universal film magazine issue 4

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Issue 4 of 2012 UniversalUniversal i lmFilm

Letters & E Mails Please ContributePlease send in your letters and stories [email protected]

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Editor

Creative Director

Proof Editors

Photographer

Marketing Director

Contributors

Magazine

TYRONE D MURPHY

DOM MURICU

TODD VOLZMICHELLE GOODEKATE SPATOLAPAUL PASTORPAUL WOODSLANNAH SAWYER DIGGINS

KEVIN A MURPHY

EV JOHNSON

PATRICIA J. PAWLAK PETER SHILLINGFORDROY BENSONRON GILBERTGAIL SPENCERLISA REZNIK ALISON ROSSZOE MOON

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Universal lm MagazineEmail: [email protected]: www.ufmag.org

About UFM The Universal Film Magazine isa free magazine that deliverspassionate and creative coverage

about the global lm and festivalcommunities. The publicationdiffers from the competition be-cause it is totally free.

It is the mission of the UniversalFilm Magazine to uphold ouruncompromising high standardsin professional journalism withcompelling stories that are unbi-

ased and fact-based.We are committed to the ad-vancement of the industry byproviding the very best in-depthfeatures and coverage that willhave a positive impact in theworld. We aim to give our readersmotivational and inspirationalstories that embrace the spirit ofindependent lm and festivalsand give them a voice in themedia.

Editor-in-Chief

Tyrone D Murphy

Copyright Notice:


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Contents

The Lone Ranger P.7

5

11

13

9

33

59

29

57

41

19

17

49

73

Orson Wells

INTERNATIONAL CONFEDERATIONOF ART CNEMA

RECENT FILM FESTIVALS

INSIDE THE PERFECT CIRCLE

JOHN FORD - his visual legacy

FILM FESTIVAL BOOTCAMP 3

STANLEY KUBRICK

ZOE MOON MONTLY HOROSCOPE

HOW TO IMPRESS A SCRIPT READER

BEN CAHAN

THE HOLLYWOOD GRAFFITI GOWN

RON GILBERTS MONTHLY COLUMN

EARNING YOUR KEEP

An interesting story My time with OrsonWells by Peter Shillingford

Documentary lm Inside the Perfect Circle: The Odyssey

Ron Gilbert writes about his recent travels toFilm Festivals

UFFO partners CICAE (3000 cinema network)announces new trailing schedule

White OMourn the cottage where theQuite Man was lmed in rural Ireland

Patricia J Pawlak is back with the next install-ment of her Film Festival Bootcamp series

Roy Benson writes about his work with leg-endary lmmaker Stanley Kubrick

Celebrity astrologist Zoe Moon gives hermonthly horoscope to UFM readers

Michelle Goode writes about work as a scriptreader

Industry legend Ben Cahan talks to UFM abouthis online screenwriters platform Talentville

Famous dress by emmy nominated designerswith 450 signatures of famous women

Actor, producer and journalist Ron Gilbert

writes about his exploits around the World

Earning your keep whilst in thecreative process by Gail Spenser

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FEATURED STORIES:

Secret of The Wings P.25

Ironman 3 P.3

Total Recall P.27


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Universal FilmIssue 4 of 2012

Following in the footsteps ofthe record-breaking MarvelStudios release Marvels TheAvengers, production on thehighly anticipated lm IronMan 3, directed by ShaneBlack, has commenced produc-tion in Wilmington, North Car-olina. The production schedulewill also include locations inRaleigh/Durham, North Caro-lina, Miami, Florida and China.

Based on the ever-popularMarvel comic book series, rstpublished in 1963, Iron Man3 returns Robert Downey Jr.(Iron Man, Marvels TheAvengers) as the iconic SuperHero character Tony Stark/IronMan along with Gwyneth Pal-trow (Iron Man, Iron Man 2,)as Pepper Potts, Don Cheadle(Iron Man 2) as James Rho-dey Rhodes and Jon Favreau(Iron Man, Iron Man 2) asHappy Hogan. Set for releasein the U.S. on May 3, 2013,Marvels Iron Man 3 marksthe second feature to be fullyowned, marketed and distrib-uted by Disney, which acquiredMarvel in 2009.

Iron Man 3 continues theepic, big-screen adventuresof the worlds favorite billion-aire inventor/Super Hero, TonyStark aka Iron Man. MarvelStudios President Kevin Feigeis producing the lm. Execu-tive producers on the projectinclude Jon Favreau, LouisDEsposito, Alan Fine, Stan Lee,Charles Newirth, Victoria Alon-

so, Stephen Broussard and DanMintz.The creative production teamon the lm includes two-timeOscar-winning director ofphotography John Toll, ASC(Braveheart, Legends ofthe Fall), production designerBill Brzeski (The Hangover,Due Date), editors Je ff reyFord, A.C.E. (Marvels TheAvengers, Captain America:The First Avenger) and PeterS. Elliot (Fantastic 4: Rise ofthe Silver Surfer), and cos-tume designer Louise Frogley(Quantum of Solace, Conta-gion).

Marvel Studios most recentlyproduced the critically ac-claimed Marvels The Aveng-ers, which set the all-time,domestic 3-day weekend boxoffi ce record at $207.4 million.The lm, which is currently inrelease, continues to shatterbox offi ce records and is TheWalt Disney Studios highest-grossing global and domesticrelease of all time and marksthe studios fth lm to grossmore than $1 billion world-wide.

In the summer of 2011, Marvelsuccessfully launched two newfranchises with Thor, starringChris Hemsworth, and CaptainAmerica: The First Avenger,starring Chris Evans. Both lmsopened #1 at the box o ffi ceand have grossed over $800million worldwide combined.

In 2010 Iron Man 2, starringRobert Downey Jr., GwynethPaltrow, Don Cheadle, ScarlettJohansson and Mickey Rourke,took the #1 spot in its rstweekend with a domestic boxoffi ce gross of $128.1 million.

In the summer of 2008, Marvelproduced the summer block-buster movies Iron Man andThe Incredible Hulk. IronMan, in which Robert DowneyJr. originally dons the SuperHeros powerful armor andstars alongside co-stars Ter-rence Howard, Je ff Bridges andGwyneth Paltrow, was releasedMay 2, 2008, and was an im-mediate box o ffi ce success.Garnering the number one po-sition for two weeks in a row,the lm brought in over $100million in its opening week-end. On June 13, 2008, Marvelreleased The Incredible Hulk,marking its second numberone opener of that summer.

Marvel Entertainment, LLC, awholly-owned subsidiary ofThe Walt Disney Company, isone of the worlds most promi-nent character-based enter-tainment companies, built ona proven library of over 8,000characters featured in a varietyof media over seventy years.Marvel utilizes its characterfranchises in entertainment,licensing and publishing. Formore information visit www.marvel.com.


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Issue 4 of 2012

Universal Film

ironman 3


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ORSON WELLSMy Time with Orson Wells

In the 1970s, Orson Welles was in-volved in a series of commercialsI produced for Christian BrothersWine Company. We will sell nowine before its time, was the

commercials tag line. The crew, however,took to creating its own catchphrase andwere soon heard saying, We will sell noswine until its brine.

Mr. Welles, being a rather large man, had

problems walking any great distance.The locations we scouted in Hollywoodhad to be both easily accessible for Mr.Welles and quickly adaptable for settingup a cocktail party venue. Additionally,we need to accommodate Orsons specialseat, a huge and heavily reinforced pianoseat, that was often centre stage.

The limousine would arrive at 10:00 amand Orson would roll out the back andtake his seat. By 4:00pm, he would usu-ally be nished, having been word perfectfor the length of the shoot. The creativeagency, however, was little pleased withMr. Welles, who often dismissed theirscript and worked from his own words.Lets face it, the man was a lm genius

be it in Citizen Kane, television or com-mercials.

During the many lunch breaks I sat withhim, he never ate and I would listen withan open mouth to his stories.

One of the last commercials we shot Or-son did not arrive until midday and verymuch the worst for wear. He had been lming in Las Vegas all night and they had

run over his allotted time. Being a con-summate professional he hung in thereand even rang us to say he would be late.Not a real problem with his usual wordperfect delivery.

In the limo down to the Hollywood loca-tion he took a sleeping pill to get at leasta few hours sleep but it never took e ff ectso he took another. When he arrived atnoon in the sleeping pill nally kicked in.The man was a shambles; he could hardlyspeak and the agency guys were consid-ering suing him.

After a couple of failed takes I, as pro-ducer, sent the agency guys o ff to lunch.I asked the owner of the mansion if we

could let Orson rest for a few hours in thehouse. . She was delighted and quicklyagreed. A day bed was prepared and Ihad the honour of stripping o ff the greatmans shirt and trousers. Somehow, hemanaged to wrap himself in a sheet andI tucked him in. At 3:00 pm Mr. Wellesappeared immaculate and word perfectand we nished the shoot at ve oclock.Thus, averting overtime and the fury ofthe agency. As the line producer on the

Academy Award winning lm Genocidewe had Orson with Elizabeth Taylor as thetwo voice overs. From this opportunitycame a lunch invitation from Mr. Welles todiscuss further voice over work in the UK.

Arriving for lunch I found him nishing hismeal with two other people. After theyleft he and I dined. I was dispatched at2:00 pm and two more people sat downwith him and he had the same lunch again.Soup, steak and fries and an apple crum-bleall washed down with champagne.

The man was amazing!

by Peter Shillingford


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Issue 4 of 2012Universal Film


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The Lone Ranger is an upcoming actionWestern lm directed by Gore Verbinskiand distributed by Walt Disney Pictures.The lm stars Armie Hammer in the leadrole and Johnny Depp as Tonto.

In March 2002, Columbia Pictures announced theirintention to make a Lone Ranger lm with ClassicMedia, who owned the lm rights at the time. Hus-band-and-wife producers Douglas Wick and LucyFisher joined the project. The tone was to be simi-lar to The Mask of Zorro, and Columbia suggestedthat Tonto be rewritten as a female love interest.The projected budget was set at $70 million. In May2003, David and Janet Peoples were hired to writethe script. By January 2005, the Peoples script wasrewritten by Laeta Kalogridis, with Jonathan Mos-tow to direct.Jerry Bruckheimer Films and Walt Disney Pictures

The Lone Ranger languished in development helluntil January 2007 when The Weinstein Companybecame interested in purchasing the lm rightsfrom Classic Media. However, the deal fell through,and Entertainment Rights eventually optioned theproperty. By May 2007, producer Jerry Bruckheimer(alongside Entertainment Rights) set the lm up at

TheLoneranger

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Walt Disney Pictures as Lone Ranger. Ted Elliott and Terry Ros-sio, who had worked with Bruckheimer and Disney on the Piratesof the Caribbean lm series, were being considered to write thescript. In late March 2008, Elliott and Rossio were in nal nego-tiations. Disney then announced in September 2008 that Johnny

Depp would be portraying Tonto.The Elliot/Rossio script had a supernatural tone, and has sincebeen rewritten by Justin Haythe. In May 2009, Mike Newell, whowas then directing Prince of Persia: The Sands of Time for Bruck-heimer and Disney, entered negotiations to direct Lone Ranger.However, Bruckheimer explained the following June that hewanted to wait on hiring a director until Newell completed Princeof Persia, and until Depp nished lming Pirates of the Carib-bean: On Stranger Tides. The priority is most de nitely Pirates4, Bruckheimer commented. They are going to cast the title roleonce they get a director and Disney greenlights. We dont have adirector yet. In September of 2010, Gore Verbinski was hired todirect. Filming was slated to begin after Depp nished work inDark Shadows. Actor Armie Hammer will play the role of the Lone

Ranger.On August 12, 2011, Disney announced that production on TheLone Ranger would be delayed due to budget concerns, and onAugust 15, 2011, it was revealed that The Lone Ranger had beenshelved for the foreseeable future due to said budgetary con-cerns, as well as the under-performance of another Western-gen-re lm, Cowboys & Aliens.

Addressing the projects production problems in October 2011,Disney con rmed that the lm was back on track after the budgetwas reworked to give the studio a chance to recoup its costs. Itwas reported that lming would begin on February 6, 2012 for aprojected release date of May 31, 2013, which was subsequently

moved to July 3, 2013.Filming commenced the rst week of March 2012 and on March8, the rst photograph of Armie Hammer as the Lone Ranger andJohnny Depp as Tonto was released.

Cinematographer Bojan Bazelli has been con rmed for shooting.Verbinski and Bazelli worked before in the successful horror lmThe Ring.Release

The lm was initially scheduled for a Summer 2011 release date,but Pirates of the Caribbean: On Stranger Tides replaced it, be-cause the latter was considered a priority for the studio and be-cause Lone Ranger did not have a director. After Gore Verbinski

signed for director, Lone Rangers release date was moved to De-cember 21, 2012. However, budget concerns and negotiations re-sulted in a production delay, so the release date shifted to May31, 2013. On May 31, 2012, the release date was pushed furtherforward to July 3, 2013, assuming the place of Disneys Robo-pocalypse for the July Fourth holiday weekend.

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ocals and fans from around theworld are rallying on the Face-book social network to renewthe dream of seeing the cottage

featured in John Fords classic mov-ie The Quiet Man, restored to its1952 cinematic beauty. Today, thestructure is barely recognizable as itlies in shambles neglected for 25years by its American owner.

For Paddy McCormick, from Belfastand now living in Toronto, this dreambegan in 1998. As an ardent fan ofJohn Ford he began what he termeda pilgrimage to visit the lm loca-tions of this magical movie. He wasdelighted to nd most of the loca-tions still remained just as they ap-peared on screen. Unfortunately hisdream trip fell short when he foundthe once perfect Irish cottage ofSean and Mary Kate Thornton lyingin total ruin, on a neglected farm lot.

In 1951 the Hollywood crew for Re-public Studios and famed DirectorJohn Ford descended on the quietlittle village of Cong in County Mayo,Ireland. Little did the locals realizethat in the weeks to follow lm his-tory was going to be made right intheir midst. You can only imaginethe excitement the lming had onthe population at the time. Of coursenot all of the villagers shared the en-thusiasm, but the endeavor did pro-vide many jobs for locals and quite achange of pace for all.

The village and surrounding areabecame a movie set for exteriorsof the lm The Quiet Man a lmthat would become known not onlyas one of John Fords greatest lms(and reportedly his own personal fa-vourite), but considered by many, amovie masterpiece.

The crew left in mid-July, 1951 andthe movie was released in 1952.It became a huge hit in the UnitedStates but, somewhat understand-ably, met with mixed reviews in Ire-land. Some objected to the stageIrish and others felt that one partic-

ular scene where Sean Thorntondrags Mary Kate across the country-side depicted the Irish as chauvin-istic and was an example of how theytreated women.

In the village of Cong, however, lo-cals soon learned that tourism wasincreasing to their area because ofthe lm and as the years passed,theygave tourists a great place to visit.They provided souvenir shops, toursof the lm sites, and Cohans Bar(which was originally a store) is nowre-designed as a replica of the Irishpub from the movie and open forbusiness. The spirit of The QuietMan still lives thanks to the localswho work hard to keep it alive.

Paddy McCormick has now set upWhite OMorn Foundation, a non-pro t organisation which is pursu-ing, in collaboration with severalinterested groups and the supportof the Irish Government, his dreamto bring the cottage featured in themovie back to life.

White OMorn Foundation Mission:To restore part of the wonderful vis-ual legacy that John Ford left us and

to highlight Fords strong links withIreland, both professionally, i.e. TheQuiet Man, and personally (his ori-gins in Spiddal, Co Galway, are per-

haps not so well known), and in sodoing, to honour Irelands enormouscontribution to cinema through theachievements of this great lm-mak-er.

A restored White OMorn, in the con-dition in which it was used as thecenterpiece of the movie, would beboth a living monument and a lastingtribute to Fords enormous stature. Itwould, indeed, be a living celebra-tion of Irelands preeminent place inmovie history, and of the countrysin uence on one of its most accom-plished sons.

A more tting icon cannot imagined:the perfect whitewashed Irish cot-tage, centerpiece of one of Fordsmost loved movies, and situated inthe vicinity of where his parents leftIreland for a new life across the At-lantic. Indeed, Ford once emotional-ly described the very same cottage,in symbolic terms, as ...the little cot-tage I was born in

White OMorn, restored to its 1951 lm glory would, we feel, be a way ofbringing John Ford back home to Ire-land and to his beloved Connemara.

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John Ford visual legacy


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he Feel Good Film Festival isright around the corner.

Coming August 3-5, 2012, wewill celebrate the Festivals 5thAnniversary. This lively, feel-good event will be arriving witha full schedule of lm screeningsaimed at both adult and familyaudiences that highlight positivethemes, and happy endings, makeaudiences laugh, and capture thebeauty of our world. The Festi-val, hosted by Laemmle NoHo7in North Hollywood, is dedicated

to provideing a platform for

lm-makers worldwide with positiveviews on life.

During the three-day event, 60 lms will be shown, including 15features, 32 shorts, and 13 stu-dent and future lmmakers lms.The Festival opens with the sig-nature Yellow Carpet Entrancesand an Opening Gala Party hostedby a celebrity. The Opening Nightfeature lm, Red Dog, won thecoveted Best Film award at theAustralian Academy of Cinemaand Television Arts in addition tomany other awards.

Throughout the weekend 18 sepa-rate lm screening blocks will ac-company an original screenplaycompetition, a screenplay paneldiscussion, a Saturday EveningGala, and a Closing Night AwardsGala, including a BBoy danceperformance, and celebrity host.Additionally, the Feel Good Film

Festival will represent elevencountries including the U.S, U.K,Switzerland, Italy, Spain, Australia,Germany, Austria, Belgium, CzechRepublic, and Israel.www.fg ff .org

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NEVER TO OLDAt 75 yrs old Patricia Weaver is breaking all the stereotypes! Weaver is producing a shortform documentary of TV quality lming older adults who were children during WWII. An in-teresting note, Weaver has never made a lm before. To quote her directly what a learningcurve! The lm is historical, the adults now in their 70s are speaking about a very fearfultime, a love of country and a feeling of unity. The lm will be available late 2012,2013,

The Dances with Films Film Festival has planted its footing along thestars on Hollywood Boulevard at the Mann Chinese theatre. Festivaldirectors Leslee Scallon and Michael Trent have moved this festivalinto the ranks of a festival to be reckoned with. As the saying goes theTruth is in the Pudding and after attending this festival now in itssecond day ,the theatre is packed to capacity which always make mehappy and it goes without saying that the lmmakers are also verypleased. I had not been to this festival in years and remember when itstarted out at the Laemmle theatres in Santa Monica and then movedto the Sunset 5 (which is now closed )in West Hollywood.This lmfestival is what the o former Sundance used to be like until it became

Sundance Hollywood.The opening night lm, Jeremy Fink and the Meaning of Life direct-ed by 3 time alum Tamar Halpern with Oscar winner Mira Sorvino andEmmy award winner Joe Pantoliano was the best choice for a kick-off . That lm was followed by Attack of the Bat Monsters which hadbeen shown in the 3rd year of the festival and has found distribution,which con rms the saying A winner never quits and a quitter neverwins.

On the second day of the festival, I was very fortunate to see Down-beat :A Collection of Music and Dance which featured music videosand dance lms and short documentaries and that series took me onboth an inspirational and emotional journey which was always lledwith laughter. I commented to the lmmakers and the festival direc-tors that that was one of the best collection of shorts that I had everseen and I have been to Sundance and all the other major festivals tobe able to make that statement.

Following that was the feature Dead Dad which had a comic ring toit even though the title clearly is was the lm is about.The lm wasshot on weekends and the cast of actors were truly convincing.

I am now looking forward to the 3rd day of the festival which openswith the lm ,Crocodile in the Yangtze and that will be followedby the short lm group competitions and the features The ExquisiteCorpse Project ,Liars,Fires and Bear,3 Days of Normal and end

with the

lm Disorientationwhich I am feeling at the moment.Dances with Films runs from May 31-June 7 at the Chinese theatre inHollywood so jog over and have some fun experiences

www.danceswith lms.com nt.

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Dances WithFilms Festival

Feel GoodFilm Festival

by Ron Gilbert


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U n i v e r s a l F i l m

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LOS ANGLES FILM FESTIVAL by Ron Gilbert

The opening day of The Los AngelesFilm Festival 2012 was full of excite-ment with fans packing the streets,watching the parade and honoringthe Stanley Cup champions.

However, movie fans were lookingforward to Oscar winner Woody Al-len appearing to present his roman-tic new lm To Rome with Love.Love was in the air all over Down-town Los Angeles with smiling Hol-lywood lm fans on the red carpet.

The LAFF directors were very smartto get this lm as their opener.Woody must have felt like he was inNYC being in the vicinity of the Sta-ples Center, Nokia , The ConventionCenter, and with the Regal Cinemasand L.A. Live across the street to TheRitz Carlton and The Marriott. Sortof like being on Central Park Westin NYC without Central Park. If thefestival sponsors had provided ahorse and carriage alongside a yel-low cab, Woody might have had aNew York moment. But hold on for amoment - his new lm was shot in

Rome, Italy and not Rome, New York.

Actors are always very happy to bein a Woody Allen lm because theymight win an Oscar, get a nomina-tion or a higher IMDb rating on ac-

count of the popularity of WoodyAllen movies.Woody is a hopelessromantic and love is always on hismind and in his movies. Sometimeshe even falls in love with the ac-tresses; he actually married Mia Far-row who was one of his stars.

At this years Film Festival talentedfemale cast members PenelopeCruz, Greta Gerwig, Alessandra Mas-tronardi and Simona Caparrini heat-ed up the red carpet. Film Independ-ent (FIND) has an excellent sta ff ofprogrammers for LAFF who pick thebest lms from Sundance, Berlin andCannes including indies and worldpremires. There are also numerouspanels led by icons in the lm indus-try who provide the most current in-formation on all aspects of making itin Hollywood.

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LITTLE BIG BOY

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Little Big Boy is a horror/com-edy that tells the story of ac-claimed horror lm directorJimmy Duncan, infamous for hispsychotic temper and his uniquebrand of exploitative movies.

Having witnessed the murder ofhis mother at the age of seven,Duncan grew up in an orphan-age and then worked his way upin the movie industry. Caughtup in the downward spiral of hisown success and surrounded bynegatives: movie reviewers whorefused to acknowledge his ob-vious talent, starlet wannabes

with zero ability to act, produc-ers with little patience, andthose who will exploit anyone tobecome famous in a soul-eatingindustry, we the lm followsJimmy while he is working onhis latest feature Death Stalk-er. The shoot quickly descendsinto insanity when his leadinglady leaves the production half-way through shooting the lm.Haunted by his childhood expe-riences, Duncan nds himself inan abyss from which there is noreturn.

Director Kim Snderholm aboutthe lm: Its probably gonnacause a lot of controversy and Iknow a lot of people are instant-ly gonna be turned o ff by it andhate it automatically, but I alsoknow the opposite to be true - Iknow a lot of people are gonna nd it hysterical and hopefullyeven thought provoking. So...Without further ado - make sure

you get the

lm! Release date isAugust 21, 2012 and the lm isalready available for pre-order atvarious webshops.


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custard pie ght between the American and Russian dip-lomats in the War Room, showing the futility of war. The lm had been completed and a nal graded print struck,when he decided to show it to a group of friends oneevening. I came in to the editing rooms the next day to

hear Stanley talking to an associate in the next room.It was clear that the person was not happy about

something in the lm. Next moment Stanley cameinto my room and said Roy, get the last reel of the lm, we are cutting out the custard pie sequence.I was amazed, and said no, you are not going do

that are you? He insisted, and it was my job toedit the sequence from the lm. It has never seen

the light of day since. My feelings are, that it was theperfect ending to the lm.

Below is an outline of Stanley Kubricks career, which islike no other Director in the realm of movies. A careerthat opened new doors to lmmaking that has taughtnew lmmakers what lmmaking is all about at the high-est level. A career that is a part of history within the his-

tory of

lm.Stanley Kubrick was born in New York, and was consid-ered intelligent despite poor grades at school. Hopingthat a change of scenery would produce better academicperformance, Kubricks father Jack (a physician ) sent

S tanley Kubrick remains one of cinemasmost controversial lm-makers of all time.Although he is one of the most acclaimed andcontroversial lmmakers of his generation, hewas also an intensely private man who rarely

gave interviews and produced most of his lmsunder a shroud of secrecy. This tended to fostera great deal of rumour and speculation abouthis working methods. He is remembered forhis relentless creative vision and his impor-tance and in uence as an artist.

I had the honour to work with Stanley on theproduction Dr Strangelove. Never have I learntso much about lmmaking in my career than during thistime. During the editing of the production I told Stanley Iwas going to make my own short lm. To my amazement,he sat down with me for two hours explaining how hestarted, suggesting I do the same. Get a stills camera andshoot stills constantly, that are the way you will learnabout camera set up and framing your subject. Shootthe whole lm mute and add in the dialogue and e ff ectslater, the way he had shot his rst feature Killers Kiss.

There is a lot of discussion with regard to the ending ofDr Strangelove. Stanley spent six weeks shooting thefamous custard pie sequence. The sequence was a

STANLEY KUBRICKLedgendary Film-makerbyRoy Benson

Roy, cut thecustard piescene

I had the honour to work with Stanley on the production Dr Strangelove ...




him in 1940 to Pasadena, California,to stay with his uncle Martin Perveler.Returning to the Bronx in 1941 forhis last year of grammar school, thereseemed to be little change in his at-titude or his results. Hoping to ndsomething to interest his son, Jackintroduced Stanley to chess, with thedesired result. Kubrick took to thegame passionately, and quickly be-came a skilled player. Jack Kubricksdecision to give his son a camera forhis thirteenth birthday would be aneven wiser move: Kubrick became anavid photographer, and would oftenmake trips around New York takingphotographs which he would de-velop in a friends darkroom. Afterselling an unsolicited photographto Look Magazine, Kubrick began to

associate with their staff

photogra-phers, and at the age of seven teenand was later o ff ered a job as anapprentice photographer.

In the next few years, Kubrick hadregular assignments for Look, andwould become a voracious movie-goer. Together with friend AlexanderSinger, Kubrick planned a move into lm, and in 1950 sank his savingsinto making the documentary Day OfThe Fight ( 1951 ) . This was followedby several short commissioned docu-mentaries Flying Padre ( 1 951 ) , andSeafarers, The ( 1952) , but by at-tracting investors and hustling chessgames in Central Park, Kubrick wasable to make Fear And Desire ( 1953)in California.

Filming this movie was not a happyexperience; Kubricks marriage tohigh school sweetheart Toba Metzdid not survive the shooting. Despitemixed reviews for the lm itself,Kubrick received good notices for

his obvious directorial talents. Ku-bricks next two lms Killers Kiss (1955) and The Killing (1956 )broughthim to the attention of Hollywood.In1957 he directed Kirk Douglas inPaths Of Glory(1 957 ).

Douglas later called upon Kubrickto take over the production of Spa-ratacus ( 1960 ) , by some accountshoping that Kubrick would be daunt-ed by the scale of the project andwould thus be accommodating. Thiswas not the case, however: Kubricktook charge of the project, imposinghis ideas and standards on the lm.Many crewmembers were upset byhis style: cinematographer RussellMetty complained to producers thatKubrick was taking over his job. Ku-

bricks response was to tell him to sitthere and do nothing.

Kubricks next project was to directMarlen Brande in One-Eyed Jacks (1961 ) , but negotiations broke downand Brande himself ended up direct-ing the lm himself. Disenchantedwith Hollywood and after anotherfailed marriage, Kubrick moved per-manently to England.

Kubricks rst UK lm was Lolita (1962), which was carefully con-structed and guided so as to not of-fend the censorship boards which atthe time had the power to severelydamage the commercial successof a lm. Dr. Strangelove: Or HowI Stopped Worrying And Love The

Bomb (1964) was a big risk for Ku-brick; before this, nuclear was notconsidered a subject for comedy.Originally written as a drama, Kubrickdecided that too many of the ideas hehad written were just too funny to betaken seriously. The lms critical andcommercial success allowed Kubrickthe nancial and artistic freedomto work on any project he desired.

The next lm he completed was col-laboration with sci- author ArthurC. Clarke. 2001: A Space Odyssey(1968) is hailed by many as the bestever made; an instant cult favorite,it has set the standard and tone formany science ction lms that fol-lowed. Kubrick followed this withA Clockwork Orange (1971) , whichrivaled Lolita (1962) for the contro-versy it generated - this time not foronly for its portrayal of sex, but alsoof violence. Barry Lyndon (1975)would prove a turning point in bothhis professional and private live. Hisunrelenting demands of commit-

ment and perfection of cast and crewhad by now become legendary.

Filming a story in Ireland involvingthe military, Kubrick received re-ports that the IRA had declared hima possible target. Production waspromptly moved out of the country,and Kubricks desire for privacy andsecurity have resulted in him beingconsidered a recluse ever since.

Having turned down directing a se-quel to The Exorcist (1973), Kubrickmade his own horror lm: The Shin-ing (1980). Again, rumors circulatedof demands made upon actors andcrew.

Kubricks subsequent work has been

well spaced: it was seven years be-fore Full Metal Jacket (1987) wasreleased. By this time, Kubrick wasmarried with children. Seen by onecritic as the dark side to the human-ist story of Platoon (1986) , Full MetalJacket (1987) continued Kubrickslegacy of solid critical acclaim, andpro t at the box o ffi ce.

In the 1990s, Kubrick began an on-again/o ff -again collaboration withBrian Aldiss on a new science ction lm called Arti cial Intelligence (AI), but progress was very slow, and Ku-brick returned to his in-developmentprojects, but encountered a numberof problems: Napoleon was com-pletely dead, and Wartime Lies(now called The Aryan Papers ) was

abandoned when Steven Spielbergannounced he would direct Schindlers List (1993 ) , which covered muchof the same material.

While pre-production work on AIcrawled along, Kubrick combinedRhapsody and Blue Movie and of- cially announced his next project asEyes Wide Shut (1999), starring thethen married Tom Cruise and NicoleKidman. After two years of produc-tion under unprecedented securityand privacy, the lm was released toa typically polarized critical and pub-lic reception; Kubrick claimed it washis best lm to date.

Special e ff ects technology had ma-tured rapidly in the meantime, andKubrick immediately began activework on Arti cial Intelligence: AI(20 01) , but tragically su ff ered a fatalheart attack in his sleep on March7th, 1999.

After Kubricks death, Spielberg re-

vealed that the two of them werefriends that frequently communi-cated discretely about the art of lmmaking; both had a large degreeof mutual respect for each otherswork. AI was frequently discussed;Kubrick even suggested that Spiel-berg should direct it as it was morehis type of project. Based on this re-lationship, Spielberg took over as the lms director and completed the lastKubrick project.

How much of Kubricks vision re-mains in the nished project-- andwhat he would think of the lm aseventually released -- will be the -nal great unanswerable mysteries inthe life of this talented and private lmmaker.


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I believe DMC is extremely powerful be-cause of its unique artistic presentationof the subject matter; you hear it, seeit and feel it...its like 3D poetry! Beng(Writer of DEAR MR CAMERON)

Rushes Soho Shorts 2011 award win-ner Kay Productions presents DEAR MRCAMERON (DMC). A ground breakingprovocative short lm inspired by the UKriots of August 2011. The lm was madewithout a budget from external investorsand everyone involved in the productionvolunteered their services and resourcesbecause they believed it was a worthy

project that questioned the status quoand promotes change in a dysfunctionalsociety.

The lm was shot in one day at the UnionChapel in Islington. The former church isan awardwinning venue and centre forthose homeless and in crisis in London.

The end credits song The Kids Dont PlayNo More by Mister Biscuit, features BBC2award winning songwriter Megan Hen-ward. The track generated 120,000 hitsin its rst month on YouTube. The origi-nal score was written by BAFTA nomi-

nated composer Andrew Barn Barnabas.Barn has created a score of great depththat perfectly captures the on-screenemotion.

The screenplay is based on the poemof the same name, written by formerrap artist Beng. Beng has worked withHip Hops nest including Erik Sermon,Method Man and Ludacris. He is currentlystage manager for Mastermind, one ofthe biggest music stages at the NottingHill Carnival. Last year he was responsi-ble for providing performances from ac-claimed artists including Mz Bratt, who

featured on The Children In Need Single2011 and Omar, nominee MOBO Best R &B / Soul Act 2011.

Beng wrote the poem in response to Brit-ains youth being labeled as Public en-emy no.1 by the media and governmentafter the riots. Although bold and seem-ingly confrontational, the poem does notseek to glorify the events or justify theactions of the rioters but instead o ff ersan opportunity for society to contem-plate a broader picture.

There was no discourse about the rootof the problem or the government andmedias part in creating a society wherethere is corruption at the highest lev-els. Young people feel they have no role

models in the countrys leaders (expens-es scandals), no trust in the media (news-paper hacking scandals) and absolutelyno con dence in the reckless & greedyBanks (Banks bailout and bonus scan-dals). There is a general breakdown ofmorals from people running the countryand people who create the media agen-da.

Since the poem was written, the feedbackhas been overwhelming with peoplesharing it, re- posting, blogging, forward-ing the piece and even wanting to start apetition. It is for this reason the DEAR MR

CAMERON

lm project was born.The lm was directed by award winningFilm and Music Video Director MartinDenham. Martin directed Kay Productionsshort lm The Off Site, winner at RushesSoho Shorts Festival 2011 and AAA NewMusic Awards Best Video for the Smith6079 song Kill Romeo in 2007. MartinsShakespearian vision brought Bengs po-etic words to life on the screen. Martins interpretation of the poem wasPrime Ministers Ques-tion Time in the House of

Commons with membersof the community fromall sections of society:middle classes, workingclasses, di ff erent racialbackgrounds and agesconfronting the PrimeMinister in response tothe riots. The perfor-mance has a theatricalstructure with the cast,recreating through propsand editing e ff ects, theoppressive state of soci-ety & the corruption and

hopelessness of theirsituation.

DMCs Producer and CEOof Kay Productions KarineAlexander has over 10years experiencein the TV & Film industry.She has worked with avariety of companies andindividuals includingSheepish Productions andthe Mastermind soundstage at Notting Hill Car-nival 2011. Her awardwinning credits includeshort lms The Off Site,Internet Bully for theAprilfest 24 hr lm chal-

lenge 2010 and best music video Think-ing of You by Jordan Mba, awarded bythe Beverly Hills TV, Film and New MediaFestival 2011.

DMC will be promoted online (dedicatedwebsite www.dearmrcameron.com, face-book page www.facebook.com/dearm-rcameron lm and twitter account @DMCFILM2012) and offl ine screening incommunity centres, particularly those af-fected by the riots, and schools in orderto spread the message of the lm. The lm has the support of Camilla Batman-ghelidjh of the childrens charity Kids

Company (www.kidsco.org.uk).DEAR MR CAMERON is provocative andprovides an alternative narrative to thatwhich we have seen in the mainstreammedia thus far. It highlights many of theissues that young people struggle to dealwith including double standards, mixedmessages and abuse of power. But it alsotouches on remorse and regret and is es-sentially a cry for help.

Dear Mr Cameron

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Legendary fashion designer RandyMcLaughlin is a couture fashion de-signer in the realm of glamour, anda perfectionist in the world of detailfashion design. A one-of a-kind athis craft of beading, Randy has de-signed some of the most infamousand spectacular costumes and gownsof the 20th & 21st century.

Randy began his fashion design ca-reer at an early age with partner,Jerry Skeels in 1980 and was recog-nized by the fashion industry imme-diately when Joan Collins chose towear his Red Poinsettia Gown for thecover of Playboy Magazines Decem-ber 1983 issue, which is now knownas The Lady In Red playboy cover.For the next three decades, Jeran De-sign was on the fast-track and thedesign company of choice amongthe Hollywood elite.During this period, Randy and Jerrysketched, designed and created inamazing detail, a vast number ofcostumes, dresses and gowns fortelevision and theater. Some of theprograms they created for includedP.S. I Luv U starring Connie Sell-ecca, One West Waikiki starringCheryl Ladd, The Young and theRestless, and The Bold and theBeautiful. The pair also designedfor the models on Star Search andspent 22 years designing gowns forthe models of The Price Is Right. Avariety of stars have worn their gar-ments ranging from Lana Tuner, KimNovak, Donna Mills, Lindsay Wagner,Tina Turner, Natalie Cole, Little Rich-ard, and most notable Liberace ofwhich he enjoyed working with sucha legend and talent.

Randy and Jerry were nominatedtwice for an Emmy for best designand also had been recognized fortheir achievements by winning theUnited Nations International SpiritAward in 1984, The Golden Nee-dle award in 2003, Lake ArrowheadAmbassador award, and numerous

The dresshas over 450signatures of

the worldsleading ladies

TheHollywood

Graffi ti Gown



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humanitarian awards. Randy has recently re-ceived the Lifetime Achievement Award for his

thirty years of contributing to Fashion on June12,2010 from the Art Institute of California-Inland Empire.

One of the most amazing creations ever de-signed by Randy was the Hollywood Gra ffi tiGown in the early years of Jeran Design, hav-ing a vision of a list of female stars nameshand-beaded into the plushest of fabrics;Black German Velvet. The rst to loan theirnames to this gown concept were Hollywoodlegends Bette Davis, Rita Hayworth, Lana Turn-er, and soon after came Elizabeth Taylor. On

March 13th 2004, the gown was unveiled asa special presentation at the Academy of Tel-evision Arts and Sciences in North Hollywood,having been created over a 24-year span. Thegown now contains over 350 bugle, seed, andplatinum beaded signatures of the most in u-ential women ranging from Mother Teresa, tothe political gures as California Senators Di-ane Feinstein and Barbara Boxer, to the mostcurrent actresses Cate Blanchett, and the castof Desperate Housewives. After its unveilingin 2004, the gown has since been presentedin Los Angeles, San Francisco, as well as in La

Paz, Bolivia.In 2009, Randy decided to honor their fash-ion career by coming up with the idea for anillustrated book spanning the Jeran career ofthree decades titled The Glamour Kings ofHollywood which he is still looking forwardto getting published. Later that year, Randy de-cided that it was time to share with the worldthe Hollywood Gra ffi ti Gown, it was sent tothe Hollywood Museum for a portion of 2010.People came from all over the world to seethe Hollywood Graffi ti Gown up close and inperson. In May 2010, a reception was held atthe museum in its honor, which attracted suchtelevision stars as Florence Henderson, co-medians Rip Taylor, Joanne Worley, and JudyTenuta as well as Dee Wallace, Stefanie Pow-ers, and many more. The Hollywood Museumexhibit closed in September 2010. The Hol-lywood Graffi ti Gown will soon be auctionedoff . The proceeds will be given to a number ofAIDS Awareness Charities that have supportedthe presentation of the gown.

Randys return to Hollywood Glamour Fashionmay be a time for Hollywood and the worldto stand up and take notice once again, alongwith his drive to take his fashions & designingto the public worldwide in the pro jects he isworking on, this will catapult him straight tothe top.



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BENCAHANTalentville.com. Crowdsourced Script Development.The co-founder of Final Draft turns his attention tothe internet to discover talented screenwriters with hisnew venture, Talentville.com.

Ask aspiring screenwriters their biggest frustration and youwont hear how di ffi cult it is to write a good script, let alonea great one. After all, and they will be happy to point thisout, theirs are all great, the next blockbuster just waiting tobe produced. What you will hear instead is how impossible itis to get anyone who matters to read them. Their scripts col-lect dust and Hollywood isnt returning phone calls or emails.

Ben Cahan, the creator and co-founder of screenwriting soft-ware Final Draft, wants to do something about that.

His new online screenwriting community, Talentville.com, is across between a social network for screenwriters, a peer reviewsystem for screenplays and a management company for thosewho work their way to the top of the heap. Using a worldwidenetwork of screenwriters to sift, sort, critique and ultimatelyrecommend worthy projects, Talentvilles goal is to help devel-

op talent and promote market-ready scripts.

To that end, Ben has been busy promoting the site to notonly screenwriters but also to his many contacts in Holly-wood, namely the agents, managers and producers who areon the lookout for projects they can option, sell and pro-duce. Many of us have used crowdsourcing sites when wewant to read a book (Amazon.com) or when we want togo out to eat (Yelp.com). According to Ben it works withscreenplays as well because when all is said and done,a good story is a good story, with the bonus that fellowscreenwriters are uniquely quali ed to judge the tech-nical aspects, from plot points to character arcs.

Add to that the fact that if a script works its way upthe ranks, Talentville brings in the professionals,a staff made up of readers from some of the big-gest talent agencies and production companiesin Hollywood. Make it past the members, earnthe endorsement of their sta ff and Talentvillepromises to get involved and help promoteyour script.

Talentville is here!



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4000Members

To date, Talentville has a membership of almost 4000screenwriters who have uploaded over 1100 screen-plays and contributed almost 3000 reviews, but ac-cording to Ben that is just a starting point. His goalis to make it the go-to destination for both writ-ers and Industry professionals, a true marketplacewith a built in quality control system so that writ-ers know where they stand and producers knowwhat others have to say before they even readFade In:.

If you are a screenwriter just starting out or onewith a stack of scripts sitting on a shelf, checkout Talentville, upload your projects and seewhat happens. You never know, it might justbe that you do have what it takes but justdidnt get the right people to take notice, andthe folks at Talentville would love to say theywere the ones who discovered you.

About Ben CahanBenjamin Cahan was the original developer

and co-founder of Final Draft, the worldwideleader in screenwriting software for motionpicture and television industries. As the com-panys CEO from 1989 to 2001, he took FinalDraft from a home-based software companyto a valuable brand name respected and usedby the majority of writers, producers and studiosacross the globe.

Prior to developing Final Draft, Mr. Cahan re-ceived a Bachelor of Science degree in ComputerScience from the University of Maryland in 1984.He worked as a computer programmer for IBM dur-ing his college years and moved to Los Angeles after

graduation to work for a defense contractor in LosAngeles. Eighteen months later, after taking a lm

production class at the University of Southern Califor-nia, he left the defense industry and formed his own

company developing lm production software.

The idea for Talentville was born in 2009 when Mr. Cahanwas scouring the internet for a comprehensive site that

lled the needs of both writers and the Hollywood profes-sional community alike. Failing to nd any site that in hisopinion truly addressed all the needs of aspiring writers,

from reviews and coverage to networking, industry participa-tion to active project marketing, continuing education to col-

laboration, he set out to combine all these necessary elementsin one place.

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thebigblack




All that we see or seem, is but a dream within adream. Dear Mr. Poe, I truly understand yourwords, since I directed THE BIG BLACK.Just now, still seeking distribution and ghtingsharks in the pool I wonder when we will see the

surface again. But I guess thats what all this is about: dar-ing, not looking back & ghting until the end.

THE BIG BLACK is a road movie, featuring young Jack drivingthrough purgatory, trying to escape the demons of his past.Of course, he drives a hearse and in Winter 2009 I phonedthrough several undertakers businesses in order to nd a

hearse for a quick photo-shooting. So we would have somekey visual to underline our plans.

When I saw the Chevy Caprice 79 waiting in the small alleyin a tiny village in Southern Germany, lightning hit me: thiswas Jacks car, for sure!

After the shooting the undertaker committed that the hearsehad had her last job just this morning. For around 800$ hewould give it away. I agreed, feeling that this hearse wouldbe the horse to carry our mission and negotiated for a cof- n on top. Saying, without thinking: Not necessarily a newone. A used coffi n is ok for us. Have you ever heard an un-dertaker laugh aloud?

After calming down and me understanding my (obvious) er-ror he came up with a somewhat scarred co ffi n that hadfallen down from the forklift in the co ffi n company. Well,no more questions from me and on the road with my newhorse, feeling the hearse shiver on the highway.

From then on, we would drive with the Chevy to all meetingsconcerning THE BIG BLACK, thus proving that we would re-ally do it. By the way, a mock-up of a DVD with the rst keyvisual on the cover, was always placed inside the co ffi n. Atotem, so to speak.

When we started acquiring cast & crew in Berlin in February2010 (during Berlinale, where they are all in town) we metanother classical character of a heros journey:the Gatekeeper(s).

In our case, the gatekeepers were those who said it is im-possible to produce this lm in Germany wihtout the sup-port of the funding institutions or TV stations.

Of course we had tried to get this support, the funding insti-

tutes are an important basis for lmmaking in our country.But our submissions were refused and thus, we decided todo it on our own. Hearing what the gatekeepers said, con-sidering their warnings but not letting them drag us awayfrom our goal. Because the most powerful and dangerousgatekeeper is your own mind!

There is this magical triangle between money, time andquality. Less money means either less quality or less time.There was no discussion about the quality and so time be-came more and more valuable. Our plans had put the rstshotting day to March, 1st. In order to get the spooky sur-

roundings we needed to tell purgatory. Only ve weeks togo and so much to do...

Then, in Summer 2011 (!) we nally had picture lockand in January 2012 nally nished re-recording THE BIGBLACK. Already in December 2011, we had our worldwidepremiere, in Korinth (Greece), running in competition for theGOLDEN PEGASUS, an animal from Greek mythology, havinghuge wings. An omen?

Might be, as we won the GOLDEN PEGASUS for BEST DIREC-TOR and BEST SCORE.Meanwhile, our baby has been screened in New Delhi (IDFF)and will run in competition at Cyprus International Film Fes-tival in October.

But, of course, the journey is not over. Seeking distributionAFTER having nished the lm and not having an A-list actorin your castlist is the next challenge.

Many distributors told us: Go, get some A-Festivals, thencome back. Many festivals told us: Go, nd a distributor,then come back. Again, we have to be aware of our magicweapon - our belief in what we do and approach the caveof the dragon. And as soon as well have defeated the drag-on whatever that means in our case we will rise up to thesurface and see the light. Or in other words: see the worldpremiere of our lm in a cinema in Germany. Or the U.S. Or whereever.

What have we learned, so far?Never fear making a mistake. Listen to what the pros say, butlet noone stand in your way. And, most important: believein what you do. Otherwise you will not make it. We are Jack,driving through purgatory of distribution, seeking salvation.Geronimo!

Issue 4 of 201 2Universal Film


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Secret of the Wings




ecret of the Wings (formerly known asTinker Bell and the Mysterious WinterWoods) is an upcoming computer-ani-

mated comedy lm, based on the DisneyFairies franchise, produced by Disney-Toon Studios. It revolves around Tinker Bell,a fairy character created by J. M. Barrie in hisplay, Peter Pan, or The Boy Who Wouldnt GrowUp, and featured in subsequent adaptations,especially in animated works by the Walt Dis-ney Company. Secret of the Wings is the fourthmovie in this series of direct-to-DVD lms andis scheduled to be released on October 23,

2012. In the lm, Tinkerbell ventures into theforbidden world and discovers a secret. Star-ring the voices of Mae Whitman, Lucy Liu, Me-

gan Hilty, Raven-Symon, Jesse McCartney andAngela Bartys, it also features new cast mem-bers who include Matt Lanter, Timothy Dalton,Lucy Hale, Bella Thorne, and Debby Ryan.

In Secret of the Wings, Tinker Bell ventures intothe mysterious Winter Woods and meets a frostfairy named Periwinkle and a magical secret isrevealed!



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TotalRecall

www.ufmag.org

otal Recall 2012. A new Ameri-can science ction action lmremake of the 1990 lm of the

same name, which is based on the1966 short story We Can RememberIt for You Wholesale by Philip K. Dick.

Unlike the original 1990 lm, theplot of this new version lacks a trip toMars[2] and contains strong politicalovertones. In addition, the lm alsoblends Western and Eastern in uenc-es together, due to the fact that thetwo nation states, New Shanghai andEuroamerica are battling for politicalpower.

It is directed by Len Wiseman, writtenby Mark Bomback, James Vanderbilt,and Kurt Wimmer, starring Colin Far-rell, Kate Beckinsale, Jessica Biel, Bry-an Cranston, John Cho, and Bill Nighy.It was rst announced in 2009.[3] It isscheduled to be released in the United

States and Canada on August 3, 2012.

In a futuristic political setting of 2084,after being devastated by war, Earthis divided into two superpowers, Eu-roamerica and New Shanghai, who arelocked in a battle for supremacy. In thisworld lives Doug Quaid (Colin Farrell),a factory worker su ff ering from violentnightmares. Dissatis ed with lowly ex-istence, Quaid visits Rekall, a corpora-tion that provides its clients with im-planted arti cial memories of the livesthey would like to have. McClane (JohnCho), a Rekall representative, ndsthat Quaid has already had his mem-ory erased and demands to know whyQuaid has come to Rekall. Armed menshoot and kill McClane and other Rekallemployees before Quaid kills them.He returns home to his wife Lori (KateBeckinsale) who, after trying to kill him,reveals that he really is a secret agentand she is not really his wife.



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othing is more discourag-ing than standing at thescreening door of your lm at a festival, waitingfor guests to arrive, while

the theater next door lls up. Evenworse, having to sit in a screeningwith empty seats and hear a raucouscrowd in the theater next door. Be-fore you have created a following, ittakes work to build an audience foryour screening, whether you are pay-ing a high-powered PR dream teamor using your own elbow grease.Youll probably have some heady lms screening during your timeslot that will create competition. Youcan make getting people into yourscreening a fun experience; its all inyour attitude.

I have already addressed two thingsyou must do depending on the focusof your screening: (1) Get a list of allpress and attendees from the pressoffi ce, and (2) Get a list from IFTA (orthe Internet) of buyers who wouldbe interested in your lm.

Gather your team

Invitation/ yersMake sure you have a very catchyinvitation to give out to anyone andeveryone who will take it. It can bea simple postcard. Drop it o ff at alloffi ces and booths. You never knowwho may be standing next to some-one at a booth who may be the buy-er for you. Chat up your lm, but behonest; dont tell a buyer its GoneWith The Wind if its not. I have al-ways been honest with buyers, say-ing, for example, I have this quirkyhorror lm that you might like. Buy-ers get so much hype thrown at themthat they are more likely to respondto an honest assessment. They dontwant to waste their time.

CallsHopefully, you have sent out theinvitations before the festival as Irecommended last month. But now,get someone from your team (oryourself) to make calls to the o ffi cesor phone numbers that you have,reminding these people of yourscreening. If you cant get through,

just politely leave a message on theanswering machine. One good tip:ask for the assistant of the executiveyou want to reach. This is the personthat you need to charm in order toget their boss to the screening. Also,they may be going to see lms them-selves (and they may become thenext Head of Acquisitions and willremember you).

Press ReleasesSee if you can come up with a catchypress release about the cast, the dogin the lm, the directors next gigand screening, etc., to leave with thepress o ffi ce. You should have at leastthree di ff erent press releases withyou. Look up how to write them cor-rectly.

Hotel Drop O ff sCertain festivals may have a list ofwhere certain buyers and producersare staying. In Cannes and AFM, it iseasy to nd the buyers, as the hotelsare local. After a long day and beforebusiness dinners, we would actuallydrop o ff invites and screening cardsto the hotels where the buyers werestaying. At some point, the concierg-es got savvy, and some hotels startedasking $5 per delivery. Try to avoidthis by rst tipping the Concierge atleast $20, and usually theyll makesure your screening cards are deliv-ered for no extra charge.

Give Away-Gifts/SwagI dont know what it is, but peoplelove free stu ff . I have had some of thewealthiest men in the world as mybuyers come in for free T-shirts. A lotof them want presents for the chil-dren, and its a great way to marketyour lm. Now, I would think abouta giveaway item that people couldwear to promote your lm, one thatsappropriate to the climate and alsostands out. If you are going to Berlin,think a warm hat, funny hat or scarfthat publicizes your lm. I wouldnot do umbrellas in Palm Springs.If you have a rabbit in the lm, Idwalk around with rabbit ears andgive them away. Always, always getsome friendly girls and guys to walkaround with your giveaways, evenif you have to pay them $20. Just

think of anything you can do to raise

awareness of your screening.When you arrive at the press o ffi cethe rst time with your press release(save one for another visit), bring agift, say, a box of chocolates or winefor everyone to enjoy. They may beable to get you some interviewsand give you all the information youneed.

Also, you might want to think of leav-ing a nifty gift basket with screeninginvites for the buyers whom youwant to see your lm. When I hada budget, Id send fruit baskets andsnacks to my clients room. Onceduring the London screening, I madepersonalized baskets with Godivabiscuits (for tea time) and my invites,and had them delivered to the topbuyers. You can leave a gift, a give-away or both, with your screeningtimes and contact numbers. Note:top magazines such as The Reporter,Screen and Variety will have sepa-rate offi ces at the larger festivals/markets. You want to go to those of-

ces as well, with invites, presents,treats, anything you have to prodsomeone to cover your lm and giveyou some press. Perhaps you can es-tablish a relationship with one writ-er, give him or her your press releasebefore anyone else, and say its anexclusive.

I actually have gone to Costco andpicked up large tubs of treats like li-corice and jelly beans, brought themto Cannes, and had them deliveredto the to press o ffi ces. Treats fromhome can be a surprise. Put yourscreening times on the tub. Find outfrom the press o ffi ce (and anyoneelse) about any parties and eventsso you can plan your strategy. Planwhere you want to be each day andnight to be seen most e ff ectively.Once, I was running a campaign fora foreign lm that I was distributingthat was up for a Best Film for botha Golden Globe and an Oscar. I at-tended a screening of a Pedro Almo-dvar lm with the star of my lm,who was unknown in the States but ahuge star in his country. The print didnot arrive on time at the Almodvarscreening. It was a small room,

Film Festival Boot Camp 3 by Patricia J. Pawlak


N



people were chatting, and I stoodup with the star and pitched my lm for a screening the next morn-ing. Everyone was thrilled to meet

him, it passed the time, and thenthe print came. Suddenly, we werebeing invited to dinners and par-ties. Our 9 a.m. screening was in alarge theater and it was standingroom only. So many people fromthe night before came to see the lm and our actor because of thatwonderful luck. Be open to yourdoor of opportunity and seize it. Ifyou are ready and prepared, goodthings will come.

PartiesTry to get into any party that youcan, and make sure you are pro-moting your lm with those bunnyears, T-shirts and hats. Trust me, Ihave thrown parties at many majorfestivals; I let people in because Ihave the room and its appropriate.

If its a seated luncheon for buy-ers at an expensive hotel, you mayor may not get in. Each situation isdiff erent, but certainly try. I always

like some fun festival attendees atmy parties. Once, at Cannes, at 1:30a.m. while I was asleep at my hotel, Igot a call from a very excited Frenchman (luckily I know some French)who knew my assistant in Cannes.He had found out that I had a partyticket that I was not using for a bigparty that night at midnight thathad just started. I told him he couldhave it. A few minutes later, he wasat my door. It was a very surreal ex-perience, me in my jammies, hand-ing this ticket to a local French guywhom Id never met before. He wasso ecstatic that it was worth wakingup. Remember: spread the joy!

To follow up on how to pack yourscreenings:

1. Get a list of distributors and sendout invitations.

2. Make follow up calls.

3. Contact the press o ffi ce to get alist of invitees and where they arestaying. Deliver invitations, yersand gifts.

4.Create several press releases tohand out to the press o ffi ce and anymagazines there.

5. Create a fun giveaway and giveit away, wear it everywhere, and beeverywhere to promote your lm.

(Patricia J. Pawlak is a veteran offestival around the world from Ber-lin to Shanghai and has attendedCannes for twenty years distribut-ing and marketing lms.)



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o Smoke is a compelling 77-min-ute drama made by a new kid on

the block, Sue Shearing, 66.

Sue, a semi-retired journalist, want-ed to tell the true story of how anordinary woman next door becamecaught up in a bizarre situation in-volving the police, Special Branchand terrorists.

Her heroines savings were takenby the police under the Proceeds ofCrime Act, which allows them to con- scate money, goods, houses andcars if the owner cant prove wherethe cash came from. No crime hasto be proven, or charges brought.The police just have to make an as-sumption that the money is ill got-ten gains.

Not a lot of people know that,quipped Sue, who wrote, producedand directed the lm. There havealways been people who have kepttheir savings under the bed or whosave cash in jars, and there is no waythey can prove where it came from.

Made on a micro budget and lmed

using a Sony F900 over thirteendays in Hertfordshire, UK, Sue andher professional crew and actorseven managed to lm inside theCrown Court and had the run of apolice station for a day.

No Smoke is based on a true story,but Sue says there is some artisticlicense and a shock ending. The lmreceived critical acclaim from The UK

Film Festival who said it was highlyregarded and in a select group. Theproducers have what it takes.

Although Sue had little previousexperience of lming, a distributorsigned up No Smoke for a ve-yeardeal covering the UK and USA. Un-

fortunately it fell though, and nowSue is open to new o ff ers.

A trailer for No Smoke can be seenon IMDb.

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ART CINEMA = ACTION + MAN-AGEMENTEuropean Summer University forprofessionals of Arthouse cin-emasVenice, San Servolo Island, 27thAugust 2 September 2012

The 9th European Summer Uni-versity for professionals of Art-house cinemas organized withinthe framework of the MEDIA Pro-gramme of the European Union,will take place on the campus-is-land of San Servolo, during Ven-ice International Film Festival.

Arthouse extended all over Eu-rope in the 1950s, 1960s and1970s. They now account for4.000 among the 30.000 cin-

ema screens on the continent.Their position is very di ff erentdepending on the European re-gions: organized networks insome countries and mostly iso-lated cinemas elsewhere.

Still, there is in all countries aneed for preparing the futuregeneration of art cinemas man-agers and a need for gettingready the present managers toface the new challenges of theirprofession.

The ambition of the trainingART CINEMA = ACTION + MAN-AGEMENT training is: to hand-on on to the new gen-eration the speci c know-how(methods, tools, ideas, contacts)for programming, animating andmanaging an art cinema. to give to the present manag-ers, a place for discussing thechallenges independent exhibi-tors have to face in the age ofnew business models and formaking recommendation useful

for the all profession on how tostrengthen the competitivenessof independent exhibition

Two sessions are prepared forthe participants: Juniors and Ex-ecutives. The 55 participants willfollow the lectures, case studies,and hold debates and discussions

on Arthouse cinema exhibitionand will share their experienceswith 30 international profession-al trainers : Alberto Barbera, the

director of the Venice Film Festi-val the Icelandic director FridrikThor Fridriksson, Emmanuel Jolyfrom the MEDIA Program of theEuropean Commission, the Ger-man producer Alfred Hrmer, theeconomist of cinema and profes-sor at the Sorbonne University,Laurent Creton; the General Di-

rector of the Mexican CinetecaNacional, Paula Astorga ; the dep-uty director of the So a Interna-tional Film festival, Mira

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Staleva , Romanian director anddistributor Tudor Giurgiu, the di-rector of Venice Film Market Pas-cal Diot, the director of the Inde-pendent cinema O ffi ce Catharinedes Forges, Jiri Sebesta from theCzech distribution Company Aer- lms to name but a few.

26 countries will be representedon the island: Belorussia, Bel-gium, Bulgaria, Croatia, Czech Re-public, Estonia, Emirates, Finland,

France, Germany, Hungary, Ice-land, Ireland, Italy, Latvia, Lithu-ania, Malta, Mexico, Netherlands,Norway, Poland, Romania, Slo-vakia, Slovenia and United King-dom.

A CICAE Jury will participateat the Venice Film festival, and

will choose a

lm which will beawarded with the Art cinemaAward. The members are : TanjaMili i , Festival Producer at Pula

Film Festival and manager ofCinema Valli in Pula (Croa-tia), Francesco Clerici, Re-sponsible of the educationalprojects of Barz and Hippo,writer, documentary director,videomaker and Jon Barrene-chea General Manager of TheDuke of Yorks Picturehousein Brighton, he is also theauthor of the blog/podcastSplendor Cinema.

The International Confeder-ation of Art Cinemas for thedevelopment of Art Cinemaworldwide

Aims & Actions >> Supportingthe diversity of the cinemato-graphic o ff er and strengthen-ing theatrical exploitation ofart lms by defending the culturaldiversity and to grant the ac-cess of people to a variety ofindependent lms and wide-spread programmed cinemas including the masterpiecesof lm history and a specialoff er for the Young Public; by off ering exhibitors whichshare the same aims, a spacefor the sharing of informationand experiences , by fostering collaborationbetween exhibitors and thecreation of regional and na-tional market-in uencinggroups capable to obtainsupport for Arthouse cinemasfrom government bodies andlocal institutions. by promoting the screen-ing of art lms from festivalsto art cinemas for improving

their circulation and increasetheir audiences (a dozen of ArtCinema Award granted everyyear)by organizing professionalstrainings (about 500 profession-als trained since 2004 in Berlin,Cartage, Dakar, Mexico City, Paris,Toulouse, Valdivia and Venice)

For More Information: [email protected] - www.CICAE.org

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hat is the Mobil Film Festival?

The Mobil Film Festival is a project of Susan Botello of S.Botello Productions. The lm festival is exclusive in that

it only accepts lms that were shot with cell phones. Its opento anyone who shoots using cell phones, any brand. We are an

international lm festival and will accept all human and legitimate lmmakers from around the globe without age limits, income limits, ex-

perience or connections. We only ask that the camera be replaced withcell phones of any brand.

Why did you create the Mobil Film Festival?The fact that mobile phones have video cameras made me realize even a child could

shoot video, as I witnessed during a visit to a cell phone provider store. And if a child canshoot, anyone with skills can edit. I thought it would be a great way to show what you could

do if someone gifted you with a professional camera and said, Shoot and edit something. Mythoughts and feelings about mobile lm are connected to my visions of the future and it is tremen-

dously interesting to see it evolve just as I imagined. The fact that I expressed the idea of projectorapps for cell phones to project on a big screen a wall or a sheet of paper is an example. I cant tell you how

many people I engage every day on this subject. App developersI have mentioned to many and many said

that it could not be done for a few more years. We are now seeing apps and accessories that are on the way toproviding this for us. So they could be correct. I also notice more blogs and ads focusing on the technical speci ca-tions of cell phone cameras (both video and still). As these things come together to bring better quality, we see the

additional bene t and transformation of lmmaking.

The quality of lms in the Mobil Film Festival was good and were presented on the big screen with remarkable productionvalues. They looked good and sounded good. Of course a cell phone brand and editor can make a di ff erence. The dilemma with a

lmmaker who is trying to get their work seen is the nancial investment. This is very typical. The investment of time and e ff ortis guided by artistic passion. This is where creativity blooms, I think. And here is a way for more creative lmmakers to show theirskills and talents without the nancial investment barrier and become part of this emerging lmmaking practice. Who would havethought that the lm industry and cell phones could play such an integral role together, other than the typical communication toolit has always played in Hollywood? The producer on set talking on the cell should come to mind.

Do lms have to be edited on the cell phone as well?The primary diff erence is you are replacing a lm or video camera with a cell phone. Everything else can stay the same. You can

edit your video with a computer or tablet or even right on your cell phone. You can use external microphones, tripods, dolliesskateboards--whatever you like. The only restriction as far, as it stands for now, is the use of apps that make the decisions for theeditor (you). This is a great opportunity for the lmmaker who is truly skilled and talented to show o ff his or her strut. Specialeff ects are neither encouraged nor discouraged. For our rst lm festival this past April, we limited the length of lms to threeminutes. This year, we still have the minimum running time of thirty seconds, but the length is not more than ve minutes. I dowant, however, to emphasize that the second-prize winner of our rst lm festival had no experience as a lmmaker on a profes-sional level. He didnt go to school for it either. And if you open the minds of everyday people to the possibility of making an oldchildhood dream come true, or maybe just a personal wonder one may have, it is like a jar of light lled with possibilities. And thetool is right in their pocket. There is no reason to fear the outcome. You can see your outcome yourself, too. And entering our lmfestival is completely free.

What is the connection between SBP and Grossmont College?In my opinion, colleges are hurting due to the economy and that means students are hurting too. The speed at which technology isgrowing may be playing a role for a foundation or organization to get a grip on investments. And schools have to think about thefuture in what they are teaching as well. Also, there is a need for community partnerships to help keep them populated regard-

ing attendance. The college I graduated from with a degree in Media Communications, Grossmont College (www.grossmont.edu)has always had an open door for me during and after my studies. This is precisely why I have a connection to the department. Mr.Snead, in particular, has been supportive of other projects and friends projects on a local level as well and so that has kept usconnected as well.

As a member of the Media Communications Department here at Grossmont College, we have always been happy to follow, en-courage and support the projects of current and former students. Although the focus of our classroom experience is on teachingstudents to use professional equipment we have certainly been aware of the nancial challenges facing students and emerging lmmakers today. The rapid changes in technology and the escalating costs of equipment is di ffi cult for us to keep up with as well.The development of phone technology which takes both still and video images in very high quality has inspired many to con-sider using phones to acquire video footage to tell stories. Applications for editing, special e ff ects, and post-production are nowavailable, which makes story telling with phone images possible for competition and festivals. The results have been anythingbut amateurish. We support Susans forward thinking vision of a global cell-phone video festival and would encourage others tograb their phone and make a movie. I believe there is a place other than YouTube for lms made with cell-phone technology to beshown and recognized for their inspiration and quality. William Snead, Media Communications Department, Grossmont College.(www.grossmont.edu)

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Are there categories?We introduced one category: CommunityStories. This year, we are adding a category of lms that areentirely produced with cell phones, including editing. There is no limit onhow many cell phones you use for shooting or producing a nished lm. There are obvi-ous limits in this newer way of lming and we provide room for creativity as in any production. Aswe grow in numbers we plan to add more categoriesOf course, we do ask the lmmakers to be tasteful intheir choices and we dont allow vulgarity. We respect children as a category.

Who are your judges?For MFF2012 last April we had two instructors from the Media Communications Department at Grossmont College, William Snead and EvanWirig. Another judge was Producer/Actor Stephanie Reibel from Los Angeles, whom I have known on a professional level for a few years. Someof her television credits include guest starring roles in Two and a Half Men (CBS), Monk (USA), 90210 (CW), Genetically Challenged (FOX),and Sons of Tucson (FOX) with recurring roles on The Game (CW) and General Hospital (ABC). Her lm credits include the leading and titlerole in April Moon, and a supporting role in National Lampoons The Legend of Awesomest Maximus, just to name a few. Stephanie also keepsherself busy creating reality shows. The Judges are listed on our website as partners. For MFF2013 next April, we hope to continue to include last years panel and add new ones. Thehope is for entertainers & celebrities in lm and music & journalism to be a part of the judging panel.

Do you judge lms?No I dont. I love them! Sometimes I watch them over and over in awe. I am being extremely honest. But my passion toward lmmakers makes itso that I need to be more of a supporter. I got their backs! I really do try to promote them and include them with our activities and plans, and Ithink most of the pioneers from our rst inaugural lm festival, MFF2012 last April, know this.

What is in the future for the Mobil Film Festival?We are introducing our work in progress on our website and that is just the beginning: Mobile Film TV. We are also working on training work-shops for mobile lming on a global level. There are already some people who have been doing that in other countries. Its amazing!

Again, our goal is to provide a venue for mobile lmmakers to express their talents, showcase their skills, to grow and expand. That is the futurewe are working on providing. It basically sustains itself by providing a showcase venue, a distribution and entertainment channel & a mobile

lm-training program. Mobile lmmakers around the world who shoot with cell phones can share, network, collaborate and, perhaps, make aliving with whats in their pocket. Isnt that something!

When and how can someone submit a video? Anyone can enter between now and the end of January next year.Go to www.mobil lmfestival.com On the menu, look for the Filmmaker Registration page. On the Registration page, ll out the form and submit it. Sometime between 24 hours to a few days, you will receive an email with instructions and a link to upload your lm. As soon as you have submitted your lm go to our website www.mobil lmfestival.com and look for Submission Con rmation. On the Con rmation page, ll out the form and submit it.

That is it. We will stay in touch and keep you updated with progress on our lm festival and programs.

Who sponsors the Mobil Film Festival?

Grossmont College is our sponsor, our partner and supporter. Other supporters include Red Giant Software, who will provide a prize, MobileFestival in Skopje, Macedonia, i-nigma QR code reader app by 3Vision.

One of our biggest supporters, Mobile Festival (www.mobilefestival.net)in Skopje found us online and offered us the opportunity to share ourvision. We both share a philosophy best quoted by Vesna Ristovska, of the Mobile Festival:

Use your creativity and make everything possible. Creativity gives power to change. Transform the moment into creation. Turn on your mobileand lm your idea. The motto for the 2012 Mobile Festival in November 2012 is, Everyone can make it! Vesna Ristovska

The Mobile Festival features an article about one of their winning contestants who competed at the Mobil Film Festival. Dukagjin Borova cameto San Diego from Macedonia to attend the festival, walk the red carpet, to experience watching his lm, Everything Is Money, on the big screenwith an audience and networking with other lmmakers.

Whats Next?We are working with San Diego Audio Video (SDAV.com), a supplier of production equipment & services, to provide a resource to mobile lm-makers. San Diego Voice and Video is working on providing a great equipment resource for mobile lmmakers and some other possible produc-tion services with bene ts.

We are creating mobile lming workshops & well have mobile lming workshops around the world. Conrad Mess is working with us to be oneof the leaders on this venture. Participants will also receive bene ts from Jewelbeat.com who is partnering with us to provide royalty free music.JewelBeat was founded by musicians who were passionate about bringing high quality production music at a sensible price. JewelBeat offers a

huge selection of quality music for your projects. Together, with JewelBeat, we will offer discount term membership packages for participantsof the workshops around the globe.

www.mobil lmfestival.com

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AAIFF.org

The 35th Asian American International Film Festival is made possible with publicfunds from the National Endowment for The Arts,by the New York State Councilon The Arts, with the support of Governor Andrew Cuomo and the New York StateLegislature and the New York City Department of Cultural Affairs.

Asian CineVision presents the

JUL 25 AUG 5, 2012 | NEW YORK CITY

35 th ASIAN AMERICANINTERNATIONAL

FILM FESTIVAL



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By Lisa Reznik, Creative Director, Film Society of Summit

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SENE Film, Music and Art Festival

In 2009 Phil Capobres launched theSENE Film, Music and Art Festival, withDon Farias, in the art-friendly town ofProvidence, Rhode Island. The ideabegan at a dinner after volunteeringat another festival. We love festivalsand independent lms and decided tocreate our own which we could startfresh and run ethically, Capobres ex-plains. The concept came from the de-sire to give audiences something dif-ferent. We were starting from scratchand thought wed include music and artin our mission statement, he says.

Capobres considers the 2012 festival,held April 11-15, their best yet. 110independent short and feature-length lms were screened, ten musiciansperformed and nineteen artists includ-ing rst time exhibitors, emerging art-ists and accomplished artists saw theirwork displayed.

The SENE Festival adheres to the Uni-versal Film and Festival Organizationbusiness code of practice in its selec-tion for festival line up. The bene tof following ethical principles is that lmmakers trust us, Capobres, thefestivals artistic director, explains. Adirect result of earning a reputation forfairness has seen an increase in sub-missions from 300 the rst yearto 500in 2012. Submissions came from as faraway as South Korea.

Originally from Phoenix, Arizona, Ca-pobres came to Providence eight yearsago for a job as a statistician with Fidel-ity Investments in Smith eld, RI. Heconsiders running the SENE festival hiscreative outlet. The story a lm tellsmatters to Capobres more than thetechnical impressions it might make.He and Don Farias watch every lm.And while theyve watched as manyas 20 short lms in a day, its muchmore likely theyll watch from ve to10 shorts at a time. They never watchmore than two features when review-ing. When we pre-screen, we recommendthe lms we like to the committee forthat category, Capobres explains. Be-tween 20 and 30 people attend month-ly festival pre-screenings open to thepublic, at which lms are ranked from1 to 6 to determine which lms in eachcategory will make it into the festival.While he calls drama his favorite genre,Capobres doesnt favor any particular

genre in selecting lms for the line-up. The nal selection for this yearsfestival included a mix of features andshorts in horror, comedy, drama, ani-mation and documentarys. Many lmsselected incorporate a music-relatedtheme, for example the UK feature Cityof Dreamers by Jamie Patterson, whichwon the jury award.

Creating the schedule for screening110 lms over three days is a fun timefor Capobres and Farias who have asystem of writing the name and run-ning time of each lm on a magnet,and arranging them as part of a pack-age. We do it all in one

universal film magazine issue 4

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