Shame, 5min., USA Directed by Kelly Lynn Warren When a woman is sexually assaulted by a mutual friend the night before, her confrontation with her best friend leads to tragic consequences.
I was a peer counselor in college and know of people in my life who have been sexually assaulted. I wanted to raise awareness of the issue and show it from the perspective of two friends instead of focusing on the assailant. The ultimate goal of Shame was to take it to universities and spark dialogue among students.
From the idea to the finished product, how long did it take for you to make this film?
9 months
How would you describe your film in two words!?
must-see, impactful
What was the biggest obstacle you faced in completing this film?
One of our actors had an emergency and had to back out of filming on Day 1, so I had to recast the same night because we were shooting the next day. Our actor, Sophia Cofino, stepped in and nailed the part.
We have created a hybrid festival with 4 tiers to enhance your film and your festival experience. All accepted films receive all four tier options:
Tier #1 – Your film plays at a public film festival event where the audience will record their comments/reactions to your film on their camera or phone, then we edit them and send you a promotional video. No matter what you will receive a promotional video of your film of people commenting on your film.
Tier #2 (optional) – Your film plays on the Film Festival streaming service for 30 hours and invite a select industry audience to watch it. With this system, some films have already received a distribution deal as many platforms are looking for solid feature and short documentaries. We can not guarantee anything of course but this has been very helpful to many in the past. (see testimonials below)
Then (Tier #3) we will send you a list of questions to answer for our blog interview that will promote you and your film. 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.
A festival designed to showcase the best of new environmentally themed films (shorts, features) and screenplays (shorts, features, TV pilots) from around the world. We accept any genre (animation, comedy, experimental, horror etc.) as long as it has an underlying environmental thematic. We seek to advance public understanding of the environment through the power of film and storytelling; which is why this festival has been created.
Accept only stories that fit into the MAGICAL REALISM genre. Magical realism stories feature fantastical elements that seem ordinary and blend into the story.The focus is on what the magical elements mean for the characters, rather than the elements themselves.
3 options to submit: full novel. 1st chapter. Novel performance reading.
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
Submit your POLITICAL short story to the festival, and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
Warriors Beyond The Battlefield: African Americans in the Armed Forces, 26min., USA Directed by Dave Messick A documentary highlighting the untold stories from multiple generations of brave African American soldiers who have served in the United States military since the Civil War.
Pied-à-terre, 30min., Nigeria Directed by Badewa Ajibade When Florence receives a letter from her lover, Agnes, she tries to process its contents in a way that only her subconscious can help her. As she reads on, the lines between her conscious and subconscious mind start to blur until she finds it almost impossible to tell them apart. badewa.ajibade@outlook.com
Pied-à-terre, 30min., Nigeria Directed by Badewa Ajibade When Florence receives a letter from her lover, Agnes, she tries to process its contents in a way that only her subconscious can help her. As she reads on, the lines between her conscious and subconscious mind start to blur until she finds it almost impossible to tell them apart.
Warriors Beyond The Battlefield: African Americans in the Armed Forces, 26min., USA Directed by Dave Messick A documentary highlighting the untold stories from multiple generations of brave African American soldiers who have served in the United States military since the Civil War.
The Power Of One, 17min., USA Directed by Cortez Mack A story about a community coming together to save the life of a broken teenager.
Creating Memory Lane, 5min. USA Directed by David Carroll Justin “XO Valentine” Smith CEO of XO Records; takes us behind the scenes and gives insight to his creative process of his Memory Lane single. Mr. Smith also gives us some sound advice that could potentially help change the music careers of indie artists.
One of the first festivals that actually promote your film in a modern and diverse way through different platforms and pieces of content. I really appreciate it. Thank you!
Maria Djurkovic is one of the most talented Production Designers in the industry today. She has created a multitude of worlds in many critically acclaimed movies and TV shows, including: Sliding Doors (1998), Billy Elliot (2000), The Hours (2002), Mamma Mia! (2008), Tinker Tailor Soldier Spy (2011), and Gold (2017).
Matthew Toffolo: Is there a film or two that you’re most proud of?
Maria Djurkovic: Yes – Tinker Tailor Soldier Spy.
I also was very pleased with The Invisible Woman. I dont think you can tell we had a very small budget.
PHOTO: Still from the film”The Invisible Woman” (Director Ralph Fiennes)
MT: What is a director looking for in a Production Designer?
MD: I am certain each director is looking for something different. Wes Anderson will be looking for very different qualities in a designer than Ken Loach.
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MT: What is a Production Designer looking for in a director?
MD: I am certain that everyone is different. I like to work with directors for whom visuals are very important. This may seem obvious in such a visual medium as filmmaking, but believe me it isn’t.
I will meet a director for a job with a very clear idea of how I see their film. I actually like to stick my neck out, because I really don’t want to spend the next 6 to 9 months arguing. If a director likes my ideas I will get the job. If they don’t, or if they are not looking for an opinionated designer, I won’t.
The best working relationships for me are the very collaborative ones. Tomas Alfredson is my dream director. We practically finish off each other’s sentences. I enjoy working with directors who are unafraid of bold visuals and who dont get caught up in stuff that actually doesn’t matter. Those who are comfortable cheating locations and are not too literal.
Obviously the material they are wanting to direct has to be good and I have to like their work.
A sense of humor is hugely important to me. We will spend hours and hours in cars, looking at locations. We need to get on.
MT: You were nominated for an Oscar for The Imitation Game (2014). How was the Oscar experience? You didn’t win, but is it just as good being nominated? Or, did you really want to win!?
MD: It was crazy from beginning to end. I knew I would not win because I was up against “The Grand Budapest Hotel” that year. Knowing that I wouldnt win actually made the eremony much more relaxing. The year I was nominated for a BAFTA for “Tinker” I was a nervous wreck during the ceremony and had an anaphylactic shock during the dinner.
I was working in Boston in the coldest recorded east coast winter when I heard about my nomination. I had one Saturday to find a dress. Flew to LA one weekend for the nominees luncheon, the following weekend to London for the BAFTAS and the one after for the actual Oscars.
I was tired and jet lagged but the whole experience was quite extraordinary, and i am thrilled to have had it. Hair/ Make-up / the biggest celeb count on the planet, all huge fun.
PHOTO: Still from the movie “The Imitation Game” Directed by Morten Tyldum:
MT: How early do you come into pre-production before shooting starts? When do your hire and bring on the rest of your key team members?
MD: I come on board very early, normally after the producer and director. The amount of prep I get varies from project to project. Anything from 10 to an incredibly generous 24 weeks I have had on the movie I am working on right now. The Art Dept. has a massive pyramidal structure and I try to secure my supervising art director and set decorator as soon as i am allowed, everyone else follows.
MT: What film, besides the ones you’ve worked on, have you watched the most times in your life?
MD: Probably Kusturica’s films.
MT: Do you have a Production Designer mentor?
MD: No
MT: Do you have any advice to kids currently in high school or in university who want to be a Production Designer?
MD: Be prepared to work insanely hard, be a monomaniac and really want to do it. Take every opportunity and be persistent. Be prepared to take knocks. Keep immersing yourself in visual culture, refresh your resources. I am always shocked how ignorant many students are about period. Period knowledge should run in your veins
MT: Where did you grow up? How did you get into the film industry? Was this something you always wanted to do?
MD: I grew up in Harrow, wanted to be a Production Designer from about the age of 8 – this is the Monomania I was talking about. Made period clothes for my Barbie dolls and loved going to the v& more than anywhere else.
My dad was an art director and hated the idea of me following in his footsteps. Said that the film industry was full of shits. He was right, but I persisted.
Studied fine art at Oxford. Did a post grad course in theatre design. Started at the BBC the day after I graduated. Stayed there for 3 years before I went freelance, built up my career step by step alternating between set decorating bigger films and designing small TV things and working my way up. I designed my first film in 1995…..
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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 DAILY Festival held online and 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.
Entering it’s 18th year, WILDsound now gives filmmakers 5 tiers to showcase and promote their film. (all accepted films garner the audience feedback festival, the 2nd bonus screening, and the interviews)
1) Screening #1 where you will also obtain your audience feedback video. 2) Screening #2 virtually on the streaming service WILDsound TV (optional) 3) Screening #3 at a sold out public screening at the Carlton Cinemas in Toronto, or the LA LVE Regal Theatre in Los Angeles.
4) Podcast interview at WILDsound Radio on ITunes 5) Blog interview promoting you and your film.
The first film festival screening gives you our award winning Audience FEEDBACK videos made for the short & feature films.
Festival is also known for it’s Screenplay portion of the festival. We do recorded script readings performed by professional actors. FULL Feedback no matter what on all submissions from industry professionals.
