interviews

Interview with Festival Director Lana Westbrook (Boise Film Festival)

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The Boise Film Festival supports and promotes film arts for the local community and for filmmakers and their audiences world-wide. Through the production of an annual film festival and year round events and educational activities, the Boise Film Festival engages the entire community in the appreciation of the film arts. Now in its 2nd year, the Boise Film Festival celebrates innovative and original filmmaking for the Treasure Valley Community.

Interview with Lana Westbrook:

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

Lana Westbrook: Boise Film Festival strives to not only provide a spotlight for local-to-Idaho films and filmmakers, but to redefine how film festivals interact with filmmakers. Ultimately, we hope to be a monetary resource for any films and filmmakers wanting to film within Idaho and continue to expand from there. Currently in our second year, we’re working towards our big goals by bringing filmmakers to and highlighting their work in an exciting and thriving film community here in Boise. Filmmakers – local, national or international – interacting with each other and discussing how we continue to make films and the film industry great: that’s what we seek to provide for filmmakers.

MT: What would you expect to experience if you attend the festival this year (2016)?

LW: A strong, intimate connection with all other Festival filmmakers, team members, volunteers, and audiences. The Boise community’s affinity for film is incredibly prevalent and exciting right now, but we want to direct that passion in a productive and balanced way. It’s a fascinating time to come and check out the film scene here. For more insight, check out this story from the team behind “How to Be Cute and Break Hearts” after they came to our inaugural Boise Film Festival last September: http://www.boisefilmfestival.org/blog/2016/3/23/htbcabh-filmmaker-perspective.

MT: What are the qualifications for the selected films?

LW: We’re excited by an local-to-Idaho submissions, but are also thrilled when we receive submissions from near and far places. We look for diverse stories filled with real storytelling talent that shines through any kind of technology.

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

LW: Sometimes. There are a lot of politics involved in creating a public event that is sponsored by various individuals/groups but highlights incredibly detailed, emotional, and/or personal content. BFF works hard to keep an independent and open mentality when watching our submissions.

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

LW: The love of film and our passion for shining the spotlight on Idaho as a production destination. We’ve all been filmmakers, writers, actors, etc. on a project before and that excitement for telling “Not the Same Old Stories” is what drives us to put on BFF. We want Boise and the rest of Idaho to be known not just for our potatoes, but also for how great those potatoes (and other amazing parts that make up our community) look on camera.

MT: How has the festival changed since its inception?

LW: We’re constantly trying to extend our outreach through community fundraising events and even adding an additional arm to this year’s Festival through the Idaho Comedy Film Festival, scheduled for January 2017. Any collaboration we can do with local productions and performers is what we’re interested in and we tend to follow that wherever it takes us while still focusing on the ultimate goal of BFF.

MT: Where do you see the festival by 2020?

LW: BFF would love to be everyone’s BFF by 2020 – filmmakers, writers, actors, investors for film, etc. from all around the world. BFF2020 will be our fourth year and it would be amazing to see how far we’ve come in terms of size, where our submissions come from, and we hope to have a featured reel of films made through our newly set-up production fund.

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

LW: Lucky Number Slevin… Josh Hartnett and Lucy Liu are a match made in James Bond Heaven and that extra spice is added by a perfect redemption plot twist with the help of Bruce Willis, Sir Ben Kingsley, and Morgan Freeman.

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

LW: A great film is one that makes you forget it’s a film at all.

MT: How is the film scene in your city?

LW: Exponentially growing! There are multiple film festivals the community relishes throughout the year and we’re so excited to be one of them. Production and industry is also growing with the help of a few production companies and film initiatives led by various local groups who know how incredible Idaho is as a landscape and backdrop for our stories.

boisefilmfestival

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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Jason C. Hignite (HorrorHound Festival)

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HorrorHound Weekend Film Festival (as part of HorrorHound Weekend Convention) has been a fan favorite for several years. As the number 2 genre magazine (globally) their fan base draws people from around the world. They host two events per year, one in March (Indianapolis, IN) and one in September (Cincinnati, OH). Their events draw large crowds, with over 12,000 people at our Indianapolis show and over 25,000 people at our Cincinnati show.

Website: www.horrorhound.com – www.horrorhoundweekend.com

Interview with Jason C. Hignite:

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

Jason C. Hignite: Our best offering to an indie filmmaker is exposure. Being that we (HorrorHound) are among the top genre magazines (globally) and that our events are the largest horror-specific in the United States, we are able to do several things. First, with our two events per year, we are able to put indie horror, thriller, sci-fi, dark comedy, etc. films in front of a genre-centric audience. Our events draw 25,000+ at the spring show and 12,000 – 15,000 at the fall show. Granted, our screening rooms may not accommodate all of those people; however, everyone in attendance is exposed to every film we screen (write-ups in the convention exclusive magazine, indie filmmaker panels, filmmaker booths, etc.). Furthermore, our fans are “noisy” … in the best way possible. People who attend our events and sit through the screenings will blast about the films on social media for weeks after each event.

Second, we are also able to promote indie horror films in the magazine and online. Filmmakers who screen at our events receive attention not only from our event promotion, but also on our company website and in our globally distributed magazine (HorrorHound).

Third, we give the filmmakers who attend with their films a chance to speak to the viewers. We offer filmmakers a chance to introduce their film, to do a Q&A after the film, to sit on the indie filmmaker panel, etc. We also offer networking events allowing the filmmakers to meet one another, share ideas, and build relationships.

MT: What would you expect to experience if you attend the festival this year (2016)?

JCH: Our March 2016 event in Cincinnati, Ohio, U.S.A. was a huge success. We had films from around the world. Furthermore, several filmmakers from the U.K. made the trip to the U.S. to premiere their film at HorrorHound. We are always humbled by such an honor. Our fans were treated to some amazing horror films from across the U.S., the U.K., Canada, France, Germany, India, and Iraq. Our event coming in September 2016 (Indianapolis, Indiana, U.S.A.) is shaping up to be another amazing and exciting show. We will have filmmakers (both independent and studio), SFX artists, celebrities, and vendors peddling all things horror and macabre. Check out http://www.horrorhoundweekend.com for more info.

MT: What are the qualifications for the selected films?

JCH: The only “qualification” is genre. The HorrorHound Film Fest screens films within the greater horror genre; including creature features, slashers, thrillers, dark sci-fi, dark fantasy, dark comedy, horror comedy, etc. Beyond that, the films are screened and evaluated by our festival screening committee, who collectively has decades of horror film festival experience.

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

JCH: I believe some films can have a difficult time finding their niche. Many film festivals are thematic and/or genre specific. And, there seems to be a festival for any type of film imaginable. Yet, every so often a filmmaker produces a piece of cinematic brilliance that does not necessarily fit into any particular genre. Or, perhaps their film is too “low-brow” for some of the more elite festivals … and at the same time, too avant garde for the B-movie festivals.

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

JCH: We are motivated by an absolute and almost-obsessive love of film. We are true cinephiles. Though our festivals focus on horror (which we have all loved from our childhoods), we love all genre of film. And, we collectively feel that the most daring, most entertaining, most original, and most FUN horror films today are coming from independent filmmakers.

MT: How has the festival changed since its inception?

JCH: When HorrorHound Weekend began, we screened films; but, for the first few years it was not an official film festival. The HorrorHound Film Festival began big. The convention was already well established. In our first few years we worked with brilliant people like Clive Barker, Dario Argento, Cassandra Peterson (Elvira), etc. to bring new horror to a dedicated audience. We have added staff, upgraded equipment, learned from mistakes, and cultivated our festivals. And, we continue to work with some of the top names in horror as well as many of the exciting up-and-comers.

MT: Where do you see the festival by 2020?

JCH: The horror genre continues to grow. It has gone far beyond cinema and is now dominating television, cable, and VOD entities. If our festival’s trend continues to grow as the market trend grows, I believe we will need to find are larger space for our event that will include more screening rooms. We are already at capacity for our fall event. The convention center that we use for our spring event is adding 50% more space. Hopefully, that can accommodate a few years-worth of growth.

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

JCH: That is a difficult question to answer. My taste in film is as varied as my taste in music, and I treat them both the same way … it depends on my mood. I will list the films I have watched the most times in my life and maybe someone can help piece together my cinematic-schizophrenia: An American Werewolf in London, Squirm, It’s a Wonderful Life, Animal House, Jaws, Cannonball Run, Alien, Psycho, Poltergeist, National Lampoon’s Christmas Vacation, Monty Python’s Quest for the Holy Grail.

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

JCH: A good story in the hands of an adept storyteller, surrounded by gifted artists and technicians, portrayed by a great relationship between director and actors, shot in the perfect location, and scored with the perfect music.

MT: How is the film scene in your city?

JCH: Are events take place in Cincinnati, Ohio (spring) and Indianapolis, Indiana (fall). The film scene in these cities is different. Cincinnati tends to draw and support indie horror better than just about any city in the U.S. Indianapolis is a bit more conservative in regards to horror; however, it is becoming well known for the more dramatic and artistic indie film scene.

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Chris Grigsby (Cinevision Film Festival)

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Cinevision Film Festival is an international competition for short filmmakers located in Santa Fe, NM at the heart of the city.  We aim to help amateur filmmakers make the professional leap.  This year’s competition is a little bit different than in the past.  We’re focusing more on shorter films to allow more directors the opportunity to be seen.  This year’s festival is directed by Chris Grigsby who is partnering with film4change and this is our film to help create the best program we’ve had yet.

http://cinevisionsfuad.com/

Interview with Chris Grigsby:

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

Chris Grigsby: Cinevision Film Festival is located in Santa Fe, New Mexico. For those who don’t know, Santa Fe, Nm is indeed a real place and it happens to be a film and artist hub. Independence Day 2, Seth Rogan’s new project, “Preacher” and the ever popular Netflix show, “Longmire,” are just some of the recent project that are taking place here. With the film Festival, we like to give the opportunity for Filmmakers to showcase their work to an audience that is very involved in the business, and hopefully be a bridge between the amateur and professional realm.

MT: What would you expect to experience if you attend the festival this year (2016)?

CG: Laughing. Crying. Puking. Walk-outs and the occasional standing ovation is what I’m praying for. This year we had over 700 submissions from around the world and the program is shaping into one of the best showcases I’ve seen, but then again I’m biased.

MT: What are the qualifications for the selected films?

CG: Cinevision is an International Short Film Festival, so fifteen minutes or less is kind of our style. If you think punk-rock teen angst meets ballroom reception with a splash of comedy, this would be our qualifications. You won’t see to many heart felt documentaries this year.

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

CG: I can’t say with any certainty but I’m sure you could make a case for it. The beautiful thing about today, is that there are film festivals springing up all around the world that gives filmmakers an even greater chance to be seen and heard. So I would say try your chance and if it doesn’t work out, try again.

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

CG: Cinevision is part of a weekend art festival held at Santa Fe University of Art and Design. Were right in between Outdoor Vision Festival, which is an art instillation and projection exhibit, and Quadstock Music Festival. Their always seems to be a friendly rivalry between the events, and we want to win that rivalry. There is always a large crowd that comes out every year and we want them to come for the art, stay for the film and relax on the music.

MT: How has the festival changed since its inception?

CG: We’ve shifted the program to focus on shorter works and opened up the competition more internationally, just to give the opportunity for more filmmakers to show their work. The competition abroad was really strong this season and I know the audience will appreciate that. If you’ve ever been to Santa Fe, then you’ll understand just how worldly the community is.

MT: Where do you see the festival by 2020?

CG: I’d like for the festival to keep its small town feel, and still support major competition. The great thing about being in Santa Fe, is that the filmmaker never gets lost in the shuffle and has the opportunities that any major film market could provide.

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

CG: Probably John Carpenters, Halloween. I started watching that around the age when I wasn’t supposed to and feel in love with it. And because of that, I’ll never get the soundtrack outta my head.

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

CG: A great film breaths life from pictures.

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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 in downtown Toronto on the last Thursday of every single month. Go tohttp://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Antoine Leonetti (Fire!! Barcelona LBGT Film Festival)

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The FIRE!! Mostra is the first LGBT film festival in Spain: established in 1995 by Casal Lambda, in Barcelona, it addresses affective diversity in its broadest sense through a careful selection of feature films, documentaries and short films. A selection of art-house cinema and an educational approach are its main characteristics.

www.mostrafire.com

Interview with Antoine Leonetti:

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

Antoine Leonetti: Our festival only screens movies that haven’t been shown, at least, in Barcelona, though they’re generally almost all Spanish premieres. So that’s a great opportunity for a filmmaker to introduce its movie in our country in order to find, eventually, a local distributor so to show the movie in many other theatres. We also – as far as our contacts with the embassies can work for that – try to invite them from their country, in order to attend the festival. It’s then a great chance for them to meet new publics, to speak with the festival organisers about the cultural life in the country, to meet other directors and make good contacts with the cultural attachés at the consulates… and to know and enjoy Barcelona, of course!

MT: What would you expect to experience if you attend the festival this year (2016)?

AT: The FIRE!! festival is basically a great place to watch the best international art house movies in the LGBT field, with long feature films, documentary films and short movies. Apart from the very screenings, the audience can also enjoy many other activities: books presentations, an educational programme, some exhibitions, and a few great, great parties… All that during 10 days, in different venues of Barcelona, though mainly at the French Institute.

MT: What are the qualifications for the selected films?

AT: When making the selection, we always have in mind two basic criteria: on one hand, we try to show really good movies, that are well done in a strict cinematographic sense and, on another hand, we try to pick up movies that can convey to non-LGBT people a positive and somewhat educational view on what it is to be gay or transsexual nowadays. And when saying “really good movies”, I mean movies that may be shown to anyone in any good art house cinema, opposed to LGBT movies that seem to be produced sometimes only for the average LGBT film festival circuit and only for LGBT people.

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

AT: Maybe that’s unfortunately inevitable, for different reasons: first of all because of the huuuge quantity of movies received by festivals, which makes very difficult not only to make (surely unfair) choices between very, very good movies, but also to actually really watch all the screeners we get… And I don’t refer to the big film festivals that have sufficient money to pay several programmers to make the selection. I speak about midsize or small festival like ours, especially in Spain where the financial crisis has reduced drastically the public and the private money to support culture. The programmer, in festivals like ours, usually has another job and has to spend all its spare time watching movies… and not really good ones, in 95% of the cases. So yes, that can be quite frustrating for a good filmmaker to not having been selected in a festival. But if a movie is actually really good, it’ll end up for sure in some good film festivals… And luckily, they’re a lot of them!

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

AT: Being a festival with a strong social content – the LGBT topic –, we are obviously powerfully driven by the message that wants to convey the festival: to improve the visibility and, in the end, the life conditions of the LGBT people. There is a strong “activist” mentality, so to say, that lies within all of the member’s team. But there is also, obviously, the love for good cinema. And after having watched maybe 20 really, really bad movies, when you suddenly find a good one, the pleasure is really orgasmic! You generally start to speak to yourself, you may start dancing as well in the middle of your living room, and you generally always want to grab a phone or any other communication device to call anyone right away, so to spread the good news (something that your relatives may have difficulties understanding). So yes, that’s quite addictive…

MT: How has the festival changed since its inception?

AT: It’s grown a lot, basically, in quantity and quality. We are the first LGBT Film Festival in Spain, created 21 years ago, so we begun with a small selection of maybe 10 movies screened in Barcelona, and we now screen around 40, not only in Barcelona, but also in 4 other Catalan cities. We have also developed a lot the parallel activities (book presentations, educational program, parties, master classes, workshops) and the venue where the festival takes place has also been improved a lot, with a great terrace to have some drinks and grab some food, to meet people, to speak with the filmmakers, the actors, the festival team, etc.

MT: Where do you see the festival by 2020?

AT: We would like to show more movies, first of all, maybe between 60 and 80. We also would like to meet more confident sponsors! Big brands are still somewhat reluctant in Spain to support LGBT cultural events… Being able to secure private investments would allow us, for instance, to give better awards to the filmmakers. That would also allow us to communicate better, to get more non-LGBT audiences (which is, in the end, one of our main goal), and to be present in more theatrical venues in Barcelona and the rest of Catalonia.

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

AT: Excepted comic movies of my childhood that I was looking in loop again and again (I guess that Delusions of Grandeur, by Gérard Oury and played by Louis de Funès and Yves Montand, must be in a good position), I then totally fall in love with Wim Wenders Wings of Desire, when I was like 16, and saw it maaany times afterwards…

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

AT: A great movie for a film festival programmer, it’s when you never had the temptation to go forward during the screening, and you whish it lasted maybe 2 or 3 more days.

MT: How is the film scene in your city?

AT: Barcelona is a big city with still a lot of good theatres, but, as for Spain in general, the exhibition sector is very much in crisis and a lot of theatres did had to close because of a drastic audience drop along the last 10 years. However, Barcelona is a unique case in Spain because the city hosts a huge number of very good film festivals. The Catalonia Film Festivals network now includes no less than 23 “good quality” midsize or big active members (http://catalunyafilmfestivals.com/en/membres-3/), with festivals of any kind (featuring environment movies, independent movies, short movies, horror movies, women movies, LGBT movies, sport movies, Jewish movies, etc.), not to speak about the rest of smaller festivals. Also, a tiny bunch of very good art-house theatres have understood the advantage of hosting a film festival to better survive amongst the crisis. This is, for sure, this kind of alliance that can boost a return of the audience to our cinemas.

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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 in downtown Toronto on the last Thursday of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.

Interview with Director Ben Wheatley (HIGH-RISE)

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Chatting with director Ben Wheatley on the phone in the midst of his press junket for “High-Rise” gave me a brief insight of who he is. He gives a lot of thought to the questions you ask him (even if he’s been asked a similar question dozens of times by reporters). He really loves his wife (see answer to final question). And he really likes directing films. 

benwheatley.jpgInterview with Ben Wheatley, promoting his film “High Rise”:

Matthew Toffolo: When did you first read the novel HIGH-RISE? Did you ever imagine that you would be the director of the film version.

Ben Wheatley: I first read the book when I was 16 years old. It stuck with me. Directing the film version, or any film in general, was the farthest thing on my mind then. Directing came later in my life.

MT: Tell us about your collaboration with screenwriter Amy Jump. From developing the script to editing the film together.

BW: She wrote the script and then passed it to me. There was no conversation. I gave her zero notes and zero feedback after I read it. I took the script and began the process of making the film. She knows me and what I’m capable of. And she knows the budget. So it was a seamless handoff.

After the film ended, we began to edit the film together.

MT: Was she on set? Did she watch the dailies?

BW: No. She first saw the footage when we began editing.

MT: How does your editing relationship work? I can’t think of another film where the writer and director edited the film together?

BW: I operate the machine, I guess like a traditional editor. She sits and has a conversation with me about what moment we’re piecing together.

Even with the credits in the film, we share the first title together. We are equal collaborators. We each have a job to do and our jobs are equally important.

MT: Producer Jeremy Thomas has wanted to make this film for over 30 years. What was his contribution on the film?

BW: He’s chafed that it’s completed. We (Amy and I) actually went to him, he didn’t come to us. We knew he had the rights to the novel and we were interested in doing it. We had no idea how long he was trying to get it made. From the day we spoke with him for the first time to the final product, it was about two years.

Amy’s weird in that she doesn’t like to take money to write. She told him , “I’ll write the script on spec. If you like it, then let’s do it. If you don’t, no problem.”

She did that, wrote the script and he did the rest to have it made.

MT: The film has a striking Production Design. How was your working relationship with Production Designer Mark Tildesley?

BW: I storyboarded the entire film. We drew together to set up certain scenes in pre-production and had a good relationship. We made a low budget film look expensive. We were very meticulous in how we set up each scene.

PHOTO: Tom Hiddleston stars in HIGH-RISE
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MT: The film has a very claustrophobic feel to it. Like we’re also trapped inside of this building and can’t get out. Was that your cinematic intention?

BW: The general sense of any movie is to wrap the audience in the film. So I wanted the audience inside that building relating to the characters. Yes, that was my intention.

MT: You like to present themes of the class war system in all of your films….

BW: Yes. The class system is all around all of us. Class is not just about money. It’s about the pressures of succeeding. And the misery of not succeeding. This around all of us, no matter what society we live in. I think everybody has issues with class, no matter what country you live in.

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

BW: Blade Runner. I’ve seen it 30-40 times.

MT: Who would you love to have dinner with, dead or alive?

BW: My wife. It’s miserable being away from home. I miss her. (Ben’s wife is Amy Jump, the writer/editor of High-Rise.)

MT: Can you give us a sneak peak of your next film “Free Fire”?

BW: It’s set in America, but the process of making it has been the same as before. It’s a genre action/crime film, so it was fun to make. The film is wrapped and edited and ready to be released. So stay tuned! It stars Brie Larson, Cillian Murphy, Sharlto Copley, and Armie Hammer.

Read Gilbert Seah’s Review of HIGH-RISE

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Executive Director Nina Streich (Global Peace Film Festival)

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Since its inception in 2003, the GPFF has shown over 500 films from around the world. The critically acclaimed programming has included Academy Award winning, nominated and short-listed films. In his blog, former Orlando Sentinel film critic Roger Moore called the GPFF “…one of the best festivals in this part of the country” and said, “Global Peace has the best documentaries of any festival.” GPFF’s leadership believes that to further its mission, success should not simply be measured by attendance numbers but by the engagement the films inspire from the audience – at the festival and beyond.

Interview with Nina Streich

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

Nina Streich: The Global Peace Film Festival (GPFF) is about actively engaging audiences to do something about the issues in the films they see. Watch Films, Get Involved, Change Things is our tagline and we seek films, mainly documentary but narratives too, that have been produced to have an impact on the issues they address. Filmmakers find enthusiastic audiences and meet leaders of organizations that are working on the issues the their films address. In the past few years, we have begun to offer other services for filmmakers beyond the festival including impact consulting and fiscal sponsorship.

MT: What would you expect to experience if you attend the festival this year (2016)?

NS: Most films are followed by discussions with filmmakers and also representatives from local organizations that work on the issue(s) raised in the films. The Q&As are often longer than those at most film festivals. Filmmakers find the audiences engaged and interested in their films as well as the issues they raise. Festival staff and volunteers work to make the GPFF a warm and welcoming experience for filmmakers and audiences alike.

MT: What are the qualifications for the selected films?

NS: We program features and shorts – documentary, narrative and animation. The majority of the program is non-fiction but we always want to include fiction work. We have always programmed films that are “mediums” – between 40 and 65 minutes. Our approach to the definition of “peace” is very broad and includes everything from conflict resolution, social inequality (class, race, gender, age, mobility, etc.), environment/environmental justice, LGBT rights, fair trade and new business models, human trafficking, sports and recreation, comedy/satire. We look for films that inspire and educate. We also include an online selection of films, mainly shorts, in addition to the main program, during the week of the festival.

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

NS: We are motivated to present a great program that addresses the many aspects of peace and produce an event that is a catalyst for community engagement.

MT: How has the festival changed since its inception?

NS: The festival has grown in both size and impact. 2016 will be our 14th festival. We recognized the changing model of film festivals and decided early on to steer the festival in a direction that served the community in a deeper way, beyond bringing a crowd to a downtown venue for a passive viewing experience. We sought to develop relationships with the filmmaking community that focused on the “why” motivating filmmakers. This involved moving to pull other partners into the festival to build a new structure that would serve as a networking hub. This includes schools, libraries and universities to add depth, variety and timeliness to their community offerings. We reached out to community groups to bring the same benefits of our programming to help educate, energize and increase their member base. Our programming has always been centered on active engagement with our audience.

MT: Where do you see the festival by 2020?

NS: As the festival has evolved, we have begun to offer services to filmmakers (whether their work has been in the festival or not) including impact consulting and fiscal sponsorship.

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

NS: I’m always looking for and want to see new films so I can’t think of what I’ve seen the most times! Rather than the films that I’ve seen the most times, I think more about the films that have influenced me the most. It’s a long list…

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

NS: A great story.

MT: How is the film scene in your city?

NS: I live in New York and the festival is in Central Florida. New York, of course has an incredible film scene. Central Florida doesn’t have anywhere near the size of the film scene as New York, but it is just as engaged, passionate and exciting.

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Nina Streich has an extensive background in both the film/TV/media industries and in the political arena. She held senior management positions in other film festivals prior to creating the Global Peace Film Festival in 2003 including Festival Manager of the Newport International Film Festival and Development Director of the Nantucket Film Festival. She began her career as a film editor, cutting trailers and marketing material for over 50 major studio and independent features, including The Elephant Man, Raiders of the Lost Ark and Scandal. In politics, she has worked for many candidates, from local to presidential campaigns. She was a coordinator of the Inauguration of Mayor David N. Dinkins in New York City in 1990 and was appointed Deputy Film Commissioner for the NYC Mayor’s Office of Film, Theatre & Broadcasting. After leaving the Mayor’s Office, she was the Deputy Executive Director of the NYC Host Committee for the 1994 Grammy Host Committee. An accomplished events producer, she has organized film premiers, music festivals, conferences, parades, street fairs and press conferences. She has produced several documentaries on subjects she is passionate about.

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Michael Helman (WILLiFest)

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http://www.willifest.com

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Interview with Festival Director Michael Helman:

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

Michael Helman: Our festival gives independent filmmakers an opportunity to have their film screened professionally in New York City. There are not many opportunities for that in NYC. The few opportunities that do exist like Tribeca and NY Film Festival are incredibly difficult or impossible for the small filmmaker to get into. There are many other film festivals in NYC but screenings at many of them are not quite professional.

We also offer additional events like networking events and panels. Many festivals skip or skimp on these important events. When filmmakers are traveling from another city, it is the festival’s responsibility to play host and at a minimum, entertain and educate those filmmakers who have spent the money to travel to NYC and support the festival.

MT: What would you expect to experience if you attend the festival this year (2016)?

MH: Our festival is continuing to narrowly focus on the emerging filmmaker. We have offered many other events at our festival, street fairs, concerts but we have found that filmmakers find these to be a distraction for what they are really interested in, which is watch film, talk film and learn about film. We have heard them and are focusing on doing just that as well as we can.

MT: What are the qualifications for the selected films?

MH: Nothing specific. We offer many categories of films and are simply looking for the best in those categories. We have reduced the number of films this year that we plan on exhibiting in order to make entry into the festival more competitive and feature the best of independent film at the festival for the audience.

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

MH: Of course. Top tier festivals are very political and are somewhat slaves to their sponsors and partners so they have only so many slots available to discover new filmmakers and small films. Very small festivals are not receiving enough submissions and variety to find the next major filmmaker. Mid-tier festivals are the sweet spot because they receive enough varied submissions to discover new talent each year. One year we showed a short film from an NYU filmmaker and saw something in the film. That film went on to win the Academy Award that year for Best Short. This film was passed over by the larger festivals.

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

MH: We are filmmakers ourselves with a long history in film production. We produced a short film several years ago. The film was accepted to a bunch of festivals so we decided to travel the country with it and see what festivals we like. We were quite unimpressed and decided we could do a better job. Producing a good festival is an incredibly difficult process. We have found it to be as complex as producing a feature film… perhaps more difficult. Pulling off a well run event with limited staff and financial resources is no easy feat. We enjoy the challenge and the opportunities it brings to struggling filmmakers to find an audience and have their work be seen.

MT: How has the festival changed since its inception?

MH: We started as a LARGE, multi-disciplined arts festival. Our first year included an arts exhibit, storytelling competition, 47 indoor/outdoor concerts, street fair, half a dozen parties, opening night gala, closing day awards ceremony and almost 200 screenings. It was a monster spread out over 12 venues throughout Brooklyn. We have learned from the first year successes and stumbling blocks and have adjusted the festival each year. The rest of the answer was addressed in question 2.

MT: Where do you see the festival by 2020?

MH: No clue. We see our focus continuing to narrow. Depending on how this upcoming festival goes, we will probably continue to narrow the focus of the festival and numbers of screenings. We are continuing to grow our screenplay competition. We are trying to offer our filmmakers more benefits that they don’t always receive at other festivals like full festival passes for them and their co-producers so anyone coming out to support the festival can enjoy the entire event at no cost. We have always had an issue that most festivals charge visiting filmmakers to attend any events as well as screenings. The festival only exists and excites audiences because these talented filmmakers are attending these out-of-town festivals so they can address the audience who has chosen to view their film and answer any questions they might have. Q&A is pretty much the only thing that separates the festival experience from the movie-going experience.

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

MH: The Graduate or Back To The Future.

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

MH: Story. We look for a professionally produced film with good lighting, camera work, acting and especially sound. However, we have accepted less technically proficient films because the story was so compelling. Entertainment these days are driven by content. Youtube videos can be most poorly produced disaster you have ever seen but still achieve over a million views because the content is compelling to a large, general audience. If you start with a good idea, take your time and turn this compelling story into a well-written screenplay, you are already ahead of most films out there, including Hollywood films. It starts with the story and the script and everything else just enhances it and hurts it. Bad acting is a killer, so there is no easy path to making a great film. But it all starts with an interesting story. It is a lot more difficult to achieve then it sounds.

MT: How is the film scene in your city?

MH: What is there to say, New York City is arguably the center of the entertainment world. You feel it as you walk these storied streets through Manhattan and Brooklyn. If your film is going to show anywhere in this world, most filmmakers dream of a New York City screening and we aim to offer just that.

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Jonathan Martin (FilmQuest Festival)

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One of MovieMaker Magazine’s 50 Film Festivals Worth the Entry Fee, FIlmQuest celebrates the majesty of genre filmmaking in the realms of fantasy, horror, sci-fi, and the beyond. Awarding filmmakers in 2015 with over $30,000 in awards and prizes, including the coveted Cthulhu Trophy, the festival continued to become a hotbed of the very best in genre filmmaking in the world, showcasing incredible talent, creating new friendships and collaborations, and proving to be a must-stop destination for filmmakers.

Founded in 2014, FilmQuest has been designed specifically to cater to the empowerment of the filmmaker through various events, awards, swag, connections, and more. In creating the festival, we thought long and hard about what it is that makes a festival great. We asked ourselves the tough questions. What we’ve come up with is, we believe, a festival experience that is the kind most filmmakers dream about.

www.FilmQuestFestival.com

filmquestposter.jpgInterview with Jonathan Martin: 

Matthew Toffolo: What is FilmQuest succeeding at doing for filmmakers?

Jonathan Martin: I think for those that know FilmQuest, they know about our FilmQuest Cthulhu Trophy. It’s a glorious award, that has grown in prestige in a short time. But that’s the idea. We wanted to create an award that IS prestigious, because we want filmmakers to feel proud about their achievement in winning one (or being nominated), and to really make an award that matters. So we’d say that in a very short amount of time, we’ve been able to successfully create a festival that means something to a filmmaker when they put that laurel of “Official Selection” on their poster, banner, or trailer, and that if they are fortunate enough to win a Cthulhu, to have an award that will remind them of the significance of their work and achievement for years to come.

We’re providing filmmakers a quality event as well, which we detail quite a bit in the next question. But the quality goes beyond parties, panels, etc. It goes to the quality of our selections. One thing we’ve gotten quite a lot of praise for in our first two years is the overall quality of the Official Selections. But that’s not for us to be proud of, it’s the filmmakers. Because they can know that they’re in the company of other quality, talented filmmakers that they can have no hesitations in wanting to collaborate with. It harbors a community of growth, excellence, and also, I personally believe, advances filmmaking in general.

In 2015, we were one of MovieMaker Magazine’s “Top 50 Film Festival Worth the Entry Fee.” It’s a testament to what we’re trying to do as a festival, and our filmmakers. We don’t take the endorsement lightly, and when MovieMaker’s writer Greg Hamilton came, he said “In the short weekend that I visited FilmQuest, I received a good taste of what they had to offer. The variety, creativity, and production quality of the films impressed beyond my expectations and helped banish the notion that genre events are somehow less serious than traditional film festivals.”

And I feel Greg really hits on something there with the idea that genre events can somehow be less serious than a traditional festival. That’s what we’re really succeeding at here. By showcasing the best of the best, and doing so at a great venue that allows it be seen in its prime, and by taking these films seriously in our presentation and respect, we’re proving that genre films are serious, that they are high-art, and that the people behind them are just as important to watch as anyone else you’d see at any of the major festivals. We’re bringing prestige to the proceedings, and that’s what I feel we’re achieving and bringing to our filmmakers so far.

MT: What would you expect to experience if you attend the festival this year (2016)?

JM: Without doubt, your’e going to see (often times a premiere) some of the very best independent genre films in the world today. You’re truly going to find several films that you love, and make lasting friendships with the filmmakers and audiences that see the films with you (or that see your film!). All will be witnessed in a state-of-the-art, stadium seating theater that is Utah’s #1 cinema, both in size and audience attendance.

Next, you’re going to get the press. We have red carpet interviews, press interviews, and more. You’re going to get the celebrity guests from our grand jury. And we don’t separate you. We have an open environment. So you’re not only connecting with fellow filmmakers, but the press, celebs, and more. We often talk about the FilmQuest family, and that’s exactly what you’re going to find at FilmQuest. It’s a GIANT, ever expanding round table, and everyone has a seat open to them.

You’re going to get workshops and panels, that FilmQuest filmmakers are also invited to actively participate in. Two or our workshops already planned are a film analysis and breakdown of Hitchcock’s Psycho, done by UVU film Professor Alex Nibley. The second will be an interactive event/workshop that is a live cast reading of William Shakespeare’s Star Wars.

Then you got the events and parties. We’re planning no less than 4 big parties and events, including the big opening and closing night parties, the FilmQuest Cthulhu Awards show (already perhaps one of the most coveted awards amongst genre festivals), and our still secret 30th Anniversary screening of a beloved 80’s genre classic with appropriately themed party and red carpet. We’re also planning on showcasing a rock opera, dancing, and more.

Ultimately, FilmQuest is a celebration of the filmmakers, their films, our audiences, and everything in between. So we encourage everyone to come not just for a day or two, but for the entire festival!

MT: What are the qualifications for the selected films? 

JM: Our qualifications are fairly simple. First, and foremost, the project needs to be a genre film. Unlike other genre festivals, we don’t believe in the strictness of the term. We believe in the spirit of genre cinema. It’s not just a subject matter, but a mood and a feeling.

Second, and it’s the rule all festivals should more or less follow, the film’s got to be good. Yes, everything is subjective, but good filmmaking has many common grounds: Good storytelling, good cinematography, good pace and editing, good sound, etc. You start lacking in any one of these categories, and your odds of getting into the festival start to diminish.

Third, and incredibly important, we have to ask if our audiences are going to enjoy the film. While we may find something weird and wonderful and ultimately program it, we also have to ask if it will go beyond what are audiences will enjoy. So we have to balance out and judge whether or not a filmmaker’s film will appeal to an audience and sell tickets to FilmQuest.

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

JM: I would agree with this idea. While not every film is for FilmQuest, the same as not every film is for Sundance, Tribeca, etc., there is still a festival out there for every film. At least that’s the general idea, for make no mistake, there are definitely films and screenplays that are submitted that go beyond anyone’s ability to program them due to an overall poor product.

But I do think filmmakers need to be realistic about their films. If you make a genre piece, don’t submit to all the big, major festivals that don’t really highlight genre films and then act surprised when you don’t get accepted. Festivals have their themes, their goals, and their objectives. So be aware of that and do your research. If you also have a piece that you feel is adequate, that you know deep inside maybe isn’t on the same level as other films you’ve seen, it’s about being honest and submitting your project to festivals you feel may provide you a spotlight.

However, there are definitely films and filmmakers get hosed by festivals that aren’t clear about their objectives, are sporadic in their tastes, and more so. There’s some pretty major tests that do this, even in the genre or niche festivals. It’s almost as if they emphasize weird and offbeat, rather than skilled and talented. And I think that can be extremely frustrating.

With us at FilmQuest, if we see the talent, if we see the skill, and if we see a great project, we want it. While we may not be able to take everything we want, we put quality above all else, and through that, we feel we reward our audiences and filmmakers more than many other festivals as a result.

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

JM: To conquer our enemies, to see them driven before us, and to hear the lamentations of the women….

I know you wish that’s what it really was! But no, really, the number one thing is to create a festival of prestige that truly does serve as a landmark stepping-stone for the careers of our filmmakers. To create a home and family for them and us, wherein we can pool from each other and create lasting relationships. Festivals at the end of the day need to benefit a filmmaker’s future, and that’s our top priority.

But we do this through creating an atmosphere and environment that is conducive to that. And that takes our team a lot of hard work and talent, that is always done out of respect for our filmmakers, their films, and our audiences. So we showcase the films in a state-of-the-art theatre that the films deserve, and provide opportunities for our filmmakers through workshops, panels, and events. Finally, we bring them all together with our audiences, creating the FilmQuest Family that we hope lives on beyond the festival, and grows with each year.

MT: How has the festival changed since its inception?

JM: The biggest change really is how quickly we’ve grown. We show more films than other festival in the state, including Sundance, and we last 9+ days. So we’ve really taken on the challenge of making a serious genre fest in Utah.

However, we’ve also trimmed here or there, as we’ll be cutting our commercials and web series programming after this season. We’ve cut ties with some past partners while bringing in new ones. In our first year, we hosted half our festival at a convention center in conjunction with a partner, and we definitely won’t be doing that again.

Really, the themes and identity of FilmQuest haven’t changed much at all as we feel we created a good thing upon FilmQuest’s inception. However, make no mistake, we’re definitely looking for ways to improve, trim the fat, bring in new partners and distribution opportunities for our filmmakers, create a better event for our audiences, and more. We’re always thinking bigger and better, and so we don’t ever want to be caught resting on our laurels.

MT: Where do you see the festival by 2020?

JM: To be blunt, it is our open goal to be one of the 4 major fantastic film festivals in the world, in the same breath and conversation as Sitges, Fantastic Fest, and Fantasia. We want to be a major player, and anticipate being so.

We fully anticipate and believe we’ll have discovered, premiered, and launched the films and careers of future superstars, actors, and open the doors for films we screen to find mass appeal. In fact, after just two seasons, we’ve had several of our films that we either premiered or screened get a distribution deal, POV release, or even a theatrical deal since they played at FilmQuest, and those numbers are only going to increase.

In 2015, we were named as one of MovieMaker Magazine’s “Top 50 Film Festivals Worth the Entry Fee”, and that’s unheard of for a genre festival entering only it’s second season at the time. So we work hard to back up what we say we want to do and follow-through with that.

We definitely, absolutely, 100% take the festival game seriously and want our filmmakers to know that FilmQuest takes them seriously, and we are fully committed to being a launching pad for your career that adds prestige to you and your film’s name.

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

JM: It’s tough to say which of these two films I’ve seen the most, but without doubt, it’s either Big Trouble in Little China or Ghostbusters. Little China was my sick movie growing up, and I’d literally watch it 3 times a day, any day I got sick. I really can’t fathom how many times I’ve seen each. At least 50 times apiece. Easy. And yes, I do think the remake/reboot of Ghostbusters looks like a big, awful cartoon… but shamefully, I’ll still see it and reserve final judgement until I do so.

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

JM: A singular, collective voice and style that is unmistakable, yet endlessly undefinable.

MT: How is the film scene in your city?

JM: When I think of film here in Utah, I don’t think of any one city, but Utah as a whole. Utah has one of the better incentive funds in the country, and as such, actually is one of the top 10 filmmaking states in the country. There’s a whole lot of talent, young talent especially, that I believe will be doing bigger things in the future. You’ve got BYU, UVU, and the U of U and their programs, you’ve got brand new, state-of-the-art film studios in Park City, and what is now known as the next Silicon Valley, the Silicon Slopes, in Utah Valley. So tech is booming here, and the film scene is growing.

Utah actually has its own awards, the Utah Film Awards (an IMDB awards listed event), that not many states can boast. We’ve got Sundance and Slamdance, our own FilmQuest in the summer, and more. Honestly, Utah is one of the great hotbeds for film, with unmatched locals and vistas for filming, a right to work state, and more. There’s also no less than 3 tv series and 4 feature films being filmed in Utah as we do this interview. So you can say I’m bullish on our state as a filmmaking hub.

So with that, I’d love to invite everyone to come out to FilmQuest June 17-25th. Come tour some of the facilities out here, scout for your next film, meet local and out-of-state filmmakers, and make a connection that will influence and inspire you for your filmmaking careers!

****

Jonathan Martin BIO: A professional film producer and director, Jonathan graduated with a B.S. in Business Entreprenuership from Utah Valley University. He is best known for creating and directing the most awarded horror short film of all-time, An Evening with My Comatose Mother, winning 76 festival and industry awards in the process. Since
2011, his production company, Bohemian Industries, has won over 100 festival and industry awards.

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Damon Blalack (Red Dirt International Film Festival)

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The Red Dirt International Film Festival is where film goes to have fun. We love movies and a good time. We are pleased to showcase films of many genres. The name of the fest is so-called because of central Oklahoma’s uniquely colored red earth.

During its 2-day run March 3-4, 2017, we will feature many films, from full-length movies and documentaries, and short films from filmmakers both local and worldwide. In the past we have featured films from all seven continents, including Antarctica! Red Dirt was formed to bring more inspiration, culture, and entertainment to central Oklahoma, as well as to enliven people of all ages through the united power of the film medium.

Interview with Damon Blalack:

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

Damon Blalack: Allowing them a platform for promoting their work, and putting them into great networking situations.

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

DB: A lot of heart, friendliness, and GREAT films and panels!

MT: What are the qualifications for the selected films?

DB: Something unique, something inspirational on some-level, and well-crafted.

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

DB: Right. It’s a lot of responsibility for the filmmakers to get their audience together for their film, and for those who don’t do enough promotion, there are always the few gems that win awards despite not-having had an audience.

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

DB: Helping give back to the film community and film industry by partnering like minds and highlighting the best work!

MT: How has the festival changed since its inception?

DB: Our palette of films has diversified and grown; we’ve grown by leaps in bounds in only three years’ time, receiving much community and statewide support!

MT: Where do you see the festival by 2020?

DB: As a must-attend contender in the region!

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

DB: Bram Stoker’s Dracula (1992) – Damon
The Cutting Edge (1992) – Marisa

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

DB: Something inspirational to say; well-crafted, and offering a unique voice.

MT: How is the film scene in your city?

DB: Very, very dry and almost otherwise non-existent aside from the festival.

****
Damon Blalack (Co-Founder and Executive Director) – Red Dirt founder and Executive Director Damon Blalack is also a filmmaker and current Ph.D. student at Queen’s University, Belfast Ireland. His current focus is on the “fan-edit” film phenomenon, and how it affects the fidelity of adaptive works.

He’s working to crowd-fund a movie-sequel to the 1992 Coppola-directed film, Bram Stoker’s Dracula, which is his favourite film, and which is based on his favourite novel, Dracula.

Alongside that film, his lifelong inspiration to become a filmmaker was borne out of the Star Wars saga, of which he has taught courses as a college professor on the mythology of the Star Wars movies and Clone Wars television show. His particular interest is in the prequel films, and Clone Wars series, and part of his current work includes a re-assembly of all 133 episodes of the Clone Wars into a three-film trilogy distillation.

As early as two years old Damon knew he wanted to be a filmmaker, and would project shadows of his action figures onto the walls with lamps. His absolute favourite films include the aforementioned Bram Stoker’s Dracula (1992) and the Star Wars films (1977-2015), the Universal Classic Monsters films of the 30s and 40s, the Narnia films, and EVERYTHING made by Jodorowsky [El Topo (1970) and Holy Mountain (1973) changed his life!], Kubrick, Melies, Herzog, and Maddin (his favourite filmmakers).

He’s looking-forward to year four of Red Dirt, and very happy to see it growing into such a wonderful staple of the Stillwater and OSU community!

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.

Interview with Festival Director Scott Eriksson (Asians on Film Festival of Shorts)

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Asians on Film is an 501 (C)3 non-profit devoted to arts & entertainment with a primary focus in providing recognition to the talent of Asian/Pacific Islanders who are minorities in the film industry either as actors, actresses, writers, directors, producers, editors and/or those who work in other aspects of filmmaking. They also provide screenings throughout the year with the best films from our festival including a special year-end “best of” screening at Mann’s Chinese Theater in Hollywood.

http://www.asiansonfilm.com/

Interview with Scott Eriksson: 

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

Scott Eriksson: Our festival was created specifically to change how festivals are done. We are open for submissions all year and our fees are very low, $10, all year long so we can encourage as many submissions as possible. We want to find the best films and making submissions inexpensive is they best way to achieve that in a fair way (we grant no waivers). We try to eliminate politics and favors as much as possible, for instance, selected judges are told to keep that information confidential. In this way they experience no pressure and can rate films fairly. Also, as the programmer I am not a judge and my films are not eligible for submission.

We also have on-line quarterly awards, Winter, Spring, Summer and Fall. Films received during each quarter are eligible for recognition by the judges. They submit their suggestions for awards in 18 categories and winners received on-line recognition for that quarter. The winners in each category in each quarter become the nominees for the year end festival award. This way we are able to recognize great films as they are submitted to give them exposure and support even before our festival.

MT: What would you expect to experience if you attend the festival this year (2016)?  

SE: For the festival itself we post online information and links about filmmakers, actors and films and provide the opportunity for others in the film industry to be included by showing their support with a minimum $10 donation (we are a 502(c)3 non-profit). Also, my staff and I spend most of our time meeting, greeting and introducing filmmakers and actors to each other to create connections, a sense of community and an festival experience that is more than just a screening. Further, we do camera interviews, and film our Q&A’s and our awards ceremony for filmmakers to use for promotion of their film and their talent after the festival. Finally, we select a “Best of Fest” list of films that we screen throughout the year at other venues we choose or through partnerships with other festivals. For instance, HollyShorts does a screening of “Best of Fest” films at Mann’s Chinese Theater each year. Programmers Daniel Sol and Theo Dumont have been one of our biggest supporters from day one.

MT: What are the qualifications for the selected films?  

SE: Simple. The films with the highest average scores from the judges get select from highest to lowest average until the festival screenings are full.

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

SE: Absolutely. Like the film business itself, connections, politics, and exposure have a bigger influence than talent or quality. I set up our festival to be as neutral as possible. That said, as I tell all filmmakers, programmers can run their festival however they want. It’s their festival. Know the festivals you are submitting to so you spend money on those that are more likely to screen your film.  

MT: What motivates you and your team to do this festival? 
 
SE: We want to change the whole dynamics of a festival in the era of social media and, since many short films are by new talent, find some of the best new talent both in front of and behind the camera.

MT: How has the festival changed since its inception? 

SE: Our festival has not change much in four years except that we continue to improve what we do and find additional ways to highlight filmmakers and talent and increase the additional “best of Fest” screening venues throughout the year.

MT: Where do you see the festival by 2020?  

SE: Our goal is to have a reputation for finding the best new films, gain strong support beyond just the Asian American community, provide exposure and opportunities via connections and promotion, and change Hollywood’s perspective of Asian Americans in the film industry so they can be hired for their talent and not their looks and/or ethnicity only.

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

SE: Agustin Villarong’s IN A GLASS CAGE (Tras el cristal) from 1986. A controversial, dark, thriller with a brilliant premise and an amazing performance by actress Marisa Paredes. The music, cinematography and directing capture the very horror and darkness of the script.

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

SE: A great film is all about a great script because without that you can only add fluff and distractions such as special effects and action sequences.

MT: How is the film scene in your city? 

SE: We are based in LA, it’s the heart of the film industry!

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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 in downtown Toronto on the last Thursday of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.