, Content Acquisition and GM at Hulu Latino; Eric Rovner, Agent for William Morris Endeavor and key player in the development of emerging markets; Todd Christopher, Head of Alternative Television Packaging and Digital Entertainment at Gersh Agency; April King, Agent for ICM Partners; Mark Schulman, Manager with 3Arts whose clients include Mario Lopez, Tyra Banks and Nancy

O’Dell; Luisa Leschin, Co-Executive Producer of The George Lopez Show; Alfredo Barrios, Executive Producer of Burn Notice; Ed Bernero, Executive Producer of Criminal Minds; Pam Veasey, Executive Producer and Showrunner of CSI:NY; Clio, Effie and AME award winner Carl Kravetz, CEO of Vida y Salud and author of the AAAA’s “A Client’s Guide to Hispanic Marketing” ; Armando Azarloza, President of the Axis Agency in charge of cultural strategy for Clorox, Kohl’s and Absolut Vodka amongst others; and Bel Hernandez, CEO of Latin Heat Media the first, and only, entertainment trade publication focused on Latinos in Hollywood.

MediaCon panels will cover the following topics: • Opening Address: The State of Latinos in Media • Web Content: Creating, Monetizing and Distribution • Power Brokers: Hollywood Agents and Managers • Empowering Latinas in Entertainment • Advertisers: Courting the Latino Consumer • Running the Show - on TV • For additional conference information or to register, visit www.nhmc. org. For sponsorship opportunities contact Brenda Rivas at (626) 7926462 or at info@nhmc.org. For press credentials please e-mail Ivette Rodriguez at ivette@aem-la.com.

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he National Hispanic Media Coalition(NHMC) announces the 2013 MediaCon taking place June 20 at the Pasadena Convention Center in Pasadena, CA. For the second year, NHMC will convene industry executives, celebrity talent and media insiders to discuss trends and emerging issues in the entertainment and media industry and the role Latinos are playing now and in the future of media. 2013 MediaCon is being sponsored by Univision, Comcast-NBC Universal, Entravision, Edison International, NuvoTV, CBS Corporation, Nielsen, Fox Audience Strategy and Sony Pictures Entertainment.

Film Production & Co-Productions

Film Productions/Co-Productions Post Production/Special Effects Crew/location scouting

Classic Media Entertainment An award winning production company Skype: CMEFILMS | e-mail info@cmefilms.co.uk | www.cmefilms.co.uk 33

Universal Universal Film Film Issue 10Issue - 2013 10 - 2013

Palace of the Stars Celebrity Gifting Suite

D

uring the 66th annual Cannes Film Festival, Natalie Dubious of Dubois Pelin and Associates orchestrated the “The Palace of the Stars” celebrity gifting suite at the International Carlton Hotel. Over the years, a plethora of A-listers such as Sharon Stone, Richard Gere, and even celebutante Paris Hilton, have attended Natalie’s acclaimed gifting suites.

An array of clothing designers, cosmetic companies, among other brands formed a mélange of products and services at this years DPA gifting suite.

Ukrainian designer, Olena Dats, a famed international designer attended the DPA gifting suite. From Belgium to Belarus, Dats line can be found at retailers in 11 countries internationally. The line is unique in

by Elizabeth Fraley its textures, form, and color. Be sure to check out the latest summer 2013 collection. http://www.olenadats.com/ Although Olena Dats made a presence at the DPA gifiting suite, French Designer, Pascal Piveteau also showcased a noteworthy fashions. Piveteau’s line featured at the DPA gifting suite was centered on a collection crafted from leather creating a sleek yet alluring fit. This state of the art clothing line can be found in stores in Bejing, Casablanca, and New York. Be sure to visit Piveteau’s website to review the lookbook. http://www.pascalpiveteau.com/ Although many clothing designers were present at this years DPA gifting suite, jewelers such as Sal Y Limon showcased their magnificent bracelets. This multifunctional bracelet line can enhance looks from day to night. A multitude of crystals, colors, and metals, make coordinating outfits with Sal Y Limon bracelets seamlessly easy and fun! Be sure to check out Sal Y Limon’s one of a kind pieces on the company’s website or be sure to visit one of their stores located in Austria, Belgium and Dubai. http://www.salylimon.com/stores/ One of the many beauty products featured at the DPA gifting suite was the Vogue endorsed Bio Effect.

This skincare line is derived from Iceland and carries an EGF cellular activator in the line’s serum to aid in anti-aging. The website for Bio Effect contains further information on this must have beauty product. http://bioeffect.com/ In addition to beauty products featured at DPA , yet another features of the gifting suite was Teo Jasmin.

This product line features pillows, tutus, luggage, and scarves. American actor Chris Tucker, stopped by the DPA suite to check out some of the merchandise from Teo Jasmin. For more on this product line see the Teo Jasmin website. http://www.teojasmin. com/en/

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That’s a wrap! Be sure to tune in next year for 2014’s DPA gifting suite at Cannes Film Festival, you won’t be disappointed!

Universal Film

Pre Cannes Event in London Issue 10 - 2013

Photography by SHAH Photography & Katerina Shenderovska

PAOLA BERTA, CHRISTINE CHAN, LINZY ATTENBOROUGH

JONATHAN HANSLER

VICKI MCKELLER

ZOE GRIFFIN, YURJ BUZZI, GIUSEPPE RODIO & GUESTS SUNNY KING

Pre-Cannes Red Carpet Film Business Social Event organised by Paola Berta and Sheepish PR & - Beverly Hills UK Film Society and Events www.sheepishproductions. co.uk

ANDREA IERVOLINO

ZOE GRIFFIN

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Event Sponsors

DAVE COURTNEY

ABIGALE HOPKINS &TYRONE D MURPHY

CHAMPAGNE DE BLEUCHAMP

ISBRE WATER

above PAOLA BERTA & DELIA ANTA left YURJ BUZZI below LadyKat interviewed by FASHION ONE THINK DRINK

PATRICIA INDER www.ufmag.biz

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TALL BLOND & QUEEN VODKA

Universal Film Issue 10 - 2013

SINISTER VISIONS ONE FOR THE HORROR FANS! by Tyrone D Murphy

H

orror anthology SINISTER VISIONS is making its way out on the world as we speak – cinematic showings are planned during the summer in the UK, Italy and Spain and a DVD release for the North American market is planned for early autumn. The cover art has just been revealed.

About SINISTER VISIONS: Are you ready for a terror attack combining both succubi, women possessed by demons, serial killers in electric chairs, aggressive zombies, avengeful crazy women, men with very deep emotional scars and ofcourse a fair amount of amputation and gore? SINISTER VISIONS consists of five grueling horror stories to make your bones freeze.

SUCCUBUS is about a beautiful young blonde, Emma, studying to become an archeologist. On an excavation trip to Syria she finds something in the sand that is about to change her life completely. She hurries home hoping to be able to escape it, but she is about to get wiser.

MY UNDEAD GIRLFRIEND is a twisted story with a lot of morbid, dark humor, telling the story of the day Keith

woke up next to his girlfriend who had out of the blue turned into a flesh eating undead and tonight he is about to meet her parents for the first time! This day is going to be a bit out of the ordinary!

MOTHER KNOWS BEST is the story about Carl, a somewhat shy man preparing for a date with his childhood sweetheart, Rebecca. Carl’s mother has quite a few objections about the date and she is not too shy to express them, though.

In A WOMAN SCORNED we meet Gail tied to a bed by Holly. Gail have had the nerve to start a relationship with Richard, who unfortunately is Holly’s former husband – and Gail does not approve at all!

Finally, GENITAL GENOCIDE presents us to serial killer Charles Albert Harris who, sitting on death row waiting for the switch to be turned on, takes us through his crimes while the audience of the court room listens. Harris wants a last reaction out of the audience that consists of many relatives of his audience – and a reaction he gets.

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Universal Film Issue 10 - 2013

Looking for a good Christian film?

Check out the CFDb today!

CFDb is a Non-Denominational, Christian Film Data base

16mm • VHS • DVD • Blu-ray • VOD • Online Only

Contact us today (719) 687-4394

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Info@christianfilmdatabase.com • www.christianfilmdatabase.com

Issue 10 2013

Universal Film

Festival Jon Gann - Director DC Shorts Festival Moderator Film Festival Organizers Kerrie Long - Director

W

hile most peop l e believe that the relationship between filmmakers and film festivals should be one of mutual respect and professional courtesy, the Universal Film Magazine has demonstrated time and time again that this is not always the case and we have earned a firm reputation for tackling dubious film festivals and naming and shaming the culprits.

A while back, we did an exposé about filmmakers being blacklisted by film festival directors on the Film Festival Organizers Facebook group. Not only were members of this group partaking in the blacklisting of filmmakers, but the primary activity in the group was the cherry-picking of films or, in other words, the process of choosing specific films for one reason or another, over films that had been submitted by filmmakers to film festivals in the group. Each submission, of course, costs $50 - $75 at the expense of the filmmakers. The posts on the group also included racist and homophobic content, which was apparently for the group’s entertainment.

The blacklisting was uncovered after Kerri Long, Director of the Edmonton Film Festival, posted comments on the Film Festival Organizers group on Facebook, which were clearly aimed at a particular film and filmmakers, and alleged a filmmaker made threats. The comments

Edmonton International Film Festival

were later disproved; however this did not stop a number of festival directors supporting Kerrie Long’s comments which, in essence, blacklisted the filmmakers. Universal Film and Festival Organization (UFFO) members spoke out against this illegal practice, because the filmmakers were unable to answer the allegation, as they had no voice on the forum. UFFO were then kicked off the group. However this incident had interestingly uncovered a particular group of film festival directors who were strongly opposed and hostile towards UFFO’s “Best Business Practices” for film festivals. It would seem that certain members of the group quickly stamped out any thoughts or discussions that would seek fairness and transparency.

The Blacklisting issue was mentioned in a recent podcast by Jon Gann, the forum moderator, openly admitted that festivals talk to each other about filmmakers on the forum and went on to trivialized the issue by comparing the blacklisting of filmmakers with having a relative coming to stay who behaved badly. It’s clear this practice is killing careers, one wrong word said by a filmmaker can lead to them being blacklisted by film festi-

vals on the Gann’s Facebook group, who, as history has shown will jump on the bandwagon even if turned out the filmmakers are innocent.

A filmmaker is playing with fire when dealing with festivals that are involved in blacklisting. Buyer beware!

Since the incident, UFFO has been actively observing the group, and what is without doubt is that the practice of Blacklisting is still being performed by the group, however, it’s not just towards filmmakers but now also towards UFFO and its remit of “Best Business Practices”. Recently, the moderator of the group, the aforementioned Mr Jon Gann, who is also the Director of the DC Shorts Film Festival, advised members of the group to give UFM and UFFO a wide berth.

We must ask why Gann would take such a hostile position that would clearly undermine the non-profit that is promoting best business practices for film festivals.

Scorsese remains silent on festival scandal In the last issue of UFM we exposed the Film Festival Guild’s dubious practice of giving awards to their own movies; this went on for a number of years. Martin Scorsese is now making a movie being written and directed by his long-time script supervisor, Martha Pinson. The film is co-written by the director of the Guild, Stuart Brennan. Pinson won an award from one of the festivals run by Brennan’s Guild. Brennan and his partner Neil Jones own Burn Hand Film Productions - the company that received so many awards from Brennan’s own Guild. Scorsese was made aware of the Guild’s dubious practices and has remained silent to date.

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Universal Film

Issue 10 - 2013

Wars

& the Blacklisting Brigade...

Tyrone D Murphy - CEO Universal Film & Festival Organization Jeff Ross - SF IndieFest & Another Hole in the Head

Jon Gann does run a film festival after all, and one would think he should support such an endeavour that is clearly in the interest of film festivals and filmmakers alike. If we look deeper into this and ask, what is it about UFFO that members of the group are so hostile towards? The answer may lie in the groups own comments history, which sum up the position and hostility of many in the group towards UFFO - long before UFFO became a member of the forum.

Amy Hettinger, who is one of the forum’s moderators, and is also the Director of the Scottsdale International Film Festival, remarked, “Hope it goes down in flames with no takers.” Another comment, by Matthew M. Foster, Director of the Dragon*Con Independent Film Festival, read, “And I second Amy. The faster this dies the better. No good can come of it and so much trouble.” Some festival directors such as Jeff Ross director of the

SF Indie Fest took a particular delight in harassing UFFO. There have been many other comments made by the group that demonstrate outright loathing towards the UFFO, the mere mention of best business practices provokes such a ferocious response it is clear that there are those in the group who, controversially, have no interest in transparency and fair play for filmmakers, and will oppose any suggestions that will change the way they do business.

According to David Lewis from the UFFO legal department, “the serious issue for UFFO is that Gann’s comments are a clear attempt to deter other film festivals from joining and/or supporting “Best Business Practices”. This attack signals that Gann has now taken things up a notch and is attempting to undermine what the UFFO organization has achieved and stands for. It has now become very clear to the UFFO committee, that the organization must act to preserve its integrity and reputation”.

After lengthy discussions with members of the UFFO committee, the general consensus was that something needed to be done urgently to stamp out Blacklist-

ing of the organization and of filmmakers.

Members of the UFFO Student Committee voiced their opinion and now want to take immediate action to highlight the issue, and hold demonstrations outside the offending film festivals whilst they are being held.

Other action may include publishing a white list, of the film festival members of the Film Festival Organizers group, to the general filmmaking community outlining the dangers of submitting to film festivals that would blacklist filmmakers with little more than a casual comment.

The UFFO founder, Tyrone D Murphy, said “The damage that members of the Film Festival Organizers group have done to UFFO is substantial, the on-going Blacklisting of our organization can no longer go unchallenged. UFFO is a noble ideal that will be remembered by history for what it has achieved. It is an ideal that cherishes and respects what a filmmaker’s art and film festivals collectively, can bring to a democratic and free society. UFFO is an ideal which I live for and if needs be, it is an ideal for which I am prepared to fight for.”

The incident has once again consolidated Tyrone D Murphy’s reputation as a remarkable innovator and a fierce defender of filmmakers and film festivals. It will be interesting to see how this now plays out and many will be watching to see how the Film Festival Organizers group on Facebook will respond to UFFO.

Another festival organizer’s business folds

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The (until recently) chairman of the board of trustees of the Cornwall Film Festival, Mr Dorian Spackman’s company, Insider Knowledge Ltd., has filed for bankruptcy leaving a trail of bad debts behind, including wages to film crew. Some of the crew were working for a pittance, while one was paid the equivalent of £20 a day for a shoot in Germany; another had to pay the crew expenses on his personal credit card when the company’s credit card was declined. However for Spackman, it is business as usual with his other company, Cornish Media Industries Limited, that includes the contracts, vehicle, equipment and employees from the bankrupt company. Can this be right?

Universal Film Issue 10 - 2013

CREATIVE DATING

Creatives Dating is a unique dating site specifically intended for creative professionals to find love and friendship. Creatives Dating aims to put talented individuals together as they will have a better understanding of the pressures and responsibilities that come with a committed creative career. The website is also the only online dating service that well-known people can join with privacy, because of its ‘closed-shop’ aspect.

Our Creatives Dating Community Members are predominantly: actors, models, musicians, directors, writers, artists, stand-up, singers, composers, journalists, voice-overs, designers, agents, casting directors and also specialists in television, film, radio, variety, broadcasting, digital and online media, video games, multimedia and related creative vocations.

We also have a Facebook page and Twitter account which members can use to publicise anything that they want to share - showreels, dates of productions, films, etc. We believe in celebrating members abilities and artistry - they can showcase their work, as well as chat with other industry professionals in a safe and friendly environment.

All TIGA members qualify for full membership at 20% off, when signing up as a Creatives Dating Community Member. Due to popular demand there is now a Platonic Membership option available for networking only.

Sign up is free but full membership can work out to as little as £3.26 a week!

Act now and join!

Creatives Dating * ‘Closed shop’ aspect for absolute safely and privacy of members * Proof of professional status required * Twitter and Facebook facility for members to promote what they want

www.CreativesDating.com purely for professional creatives

* Make friends with other industry professionals in a safe and friendly environment * Find that special someone who rocks your boat! * Platonic Membership option available for networking only

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Universal Film Issue 10 - 2013

Brigitte Millar - Actress - Rep resented by APM Associates.

“I like the website as it’s use r friendly and makes it easy to connect with industry profession als.

It’s always interesting to hear from actors and other ind ustry people and I enjoy using the site.”

Matt Elesmore ASM, Actor & ance Freel Event Manager “I use Creatives Dating to meet people who are likeminded to myself, in a Pro way, that all the other sites out there lack. People on the site understand what I do on a daily basis for work and accommodate that.

Clare McKenna Actress and Director “I love Creatives Dating. The people I have connected wit h have been unpretentious and inspiring. It feels safe. Like everyone has a tacit understanding not to gossip! Jus t creative people connecting and maybe finding someth ing more…”

Dale Sumner Film Composer g is a “Creatives Datin twork ne to e ac pl t grea ople. pe and meet new ined jo ly nt I only rece made ve ha I y ad but alre I have d new contacts an rfect pe is e found this sit for this.”

Nic Penrake Writer/Director “The nice thing about this site is the dating angle add sa certain warmth to the som etimes wearisome imperative abo ut the importance of networking.

Even if no exceptional date com es your way, you can still get creativ e with your networking!”

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Alexandra Vlcek Hair and Make-up Artist’ “I am hoping to meet someone who understands the demands of running their own business in the arts and who has similar interests...so far, so good!”

Neil Buchan-Grant Photographer “I do a lot of last minute travelling and crazy hours so dating can be problematic to say the least! I’ve met some truly inspiring and talented women on this site...I think the future looks bright!”

Sarah Dorsett Actress and Singer “Films and theatre have always been my passion, and meeting fellow creatives are a match made in heaven when it comes to passion! .I have always enjoyed being a part of great productions! Creatives Dating combines all those elements...watch this space!”

Marina Louisa Actress, Writer and Director “Creatives Dating is a fab idea as it is great to meet others with so much in common, unlike other sites where that connection is rare. You know where you are on the site, and so it’s easy to connect and get to know people who are creative, fun and friendly!”

Ian Ralph Actor ’.

“My work as a character actor often consumes my time voraciously, but I know that fellow creatives on the site understand this - so membership is a nobrainer for me!

Vicki Stitt Choreographe r “I travel a lot with my wor k, and so my tim e is precious.

I like that the site is secure and the peop le understand m I meet on it y world. Wha ta unique creative site - I love it !”

Garry Vaux Writer/Photographer/Vide ographer “Creatives Dating is very goo d for networking with like-minded, individual s within the industry which helps to wid en your perspective.

It is also a great place to sho wcase your work, plus possibly find that nex t budding star.”

Nina Field Versatile Actress & Director“ I find the website great for making new friends with creative interests, and for making industry connections. I feel safe in the knowledge that the site is secure as everyone on here is a professional creative.”

Emma Taylor Artistic Director of Canal Cafe Theatre. ‘NewsRevue’ producer, director, performer, writer, presenter.

“I love that Atalanta had the vision to create a unique environment for creatives to mix and mingle romantically and/or platonically.

Geraint Rhys Benney film & TV acto r “I’m too busy to really date at the moment, but I still like look ing!

I find that the site is secure and friendly, and networking on it is fun and no ta

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Alfred Möller - Filmmaker and Steadicam Operator - “I am passionate about my work, which leaves me with little spare time.

Creatives Dating is perfect for meeting girls who understand my work commitments and also, networking with other industry professionals on the site, has led to me collaborating with a producer on a shoot in Peru!”

Rob Ho - Actor & Martial Arts Expert. “Not only is it great to network on, but it is the only site I know of that is safe for high profile people to join. Also people understand if I can’t answe r because I’m working Angela Bull er Actress & Produc e that “Creative tim t or sh e th “In ched, it has un Dating” has la be a valuable to ed ov already pr king for its source of networ le to use the ab members. Being sis is unique ba ic on site on a plat a whole new & has opened up media.” branch of social

Universal Film Issue 10 - 2013

FULL EXPOSURE: UNDEREXPOSED FILM FESTIVAL YC BECOMES A GLOBAL COMPETITION

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self-sacrificing voodoo doll, Somali pirates, and the plight of the cholera epidemic in Haiti introduced the Underexposed Film Festival YC, a 2-day short film festival held in Rock Hill, SC, supported by the Arts Council of York County, to the world.

During its 2012, inaugural season, UFFYC delighted its audience with a regional film competition, and 4 blocks of non-competitive films that intrigued, entertained and challenged with diverse and topical films donated for screening by directors from festivals including Sundance, Tribeca and the Festival de Cannes.

From cutting edge experimental films such as Stacey Steers 4000-collage masterpiece, Night Hunter, to Cutter Hodierne’s Somali pirate film, Fishing Without Nets, to a Depression-era circus that teaches a severely disabled man his own self-worth in The Butterfly Circus, viewers experienced thought provoking, independent films that would never have come to the area multiplex. As the festival closed, Arts Council Executive Director Debra Heintz mused, “We have set the bar very high, how will we top this?”

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83 Miles, 16 Days, 1 Dream: From a wet and windy West Yorkshire all the way to the world’s most glamorous film festival in an attempt to raise funds for their first feature film. Last May one film company attempted the impossible - from Brighouse To Cannes, Le Tour De Tan. NorthernWood Films took a remarkable world-first step last year, cycling almost 800 miles from the heartland of their film (Brighouse, Yorkshire, in the north of England) all the way to Cannes. The company were the first ever to do finish this, raising money for the team’s fictional film Orange Fever project.

Orange Fever The Movie is a true lad comedy, similar in tone to The Inbetweeners. It tells the true-life story of two likely lads on a mission to find love; they try salsa dancing, karaoke and even fake-tanning before discovering romance and redemption in the most unlikely of places. The team have finished their script, have locations, a soundtrack, merchandise and a fantastically funny storyworld in place – now they just need to complete the fundraising to make their film.

In 2013 NorthernWood Films are cycling to Amsterdam on their next cycling and comedy adventure - cycling from trendy East London all the way to Amsterdam.

Dalston To The Dam: The Hipster’s Unexpected Journey, NorthernWood Films are producing a structured-reality comedy documentary about this journey, which will climax at the world’s biggest celebration of the colour Orange. The Queen’s Day Festival: http://northernwoodfilms.tumblr.com/

Faced with this challenge for 2013, Festival Director Karen Collins deemed the festival must go global, marking the beginning of UFFYC’s partnership with Withoutabox. “We are very excited to be exposing our audience to an international film experience. Film is a great uniter. It’s visual, emotional, and crosses language barriers in a way that nothing else can. We owe it to those directors who gave us their films last year to keep our standards high by continuing to introduce new ideas, introducing them to new issues and cultures and, challenging their imaginations,” says Collins. The UFFYC invites films in the narrative, animation, experimental and documentary categories to compete for our 6 cash prizes, including 2 new categories - Best Female Director and Best Student film. For more information on submitting to UFFYC, visit UnderexposedFilmFestivalYC.org

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Issue 10 - 2013

Universal Film Issue 10 - 2013

What A Distributor Wants

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ith the ever mercurial distribution market, as changed by companies such as Netflix, Redbox and the advent of VOD, SVOD, how does an indie producer approach making a film that will recoup, pay back its investors without compromising their own creativity? Well, this has been the age old question since famous painters, like Delacroix, humbled themselves to paint portraits of dowagers for income while really wanting to create grand epic scenes like Liberty Leading The People. A producer and director have to be smart these days when beginning because the key to success is to license your film so it can recoup investment.

Where, however, do you start?

Part 1

by Patricia J. Pawlak

$1,000,000 for a film and only $5,000 for another. These offers are predicated upon what a company can make off of your film.

So many avenues for distribution have disappeared. With Home Video, one could get for US (in the beginning) $250,000 for a film made under $100,000 just for US video. I did. Then the majors came in and cleverly approached all those Mom and Pop Home video stores and said, “Well, if you want our hit, you need to buy 10 ten pack”. Those Mom and Pop home video stores only had a budget for 100 copies a month so suddenly indies fell to the back burner and dropped down to deals around $15,000. Majors started selling millions of copies while the indies sold thousands. It didn’t help to see tie-ins with every fast food restaurant either. Also, HBO and your pay cable stations were paying big money for smaller films Certain genres clearly sell better than other more “Lets for “Premieres” at one point. They became smart and niche or low budget films. For example, comedies alget back to started making their own product so those avenues most always benefit from a high profile cast. Very few your career, for revenues shrunk. low-budget comedies manage to get distribution or your ‘break big’ at the box office. , Traditionally, independprojects” I would find a project with a reasonable budget right ent comedies have a harder time selling abroad due now (if one didn’t have names or an amazing concept) to variations and nuances in regional humour. Years that would motivate a distributor to want to pick it up. ago, I was in Japan having lunch with a company that If you want a company to distribute your film and take it was releasing major comedy with Billy Crystal and they to Cannes or AFM, you must consider what needs to be spent were very concerned that the film was a comedy and it was upfront to market your film for publicity which ultimately will the first time they had released a film with subtitles. They come out of your recoupment. First, your distributor must pay weren’t sure if their audience would accept hearing the acfor an office that can run from $10,000 to $50,000. Screenings tor’s voices since the norm had leaned more toward dubbing. can cost from $1,500 up. You have posters, flyers, trailers, rentIt all worked out as the film was a success there. al equipment for the office i.e., a monitor to show your trailer, the costs go one and on. At the bigger markets there are daily Most producers need to understand that the business of distrade papers. Daily ads can cost $3,000 for a page so for a distribution is really a “business”. Buyers walk into offices at AFM tributor to pick up your film. He or she needs to feel that any and Cannes with their laundry list of films to license. They costs they extend will be recouped as those avenues shrink. may simply say three action films, one documentary and a blockbuster. I have had buyers come up to me on the street in Keep in mind, this cost will be amortized amongst the films that Cannes and simply ask, “Do you have any low budget action”. the company is bringing and it is your job to make sure that the I say, “Yes” and they return with, ”Save them.” This may morcompany proceeds in that direction but these costs are “hard tify a producer who has poured their heart and soul into their costs”. Would you like a poster of your film up in Cannes? Confilm. However, I have licensed their films and made it possible sider this, the poster must be designed. The cost for renting for their movies to be distributed on DVD,. Just to clarify: a the space can run from $10,000 minimum to $150,000. Even distributor licenses your film for a period of time, for a fee, for if you have a design, the poster must be physically produced, a specific territory and a defined language. shipped and you must then pay someone to put the poster up which can cost around $1,500. A company must consider all The disparity in Minimum Guarantees for recouping budgets these costs before picking up your film so before you make has become extreme as buyers are more then happy to offer that film, make sure you are making the right film. millions for a blockbuster while that same company may only offer $10,000 for smaller films. Your Minimum Guarantee is a Next: Exploring more genres that sell. terms for the minimum that you would get for your film based on the fact that you have percentages in place for say DVD, etc. Having been on both sides of the fence, I have offered

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Universal Film Issue 10 - 2013

The new DaVinci Resolve is now even faster and easier to use!

With over 25 years’ experience in color correction, DaVinci Resolve is the world’s most loved high end color grading system! Only DaVinci Resolve is designed to be real time all the time, so it keeps up with you when you’re working on demanding client jobs. With the most creative toolset and highest image quality, it’s easy to see why DaVinci Resolve is used on more Hollywood feature films, syndicated network television series, music videos and high end television commercials than any other system.

Automated for Speed DaVinci Resolve includes more automatic tools such as the 99 point 3D window tracker so you’ll rarely need to manually track windows! You get automatic 3D eye matching, auto-grade, auto stabilization, auto 3D color matching, automatic XML, AAF and EDL conforming, real time proxies, auto scene detection and much more!

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Greater Creativity With a massive toolset designed by colorists for colorists! The innovative YRGB primaries and node based design allow more creative grading and better looking images. Combined with PowerWindows™, RGB mixing, curve grading, blur, sharpen, mist, keying, noise reduction and 32 bit float quality, you get more with DaVinci Resolve.

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The freedom is yours, and there are no extra software costs! Simply plug in GPUs when you need more power!

No system supports more file formats in real time. Grade from mixed format clips on the same timeline including bayer format CinemaDNG, RED™, ARRI™ and F65™ raw, ProRes™, DNxHD™, H.264, uncompressed and more. Get full multi layer timeline XML, AAF and EDL round trip with editing built right into DaVinci Resolve! If your edit changes, Resolve will automatically relink grades!

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Universal Film Issue 10 - 2013

UK -University of South Wales is launched

T

he University of South Wales opens its doors to its 33,500 students on the11th April this year.

real world. Our graduates have the skills that are essential for the workplace and value our employability schemes, business start-up support and opportunities to get actual experience as part of their courses. It’s an approach that works – 93% of our graduates are in employment or further study within six months of graduation.

The University, with campuses in Cardiff, Newport and the South Wales Valleys, is among the top 10 campus universities in the UK for size and provides Wales with a major regional university, well equipped to compete with counterparts across the “opened border.

“Whether in the Heads of the Valleys or the cities of South Wales, the major regions of England is doors or countries across the world, the University of to 33,000 Welcoming the new university, the First Minister of South Wales will offer accessible, distinctive and Wales, Rt Hon Carwyn Jones AM said: students” responsive programmes that open doors for talented people who have the desire and passion to “As First Minister of Wales I want to welcome the embrace higher education to achieve their personal University of South Wales. This is an initiative that shows and professional goals. leadership and strategic thinking in action. The University’s partnership with major international companies like General The University of South Wales is a leader in applied reElectric and British Airways are examples of how Wales can search and is already well known for its partnership with compete with the best. The Welsh Government looks formajor employers, from British Airways to the National ward to working with the University of South Wales to raise Health Service, a role as a leading university for careers the profile of the region, and Wales as a whole. I have every that is reflected in the employment rate of its graduates. confidence that the University of South Wales, the major regional partner with Cardiff University, will demonstrate a Professor Lydon continued: “On a public level, the Unistep change in the ability of our capital city-region of Wales versity will be an intellectual forum that brings together to compete with the major regions of Europe. the business leaders, elected representatives, think tanks, and public servants. We are renowned for our applied, “Whether as a powerhouse for the arts, a partner with major relevant research which informs key decisions by busicompanies who invest in Wales, or a major UK university in ness chiefs, ministers, public service leaders, and entreits own right, the University of South Wales provides Wales preneurs.” and wider Britain with a stronger higher education sector.”

The University of South Wales brings together the UniverProfessor Julie Lydon, Vice-Chancellor of the University, said: sity of Glamorgan and the University of Wales, Newport. It attracts students from 122 countries across the world.

“The University of South Wales will compete equally for students and reputation with the UK’s major regional The University is a member of the St David’s Day Group, universities and will help the region compete head to head recognised as one of Wales’s five major research-active for investment and growth with major city-regions such as universities.

Bristol, Manchester, London, and Tyneside.

“The employability of our students is at the heart of everything we do, with teaching informed by what happens in the

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s t d’ ke oo ar w M ly ol ilm H yF nl O

10,000 Films Have Been Launched at AFM ®

Get Your Piece of the Action!

NOVEMBER 6-13, 2013 / SANTA MONICA 2,000+ NEW FILMS & PROJECTS

Register at www.AmericanFilmMarket.com The American Film Market is produced by the Independent Film & Television Alliance®

I

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Universal Film Issue 10 - 2013

BLARNEYLAND A NEW CREATIVE CONCEPT BY JEFFERY O KELLY

by Kevin A Murphy

B

larneyland and the Great St Patrick’s Day Caper, a family orientated feature film that will be produced in live action, SFX and animation,

and Pookahs, seeks ultimate power by wrecking the harmony of Blarneyland.

Grim Jim is an evil intellectual with neurotic undertones who cannot accept love or affection. From his power base on the Skellig Rock at the edge of the world, he devises to create havoc in the world of Blarney. In our feature film, Grim Jim tries to steal music and purloin the dance from the inhabitants of the Emerald Isle. However, Padraig, aided by the Wee Folk and guided by JP Bogman, a gambler and student of life, always defeats Grim Jim and his skanky band of ne’er-do-wells.

First Name ?? O’Kelly has formed Penpower Inc. to produce this trans-media franchise, which is currently in pre-production. Stealth Media Group of Brighton, England has been selected to handle sales and marketing. As with his previous franchise, “Doctor Snuggles,” O’Kelly is creating a living universe within “Blarneyland” full of signature and engaging characters, that will stimulate demand across all media platforms, “Blarneyland” is designed to constantly expand and bring invaluable enjoyment and entertainment to future generations, both young and old. “,Blarney-

Grim Jim summons his fractal dimensions and comes up with a fiendish plan to hijack St Patrick’s Day. With his monster Stealth land, a new Machine he contrives to suck the green out Commercial spin-offs include online concept “ of the planet and render the landscape black game/universe platforms, which are at preand white. Soon there is not a green shamsent being transcribed. Additionally, an anirock in sight. Just imagine; without the green, mated television series is in development as and without the shamrock, there can be no St Patis a musical. Merchandising, on and offline enterrick’s Day anywhere in the universe... Dublin, New tainment, mobile apps, “edutainment” and theme York, Moscow, Paris, Tokyo, Melbourne. etc. park amusements are natural spin-offs of this networked world.

Apart from which the environmental consequences would be catastrophic, to say the least. Rising to the Enjoy the journey of this unique creation from the almighty challenge of this global threat, Padraig, JP pen of O’Kelly as it unfolds into a cosmic tale of and the Wee Folk of Blarney manage to thwart Grim blarney, bringing with it dreamy moments and Jim in a cliff-hanging ending and bring the colour every whiff of nonsense. green back into the planet …. just in the nick of time for the St Patrick’s Day celebrations.

Imagine, if you will, entering the living universe of Blarneyland where past, present and future merge.

The beholder is taken on a fantastical journey of For further information contact myth and folklore through the aeons of Celtic myJeffrey O’Kelly thology. Our hero, Padraig, has been summoned Penpower Inc. to Stonehenge by his father, the Wizard of Odds. t: +44 (0) 1202 981067 The Wizard announces that Padraig, because of m: +44 (0) 7593 783962 his mystical gifts, has been specially selected to e: sebastiancloud@gmail.com save the Wee Folk of the Netherworld; the Blar jeffrey@blarneyland.com neys, the Faeries and the Leprechauns. They are being threatened by their nemesis, Grim Jim, who together with his band of Shamrogues, Skankers

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Penpower Inc sebastiancloud@gmail.com jeffrey@blarneyland.com +44 (0) 7593 783962 +44 (0) 1202 981067

Universal Film Issue 10 - 2013

Al Mayer New documentary on Al Mayer, ledgendary Designer of the Panaflex

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Documentary Film about the life and achievements of Mr. Albert Mayer, legendary designer of the Panavision Panaflex film cameras.

For thoes who are unaware, these cameras have been used by thousands of major motion pictures throughot the world. Albert Mayer lives in Los Angeles, California, USA. Most years of his long career life have been spent working at Panavision, where he was a leading designer of the film cameras. For his innovative work and technical achievement Mayer was awarded with some of the highest awards in film industry, including four Oscars and Emmys.

Albert Mayer was born and raised in Perlez, in a little town in Banat, in the county of Vojvodina ;which was then the Kingdom of Yugoslavia. Today this is the Republic of Serbia. As a member of German ethnic corps after WWII, he was together with other ethnic Germans, deprived of his property and held in the concentration camp Knićanin (Rudolfsgnad). Later, he was deported from Yugoslavia to Schweningen, a little town in German Schwarzwald.

He arrived in Gemany as a teenager .

A refugee who did not speak much German, but he successfully completed his education. His sports career helped him gain popularity. There he met the love of his life and married her. When Russians started to raise the Berlin Wall, he decided to emigrate to the USA, however he arrived without speaking a word of English. In America he starts to learn his third language.

UFM writer Radmila Djurica talks to the son of the famous designer.

UFM: Your father Albert designed the camera a long time ago, much before the computer started to play a role in the game. How different is it nowadays, when it comes to design of cameras?

ANS: Completely different. When my father started his career (and for that matter when I started mine) everything was designed using drafting tables and calculators. The original Panaflex prototypes took approximately 4 years to develop. They were originally created out of wood in about 6 weeks, to create a look which would eventually be transferred to metal via the mechanical drawings. In addition, there was a lot of experi-

by Radmila Djurica

mentation that was done to create the product. The Millennium XL camera was created in 23 months, it was all designed and tested virtually through computers. This sped up the process because numerous “real” iterations were not necessary. When the first camera was produced, it was done out of plastic in 3 days with virtually no changes to metal.

UFM: Tell us about the film productions in Hollywood significant due to a use of your camera design and why?

ANS: Let’s start first with the original Panaflex that my father was responsible for. Prior to this camera, you could not shoot an up-close shot with a light weight , because of the noise levels of the camera; therefore you would need a blimped camera which weighed well over 100 lbs to accomplish this. With the Panaflex, this all changed because it weighed only 27 lbs and was completely hand hold able. Moving forward to the Panaflex XL, it had many of the same specifications of the original Panaflexes, but only weighed 11 lbs making it the lightest and quietest professional 35mm camera in the world.

With the next generation of cameras

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Universal Film Issue 10 - 2012

Al Mayer JR

UFM: Tell us a bit about the experience of being OSCAR and EMMY Winner for camera design?

ANS: It was an honor for my father to win these awards along with his team, and be acknowledged by his peers in the industry for the hard work and effort they put in.

UFM: What does the future camera looks like? In the recent film production of US Cinematography we saw the film “Simon”, where the main star in the film is a computer generated character ‘Simon’ by Andrew Niccole but no one really knows that she only exists in the computer and on the screen. How important really is the camera in the film and entertainment industry?

ANS: Technology is an interesting thing. You’ll always need to acquire,

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edit, and exhibit the story. There are so many ways people are doing this nowadays, and with the power of the computer and the internet, storytelling and distribution are not a problem.

The future of the industry I believe will be hybrids of many technologies. CGI, Animation, live action, etc. As long as the storyteller has the imagination, technology will make it happen.

UFM: Can you tell us about your company now, what does it do when it comes to a film-based 3D projection technology system? Are there speculations about the feasibility of the system in the camera design, when it comes to a low-cost 3D lens and print format of 35mm movie projectors?

Tell us some tehnical aspect of the design?

ANS: this specific technology (3D film projection), although sound, was never developed in mass. My current company, Excelsis Engineering, is involved with various products. Examples being professional 3D camera systems, high-end small sized 2D cameras, lenses, etc that are for the entertainment industry and the US military. I consult for many different companies from start-ups to well established corporations at many different levels.

UFM: At the Serbia FEST 2013, Serbian filmmaker Predrag Bambic presented the film Albert´s Way, a documentary about your father´s childhood in Serbia before and during the Second World War. Can you tell to UFM readers a bit about this film?

ANS: To begin with , I have to thank Bambi and the entire crew for creating this piece of Mayer family history. The story is one of determination, perseverance, and forgiveness. My ancestors (all of German decent) had lived in Perlez for 6 generations prior to the outbreak of World War 2 assimilating to the local culture but still maintaining their German heritage. They worked and played with their neighbors and lived a relatively peaceful life as farmers. After the war, my father and his family were forced to leave their home by the communist regime and were placed into a concentration camp near their home village.

They lived there undernourished, cold and in poverty for several years and many of them died, including my grandfather, because of these elements. A few mass graves holding up to 20,000 people, were built close to the camp to bury those who perished there.

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moving to digital technology, the landscape of the industry completely changed. GENESIS was the first major camera that complimented the look of 35mm film with its chip size (equivalent to super 35mm), dynamic range and colorimetry. Productions adapted to this right away and many of todays cameras follow suite.

Universal Film Issue 10 - 2013

Interview with Craig Smith CEO of the Film Finance Awards

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he Film Finance Awards (FFA) is working together with UFFO, Universal Film Magazine and Movie Money Magazine for the next Film Finance Awards Gala, to be held in London on October 26, 2013.

You can send in your nominations for the 2013 Film Finance Awards through the FFA website.

Tickets: www.filmfinanceawards.com www.moviemoneymag.com

MM – What does the Film Finance Awards do?

FFA – Our team hosts a series of high-end film and entertainment investment events during the year, with the final Awards Gala taking place in the finance capital of the world, London, England, on October 26th. The Film Finance Awards jury will vote on all of the nominations to determine which will make the short list for 2013. The jury dinner and vote will take place the night before the awards ceremony. FFA recognizes structural, inspirational and creative investment across a range of film finance categories. During the year, the FFA team organizes several awards events in Berlin (February), Basel (April), Cannes (May), and Beverly Hills (September).

On the night of the Awards, government organizations, the investment community, and individuals working on behalf of and within the film industry and film finance communities will be recognized for their achievements in more than 20 categories of investment.

Common to all nominees is a shared goal: to promote and finance the production of critically and commercially successful films. The program consists of opening VIP cocktails, seated dinner, awards ceremony, evening entertainment and networking.

MM – Why have you brought Film Finance Awards to London?

FFA – After successful events in the Martinez Hotel in Cannes during the Cannes Film Festival and the Lux Hotel in Beverly Hills, we started receiving requests to run the Film Finance Awards in London. With the ever-increasing importance of international finance for local and international film, and the fact that London is the capital for international finance, it seems to be the logical location to hold the Film Finance Awards.

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Issue 10 - 2013

Universal Film Issue 10 - 2013

IBC IBC’s Conference Examines the Burning Issues

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he IBC Conference is at the heart of the industry. Over the course of its six days more than 300 high-profile speakers in more than 60 hard-hitting and high-level sessions will discuss in detail the current state of the industry and help draw the roadmap for its development. Co-ordinated and produced by some of the leading figures in the industry, the thought-leaders shaping its future are drawn to the Conference Programme of visionary keynotes, discussions, debates and masterclasses that are carefully adjusted each year to reflect the changes in the industry.

‘Understanding the Power of Big Data’ will examine the ability to analyse massive volumes of data about customer behaviour, preferences and application performance and ask how good a match it is for the broadcast and media industry. Finally, ‘Running Your Business: Technologies, Systems, Standards and Skills’ encompasses a series of sessions designed to give you valuable insight into the latest advances in industry collaboration and standards from a variety of perspectives, including business and content production. Find out more about the IBC Conference, view the programme and book your pass at www. ibc.org/conference

IBC2013 is no exception. Carefully curated into four One of IBC’s most unique features sees it able to project distinct streams - Content Creation and Innovation, content onto its own cinema screen in the state of the Advances in Technology, The Business of Broadart 1,700-seat Auditorium the centre of the RAI. casting and Media, and the innovative free-to- “,The IBC’s Designed to IBC’s specifications and boasting faattend Industry Insights sessions - seven key cilities for 4K and stereoscopic 3D digital projechas over themes are threaded through the conference tion, with audio presented in Dolby 7.1 surround 50,000 atand will help drive this year’s agenda. sound, the IBC Big Screen plays host to numerous tendees” presentations and conference sessions, as well as ‘From Broadcast to Multicast: Collision, Casualexclusive movie screenings. ties and Challenges’ looks at the global impact of convergence on the industry and the challenges for all It is the perfect place to see and hear the latest techniinvolved as it adapts to the connected world, while cal advances, as both manufacturers and conference ses‘Converging Industries: Telcos Flirting with Broadcasters’ sions push it to its limits, as well as to celebrating the IBC examines the significant strategic shift as the increasAwards and unwinding in the comfort of complimentary ing number of telcos entering the broadcast market bemovie screening and the IBC Big Screen experience comes disruptive.

The exact details of the IBC2013 Big Screen programme ‘The New Language of Digital Spaces’ will look at how are still under wraps, but it will undoubtedly reflect the they are changing the established order, and will cover wider technological trends within the industry, where everything from multiplatform commissioning, through higher framerates, the increasing impact of laser projectechnological innovation in creating content across plattion, the importance of ‘the look’ in 4K, ongoing debates about stereo 3D revenues and more are all having an imforms and advertising on new devices, to the economics pact on a global scale. Plus, of course, there are the free of multiplatform. ‘Creating a More Engaging Entertainscreenings of the very latest content to consider. Exactly ment Experience’ will investigate craft skills and the what they will be this year, IBC’s 50,000 attendees will latest theory behind the audience experience, and ‘Projust have to wait and see. duction – Innovation in Techniques’ will see the latest production technologies and techniques investigated Make the most of early bird rates and register today at and assessed. www.ibc.org/register .

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Issue 10 - 2013

Universal Film Issue 10 - 2013

QUITTERS NEVER WIN Independent Film in Today’s Brave New Wave.

by Steve Rumblow

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have always found ways to finance my independent films, from 1975, to the one I’m finishing right now. There have been some novel scenarios, like the full-length feature film I made on a bet for $12000 to government financed films, to very traditionally financed equity investment scenarios. I’ve never liked producing, but I do it in order to direct; which is my primary career passion. A new wave of independent film is emerging in the film industry today. It’s my experience that with every new wave, there comes a new modus for financing.

party, without any real reason to do so. A strange kind of anarchy prevails. There are scammers running around trying to prey on novice filmmakers who want to emerge as filmmakers from the DIY HD market.

The newbies have scripts and are being hit up by all sorts of characters, like Ponzi-styled scammers promising easy millions for a 10% disappearing escrow, Nigerian-type scammers who are going for an upfront fee and middlemen who had good jobs before the crash, but are now trying to save their mortgages; by selling consultant services nobody needs. That’s just one side of the table at the mad hatter’s tea party. Others at the table are professionals who haven’t had a job since the crash and are desperate now to get back into the work place.

With each new wave I have seen in my Renaissance-style and media career; there have been a lot of painful cultural transitions for the industry; such as the birth of vhs, the creation of the music video medium and the eighties crash. Let’s not forget the politically motivated Then we have the crowd funding deal, which might cuts to the arts that almost destroyed live theaturn into something very potent, but currently if tre in the eighties. I have witnessed the demise you don’t have a huge following, it relies on your “Quitters of huge budget commercials, the birth of HD, contact list and it could be much cheaper to just the birth of homemade no-budget indies, the get a loan from Uncle Joe, take out a second mortnever demise of major studios’ involvement in the gage, or get a new credit card and make it on the win” indie markets, the birth of digital markets and cheap. Even track filmmakers are veering in that now the mini-major interest in micro-budget indirection with their own DIY productions like Paul dies. This all goes to say that even with that firstSchrader’s The Canyons. There has been, and still is hand participation; nothing could have prepared me a rule touted by some distributors that say films under for the tinsel “wonderland” from which I am currently $4MM are potentially profitable, and films over $15MM reporting. or $20MM are also easier to recoup ;but anything in between is a tough sell. Another rule coming into play with Before the 2008 crash, the ways to finance a film were the digital markets is that films being made on micro based on a prescribed formula for banks, bridge lenders budgets of $1MM or a bit less are sweet. Lionsgate and and equity players. Suddenly, the bottom dropped out of others are taking notice and reopening their indie wings the indie market and opened up the rabbit hole. We all as micro budget vehicles to ex-pilot foreign and digital fell in. The banks tightened their belts and investors eimarkets. ther became extremely nervous or they bought into the myths surrounding the crash and decided they had to be My company, Renegade Motion Pictures, has a number super careful. Despite it all, the majors are making more of films and episodics in first, second and third license than they ever have and the supposed house of cards release, and we have learned a lot about digital distriremains surprisingly solid. bution over the past couple of years. It can actually be a tidy income for episodics but not so much for feature What I can now say, with some certainty; is that it’s an films, at the moment. The same issue applies with digiupside-down kind of wonder land. The Majors as usual, tal distribution as with distribution through the majors, are very preoccupied and busily rushing around making policing the income. Just because there is less money their must-see theatre events. There are the wonderful involved doesn’t mean it is more honest. One still has Weinsteins and the great mini-majors like Lionsgate who to police the deals and set them up in such a way as to are doing incredible work. That’s all pretty much status be able to easily check the numbers. For that reason, we quo. have found certain digital outlets to be more transparent than others as are certain digital distributors. Remember For the real Indies however, things are very different. also that the word now must be “non-exclusive” to leave There’s a new evolution of an indie being born. New one the freedom to change with the market trends and breeds of filmmakers rise up every day, and yet eveone shouldn’t be putting out any costs when it comes to ryone is still trying to sit down at the Mad Hatter’s tea digital distribution deals.

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AI on film advert_03_Portrait 27/04/2012 17:10 Page

When it comes to more traditional distribution, my company was very fortunate. This was because one of our features, which was released at the apex of the indie crash, sold in 31 countries and made it to 45 on IMDB, which gave distributors enough confidence to get behind our future projects. The reason for this was that from the outset, we tapped into an internet fan base for the film.

We were ahead of that internet curve very much based on observation.

Because of our ability to survive during the crash, we have been able to put together a slate of pictures and we are sitting with a deal in our back pocket for what is now a completely unheard of Distribution Minimum Guarantee for 80% of a handful of $1MM to $3MM films. We have solid key creatives and cast in place on a most of them. Everything in my experience said this would be a ‘no problem raised,’ (or so I thought).

However, so far, we are over four months in and I’m just getting a grasp on the perversity of this financial landscape.

First, we were overrun by the ravenous producers on both coasts that were desperate to know who gave us the deal and so they were prepared to pretend that they had access to funds. Then, there were the ones who wanted us to turn the already precious and rare MG into a Pre-sale.

Well, of course, if we had a pre-sale we really wouldn’t need to be talking to an investor. Of course, it follows that there were also the guys who wanted us to turn it into a bankable guarantee. Again, if we had bankable paper we’d be at the bank looking for lower interest rates rather than looking for equity deals. Another side effect is dealing with information gatherers, people with investment and producing track pre-2008 who check all the deals but don’t commit to anything. I call them “watchers.” Some may be doing it because they are monitoring the landscape and one day will be ready to jump in again.

Others are probably waiting for a never-to-come “return to normal.”

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Then there are those who are trying to make sense of the potential of digital markets. My least favourites are the greedy cats that expect guaranteed returns of 50% per annum for a so-called “equity” investment.

Now, all that said; within this insane Mad Hatter landscape there are some great people, production companies, distribution companies and investors out there who are doing greater work today than they ever could have precrash. There is a great new breed of true Indies being made.

The future is evolving. I was personally very concerned in recent years about how cult labels shifted from low-budget Indies to calling films with $60MM budgets “cult indies.” Sure, a lot of those filmmakers came from clear indie roots and found ways to carry indie into the mainstream which is totally great.

However, suddenly there was a new belief that inventive and hip films of $20MM to $100MM budgets were Indies. The great thing about those films is that they are breaking a kind of new ground that true Indies normally break, and are led by brilliant talents like Rodriguez and Tarantino.

The problem was that the true Indies started losing their public. What makes me optimistic is that there is a new breed of micro-budget indies coming forth that hark back to the roughly hewn gems that were so exciting 10 or so years ago. Most of the new guys are unknown, but we are also seeing filmmakers like Michael Benaroya and Francis Ford Coppola choosing to partially work in this new field of micro Indies.

I remember in the early nineties, with the birth of the handy-cam, Francis Ford Coppola said in an interview something to the effect that, “One day people will be making their own movies and distributing them from their homes.” For good or ill, that day is upon us. My choice is to embrace it and enjoy this new momentum.

Now, coupled with our experiences of digital production and digital markets, I’m beginning to see what looks like a pathway back out of the rabbit hole.

When it comes right down to it, change is evidence of life, and I think we’re on the verge of a humungous change. One thing’s for sure, if someone wants to be a part of it, they won’t get there by quitting. Quitters never win. It is cliché but true. Time and again, anyone who wants to be a part of a new wave must acknowledge that and push forward, sometimes by rewriting the rules as they go along.

real life stories of struggle and Courage from around the world

this is omar, a teenage refugee from somalia.

a life on hold

is a new film about omar’s life in a refugee Camp in tunisia. watCh at amnesty.org/refugees

Children of the Jaguar

an indigenous Community in the amazon Jungle take on the Combined might of the government and an oil Company in order to save their way of life and the rainforest they live in.

watCh at bit.ly/Jaguar-trailer

Find out more: avproduction@amnesty.org

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Same aspects of accountability apply to four wall and DIY theatrical distribution. We could be seeing a return to the old silent movie days for theatrical on indie levels where to stay afloat you need very quick turnarounds on your films. Also, be aware that casting and genre can have a deep impact on food sales, a major factor in theatre income. DIY also establishes the ticket value for potential deals with larger chains.

Universal Film Issue 10 - 2013

THE ROYALTY/LOYALTY TRAP Censorship in Film Making

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ost the airing of ‘Our Queen’ on British television; several national newspapers rubbed their eyes incredulously. Where are all the intelligent, in depth films about the Royal family? (note in particular Mark Lawson’s article ‘Our Queen: the latest Royal TV tells us almost nothing’).

by CHRIS

TEMPLETON

emoniously chopped off with a blunt instrument. Filmmakers are making the programmes; the snare is the television executive who kills the film off at the point of exhibition.

The royalty/loyalty trap is a body politic condition compounded further by media journalists. Professionally crying foul when they learn about any kind of compromised freehttp://www.guardian.co.uk/tv-and-radio/tvandra- police and doms (a democratic feint really), they eventually are press, at dioblog/2013/mar/15/our-queen-royal-tv-tells-uscaught in the same rictus state of royalty/loyalty, heart, fear nothing always diminishing without a printed word (prehigh-echelon sumably walking backwards as they leave). A kind celebrity This mock display of concern by the press ignores the of freedom silence that really amounts to type B cenbetter question: ‘why aren’t the films being made?’ I’m sorship. sure even the reader of this UFM article can guess why documentary films about the Royal family are so, well, benign.

The ‘King’s Speech’ is an extremely well made film with a seductive human-interest plot, prettily calculated to appeal to In - depth documentary films about the Royal family do exist. the smarter filmgoer. People who like that sort of thing, like They have been made. The reason why you haven’t seen any that sort of thing. But for anyone who cares about historical is because the broadcasters are too tentative; let’s admit it, truth, the film perpetrated gross falsifications. Read one of too scared to air them. Today, filmmakers face two types of Christopher Hitchens’ last brilliant analyses of the film script censorship. Type A the good kind, which is formal and man(‘Churchill Didn’t say that’, 2011) for the full expose, better aged by bodies such as the BBFC (British Board of Film Clasthan I can reflect here. sification) and the other type B, is the bad kind. Censorship by thumb-screwing. This is the royalty/loyalty trap. http://www.slate.com/articles/news_and_politics/fighting_ words/2011/01/churchill_didnt_say_that.html Traditionally, the royalty/loyalty snare snaps in the following way: broadcasters are initially attracted to the idea of an inOf course, when faced with these facts after Hitchens had formative, well - researched film about present or past royso thoroughly wiped the Vaseline from the lens, the film’s als. These ideas might even reach the point of production. scriptwriter David Seidler, immediately blamed this historical However, as the commissioners approach the moment of air-brushing on “sagging scenes”. As if truth ever carried any television reality or ‘transmission’, they begin to wobble with spare weight. We’ll never really know who’s telling the truth royalty/loyalty. At first, wrenching out story elements for here but I suspect the hand of royalty/loyalty for the core hisfear of offense. Then as the narrative unravels, the corporate torical distortions. lawyers materialise with complex legal provisos (the thumbscrew part). The end state sees the commissioner unspooling In pursuit of balance, with the over-romanticized impression wildly with no recourse for the filmmaker when the wounded of George VI piled high on the other side of the fulcrum, I programme is finally put out of its misery and its head, uncerproduced (2010) a follow-up drama documentary THE KING’S

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Universal Film Issue 10 - 2013

And truth of course is a lot more interesting than fiction. The stuttering Royal (who, more unromantically stuttered because his father King George V used to beat him) ruminates on subjects as diverse as artificial insemination (Elizabeth and Margaret were conceived through this new scientific breakthrough), to hushed gay alliances, elicit affairs, as well as Edward VIII’s historically revised admiration of the Third Reich. Edward, who took his honeymoon in Germany with Mrs. Simpson and was photographed both receiving and giving the Hitler salute (THE KING’S MONOLOGUE shows incidentally, unique footage of Edward VIII in Berlin with Nazi and SS officials, enjoying a Wagner concert in 1936).

When Does A Film Become A Classic At what point does a film become a classic? We all know a classic movie but what makes it a classic, The age of the film? but what age a decade even longer or does a film become a classic from how much it makes in total but one question to another what is the answer to how much a film has to make before its considered to be a classic.

Or is it Popularity that gives it its status.

A lot of the core material for the documentary was, interestingly enough, drawn from books that were published throughout the world but banned in the UK by the House of Windsor through private legal channels. The last one being: ‘The Royals’ by Kitty Kelly. Sales of this book in 2001/02 went through the roof in Australia and Canada but of course did not appear on bookshelves here in the UK.

Maybe its all of the above age, gross and popularity. A few classics like The Good The Bad And The Ugly (1966) The Italian Job (1969) The Godfather (1972) these films are all classics for there well known performances and there amazing breakthroughs they made in the film industry showing other film makers that its about perfection and going for something phenomenal and outstanding. And most important something New.

And it came to pass that a major broadcaster was due to transmit the THE KING’S MONOLOGUE and that’s where the loyalty/ royalty effect kicked in. The programme’s fate followed its inevitable course with initial excitement and at the end of the road, two senior legal advisors driving the nails into the film’s coffin.

Although informed of the broadcaster’s decision not to go ahead with transmission, every journalist of every major newspaper passed on the story - with the exception of a small supporting article by (ironically) columnist Richard Kay in the Daily Mail.

Each film is divided into class which is categorised into genre depending on how well the movies do its class rating will rise and the film will be acknowledged more to the public from how well its done in the box office, Younger and new members of the public will see the film and discuss its triumph witch makes the film more known years later than it did on its original release date.

I am reminded of Albert Camus here who said: “…you were satisfied to serve the power of your nation, we dreamt of giving ours her truth”. Surely, the very definition of documentary filmmaking.

The UK’s loss is now the rest of the world’s gain because a French distribution company, the Quadra Film Coalition, just showcased the drama documentary at MIPTV 2013. The company didn’t blink about an association. In short the world, omitting the UK, will see the film the British press doubted ever existed. They can stop rubbing their eyes. No UK broadcaster will pick it up - royalty/loyalty will make sure of that but once again, Anglo Saxon prurience and an inability to face facts on this subject will keep the British public in the dark.

Is it possible to be both doe-eyed and full of fear at the same time? If anything was proven from the Jimmy Saville affair, it is that both the police and press, at heart, fear high-echelon celebrity. Magnify this by 1000 with the royal family - it’s really rather extraordinary for a filmmaker to see serious, intelligent, executive level men and women wither in the face of it. The spine just buckles. I am heartened at least that the effect disperses when it crosses an ocean.

So please be my guest. If you wonder where the in-depth documentary films about the royal family are hiding, take a trip to the continent to watch them. Better still, you can leave the tub of Vaseline back at home in Blighty.

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The word CLASSIC means something (I.e Music TV or in this case Movies) that has been judged numerous of times and marked as a masterpiece in some way and makes it one of a kind. A piece of work or film that is highly recognised and known for all its beauty.

Do movies become listed as a classic ones the decade has come to an end and the film is still referred to and mentioned for its magnificence for the date it was produced.

A film is like an Era it can last as little or as long as possible until the world changes and technology improves moving forward with the industry following. Ones its ended then we refer to it as past presents “It was brilliant” “truly remarkable for its time“.

We all see things different but Films let us see a little more. Sometimes clearer.

By Evan P Shovlar

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MONOLOGUE, exploring granularly this rather odd little German dynasty. Again featuring GEORGE VI at its heart but this time based on more extensive research of printed material, revealing at the same time significant, so far hidden Windsor family history. Including, of note, key sequences about the Nazi princeling David that the major feature omitted.

Universal Film Issue 10 - 2013

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Universal Film Issue 10 - 2013

Supporting Indigenous Peoples Defending the Amazon Rainforest

Universal Film & Festival Organization Best Business Practices for Film Festivals No 1: Film Festival organizers should operate a transparent selection process and publish details of the selection process and the names of the Jury/ selection committee (publication can be after a festival concludes)

Join us

No 2: Film festivals organizers should provide full contact details for the festival offices including address and telephone numbers and the names of the festival directors and or committee

/amazonwatch @amazonwatch amazonwatch.org

No 3: A Film Festival should publish its legal status as a company, charity or non-profit (this only applies to a registered entity)

Š Cristina Mittermeier

UFmag.indd 1

4/19/13 3:42 PM

No 4: Film festival organizers should not share filmmakers’ financial data with any third parties No 5: Film Festivals should publish a year by year history of festival winners and films officially selected No 6: Film festival organizers, committee and or jury should not show or demonstrate any favouritism to any film submitted to the festival or attempt to influence other members of the jury or selection committee No 7: Film Festivals should declare the number of films sought and/or invited by the festival organizers to participate in the festival prior to and before the general call for submissions is sent out No 8: Film Festivals should provide the names of the selection committee and/or jury members who viewed the submitted film screeners to the festival (this could be after the festival has concluded) No 9: Film festival organizers should view at least 5 minutes of all submitted films

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No 10: All Festival organizers should declare any conflict of interest that may arise from any film submitted to or invited to participate in the festival

Universal Film Issue 10 - 2013

BOMBAY TALKIES

by Tyrone D Murphy

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ombay Talkies eas officially selected for a Gala screening at the prestigious Cannes Film Festival 2013. The film produced by Viacom18 Motion Pictures & Flying Unicorn Entertainment is directed by India’s leading filmmakers including Karan Johar, Anurag Kashyap, Zoya Akhtar and Dibakar Banerjee.

The film is a celebration of the commemoration of 100 years of Indian Cinema and encapsulates the array of emotions through which millions of fans across the country are unanimously connected. The movie is a collection of four stories in one film told by India’s finest young filmmakers and hits theatres on May 3rd in India. It includes an eclectic cast of Rani Mukerji, Nawazuddin Siddiqui, Randeep Hooda and Saqib Saleem; including cameos by Amitabh Bachchan and Katrina Kaif.

This would be the second year in a row that Viacom 18 Motion Pictures has struck it big at the Cannes. In 2012 the studio stormed its way in with Anurag Kashyap’s critically acclaimed and much loved ‘Gangs of Wasseypur’ becoming the talking point of the festival.

Karan Johar who has been known for his larger than life cinema comments on the news, “Extremely honoured

that our omnibus endeavour has been officially selected at Cannes…. Can’t wait to walk the red carpet with Dibakar, Anurag and Zoya”.

Zoya Akhtar says, “I have never been to Cannes and I always felt if I go it should be with a film. Things worked out even better as it’s not just a film but also 3 friends Karan, Dibakar and Anurag with me. It’s going to be a blast”.

Dibakar Banerjee says, “Thrilled to walk the red carpet following Karan, Zoya and Anurag leading the way and representing Indian cinema!”

Anurag, the only director from the quadruple who debuted at the Cannes back in 2011 says, “I am so happy our film is screening at Cannes. Happy to be back there.”

Commenting on the announcement, Ashi Dua of Flying Unicorn Entertainment, the co-producer of the film said, “Our film Bombay Talkies has made it to one of the most prestigious film festivals – Cannes. I am extremely happy that the film has received such an overwhelming response internationally. This means many more people across the globe will be celebrating 100 years of Indian cinema with us”

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Universal Film Issue 10 - 2013

International Student Film Festival

J.R. Beardsley On Acting

International Student FilmFest is organized by UM FERI, Institute of media communication in cooperation with Zavod Udarnik and Academia.

The festival is dedicated to independent student films. Registrations for the festival are open till 6th of May through http://www.medijskidan. si/en/filmfest.php. Students can register their films in five categories: Animation, Documentary, Experimental, Fiction and Ads. Award ceremony will also include a public choice award.

Aditional information are published at www. medijskidan.si or email medijski.dan@um.si.

I have worked with over 400 directors as an actor, fight director and producer. Personally the best playwright in my mind is a dead one. As a fight director I adore Shakespeare for many reasons but mostly when it gets to action it just says. “They Fight”. A fight directors dream. Not with what or how or with who... Leaves the creative door wide open.

I have been extremely blessed to work with good, bad and great directors, martial artists, stunt coordinators and performers and actors. Anytime I hear of a director that is completely set in knowing exactly what he needs? I know I need not work with that person. To hear you say I have no artistic vision I get it from my director scares the life out of my soul.

Artistic expression is the art of giving it up. A writer is inspired to create a story, a director is inspired by the story and creates his vision and presents it to the actor who should interpret all the artists vision and own the story and the character themselves. Then presenting it to the audience and giving it up to their interpretation.

As an actor I also expect my fellow actor to challenge and create avenues to bring new meaning to everything being said and done. Therefore creating an atmosphere of challenge and growth. Otherwise it is just another worthless pathetic attempt to create art in your own mind...

As an actor, director, fight director and person I would be insulted if I was not challenged by creative, innovative inspired beings on a moment to moment basis.

So for what it is worth keep striving for individual excellence and keep your creative child and genius alive!

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In closing don’t ever say you are not a writer...all artists are...believe in yourself as I believe in you...

J.R. Beardsley

Universal Film Issue 10 - 2013

Elia Kazan

One of the most influential directors in Hollywood history Waterfront, a film about union corruption on the New York harbour waterfront, which some consider “one of the greatest films in the history of international cinema.” A Streetcar Named Desire (1951), an adaptation of the stage play which he had also directed, received 12 Oscar nominations, winning 4, and was Marlon Brando’s breakthrough role. In 1955, he directed John Steinbeck’s East of Eden, which introduced James Dean to movie audiences, making him an overnight star.

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A turning point in Kazan’s career came with his testimony as a “friendly witness” before the House Committee on Un-American Activities in 1952 at the time of the Hollywood blacklist, which brought him strong negative reactions from many liberal friends and colleagues. Kazan later explained that he took “only the more tolerable of two alternatives that were either way, painful and wrong.” Kazan influenced the films of the 1950s and ‘60s with his provocative, issue-driven subjects. Director Stanley Kubrick called him, “without question, the best director we have in America, and capable of performing miracles with the actors he uses.” Film author Ian Freer concludes that “If his achievements are tainted by political controversy, the debt Hollywood—and actors everywhere—owes him is enormous.” In 2010, Martin Scorsese co-directed the documentary film A Letter to Elia as a personal tribute to Kazan.

lia Kazan was a Greek-American director, producer, writer and actor, described by The New York Times as “one of the most honoured and influential directors in Broadway and Hollywood history”. He was born in Constantinople, Ottoman Empire, to ethnic Greek parents. After studying acting at Yale, he acted professionally for eight years, later joining the Group Theatre in 1932, and co-founded the Actors Studio in 1947. With Robert Lewis and Cheryl Crawford, he introduced Method acting to the American stage and cinema as a new form of self-expression and psychological “realism.” Kazan acted in only a few In his book and later film by the same title, Amer“in 1999 films, including City for Conquest (1940).

Kazan received ica America, he tells how, and why, his family left Turkey and moved to America. Kazan notes that an honorary Kazan introduced a new generation of unknown Oscar for life- much of it came from stories that he heard as a young actors to the movie audiences, including time achieve- young boy. He says during an interview that “it’s Marlon Brando and James Dean. Noted for drawall true: the wealth of the family was put on the ment” ing out the best dramatic performances from his back of a donkey, and my uncle, really still a boy, actors, he directed 21 actors to Oscar nominations, went to Constantinople ... to gradually bring the famresulting in nine wins. He became “one of the consumily there to escape the oppressive circumstances... It’s mate filmmakers of the 20th century” after directing a also true that he lost the money on the way, and when string of successful films, including, A Streetcar Named he got there he swept rugs in a little store.”

Desire (1951), On the Waterfront (1954), and East of Eden (1955). During his career, he won two Oscars as Kazan notes some of the controversial aspects of what Best Director and received an Honorary Oscar, won three he put in the film. He writes, “I used to say to myself Tony Awards, and four Golden Globes. Among the other when I was making the film that America was a dream actors he introduced to movie audiences were Warof total freedom in all areas.” To make his point, the ren Beatty, Carroll Baker, Julie Harris, Andy Griffith, Lee character who portrays Kazan’s uncle Avraam, kisses the Remick, Rip Torn, Eli Wallach, Eva Marie Saint, Martin Balground when he gets through customs, while the Statue sam, Fred Gwynne, and Pat Hingle. of Liberty and the American flag are in the background.

Kazan had considered whether that kind of scene might His films were concerned with personal or social issues be too much for American audiences: of special concern to him. Kazan writes, “I don’t move unless I have some empathy with the basic theme.”

I hesitated about that for a long time. A lot of people, His first such “issue” film was Gentleman’s Agreement who don’t understand how desperate people can get, (1947), with Gregory Peck, which dealt with anti-Semiadvised me to cut it. When I am accused of being excestism in America. It received 8 Oscar nominations and 3 sive by the critics, they’re talking about moments like wins, including Kazan’s first for Best Director. It was folthat. But I wouldn’t take it out for the world. It actually lowed by Pinky, one of the first films to address racial happened. Believe me, if a Turk could get out of Turkey prejudice against blacks. In 1954, he directed On the and come here, even now, he would kiss the ground. To

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Before undertaking the film, Kazan wanted to confirm many of the details about his family’s background.

At one point, he sat his parents down and recorded their answers to his questions. He remembers eventually asking his father a “deeper question: ‘Why America? What were you hoping for?’” His mother gave him the answer, however: “A.E. brought us here.” Kazan states that “A.E. was my uncle Avraam Elia, the one who left the Anatolian village with the donkey. At twenty-eight, somehow— this was the wonder—he made his way to New York. He sent home money and in time brought my father over. Father sent for my mother and my baby brother and me when I was four.

In 1932, after spending two years at the Yale University School of Drama, he moved to New York City to become a professional stage actor. His first opportunity came with a small group of actors engaged in presenting plays containing “social commentary”. They were called the Group Theater, which showcased many lesser known plays with deep social or political messages. After struggling to be accepted by them, he discovered his first strong sense of self in America within the “family of the Group Theater, and more loosely in the radical social and cultural movements of the time,” writes film author Joanna E. Rapf.

In Kazan’s autobiography, Kazan writes of the “lasting impact on him of the Group,” noting in particular, Lee Strasberg and Harold Clurman as “father figures”, along with his close friendship with playwright Clifford Odets. Kazan, during an interview with Michel Ciment, describes the Group: The Group was the best thing professionally that ever happened to me. I met two wonderful men. Lee Strasberg and Harold Clurman, both of whom were around thirty years old. They were magnetic, fearless leaders. During the summer I was an apprentice, they were entertaining in a Jewish summer camp... At the end of the summer they said to me: “You may have talent for something, but it’s certainly not acting.”

Kazan, in his autobiography, also de-

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scribes Strasberg as a vital leader of the group: He carried with him the aura of a prophet, a magician, a witch doctor, a psychoanalyst, and a feared father of a Jewish home.... He was the force that held the thirty-odd members of the theatre together, and made them permanent.

Kazan’s first national success came as New York theatrical director. Although initially he worked as an actor on stage, and told early in his acting career that he had no acting ability, he surprised many critics by becoming one of the Group’s most capable actors. In 1935 he played the role of a strike-leading taxi driver in a drama by Clifford Odets, Waiting for Lefty, and his performance was called “dynamic,” leading some to describe him as the “proletarian thunderbolt.”

Among the themes that would run through all of his work were “personal alienation and an outrage over social injustice”, writes film critic William Baer. Other critics have likewise noted his “strong commitment to the social and social psychological—rather than the purely political—implications of drama”.

By the mid-1930s, when he was 26, he began directing a number of the Group Theater’s plays. In 1942 he achieved his first notable success by directing a Pulitzer prize-winning play by Thornton Wilder, The Skin of Our Teeth, starring Montgomery Clift and Tallulah Bankhead. He then went on to direct Death of a Salesman,

by Arthur Miller, and then directed A Streetcar Named Desire, written by Tennessee Williams. Kazan’s wife, Molly Thacher, the reader for the Group, discovered Williams and awarded him a “prize that launched his career.”

The Group Theater’s summer rehearsal headquarters was at Pine Brook Country Club, located in the countryside of Nichols, Connecticut, during the 1930s and early 1940s. Along with Kazan were numerous other artists: Harry Morgan, John Garfield, Luise Rainer, Frances Farmer, Will Geer, Howard Da Silva, Clifford Odets, Lee J. Cobb and Irwin Shaw.

In 1947, he founded the Actors Studio, a non-profit workshop, with actors Robert Lewis and Cheryl

Crawford. It soon became famous for promoting “Method,” a style of theater and acting involving “total immersion of actor into character,” writes film author Ian Freer. According to Rapf, “the Studio rode the bandwagon of method fashionability, and Kazan was its clear star and attraction.” Within a short time, as word spread, “everyone wanted to be at the Studio—not least because of the chance of being in a Kazan production in one medium or another.”

Among its first students were Marlon Brando, Montgomery Clift, Julie Harris, Eli Wallach, Karl Malden, Patricia Neal, Mildred Dunnock, James Whitmore, and Maureen Stapleton.

In 1951, Lee Strasberg became its director, and it remained a non-profit enterprise, eventually considered “the nation’s most prestigious acting school,” according to film historian James Lipton.

Student James Dean, in a letter home to his parents, writes that Actors Studio was “the greatest school of the theatre, the best thing that can happen to an actor”. Playwright Tennessee Williams said of its actors: “They act from the inside out.

They communicate emotions they really feel. They give you a sense of life.” Contemporary directors like Sidney Lumet, a former student, have intentionally used actors such as Al Pacino, a former student skilled in “Method”.

Kazan directed one of the Studio’s brightest young talents, Marlon Brando, in the Tennessee Williams play A Streetcar Named Desire. He cast him again in the film version in 1951, which made Brando a star and won 4 Oscars, and was nominated for 12.

Among the other Broadway plays he directed were “Cat on a Hot Tin Roof”, “Sweet Bird of Youth”, “The Dark at the Top of the Stairs” and “Tea and Sympathy”, This led some, such as theater critic Eric Bentley, to write that “the work of Elia Kazan means more to the American theater than that of any current writer.” Film critic David Richard Jones adds that Kazan, during the 1940s and 1950s, was one of America’s foremost Stanislavskians, and “influenced thousands of contemporaries” in the

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theatre, film, and the Actors Studio that he helped found.

At the height of his stage success, Kazan then turned to Hollywood where he soon demonstrated equal skill as director of motion pictures.

He first directed two short films, but his first feature film was A Tree Grows in Brooklyn (1945), one his first attempts to film dramas focused on contemporary concerns, which became his forte. Two years later he directed Gentleman’s Agreement, where he tackled a seldomdiscussed topic in America, antisemitism, for which he won his first Oscar as Best Director. In 1949 he again dealt with controversial subject when he directed Pinky, which dealt with issues of racism in America, and was nominated for 3 Academy Awards.

In 1947, he directed the courtroom drama Boomerang!, and in 1950 he directed Panic in the Streets, starring Richard Widmark, in a thriller shot on the streets of New Orleans. In that film, Kazan experimented with a documentary style of cinematography, which succeeded in “energizing” the action scenes. He won the Venice Film Festival, International Award as director, and the film also won two Academy Awards. Kazan had requested that Zero Mostel also act in the film, despite Mostel being “blacklisted” as a result of HUAC testimony a few years earlier. Kazan writes of his decision: In 1951, after introducing and directing one of the Actors Studio’s brightest young talents, Marlon Brando, in the stage version, he went on to cast him in film version of the play, A Streetcar Named Desire, which made Brando a star and won 4 Oscars, being nominated for 12. The film popularized Method acting with Brando’s role as the earthy and unmannered Stanley Kowalski opposite the classical dignity of British actress, Vivien Leigh, as his sister-in-law. Despite the plaudits, the film was considered a step back cinematically with the feel of filmed theater, however Kazan did at first use a more open setting but then felt compelled to revert to the stage atmosphere to remain true to the script. He explains: Birthday party for Kazan during filming of A Streetcar Named Desire (1951) On “Streetcar” we worked

very hard to open it up, and then went back to the play because we’d lost all the compression. In the play, these people were trapped in a room with each other. What I actually did was to make the set smaller.

As the story progressed ... the set got smaller and smaller.” Brando’s role as a virtually unknown actor at age 27, would “catapult him to stardom.” His next film was Viva Zapata!

(1952) which also starred Marlon Brando playing the role of Mexican revolutionary Emiliano Zapata. The film added real atmosphere with the use of location shots and strong character accents. Kazan called this his “first real film” because of those factors.

derful teacher. Actor Karl Malden became an early student at the Group Theater in 1937, where he first began acting under Kazan’s direction.

Kazan would play a “prominent role in Malden’s stage and film career”, including convincing him to change his name from Mladen Sekulovich.

He played a drunken sailor in Kazan’s “Truckline Cafe,” which also included a young Marlon Brando. In 1947, he co-starred in the stage play “All My Sons,” written by Arthur Miller, with Kazan directing, and began being recognized as a serious actor.

However, his first major stage success was his role as an awkward suitor of Jessica Tandy in the Broadway production of A Streetcar Named Desire, which also helped make Brando a star on stage.

After two years in the role, he played the same part in the 1951 film version, this time playing opposite Vivien Leigh, where he won his first Oscar for Best Supporting Actor. Kazan next directed him in On the Waterfront (1954), where he was also nominated as Best Supporting Actor for his role as a sympathetic priest.

In 1956, Kazan directed him in a starring role in Baby Doll, alongside Carroll Baker and Eli Wallach, a controversial story written by Tennessee Williams, and he was nominated for a Golden Globe Award for Best Actor.

In 1954 he again used Brando as co-star in On the Waterfront. As a continuation of the socially relevant themes that he developed in New York, the film exposed corruption within New York’s longshoremen’s union. It too was nominated for 12 Academy Awards, but won 8, including Best Picture, Best Director and Best Actor, for Marlon Brando. To some critics, Brando gives the “best performance in American film history,” playing an ex-boxer, Terry Malloy, who is persuaded by a priest to inform on corrupt unions. Surprisingly, Brando writes that he was actually disappointed with his acting upon first watching the screening: On the day Gadg showed me the completed picture, I was so depressed by my performance I got up and left the screening room. I thought I was a huge failure. I was simply embarrassed for myself. ... I am indebted to him for all that I learned. He was a won-

Malden remained friends with Kazan despite his unpopular appearance at the House Un-American Activities Committee in 1952. Many mutual “friends who turned on Kazan also refused to speak to Malden.” He furthered his support in 1999, when, as a member of the Board of Governors of the Academy of Motion Picture Arts and Sciences, he proposed that they give Kazan an honorary Oscar for “lifetime achievement”. Malden’s proposal was bold, as film festivals, critics associations, and the American Film Institute, had already refused to bestow similar honors because of Kazan’s testimony given nearly 50 years earlier. Malden recalled giving his proposal: According to the Los Angeles Times, when Malden finished speaking, “he was greeted by a rousing burst of applause.”

On the Waterfront was also the screen debut for Eva Marie Saint, who won the Oscar for Best Support-

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After the success of On the Waterfront he went on to direct the screen adaptation of John Steinbeck’s novel, East of Eden in 1955. As director, Kazan again used another unknown actor, James Dean. Kazan had seen Dean on stage in New York and after an audition gave him the starring role along with an exclusive contract with Warner Bros. Dean flew back to Los Angeles with Kazan in 1954, the first time he had ever flown in a plane, bringing his clothes in a brown paper bag. The film’s success introduced James Dean to the world and established him as a popular actor. He went on to star in Rebel Without a Cause (1955), directed by Kazan’s friend, Nicholas Ray, and then Giant, (dir. George Stevens, 1956) Author Douglas Rathgeb describes the difficulties Kazan had in turning Dean into a new star, noting how Dean was a controversial figure at Warner Bros. from the time he arrived. There were rumors that he “kept a loaded gun in his studio trailer; that he drove his motorcycle dangerously down studio streets or sound stages; that he had bizarre and unsavory friends.” As a result, Kazan was forced to “baby-sit the young actor in side-by-side trailers,” so he wouldn’t run away during production. Co-star Julie Harris worked overtime to quell Dean’s panic attacks. In general, Dean was oblivi-

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ous to Hollywood’s methods, and Rathgeb notes that “his radical style did not mesh with Hollywood’s corporate gears.”

Dean himself was amazed at his own performance on screen when he later viewed a rough cut of the film. Kazan had invited director Nicholas Ray to a private showing, with Dean, as Ray was looking for someone to play the lead in Rebel Without a Cause. Ray watched Dean’s powerful acting on the screen; but it didn’t seem possible that it was the same person in the room. Ray felt Dean was shy and totally withdrawn as he sat there hunched over. “Dean himself did not seem to believe it,” notes Rathgeb.

“He watched himself with an odd, almost adolescent fascination, as if he were admiring someone else.”

The film also made good use of onlocation and outdoor scenes, along with an effective use of early widescreen format, making the film one of Kazan’s most accomplished works.

James Dean died the following year, at the age of 24, in an accident with his sports car outside of Los Angeles.

He had only made three films, and the only completed film he ever saw was East of Eden.

In 1961, he introduced Warren Beatty in his first screen appearance with a starring role in Splendor in the Grass (1961), with Natalie Wood; the film was nominated for two Oscars and won one. Author Peter Biskind points out that Kazan “was the first in a string of major directors Beatty sought out, mentors or father figures from whom he wanted to learn.” Biskind notes also that they “were wildly dissimilar—mentor vs. protege, director vs. actor, immigrant outsider vs. native son. Kazan was armed with the confidence born of age and success, while Beatty was virtually aflame with the arrogance of youth.” Kazan recalls his impressions of Beatty: Warren—it was obvious the first time I saw him—wanted it all and wanted it his way. Why not? He had the energy, a very keen intelligence, and more chutzpah than any Jew I’ve ever known. Even more than me.

Bright as they come, intrepid, and with that thing all women secretly respect: complete confidence in his sexual powers, confidence so great

that he never had to advertise himself, even by hints.

Biskind describes an episode during the first week of shooting, where Beatty was angered at something Kazan said: “The star lashed out at the spot where he knew Kazan was most vulnerable, the director’s friendly testimony before the HUAC. He snapped, ‘Lemme ask you something—why did you name all those names?’”

Beatty himself recalled the episode: “In some patricidal attempt to stand up to the great Kazan, I arrogantly and stupidly challenged him on it.” Biskind describes how “Kazan grabbed his arm, asking, ‘What did you say?’ and dragged him off to a tiny dressing room ... whereupon the director proceeded to justify himself for two hours.” Beatty, years later, during a Kennedy Center tribute to Kazan, stated to the audience that Kazan “had given him the most important break in his career.”

Beatty’s costar, Natalie Wood, was in a transition period in her career, having mostly been cast in roles as a child or teenager, and she was now hoping to be cast in adult roles.

Biographer Suzanne Finstad notes that a “turning point” in her life as an actress was upon seeing the film A Streetcar Named Desire: “She was transformed, in awe of Kazan and of Vivien Leigh’s performance... who became a role model for Natalie.” In 1961, after a “series of bad films, her career was already in decline,” notes Rathgeb. Kazan himself writes that the “sages” of the film community declared her as “washed up” as an actress, although he still wanted to interview her for his next film: When I saw her, I detected behind the well-mannered ‘young wife’ front a desperate twinkle in her eyes... I talked with her more quietly then and more personally. I wanted to find out what human material was there, what her inner life was... Then she told me she was being psychoanalyzed. That did it. Poor R.J., I said to myself. I liked Bob Wagner, I still do.

Kazan cast her as the female lead in Splendor in the Grass, and her career rebounded. Finstad feels that despite Wood never receiving train

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ing Actress for her role. Saint recalls that Kazan selected her for the role after he had her do an improvisational skit with Brando playing the other character. She had no idea that he was looking to fill any particular film part, however, but remembers that Kazan set up the scenario with Brando which brought out surprising emotion. I ended up crying. Crying and laughing ... I mean there was such an attraction there ... That smile of his... He was very tender and funny ... And Kazan, in his genius, saw the chemistry there.

The film made use of extensive onlocation street scenes and waterfront shots, and included a notable score by composer Leonard Bernstein. British film critic Ian Freer notes that despite Kazan naming Communist party members to the House Committee on Un-American Activities two years earlier, “the film is ambivalent about the act of informing.”

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ing in Method acting techniques, “working with Kazan brought her to the greatest emotional heights of her career. The experience was exhilarating but wrenching for Natalie, who faced her demons on Splendour.” She adds that a scene in the film, as a result of “Kazan’s wizardry ... produced a hysteria in Natalie that may be her most powerful moment as an actress.”

Actor Gary Lockwood, who also acted in the film, felt that “Kazan and Natalie were a terrific marriage, because you had this beautiful girl, and you had somebody that could get things out of her.” Kazan’s favorite scene in the movie was the last one, when Wood goes back to see her lost first love, Bud (Beatty). “It’s terribly touching to me. I still like it when I see it,” writes Kazan. “And I certainly didn’t need to tell her how to play it.

She understood it perfectly.”

Another aspect that contributed to the power and intensity of his films was his close collaboration with writers. On Broadway, he worked with Arthur Miller, Tennessee Williams, and William Inge; in film, he worked again with Willams (A Streetcar Named Desire and Baby Doll), Inge (Splendor in the Grass), Budd Schulberg (On the Waterfront and A Face in the Crowd), John Steinbeck (Viva Zapata!), and Harold Pinter (The Last Tycoon).

As an instrumental figure in the careers of many of the best writers of his time, “he always treated them and their work with the utmost respect.”In 2009, a previously unproduced screenplay by Williams, The Loss of a Teardrop Diamond, was released as a film. Williams wrote the screenplay specifically for Kazan to direct during the 1950s.

Williams became one of Kazan’s closest and most loyal friends, and Kazan often pulled Williams out of “creative slumps” by redirecting his focus with new ideas. In 1959, in a letter to Kazan, he writes, “Some day you will know how much I value the great things you did with my work, how you lifted it above its measure by your great gift.”

Among Kazan’s other films were Panic in the Streets (1950), East of Eden (1955), Baby Doll (1956), Wild

River (1960), and The Last Tycoon (1976). In between his directing work he wrote four best-selling novels, including America, America, and The Arrangement, in both of which he tells the story of his Greek immigrant ancestors. They were later made into films.

Kazan strove for “cinematic realism,” a quality he often achieved by discovering and working with unknown actors, many of whom treated him as their mentor, which gave him the flexibility to depict “social reality with both accuracy and vivid intensity.” He also felt that casting the right actors accounted for 90% of a movie’s ultimate success or failure.

As a result of his efforts, he also gave actors such as Lee Remick, Jo Van Fleet, Warren Beatty, Andy Griffith, James Dean, and Jack Palance, their first major movie roles.

He explained to director and producer George Stevens, Jr. that he felt that “big stars are barely trained or not very well trained. They also have bad habits... they’re not pliable anymore.” Kazan also describes how and why he gets to know his actors on a personal level: Now what I try to do is get to know them very well.

I take them to dinner. I talk to them.

I meet their wives. I find out what the hell the human material is that I’m dealing with, so that by the time I take an unknown he’s not an unknown to me.

Kazan goes on to describe how he got to understand James Dean, as an example: When I met him he said, “I’ll take you for a ride on my motorbike... It was his way of communicating with me, saying “I hope you like me,” ... I thought he was an extreme grotesque of a boy, a twisted boy. As I got to know his father, as I got to know about his family, I learned that he had been, in fact, twisted by the denial of love ... I went to Jack Warner and told him I wanted to use an absolutely unknown boy. Jack was a crapshooter of the first order, and said, “Go ahead.”

Kazan chooses his subjects to express personal and social events that he is familiar with. He describes his thought process before taking on a project: I don’t move unless I have some empathy with the basic theme.

In some way the channel of the film

should also be in my own life. I start with an instinct. With “East of Eden” ... it’s really the story of my father and me, and I didn’t realize it for a long time... In some subtle or notso-subtle way, every film is autobiographical. A thing in my life is expressed by the essence of the film.

Then I know it experientially, not just mentally. I’ve got to feel that it’s in some way about me, some way about my struggles, some way about my pain, my hopes.

Film historian Joanna E. Rapf notes that among the methods Kazan used in his work with actors, was his initial focus on “reality”, although his style was not defined as “naturalistic.” She adds: “He respects his script, but casts and directs with a particular eye for expressive action and the use of emblematic objects.”

Kazan himself states that “unless the character is somewhere in the actor himself, you shouldn’t cast him.”

In his later years he changed his mind about some of the philosophy behind the Group Theater, in that he no longer felt that the theater was a “collective art,” as he once believed: To be successful it should express the vision, the conviction, and the insistent presence of one person.”

Film author Peter Biskind described Kazan’s career as “fully committed to art and politics, with the politics feeding the work.” Kazan, however, has downplayed that impression: I don’t think basically I’m a political animal. I think I’m a self-centred animal... I think what I was concerned about all my life was to say something artistically that was uniquely my own.

Nonetheless, there have been clear messages in some of his films that involved politics in various ways. In 1954, he directed On the Waterfront, written by screenwriter Budd Schulberg, which was a film about union corruption in New York. Some critics consider it “one of the greatest films in the history of international cinema.” Another political film was A Face in the Crowd (1957). His protagonist, played by Andy Griffith (in his film debut,) is not a politician, yet his career suddenly becomes deeply involved in politics.

According to film author Harry Keyishian, Kazan and screenwriter Budd

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As a product of the Group Theater and Actors Studio, he was most noted for his use of “Method” actors, especially Brando and Dean. During an interview in 1988, Kazan said, “I did whatever was necessary to get a good performance including so-called Method acting. I made them run around the set, I scolded them, I inspired jealousy in their girlfriends...

The director is a desperate beast! ...

You don’t deal with actors as dolls. You deal with them as people who are poets to a certain degree.” Actor Robert De Niro called him a “master of a new kind of psychological and behavioral faith in acting.”

I don’t have great range. I am no good with music or spectacles. The classics are beyond me... I am a mediocre director except when a play or film touches a part of my life’s experience... I do have courage, even some daring. I am able to talk to actors... to arouse them to better work. I have strong, even violent feelings, and they are assets.”

He explains that he tries to inspire his actors to offer ideas: When I talk to the actors they begin to give me ideas, and I grab them because the ideas they give me turn them on. I want the breath of life from them

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rather than the mechanical fulfilment of the movement which I asked for... I love actors. I used to be an actor for eight years, so I do appreciate their job.

Kazan, however, held strong ideas about the scenes, and would try to merge an actor’s suggestions and inner feelings with his own. Despite the strong eroticism created in Baby Doll, for example, he set limits. Before shooting a seduction scene between Eli Wallach and Carroll Baker,

most admired for his close work with actors, noting that director Nicholas Ray considered him “the best actor’s director the United States has ever produced.” Film historian Foster Hirsch explains that “he created virtually a new acting style, which was the style of the Method... that allowed for the actors to create great depth of psychological realism.”

Among the actors who describe Kazan as an important influence in their career were Patricia Neal, who co-starred with Andy Griffith in A Face in the Crowd (1957): “He was very good. He was an actor and he knew how we acted. He would come and talk to you privately. I liked him a lot.” Anthony Franciosa, a supporting actor in the film, explains how Kazan encouraged his actors: He would always say, ‘Let me see what you can do. Let me see it. Don’t talk to me about it.’

You felt that you had a man who was completely on your side— no qualms about anything you did. He gave you a tremendous sense of confidence...

He never made me feel as though I was acting for the camera. Many times, I never even knew where the camera was.

he privately asked Wallach, “Do you think you actually go through with seducing that girl?” Wallach writes, “I hadn’t thought about that question before, but I answered ... ‘No.’” Kazan replies, “Good idea, play it that way.” Kazan, many years later, explained his rationale for scenes in that film: What is erotic about sex to me is the seduction, not the act...

The scene on the swings (Eli Wallach and Carroll Baker) in Baby Doll is my exact idea of what eroticism in films should be.

Joanna Rapf adds that Kazan was

However, in order to get quality acting from Andy Griffith, in his first screen appearance, and achieve what Schickel calls “an astonishing movie debut,” Kazan would often take surprising measures. In one important and highly emotional scene, for example, Kazan had to give Griffith fair warning: “I may have to use extraordinary means to make you do this. I may have to get out of line. I don’t know any other way of getting an extraordinary performance out of an actor.”

Actress Terry Moore calls Kazan her “best friend,” and notes that “he made you feel better than you

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Schulberg were using the film to warn audiences about the dangerous potential of the new medium of television. Kazan explains that he and Schulberg were trying to warn “of the power TV would have in the political life of the nation.” Kazan states, “Listen to what the candidate says; don’t be taken in by his charm or his trust-inspiring personality.

Don’t buy the advertisement; buy what’s in the package.”

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director with actors.” Kazan’s need to remain close to his actors continued up to his last film, The Last Tycoon (1976). He remembers that Robert De Niro, the star of the film, “would do almost anything to succeed,” and even cut his weight down from 170 to 128 pounds for the role.

Kazan adds that De Niro “is one of a select number of actors I’ve directed who work hard at their trade, and the only one who asked to rehearse on Sundays. Most of the others play tennis. Bobby and I would go over the scenes to be shot.”

The powerful dramatic roles Kazan brought out from many of his actors was due, partly, to his ability to recognize their personal character traits. Although he didn’t know De Niro before this film, for example, Kazan later writes, “Bobby is more meticulous ... he’s very imaginative.

He’s very precise. He figures everything out both inside and outside.

He has good emotion. He’s a character actor: everything he does he calculates. In a good way, but he calculates.” Kazan developed and used those personality traits for his character in the film. Although the film did poorly at the box office, some reviewers praised De Niro’s acting.

Film critic Marie Brenner writes that “for De Niro, it is a role that surpasses even his brilliant and daring portrayal of Vito Corleone in The Godfather, part II, ... his performance deserves to be compared with the very finest.”

Marlon Brando, in his autobiography, goes into detail about the influence Kazan had on his acting:I have worked with many movie directors— some good, some fair, some terrible.

Kazan was the best actors’ director by far of any I’ve worked for... the only one who ever really stimulated me, got into a part with me and virtually acted it with me... he chose good actors, encouraged them to improvise, and then improvised on the improvisation...

He gave his cast freedom and ... was always emotionally involved in the process and his instincts were perfect... I’ve never seen a director who became as deeply and emotionally involved in a scene as Gadg... he got so wrought up that he started chewing on his hat. He was an arch-

manipulator of actors’ feelings, and he was extraordinarily talented; perhaps we will never see his like again.

Kazan remained controversial in some circles until his death for testimony he gave before the House Committee on Un-American Activities (HUAC) in 1952, a period that many, such as journalist Michael Mills, feel was “the most controversial period in Hollywood history.”

When he was in his mid-20s, during the Depression years 1934 to 1936, he had been a member of the American Communist Party in New York, for a year and a half.

Kazan became known as an “actor’s director” because he was able to elicit some of the best performances in the careers of many of his stars, such as Marlon Brando, Rod Steiger, Karl Malden, James Dean, Julie Harris, Carroll Baker, Eli Wallach and Natalie Wood. Under his direction, his actors received 21 Academy Award nominations and won nine Oscars.

He won as Best Director for Gentleman’s Agreement (1947) and for On the Waterfront (1954), which is considered “one of the greatest films in the history of international cinema.” Both A Streetcar Named Desire (1951) and On the Waterfront were nominated for twelve Academy Awards, respectively winning four and eight.

Kazan never lost his identification with the oppressed people he remembered from the depths of the Great Depression. With his many years with the Group Theater and Actors Studio in New York City and later triumphs on Broadway, he became famous “for the power and intensity of his actors’ performances.”

He was the pivotal figure in launching the film careers of Marlon Brando, James Dean, Julie Harris, Eva Marie Saint, Warren Beatty, Lee Remick, Karl Malden, and many others.

Seven of Kazan’s films won a total of 20 Academy Awards. Dustin Hoffman commented that he “doubted whether he, Robert De Niro, or Al Pacino, would have become actors without Mr. Kazan’s influence.”

tion of Death of a Salesman and A Streetcar Named Desire is considered a “high point of world theater” in the 20th century. Although he became a “legendary director on Broadway”, he made an equally impressive transition into one of the major filmmakers of his time. Critic William Baer notes that throughout his career “he constantly rose to the challenge of his own aspirations”, adding that “he was a pioneer and visionary who greatly affected the history of both stage and cinema”.

Certain of his film-related material and personal papers are contained in the Wesleyan University Cinema Archives to which scholars and media experts from around the world may have full access.

His controversial stand during his testimony in front of the House Committee on Un-American Activities (HUAC) in 1952, became the low point in his career, although he remained convinced that he made the right decision to give the names of Communist Party members. He stated in an interview in 1976: I would rather do what I did than crawl in front of a ritualistic Left and lie the way those other comrades did, and betray my own soul. I didn’t betray it. I made a difficult decision.

During his career, Kazan won both Tony and Oscar Awards for excellence on stage and screen. In 1982, President Ronald Reagan presented him with the Kennedy Center honors award, a national tribute for life achievement in the arts. At the ceremony, screenwriter Budd Schulberg, who wrote On the Waterfront, thanks his lifelong friend saying, “Elia Kazan has touched us all with his capacity to honor not only the heroic man, but the hero in every man.” In an interview with the American Film Institute in 1976, Kazan spoke of his love of the cinema: “I think it’s the most wonderful art in the world.”

In 1999, when he was 90 years old, Kazan received an honorary Oscar for lifetime achievement. During the ceremony, he was accompanied by Martin Scorsese and Robert De Niro.

Upon his death, at the age of 94, the New York Times described him as “one of the most honored and influential directors in Broadway and Hollywood history.” His stage direc-

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Universal Film Issue 10 - 2013

A New Renaissance for the Old West

by J.R. Beardsley & Paula Devlin New Mexico is fast becoming the high-profile state for film with 7 already in the can for 2013 and 31 productions done in 2012. Understandably, many states are competing for production revenues but, with the recent 30% tax rebate incentive, state-of-the-art studios, film locations that could be anywhere in the world with over 300 days of sunshine, what’s not to love about this upand-coming film Mecca? In addition, there are new postproduction facilities and many other support services staffed by refugees from Hollywood. The above-the-line talent find it an easy hop to Albuquerque, being able to board a plane in the morning to be on the set after lunch.

And while there is a laid back quality to doing business in New Mexico, the quality of the work and workers is on a par with their competition. “The Land of Enchantment” is a wonderful relief from city congestion, expenses and stress. Then there is the attractive cost of living...

Reference Links: NM Film Office, Nick Maniatis, http://www.nmfilm.com NM Locations, Don Gray, http://www.nmlocations.com/ loc_results.aspx NM Produced Movies, http://nmfilm.com/dynamic_list. html NM Crew, http://www.crewnewmexico.com/ AFME, http://www.abqfilmexperience.com/ Route 66, http://www.historic66.com/ Albuquerque Film Tourism, http://www.itsatrip.org/albuquerque/arts/film-tourism.aspx NM Film & Entertainment in Sindication, http:// www.oneheadlightink.com/sindication/ NewMexicoFilm&Entertainment/now-filming/ Touche’International www.toucheinternational.biz Roswell Sci/Fi Cosmocon short Film Festival http:// roswellfilmcon.com/celebrity-guests/

Touche’International LLC is a developing full scale Film production LLC. We feel New Mexico is the perfect location on every level. Here are just a few of the reasons.

J.R. Beardsley is a committee member and regular contributor to UFFO magazine; COO for Ancient Films, Inc.; an international Fight Director and can be found on Linkedin.

J.R. will be celebrity Guest artist for upcoming Roswell New Mexico Sci/Fi Cosmcon Film Festival at the end of June 1013.

The NM Film Office in Albuquerque is the best way to tune in to what is happening in the film industry in New Mexico. Anyone considering a NM production must connect with them first. They are highly competent with help in every way.

The recent annual NM Film conference had many NM Crew with services offered from EFX, motion capture, drone cameras, helicopters, to nannies, housekeepers and catering. There were excellent panel discussions that covered topics from locations, the future of media, distribution, indie funding and editing to tax incentives.

New Mexico has everything needed for production on and off set.

The Albuquerque Film & Media Experience (AFME) is drawing worldwide attention to its inaugural year. Taking place June 3-9, 2013, AFME purports to be a significant event that represents creative achievement in the arts and entertainment. AFME is honored to have Robert Redford, artist Sibylle Szaggars-Redford and director Joshua Michael Stern among many other top industry names. AFME is also bringing Route 66 back to life. The “Get your Kicks on Route 66” is an American road legend, stretching from Chicago to Los Angeles with Albuquerque in the middle, full of wonderful fifties motels, diners and period memorabilia. Albuquerque has also developed a Film Tourism Guide for those who wish to visit the filming locations.

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Reference New Mexico Film & Entertainment in Sindication for what’s currently filming in New Mexico. It’s time to rev up the old three-holer Buick and travel back in time on Route 66 to Albuquerque for a unique adventure.

Universal Film

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Issue 10 - 2013

Universal Film Issue 10 - 2013

COL COA

By Patricia J. Pawlak

City of Lights, City of Angels Fest Shines Bright

set Blvd.

The Opening Night Gala started off the festivities and screenings highlighted by a red carpet with French luminaries such as the talented French actress and famed chanteuse Sylvie Vartan, actor Lambert Wilson who was there with two films, You Ain’t Seen Nothing Yet, by Alain Resnais and Cycling With Moliere directed by Philippe Le Guay.

Also in attendance, the director of the Opening Night Film, Oscar nomine (Cousin, cousin), Daniele Thompson with It Happened in Saint Tropez and her leading actress, fresh new talent Lou de Laage and Haute Cuisine producer Jon Amiel and writer, Etienne Comar.

French restaurant’s top chefs dotted the Gala with tables bursting with inviting dishes and delicacies such as scallops and creamy quiches. Champagne flowed through a chatting and eager crowd of well over 700 in anticipation of the opening night.

COLCOA’s hard working Executive Producer and Artistic Director, Mr. Francois Truffart who clearly through his dedication has made this festival a success welcomed the SRO crowd. French Consulate General Axel Cruau also gave a warm welcome to an enthusiastic crowd. A pleasing comedy short started off the evening, Clean, about a male flight attendants romp through Paris with a plastic cup looking for a donor to help him pass his urine test who even turned to his Grand-

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mother for help in one of the film’s funniest scenes. Then it was the Gala Premier Film, It Happened In Saint Tropez about two totally opposite brothers coming to terms with their differences. Brilliantly filmed and directed, it was a great feast for the eyes. The film also stared starring Monica Bellucci with a stand out performance by Ms. de Laage.

Some of the other notable events throughout the week included After 10, an eclectic series of late evening screenings and COLCOA Classics with a wonderfully reasonable admission fee of $5 which included films such as the 35th Anniversary of The Bronte Sisters with Isabelle Huppert and Isabelle Adjani and Stavisky with Jean Paul Belmondo, Gerard Depardieu and Charles Boyer.

Morning Rerun films were absolutely free.

Another favorite event, The Happy Hour Talks, a panel series of mid afternoon talks on various topics which included Meet The Talent, an informative panel discussion on French film makers. Of special note was Focus On A Producer with Anne-Dominique Toussaint. Ms. Toussaint is a producer of over 25 films.

She is currently President of France’s Association of Cinema Producers and enjoys working with young and first time directors. Her conversation was insightful and very generous to young film makers looking for inspiration and practical knowledge. Her generous demeanor was highlighted with some helpful facts on actually film making in France.

her from her true love, an African actor.

Closing nights films Like Brothers and Mobius were a surprise and announced at the Gala Screening by Artistic Director Francois Truffart. Mobius starred Academy Award Winner Jean Dujardan.

There is something very unique and special about this festival. After a season of blockbusters and Oscar screenings, you can feel the community coming together with anticipation and joy to relish the cultural experience of seeing French cinema which is, indeed, in short supply in the states today. Hat’s off to everyone involved especially to Mr. Truffart who was at every event, making sure the audience was served and happy.

COLCOA is funded by the Franco American Cultural Fund and this year, the festival set a attendance record of over 19,000 admissions showing thirty one features and nineteen shorts all competing for the 2013 COLCOA Awards including 11 North American Premieres.

Closing night honors included…

The Attack, directed by Ziad Doueiri was handed three honors including the COCLA Audience Awards, The Critics Special Prize and the Coming Soon Award.

A Few Hours of Spring was awarded the LAFCA Critic’s Award by Los Angeles Film Critics Association.

The Audience Special Prize went to Haute Cuisine which will be distributed by The Weinstein’s based on the real life presidential chef for Francois Mitterrand.

Also, presented as part of the French New Wave Series, was Hold Back which took nine years in the making but was a daring insight to young Muslim woman’s world as her brothers try to control her and keep

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he 17th Annual COLCOA (City of Lights/City of Angels) French Film Festival running April 15-22, dazzled Los Angeles this week at the Director’s Guild of America on Sun-

THENEWMEDIAINSTITUTE

SPECIALNEEDSWORKSHOPS SPECIAL NEEDS WORKSHOPS

2013

Media Expression 3N0792

FETAC Level 3

COURSE

FETAC LEVEL

CREDITS

DURATION

Film and Radio Workshop

Level 3 Award

10 Credits

Options

Would your students like to make a Short Film, Action Movie, Music Video or Radio Show?

1

The New Media Institute is committed to providing the very best experience for your learners. We have a talented experienced team to assist and encourage learners to explore, imagine and discover, building on their conÞdence and enabling them to learn about new and exciting Media techniques using smartphones, ipads and cameras.

Workshops are delivered at your premises.

Each Film & Radio workshop brings a new adventure for learners as they engage in fun, interactive, creative experiences, activities, tasks and projects. These projects can include;

• Short Film for any budding actors or anyone who likes being on camera

• Music Video for anyone musical or singers, we have a host of backing tracks available or learners can record their own music

Duration Option 1 One day or two half days nonaccredited Option 2 T h r e e d a y F E TA C L e v e l 3 Accredited including all FETAC administration.

Outcome Goals for these workshops are to foster and support a positive and fun social experience while working together as a team. Learners will have ‘hands-on’ experience of camera, smartphones, ipads and radio equipment Each learner will receive a DVD/CD of their work.

TNMI have worked with Special Needs groups such as St. Michael’s, Stewart’s Hospital, St. Raphael’s etc. Workshops have included recording CD, Þlm-making and more.

• Radio Show Have you any budding DJs or remix artists who would like to hear themselves on air Please call for availability and pricing Learners produce their own short Þlm, record/Þlm their musical talent or create a radio podcast they can share with their friends and family.

Tel; 086-8549635 or 087-2445505 Email; info@tnmi.net Web; www.tnmi.net

The New Media Institute is registered with FETAC to offer programmes leading to FETAC Awards in the National Framework of QualiÞcations and has agreed itÕs Quality Assurance Procedures with FETAC. Centre No 42413M

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National Register of Trainers No. 903383

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UNIT 27, THE MILL, CELBRIDGE, CO.KILDARE, IRELAND

Introduction to Film & Radio

The great content shift — the demand for content anytime, anywhere — has set in motion a kaleidoscope of infinite consumption options with unlimited business models. But only if you shift focus and work with the right players. Broader-casting® professionals are leading the evolution by collaborating across screens and delivery platforms, embracing the opportunities created by today’s disruptors, like advertisers, techno-savvy visionaries and, increasingly, just about anyone with an online channel and a following.

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NAB Show,® the world’s largest media and entertainment event, is the place to leverage shifting players as part of your paradigm for success. Here you’ll discover game-changing strategies and emerging technologies designed to address today’s — and tomorrow’s expectations. Turn shift in your favor and evolve in a marketplace that moves forward with or without you. Register now!

CONFERENCES April 14–19, 2012 EXHIBITS April 16 –19 Las Vegas Convention Center, Las Vegas, Nevada USA

www.nabshow.com Natasha Goulden