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 Grant Wheeler

By Kelly Strodl

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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.

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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
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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.

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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

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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.   

__________________________________________________________________

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 Richard Gabai

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By Kelly Strodl

For today’s edition of Filmmaker’s Five I spoke with Richard Gabai, director of Insight, a thrilling story of altered states of mind and messages from beyond! While ER nurse Kaitlyn attempts to resuscitate a critically wounded stabbing victim, she is accidentally electrocuted with a defibrillator and nearly killed. After recovering from the shock, Kaitlyn starts to experience memories that are not her own. Haunted by visions of a crime that ended an innocent woman's life, she takes it upon herself to try and solve the grisly murder and unravel a terrifying mystery that threatens her own sanity. 

Teaming up with the detective on the case, Kaitlyn begins to weave her way through the victim's past – discovering as much about herself as the crime she’s seeking to solve.

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

Adam Gentry from the Festival called inviting me to submit the film - telling me that they'd "heard about it" - very mysterious...

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

The film follows Kaitlyn (Natalie Zea from TV's "Justified") as she tries to unravel the mystery behind a seemingly random murder. Over a dozen witnesses saw the crime but nobody called the police. Kaitlyn is having visions of the grisly murder and also dealing with her mother's illness; the pressure of it all is getting to her and she thinks she may be losing her mind. Kaitlyn teams up with Detective Peter Rafferty (Sean Patrick Flanery) and discovers the crime might not be as random as it seems. There is a slew of potential suspects including the creepy neighbor (Christopher Lloyd), the ex boyfriend (Thomas Ian Nicolas) or her former therapist (Adam Baldwin)


The script was brought to me by my Dp Scott Peck. I read it in one go which for me is rare. Right away I wanted to make the film - it's much more than a murder mystery. The writers I think really succeeded in exploring some of the questions we all have a bout life, death, what is real, and what isn't.

We shot the film in 15 days, so the art department, lead by my super talented designer Gabor Norman, and Scott and the camera/lighting crew really had to bust it out.

Post was no easier. Jeff Murphy my editor and Otis Van Osten and our post sound department worked tirelessly.

Film is arguably the most collaborative art. If not for everybody's complete dedication, the movie wouldn't have worked.

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

I was born in New York but raised in Southern California. I started my career as an actor but quickly figured out that I wanted to make movies. I directed my first film (Assault of the Party Nerds) 22 years ago which starred me and my friends and featured music recorded by my high school rock band "The Checks". As ridiculous as that film seems to me now - that is what got me in the business and I've never looked back. All I've ever done for a living is make films, act, and record music. I am extremely lucky. I have a normal middle class life with a wife and 3 kids. Needless to say it is extremely difficult (like almost impossible) to make a living and the business seems to be getting harder for independents every year.

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

I am very lucky to have this group of actors and actresses in my film. My casting director Billy DaMota did a brilliant job helping me put the cast together. I had worked with Christopher Lloyd last year on "Call of the Wild 3D," and we had become friends so when I read the script I sent it right over to him.

It is incredible to me that I have the honor of calling a gentleman like him my friend. My kids knew him as "someone that worked with Daddy" but after they saw "Back to the Future" that all changed :)

We didn't read anybody for the film we just made offers to people that we felt were right for the roles. One by one the cast fell into place like it was meant to happen. The script I think is what attracted them - I can promise you it wasn't the money :)

The performance that Veronica Cartwright delivers in this film in my biased opinion is award worthy. She is just wonderful as Patricia, Kaitlyn's ailing mother.

Truthfully I don't think any of the performers missed a beat. Sean and Natalie are so compelling and believable - I really think the audience will take the ride with them. We are all excited to see the film with an audience for the first time.

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

I am making non-smash indie films :)

INSIGHT screens on Saturday, April 30 at 7:30 PM at the Triangle Square Theater 2. And Thursday, May 5 at 7:30 PM at the Triangle Square Theater 6. Cast and crew will be at the screening for a Q&A following the film.

Buy tickets for Saturday’s showing here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=355330

Buy tickets for Thursday’s showing here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=355331

Or watch the trailer on YouTube, here:

Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Kevin Van Hagen and Drew Pierce

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By Kelly Strodl

Yup, you know what this means... We're back with the 2011 edition of NBFF Filmmaker's Five a quick and quirky Q&A with independent filmmakers showing their films at the festival each year. For our kickoff edition, I talked with producer Kevin Van Hagen and director Drew Pierce – of DEADHEADS, a postmodern take on the buddy flick, where the two friends just happen to be two inexplicably coherent zombies!

Reminiscent of such 80’s-epics as Goonies, TeenWolf, My Best Friend’s a Vampire, and the like, the story follows two slackers, Mike and Brent, who find themselves surprisingly un-dead amid a disastrous zombie outbreak. After discovering an engagement ring in his coat pocket, Mike enlists his new found zombie pal, Brent, to embark on a quest in search of his lost love. So they’re undead, that doesn’t mean the two can’t embark on a road trip adventure of Goonies proportions – full of high jinks, awkward reunions,  and a search for lost love, unaware that they are being pursued by ruthless, zombie-killing bounty hunters!

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

It had been recommended to us and we'd read an article about the 10 best fests that were worth the price of submission and Newport was up there. Advice to any new filmmakers like ourselves, budget for festival submission costs and do your homework about which ones are worth it. 

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

It's a zombie/buddy/road trip/action/adventure/romantic comedy. Say that three times fast! It's about two zombie pals newly risen from the dead, Mike and Brent, whom embark on a cross country road in search of Mike's lost love as they are pursued by a team of ruthless bounty hunters. After moving to LA to pursue our dreams we quickly entered the lovely world of production assistant employment. Drew came up with the idea of a zombie buddy film andI chimed in with the lost love angle and we started burning the midnight oil on draft after draft of the script out of fear of becoming permanent PA's. 

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

Drew and I grew up amid the production of EVIL DEAD as kids, our father was the visual FX artist on it. Watching Sam Raimi and the guys spin out their crazy horror/comedy flick got us itching to do the same. We made some zero budget indie films with our friends back in our home state of Michigan and that was our film school. Every weekend someone was shooting something and if you didn't show up to lend a hand (or your camera) you weren't pulling your weight. 

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

Our cast is amazing. Michael McKiddy and Ross Kidder are our zombie comedy duo and it kills me that others haven't picked up on these two yet. Mike and Ross are the type of actors you pray you get. They never flinched that we shot 10 weeks/6 days a week, covered them in fake blood, and rigged them with explosive squibs. Truth is, they wanted to be there just as much as us, they believed in us and the movie. I remember one night we we're setting up for this beautiful wide shot of an old creepy barn with encroaching zombies, and there's Mike next to me in full makup and costume. He looked at me and said with a smile "I can't believe we're doing this!" That makes me smile even to this day. 

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

I'm a production coordinator on a reality TV series and my brother is a freelance animator. After work it's still a full time job on DEADHEADS. The battle for distribution is an entirely different monster and applying to fests can be very up and down emotionally but you just keep moving forward. Making movies is a series of insurmountable problems but it's also the most fun we've ever had in our lives.

DEADHEADS screens on Friday, April 29 at 8:15 PM at the Triangle Square Theater 1. And Tuesday, May 2 at 7:45 PM at the Triangle Square Theater 6.

The Friday show has already sold out, but there are still tickets available for the Tuesday screening.

Purchase tickets here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=358115


Or watch the trailer on YouTube, here:

Posted by Kelly Strodl
 

The NBFF 2011 Official Line UP

The time has come film-frienzied followers for the 12th annual Newport Beach Film Festival. Boasting yet again, a slew of high-quality film, fancy fare, and pimped-out partying, it's sure to be an event for the books. 

Eight days and nights filled with more than 350 films, many starring big names the likes of Lucy Liu, Michael C. Hall, Peter Fonda, Colin Hanks, Harvey Keitel, and more... Spotlight parties that have earned their own reputations as high-quality industry networking events and just a plain good old fashioned time. Food from more than 30 of this international destination's most illustrious eateries. Old friends and new – plus, dancing, drinks, the Southern California sun await the thousands expected to visit this April 28th through May 5, 2011.

With less than a month to go before Opening Night, there will be a ton of giveaways, deals and special announcements to be found right here: 

For starters...

Right now you can sign up to win a pair of ALL ACCESS Passes to the fest through OC Weekly. Valued at $450 each, these laminated golden keys will gain you entrance to all parties, films, social events, free food, drinks, networking and special events you can imagine.

Make sure to get started planning your week, to catch the best of the best in film, fun and entertainment. With several than 350 films and 10+ evening events planned, plus a slew of workshop and the the like there's a lot to pack in to eight days. 

Flip through this year's NBFF Program e-booklet for a peek at all the happenings. (No trees were harmed in the making of this program).

- @kelly4nia your film fest corespondent
Posted by Kelly Strodl
 

NBFF Filmmaker's Five with Nicolas Simonin

By Kelly Strodl

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Today I spoke with Nicolas Simonin, director of the short film DERAILED. The film, part of a collection of short films called DETOUR.FR, a project that will take the watcher into a dark side of Paris. In DERAILED, An anonymous man finds himself lost on the no man's land of railways in a strange train station at night, in Paris, as he tries to help a woman. A woman who is not all that she seems. 

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

I heard about the New Port Beach Festival few months ago in France while I was searching for Festivals to submit my movie to. I found the previous selection of movie interesting and the place really great. New Port Beach is a really nice set for Networking and for enjoying movies.

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

DERAILED is part of a collection of short stories I wrote a year ago. My goal is to make one or two shorts per year. All the stories share the same concept: “a dark story happens the same night in a large western city like Paris, London, or Sao Paolo”. What’s important is, it always starts with a simple situation that turns to scary life-to-death situation. I am currently working on the feature version of the short ‘DERAILED’.

Making an Horror movie on real locations was very challenging but it worth it. With DERAILED I had to deal with a lot of elements: the weather, the windy cold, the security of the set and of the actors. My first DA fainted the second day of the shooting. I had no choice but to continue shooting the movie without DA. But at the end, we had amazing images and a really scary atmosphere…as scary as it was on the real set.

Q: Tell a little about yourself and your story in filmmaking.
DERAILED is my second short movie. I am a ‘traveling’ film maker. I did my first short in Argentina few years ago. Then with DERAILED I moved to the United States. I am originally an Engineer who switches 8 years ago for a career in the movie industry.

I have been working as a producer assistant in France for 3 years, then as a professional screenwriter for the French TV networks for 5 years. Now I am moving my career toward the Feature movie industry with a first movie in development in France and a lot of projects here in the US. DERAILED is my first success with already 5 official selections since January and two Awards (Honor Award at the NPB Festival and “Best Foreign Film” at the Fearless Film Festival Forth Worth, Texas).

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

Hubert Benhamdine is a well known actor in France. He has done lot of TV shows. His physical performance on the set was so great. He did all the stunt performances. He was so involved physically on the set, that the last day Hubert’s legs were almost paralyzed by the cold.

Julie Louart who plays the Creature of the rail tracks, did an amazing job. We did a lot of rehearsal to built the Creature gestures and movements. She stayed incredibly resistant to the cold. We filmed the movie during 4 cold winter nights in Paris and she was wearing almost nothing during the whole shooting.

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

By day, I work as a social media consultant and graphic designer. Internet has always been my thing since 6 years now. I also work as a professional TV screenwriter for France.

THE OFFICIAL WEBSITE OF THE FILM: www.DETOUR.FR I suggest Internet users have a look to www.detour.fr : we’re building an Interactive game that will allow Internet users to try to save the main character of the short from his curse. The game will start in late summer on this website. You can Join us on Facebook.

JOIN the film's Facebook group: http://www.facebook.com/group.php?gid=72869249417&ref=ss

Or check out the film's official blog www.aboutderailed.com

Find Simonin on IMDB:  http://www.imdb.com/name/nm2144991/resume

Posted by Kelly Strodl