Career Stall, 8min., USA Directed by Nima Nourani A businessman’s routine bathroom break turns surreal when he’s trapped in a stall, witnessing a cascade of bizarre events.
The American Trail, 21min., USA Directed by Tomer J. Keysar The American Trail follows two friends who embark on a journey to walk across the United States. It’s not as glamorous as it seems — they’re pitching tents on the side of the highway and trudging through mud for six months.
Clothe Trouble, 2min., Australia Directed by Tony Zhang Clothe Trouble depicts the story of a main character who lacks the motivation to clean the house, becoming increasingly distracted by social media apps while continuously adding dirty clothes to a growing pile. Suddenly, the pile collapses, and a mysterious entity emerges, confronting the protagonist.
Meevil the Weevil: Breakfast of Champions, 4min., USA Directed by Kyle Arneson Meevil Weevil is a little bug with big dreams of being a stuntman. “Breakfast of Champions” mixes stop motion animation with live action footage where we follow Meevil’s thrilling ride across a 1970s breakfast table on rocket roller skates.
The Interrogation, 5min., USA Directed by Brady Jacquin, Kyle Riggs, Dylan Lighthall A Russian mob interrogation goes awry when an over-eager enforcer tries to pitch in, but can’t get his mind out of the gutter.
Within the Flow of Existence, 2min,. USA Directed by Truth Tran A short, surreal visual meditation that invites viewers to reflect upon impermanence and interconnectedness, the illusion of self, and our place within the universe’s grand cosmic interplay.
Bluebottle Theory, 10min., UK Directed by John J. Sanders, Luke O. Roberts Ever wanted to take the shot? Drew does. Every bloody day. Bluebottle Theory is a darkly comic noir-style nine-minute thriller with a twist.
A writer tasked with writing a true event is taken by the CIA to cover their tracks. However, his smart mind out smarts them when his characters learn their role in his book and save him
Get to know the writer:
What is your screenplay about?
“John Burgess is all about writing for the high technology industry, until his life takes an interesting turn. He wakes early one morning with a new story in his head that he just has to write. Compelled to write each morning, the lines between fact and fiction are blurred, as John becomes a pivotal character in his own novel. Explosions, false identities, terrorists, international intrigue, high tech surveillance techniques, the U.S. government and kidnapping, all conspire to put John’s life in serious danger until the main characters in his book rescues him.”
What genres does your screenplay fall under?
Action/Adventure/Mystery/Spy Thriller
Why should this screenplay be made into a movie?
ENTANGLED explores the relationship between consciousness, time as perceived by humans, and our quantum reality. The film will keep the audience guessing. What is real? What is fantasy? The audience will be guessing throughout especially when the last scene plays out.
The FEEDBACK Female Film Festival (FFFF) was created for women filmmakers and screenwriters. The goal is to showcase the best of female talent in film & TV from around the world.
Deadline Today to submit via FilmFreeway. 86 FIVE Star Reviews!
I have nothing but positive things to say! LOVE getting the feedback videos; the audience members who are interviewed give well thought out and reasoned critiques and it’s so gratifying to hear the way your work is resonating with others. Plus the interview opportunities are a tremendous bonus. Thanks for screening BLOOD IS THICKER!
This festival was very supportive of my work. I enjoyed the interview a lot
Such an incredible opportunity and great feedback!
I love this festival because it offers so many opportunities for the director, it is really original like no other. Thank you for the award to our The finger and the moon, we are very happy. Thank you for the feedback and thanks to all the people who have spent words on our film. Great!!!
A very positive experience overall. I was delighted with some very insightful feedback on “The Birthday List” and love that this festival supports female writers. Highly recommend! Thank you.
Submit your FEMALE short story to the festival here, and we will automatically have it performed by a professional actor and turned into a promotional video.
Get FULL FEEDBACK on either the 1st chapter or entire novel book from our committee of Professional Writers, and Writing Consultants. Get your novel performed by a professional actor at the festival.
NEW OPTION: Or, just submit for an actor performance reading transcript of your novel (any 5 pages of your book). Great way to promote the sales of your book if you’re already published. (see examples on the video playlist below)
This festival has a guaranteed 4-tier set up for each accepted script. (No matter what, all screenplays submitted receive FULL FEEDBACK on their work.) 1) Full Feedback on your script 2) Actors performance video reading of your script 3) Blog interview promotion. 4) Podcast interview on the Film Festival ITunes show.
Career Stall, 8min., USA Directed by Nima Nourani A businessman’s routine bathroom break turns surreal when he’s trapped in a stall, witnessing a cascade of bizarre events.
The American Trail, 21min., USA Directed by Tomer J. Keysar The American Trail follows two friends who embark on a journey to walk across the United States. It’s not as glamorous as it seems — they’re pitching tents on the side of the highway and trudging through mud for six months.
Clothe Trouble, 2min., Australia Directed by Tony Zhang Clothe Trouble depicts the story of a main character who lacks the motivation to clean the house, becoming increasingly distracted by social media apps while continuously adding dirty clothes to a growing pile. Suddenly, the pile collapses, and a mysterious entity emerges, confronting the protagonist.
Meevil the Weevil: Breakfast of Champions, 4min., USA Directed by Kyle Arneson Meevil https://filmfreeway.com/submissions/32428116#ff_javascriptthe Weevil is a little bug with big dreams of being a stuntman. “Breakfast of Champions” mixes stop motion animation with live action footage where we follow Meevil’s thrilling ride across a 1970s breakfast table on rocket roller skates.
The Interrogation, 5min., USA Directed by Brady Jacquin, Kyle Riggs, Dylan Lighthall A Russian mob interrogation goes awry when an over-eager enforcer tries to pitch in, but can’t get his mind out of the gutter.
Within the Flow of Existence, 2min,. USA Directed by Truth Tran A short, surreal visual meditation that invites viewers to reflect upon impermanence and interconnectedness, the illusion of self, and our place within the universe’s grand cosmic interplay.
Bluebottle Theory, 10min., UK Directed by John J. Sanders, Luke O. Roberts Ever wanted to take the shot? Drew does. Every bloody day. Bluebottle Theory is a darkly comic noir-style nine-minute thriller with a twist.
The American Trail, 21min., USA Directed by Tomer J. Keysar The American Trail follows two friends who embark on a journey to walk across the United States. It’s not as glamorous as it seems — they’re pitching tents on the side of the highway and trudging through mud for six months.
Bluebottle Theory, 10min., UK Directed by John J. Sanders, Luke O. Roberts Ever wanted to take the shot? Drew does. Every bloody day. Bluebottle Theory is a darkly comic noir-style nine-minute thriller with a twist.
Then (Tier #3), we will send you a list of questions to answer for our blog interview that will promote you and your script.
Then after that (Tier #4), we will set up a podcast interview on our popular iTunes show where will we chat with you about the process of how the film was made.
The image capture in the digital technology is born with colors but the artist’s intuition often urges for the black and white production. This proves the newness and interest in an aesthetic that can only be communicated through black and white.
THE COMMUTER, 11min., USA Directed by Joseph Sauchelli A protagonist struggles to cope with a rough commute in the only way she knows how.
Get to know the filmmaker:
What motivated you to make this film? Really the urge to make something, particularly for cheap. When you know you are going to go down that route, you begin looking around at what you can use for free. Hoboken has this old fashioned train station I always admired and found cinematic, so I began to build a story around it. With college and my job I have commuted for quite some time, so I tried to bring that experience to this film – which immediately turned into a stressful thriller.
From the idea to the finished product, how long did it take for you to make this film? The idea for “The Commuter” is several years old, however it took some time to feel ready and finally take the step towards making the movie myself. As I reflect on the finished product a lesson I have taken away is that no one is ever really ready to make a film, and it is a risky mindset to subscribe to. On one hand you want to make sure your script and pre-production planning is to the best it could be, however you must be careful not to lean on the excuse that “it’s not ready” like a crutch.
A sound editor is a creative professional responsible for selecting and assembling sound recordings in preparation for the final sound mixing or mastering of a motion picture.
I was fortunate enough to sit down with the brilliant Sound Designer Kami Asgar. He has been the Supervising Sound Editor on over 100 films including, “Ride Along 1 and 2”, “Sisters”, “Pitch Perfect 1 and 2”, “The Muppets”, “Country Strong”, “Secretariat”, “Obsessed”, “Passion of the Christ” and “Apocalypto” which earned him an Oscar nomination.
Matthew Toffolo: In a typical studio film, how many post-production sound crew members are there? Do you usually work with the same team?
Kami Asgar: As far as the first part, that really depends on the budget the schedule and type of project. Typically you have Supervising Sound Editor/s, ADR supervisor, Dialog editor/s, Sound FX editor/s, Assistant/s, Foley artists, Foley mixer, ADR Mixer/s and Re-Recording mixers. The number shrinks or grows based on work load.
As far as the team, we have a core group in our team of editors, and we bring on freelance editors as needed.
Matthew: In the initial stages do you generally have a lengthy discussion with the director about themes, tone etc..? Are some directors more hands on than others when it comes to sound design?
Kami: Yes typically we have a spotting session with the director and picture editor to get the tone and feel for the project. We also discuss ADR and problem scenes as far as dialog and sound design.
Some directors only come for playbacks and give notes and leave, Others listen to every sound that is placed in the track and approve what works for them.
Matthew: You’ve been working in the industry for the last 25 years in over 100 productions. Is there is a film or two that you’re most proud of?
Kami: You spend so much time with every film that they are so much a part of you. There is moments in every film that challenge you, and you have to creatively find a way to overcome them. So there is moments that make you proud to have worked on. But as an entire package my personal favorite sound job is The Passion of the Christ. We spent almost nine months working on creating that world through sound.
Matthew: In recent years you have worked on many successful comedies. Is there is a distinct difference in comedy sound design in comparison to working on your other films, like The Taking of Pelham 123?
Kami: In comedies sound is so much a part of the punchline and finding the right sound to make you laugh is sometimes hard and demanding. Action movies are different there is a flow that has to happens from scene to scene, the sound design encompasses the whole sound scape, from atmospheres, foley, dialog and sound effects to how designed sound elements work with the score to keep the audience engaged.
Matthew: You seem to be the guy to go to when you need sound design for musicals, as you supervised The Muppets, Pitch Perfect (1 and 2), and Country Strong (to name a few). Is working on Musicals something you really enjoy?
Kami: Musicals are such a collaboration between the music camp and sound camp. It’s unlike a regular movie where each camp shows up to the mix and you work out a balance. In a musical, our sounds really have to be worked out with the music in advance, they have to play seamlessly. Like with the Muppets, the sound effects and the foley have to be in time with the music and have to hit comedy beats too. All of that comes with close collaboration with songwriters, composers and music editors.
Kami: I’ve been blessed to work on a varying body of work, and all have been fun and challenging. Luckily I have been typecast in to a genre.
Matthew: What are you looking for when you first listen to the on-set sound recordings?
Kami: Clean Dialog, the rest we’ll build.
Matthew: When do you first come aboard the film? Most assume it’s after the last day of production, but I’m assuming it’s way earlier than that?
Kami: Depends on the project, Like on Pelham 123, we came on during the shoot to record subway trains in NYC, motorcycles and cars in and around Los Angeles, and supplied the picture editor and his staff with sounds effects throughout the editorial process. By the time we did our first preview screening, 95% of the sound track was already built and approved.
Most other movies we come on right before the first preview and build a temp track for the screening, and then build on that for the final mix.
Matthew: You seem to have consistently worked on 4-5 projects a year. How long do you typically work on a movie?
Kami: That depends on the movie and a lot of outside influences, typically anywhere from 10 to 20 weeks.
Matthew: How often does an actor have to come in and do ADR work (process to re-record dialogue after filming) to complete the dialogue sound mix?
Kami: On every movie. Sometimes we complete all other work and wait till an actor is available to come in and finish the movie
Matthew: Is there a type of film that you haven’t worked on yet that you would love to work on?
Kami: I’d like to do a big action super hero movie, come close a couple of times but that would complete the genre mix
Matthew: How has sound design changed from a technology and creative point of view from the year you started in 1990 to today?
Kami: I literally came in to this field because I worked on Macintosh computers doing graphic design. I was asked to show the guys in my father’s sound studio how to use the new Mac 2 computer with 1st version of sound tools (later protools) they had purchased so they could cut sound effects with.
I taught the editors how computers worked and how to utilize the programs to cut sounds with. In return the guys showed me how to work on an upright Moviola (useless knowledge now) and how to cut dialog and sound effects.
Everything used to be a lot more time consuming and cumbersome.
As an example you had to go down to the sound library and search through reels of sound fx (later CDs) armed with a notebook looking for one sound effect. You usually picked the first one you found, took it back to your room, and sampled it in to the computer and synchronized it to the picture and went to the next effect and the repeated the cycle. since you could only do very short sequences because of lack of computer memory, you laid back to tape and hand wrote (legibly) each event on a cue sheet for the mixer.
Now you audition sounds from your database of hundreds of thousands of sound effects available to you remotely and pick just the right sound, and if you want to alter the sound, you have at your disposal a dizzying amount of plug-ins to change every aspect of your sound to fit the picture. You then upload it for the mixer to open in his session. (no more carrying reels and reels to the stage)
Matthew: Besides the films you’ve worked on, what movie have you seen the most in your life?
Kami: There is three that I can safely say I’ve watched over and over “Top Gun” (best sound movie of all time) “Shawshank Redemption” (best movie of all time) and don’t laugh “Fletch”
—- Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information.
Festival Reviews 