NBFF Filmmaker's Five with Paul C. Barranco

By Kelly Strodl

(download)

Today we talk with Paul C. Barranco, director of two action sports shorts showing at this year’s festival. The films SURFING THE SILVER DRAGON, and CONFISKATE, will screen at the Actions Sport Shorts section of the festival.

SURFING THE SILVER DRAGON: The program is based around China’s Qiantang River Tidal Bore where surfers Jamie Sterling and Rusty Long take on the beast, a.k.a. “The Silver Dragon” and surf it for miles through the city of Hangzhou.  In addition, we get an inside glimpse of Jamie and Rusty’s experiences on and off the tidal bore in China.

CONFISKATE: Confiskate features pro skater, Josh Campos along with a handful of his closest friends as they session a handrail. The FUEL TV Network ID is a comedic narrative that toys with the synergies between street skaters and a security guard.

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

I live in SoCal so when the festival happens I always hear about it and track its happenings. I just want to stress that’s it’s an honor to be involved this year.

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

On CONFISKATE… it was an idea I thought of a long time ago, maybe 5 or 6 years ago and just jotted it down in a journal that I keep for ideas.  I was always interested in the synergies between security guards and skaters so I came up with this concept.  Well a few years passed and I got busy with other projects but in the back of my mind I knew I should be carving some time out to build up my director reel. My Co-producer Celina Meites basically loved the spot and ended up pushing me forcefully into making it.   Then we gathered a small crew ran out and shot the thing with the help of her and my cast.  So needless to say, I’m glad she shoved me. 

On SURFING THE SILVER DRAGON I was approached to go out to China in 2009 with a group of surfers and a few good friends that I work with. We were welcomed by the Chinese officials and treated like royalty. Every meal and activity was planed for us down to the hour.  The food was something I wasn’t used to, from duck tongue to the ants but I soon found out we we’re being treated to China’s finest cuisine.  It took a little getting used to but after a few sittings it was all good; we not only ingested the food but also to all the culture around us and were guided by some of the most humble people ever.  When it came time to get to work, our guides started off by showing the river in which I’d be shooting from, showing us some of the potential pitfalls it offered, so when the wave turned “on”, we’d be well prepared and we were just that.  On game day when the wave hit, the surfers got on their skis and I jumped on the boat while the editor Dave Gallegos was captain and driver of the boat.  We outran the tidal bore wave for upwards of 10 miles down the river taking us around 45 minutes to complete our run.  The surfers would have to line up with a good part of the wave and we’d need to be close to them in the boat to shoot it.  It was tricky to say the least; I was shooting handheld off a boat doing at least 20 mph with a giant wave coming at us.  Just a little nerve racking.  Anyway we made it out unmarked and to this day I am grateful for the memories it offered. 

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

Well my Pops shot stills professionally and so I got a lot of insight to the craft just watching him in is meticulous ways.  I shot stills leisurely for many years all while I was at heart, a surfer.  If I wasn’t in the water, I was shooting or at Costco getting my film developed; it was then that I knew I had a deep affinity for photography.  A few years later, my dad bought a video camera. It was a full size VHS camera and I can honestly say that purchase changed my life. I became beyond hooked on video.   I shot everything and anything I could taking my knowledge from stills on over to video.  I made everything from surfing experimental films on down to comedies on makeshift sets to weird abstract shorts.  I’d edit from camera to VHS Deck and even tied in an audio channel as well, usually Jane’s Addiction or Soundgarden.  Anyway, after freaking out my family, cause I still lived at home, I finally jumped into SDSU film school program got my diploma and headed to LA.  Over the years I’ve worked at Fuel TV on their weekly action sports news show for 2 years and was at Globe Int Ltd as their Media Marketing Manager for 3 years creating and producing their global surf and skate event TV programs from Fiji, Oz & Micronesia as well as their commercials all for Fuel TV.  More recently, I have gone independent with my production company Fluid Films Productions Inc. where we create media for core and mainstream categories specializing in commercials.

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

On CONFISKATE the forces were definitely on our side that day of shooting.  We shot gorilla and no one hassled us and no one was hurt the same.  Josh Campos had to kickflip a 12 stair, which had me a little concerned since he was padded up to look plumper.  But he killed it.  In fact, all the dudes this day were insane to work with.  Andrew White the lead skater isn’t an actor but he listened to and trusted me & he pulled it off with flying colors.  

On SURFING THE SILVER DRAGON Jamie Sterling and Rusty Long were absolutely on point.  Rusty had been there the previous year so he knew the wave and Jamie jumped right in with no hitches as well.  Both surfers were taking some risks by surfing this natural phenomenon and they were professional and considerate which is key to making any project work.  

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

When I’m not shooting, I’m usually doing a few things.  I surf, swim laps, snowboard, I try to skate the Glendale park from time to time but I suck pretty bad, I hang out with my daughter & lately we’ve been racing go karts at K1 Speed every other week religiously, now that’s a good time. 

CONFISKATE and SURFING THE SILVER DRAGON both screens Thursday, May 5 at 3:30PM at the Triangle Square Theater 8, as part of the  Action Sports Shorts 1 showcase. Other films showing at that time will be:

The Physics Of Surfing | Greg Passmore 2010

Surfing The Silver Dragon | Paul C. Barranco 2010

Calling on Others | Scott LeDuc, Andrew Matthews 2010

Surfing With The Enemy | Adam Preskill and Scott Braman

Solo | Jason Ryan 2010

To purchase tickets follow the below link:

http://newportbeach.slated.com/2011/films/confiskate_paulcbarranco_newportbeach2011

CONFISKATE – VIDEO LINK

SURFING THE SILVER DRAGON TEASER  - VIDEO LINK

 

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Tanner Beard

By Kelly Strodl

Screen_shot_2011-05-04_at_2

Today we hear from Tanner Beard, writer and director of THE LEGEND OF HELL’S GATE: AN AMERICAN CONSPIRACY, how 'Hell's Gate' at Possum Kingdom Lake, Texas came to have it's name. Relive the story of how three outlaws expeditions and encounters through historical 1870s Texas were remembered for a lifetime. James McKinnon, an Irish thief roaming the American frontier in search of easy riches, finds himself on the lam with Will Edwards, a bounty hunter prepared to lie, cheat, and steal to replenish his lost fortunes. While attempting to escape the lawmen on their tails, McKinnon and Edwards encounter Kelly, a young man who has stolen the secret cache of a man who claims to be John Wilkes Booth. The three outlaws set out on an adventure to be remembered for generations.

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

Feels like forever ago now but I used to come up to the Newport area lot with an old DJ-ing job years ago and even then knew it was one of the most popular festivals globally. So, I was stoked when I heard our Reps and Producers had entered us in. I found out we made the cut from them.

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

 

 

Man, we had so many moving parts where do you begin. Ha, first of all our cast and crew were amazing, but based on real events our story takes place in 1876 Texas mostly around Central and West Texas. We shot the film in and around the land, towns and cliffs where it actually took place which gave the production a very historic feel. Many of our actors played real characters of the West as you'll see when our central characters have their brushes with the infamous Doc Holliday (Jamie Thomas King), John St. Helens (Henry Thomas), the killing of the White Buffalo, encounters with Comanches and the elements of the untouched Texas terrain.

 

 

We follow three outlaws on the run, Will Edwards (Eric Balfour), Kid Called Kelly (Lou Taylor Pucci) and James McKinnon (Tanner Beard) each running from haunted past now with bounties on their head. A chase movie shot in Texas with a mostly Texas native cast: (Jenna Dewan, Summer Glau, Kevin Alejandro, Glenn Morshower, Henry Thomas) made the production fell like we were a bunch of neighborhood kids getting to play “Cowboys and Indians” in the backyard. As sometimes it was a difficult shoot with the terrain, our cast and crew made it an absolute joy to be a part of. 

 

 

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

Getting to play a character in front of the camera has always been such a joy to do, but also can be a rare opportunity especially if you didn't grow up near the business. Making a film on the other hand can happen any place, any time if you can pull enough people together to put on a show, no matter how big or small. So, starting at a very early age I was lucky enough that my parents had on old video camera to test out and we had a video store that had more than just the new releases in my home town. So grabbing some friends and writing some skits while watching great movies to learn a thing or two, it wasn't hard to fall in love with every aspect of film making from griping to acting to booming, it's all important.  

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

Our cast showed up to work and they worked hard, I thought everyone in our large ensemble cast did an amazing job. I definitely came to learn set backs will happen on a set, it's just part of it. I know one day we lost a lot of great deal of momentum from our cast when our river shoot got rained out. We lost time and money, actors lost scenes but as a film maker sometimes you can create your way out of problems and our cast was great about jumping into scenes with out much rehearsal time. Lou Pucci and Summer Glau had to endure more of the elements more so than most of the cast and their attitude and dedication to their characters were definitely good, but not a surprise they are pros.

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

Jumping in front of the camera is keeping me busy at the moment, I also have another project I'm writing and directing with Suzanne Weinert to produce, so other smash indies are keeping me busy, ha ha.

______________________________________________________

THE LEGEND OF HELL’S GATE: AN AMERICAN CONSPIRACY screens Tonight (Wednesday), May 4 at 7:30PM at the Triangle Square Theater 4.  

To purchase tickets follow the below link: 

http://newportbeach.slated.com/2011/films/thelegendofhellsgate_tannerbeard_newportbeach2011 

 

Watch the trailer for the film here:

http://filmpunks.com/ProjektorLHG/LHGTeaserv1/

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Robert Celestino

By Kelly Strodl

Leave_en_012rev2

Today we talk with Robert Celestino, director of LEAVE, a film about Henry Harper - a successful novelist who has it all. But after surviving a recent trauma he finds himself haunted by a reoccurring dream that terrifies him. Henry decides to go to a remote second home to begin work on his next novel, a thriller. Convinced that the only way to understand what the dream means is to write his way through it. While there he encounters a strangely familiar drifter, who confronts him with information that threatens to turn everything he knows to be true, upside down. Director, producers and talent will attend the screening of this premiere!! 

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

Who doesn't know about the Newport Film Festival? My last film premiered at Tribeca, the one before that at Sundance and now Leave is premiering at Newport -- In horse racing, they call that the Triple Crown.  The producers and I are delighted to be premiering our film here.

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

Frank John Hughes and Rick Gomez came up with the story and then Frank, who I think is one of the greatest American writers living wrote the screenplay.  It's a wonderful story with great characters and dialogue.

They guys introduced me to producer Michael Hagerty.  Michael is a hard worker who brings out the best in people.  He brought producer Bettina Tendler O'Mara aboard.  Bettina has the patience of a saint, she believed in the project and along with Michael; she was able to obtain a budget and schedule I could work with.  I had a lot of fun making this film and working with these talented and like-minded people.

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

I started in the late 80's with shorts and doc's, and wrote and directed my first feature in 1991. Things didn't go to well with the picture and financing ran out pretty quick.  We were still shooting on film in those days and cutting on flatbeds. A shoestring budget in 1990 was well over $200,000. The days of shooting a feature for pennies on video did not yet exist.   

When I ran out of money the lab tried to auction my negative and I spent the next three years in court trying to hold onto the film.  My efforts proved futile and ultimately I lost the film. But in my eyes, it was my film and I held all aesthetic rights.  So I walked into a local video facility in Yonkers to do some re-cuts, change the title, and hopefully make some foreign sales.  When I showed the film to the owner, he was impressed and asked me if I would look at a film he made for five thousand dollars. The film wasn't a masterpiece but he shot it on film for five grand!  I couldn’t believe it.  I walked out of there inspired. I thought if he can make a feature for $5000, I should be able to do one for $10,000.

I looked over my scripts.  I had one I thought could be produced for very little. I called in every favor and asked for plenty more, still I couldn’t budget the film for less than $20,000 – and that was just to get it in the can. 

But where was I going to get twenty grand?  I had sold my condo to finish the last film and lost every dime.  On top of that I borrowed a bunch of money from guys with New York accents who were showing up at my apartment wondering what happened to the condo I was going to sell to pay them back. 

Two weeks later I set a production date and scheduled a 19-day shoot.  We were set to start shooting in six weeks.  I still didn't have any money.  I was desperate.   My wife was willing to borrow $5000 against her only credit card and I had a friend who owned and gym in CT., who said he would invest $5000 if he could write some of the songs for the film.  That gave me $10,000, half the money, with two weeks left to the start of production.  One of the co-producers said jokingly, “Let’s go to Atlantic City and put it all on the black.”  Of course he was kidding and I the guy who made Yonkers Joe – I know you can’t win gambling, especially when you are desperate.  But I needed a sign, after what I went through on the last film, I thought of the words Carl Jung had posted over his door, “Ready or not the Gods will come.”  I needed the gods to come.  If I was going to stick around it had to be more than me. 

Cut to my co-producer, Brian Smyj and I diving down the Jersey Turnpike in the rain to Atlantic City.  It was a two and a half hour drive from where I lived.  The only rule we had is we’re not going to talk about.  We’re going to the first casino we come to, walk to the closest roulette wheel and bet the entire 10 grand… No thought, no decision, no hesitation – Just make the bet.  And that’s what we did…  The first hotel we came to was Trump’s casino.  We came off the escalator and walked up to the roulette wheel.  The money was in crumpled bills; we were in shorts and unshaven.  I could only imagine what the dealers were thinking when I threw the bills on the table and said “Gimme all black.” 

The dealer straitened out the money as she counted it, then pushed me the chips.  I pushed them right back – all ten thousand dollars worth onto the black.  And this is where it becomes like a movie.  Anyone who has played roulette knows it takes some time for the ball to settle -- it bounces around a bit then plops into a slot.  After what seemed an eternity, the ball plopped into the red. 

I looked at Brian and I thought, this is it… I’m done. The gods have made their choice.  There will be no film and I’m no filmmaker.    Then, at that very moment as if some invisible finger stuck their hand into the slot and grabbed hold of the tiny white ball – it popped out of the red and into the black!  We did it!  We had the money!  I remember Brian screaming and I began to weep.  We left the casino and two weeks later I began production on Mr. Vincent.  Everything that went wrong with my first feature went right with Mr. Vincent.  There was no looking back.  We premiered at Sundance and had a wonderful experience with the film.

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

Frank introduced me to Rick Gomez.  I was a fan of Rick’s but I had no idea of his work ethic. I knew where Frank would go, as we had worked many times together.  But the film could not work unless Rick was able to believe in something his character would find impossible to believe.  As a man, there is no fooling Rick; he’s a brave heart who will go anywhere you ask of him as long as he believes it too.  He’s also wickedly intelligent.  So if you start to change things around he’s going to have questions. It was give and take for he and I at first, but then at some point early on we began to bond.  Making a film is a battle; your courage is tested many times. I respect him for his courage and his sensitivity, and a phenomenal ability to make you believe what his character believes. Every part of him, every cell of his body, heart and mind goes into the roll.  That’s how much courage he has. I loved working with him.

Frank John Hughes is more of a partner than I actor I work with.  On every film we’ve worked on together you’ll find us off in some corner discussing an element of the scene we’re shooting.  He’s extremely smart and has a keen sense of what is real and what is believable.  He also has what I believe is the greatest quality an artist can have -- he’s not lazy.  Through the years he and I have had marathon sessions trying to get to the heart of a character or solve a story point.   

Casting Amy was a real challenge, I had to believe that husband and wife shared a bond that went beyond physical attraction -- that went beyond even the love they felt for each other.  I wanted to experience something spiritual in their relationship – as if one doesn’t exist without the other.   A lot of what Henry does in the film comes from how connected he is to his wife.  Vinessa Shaw understood this.  Amy is an emotional roll, whose function in the story to attack the hero’s weakness as an ally.  Vinessa approached her as a strong women, dignified, classy but a little icy.  It was a brilliant approach as Vinessa kept the character’s arc in mind.  She knew it would be more moving for an audience if her character found that deeply emotional part of herself at a time when it would have the most impact. Vinessa nailed it!  It was a great choice and it was all hers. 

Great actors are the smartest people I know.  An ‘alive’ performance must be calculated, thought out in stages, then thrown away so we as an audience may feel like we’re experiencing it for the first time.  If you don’t think that’s hard, try it.  Try experiencing something you’ve done many times, as if it were the first time – then make me believe it!

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

I’m writing smash indie scripts!  Ha!  I write seven days a week, but only in the mornings.  The rest of the day I spend with my beautiful wife, who won’t let me out of her sight, until I pay her the $5000 I still owe her.

LEAVE screens Tuesday, May 3 at 7:45 PM at the Regency Lido Theater.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/leave_robertcelestino_newportbeach2011

Watch the trailer for the film here:

http://www.facebook.com/thefilmleave

Then click on the videos tab to the left.

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Grant Wheeler

By Kelly Strodl

Pastedgraphic-2

Today Grant Wheeler, director of The Lone Jackal took a few minutes to answer some questions about his film that will screen as part of the Action Sports Shorts showcase this year. The documentary film follows motorcross freerider, Alastair Sayer on his return to his native African homeland after a successful European FMX tour. His journey home is chronicled through heart-felt narration while visiting friends and family and battling the weather to ride once again. The Lone Jackal documents a major turning point in Sayer's life, when he comes full circle, both literally and symbolically, preparing for the next stage of his life where he blazes a new path in his career and seals his legacy as one of Africa's most stylish freeriders.

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

I found the festival on Withoutabox.com.

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

I've been a dedicated fan of motorcycle movies from an early age, and I've collected almost every single title released since Terrafirma 1. And I've seen the progression of dirtbike films over the decades, following in the footsteps of skate and surf movies. As the years progressed these films started becoming more narrative driven and focused on the athletes and their personal stories. I felt that dirtbike movies needed to evolve into that direction, and I needed to evolve my own filmmaking into that direction too. So I rounded up the most volatile and well respected African freerider, the bushcat from Botswana, Alastair Sayer. 

Alastair has a jam packed schedule traveling around Europe doing shows for Masters of Dirt and competing in the Night of the Jumps series, thus we had to plan our shoot for when he returns to South Africa between events. The premise of the film was to depict the rider 'helmet off', getting a deeper perspective of what it takes to live this rock-star lifestyle, yet still with a healthy dose of great riding sequences. Alastair moved into my house for his time back home, and so did most of the production crew. We followed him almost Cinema Verte style from the moment he stepped off the plane till he left again. 

Jakalas, as his fans know him by, was going through a huge personal battle at the time. He was at a turning point in his career, where he either had to progress to the next level, or quit completely. Each time he left home he risked his relationship with close family and friends. Being away from your loved ones for long periods takes its toll on the toughest of characters. Alastair beautifully narrated his journey and the choices he made. After five weeks of shooting, and an all night session in the voice over studio later, we said our goodbyes and he was off on another adventure. Days later he set the new World Record for set-up and was awarded the best African FMX rider. 

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

I grew up racing motorcycles, broke too many bones and had to find something else I could do creatively while healing up. Shooting my buddies ride was always my passion, and still is. After making some dirtbike movies, I completed my studies at film school and now I'm very fortunate to still be making motorcycle movies, its not really a job. Thats why I love it so much.

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

The weather played a big role in the production of this film. We went into production during spring, just as the summer thunderstorms started rolling into Johannesburg. We planned an epic sunset freeride session but day after day we got rained out, and our time with Alastair was also running out. But eventually the bad weather turned into a metaphor for Alastairs personal struggles, so I wrote it into the film. On the second to last day of shooting, we headed out to his favorite freeride spot and the clouds magically parted for us to shoot the most epic sunset sequence. And in his own words, "Every day is a gift, that is why they call it the Present".

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

I try to ride my motorcycle as much as I can. I've just recently had most of the titanium plates and bolts removed from my body, and hope to be injury free for a while. Other than that I'm currently making Extreme Enduro movies for Throttle Entertainment and traveling the world in search of new stories.

______________________________________________________________

THE LONE JACKAL screens with two other films as part of the ACTION SPORTS SHORTS SHOWCASE Saturday, April 30 at 11 AM in the Triangle Square Theater 4.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/thelonejackal_jonathangrantwheeler_newportbeach2011

Watch the trailer for the film here:

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Lisa Gossels

By Kelly Strodl
Pastedgraphic-1

Today we talk with Lisa Gossels, director of My So-Called Enemy, the coming of age story of six Palestinian and Israeli teenage girls who travel to the U.S. to participate in a women's leadership program called Building Bridges for Peace and the transformative journey that follows both in the program and upon their return to their native countries. In July 2002, 22 women came to the U.S. to participate in the program, and during their time learned to reconcile their experience in the program with the realities of life back home in the Middle East over the next 7 years. What unfolds is an emotionally-charged film about the human consequences of all conflicts--as seen through the eyes of 6 young women who are thoughtful, intelligent and articulate beyond their years.

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

From Steve Shor, a Film Festival Advisor to the Newport Beach Film Festival.

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

When I started making "My So-Called Enemy" in 2002, I had no idea how long it would take to make the movie, or how transformative the 8-year journey would be.  I did not make the film with any answers;  the process was all about asking questions. 

Right after 9/11, I remember engaging in heated political debates about the Israeli/Palestinian conflict.  I came to understand how wars could be fought on words and how easy it is to reduce conflicts to black and white terms. 

Two months earlier, I had the privilege of meeting Melodye Feldman, the founder of Seeking Common Ground (and its Building Bridges for Peace flagship program), at a Coalition for the Advancement of Jewish Education conference (CAJE) in Denver.  Melodye shared the stage with some Palestinian and Israeli participants from her 2001 summer program.  I was so taken by the stories from the teenage girls about how the program had changed them that I knew I had found the subject-matter for my next film. "My So-Called Enemy" was never a film about an idea, but about young people. And, I loved the idea that those young people were women, because, as Nicholas Kristof once wrote, "focusing on women and girls is the most effective way to fight global poverty and extremism."

While the first act of "My So-Called Enemy" takes place in the emotionallly charged 2002 Building Bridges program, to me the film is really about what happens to the six participants when they return home to the Middle East over the next 7 years.

Q.  What is the core message of your film? 

The central message of "My So-Called Enemy" is the transformative power of knowing  "the other," or "the enemy," as a human being.  Through the stories of the young Israeli, Palestinian and Palestinian Israeli women in the film, we see how creating relationships across emotional, ideological and physical borders is a first step towards resolving conflict.  Because "My So-Called Enemy" is an emotional journey, it opens hearts and minds and creates the space for dialogue about not only the Israeli/Palestinian conflict, but issues that divide us in our families, schools and communities.  By watching "My So-Called Enemy," viewers will see the complexities of the Israeli/Palestinian conflict through a human lens--and the possibility and hope that comes from listening to each other's stories.

Q: Your take on the main characters in your movie (set backs, triumphs, impressions, good surprises, etc.)

Adi, Gal, Hanin, Inas, Rawan and Rezan, the main characters in "My So-Called Enemy," were teenagers when I first started filming them.  Because they live in a conflict region, it took a great deal of courage for them to participate in the movie.  While we had some access issues of where we could film some of the girls, particularly the Palestinians, all of them opened their hearts, minds and lives to our cameras.  Because films can be very manipulative and will be seen by mass audiences, we have an awesome responsibility as  documentarians to not only convey the personal truths of our subjects, but to honor the trust they have bestowed upon us--with the understanding that will have to live in their societies with the final film.  We were always careful to respect not only the girls' dignity, but their personal safety.  We never created high drama, or humorous moments, at their expense.  The young women in "My So-Called Enemy" are my hope. They all have become my family.

_____________________________________________________________________

MY SO-CALLED ENEMY screens on Sunday, May 1 at 1 PM at the Triangle Square Theater 3. And Wednesday, May 4 at 3:30 PM at the Regency Lido Theater.

Click on link below to watch a sample of the film:

Click below to buy tickets for the film:

http://newportbeach.slated.com/2011/films/mysocalledenemy_lisagossels_newportbeach2011

Or for more information on the film and program, follow the links below:

www.mysocalledenemy.com

www.facebook.com/mysocalledenemy

www.s-c-g.org

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Alison Mason

By Kelly Strodl

Pastedgraphic-3

Today we talk with Alison Mason, director and writer of Finding Jenua, a tale of love, loss and finding your place in the world. A drama with mystery that's told in an unconventional way, unraveling like a memory and tying us back together with the simple beauty of human connection.

Edie chain smokes, bites her fingernails, smashes her foot down on the gas pedal – she lives life fast. And as life whirls by her she likes it that way. Jean sits at the kitchen table for hours. She can still smell the Christmas tree, and hear the faint sounds of her husband and child, but they’re gone. The house is empty. She wanders in search of something familiar and finds it when Edie blows into town. Cal works at the local diner and motel. Squirming under his overbearing mother's thumb, Cal dreams of leaving town and making new memories.

When their lives intersect, the past finds them all and forces them to face their truth.

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

Well, the festival has such a great reputation, so that proceeds this story for sure.  But, last year I volunteered at the Feel Good Film Festival in Hollywood and so there I was working the red carpet and of course, a bird poops on my head.  The irony, right?  At a feel good festival.  So, I was laughing about it and so were a bunch of other people around me; two of which happened to be from the Newport Beach Film Festival.  Once I got over my embarrassment, I told them about my film and they told me to submit.  You know, a slew of people told me that getting pooped on by a bird was good luck.  I now believe it.  

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

I wrote the script over ten years ago while living in North Carolina with my husband, Brian.  We moved into a house that an elderly woman owned and subsequently we had to put all of her belongings into one room of the house so we could move our things in.  We came across her pictures, letters... bits of her life that seemed to be amazing.  I couldn't help but think of her sitting in one room of a nursing home while her memories sat in another, just out of reach -- literally and figuratively -- she had dementia.  Circumstances prevented us from visiting her and our stay there was brief, but the whole experience really affected me and, well, I guess the story was born from that.  And when the first draft of FINDING JENUA was optioned by a Hollywood director, we sold everything we owned and headed West... with big, big dreams and only a few thousand dollars.  

And the roller coaster ride began immediately.  A list stars signed on and then the funding would fall through -- it was the same old Hollywood sob story -- but this one lasted for ten years!  We don't know how to give up and decided it was time to make FINDING JENUA ourselves.  So, a with a few really good friends (Jack, Holly, Ben) and a bank loan, that's what we did.  Our parents co-signed said bank loan, wrote loaner checks and ultimately believed and invested in us, otherwise this wouldn't have been possible.  So armed with our micro-budget, we just kept inching forward (begging a lot and learning as we went) until we were actually filming.  I'll never forget yelling" action" on the first day.  I think I cried.   

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

I was born in Philly and grew up half in a small town in PA and the other half in a small town in North Carolina.  I was raised by my amazing mother who gave me a strong work ethic and always told me that I could do anything.  And she gave me books -- lots and lots of books.  I think that small town, can do attitude and an imagination ignited by reading set my foundation and not only allowed me to dream, but to put stock in those dreams.  It wasn't a cake walk, I worked really hard, usually working two or three jobs while pursuing acting, but I kept my eye on the prize.  And when I met Brian, well, let's just say that two dreamers can be dangerous!  He was a musician and we just fueled each other... we still do.  He believed the most when I didn't and he just never let me give up.  So, after ten years of waiting for someone else to give us permission to make our dreams come true, we green-lit ourselves. My husband produced FINDING JENUA with me, made his acting debut and he even wrote music for the trailer, not to mention craft services, production accounting, etc.  It took us another two years to actually finish the film, but we did!  And now we're paying a mortgage on our movie while living in a one bedroom apartment.  Who says independent filmmaking isn't glamorous?!?!   But, we're incredibly grateful that FINDING JENUA is really starting to get noticed and that all of our hard work is starting to pay off!!  Honestly, we couldn't be happier! 

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

Gayle James and Leigh Rose.  Wow.  These two women astounded me. They really did.  I had known Leigh for about five years and she had followed along on the FINDING JENUA roller coaster ride, hearing about stars who were attached to play "her part," as she used to put it.  I secretly dreamed of directing it and she... well, it was no secret that she wanted to play Jean, but for years we both just watched the project as it seemed to have a life of its own.  I'll never forget calling her and telling her that we were making the film and that I wanted her to audition with Gayle.  Leigh has the greatest laugh and just kept saying "fabulous."  And I have to say that the audition was magical.  In fact, they're the only two that I audidioned for the roles.  I knew right away.  Okay well, if I'm honest, when I met Gayle she was blonde and I struggled to see the Edie in her.  But, there was something about her that I couldn't shake, and if you know Gayle, you know what I'm talking about, she's infectious, but the polar opposite of Edie.  So, I called her back.  And she really brought it.  The part was hers.  Then I asked her to dye her hair, bite her fingernails off and live in her car.  And she did.  She was so open and honest... it broke my heart (in the very best way).  And as for Leigh.... there really are no words for that kind of talent.  They're both pros and now part of our family.

And that goes for Jordan Mantell and Christine Kellogg-Darrin, too.  I can't tell you how amazing it was to work with them.  When they met at the audition, they hugged like they had known each other forever.  Incredible, those two.  The scene they did with the file rocked our little crew... we all needed to hug afterwards.  And I can't forget Brian Mason, who got the part because our reader didn't show up.   He read opposite Jordan and their chemistry was ridiculous.  I figured well, it's one less mouth to feed on the set!  In all seriousness, they are all extremely talented and generous and brave and I really couldn't be more proud of them and their work.  I have to say that one of the greatest gifts of my life was to see the characters that I created so long ago come to life through Gayle, Leigh, Jordan, Christine and Brian.  How do you thank someone for that?        

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

I'm a screenwriter and I teach an advanced acting class at AFI for the SAG Conservatory. I also do private acting coaching/workshops. I also produce films, edit and sell blood and plasma when necessary. Kidding.  It hasn't come to that yet thanks to Brian's day job.  He's my hero.   

__________________________________________________________________

FINDING JENUA screens Sunday, May 1, at 5:30 PM at the Triangle Square Theater 2.

To watch the trailer and buy tickets follow the link below: 

http://newportbeach.slated.com/2011/films/findingjenua_alisonmason_newportbeach2011

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Curt Wallin

By Kelly Strodl

Boys_o_bonneville_poster_800

Today we talk with Curt Wallin, director of Boys of Bonneville: Racing on a Ribbon of Salt. The documentary tells the story of unsung hero, David Abbott Jenkins, who set out to single-handedly break every existing land speed record on his beloved Bonneville Salt Flats, in Utah.

With an unshakable faith and integrity, Jenkins set out to break every existing land speed record and then establish several endurance records of his own. In remarkable vintage footage shot on the Bonneville Salt Flats, Ab can be seen piloting his own car in 24-hour endurance runs through vintage newsreels, photos, interviews and letters. Although suffering exhaustion, hallucinations, and injury, he never left the cockpit. His 24-hour records remain unchallenged for half a century. Seventy years later, the legacy lives on through his son, Marv, and his car - the now reconstructed 12-cylinder, 4800-pound “Meteor III.”

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

I heard about the Newport Beach Film Festival a few years back, when a short film called “Courage and Stupidity” won the Audience Award at NBFF.  I was the Assistant Director for the film.

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

The film tells the story of Ab Jenkins, the first man with the idea to use the Bonneville Salt Flats as a location for endurance land speed racing.  After more than two decades of dreaming, Ab worked himself into position – seized his chance -  and as a result  broke all endurance land speed records and set the standard for this type of racing throughout the 1930’s and 40’s.  With the help of one of the world’s greatest automotive engineers,  Augie Duesenberg, he created the Mormon Meteor III race car, which remains one of the most iconic racing vehicles ever built.  Ab also attracted international racers to the salt flats thru his own tireless PR efforts, opening this unique speed venue for all the world to come and conquer.  

Originally, we were commissioned by the Price Museum of Speed in Salt Lake City, Utah, to produce a simple 20-minute account of the restoration of the Mormon Meteor’s original 1924 12-cylinder airplane engine.  While meeting with Marv Jenkins, Ab’s elderly, surviving son at his house in St. George, Utah, we found thousands of feet of archival motion pictures of Ab’s exploits from the 30’s and 40’s.  This seemed to be unique footage that had not seen the light of day for decades.  Intrigued, we arranged to have the film transferred and preserved - and the idea for “Boys of Bonneville” evolved around this copious mass of amazingly shot footage. 

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

I’ve been a director of photography for 15 years, and have been fortunate to learn about the craft by being around some truly great filmmakers as I worked on projects, ranging from wildlife documentaries to crazy TV series.  Through personal connections, I learned about this project and was brought on board early on.  It has truly been a dream project, being able to shoot, direct and after nearly 4 years produce this film that combines amazing history, phenomenal footage - both archival and modern - and a story that captures the emotions and the imagination of everyone, not just people interested in cars and racing.
Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Our narrator Patrick Dempsey, the voice of Ab Jenkins, had to step out of the standard third person historical documentary narration and bring Ab to life as a living, breathing character.  He was extremely enthusiastic, hardworking, and did a fantastic job.  Patrick is an auto racer himself (his team took third at this year’s 24 Hours of Daytona race!) so he really got the story, and what Ab must have been going thru more than 75 years ago. 

It was also an untold pleasure to sit amongst Jay Leno’s stellar collection of world-class cars and “talk shop.”  His knowledge of cars and automotive history is deep.  He was very, very gracious. 

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

I work on other people’s smash indie films.  

_________________________________________________________________

BOYS OF BONNEVILLE screens Wednesday, May 4, at 6 PM at the Triangle Square Theater 7.

Buy tickets here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=355266

Or watch the trailer on YouTube, here:

Posted by Kelly Strodl