interviews

Interview with Patrice Francois, Festival Director IMAGINE THIS WOMEN’S INTERNATIONAL FILM FESTIVAL

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Imagine This Women’s International Film Festival: Imagine This Productions is dedicated to providing aspiring women storytellers and filmmakers a space to encourage and develop creative projects by women. ITP’s goal is to support women by sharing their work to the public, promoting equal opportunities, encouraging professional development, and serving as a resource informative network. 

http://imaginethisprods.com/
 
Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Patrice Francois: I believe our film festival is succeeding at proving a platform for underrepresent women filmmakers from all over the world. We’ve showcased films from Afghanistan and Palestine. Our 2016 Best Documentary short film, “Shireen of Al-Walaja” by director Daz Chandler, is about an intimate portrait of a dynamic and popular Palestinian resistance leader, who left her full-time job at the UN to return to her home village of al-Walaja and fight for her community. And one of the attendance thanked us for being risky and showing the film. He told us that many other platforms wouldn’t dare screen the film because of the sensitive subject. We feel that We’re not here to play politics, if you do good work and you have a great story to share, your story deserves to be seen no matter what.

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

PF: A very divers selection of films of unique and compelling stories. A number of films will touch on themes related to personal struggles within political and social conflicts across the world. Oh, a great after party with attendees and some of the filmmakers.

MT: What are the qualifications for the selected films?

PF: That’s easy. Must be made by a women filmmaker either directed, produced or written. And of course, a great story.

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

PF: Definitely. I’ve done the whole submit your film to film festivals and had endless discussions with other women filmmakers, so I know first hand how “un-fair” it can be sometimes. One of the main reason we started Imagine This. I think there’s just a lot of politics involved, I mean there’s politics involved in just about everything, but I’ve been to local film festivals that are supposed to be focused on indie, low budget films and some of the selected films have been made with well known actors and/or their budgets didn’t fit in “low” category.

MT: What motivates you and your team to do this festival?

PF: We understand the obstacles that exist for new and up-and-coming filmmakers. We decided it was important to help cultivate an appreciation for a wide range of unique and compelling stories, especially those from women who have been traditionally underrepresented in film.

MT: How has your FilmFreeway submission process been?

PF: We’ve seen a tremendous response, and are quite frankly blown away by the quality of submissions we’ve seen. We’re trending to doubling the amount submissions from last year.

MT: Where do you see the festival by 2020?

PF: It’s clear that there is tremendous female filmmaking talent out there, but there is still so much work to be done to create an inclusive environment that supports women storytellers, so I guess a bigger and better festival that’s more established in the NY film festival scene.

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

PF: Let see, I would say “Heat”. That scene between Robert De Niro and Al Pacino in the diner scene is one of my all time favorite scenes. Plus I love Val Kilmer, he’ll always have a special place in my heart as well as my mother’s, lol

MT: In one sentence, what makes a great film?

PF: A film should have a great story and it should be compelling, it should be able to capture the mind of the audience, it should strike a chord, actors should run with the story and own it. the actors and the visuals should have a nice balance.

MT: How is the film scene in your city?

PF: Oh gosh, I live in the “country”, so there is no film scene in my town. I have to head down to the city to get my dose of art and culture, lol

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Interviewee Patrice Francois is an actor, screenwriter, filmmakers based in the Greater New York area. She is the co-founder of Imagine This Production and the festival director for Imagine This Women’s International Film Festival.

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.

Interview with Eric Simonson, Creative Director DOOR KINETIC ARTS FESTIVAL

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Oscar-winning “Lombardi” playwright Eric Simonson is bringing some major creative talent to Björklunden for the inaugural Door Kinetic Arts Festival in June. The week-long festival will provide Door County residents and visitors a peek at the creative process through two staged readings, a dance presentation and the premiere of a commissioned film by Campbell Scott, an award-winning filmmaker and actor, best known for “The Amazing Spiderman,” “Big Night” and “Longtime Companion.”

http://www.doorkinetic.com/

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

Eric Simonson: Like all film festivals, the most important thing we do is give a filmmaker a platform. We also invite artists to participate in the festival, which also includes art, dance and theatre. The point of DKAF is to encourage cross-polynization of artistic mediums. As the moving arts become more sophisticated, so does the way in which we express ourselves. DKAF offers 9 days in which which artists from all disciplines come together, see one another’s work, and exchange ideas — all in the inspirational environs of Door County, Wisconsin.

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

ES: Really innovative and rich storytelling experiences from filmmakers, playwrights, directors, actors, artists, choreographers and dancers. We also host several workshops and seminars — all open to the public — headed by internationally renowned artists.

MT: What are the qualifications for the selected films?

ES: Good story-telling, inventiveness in story-telling, economy, a willingness to branch out and express oneself in innovative ways.

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

ES: Yes. I believe that most festivals have challenging selection processes. There are so many good films out there, but screening committees are often too ad hoc and not fair. We strive for a thorough vetting of quality films at DKAF.

MT: What motivates you and your team to do this festival?

ES: We love a good story. We love creating and presenting things in Door County, which is an artist’s home for many working in different mediums. We want people to experience Door County first hand and to find inspiration to create more and better art.

MT: How has your FilmFreeway submission process been?

ES: Pretty Great. The folks FilmFreeway are always coming up with intriguing ways to make the submissions process easier, and allow the filmmakers to find the festivals that are right for them.

MT: Where do you see the festival by 2020?

ES: We’re new and very young. We don’t want to become an overly big festival, but we want the quality of our work to improve annually. We want to pack as much art and inspiration as we can in 9 days!

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

ES: 8 1/2 by Frederico Fellini. Hands down my favorite film of all time. Though CITIZEN KANE is up there too.

MT: In one sentence, what makes a great film?

ES: GOOD STORY!

MT: How is the film scene in your city?

ES: I live in LA (if that’s what you mean). It’s hopping. In Bailey’s Harbor WI, there’s not much going on, though there is a growing local interest in filmmaking. Why not? The medium is becoming easier and easier every year.

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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.

Interview with Doug Whipple, Executive Director NEW HOPE FILM FESTIVAL

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The New Hope Film Festival is sponsored by Comcast Corporation, Times Publishing Newspapers, Inc., Greater Philadelphia Media, and the Greater New Hope Chamber of Commerce. The 8th annual festival will take place from July 21 – 30, 2017. Decisions will be emailed by May 1, 2017.

Touted as the “emerging ‘Sundance East'” in a Huffington Post article, this internationally respected indie fest was founded by D. F. Whipple, an author screenwriter and long-time resident of the New Hope, Bucks County area. Whipple formed New Hope Film Festival with a group of artists who shared his passion for discovering and nurturing independent artists, especially those who’ve been overlooked by established festivals. This includes international films, which the Festival is eager to attract.

http://www.newhopefilmfestival.com/

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

A number of our films have landed distribution deals, for example Freestyle Digital Media picked up The Syndrome, but we’re doing a lot more than moving films through distribution channels. We’re changing lives. Formerly obscure filmmakers are gaining mainstream recognition. Two of my favorite examples screened at NHFF in 2010: Andreas Arnstedt, whose film The Dispensables (Die Entbehrlichen) earned a Best Debut Film nomination from German Film Critics Association and Sisir Sahana in India, who is now a respected educated and filmmaker.

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

Network with other, like-minded film industry professionals, gain inspiration from watching amazing films, gain worldwide exposure and potentially get mainstream press.

MT: What are the qualifications for the selected films?

Artistic merit, period.

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

Yes, absolutely! Politics. Too often, festivals invite films into their festival through the back door due to personal connections or affinity with the subject matter without seriously considering films that we submitted through publicly-available channels. This is something we never do. Everyone gets a fair chance here. We never invite films into the festival. In fact, this is why Director of Submissions Thom Mulligan and I started the New Hope Film Festival. He had experienced some frustrating experiences on the festival circuit after submitting his own film, Callous.

MT: What motivates you and your team to do this festival?

Fairness was our initial motivation, but as time went on we found that personal words of appreciation from filmmakers, and the differences we’re making in lives, motivate us to keep doing all of this incredibly hard, year-round. We love doing this!

MT: How has your FilmFreeway submission process been?

The platform is becoming important to us. It’s an easy platform to use and we’re getting some awesome films this way.

MT: Where do you see the festival by 2020?

We’ll be a 10-year-old film festival in 2020, so we should see even more mainstream submissions. We’re already receiving submissions from production companies with serious Hollywood credentials.

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

A reporter asked me this question last year and I discovered that it’s Blade Runner. But I’ve only watched it 3 times. I watch many NHFF films, at least in part, over and over, in the course of my duties as Executive Director.

MT: In one sentence, what makes a great film?

A deep, sincere and organic connection to the material and the project. If you have this, the budget isn’t so important. We do care about production values, but I’ve seen no budget films leave audiences speechless during the final credits.

MT: How is the film scene in your city?

It’s ok. We’re seeing more local production and we definitely have some passionate fans, but we’ve built a festival in an art town that doesn’t even have a movie theater. Filmmakers who come to New Hope fall in love with the town and have a blast, but this is not a zany atmosphere of red carpets and searchlights. New Hope is a charming, intimate place for a film festival.

 
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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.

Interview with Festival Director Kanithea Powell (Queer Hippo International LGBT Film Festival)

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Queer Hippo is a celebration of queer cinema that brings together authentic stories and audacious audiences for its annual program of original documentaries, dramatic films, original teleplays, music videos and shorts. With filmmaker forums and panels, live music performances, distributors, engaging community and student programs, Queer Hippo brings together today’s most original storytellers to a place where they can collaborate and connect.

http://www.queerhippo.com/

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

Kanithea Powell: Queer Hippo provides an amazing platform for queer independent filmmakers. We have had films premier at our festival and go on to win major festivals as a result of winning in Queer Hippo. That says a lot about our ability to choose quality films that tell compelling stories.

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

KP: Another great year of queer films. Last year Queer Hippo represented over 19 different countries. That’s huge. Expect 2017 to give you nothing less than diverse authentic stories, amazing shorts, moving features and documentaries.

MT: What are the qualifications for the selected films?

KP: The subject matter must be queer.

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

KP: There are so many great films out there looking for a platform.

If you are a small indie film with a great story, you may not get the attention you deserve when you are up against a larger film with major cast. You can get lost in the shuffle, and that’s unfortunate.

MT: What motivates you and your team to do this festival?

KP: We love cinema. Being able to provide a safe space for our audience to come and enjoy our selection of films means everything. We are in an environment where it is important to tell those stories and continue to show people we are more alike than we are different.

MT: How has your FilmFreeway submission process been?

KP: FilmFreeway has made this process simple and affordable. The platform works flawlessly for the festival programmer and the filmmaker. The site was easy to navigate and gave me exactly what I needed. This allowed us to get about the business of finding great films for our audience.

MT: Where do you see the festival by 2020?

KP: Queer Hippo will be the best place to experience queer cinema.

We will be leaders in providing educational and distribution opportunities for filmmakers.

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

KP: Shine & The Color Purple

MT: In one sentence, what makes a great film?

KP: Storytelling is the beginning and end to a great film.

MT: How is the film scene in your city?

KP: Houston has a small, intimate film scene. Austin gets a lot of the work but I think that will change over the next few years.

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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.

Interview with director Paul Verhoeven (promoting Golden Globe winning film “ELLE”

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elle.jpgAs of this writing, “ELLE” was the winner of 2 Golden Globe Awards (Best Actress, Best Foreign Film), and the lead actress Isabelle Huppert was just nominated for an Oscar for Best Actress. A must see film from a legendary director.

Paul Verhoeven is a director from my childhood. My friends and I used to love watching “Robocop” during out monthly slumber parties. Then “Total Recall” entered our world right at the time we all started getting interested in the supernatural and girls simultaneously. By the time “Basic Instinct” came along, I was a young teenager and let’s just say the movie made a deep impression on me. As I grew from a boy to a young adult, Verhoeven’s film grew with me.

So I have to say that I was a bit nervous meeting him in the staged interview hotel room at TIFF 2016. I had 15 minutes and when Paul walked in you could tell I was going to be around his 50th interview in the last few days and the hotel room backdrop is a very familiar site to him.

For my first question, I wanted to ask him something that was interesting and/or intriguing to him and perhaps a question he was never asked before, or at least not asked while he was promoting “ELLE”.

Matthew Toffolo: What movie have you watched the most times in your life?

Paul sat there motionless for more than a few seconds with his head looking at the ground. I thought I blew it right from the beginning. Then.

Paul Verhoeven: I’m thinking. I’m thinking.

Lawrence of Arabia. North by Northwest. Belle de Jour. Vertigo. Those are the films I keep going back to.

He smiled at me. I smiled at him. Then it was time to do the interview and let him move to the next one.

MT: You seem to balance your films between your European life and your Hollywood life. ELLE seems to strike a nice mixture of both. Was that your initial intention?

PV: Well in Europe, you have more power as a director. In Hollywood, you have more excess and money. Of course you like to have both, but that’s not the case. So yes, we were attempting to make a Hollywood type of film with ELLE using the European format.

MT: I heard your initial intention was to make this an English language film?

PV: Well it’s a French novel. The producer of ELLE, Saïd Ben Saïd, thought it could be an American movie. We went to an American screenwriter and wrote it as an USA movie, based in America. Then we found out that we couldn’t get the right funding. But the real problem was that we couldn’t find an American actress. None of them wanted to do it. From the A list down. They all turned the project down.

MT: Why do you think so many actresses turned down the film?

PV: It’s a different kind of movie. If this was a straight up “revenge” film, then I’m sure many would want the role. But this isn’t a revenge movie. It’s someone more. This is a film about a woman who refuses to be a victim. In fact, even after she discovers who the rapist is, she moves over that.

MT: Was Isabelle Huppert your first choice to play the lead when you decided to……?

PV: No. She was my first choice. She read the book and wanted to do the role. After the “American adventure” was over and I told the producer that we should make this movie in France, he immediately picked up the phone and called Isabelle and she accepted right away. So it was really her to chose me.

MT: There is no straight up genre in this film?

PV: No, there isn’t. This is a film about the discovery of this woman. Who she is. The book is a study of character and that’s the movie we wanted to make. All of her relationships in this movie, from her lover, best friend, her father, her rapist – the construction is about her and what’s around her. If I made this a straight up thriller, then it would deny what this story is all about.

MT: When did you novel read the novel?

PV: It was sent to me by the producer who asked if I wanted to make this into a film. I read it right away and told him “yes”.

MT: How long was it from the time you read the novel to the completed product?

PV: I read it at the Berlin Film Festival in 2015 and we started shooting a year later. The only obstacle was our initial intention to turn this into an English film. That was the only delay. Until I decided it was supposed to be made in French, we got the production rolling in a matter of months.

MT: In the novel she’s a literary agent. In the film, she’s a video game developer. Why the change?

PV: I was trying to find a profession that was more visual. My daughter came up with that. I was talking to my family at the dinner table talking about the film and my youngest daughter, who is a painter, suggested this which of course lead to the themes of the film.

The publicist entered the room and said it was time to go. I really could have chatted with Paul for another hour – but what can you do.

“ELLE” is an exceptional film. One of the best of 2016. I hope you go see it!

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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.

Interview with Festival Director Jerzain Ortega (Author’s International Film Festival)

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The FIC AUTOR (Author’s International Film Festival) was  founded in 2016 by filmmaker Jerzain Ortega. The festival is interested in unique and artistic films that exceed the limits of traditional storytelling. Feature and Short Films that reflect the director’s personal creative vision, and a style that is distinct enough to shine through the collective process. The first edition of the FIC AUTOR will take place from November 10 to 17, 2017 in Guadalajara, Jalisco, México. FIC AUTOR will present the very best films from around the world, and honor our first guest, Cannes Caméra d’Or award winner Michael Rowe.

Go to the website at: http://www.ficautor.com/

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

Jerzain Ortega: FIC AUTOR makes a very fair selection; we don’t select films
because they have celebrities or a well-known director. Our selection is based on which films are THE BEST, but don’t get me wrong, if a film like “Whiplash” was submitted to the FIC AUTOR, I would accept it, no doubt, because that film is a piece of art, so we are not anti-celebrity, but we are very objective and we won’t be dazzled over a famous face. Also, the filmmaker can feel confident that the jury watched his/her film entirely, because we send the comments from the
jury for free. And we give beautiful rings and trophies made of silver, and we will try our best to sell the films to Mexican distributors.

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

JO: A fantastic selection of the best films from around the globe, highly artistic, yet entertaining; a close connection between and with the artists, because everything happens in the same venue; a nice award ceremony open to the public where we will award the best filmmakers of the moment and our first honored guest, Michael Rowe, who will also present his film “Early Winter” and will have a Q&A segment with the
audience.

MT: What are the qualifications for the selected films?

JO: Directors must have a style that stands out from the others and the stories must be close to original. The market is full of the same crap, thanks to Hollywood. The audience knows exactly how the guy is going to lose and win back his girlfriend in a comedic love story; they know who is going to die first in a horror movie, or when to expect a lazy jump
scare, etc. A good filmmaker, an author, chews all of those clichés and spits them in the sink, way far from his delicious gourmet dish.

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

JO: No, I don’t. Film Festivals are business, sounds bad, but they are. And they all earn money from fee submissions and tickets and sponsors and government grants, so most of them, many of them, choose films with a nice cast so they can connect with the audience, sell tickets, have sponsors, increase the tourism –or allow politicians to take their pictures with the stars-, and of course, fabricate the dream almost every filmmaker has, win something and be at the same level of these “great, well-known filmmakers.” But this is bullshit. Every honest filmmaker knows deep inside them, that their dream, our dream, is to have one more night with the audience, in the dark, listening to the laughter, the connection with the characters we create and at the end, hear the applause and feel like an undercover cop hearing the comments on the way out of the theatre. And if you don’t believe me, check the list of the winners of the past editions of the 50 best film festivals, yes you will find a few good ones, but most of them, are public relations, or advertising, or copy-paste selections from other festivals.

MT: What motivates you and your team to do this festival?

JO: I write a personal email to each filmmaker that submits to the festival. Sometimes this email turns into 10 emails of conversation, most of the filmmakers write me back telling me that it’s very rare to receive a personal letter from a festival director, or that this is the first time a festival treats them like a person. THIS MOTIVATES ME. We built a film festival that treats filmmakers like people and not like
numbers, a festival that is transparent and has its feet on the ground. This is a business, yes, but our business is to celebrate and encourage the emerging and real authors that are out there, to continue making great films. We want to build a festival that every filmmaker in the world can feel proud to participate in.

MT: How has your FilmFreeway submission process been?

JO: The response from the filmmakers has been amazing, we have more than 500 submissions and we expect to have many more. And most of these submissions are an amazing quality.

MT: Where do you see the festival by 2020?

JO: Here, in Guadalajara, Mexico, but with more sponsors and stronger relationships with distributors so we can help and give more to the FIC AUTOR submitters.

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

JO: This one is hard… ROCKY and THE BOURNE IDENTITY, but when I see either of these, I can’t stop; I have to watch the rest of the films from the franchise.

MT: In one sentence, what makes a great film?

JO: The passion that flows through the hands of the artists of each of the film departments, who understand and share the unique vision of a talented writer-director.

MT: How is the film scene in your city?

JO: Guadalajara has a strong independent filmmaking community that is growing and producing more and more films each year of our own merits. We don’t have too much support; most of the local government budget for cinema goes to filmmakers from Mexico City, so it is unfair, but we are warriors and we don’t sit with our arms crossed. We figure it out and we
continue producing films.

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Jerzain Ortega began his film career as a makeup artist in Mel Gibson’s “Apocalypto.” Following this, he studied cinema at Centro de Estudios Cinematográficos INDIe, and worked on a second film as chief makeup artist in Alejandro Ramirez’ “Todos Hemos Pecado.” Later, he financed his first independent film by his own means, “Journal d’un inadapté;” a film made almost entirely by him (one man crew in almost every scene.) He is now producing his second feature film, “Telephone,” a film that will be shot with only one assistant as well. He is also the founder of FIC AUTOR (Author’s International Film Festival.)

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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.

Interview with Festival Director Niall Trask (South London Shorts)

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South London Shorts exists for two reasons: to show great films made by independent filmmakers and (through crowdfunding) make sure that more great independent films get made. Every month for an entire year we will show a selection of intriguing, challenging, and exciting short films curated by the team at South London Shorts. Every penny we receive from the community that comes to watch these films is re-invested into making one amazing film at the end of this year. South London Shorts is an entirely not-for-profit, community-lead endeavour. Because of this, it’s our community who gets to decide where the money goes.

southlondonshorts.com

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

Niall Trask: We’ve given over 100 filmmakers the chance to see their film shown in front of fresh eyes and a chance to gather feedback afterwards. I think that it can sometimes lead to constructive criticism, but more importantly encourages them to show what has worked. Also, I’d like think we’ve given our audience an impetus to go out and out and make films themselves. We show a huge variety of films, never constrained by the budget, the approach, or the subject. Most importantly though, the festival was started out of our own frustrations in obtaining budgets for short films when they are seen as the way into the “industry’’; we’re the only short film night that funds films and we recently awarded £3.5k to an independent filmmaker based up in Edinburgh, Wayne Mazadza.

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

NT: Eclectically curated films, from all over the world including one student film from a Goldmiths University (with whom we’ve recently begun a partnership with), a wildcard film from me (usually fairly out-there) at a great venue: we couldn’t be happier with the Montpellier in Peckham.

MT: What are the qualifications for the selected films?

NT: The three of us decide on the content and we all have quite different tastes. We pick a handful each and then start building a programme out of our mutual favourites until they sit together nicely. We’ll sometimes chuck in an early short from an established director if we feel like it!

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

NT: Personally, I think films are overlooked because of their budgets. If you serve up a delicious meal, who cares what condition the plate is in?! We make a real effort to consider everything submitted to us. Also, I think women are under-represented as directors. We’ve had nights where every film we’ve screened has been made by a woman, and not even realised until afterwards; maybe this says something about our selection process which differs from other festivals?

MT: What motivates you and your team to do this festival?

NT: We experimented with an idea: a film night that funds films, and it worked. We just want to keep building. But genuinely, I look forward to the event more and more every month. I enjoy the social side of it, and seeing people’s work. We take no money from it, just the experience.

MT: How has your FilmFreeway submission process been?

NT: Using FilmFreeway really changed the way we run and has boosted our submission pool to no end. It’s easy to use, it’s a fair price, and it seems to be the platform most filmmakers use to exhibit their work right now.

MT: Where do you see the festival by 2020?

NT: I hope we’ll have fully launched as a production company and will be getting more people’s projects of the ground. We’d love to screen in multiple venues across South London too; maybe do a few every month.

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

NT: Boring answer, sorry: Withnail & I.

MT: In one sentence, what makes a great film?

NT: Coach Gordon Bombay returns to manage the Mighty Ducks… joking… A good story in a well captured environment that reminds me I’m a human being.

MT: How is the film scene in your city?

NT: Living in South London I feel excited most of the time; there’s a demand for DIY filmmakers such as myself and we’re surrounded by lots of different communities – of people motivated to create. Whether it’s music videos, comedy sketches, shorts, or features. Our night is about championing your art form.

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NIALL TRASK is an Anglo-American, raised in Suffolk and now based in Brixton. Niall studied film, spent a few years travelling and working in the Art Dept. on films, whilst building a portfolio of his own work on the side. Highlights include a video collaboration with Animal Collective, extensive touring as a VJ for Middle Eastern-psychedelic band Flamingods and directing left-field short films. Niall is now represented by OB Management as a music video director and works as a freelance VJ, Editor & Production Designer.

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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.

Interview with Festival Director Gabbar Punjabi (Lake View International Film Festival)

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Lake View Film Festival aims to inspire, motivate and award the true innovative and artistic geniuses of our time. Every independent artist hopes to one day emerge from the underground scene and share their talents with the masses.

http://www.lviff.net/

Interview with the Festival Director:

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

Gabbar Punjabi: Lake View International Film Festival gives opportunity to independent filmmakers to show their work at a new platform.

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

GP: High-Quality Independent films across all genres, from around the world.

MT: What are the qualifications for the selected films?

GP: Our platform is designed for independent filmmakers. We accept films from independent filmmakers with strong storytelling, All genre with high-quality films are acceptable.

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

GP: Film Festivals receive thousands of entries and out of them only a few films are acceptable. Many of the films face rejection because I think, sometimes filmmakers do not read rules and regulations before submitting their films to
festivals. Also, it is difficult for festivals to show each and every film because of a limited number of screenings, limited time and so many other factors vary from festival to festival. ​

MT: What motivates you and your team to do this festival?

GP: Cinema of Punjab is still under a big change, recently one of the Punjabi films was officially selected at Cannes. Our team’s passion toward films motivates us to present a good platform for independent filmmakers to show their work.

MT: How has your FilmFreeway submission process been?

GP: FilmFreeway is really an awesome platform for both filmmakers as well as festivals. This is very easy to access, easy to manage your entries, and so many features which other platforms not yet provide.

MT: Where do you see the festival by 2020?

GP: It will become better and better, more numbers of screenings and there is soo many things which we want to do.

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

GP: Malena, Thelma and Louise, Water and Qissa

MT: In one sentence, what makes a great film?

GP: A great way of storytelling makes a great film.

MT: How is the film scene in your city?

GP: The Punjabi film industry is stuck in film mafias. A very low number of theatres, very few independent venues. But I was told it is under a big change so we still have hopes every year new good independent productions.

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Gabbar Punjabi is a small town boy with loads of ambition. He completed his graduation in life science after which he joined film school and started learning filmmaking. During film course, he wrote and directed three short films. After successfully completing filmmaking course, he moved to Mumbai where he starts working as an assistant director in the television and film industries. In 2014, he started his banner script factory production and started working as an independent filmmaker. He also the Director of Independent film festival Lake View International film Festival.
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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.

Interview with Festival Director Jonatan Petré Brixel (Berlin Experimental Film Festival)

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Berlin Experimental Film Festival focuses solely on Experimental films of all kind from all around the world. The Festival takes place at Kino Moviemento, the oldest Cinema in Germany, founded in 1907 located in Kreuzberg in the middle of Berlin. Regardless if its a quiet sensitive film about personal pain, an angry roar against society, a light hearted documentary about a grandmother, a visual portrayal of sound itself or an insecure attempt to wander into an unknown sexuality – the Experimental Film making as such is what the curated program is be built upon.

Visit the website for more information.

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

Jonatan Petré Brixel: We’ve had it once and we aimed at having quality fundamentals – paid accomodation for filmmakers, properly present and advertise the films and film screenings and to invite Film organizations that work with distribution, screening and promotion of experimental films. We succeeded which was real nice, we had full house on the Festival.

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

JPB: A festival much like the first but with more films, more attending film makers and more attending film organizations. We’re looking at screening around 70-80 films in our 2nd edition, while still having a proper presentation and promotion for the films.

MT: What are the qualifications for teh selected films?

JPB: The foundation for the Festival and the guideline for film makers submitting and for us who curate the program is the experimental method as such and the personal approach of the filmmaker, regardless of who made it or what it is about. We then have different sections for Narratives, Non narratives, Documentaries and Berlin Originals but all of them builds on the same core principle – a lust to experiment using film and the personal approach of the film maker.

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

JPB: I think many established festivals tend to push their own ideological agenda and then choose films that fit and that irritates me but hey, it’s not like they owe me to promote my film.

All these festivals and other forms of film promotion places popping up – ours included – basically fill a need that has been growing and I think as a film maker it is more important to seek out the people you think promote your sort of film instead of complaining that the ones you know doesn’t. And if you cannot find any – do it yourself. That’s what we did, and funnily enough we discovered we were far from alone there were lots of people and organizations out there doing amazing things. Ever since we started working with the festival we’ve come in contact with alot of
people doing some really great things.

MT: What motivates you and your team to do this festival?

JPB: It is really great promoting other people’s work and making things happen. Organizing an event seeing all the impulses you sent out coming together is real fun even though it’s is a enormous amount of work and involves both monotomous grinding as well as stressfull sudden changes.

MT: How has your FilmFreeway submission process been?

JPB: Excellent, they have a superb platform they keep improving all the time. Easy to work with too.

MT: Where do you see the festival by 2020?

JPB: We’re working on several things, hopefully some of them will see reality even at the next edition 2017.

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

JPB: Escape from New York followed by Big Troubble in Little China, I had them on a 4 hour VHS tape that i kept watching over and over.

MT: In one sentence, what makes a great film?

JPB: If I feel that they went for it may it be in the script writing, acting, directing or post production or of course at best all of them – it’s a great film. Sometimes it’s young kids unknowingly reinacting all hollywood movies they ever seen, sometimes it’s the life work of someone with a long career behind them, sometimes a manic up and comer, and sometimes it’s a failure and others a success for whatever reason but to go for it is the absolute essence of any great film in my opinion.

MT: How is the film scene in your city?

JPB: All over the place. Berlin has both the established Institutions as well as a gigantic amount of people doing their own thing with or without money. And of course all sorts of scenarios and collaborations in between.
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Organizers:
Festival Director, Jonatan Petre Brixel (b. 1984 Sweden) has a background in Philosophy and started making films 2007, first Film titled “Pig Man gets a Visit”. He has since made several short films and is currently filming his first Feature Film “Sven Harald’s Adventures”.

Festival Manager, Andrija Jovanovic (b. 1982 Serbia) made his first film the moment he laid his hands on a digital photo camera. His first stop motion project “The big bad bag” was broadcasted on a Swiss SRF2 in 2012. Since then he made several short films and is currently working on his first feature project “Ana”. He has a background in literature and painting.

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 Monthly Festival held at least twice a month in Toronto & Los Angeles. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.

Interview with Festival Director Loren W. Lepre (Freedom Shorts)

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Now entering it’s 5th year, the film industry of Philadelphia has come together to make this city an active spot for short films from around the world to be screened and celebrated. Average Superstar films has stepped up and lead the way for this massive event. This event truly gives both local and international filmmakers their due over a 3 day weekend! It is held at the world famous Trocadero Theatre in Philadelphia. With a $60,000 sound system, and a FULL screen, the theater seats up to 600 movie-goers.

Go to the website for more information.

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

Giving filmmakers from around the world a major stage to shine on. Philadelphia is one of the biggest cities in the U.S. and our main stage The Trocadero is an amazing place to have an event. PhilaMOCA is another great place to have a screening and is active weekly with screenings. This event really makes the filmmakers shine and our venues are a great place to showcase their films.

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

Expect the best short films from around the world! Our team selects the best of the best and the event keeps growing and growing. Freedom Shorts is FUN! The Audience always seems to walk out with a smile with the entertainment that comes along with our events!

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

I can only say that when a film is submitted to our event. It’s fully watched by our team no matter how good or bad if somebody took the time to submit to us we got the time to watch. We only run short films and charge low punk rock prices to submit. It’s only “a short film” I think it’s gross seeing the fees at some of these festivals. The price they’re charging to watch a short flick! I see some charging $40-$60 at some these things! IT’S A SHORT FILM! How can you ask a price like that? The higher the price to submit at a fest I wonder if everybody is getting a fair shake or not. I will say that The Trocadero Theatre can match or come pretty damn close to any of the heavyweight festivals in the world. I don’t think that gives me the right to charge the filmmakers out the ass.

MT: What motivates you and your team to do this festival?

I’m an actor and director myself and I can tell you that I LOVE watching all the films from around the world that are submitted. It makes me want to be better actor . It allows me to see as a director where I need to go. Where the bar is set. The watching process is the most enjoyable part. I did ALL of this myself for the first 2 years. Than help came strong help Brenden Hubbard (Curfew 2013) he is part of the Curfew Team. He has seen it all and was a great help with upgrading Freedom Shorts. Steven Carino (The Unsung Hero) of the event. This guy has endless thanks for what he brought to the table. The rest of my Average Superstar T.V. team helped take this event to the next level.

MT: How has your FilmFreeway submission process been?

I can tell you that FilmFreeway was the spark that opened the doors to the world for Freedom Shorts. They really have been great.

MT: Where do you see the festival by 2020?

We hope “A Must Stop” for a filmmaker and the torch of Philadelphia as far as Film Festivals go.

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

Red Dawn (1984) Lost Boys, Young Guns, Porkys 1,2,and 3.

MT: In one sentence, what makes a great film?

Taking your time with pre production, filming and editing.

MT: How is the film scene in your city?

Philadelphia has a sea of problems that won’t be fixed anytime soon. I try to be a good help desk where I can. Philadelphia is well mislead on how to make a film as far as independent films go. Most films made here are by actors that have been in a few films and than decide it’s time to direct. The problem with that is most of the films that they’re in had NO LIGHTING, NO SOUND, NO SHOT LIST, NO STORYBOARD, NO funding for an editor, NO funding to shoot, NO funding for marketing. When these films finally surface and are screened in front of family and friends they get praise. This leads to the virus growing and growing. Philadelphia needs cleansing the ACTORS should be outing these people. The ACTORS should also hold DIRECTORS accountable on completing a GOOD project. Philadelphia has a awful sea of directors that start and don’t finish the film or shelf it and move onto the next one. This boils my blood. Whats about all that time that actors gave you? What does that do for him or her? You wasted the actors time! This person believed in you and got NOTHING out of it. These directors should be dragged out in the street and beaten with hammers. The city is filled with directors that cast and than roll the dice with Indie Go Go and this is NOT how you fund a film. Philadelphia is filled with false directors that are more about the praise on social media than putting out the work itself. I would like the see the actors show stronger backbone and put these directors in check or stomp them out. 90% of the independent actors CAN’T direct family and friends to anything to watch due to poor leadership. To put all that time and effort into something and yet you can show off your skills by showing it to anybody is NOT helping The Philly actors advance. 90% of the actors work full time jobs and act on the weekends for free hoping this can be the one that launches them to the next level. It’s a shame because Philly is filled with good actors that deserve a shot at the dance.
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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 Monthly Festival held at least twice a month in Toronto & Los Angeles. Go to http://www.wildsoundfestival.com for more information and to submit your work to the festival.