NBFF Filmmaker's Five with Fred Stoller

By Kelly Strodl

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Today we hear from Fred Stoller, writer, director and star of the comedy FRED AND VINNIE a warm hearted comedy about lonely guy and struggling actor Fred Stoller who is thrilled when his good buddy, Vinnie D'Angelo, the world's happiest agoraphobic and fattest vegetarian, comes to live with him. That is until Vinnie also proves to be the world's most maddening roommate. Will Fred be able to overcome his meek nature and get rid of Vinnie? Is Vinnie a freeloading conman taking advantage of an old friend or just a well-meaning guy who is truly incapable of dealing with the world? One thing is for sure. Everybody knows a Vinnie.

Q: How did you hear about the Newport Beach Film Festival?
We heard about The Newport Beach Film Festival just doing our homework reading books, and talking to others who had independent films like ours which are good festivals.  

Q: Tell a little about the story of your film and the production of it.
Basically several years ago my friend Steve Skrovan (the director and producer) encouraged me to write a prose story about my quirky friendship with Vinnie D'Angelo, who I describe as the happiest agoraphobic and adoring parent I never had. Years later, after enjoying his experience of directing the documentary, "An Unreasonable Man," Steve had the bug to direct another film, so he suggested we adapt that story into a script. It then took several years after that to get going. We had to find a window with Steve's busy sitcom writing schedule, and a line producer to tell us how to make this happen. Though Steve and I spent many years in the sitcom world, independent film was a whole new one to us. When we met our line producer Jerry Magana, he figured out what it would cost and how we could do it.  

Though much of the story takes in my apartment, being trapped in with Vinnie when he visits, we built a replica of the apartment on a soundstage, but used the hallways, parking lot, and roof of my own actual apartment complex.

Q: Tell a little about yourself and your story in filmmaking.
After acting in scores of TV shows and films, it was interesting being part of the casting process and helping the production. This was obviously the most personal story I ever acted in, not only because I was playing myself, but a real emotional chapter from my life. It was a bit intense sometimes acting out a scene, and at the same time recalling when the actual event occurred. At the time, my writing experience was a few episodes of Seinfeld, and Handy Manny, the kid's animation show I'm on. But it was a great experience to not just be a passive piece in someone else's puzzle, but to be involved and help Steve create this weird world of Hollywood misfits who fall between the cracks.   

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.?
Angelo Tsarouchas who was perfect as Vinnie. He seemed so natural and out of the people who auditioned, wads the one who really seemed could be my friend. (We're great friend now in real life.) It was exciting that this film brought up front and center all these character actors like me who are usually just the weird delivery guy, truck driver, bad date, etc. Angelo always plays a driver or a bouncer. Here we're weird guys still, but a bit more dimensional. 

Our triumphs are how people are really effected by this little film. That these characters seem real and that it resonates. That everyone seems to know these characters.   

Q: What do you do when not making a smash indie film? 
When I'm not making films, I've been lucky to work on some animation shows (Handy Manny, Penguins of Madagscar, and Wordgirl). And I also still do the occasional guest star parts. (Wizards of Waverly Place.) This affords me to continue writing in my own voice, and create other scripts like Fred & Vinnie.

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FRED AND VINNIE screens Sunday, May 1 at 4:30PM at the Triangle Square Theater 7.  

To purchase tickets follow the below link:

http://newportbeach.slated.com/2011/films/fredandvinnie_steveskrovan_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl
 

More Photos from the 2011 NBFF Opening Night

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Posted by Kelly Strodl
 

2011 NBFF Opening Night Recap

By Kelly Strodl

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The Newport Beach Film Festival has continued to gain a notoriety and respect over the years no more visible than in the caliber of stars that appear on the red carpet of each year's opening night. This year was a testament to the hard work, love and attention to detail that has gone into every one, with a smattering of today's hottest stars, veteran actors, directors and the like in attendance for the first night of this eight-day and night film industry extravaganza.

The festival, now in its 12th year, kicked things off with the film EAST FIFTH BLISS from director Michael Knowles, a dark comedy about an emotionally dysfunctional man who wants to travel, despite having no money and no job, finding himself involved in an odd relationship with a former classmate's daughter. Actors Michael C. Hall and Peter Fonda were among those making their way down the red carpet for the film and a Q&A after the screening. 

The Edwards Big Newport Cinema was jammed (to a sold out screening) with movie lovers, press, film stars, directors, and the cadre of volunteers and staff that make the festival a possibility every year. Along with Hall, the screening was attended by many of the other directors and actors whose films would be shown in the coming days of the annual festival that runs through May 5.

Also in walking the red carpet was Tom Sizemore, who plays Leroy Lowe in "White Night," which screens at 5:15 p.m. Friday at the Starlight Triangle Square Cinemas in Costa Mesa.

Other celebrities with films screening in the days following the opening night who were at the red carpet gala were Andy Hirsch, of "Fort McCoy," Robert Patrick, of "Good Day For It," Christopher McDonald, of "Balls to the Walls," Hal Ozsan, of "Peach Plum Pear."

The film was followed by an Opening Night Gala of epic proportions, hosted in by Fashion Island in the Bloomingdale's Courtyard of the shopping center. More than 2,000 people attended the event, which feature gourmet eats from more than 30 of the city's classiest restaurants, a fashion show of international style, bar hosted by Absolut, Stella Artois, and Perrier, and popping music. The event marks just the tip of things to come this week in this city that has become a jewel along the Southern California coast.

During the next seven days the festival will screen more than 450 films from more than 50 countries, including international selections, action sports, shorts, animation, student films from several local universities, Q&As, workshops, spotlight parties and more – eclipsing the city of Newport Beach in a week of film appreciation and top-notch industry networking. 

Check out the website for ticket sales, party information, offers and more from the 2011 Newport Beach Film Festival
Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Nick Stagliano

By Kelly Strodl

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Well, as things are just now getting underway at the 12th Annual Newport Beach Film Festival we talk with Nick Stagliano, director of GOOD DAY FOR IT, which will be having its World Premier at this year's event. Screening this Saturday, the film is a gritty crime drama that takes an interesting turn when innocent people get caught up with a gang of robbers. Luke was forced to abandon his family when he stole money from a local gang to pay for his daughter Emily's heart surgery. Years later Luke comes out of the shadows to meet his daughter and is spotted by the gang he robbed. Now he must risk his life to protect his family from his dangerous past.

Q:  How did you hear about the Newport Beach Film Festival?

I first heard about the NBFF a few years ago with my previous production "the 24th day" which had it's world premiere at TriBeCa, but we were not able to screen it at that time. With GDFI, my producer's rep Noor Ahmed at Reder and Feig, submitted it to Erik Forssell and happily we were invited to screen the world premiere as a Saturday night spotlight film.

Q: Tell a little about the story of your film and the production of it.

GDFI is a pretty interesting story as I had the idea for the film based simply on that title first. My uncle, before he passed away, would come over to my house and tell stories of the "old days" growing up with my father, and how this old man would always walk past them as children and tip his hat and say "good day for it" and then keep walking. Well, as a dramatist, for years I always wondered what exactly it was a good day for...

I was lucky enough that my first film, THE FLORENTINE, which was executive produced by Francis Ford Coppola, had Hal Holbrook in it, and he likes that film very much, so for years we would meet whenever I was in LA or he came to NY. 3 years ago I met Hal and his late wife Dixie Carter for coffee on 42nd St, and told them the title and that story, and Hal tapped me on the shoulder and said, " I like that, send it to us as soon as you finish". Luckily, they both loved it, but regrettably I could not secure all the financing by the time Dixie became ill and so she was not able to do the film. Once I had the script and Mr. Holbrook on board, the material generated a lot of positive response and we were able to gather a tremendous cast for the final shoot.

Q: Tell a little about yourself and your story in filmmaking.

First and foremost I started as a fan of the movies. As a small boy my father, who loved films, would let me stay up late on Oscar night to watch the Academy Awards and I would go to school the next day all excited with the winners names in my head, and of course none of my classmates would care at all. Well, after graduating college with a double major in English and communications, I was advised by one of my professors to pursue filmmaking as a profession. That was an eye opening revelation, as I had no connections to the entertainment business, but my parents supported me fully and I was ultimately accepted to NYU's Graduate Film Institute. I worked my way up from free PA to editor to line producer and ad to finally producer/director.

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

My first 2 films are based on plays, so I guess you can say that I am an actor's director, as I believe that the actor is my greatest asset and the key to all great films. Even without large budgets and cool special effects, a good story, with great actors, will hold an audiences attention to the end. As I started to build the story of GDFI, what started as a small tight cast with one main location, grew into a ten character ensemble suspense thriller. I am very proud of everyone's performance in the film, as each character has a sense of purpose and when you cast great actors they have a way of making you look much better as a director. Legends like Hal Holbrook and Kathy Baker are fantastic as the owners of this last chance cafe which anchors the action. Equally strong are Mika Boorem as the catalyst for the story, Samantha Mathis as her long suffering mom and Lance Henriksen at his best as the antagonist who propels the tension. But, there are also really impressive supporting roles by Richard BrakeJoe FlaniganRobert Englund and Christian Kane. I am extremely proud and excited,however, by the breakout performance of our lead, Robert Patrick, as the lonesome stranger of few words but devastating actions.

Q: What do you do when not making a smash indie film?

Right now, when not hitting the festival circuit, for me it is all about the Stanley Cup playoffs. I really get very little done creatively in late April/May as I am glued to the tube watching the greatest game on ice. Thankfully there is no game on the night of our world premiere, or it might have been a very difficult decision.

The film will be followed by a Q&A session with Nick Stagliano & star Robert Patrick! Follow the film and Q&A join cast, crew and everyone else at the Saturday Night Centerpiece Party presented by 944 Magazine at Sports Club LA-Orange County with top entertainment and hors d’oeuvres prepared by award winning Newport Beach restaurants. Hosted bar by Stella Artois and Absolut. Address: 1980 Main St, Irvine CA 92614. Price: $40 Film and Party/$15 Film Only/$25 Party Only. Age: 21+

To purchase tickets for either or both the film and the Saturday Night Centerpiece Party visit:

http://newportbeach.slated.com/2011/films/gooddayforit_nickstagliano_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Michael Knowles

By Kelly Strodl, 

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For today’s Filmmaker’s Five we hear from Michael Knowles, director of EAST FIFTH BLISS, the Opening Night film at the 2011 Newport Beach Film Festival. This dramedy follows 35 year-old Morris Bliss who is having trouble prying himself from the jaws of New York City inertia: he wants to travel, but has no money; he needs a job, but has no prospects; he still shares an apartment with his widowed father; and perhaps worst of all, the premature death of his mother still lingers and has left him emotionally walled up. When he finds himself wrapped up in an awkward relationship with the sexually precocious daughter of a former high school classmate, Morris quickly discovers his static life comically unraveling and opening up in ways that are long overdue.

Q:  How did you hear about the Newport Beach Film Festival?

It was actually about eight or nine years ago I think. I acted in a film called Walking On the Sky that played there and every since I kind of new about the festival. I didn't attend at the time because I was living in NYC. But recently, Adam Gentry, from the Newport Beach Film Festival called me and asked about East Fifth Bliss and said that Newport would like to check out a screener of it to consider it for the festival this year and so I sent it to him and well... Here we are!

Q: Tell a little about the story of your film and the production of it.

That's a good story. At least how it all started, I enjoy telling. Douglas Light, the writer of the Novel, EAST FIFTH BLISS and I frequented Velvet Cigar Lounge in the East Village of NYC. We knew each other in passing and swapped a copy of his novel for a copy of my first movie, Room 314. I loved his novel and I think he enjoyed Room 314. At least I hope he did, but long story short, I asked him if he wanted to adapt his novel into a screenplay and he said sure. We wrote for about four months or so, smoking cigars and laughing and when it was all done I moved to LA to get some scripts into some hands and met John Will, who loved the script and started shopping it around to everybody and anybody we felt could be a good fit, production company wise. Everyone seemed to really dig the script and the story but no one was ready to pony up some cash with out a "name" actor so we created a nice little list of actors we felt would be a good fit and Michael C. Hall's name was on that list and it just so happened that I had edited a documentary called The Edge Of Things and the director Carolyn Corbett was friends with Michael. In fact Michael was an executive producer on the Edge Of Things. I made a call to Carolyn asking her to ask Michael to read the script and she said of course and I know he will love it and you guys will work great together. And she was right on both counts. Michael loved it and we had a great time making the movie. 

It was a very interesting process after that to raise the money because it was at the time of the financial crises, like late 2008 so people weren't too eager to invest in an indie film. So I borrowed some money from my girlfriend and my business partner, John Ramos, threw down some cash to get the ball rolling. Soon afterwards we had raised enough to get us through principal photography so we were set to shoot in spring of 2009 but some scheduling conflicts caused us to push the film until Mid October of 2009 and then when we were 6 weeks away from our start date Michael Hall was diagnosed with Hodgkins Lymphoma and he needed to get treatments started right away. This was a very interesting twist because by this time we had raised all the money we needed to get us through shooting and post and we were pretty much all set with the rest of the cast but our lead, Michael C. Hall, was not going to be able to do the film and as you could imagine couldn't even think about doing it in the spring of 2010. My first thought was just push the film to the spring and do it then with Michael but as Michael said, he wasn't sure what kind of condition he would be in by the spring. At that time he wasn't sure if he would take to the treatments, if he would be doing four or six months etc, so we had a tough decision to make. Re-cast our lead or wait and see. For about two weeks we floundered and with the help of Michael's agent and manager we had some suitable replacements read the script but there didn't seem to be a clear fit emerging under the time restraints we had and to be honest the whole time this was going on I was thinking, I don't want to do this with anyone else. two weeks past and the time came for our whole pre-production team to start working full time on the movie or not and I made the call to push the film and roll the dice. As a lot of filmmakers know, lining up your ducks isn't an easy task. That was something Michael Actually said to me, something like, I totally understand if you re-cast it because getting all your ducks in a row isn't easy. And I remember saying to him, Yeah, but your our lead duck. So, to avoid getting all sentimental, I called Michael and just let him know I pushed the film, and would wait to see how things went with treatments and then go from there. We made plans to touch base right after the holidays, so January 2010 and see how it was going. And we did. We chatted on the phone at the beginning of January and he felt that the treatments were going well and he was handling them surprisingly well. He then said let's meet for breakfast tomorrow to talk about it. The next morning we met for breakfast and the first thing he said as he walked up to the table was "I want to do it." I remember being super excited. I knew Michael was the best guy to play Morris Bliss. From there everything pretty much fell into place and we started filming April 18th, 2010, which was one month from Michael's last treatment. He is a real trooper. 

Q: Tell a little about yourself and your story in filmmaking.

Hm. Let's see. I started out acting, which I still enjoy but not nearly as much as I enjoy directing and writing. I did some day player roles on soaps and Law & Order SVU and did a pretty memorable role on Sex & the City as Marathon Man. My character hooked up with Cynthia Nixon's character and licks her ass and she gets freaked out when I try to get her to reciprocate. As I was studying acting I was also studying writing in NYC and I got good at it and wrote a lot. My first play, called Room 314, which I later turned into a movie, was such and amazing training ground for me as a writer/director. I learned quickly that it was super important to work at communicating clearly with each person individually, taking in account where they are, emotionally and mentally and possibly skill level wise and support and encourage them to move in the direction that was going to give them and the audience the best performance.  I'm sure that being an actor myself gave me a little advantage since I could speak the actor language, so to speak. Ultimately I felt a need to start creating movies, so, as with pretty much everything I do, I just started doing it and learning as I went. My first short, Nick and Stacey, which was one of the stories from Room 314, premiered at the Tribeca Film Festival in 2005. Not bad for my first time out of the gate huh? I loved it. I shot the short with me, a camera with a shotgun mic and two actors in a hotel room. No extra lighting. I edited it myself, which I had been teaching myself slowly over the years on final cut pro. Learning how to edit and actually editing has helped me tremendously with writing, directing and shooting. After Nick and Stacey I shot the rest of the stories for Room 314 and made them into a feature film. A year later I wrote, directed and edited my second feature film, One Night, which starred Oscar Winner Melissa Leo among others and then I slowed down and took a little break before putting East Fifth Bliss together.

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Oh jeez. What can I say? Everyone and I mean everyone was amazing to work with. Everyone was so professional and prepared. I had such enjoyable conversations in rehearsals and during production with all of the actors. I think the one thing that was interesting was when we came to shoot the.... Oh I can't say that... it would be giving away too much. Peter Fonda is extremely funny in the movie, which was a little surprising because you probably wouldn't think of him as a comedic actor from the bulk of his work. 

Q: What do you do when not making a smash indie film?

I just started training in martial arts again. I trained in my 20's for about 8 years and I have missed it every since I moved to NYC to persue acting. I train at Hollywood Soo Bahk Do in Hollywood now and I love being back. It is so centering. My training in martial arts in my 20's is a big reason I have been able to do what I am doing now. It helped me tap into a deep sense of confidence that is helpful because most people in hollywood ted to want to shake your confidence any chance they get. 

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EAST FIFTH BLISS screens Thursday, April 28 at 7:30 PM at the Edwards Big Newport Theater. *SPECIAL NOTE: Actors Michael C. HallPeter FondaBrad William Henke and writer/director Michael Knowles along with many other crew members will be in attendance for the screening and a Q&A after the film.

Following the film will be the premier Opening Night Gala presented by Esquire Magazine, The outdoor reception at the Bloomingdales courtyard in Fashion Island will feature a specialty cuisine from more than 30 of Newport Beaches finest eateries, a bar hosted by Absolut, Stella Artois, and Perrier, plus a fashion show by top international designers produced by Fashion Island. Price: $125 Film and Gala/$80 Gala Only. Dress: Black Tie Optional. Age: 21+

To purchase tickets for either or both the film and the Opening Night Gala visit:

http://newportbeach.slated.com/2011/films/eastfifthbliss_michaelknowles_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl
 

Tomorrow's the last day to get TWO tickets to the NBFF Opening Night Gala for the price of ONE!

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Mingle with the stars during Orange County's most exclusive Hollywood shindig - the 12th annual Newport Beach Film Festival Opening Night Gala.

For only $80 you'll get two tickets to an unlimited smattering of food, fashion, free libations, photo booths, fondue, and more among the stars at the festival's Opening Night Gala, hosted in the exclusive Fashion Island Bloomingdale's Courtyard, reg. valued at $160.

Walk the red carpet through and archway of enchantment to an event of Tinseltown proportions. Dine like a celebrity in the warm Newport Beach air. Maybe chat it up with cast and crew of the festival's opening night film, East Fifth Bliss. Actors Michael C. Hall (Dexter, Gamer), Peter Fonda (Easy Rider, 3:10 to Yuma), Brad William Henke (Me and You and Everyone We Know, Choke) and writer/director Michael Knowles along with many other crew members will be in attendance. Sample fancy fare form more than 30 of Newport Beach's most prestigious restaurants,

via - http://www.icoupononline.com/orange-county

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Elliot Kotek

By Kelly Strodl

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Today we speak with Elliot Kotek, screenwriter of the short film LARRY, screening this year at the 2011 Newport Beach Film Festival. Kotek is not stranger to the festival, has attended and participated for years. He co-produced the phenom 140 FILM, that screened last year, following 140 filmmakers in 140 locations worldwide at the same time shoot 140 seconds of footage to demonstrate how connection through new technology. The film is directed by Jill Carter, whose heartfelt short NINETY-ONE also showed at last year’s festival. In this short LARRY, a young woman wakes up from an all-nighter to find a mysterious man in her bed. Who is he? How did he get there? What now?

Q: How did you hear about the Newport Beach Film Festival?

I've been moderating panels and Q&As for NBFF for five or six years now, having first come down as a journalist. One of my favorite festivals for sure.

Q: Tell a little about the story of your film and the production of it.

Little Larry is a short I wrote when I was living in New York and studying dramatic writing at The Lee Strasberg Theatre Institute, we had to use a ticking clock in a piece of writing, so i wrote about a guy who was always on the precipice of disaster and didn't know it. Although he thought he was always getting away with stuff, there was always something incriminating left behind. My idea was to shoot it twice, once with a male in the lead "Larry" and once with a female in the lead "Little Larry" - Jill Carter, being superwoman, jumped in and made the Little Larry version in Toronto faster than I could get my act together here in LA.

Q: Tell a little about yourself and your story in filmmaking.

Changing the lead actor from male to female led to some hilarious discoveries by Jill and Hanna Miller, the lead actress, great moments that you'll see in the film.

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Jill had each of the actors tell a joke at the auditions and sent me the tapes. It was the perfect way to cast this movie, given that the film has virtually no dialogue.

Q: What do you do when not making a smash indie film?

I'm the editor-in-chief of Moving Pictures magazine, have written for The Hollywood Reporter, MovieMaker, Inside Film, Little White Lies and a bunch of film magazines. I've done a bit of everything but I guess the nutshell is that I just love the medium, and love writing. "140," which I produced with Frank Kelly (and directed a segment of) premiered at NBFF last year, as did another short, "ninety-one" that I co-produced with Jill. I have another couple of films being finished that I'd love to bring here next year!!!

LARRY screens Friday, April 29 at 3:30 PM in the Triangle Square Theater 7. 

Visit the link below to WATCH the trailer or PURCHASE tickets for the film:

http://newportbeach.slated.com/2011/films/littlelarry_jillcarter_newportbeach2011

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Hilary Armstrong

By Kelly Strodl

Today we hear from Hilary Armstrong, director of CALIFORNIA STATE OF MIND: THE LEGACY OF PAT BROWN. This dynamic American Dream story follows the journey of a man rising against seemingly insurmountable obstacles to shape the future of modern California. Told from his granddaughter’s perspective, the documentary gracefully pivots from a turbulent decade in American history to the contemporary challenges that California faces today. An exciting tale of the West comes into focus as the filmmaker wrestles with the inherited optimism of her grandfather's legacy.

Q:  How did you hear about the Newport Beach Film Festival?

I heard about NBFF a ways back. It’s a gem that’s often talked about. We thought it would be fun to have our world premiere in the OC. 

Q: Tell a little about the story of your film and the production of it.

This is my coming out story--coming out as a Brown. I have always been shy about being a Brown and have preferred being anonymous.  I became increasingly more frustrated as I watched a growing apathy, a mounting distrust of politicians, and the mind-numbing political paralysis.  I couldn’t sit on the sidelines anymore.  I felt like it was important to remember a time when political gridlock wasn’t the norm.  My grandfather had incredible optimism and actually got things done.  People like to say it was easier back then in the ‘Golden Era of California’, but if you watch the film, you see that every political victory was a challenging battle.  Democracy is messy and imperfect, but it can work.  My grandfather always made me to believe that I could make a difference and that my voice was important.  I thought a biography about my grandfather would inspire others to believe they too could make a difference. He came from humble beginnings and his story seemed like the American Dream story that could give hope to the next generation.  I knew the contours of my grandfather’s story, but during the filmmaking process I made so many discoveries about his life that were new to me.  When I decided to make the film (almost 7 years ago), I had no idea Pat Brown’s son would be governor again.  At the time Uncle Jerry was kinda off the map and hadn’t even decided to run for Attorney General.

I knew I needed a solid producing team, so I teamed up with another of Pat Brown’s Granddaughters, my sister Executive Producer Hilary Armstrong who has been a phenomenal partner. She has worked tirelessly to support my vision.  The film has been entirely funded through donations from over 400 different individuals, foundations, and corporate sponsors.  It has been an incredible journey collecting donations from all across the state starting at $25 on up.   We joined forces with Producer Julia Mintz whose recent work includes Nanking, Soundtrack for a Revolution, and The Life and Times of Frida Kahlo.  Our creative team has been amazing. What a collaboration!  Check out our website to learn more about the awesome team: www.patbrowndocumentary.com

Q: Tell a little about yourself and your story in filmmaking.

I’m a native Los Angeleno and 6th generation Californian. I received a BA in “Integrated Arts and Cultural Studies” from Hampshire College in Amherst, Massachusetts. After graduating, I moved to Santa Fe, New Mexico, where I produced, directed, and wrote plays and screenplays.  I was a founding member of Frogs on the Water Theater Co, which produced original plays including the hit play“The Second Snipping”, which I co-wrote and produced.  I was the cinematographer for an award-winning short film, “when he was gone” which I also produced.  I ran a small video production company, then headed back to Los Angeles. After completing the series of workshops in the Career Training Division at the American Film Institute, I worked on various independent, USC, and UCLA graduate films in positions ranging from script supervisor to first AD.

My last film MANGO KISS was a lesbian romantic comedy.   That feature film is much better traveled than I am. It went to over 80 venues internationally and next month will screen at Sistah Sinema as the leading film on a three part series themed "Chilvary or Chauvinism."  Many were surprised that I decided to make a serious political documentary, but they both are time capsules. I like to take stories and give people a new way to view them.  My next project is likely another off beat romantic comedy with the same writer of MANGO KISS.  

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Greatest surprise: my Uncle decided to run for governor again, and won.

Documentaries always take a while to put together, so we had the regular set backs of putting together funding.  It was very hard to overcome my shyness about being on camera and being the narrator.  I originally thought I could make a straight political doc, but I realized when I talked to people about the story that a story about my grandfather was much more accessible than telling a story about a politician from long ago.   Finding the narrative was a challenge. The tyranny of the facts! Sometimes life isn’t suited to a satisfying dramatic arc.  One big challenge was navigating the election cycle.  It was hard to narratively button up Uncle Jerry.  His life is worthy of a documentary on its own, so keeping him as a supporting character in Pat Brown’s story was tricky.  Also traveling back down the path of my mom’s failed bid for Governor was/is painful.  Over all it was a thrilling process of discovery. Now that I know my grandfather’s story so well, many assume that I knew it all along.  I studied his life and finding the amazing archival footage was a blast.  It was an honor to do the interviews with the subjects in the film.  Each one provided a treasure trove of material. 

Q: What do you do when not making a smash indie film?

Yoga, hike, bake with my daughter, go to laser tag parties with my son, make crafts with my girlfriends, go the movies with my husband, Book Group with the ladies, teach writing, and I’m on the board of the Pat Brown Institute of Public Affairs.

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CALIFORNIA STATE OF MIND: THE LEGACY OF PAT BROWN screens Saturday, April 29 at 3 PM at the Regency Lido Theater.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/californiastateofmindthelegacyofpatbrown_sascharice_newportbeach2011

Watch the trailer for the film here:

http://www.patbrowndocumentary.com/trailer2011/index.html 

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Brian Jun

By Kelly Strodl

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Today we talk with Brian Jun, director of JOINT BODY, a film about new beginnings and battling old demons. After serving a seven year prison sentence, Nick Burke has been given a second chance. His ex-wife bars him from seeing their daughter, but he finds kinship with a troubled woman who helps him re-evaluate his life. The brief encounter with Michelle - a lonely, exotic dancer, leaves Nick in the dangerous path of an unlikely assailant which ends in murder. Nick and Michelle are now forced to evade the law, knowing that their companionship may be their ultimate downfall.

Q:  How did you hear about the Newport Beach Film Festival?

I first heard about NBFF back in the late 90s when I was in film school... a late mentor of my mine (George Hickenlooper) had a film there called "Dogtown." More recently, one of our Exec Producers, Gregg Steiner, has ties to the area and lives down there so it's been on his radar for a possible premiere all along. We're happy to be have our first screening at NBFF.

Q: Tell a little about the story of your film and the production of it.

I've been fortunate enough to have made 3 features in my young career,  and each one has it's own unique catalyst.  This film simply came from a lot pain. It's all very personal, but I wanted to tell a bleak story about loss, guilt and pain.  

The production - 12 days with 2 days of exteriors.  Small crew - we moved insanely fast. I give 50% credit to a great crew, and the other 50% goes to Mark Pellegrino and Alicia Witt, who were impeccably prepared. We had a lot of locations which made for a very long prep time for myself and the producers. I did most of my prep in L.A., and hit it hard 3 weeks prior to shooting in the Midwest.

Q: Tell a little about yourself and your story in filmmaking.

It's just a life I've chosen.  Film is a visual canvass, except it takes more than paint to make a statement.  It's excessively expensive and exploited; and it's the most rewarding and heart-breaking way to make a life for oneself.  I'm a film school kid - I cut my teeth on super-8 and 16mm - on the old Arri's. I love film, and since the digital age is now upon us, everyone and their brother become a filmmaker overnight. I'm always learning,  watching, learning, watching... trying to stay disciplined. I'm 31 now; I was cutting on flatbeds when I was 17 years old and syncing work-print to mag with a grease pencil. Does film school even exist anymore?  Or is it just a bunch of teenagers with iPhones? 

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Just true pros. Mark Pellegrino and Alicia Witt - so amazing and humble. And they LISTEN. Not just to me, but to the rhythm of the dialogue – the meaning and purpose - they want to know what lens you're on so they get an idea of the frame.  All very amazing and I was humbled to work with them.

Also some newcomers - Ryan O'Nan who I think is going to be a big star. The guy is drowning in talent. He's fearless and extremely confident. Daesha Lynn - her first role, and I was happy to give it to her. She deserves some more opportunities because she has a real presence on screen and it's almost as if her eyes speak.  It's the weirdest thing.  

And my buddy Tom Guiry - we're talking raw talent here. Tommy had the lead in my first film (Steel City) and he has a great New Jersey ass. Go see the film and you'll see what I'm talking about.

Q: What do you do when not making a smash indie film?

Again, it's getting back to the whole life of being an indie filmmaker. I've had day jobs – mainly blue-collar fare. I also volunteer for several youth programs in Los Angeles - Los Angeles Youth Network (www.layn.org) and have been a mentor in creative writing through the Young Storyteller's Foundation.  

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JOINT BODY screens Friday, April 29 at 7:45 PM in Triangle Square Theater 6.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/jointbody_brianjun_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Brian Lilla

By Kelly Strodl

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Today we hear from Brian Lilla, director of Patagonia Rising, a film following the attempts to build five separate hydroelectric dams in the vast and thriving wilderness of Patagonia, Chile – and the effects these man made dams will have on the terrain. In the heart of Patagonia flow two of the world’s purest rivers, the Baker and Pascua. These free-flowing watersheds drive biodiversity and are the life source for Patagonia’s most tenacious residents, Gauchos, the iconic South American cowboys. The Patagonia region is now threatened by a plan to build the five large hydroelectric dams on these two rivers. Tracing the hydro-logic cycle of the Baker River from ice to ocean, Patagonia Rising brings voice to the frontier people caught in the crossfire of future energy demands. Juxtaposing the pro-dam business sector with renewable energy experts, Patagonia Rising brings awareness and solutions to this global conflict over water and power.

Q: How did you hear about the Newport Beach Film Festival?

My girlfriend is from Newport Beach and I thought it would be great if Patagonia Rising screened in a festival that her family could go to. I was blown away when I looked into past programs as NBFF. It's a huge honor to be included in the festival.

Q: Tell a little about the story of your film and the production of it.

It's an investigative story on the impacts of damming Patagonia, Chile. For seven years Chile has been in deliberation on whether to build five massive dams and run the power 1,600 miles north. Fifteen years ago, I was there on a personal trip. I had almost gotten killed in a climbing accident in Argentina and decided to go recoup in Patagonia. The remote landscape and frontier people had a huge impact on me. If the dams get approved all hell is going to break loose. Directing Patagonia Rising was the perfect reason to go back and give back.

Raising funds during the height of the recession was like banging our heads against a brick wall. Once we raised enough funds to get two of us to Chile for six weeks of shooting and hire a Chilean field producer, our producer, Greg Miller, and I went for it. Three of us in a 16-foot raft spent 10 days floating the Rio Baker. Some of the ranches along the river take four days to get to by horse or boat. Every time we arrived at a ranch, a sheep would get slaughtered for the next three meals. It was a complete time warp. Some families had no electricity. The only way we could recharge camera batteries and down load media was if a ranch had a solar panel. Besides limited power, we were at the complete mercy of shooting in one of the rainiest places on the planet. The camera should have died several times due to water damage.

After the river section we tagged along on an expedition that was doing climate change research on the Northern Patagonia Ice-cap. In three days we hiked all our gear 35 miles to reach the ice. I had to sleep with the camera batteries so they wouldn't loose power due to the cold. Of all the challenges, one of the greatest was trying to get an interview with the company proposing the dams. Four hours before our flight out of Chile, we were granted an interview with the general manger of the dam project.

By the end of our trip, we had shot 40 out of 42 days. The entire pre-miss of making the documentary was to inform the debate and impact the decision to build or not build the dams. We just found out Patagonia Rising is going to screen in Chile on May 15, 2011. Its perfect timing as the Chilean government is going to be making a decision with in the next six months. 

Q: Tell a little about yourself and your story in filmmaking.

I started off filmmaking 12 years ago by making super-8 shorts about the things I was into; skating, surfing and climbing. I quickly realized filmmaking was a passport into peoples lives and sought unfamiliar stories that brought me to situations I normally wouldn't be in. I love the filmmaking process of transporting the audience into these situations. 

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

The people in Patagonia were so genuine in front of the camera. Most had never seen a large format camera or even a laptop. At night we would drink wine and show them playback of what we had shot earlier in the day. They were completely transfixed watching themselves. As much as they are gentle and kind, they are also tough. For most people living in remote Patagonia, time is spent splitting wood, fetching water, herding animals, growing food, building fences, and drinking matte. Look closely and you will see how strong they are in their faces. Look closer and you will start to notice almost everyone is missing some body part; a finger, eye, toe, teeth, part of an ear.

When we went into post-production, we tried to work with as many Chilean's as possible. Our Chilean narrator, Carla Wilkins, has an amazing voice. She has that soothing quality of someone reading a storybook. The final Chilean performance was our composer Axel Herrera. His compositions accurately portray the vastness and tranquility of Patagonia. The sound-score was the final breathe that brought the documentary to life.  

Q: What do you do when not making a smash indie film?

If I'm not working on a film, I try to surf, cook, and garden as much as possible. There's a fine balance between making films and creating a healthy life. I finally feel as though I found it.

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PATAGONIA RISING screens Sunday, May 1 at 5:30 PM in the Triangle Square Theater 1.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/patagoniarising_brianlilla_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl