Year: 2017

Film Review: ATOMIC BLONDE (USA 2017) ***

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Deadlines to Submit your Screenplay, Novel, Story, or Poem to the festival: http://www.wildsound.ca

atomic blonde.jpgAn undercover MI6 agent is sent to Berlin during the Cold War to investigate the murder of a fellow agent and recover a missing list of double agents.

Director: David Leitch
Writers: Kurt Johnstad (screenplay), Antony Johnston (based on the Oni Press graphic novel series “The Coldest City” written by)
Stars: Charlize Theron, James McAvoy, John Goodman

Review by Gilbert Seah

 Advertised as a female James Bond film with Charlize Theron as a top ass-kicking M16 spy, ATOMIC BLONDE tries its best to assume a British setting though Theron and most of the cast speak with an unchanged American accent. Who really cares, as the film delivers senseless action with dazzling visual and choreographed fight scenes courtesy of director David Leitch in his first solo directorial debut, himself a stunt coordinator and stuntman for stars like Brad Pitt and Matt Damon.

The film is written by Kurt Johnstad, based on Antony Johnston and Sam Hart’s 2012 graphic novel The Coldest City, published by Oni Press. The film opens with a commentary of how the cold war has ended in 1989 flowing the collapse of the Berlin Wall and then goes on to say that the film is not about this subject. The film is about the cold war revolving the good guys, the British M16 and the Americans in this case trying to retrieve a list of double agents that if fallen into the wrong hands would…..It does not really matter as Master of Suspense Alfred Hitchcock says. The point is that top level female spy, Lorraine Broughton (Theron) has been assigned to aid fellow spy and wild card David Percival (James McAvoy) with this mission. As it turns out Percival has supposedly got the list from Spyglass, a Starsi agent (Eddie Marsan) and he is to be escorted out of Berlin. Not so easy, as every Russian and German spy is also out to get the list.

With the film setting in the 80’s, one can expect a solid 80’s soundtrack. And the film has a great one at that, and not surprising as the music is by Tyler Bates who has put together similar memorable soundtracks for films like GUARDIANS OF THE GALAXY 1 and 2 and the two John Wick Films. The song are also appropriately chosen to fit the plot for example with Depeche Mode’s ‘Behind the Wheel’ during the defection segment and Queen’s ‘Under Pressure’ at the film’s climax.

The film’s excellent cast includes McAvoy (SPLIT), always good in portraying crazies. Eddie Marsan who plays Spyglass steals the show with a dead serious performance amidst the over-the-top action. German veteran actress Barbara Sukowa has a cameo as the coroner who delivers a key line: “In Germany, we do not make little mistakes.”

The film’s best action sequence lasts a full 10 minutes as Lorraine fights off multiple attackers in ultra-violent hand-to-hand combat on a staircase while protecting Spyglass. If this is not enough, an exciting car chase follows right after where villains in cars appear out of nowhere to chse the two. Director Leitch dishes sexiness to the limit with same sex scenes between Lorraine and a French spy (Sofia Boutella).

The plot of ATOMIC BLONDE is quite difficult to follow and there is no use trying as the plot is pointless. The story’s twist in the end of who is the double agent makes little sense either. But cold war spy films in the 70’s were often difficult to follow. ATOMIC BLONDE delivers dazzling senseless action, that is the point of the film and that it succeeds.

Trailer: https://www.youtube.com/watch?v=nI7HVnZlleo

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1967 Movie Review: YOU ONLY LIVE TWICE, 1967

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YOU ONLY LIVE TWICE, MOVIE POSTERYOU ONLY LIVE TWICE, 1967
Movie Reviews

Directed by Lewis Gilbert
Starring Sean Connery, Akiko Wakabayashi, Mie Hama, Tetsuro Tanba, Donald Pleasence and Bernard Lee.
Review by Jesse Ryder Hughes

SYNOPSIS:

In the midst of the cold war still going on, someone is stealing Russian and American spaceships right out of space. Bond fakes his death to go undercover in Japan, to find a chemical company supplying and hiding illegal rocket fuel. A mysterious island catches Bond’s eye after a young girl is found dead. On the island Bond searches a volcano that is not what it seems. Can Bond stop world War 3 and stop whoever is stealing the spaceships? I have a feeling a good predictable ending ensues.

REVIEW:

Roald Dahl wrote the imaginative script for You Only Live Twice and it is the most imaginative script so far of the series. Abandoning Fleming’s novel almost completely Dahl and the film makers make an epic Bond film dealing with the space race and the cold war. Someone is stealing ships right out of space using their own spaceship. Russia is blaming the U.S. and vice versa. Bond under the foes impression that he is now dead travels to Japan and finds that the Osato corporation is behind the crime. The themes in You Only Live Twice are great, especially for the time, before the first man hit the moon the Russians and Americans were fighting for the glory, so why not excite audiences who were all excited about the prospects of space at the time. Also this is the first film that deals with a corrupt corporation funding the money for big crime.

The first hour, You Only Live Twice is exciting and well told with great mystery woven around Japanese customs. Supposedly at the time men were put first in Japan before the women. They even say it in the movie with Bond saying I have to retire here, which doesn’t help the controversy of Bond being the worlds biggest womanizer, but he is. Bond slowly figures things out and it leads him to a volcano which is in fact a secret launching pad and station for none other than SPECTRE head No.1, Ernst Stavro Blofeld petting his white cat ready to kill anyone who fails ONCE. He is ready to start World War 3 for some money.

 This is the film that is truly spoofed by the Austin Powers films. Blofeld’s volcano station is just crazy. Bond films were never the same grounded films after You Only Live Twice, with the exception of a couple. It pushes Bond in a direction completely away from Fleming’s novels into what the studios wanted. More action, more stunts, more gadgets overriding the stories being told. And I’m not saying I don’t like it. I still do, because it’s fun, emotionally it becomes lost, but this is the direction the franchise takes.

There is a certain amount of convenience in most Bond films. You just have to accept as an audience member and suspend disbelief. The Americans and Russians almost seem to jump to conclusions about each other too soon for the convenience of the film. Bond gets the chance to use each one of his gadgets at a perfect time in the movie. That is the fun of these movies though. As I am watching the film I can’t wait for Bond to get a chance to use a cigarette that is actually a gun.

As haywire as You only Live Twice is and fans of the novels may be disappointed. It still has its great moments, locales, action, girls and mystery to keep audiences excited. It feels like all the previous Bond films rolled into one, trying to revolutionize the genre into what it did become when Roger Moore took over.

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YOU ONLY LIVE TWICE

1967 Movie Review: WHO’S THAT KNOCKING AT MY DOOR, 1967

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WHOS THAT KNOCKING AT MY DOOR MOVIEWHO’S THAT KNOCKING AT MY DOOR, 1967
Movie Reviews

Directed by Martin Scorsese

Cast: Harvey Keitel, Zina Bethune, Anne Collette, Harry Northup, Lennard Kuras, Michael Scala, Robert Uricola
Review by Vinny Borocci

SYNOPSIS:

Three young men living on the New York City streets engage in trivial violence and unproductive activities. They enjoy hanging out at bars, watching movies, having parties, etc. Suddenly, one of the men, J.R., meets a girl and begins to have a relationship with her. The other men are skeptical not only because of J.R.’s unusual changes in his behavior, but the amount of time spent with her as opposed to hanging out with them. J.R. feels the pressure from both his friends and the girl. In the process, the strains become too much for J.R. to handle, where hostility and a sense of aggression result, along with making some very poor judgments. As a raised devout catholic, J.R. feels the only one to turn to is God.

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REVIEW:

During the 1960’s, Americans spent much time engaging in street protests, focusing on topics such as feminism and gay rights, events such as various political assassinations and anti-war messages, along with numerous public outbursts against racial and sexual intolerance. In other words, the Vietnam War came knocking on everyone’s doorstep. Fittingly, during this time, director Martin Scorsese provided the audience with his first feature film, Who’s That Knocking at My Door, which remarkably took almost 6 years to complete. During this public outcry and chaos, we see in this film Scorsese provide many delicate and subtle references which not only reveal his own views on the war, but specifically reflects the attitudes of the “student movement” taking place.

Even though the film has a look of a student film – the opening sequence is of a simple match-action sequence of a mother baking bread for children – we can clearly see his first utilizations with the camera to capture various shots in a very original and unique method. We can see his influence from the French New Wave as he includes various jump-cut shots and freeze frames, while also displaying his childhood love for Italian Neorealism films through the morality of his images, capturing closeup shots of assorted Christ-like images and statues, emphasizing the blood, scrapes, and cuts on the figures to reinforce the violence and suffering of the human condition. Despite his “European” visual style, Scorsese incorporates American rock music throughout the film, serving as a function to link the youth movement of the 1960’s.

‘Who’s That Knocking’ follows a trio of young men: J.R., Joey, and Sally “Ga-Ga.” The three spend time hanging out on the rugged streets of New York, getting into fights, lounging in bars, picking up girls, fooling around at each other’s apartments. While we see these men engage in their everyday pleasures, we also see J.R. begin to have a relationship with a woman. Scorsese was not shy about exposing his own unique direction and style, moving away from the traditional Hollywood Studio system. For instance, in the beginning of the film, we see J.R. hanging out at a bar with the other men juxtaposed with his first encounter with the woman. This contrast in scenes, showing men sitting around doing nothing productive, with images of beautiful women can serve as a representation of the attitude of young men who were on the verge of leaving for Vietnam.

As we see J.R. slip into deep thought, we see Scorsese blend a parallel of scenes involving the interactions between J.R. and the girl and J.R. sitting at a bar with his friends, cleverly suggesting that while J.R. is hanging out with his friends, he still cannot get this woman out of his mind. When Joey tries to get J.R.’s attention, we see a point of view shot from J.R. looking not at Joey’s face, but of his lower body, indicating that J.R. still has something else on his mind. Continuing his European style, Scorsese utilizes a similar element of the French New Wave as he expresses his youthful love for Hollywood, making specific references and even including images (through freeze frames and snap shots) of John Wayne films.

Clearly, these three men do not have jobs, and have no intentions in pursuing anything work-related. We see J.R. get upset with the woman when she continues to ask what he does. After he replies, “I’m in between jobs right now,” she does not seem to get the message and obliviously continues to ask, “Well, what do you do now?” Scorsese presents these men as highly uneducated with a lack of understanding for human and personal relationships and interactions. As J.R. and the woman continue to see each other, the only conversations taking place is about John Wayne movies (or actually going to see a John Wayne movie). Additionally, we can see J.R. and the woman hold different religious values. In the scene at the apartment of J.R.’s mother, as we see closeup images of the Catholic images of Christ and Holy Candles spread out on dressers, the two lie in bed making love. While the woman, who does not appear to hold any religious concerns, wanting to go further, does not understand when J.R. suddenly stops. Asking, “What’s wrong?” the woman thinks there is something wrong in how J.R. thinks of her, instead of understanding how J.R. was raised as a devout Catholic.

WHO'S THAT KNOCKING AT MY DOOR.jpg

1967 Movie Review: WAIT UNTIL DARK, 1967

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WAIT UNTIL DARK, MOVIE POSTERWAIT UNTIL DARK, 1967
Movie Reviews

Directed by: Terence Young
Cast: Audrey Hepburn, Alan Arkin, Richard Crenna, Julia Herrod, Efrem Zimbalist Jr.
Review by Jarred Thomas

SYNOPSIS:

A recently blinded woman is terrorized by a trio of thugs while they search for a heroin stuffed doll they believe is in her apartment.

 

REVIEW:

A highly entertaining and suspenseful thriller that follows a tormented blind woman terrorized by three men, with one being considered by many critics as one of the scariest villains of all time played to perfection by Alan Arkin. Susy (Hepburn) suffered a terrible accident recently has been left blind. Her only aid comes from an unreliable younger neighbor, Gloria (Herrod), in which the two have a mother daughter relationship. Susy’s disability has been challenging, however, her greatest challenge comes in the form of three criminals.

The ruthless gang in led by the psychotic Roat (Arkin) who believes that Susy’s husband, Sam, has a doll with heroin inside after it was given to him on a plane by a woman trying to hide the doll from custom officials. Unknowingly, Sam brought the doll to the couple’s apartment and unfortunately Roat is determined to gain the doll despite Susy’s innocence.

The tension builds as Roat tries to manipulate the situation through cunning plans including pretending to be a police officer and using Sam’s friends to gain the trust of Susy, gaining access to the apartment. Roat is a freat villain. There are layers to the characters that unfold over the course of the film. He appears calm, collected and calculated. But as his desperation and Susy’s resistance continues, his raw emotions get the better of him and he begins to unravel.

The suspense is captivating, particularly during the final confrontation between Audrey and Alan. The cinematography is helps to create a dark and haunting atmosphere that heightens the tension and suspense. Susy realizes that the men want access to her apartment, so, knowing the place better than they do, she darkens the room by taking out the lights, leaving the men blind.

The confrontation in the kitchen is the most memorable scene in the film and help to start a trend in which the villain, thought dead, turns out to be alive and appears out of nowhere for one last kill. Other films, most notably Friday the 13th and Nightmare on Elm Street uses this trend in every one of their films. Unfortunately, those moments pale in comparison to how it was effectively done in Terence Young’s film.

Audrey was nominated for her fifth and last Oscar for her excellent performance as the vulnerable blind woman with enough resourcefulness to outsmart her pursuers. Alan created a monster that was listed in Bravo Channel’s 100 Scariest Movie of All Time coming in at number 10. Along with their great performances, Young succeeds in providing thrills and scares with the building tension and effectively taking a rather simple premise and turning it into a unique and compelling thriller.

Wait Until Dark is a remarkable and superb film that keeps you captivated throughout and never lets up. The strong performances and excellent directing with great editing provide for some entertaining and engaging moments, as well as a sterling story. If you’re a fan of Audrey Hepburn, or great thrillers, Wait Until Dark is certainly worth your time. Enjoy.

Audrey Hepburn, Wait until dark (1967) starring Alan Arkin and Richard Crenna
Audrey Hepburn, Wait until dark (1967) starring Alan Arkin and Richard Crenna

TV REVIEW: TWIN PEAKS – SEASON 3 – EPISODE 11

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twinpeakspart11.jpgTwin Peaks Part 11: There’s Fire Where You’re Going

Director: David Lynch
Writers: Mark Frost
Stars: Kyle MacLachlan, Mädchen Amick, Dana Ashbrook

Review by Mary Cox

Something strikes me as odd about this whole Dougie plot line. We know he’s being heavily aided by Mike and his friends in the White Lodge, but there’s something not quite believable or right about what’s happening in the life of Dougie Jones. His narrow escape from death at the hands of the Mitchums, followed by a joyous pie-eating celebration where Cooper is championed as a hero, pushes the boundaries of believability. Considering that Dougie Coop has been Mr. Magoo-ing his way in and out of danger all season, it initially might seem kind of ridiculous at this point to assume that what we’re seeing isn’t really happening. However, this wouldn’t be the first time that Lynch has experimented with an idealized fantasy narrative as an escape for his characters that occupies the bulk of a story. I’m reminded a lot of the fantasy life of Betty and Rita in Mulholland Drive, or of the Pete Dayton segue in Lost Highway.

We’ve also already established that Mike and his Lodge friends have the ability to fabricate whole human lives and existences, so would it be that much harder to believe that Janey-E and Sonny Jim aren’t real? And while we’re on the topic of Dougie’s family: one moment that I’ve been dwelling on and can’t quite figure out is the scene in “Part 5: Case Files” is the scene where Dougie Cooper looks at Sonny Jim and cries. One take that I’ve seen on Dougie Cooper is that Lynch is making a statement on how society ignores depression and mental illness, which certainly has been mirrored by Twin Peaks fans who so desperately want Agent Cooper to “snap out of it” and get back to solving the mystery of the two Lodges.

A lot of other important things happened this episode, like Hawk going into detail about Nez Perce lore relating to the two lodges, most notably making yet another reference to garmonbozia in the “sick corn” pictograph and a hint to the possible meaning of the phrase “Fire Walk With Me.” The episode’s subtitle again comes from a conversation between Hawk and the Log Lady.

However, I think the key to unpacking all of this is going to come back to Lucy. In a seemingly throwaway moment when Lucy is talking to Hawk as she’s transferring his call, she makes a reference back to the chair argument she had with Andy. Every time we see Lucy, she’s making some kind of statement that connects to the notion of choice as a dividing point in time, or to the concept of time as a human construct. Every episode has one of these moments. With Lynch, nothing is a throwaway, everything matters, and if you want to know what’s going to happen, you need to pay attention. If you decide to do a mid-season rewatch (which I very highly encourage) pay special attention to Lucy’s

******

“Mary Cox is an entertainment writer from the United States. Her hobbies include making good beer and bad decisions, watching drag queens fight on the internet, and overanalyzing everything. Mary one day hopes to be the person shouting “World Star” in the back of a Waffle House brawl video. She is currently tolerating life in Toronto. You can follow her on Twitter at @M_K_Cox”

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Interview with Festival Director Sina Dolati (TORONTO NEW WAVE)

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The Labyrinth Pictures was founded in 2016 by Sina Dolati, Emmanuel McBride and Shaq Hosein as a multi-purpose production company, producing independent film (fiction and commercial), as well as hosting events and other services under The Labyrinth umbrella with the aim of cultivating the Toronto filmmaking scene. Our summer Events Coordinator Farah Mannan has also had a large role in helping this event come to life, as well as Rangga Luksatrio who has helped us in reaching out to Toronto musicians.

The 2017 rendition of the Toronto New Wave showcase is the first public event hosted by the company, screening a multitude of short films from independent Toronto filmmakers, as well as including performances from Toronto indie bands. The event takes place at 7 PM, Saturday August 5th, at Cinecycle.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Sina Dolati: We’ll have to see! This is the first public event our production company (The Labyrinth) is hosting since getting founded in 2016 and we’re very excited to see how it goes. Our goal is to provide an outlet for emerging Toronto filmmakers and allow them to comfortably network with one another in an intimate space.

What would you expect to experience if you attend the festival this year (2017)?

Definitely some great films from up and coming filmmakers of Toronto, as well some fantastic performances by Toronto indie bands. This rendition of the event is more of a ‘showcase’ than a festival, and it will be a jam-packed night for all attendees.

What are the qualifications for the selected films?

Since our screening time is rather short this time around, we’re prioritizing films from Toronto. We’d like to keep it as diverse as possible and include films from filmmakers that we see potential in.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I think it can go both ways. Some films do really well commercially but so not much in festivals, and vice versa. It really depends on the niche target audience. In our case, the goal is to include films from as many Toronto filmmakers as possible.

What motivates you and your team to do this festival?

We founded The Labyrinth umbrella as a way for us to continue making films under The Labyrinth Pictures, all while establishing a network for Toronto artists through a variety of events and services. With Toronto New Wave, we’re excited to illustrate that vision and see it all come together at a physical event for the first time. There is no fee to submit a film and tickets to attend the full event are sold at a very affordable price (~ $6).

How has your FilmFreeway submission process been?

t has definitely sped up the process. We kept it open to international submissions in order to get an understanding of interest in this sort of event. In the short 11 day submission
period, we’ve received just about 1000 submissions, 100 of which were from Canada. We did not expect to receive this many. At all. We’ve learned a lot (in terms of statistics), which we’ll keep in mind for future renditions of the event. For the August 2017 event, we’ll only be showing films from Toronto in order to create a strong base within our audience network.

Where do you see the festival by 2020?

Believe it or not, the process that was most challenging for our team in organizing this event was coming up with a name! We finally selected Toronto New Wave, since it was close to our vision of providing an outlet for emerging Toronto filmmakers (as well as musicians for this event) that continue to enrich the Toronto art scene with innovation. We strive to continue pursuing this vision, and think that the festival will be much larger by 2020, including innovative segments targeted at niche audiences (e.g. Virtual Reality films, Animation, etc.)

What film have you seen the most times in your life?

I have no idea. Maybe Jurassic Park. Loved dinosaurs as a kid.

In one sentence, what makes a great film?

I don’t think most filmmakers intend to make a film that is ‘not great’, it just comes down to knowing your audience and being able to execute your vision masterfully enough in order to communicate it with them.

How is the film scene in your city?

Toronto is the third largest screen-based production centre in all of North America, just behind New York City and Los Angeles. However, I think the film industry here is still rather scattered compared to what we see in the US. There is a large gap to fill, which is where companies like ours come into play to provide direct production and screening based networking and resources. Some non-profit organizations such as the Liaison of Independent Filmmakers of Toronto (LIFT) and Raindance Toronto succeed greatly at doing just that.
 

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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director Conor Armstrong Sanfey (ELEVATION INDIE FILM AWARDS)

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The Elevation Indie Film Awards has been set up by Indie Film makers for Indie Film makers. We understand the difficulties of gaining recognition for your work and want to shine a light on the vast talent of Independent filmmakers from around the world.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Conor Armstrong Sanfey: At elevation, we endeavour to give filmmakers feedback on all submissions, weather they are accepted or not to screen. We ensure that all films are watched, and filmmakers go away with constructive feedback. We specifically support indie filmmakers, by providing them a platform for showcasing their work.

What would you expect to experience if you attend the festival this year (2017)?

To view a wide diverse programme of innovative independent films.

What are the qualifications for the selected films?

To view a wide diverse programme of innovative independent films.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

No we feel a lot of the major festivals do not give enough attention to independent films. With some not even watching entries at times.

What motivates you and your team to do this festival?

Our motivation comes from our experience as indie filmmakers ourselves. We want to provide a support system for independent filmmakers, and provide them with constructive feedback and a platform to showcase their fantastic work.

How has your FilmFreeway submission process been?

We have been getting films from all around the world. The standard has been fantastic, and we can’t wait to see for.

Where do you see the festival by 2020?

We hope to continue expanding the festival, and hopefully hold more live screenings.

What film have you seen the most times in your life?

. Shawshank Redemption.

In one sentence, what makes a great film?

A film that transports you into another world, and most importantly entertains.

How is the film scene in your city?

The film scene in Dublin it thriving, especially in the independent film scene.

elevation-1

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Directors Lee Marohn & Paul Salzer (NORTHEAST WISCONSIN HORROR FILM FESTIVAL)

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This film festival is part of the Northeast Wisconsin Horror Festival (NeW Horror Fest), whose goal for our second year is to continue bringing together fright enthusiasts and attract new audiences to the wonderful joys of horror fiction and cinema. The film festival owes its beginnings to the Oshkosh Horror Film Festival (OHFF).

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

[Lee] Our primary goal is to get people to watch independent horror films. Our feedback has been overwhelmingly positive.

[Paul] Our festival also helps filmmakers by offering different types of horror films (from dark comedy to gore to supernatural thrillers). I hope that exposing audiences to diverse films creates an audience base that is more receptive to different types of films. This gives filmmakers the freedom to make stories they want to tell, rather than the ones that fit the commercial trends.

What would you expect to experience if you attend the festival this year (2017)?

[Lee] More of the same from 2016! Great independent horror films in a huge variety of styles. Everything from 2-minute shorts to full-length feature films.

[Paul] We also try to bring filmmakers and the audience together. We hope to expand on our question-and-answer segments between films blocks.

What are the qualifications for the selected films?

[Paul] Submissions should recognizably be horror-based (which we define as having the capacity to scare, disgust, and frighten audiences). Film should be completed works. “Work-in-Progress” screening requests will be handled separately and on a case-by-case basis. Films that contain significant non-English spoken dialogue must provide on-screen English subtitles as the audience will primarily be English speaking. There is also the standard copyright related qualifications regarding films. Basically, submitted films need to be submitted by copyright owners or authorized representatives.

[Lee] We also PREFER films with a Wisconsin connection.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

[Lee] At some festivals? Definitely. We give EVERYONE a chance. Films are judged on their own merit. We don’t compare films to each other.

[Paul] For me, I don’t think student films get the attention they deserve outside of the college system. It probably because of the economics of things. It’s really hard for me to say for sure why though.

What motivates you and your team to do this festival?

[Lee] We love horror films. I helped with a previous film festival at the same venue for 5 years. The organizer gave it up in favor of actually MAKING movies, so we saw the void and jumped at the opportunity.

[Paul] Like Lee said, we love horror films. And I like people that like horror films. So the festival is a great why for us to get together, watch horror films, and talk about the things that make us like them so much.

How has your FilmFreeway submission process been?

[Lee] Almost effortless.

[Paul] We had a few hiccups our first year, because we didn’t quite have the notification process figured out yet. The process should be basically automatic this year though. We are also using more of FilmFreeway’s features this year to speed up our selection process.

Where do you see the festival by 2020?

Lee] Hopefully, inspiring more local filmmakers to make films. We’ll continue to showcase Wisconsin-made horror and show great films from all over.

[Paul] My plan had always been to expand festival beyond just films. I would like to see the horror festival be a citywide (and even regional state) event to promote horror.

What film have you seen the most times in your life?

[Lee] Star Wars. Well over 600 times. In terms of horror? Jaws. Probably 200-300 times.

[Paul] The Exorcist.

In one sentence, what makes a great film?

[Lee] To me, no matter how bad or cheesy it is, a film is great if it entertains me.

[Paul] Like anything involving art, a great film needs to make me feel.

How is the film scene in your city?

[Lee] Almost non-existent, sadly. There are a few filmmakers (some with multiple awards), but FUNDING is the big missing factor. I personally know of at least a half dozen films that could be made if funding was available.

[Paul] It’s growing though.

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Lee Marohn

A lifelong Wisconsin resident, his first exposure to horror was a midnight showing of The Thing from Outer Space on TV.  Growing up in the ’70s and ’80s, his love of horror films blossomed with the arrival of Michael Myers and Jason Voorhees.  His favorite horror movies of all time are Night of the Living Dead (1968) and Jaws.  His non-horror obsessions are Star Wars, Firefly/Serenity and Lego.  In addition to a full-time job, he has worked part time at a comic shop for 22 years.  As a volunteer at the Time Community Theater, he worked during the Oshkosh Horror Film Festival and was part of the movie selection process.  After 5 years of the OHFF, the organizer needed to give it up.  After a year without a horror film festival in Oshkosh, co-organizer Paul Salzer approached him about organizing a new fest. The rest is history. Lee has acted in several local film projects and produced two locally-made horror films.  He prefers to work behind the scenes and hopes to produce more.

Paul Salzer

A resident of Oshkosh since the late 80s, Paul’s love of films came from renting VHS tapes from the local video store in Palmyra, WI.  He enjoys science fiction, horror, and comic book films.  He maintains a film review blog and podcast called Forsaken Film Reviews.  He is also the co-host of a monthly film discussion podcast titled The Film Jerks.  He’s current goals include being more active in independent filmmaking.

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Gustavo Coletti (ROSARITO INTERNATIONAL FILM FESTIVAL)

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The first Rosarito International Film Festival, produced by LOGCINEMA.COM, will be carry out in October this year, a website dedicated to classic and collectible films, which is expanding into independent cinema, providing filmmakers with the opportunity to exhibit their productions online.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

Gustavo Coletti: Rosarito, Baja California, Mexico, just 150 miles from Hollywood, it is the fastest growing movie business on the planet. It is the headquarters of Fox Studios Baja California, the most important branch of Fox, where they filmed blockbusters like “Titanic”, “Master and Commander”, “Quantum of Solace” (James Bond), “Babel”, “Pearl Harbor” “007, Tomorrow never dies”, and so many others impossible to list. 20 minutes from Rosarito is Tijuana with different academic centers for film study, including the renowned Film School of the UDCI (“University of Las Californias International” by its acronyms in Spanish).

What would you expect to experience if you attend the festival this year (2017)?

As spectators watch movies from all over the world. In the Rosarito area live more than 70,000 Americans who regularly have no opportunity in his country to see foreign films, and what you could watch in Mexico do not have subtitles in English but in Spanish. As a filmmaker, to exhibit my productions in the arthouse of greater growth in the world market.

What are the qualifications for the selected films?

We are looking for in the selected films, greater respect for the artistic aspect of cinema and not of cinema as entertainment industry.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

I think that the festivals are afraid to show films of low budget and with technical limitations. I don’t think that they too take into account the conceptual part of the film.

What motivates you and your team to do this festival?

We are interested in meeting people of cinema’s future generations for future projects and achieve an expansion of interest in the local market towards another type of productions that represent other cultures and other idiosyncrasies.

How has your FilmFreeway submission process been?

The entire process with filmfreeway went flawless so far.

Where do you see the festival by 2020?

I have no doubt that by 2020 the Rosarito International Film Festival already will be entrenched and established as an invaluable event for the community of independent filmmakers. The response that we have taken a few days after initiating the call, exceeded all of our expectations.

What film have you seen the most times in your life?

I have seen countless times the cinema of Federico Fellini, especially “8 and 1-2” and “La Dolce Vita”, as well as the films of the great masters of Italian cinema. I’ve seen much Tarkovsky and the French nouvelle vogue.

In one sentence, what makes a great film?

A great film is one which brings a renewal in the cinematic language, that can dispense with in its elaboration of the commercial intention and has an aesthetic and a history that excites us.

How is the film scene in your city?

Well, I don’t live in Rosarito, live in Los Angeles, which is the most vibrant city in the world in film, but Rosarito is a place where we are always working on new projects and that is exciting.

 

rosarito-2

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

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Interview with Festival Director José Claudio Silva (PORTUGAL INTERNATIONAL FILM FESTIVAL)

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The Portugal International Film Festival will have its first edition in 2017 and aims to promote the Portuguese and World Cinema. Held in the city of Porto, the Festival will award the best films with a certificate and crystal trophy.

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Matthew Toffolo:What is your Film Festival succeeding at doing for filmmakers?

José Claudio Silva: This is the first year of PORTUGAL INTERNATIONAL FILM FESTIVAL, we would like to be a window for
filmmakers showcase their work in Europe. In the next year we´re planning a partnership with a Portuguese Tv Channel to play the winners.

What would you expect to experience if you attend the festival this year (2017)?

A great network with other filmmakers, nice awards (cristal Trophy and certificate of award), Interview with filmmakers, photos and videos for the website.

What are the qualifications for the selected films?

The most important thing I think is the story, sometimes we see a film made with a great camera, a full team and the story means nothing. In the other hand we had some great student films
that makes me imagine that could be a blockbuster if they have budget.

Do you think that some films really don’t get a fair shake from film festivals? And if so, why?

My experience as filmmaker, I realized that some film festivals prefer some genre of films, the most of them gives the awards for drama style. I think that comedy and action films have less chance in festivals.

I don´t know if they ask to the jury to give more attention to drama genre or is a coincidence.

On my festivals, all genres has the same evaluation by the jury.

What motivates you and your team to do this festival?

As a filmmaker, I think that is an important window to show your work. When I was a film student I tried to screen my film on a theater and it was so expensive that´s why I get all students together and we rent a theater and I made my first film festival.

How has your FilmFreeway submission process been?

FilmFreeway is a great place to submit your work. The always create new tools to improve our Festival experience.

Where do you see the festival by 2020?

I hope that in 2020 we can have more technology to make
better Festivals. Theaters with better screen and projectors, maybe a 4D presentation with virtual reality glasses.

What film have you seen the most times in your life?

The Shawshank Redemption is one of the most beautiful films that I ever seen.

I think that I saw it 5 times.

In one sentence, what makes a great film?

The story is what catch the audience. The technical aspects is important but the story is the heart of a film.

How is the film scene in your city?

The city of Porto is a touristic city, they have few film festivals. We want to make Portugal a hot place for film festivals and increase the Portuguese film production.

portugal-2

Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK Monthly Festival held in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.

SUBMIT your TV PILOT Screenplay or TV SPEC Script
Voted #1 TV Contest in North America.		 Screenplay CONTESTSUBMIT your Short Screenplay or FEATURE Script
FULL FEEDBACK on all entries. Get your script performed