NBFF Filmmaker's Five with Paul C. Barranco

By Kelly Strodl

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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 Robert Celestino

By Kelly Strodl

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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 Alison Mason

By Kelly Strodl

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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.   

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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

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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.  

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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
 

NBFF Filmmaker's Five with Jason Victor Everett

By Kelly Strodl 

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Today I spoke with Jason Victor Everett, director/writer/producer of the Sitdown, a short film showcased in the “Find Your Voice” set of films that screened the final day of the 2010 Newport Beach Film Festival. This short film asks the question: How do concerned foster parents cope with today's generation of violent wayward youth? What guidance can be offered to the adopted offspring of abusive homes and troubled streets? Perhaps delivering a few stern words is still the best place to start...

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

A:  We've been hearing good things about the festival from various sources for a while now, but the Newport Beach festival was portrayed in an especially good light in the documentary entitled "Official Rejection," which we saw about two months ago.  After attending this year, we can happily attest to the festival's rave reviews.  They really care a lot about the filmmakers and audiences at NBFF.

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

A: THE SITDOWN is a short comedic piece we put together in early 2009.  It's about a concerned foster parent providing advice to a troubled wayward youngster.  We shot it over the course of two weekends in my living room.

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

A: Seems like it's been a long road, since I had sort of an unfortunate detour along the way known as law school.  While working in the legal world in the years since graduation and trying to pay down huge student loans, I attended film classes at night and started up a small production company named Sound & Fury Productions.  We were lucky to start playing the festival circuit with THE SITDOWN in late 2009, which was the first short film out of that venture.  I also want to acknowledge the efforts of Olivia Lee, a very talented graphic designer by day, who helped immensely with THE SITDOWN in terms of both the production and promotional process.     

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

A:  Hmmm ... well given that the lead performance was from a non-actor (unfortunately yours truly), I'd have to say the acting was especially weak!   

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

A: Well, as I have a very very long way to go before ever making a "smash indie film," I'd say in my spare time (what is that? some kind of foreign concept?) I'm doing my best to hopefully make semi-competent short films.  But most of the time I'm working the non-film day job, which is both a blessing (glad to be working in this economy) and maybe a curse, since it takes up so much time and energy.  In sum, I truly believe I have consumed enough 5-Hour Energy over the past two years that I could be their official spokesperson by now.

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Danny Buday

By Kelly Strodl

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Today we talk with Danny Buday, director of FIVE STAR DAY, the Opening Night selection for the 2010 Newport Beach Film Festival – also the first local film to be chosen as the festival opener since the festival began in 1998.

In the film, Jake Gibson suffers a less than stellar birthday, when his world is turned upside down and all that could go wrong, does – to rub it in his horoscope forecast a perfect 'five star day.’ Determined that astrology has no legitimacy, Jake embarks on a journey to test the theory of astrology by finding the three people born the same time and place as himself. Jake's pursuit in finding his three astrological matches not only will test his convictions, but validate how life's unexpected twists of fate can deliver much more than the anticipated. What Jake learns along the way is an important lesson about life, love, fate and destiny that will unexpectedly change his life forever.

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

A: Both Mike Robertson (our Executive Producer/Producer) and myself have roots in the Orange County area so I first heard of the Newport Beach Film Festival a few years back. Also, I remember hearing good things about the festival while I was at AFI (American Film Institute).

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

A: FIVE STAR DAY is a journey film about a guy (Cam Gigandet) who sets out to disprove the theory of Astrology by finding the other three people born the same time and place as himself. I think what people are most surprised about when I initially tell them the premise of the film is that that it's not a comedy, given its Astrological theme. We filmed in Los Angeles, San Francisco, Chicago, New York and Atlantic CIty on a very tight shooting schedule, so production was like an amazingly organized traveling circus.

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

A: I grew up in Chicago till my family moved to Southern California, where I went to high school in Huntington Beach (Marina High '95). When I finished up undergrad at Cal State Long Beach ('99) I moved up to L.A. and graduated from AFI's (American Film Institute) directing program in 2005. After shorts and music videos along the road to the first feature, Five Star Day is my feature film debut.

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

A: Both Cam Gigandet and Jena Malone were amazing to work with. Cam is a focused and quiet perfectionist, and Jena is a magically improvisational wonder to watch act.

They both gave strong performances in the film. I'm definitely excited to have people see Cam as a 'good guy' character. And Jena as a single-mother is so subtle and touching. Brooklyn Sudano is also amazing, but I think Max Hartman's breakout role as an Atlantic City lounge-singer is going surprise a lot of people.

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

A: I'm a self-admitted workaholic, so it's rare that I'm not locked up working on some project, but in my spare time I enjoy hanging out with my family and friends, playing music; basically getting into as much trouble as possible.

FIVE STAR DAY is the Opening Night film, showing at 7:30 PM on Thursday, April 22 at the Edwards Big Newport Theater.

Plus join the filmmakers and other celebs, VIPs, and more at the OPENING NIGHT GALA in the Bloomingdale's courtyard in Fashion Island. The night's festivities features a performance of Cirque du Soleil's Mystère, a fashion show put on by Fashion Island, food from acclaimed Newport Beach area restaurants, and an Open Bar hosted by Absolut Vodka and Stella Artois and Perrier.

Dress: Cocktail attire, black tie optional. Age: 21 & Over

Buy tickets for FIVE STAR DAY here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=256819

Watch the trailer here:

http://www.facebook.com/l/2f8c2;www.youtube.com/watch?v=lIhxSlLgdiw

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Larry Brand

By Kelly Strodl

Christina

Today we talk with Larry Brand Director/Screenwriter of CHRISTINA, a film inspired by the true story of a young German woman who must confront a dark secret before she can start a new life in America. As the young woman prepares to leave her war-ravaged city to begin a new life in the U.S. with her G.I. fiance - standing between her and a hopeful future is a relentless police inspector, determined to prevent her from escaping the past. He pushes her to face the truth about a child, whose secret the woman has kept all this time. Before she can leave for her new life, she will be forced to confront the past she's been trying to leave behind. 

Q: How did you hear about the Newport Beach Film Festival?
A: My executive producers, Rebecca Reynolds and Jim Carpenter, heard about it through our producers’ rep, Noor Ahmed, who’s a longtime fan of the festival. Noor thought it would be an excellent venue to premiere our film.

Q: Tell a little about the story of your film and the production of it.
A: Years ago, a family friend told me a story about an American GI who became involved with a young German woman just after the end of the war. As their relationship unfolded he learned, painfully, that she was not what she had appeared, and in fact stood accused of a monstrous act committed in the shadows of the greater carnage. I’d always been fascinated by World War II, but wasn’t particularly interested in doing a traditional war movie; personal, intimate crime is inherently more intriguing to me than the spectacle of battle. The story of CHRISTINA, its constantly shifting narratives, its layering of truth and half-truth, its real-time pacing and cinematic intimacy, offered a way to shrink down to human scale the unapproachable vastness of a war that took fifty million lives.

Q: Tell a little about yourself and your story in filmmaking.
A: Like most filmmakers, I loved movies as a kid, and can remember waiting for the next horror or monster flick to hit the Midway Theater in Forest Hills. Years later, when working for Roger Corman, I would recall how effective his THE PREMATURE BURIAL had been on me and my friends. But I was equally influenced by TV shows like “The Twilight Zone,” “The Outer Limits,” and “The Alfred Hitchcock Hour.” In fact, I can even see some Twilight Zone influences in CHRISTINA. Sometimes, I can almost imagine Rod Serling, standing just off the set, watching the story unfold....

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)
A: Nicki Aycox and Jordan Belfi seemed as if they were born to play the roles of Christina and Billy. Nicki has the ethereal quality of a living ghost, a survivor who doesn’t quite believe she’s made it into the present; Jordan captures the optimism and likeability of a WW II GI, certain the future is his for the taking. 

Berlin Police Inspector Reinhardt was the last to be cast and, when producer/cinematographer Kees Van Oostrum suggested Stephen Lang, I flew to New York to meet him. Though I knew of his reputation as an actor, I was a bit concerned about his physicality: he was a good decade younger than I’d imagined Reinhardt, and very muscular – he still looked like Col. Quaritch from AVATAR. But he told me not to worry, just to make sure wardrobe got him a suit one size too big for him. By the time he got to the set he’d undergone a complete transformation; he was unrecognizable. He looked stiff, almost frail, a good decade older. People were asking me where we found the “old German actor.” 

Q: What do you do when not making a smash indie film?
A:Well, sometimes I’m writing non-indie films. But, mostly, when I’m not making movies, I spend my time watching other people’s movies.

CHRISTINA screens at 7:30 PM on Friday, April 23 at the Edwards Island Theater 4.

Buy tickets here:

Watch the trailer for CHRISTINA here:

Posted by Kelly Strodl