Anomie, 24min., Iran Directed by Reza Javanshir A middle-aged man drives his car to an abandoned hospital. The man’s behavior shows that he has made an appointment with someone. He enters there and closes his eyes with a blindfold according to the appointment he made. A man comes to him and knocks him unconscious by injecting him with an ampoule. Every time he regains consciousness, he sees ghosts of little girls, and then he is knocked unconscious again by the same man by injecting him with ampoule.
The Middleground, 16min., Nigeria Directed by Olumide Kuti In this faith-based supernatural drama, Joromi finds herself trapped in a void between life and death, but she refuses to transition. With years of unanswered prayers and relentless suffering, she demands an audience with the one being who has remained silent through it all—God.
What an honor it was to sit down with Director of Photography Julio Macat. Julio has DP’d most of the top comedy films in the last 25+ years. His list of credits include: Home Alone 1, 2 & 3, Ace Ventura: Pet Detective, The Nutty Professor, The Wedding Planner, Wedding Crashers, Winnie the Pooh, Pitch Perfect, and the upcoming comedy The Boss, starring Melissa McCarthy.
Matthew Toffolo: You have worked in the Hollywood Film Industry scene for the last 36 years. What has been the biggest change in the filmmaking process from 1980 to present?
Julio Macat: The biggest change in our industry has been the choice of material that studios and most independent financing companies green light, as what films are made. It used to be that a film like ORDINARY PEOPLE would have no problem going forward, especially with a good director attached. Now, great films like that rarely get made anymore. I miss that.
MT: Of all the productions you’ve worked on, what film are you most proud of?
JM: Without hesitation it’s HOME ALONE, it was a rare combination of all the elements of film making coming together harmoniously with a result better than expected.
PHOTO: Cinematography in the film Home Alone:
MT: Home Alone is one of the most successful films in movie history, and it’s a film that really stands the test of time. During filming, did you ever imagine that this film would be as iconic as it was?
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JM: No I didn’t. My hope was that it would be liked as much as I liked A CHRISTMAS STORY and that kids could relate to and be empowered by it. But It’s unusual to sense that you are doing something that special because you are in a vacuum, trying to do the best you can in your department (the visuals) and just hope that everyone else had their act together as well…Fortunately our young director Chris Columbus, had a great vision of what “it could be” and he guided us all in a great direction. The film was that unique circumstance where every layer that was added made the film even better…and John Williams’ score was truly icing on the cake.
MT: You’ve definitely been a part of some of the most successful films in the last 25 years (Home Alone, Wedding Crashers, Pitch Perfect to name a few). Is there a film that you worked on that didn’t do well at the box office that you consider a terrific film that people should see?
JM: Yes In comedy, I loved MY FELLOW AMERICANS which came out at an odd time and no one saw and the drama CRAZY IN ALABAMA which was a bit too long and did not connect with American audiences.
PHOTO: Crazy in Alabama. Starring Melanie Griffith:
MT: You just wrapped “The Boss” starring Melissa McCarthy, Peter Dinklage, and Kristen Bell. Can you give us a sneak peak as to what to expect?
JM: I have not been this excited about a comedy coming out since I photographed WEDDING CRASHERS!
JM: THE BOSS is the perfect vehicle to show Melissa McCarthy’s incredible talent. I think she is the present day Lucille Ball, someone who can and will do ANYTHING for a laugh and unlike other comedians, it’s ALWAYS really funny. She has the uncanny ability to step outside herself and correct situations to make them hilarious without being self conscious! There is a scene in which she puts on a teeth whitener to have Kristen Bell clean her teeth and holds a conversation while they are being cleaned. I assure you that this will have the people in theatres roaring with laughter! We had to start the scene again repeatedly, because the other actors and the crew could not stop laughing during the takes.
PHOTO: Melissa McCarthy in THE BOSS:
MT: Some of the comedies you work on the director demands the actors stick to the script, whereas other films, like Wedding Crashers, there is a lot of improvising occuring. Do you have a preference when shooting? How does the scene lighting setup change when you know the actors are going to go off script?
JM: It’s been my experience that comedy is an imperfect and individual science. The best results come when you leave an opening for great accidents to happen. So I try to not lock in actors with blocking that is too precise, and for example, if the scene develops into being filmed in an area that we had not anticipated, well, that then turns into a fun challenge!. Hopefully this adds to the piece. Ben Falcone and Melissa were eager to want overlaps in dialogue and action in some of our scenes, to be a part of the looseness of the jokes, so they asked that I cover these scenes with three angles simultaneously. It was challenging photographically, but the results were worth the effort and we got many “improvised “ moments with the proper intercut coverage.
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MT: Since you started in the camera department, do you prefer operating the camera yourself? Or does this all depend on what type of film (budget/Union guidelines) you’re working on?
JM: I love operating the camera myself, and on some productions I prefer it.
But since I’ve now done 17 films with first time directors, lately, I find that all can go faster when I spend more time by the director’s side and away from the camera. I do love stunts, however, and I love operating on the tough shot …so that we get it in one.
MT: What’s the main thing you look for from your main crew members? Gaffer, Key Grip, Camera Operators etc…
JM: My most important criteria in choosing crew is PERSONALITY. After this many years in the film industry, I found that many people are qualified for the job description, not as many have the agreeable, kind and respectful personality that I require to be in my crew.
I like to be the example of being respectful to actors, directors, producers and other crew members. I expect my crew to do the same.
It’s amazing how much you can achieve with a hand picked crew that has a positive attitude and general kindness toward each other, I am always amazed at this, especially when we work under such tough circumstances that we often encounter. With this approach, when the pressure mounts with things like weather challenges, not enough time, locations changing, etc. etc. which by the way, are actually the daily obstacles of filming, one can rely on the crew to process it, deal with it professionally and find a solution with kindness achieving much better results.
MT: What do you look for in your working relationship with your director?
JM: A collaboration, Hopefully I look for this person to be someone who will do their homework, roll their sleeves up along with me and work as hard as I do.
I look for the director to be considerate of my craft and the elements I may need in order to help them realize their vision for the film And finally, maybe most importantly, a sense of humor.
MT: What movie, besides the ones you worked on, have you seen the most in your life?
JM: It’s a three way tie: In this order though…
IT’S A WONDERFUL LIFE LOST IN AMERICA JERRY MAGUIRE
Cheers JULIO MACAT, ASC
_____
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 every Thursday. Go to www.wildsound.ca for more information and to submit your work to the festival.
As Long As You Want, 22min., Canada Directed by Matt Santos For as Long as You Want is a tender, conversation-driven short film about two actors, Liz and Brad, running lines in a quiet basement one afternoon. What starts as a simple rehearsal slowly turns into something deeper as they begin to open up about their relationships, their dreams, and the things they’re afraid to admit out loud. Liz is in a relationship that no longer feels right, with someone who doesn’t really see her. Brad’s charming, grounded, and unexpectedly honest. As they talk, laugh, and share food, the connection between them grows easy, real, and a little bit electric. With Liz’s train out of the city approaching, she has to decide whether to go back to the life she’s been trying to make work, or stay in this moment just a little longer. Quiet, raw, and full of heart, For as Long as You Want is about timing, chemistry, and the things we don’t plan for.
Various options to submit to the Festival. A HYBRID model.
Cinema screenings for audience feedback video (this is NOT an online festival).
Blog and podcast interviews.
And bonus virtual screening (optional!) geared to create community over distance,
Also, option for 2nd in-person screening for filmmaking to attend to do audience Q&A and feedback session. Even is ALWAYS sold out.
PLUS, get your film seen by the right people.
Festival designed to expose and promote films and screenplays that work outside the system and break the boundaries in the horror genre. To bring a voice to the talented independent filmmakers & writers within the horror genre.
Submit your Horror films and screenplays today to the festival.
Our mission is to promote screenplays, films, and videos that dissent radically in form, technique, or content and challenge and transcend commercial and audience expectations using the audience FEEDBACK festival format that the flagship festivals use.
A biography is a written account of a person’s life that tells the story of their experiences, accomplishments, and challenges. The word “biography” comes from the medieval Greek words bios, meaning “life”, and graphia, meaning “writing”.
3 options to submit: 1st chapter. full 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 DEATH short story to the festival and we will automatically have it performed by a professional actor and turned into a promotional video for yourself.
A death story is a narrative that describes how a loved one died, and may also include other parts of their life story. Death stories can be a way to uncover significant life events and are part of a person’s larger life story.
HORROR Underground Film & Screenplay Festival:
Bookshelves with books for children. Educational library with literature for preschoolers and kids. Reading and studying. Fairy Tales, Encyclopedias and Dictionary. Cartoon flat vector illustration
As Long As You Want, 22min., Canada Directed by Matt Santos For as Long as You Want is a tender, conversation-driven short film about two actors, Liz and Brad, running lines in a quiet basement one afternoon. What starts as a simple rehearsal slowly turns into something deeper as they begin to open up about their relationships, their dreams, and the things they’re afraid to admit out loud. Liz is in a relationship that no longer feels right, with someone who doesn’t really see her. Brad’s charming, grounded, and unexpectedly honest. As they talk, laugh, and share food, the connection between them grows easy, real, and a little bit electric. With Liz’s train out of the city approaching, she has to decide whether to go back to the life she’s been trying to make work, or stay in this moment just a little longer. Quiet, raw, and full of heart, For as Long as You Want is about timing, chemistry, and the things we don’t plan for.
Many things. I had been wanting to make a film for a while, that unlike my previous ones, I would actually release. Unfortunately, I didn’t have access to any equipment beyond my iphone and a couple of mics. Being a big fan of Richard Linklater’s Before trilogy and the way in which its entirely conversation driven, I figured I could do something similar, except have it all take place in one intimate location. The story itself is very closely based on a real experience that I’ve had, and so the main goal became to capture that feeling of connecting with another person. Lastly, my co-star, the amazingly talented Liv Corriveau, had directed a riveting romantic drama called “When You Come Over” in which we discovered that we have natural chemistry on screen. I wanted to make something that would be complimentary to her film, but different in that the characters get a happy ending. I like to think that our films are perfect for being watched back to back.
2. From the idea to the finished product, how long did it take for you to make this film?
Roughly five days. I got home after a lunch meeting feeling very inspired and wrote the script in a couple of hours. The next day I decorated the set, my basement, and tried to give it a specific colour palette. The next day we spent about 16 hours shooting. The final two days were spent with my eyes locked onto the computer screen as I edited non-stop.
3. How would you describe your film in two words!?
Human Connection.
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle I faced in making this film was being both behind and in front of the camera. A lot of time was spent running back and forth trying to figure out the shots. I have never received any formal training in the technical aspects of filmmaking, but I did major in cinema studies in University. However, my vision for this film did take into account my lack of technical skills and equipment, and thus the final product ended up fitting the vision very closely.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
The feeling was indescribable. Knowing that these lovely people that I am not acquainted with took the time to watch my film and analyze it means the world to me. It was especially interesting to hear that a different aspect of the film stood out to each of them.
6. When did you realize that you wanted to make films?
I always wanted to be an actor, and I always loved writing. I started making little homemade films when I was about five, and they grew more elaborate as time went on.
7. What film have you seen the most in your life?
It feels like I’ve seen this one the most after the many hours I spent obsessing over it. But, in reality, it’s probably Once Upon a Time in Hollywood or Fight Club.
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
I have had an amazing experience with your festival and believe that other festivals should be more like yours. I love the fact that you offer a full package of options to help launch films.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Having never submitted to festivals prior to this, I expected the process to be tedious and complicated. I was pleasantly surprised by the ease in which filmfreeway allowed me to gather information and submit my film to multiple festivals in such a short period of time.
10. What is your favorite meal?
Steak with some kind of potato variation on the side.
11. What is next for you? A new film?
My plan is to focus on acting for a while. I am currently a full time student in the acting program at Toronto Film School. In the past few months I’ve been very lucky to get cast in a number of really cool projects and work with many talented people. So for the meantime, I plan to continue auditioning for everything that comes my way, and seize every opportunity. However, I absolutely plan to make more films in the future. Including a sequel for “As Long As You Want” that delves into the testy realities of relationships after the “honeymoon phase” has ended.
