Q&A with the Artistic Director

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

festreviews festival deadlines, Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , , ,

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.

****
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.

_____

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)

festreviews Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , ,

http://www.willifest.com

facebook | twitter | youtube

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.

_____

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 Jonáš Vacek (The WE Festival)

festreviews Festival Interview, Interview, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , ,
The WE Festival
April 24th — May 1st 2016
The aim of The WE Festival is to stimulate local culture by connecting all groups present in the city, and use that collective empowerment to achieve together what would be impossible on our own. This can be hosting a workshop promoting sustainability, presenting at one of our Pecha Kuchas, performing at one of our music events or parties or organising something outside of the box. We’ve now had 6 years of experience and each year only gets bigger and better!
Interview with Jonáš Vacek
 

1) What is your Film Festival succeeding at doing for filmmakers?

We are giving a voice to the unheard. Since we have blocks that aren’t seen at many other film festivals, focussed on diversity with multicultural and lgbtq community content. We even have blocks that are focussed on coexistance and sustainability. We love new talent and different forms of audiovisual expressions which is why we welcome new talent and experimental films.

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

The finest selection of films from all over the world. World-renowned artists but also new talent. There are Q&A’s happening after different films to get even more closer into the experience you just had. We have an event called One Night stand, where you make and finish a whole short film in the same time it would take you to have a one night stand. The participants films are screened during the festival and can win awards for their accomplishments. We have lectures from teachers, filmmakers from the field. We have awards given by our jury as well as our audience has a voice to award films with prizes. The WE Film festival is part of the WE Festival so there is music, amazing food and other artistic expressions.

3) What are the qualifications for the selected films?

We focus in on films that were made in the last 48 months. And the films have to be in english one way or another.

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

Jonas: Yes, it is a bit sad to cinsider how many films we had to reject only becasue we only have so much time to project. A lot of good talent is rejected this way, pretty uch against our will, but there’s only so much we can do…

Aiman: I agree with this. The difficult thing is that every festival has an identity. And as Festival Director you have to honor that identity which means that some movies, however great they are don’t match with the identity of certain film festivals and that is why they aren’t chosen. I wish there would be clearer communication towards why each film is not selected, but with thousands and thousands of submissions it’s humanly impossible to explain that to every filmmaker.

5) What motivates you and your team to do this festival?

Jonas: I love the ambience and vibes of a film festival, binge-watching films that you would never have the chance to see otherwise, and the discussions that come afterwards. I’ve always admired the work of the organisers and I feel that my current city really deserves a thematically wide festival.

Aiman: From when I can remember I have always been fascinated by film. It was also a thing I did with my dad growing up, watching films that challenged our life views and have discussions about them. Also as a filmmaker it’s challenging to get your work be viewed. I know so many talented filmmakers and felt we could add something awesome to this beautiful city!

6) How has the festival changed since its inception?

The WE Festival itself has never included a film festival up until this year. Since 2010, WE have transformed ourselves from a three day festival with a few workshops and some DJ performances into full-blown, city-wide 8-day cultural feast with Art Exhibitions, Pecha Kuchas, Workshops ranging from cooking, pole dancing, DJing, ceramics, street photography; as well as an insanely varied list of musical performances throughout the week, or the addition of the film festival in this year’s edition.

7) Where do you see the festival by 2020?

At the current rate, probably a two week long festival taking over pretty much most of the city… More screening blocks, more venues, and more Q&As!

8) What film have you seen the most times in your life?

Jonas: Probably Pelíšky (Cozy Dens, 1999), a film about a few neighbouring families during the Communist regime, and how they interact within and between each other. It’s a got-it-all film with great drama, love, humor, dilemma, pretty shots and conflict. I haven’t been born until more than a decade after the fall of the regime, but I feel it is one of the best portrayals of the complicated stories due to the country’s politics of those times.

Aiman: The Matrix, even though not the Best film ever made. Was for me growing up the film that made the most impact for the time it came out. Even when I watch it now, I still feel the magic that I felt when I watched it as a 12 year old teen.

9) In one sentence, what makes a great film?

Jonas: I don’t think there’s a single recipe to make a “great” film, but for me it is the way the creators handle balancing aesthetics against a story that should truly mak your consider what are the reasons why characters behave the way they do, and how well-thought out these “forces” are.

Aiman: For me it’s very clear what makes a great film. Every film is made out of ingredients necessary to make it great. You can see pretty clearly when they lack or when every ingredient simmers beautifully together.

10) How is the film scene in your city?

Jonas: Maastricht is a small city with around 100k inhabitants, but considering its small size, there is a very large group of people who truly want to push what we would consider as “worthwhile” cinema, demonstrated by the many initiatives from the international students as well as the proud locals, with a nie selection of art-house cinemas, other film festivals and organisations helping people create their projects

Aiman: I am from Utrecht myself. The National film festival is held there every year as well as many other festivals. I am pretty happy with the scene. I just wish that there would be more visitors of film in our city. Everybody turns up for the big ones, but the smaller important ones don’t get viewed by as many people as I would like to. Also film funding in Utrecht could be structured in a clearer way.

 

 

****

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 Fesival 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 Berwyn Rowlands (Iris Prize Festival)

festreviews Festival Interview, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , ,

The Iris Prize Festival is a five day public event which includes screenings of the 35 short films competing for the Iris Prize, 15 competing for the Best British Iris Prize, premiere screenings of new feature films, retrospectives, panel sessions, networking opportunities, parties and a glittering awards show. All events are open to the public and take place at Cineworld, Chapter, and Park Inn Hotel in Cardiff.

Past winners, include Dee Rees (US) – 2007, Till Kleinert (Germany) – 2008, Eldar Rapaport (Israel/US) – 2009, Magnus Mork (Norway) – 2010, Daniel Ribeiro (Brazil) – 2011, Grant Scicluna (Australia) – 2012, Tim Marshall (Australia) – 2013, Brendon McDonall (Australia) – 2014 and Arkasha Stevenson (US) – 2015.

Berwyn Rowlands(4)Interview with Berwyn Rowlands:

Matthew Toffolo: Why is Iris special?

Berwyn Rowlands: The Iris Prize – Cardiff’s International LGBT Short Film Prize is supported by The Michael Bishop Foundation and continues to be the only LGBT short film prize in the world which allows the winner to make a new film. Iris is what film makers need – funding, support and guidance. The winner receives £30,000 to make their next short film in the UK. 7 short films have been produced to date in collaboration with the winning filmmakers of the Iris Prize. The 8th short is in pre-production.

MT: How big is the Iris family?

BR: The Iris family is international and brings together a global network of 25 partner film festivals in 19 countries. Film makers, journalists, distributors and members of the public who are interested in film making – gay or straight are members of the Iris family. Actor Simon Russell Beale (Spooks), authors Alan Hollinghurst (The Line of Beauty) Sarah Waters (Tipping the Velvet), and journalist Johann Hari (Independent) have all been members of the prestigious International Jury. 24% of the Iris audience are straight!

The Chair of the Iris Prize is much respected journalist Andrew Pierce. He is supported by five patrons who offer the festival invaluable support: Lord Glendonbrook (Michael Bishop), Matthew Rhys (Actor), Sara Sugarman (Director), Christopher Racster (LA based Producer) and Carol Coombes (Miami based Festival Producer).

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

BR: We try our best to find a new audience for filmmakers work and each year our audience numbers increase. I guess we are also unique in that we invest in film production. Each year at least one short film is funded by the festival through the Iris Prize. The £30,000 cash prize is the world’s largest LGBT short film prize and is supported by the Michael Bishop Foundation. To date we have produced 7 short films with the winning film makers and we are currently in pre-production with the 8th.

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

BR: 2016 is our 10th anniversary so you will experience some reflection looking back but mostly, we will be looking forward. We’ve increased the number of films competing for the two main short film prizes. Five new partner festivals have also joined the family bringing the total number to 25. This network of festivals in 19 countries makes us confident that what you see at Iris is truly the best of the best. Our new motto last year was “Watch Films. Party Nightly. Repeat” I expect more of the same in 2016 with the added bonus of a 5 day long 10th birthday party!

MT: What are the qualifications for the selected films?

BR: We delegate the responsibility for selecting most of the short films at Iris to our 25 partner festivals. Each partner is asked simply to select the best short film from their country or region. We talk about excellence in storytelling, which involves many people across many disciplines. Film is a collaboration! But at the heart is the ability to tell a story and captivate an audience.

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

BR: I don’t know is the answer! We are quite unique at Iris in that we can appreciate and understand both sides of the debate as we are both film producers and festival organisers. To get the most out of a festival experience, the film maker needs to do quite a lot of research. Just appearing without any prep work at a festival, could end up a costly and worthless exercise. Similarly I think festivals must be honest about what they can offer the film maker. Don’t exaggerate the number of press attending for example. Try and be as generous as you possibly can with visiting film makers – if they leave happy they will be the best ambassadors for your festival.

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

BR: We basically want more people to see LGBT stories. The festival has been a great way to start the process. However at Iris we have adopted a holistic approach to reaching our audience, working in partnership with broadcasters, digital platforms, traditional exhibitors (dvd’s) as well as the more traditional festival / cinema experience.

MT: How has the festival changed since its inception? 

BR: It has changed in a couple of key areas. Firstly, it is bigger. 1500 admissions were recorded in our inaugural year. In 2015, we reached 7000 and fingers crossed we will get closer to 10,000 this year. Secondly digital technology is changing the way we produce films, and is having a huge impact on distribution and exhibition. Sharing films digitally (for selection and exhibition) and screening them at non cinema venues has offered us the chance to reach even more people.

MT: Where do you see the festival by 2020? 

BR: 5 years is a long time in this sector. If we continue to be relevant to film makers and our audience we should still be sharing LGBT stories during the annual film festival, and supporting the production of new films via the Iris Prize. I imagine we will also be reaching new audiences in ways we would not have expected, which might not involve the festival! The opportunities are endless and in a way I’m glad I don’t know about the future – but at the same time I’m excited about what we might achieve.

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

BR: Love Actually followed by Jaws. 

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

BR: The ability to take you to another place and make you laugh or cry and if you are lucky both!

MT: How is the film scene in your city? 

BR: Cardiff is vibrant and busy. The TV sector is impressive with a lot of UK network television produced by the BBC coming from Cardiff e.g. Casualty and Doctor Who! We also have a strong education sector supporting the next generation of directors and producers.

****

Berwyn Rowlands

Berwyn is a Welsh Internationalist who has 30 years’ experience in film and events with a significant track record of turning artistic and strategic vision into reality.

In 2006 he established the Iris Prize – presented annually during the Iris Film Festival in Cardiff, Wales (UK). 7 short films have been produced to date with the Iris Prize. Burger and Followers were selected out of 8200 entries for the 2014 and 2015 Sundance Film Festival.

In 1997 Berwyn was appointed the Chief Executive of Sgrîn Cymru Wales in which capacity he established Ffresh, the Student Moving Image Festival of Wales, the Wales Screen Commission, and the National Screen and Sound Archive of Wales (in partnership with the National Library of Wales).

Berwyn has produced content which has been broadcast on BBC, ITV and S4C including Llety Piod (UK) starring Bill Nighy.  Among projects for radio, he produced Wales: Land of Film for BBC Radio 2.

_____

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 Mark Starks (Superhero Short Film Fest)

festreviews film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , , ,

Come celebrate the 1st Annual Superhero Short Film Fest at the Grace A. Dow Memorial Library Auditorium in Midland, MI on Monday April 18, 2016! Superhero Short Film Fest features a Live Screening of the Top 10 Films, followed by a Costume/Cosplay Contest!

https://filmfreeway.com/festival/SuperheroShortFilmFest

Interview with Mark Starks:

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

Mark Starks: Our value – and purpose – is to curate, provide imprimatur and thus help shape the culture of the local community by exhibiting quality films from independent filmmakers.

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

MS: Highlights of the festival include a special screening of the teaser trailer MALELOVENT, the first US 2-D, hand-drawn animated horror movie, starring Morena Baccarin, William Shatner, Ray Wise, Bill Moseley and Dani Lennon, and LIBERATOR – an award-winning 18-minute short starring Lou Ferrigno as a disgraced, washed-up ex-superhero trying to get his life back on the rails. The film also stars Peta Wilson, Michael Dorn and Ed Asner. We’ll also be screening the first episode of WACKY WALLY’S VINTAGE TOYS!, featuring Wally Wingert, a voice actor and pal-of-mine from Hollywood. Wally was the announcer for the last four years of The Tonight Show with Jay Leno. The Top 10 selected films embrace a diversity of genres, including comedy, drama, action, and fantasy. We conclude with an open costume/cosplay contest.

MT: What are the qualifications for the selected films?

MS: Strong writing is essential, along with acting, directing, editing and sound. Many of the selected films have outstanding special effects. For low-budget films, they really push the envelope. Then there is the obvious element of hero(es) with a problem or goal to give the story drive. Lastly, the audience must believe what each is fighting about.

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

MS: I think a lot of great films are overlooked at festivals, due in part to the volume of submissions. But thankfully, with the advent of digital media and the democratization of filmmaking, there are new avenues for the filmmaker to explore, including speciality theaters, VOD, or simply via social media. A film may be may not get a fair shake on the festival route but become the next viral sensation!

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

MS: We are excited to offer a de facto four-wall release for filmmakers through festival-run programs and partnerships above and beyond the event itself. We’re motivated by the terrific support of fans, sponsors and the community.

MT: How has the festival changed since its inception?

MS: The festival has obviously grown tremendously since its inception. There are currently more than 3000 active film festivals worldwide. …and there are many more categories, including experimental, independent and animation. I participated in my first film festival in 1978, in middle school, where I screened my Super-8 animated films. It’s great to see more diversity and support than ever for the independent filmmaker.

MT: Where do you see the festival by 2020?

MS: I see more festivals on more screens, along with sponsors and community partners, and continued growth in overall attendance. Look for a record number of guests participating in all of the events the film festival has to offer.

In regards to our festival, we plan to include more activities, including signings and panel discussions. Recently, I was a panelist at Stan Lee’s Comikaze Expo in Los Angeles. We screened a segment of my motion comic book series, MARTIAN. I was truly impressed by the size and scope of the event.

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

MS: Actually, it is the 1966 feature, BATMAN, with Adam West and Burt Ward. As a child, I never missed an episode of the television series. I didn’t see the first run of the film in theaters, but was thrilled to see it for the first time as The ABC Sunday Night Movie. I remember scanning TV Guide back then to see when it would air again. So, as a child, I racked up a lot of viewings of BATMAN – maybe too many. I enjoy seeing the surviving cast members at autograph shows, and even wrote a biography on Johnny Green and the Greenmen, one of the BATMAN guest-stars.

My favorite Hollywood actor is Paul Ganus, a classmate from Midland. It’s a Michigan thing – like Kate Upton and the (Detroit) Tigers.

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

MS: A great story, with engaging characters that you can relate to and root for.

MT: How is the film scene in your city?

MS: Thriving! The MATRIX: MIDLAND Festival at Midland Center for the Arts (one of our sponsors) showcases films, and the Chippewa Nature Center is proud to host one of the stops on the Banff Mountain Film Festival World Tour.

Mark Starks, Festival Director, is an award-winning writer, author and independent film producer. He is a graduate of Central Michigan University (BAA – Journalism/Broadcasting & Cinematic Arts).

____

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 Executive Director Joseph Shahadi (The Art of Brooklyn Film Festival)

festreviews Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , , , , ,

The Art of Brooklyn is a nonprofit, founded in 2011 that celebrates, nurtures and supports Brooklyn’s independent film scene– a local scene with global influence. We produce an annual film festival, curate our own VOD streaming channel and create original, branded media about Brooklyn art and culture.

The 6th Annual AoBFF runs June 8-12, 2016 at multiple venues across the Borough.

www.aobff.org
www.brooklynondemand.com

Interview with Joseph Shahadi:Matthew Toffolo: What is your Film Festival succeeding at doing for filmmakers?

Joseph Shahadi: The Art of Brooklyn Film Festival (http://www.theartofbrooklyn.org/art-of-brooklyn-film-festival.html) is the only international independent film festival in the world dedicated to the vibrant Brooklyn indie film scene. We screen films and entertain audiences across the entire borough, including neighborhoods traditionally underserved by cultural events. And we are committed to inclusion among filmmakers, film genres, and audiences. The Brooklyn scene is overflowing with talent, in every neighborhood and community. But since Manhattan-adjacent north Brooklyn neighborhoods are often seen as the focus for art and culture, the bulk of Kings County is excluded. AoBFF has successfully expanded the notion of “Brooklyn” to include the entire borough again.

We’ve also developed our own streaming channel, called Brooklyn On Demand (http://www.brooklynondemand.com/) — the only video-on-demand platform for Brooklyn-centric titles. By creating our own channel we’re making Brooklyn’s indie film scene accessible to audiences internationally, and affirming the borough’s importance as a center for independent film and media. Technical.ly recognized us with a 2016 Brooklyn Innovation Award for Brooklyn On Demand.

We are a 21st century film festival; we’ve maximized our value to filmmakers and audiences by expanding the idea of what a film festival can — and should— do.

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

JS: Well I can’t tell you about the films yet because our submissions are still open and we watch everything that comes in until midnight of the last day, which is April 22nd this year. (Yes, we’ve programmed films that were submitted to us at the last minute. More than once.) But one thing we do know is that the films will reflect the diversity of Brooklyn’s independent film scene, both in the borough and around the world. In addition to our “main campus” in Downtown Brooklyn, which is easily accessible from all over the borough and Manhattan, we have screenings set for neighborhoods throughout Brooklyn— Sunset Park, Fort Greene, and Bay Ridge.

This year we’ll have more panel discussions than ever, drawn from current events. One of these is about women in film in front of and behind the camera, co-produced with New York Women in Film and Television. And our Guest Festival Director for 2016, award-winning film maker Eric Trenkamp will host an intensive mini-seminar on micro-budget filmmaking alongside representatives of the city and state film offices.

We also throw a pretty great party to kick off the festival every year with amazing food and an open bar.

artofbrooklyn
MT: What are the qualifications for the selected films? 

JS: We are the only festival in the world that exclusively features films created and catalyzed within Brooklyn’s independent film scene, which has members living and working independently in multiple countries. So in order to qualify for the Art of Brooklyn Film Festival filmmakers have to make a case for how they participate in Brooklyn’s indie film scene either in the borough itself or around the world.

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

JS: Festivals often overlook films that don’t fit neatly into genre categories because they aren’t sure how to program them. That can have a chilling effect on experimentation in independent filmmaking as that kind of limitation is internalized. We want to support the next generation of filmmakers in pushing the boundaries of visual storytelling so we introduced a category for experimental films called Film As Art, and we give our Vanguard Award for excellence in this category. Frankly, we’ve been surprised at how popular those screenings are. I once sat next to a pair of very old ladies and I gently inquired if they were at the right screening. They informed me that they’d made certain to attend Film As Art, then they watched intently, asked great questions at the talk back and gave me a piece of hard candy on their way out, like a boss. It goes to show that you can’t make assumptions based on an idea of the popular taste: audiences are smarter and cooler than that. At least in Brooklyn.

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

JS: We were inspired to found the Art of Brooklyn Film Festival in 2011 when we realized that— even though Brooklyn is the site of the first great cultural renaissance of the 21st century— the borough didn’t have a large scale, international, film festival devoted to it’s own scene. We have worked to establish ourselves as a real resource for filmmakers and audiences throughout the borough. We were (and are) motivated to produce an inclusive, international independent film event where everyone feels welcome. As far as we’re concerned there are no “wrong” neighborhoods. In 2012 (the last year see were able to keep careful track) we had guests from every single zip code in Brooklyn.

MT: How has the festival changed since its inception? 

JS: We are bigger. Since our start in 2011 we’ve grown every year— with new screening locations, more entries, and a growing network of filmmakers and audience who follow us on social media and look forward to our next festival. We’re now a part of Brooklyn’s cultural landscape.

And of course creating and launching Brooklyn On Demand has been a huge part of our growth as we head into our sixth year. Now we are able to participate in the evolving distribution model that streaming media provides. In October 2015 we launched BKOD as a Roku channel alongside Netflix, Hulu Plus and Amazon Prime and it has over 100K views and 7000+ subscribers to date. We recently expanded our slate of offerings to include original series as well as films. Soon we’ll start producing our own original content.

MT: Where do you see the festival by 2020? 

JS: The director Eliot Lester (Nightingale, Blitz), who has been a judge with us for years, called us “Brooklyn’s Tribeca.” That’s as good a description of our goals as any: We want to be Brooklyn’s flagship indie film event and continue to create platforms for the best of the borough’s independent media makers.

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

JS: I watch a lot of films for work and pleasure but I always return to movies I loved as a kid. I’ve probably seen David Lynch’s Dune (1984) 75 times. The sleeper must awaken.

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

JS: I think what writer Terence Des Pres says about fiction works for all kinds of films too: 1) Vigorous engagement with life, 2) imaginative force to subvert and remake the world, and 3) the sense to keep them “locked in stubborn love with each other.”

MT: How is the film scene in your city?

JS: It’s amazing. Brooklyn has become an international center for independent film and media makers. We are proud to be their film festival.

;

brooklyn.jpg

____

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 Allen Myers (The Earth Day Film Festival)

festreviews Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , ,

The Earth Day Film Festival is a platform to showcase art and film projects of an Earth sensitive population. Our film festival runs entirely on Clean Energy with Zero Waste goals, holding film screenings around the world on Earth Day and throwing fat festival full good earth love and mind expansion in San Francisco. We match the action to the message.

http://www.earthdayfilmfest.org/

Interview with Allen Myers:

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

Allen Myers: As a filmmaker myself, I understand the work it takes and the value of the films for the creators. It’s important that we honor those who are the backbone of the festival: the films and their creators. We have partnered with Ro*co Films, an international film distributor who will be present at the festival to watch the official selections. Ro*co Films will also hold a panel discussion for filmmakers, describing the current climate of film distribution and steps to bring their films to the market. We have an industry mixer where storytellers- our filmmakers- can partner with environmental organizations. We have also spent a lot of time ensuring that our gift bags for film makers are loaded with great gifts expressing our appreciation. This is a holistic and growth oriented approach that I think any film maker would appreciate.

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

AM: One of our tag lines is, “Changing the content we celebrate and how we celebrate it.” We are not interested in the traditional regurgitated story lines that are being pumped out by hollywood and other avenues looking for a safe, money making approach. We are looking to be as cohesive as possible in a holistic approach to how an “Earth Day Film Festival” should look. We work to ensure our practices match the messages we share by using clean energy to power all of our screenings and maintaining zero-waste goals. We are also stepping away from traditional black box theater experiences and moving into environments that align with the stories we share. For example, we will screen a block of films around this years theme-Water- onto the sails of a sail boat in the San Francisco Bay. We will have a nature walk with a native plant specialist with filmmakers who will sharing their films in the forest. What you are going to experience is the future of how festivals will operate and the stories that will be shared. Its all incredibly exciting.

MT: What are the qualifications for the selected films?

AM: The main requirement we have established is honesty. Is this an honest film? This criteria extends to fiction films too. We select sincere creations, not something that is seeking fame or glory through the traditional channels. We are looking to share stories that inspire us to create a better world. We understand that an earthly experience is a broad experience and we welcome diverse interpretations. We are not set on “nature porn” as some might assume. Some of my favorite films are on the experimental side. There are several stages in this consciousness movement. First is awareness to the veil that has been pulled over us. For most, the initial reaction to this deceit is, understandably, anger. We get a lot of documentaries and films that present that voice. To appreciate films that call others forward into the journey, we present the “Activist Award”. The next phase is application, “what are we doing in our lives to create a better world?” We award this film with “The New Paradigm Award”.

The “Earths Choice Award” goes to the film that has aligned message with produced methods, meaning a environmentally low-impact film about the environment. As you can see we are not a traditional film festival and we are proud of that.

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

AM: Absolutely, a large part of that has to do with safety. If we continue on the paths that other film festivals have traveled for so long, we will just keep getting more of the same stories and same results.

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

AM: We are motivated by the shared vision we hold to reconnect humanity to a planet that many of us might feel separated from. That it is somehow just a resource to use, where we believe we are the world and it is through holistic and intentional systems that we will be the healthiest and happiest we can be.

MT: How has the festival changed since its inception?

AM: Growing rapidly!

MT: Where do you see the festival by 2020?

AM: I see this festival continuing on the path that it is on and expanding all over the world. Part of our festival is understanding that a film festival celebrating the Earth should not be location specific; it is for the Earth as a whole! For that reason our selected themed films are open to people around the world who wish to screen them in their communities. All we request is that the films be screened with clean energy and that zero waste goals are upheld (meaning no one time use items such as straws, disposable bags etc). The main idea behind this event is to create a global collective consciousness movement, one that is positively directed and focused around themes of environmental remediation, global community and peace. We are excited about current technological developments around the internet and mass communication and would like to utilize that to affect positive action. This year, selected films around the theme of water will be screened in Los Angles, San Francisco, Vancouver, Mexico City, Madrid and New York. I see our awards like the “New Paradigm Award”, “Activist Award” and “Earths Choice” being as coveted as an Academy Award.

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

AM: Probably “Baraka”

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

AM: Honesty, a true unique voice.

MT: How is the film scene in your city?

AM: San Francisco is rough right now, it’s in a state of ‘pay to play’ and a lot of the artists have up and left for more supportive communities. This does make for great story telling and any artist will tell you that through trial and tribulations some of the best art is brought forward. There are several filmmaker groups and art collectives that continue to share the indy filmmaker voice. Merchants of Reality and the ATA are good examples of that.

earth_day_2.jpg

_____

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 Todd Looby (BendFilm Festival)

festreviews Festival Interview, film festival, film festival reviews, FilmFreeway Review, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , , ,

13th Annual BendFilm Festival : October 6th – 9th, 2016

BendFilm celebrates the brave voice of independent cinema through films, lectures and education. A constant member on Movie Magazine’s 50 Fests worth the entry fee.

http://www.bendfilm.org/

Interview with Todd Looby:

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

Todd Looby: We provide a platform for underrepresented / under-appreciated filmmakers. We want to help them build their careers. Our feature filmmakers are now receiving travel stipends to encourage attendance. We also provide lodging for all filmmakers. We want our filmmakers to spend their money on their films and not on plane tickets. We also want to provide an atmosphere where our filmmakers can network with each other and the public to encourage future collaborations. We also offer $8,500 in cash awards (including $5,000 for Best in Show) and a $60,000 Panavision Camera Package.

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

TL: If you’ve been to BendFilm before, you’ll expect to see our best addition yet. We just brought on Erik Jambor as programmer. He has 17 years experience Directing some of the best Fests out there: Sidewalk Moving Pictures, IndieMemphis and even a short stint at BendFilm in 2007. Erik is already putting together a program that will give everybody something to see and hold on to. And, of course…since we are serious about “Celebrating” independent Film, our parties and events will not disappoint!

MT: What are the qualifications for the selected films?

TL: We typically prefer Oregon premieres, but we often screen films that will have played at Ashland or Portland. What we really look for are the diamonds in the rough – again, films that have been underappreciated or we predict will be so. We want to see someone do the impossible. An example is a film that just shouldn’t work on paper and when you actually see what the director, actors and crew were able to do with nothing, you walk out amazed.

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

TL: Yes. I think some festivals rely too much on where the films have played previously. We want to be a discovery fest and that fits well with Erik’s philosophy as well. Of course, we also program more popular films, but we want to give the smaller films the same amount of exposure and better chances to win our cash awards.

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

TL: We’re motivated by our belief in the power of film to change lives and improve our community. Bend is relatively isolated in the middle of Oregon. Though a popular destination, our community doesn’t get regular access to working artists. We also only have one small arthouse in town. Our fest provides access to films that wouldn’t otherwise screen in Bend and also provides access to the artists that make these films. Independent Films are more conversation starters than the Hollywood fare. Our community and visitors learn more about hot-button issues and the outside world. Independent films also have higher minority and women representation. We are introducing our community and visitors to different points of view they do not see in mainstream films or media.

MT: How has the festival changed since its inception?

TL: We do a lot of things the same as we’ve always done. However, Bend is changing fast and we are keeping up with the changes and expanding exponentially. In 2015, we received 3x the amount of submissions we did in 2014. This year we expect more. We are doing many more screenings and events throughout the year. We are also expanding our education programs.

MT: Where do you see the festival by 2020?

TL: I think BendFilm has the potential to be a leader in the independent film festival industry. This town can’t be beat. I’m relatively new here and still awed by it’s natural beauty and laid-back feel. Though as a filmmaker I never screened here, the minute I came I had an inking of what a filmmaker sees when coming here for the first time. They’re in awe. Our feedback each year gets better and better. As we improve our programming and national exposure, I think even more and more people will come here for the fest. It’s simply the perfect place to host a festival like ours.

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

TL: Probably “Midnight Run”. Our family finally got cable in 1989 and I was introduced to so many films I hadn’t seen before, but “Midnight Run” sticks with me (though it’s been awhile since I’ve seen it). There was a time when I knew it by heart. It’s my perfect kind of film: It’s hilarious, it has incredible heart, it has a great moral compass and it can change tone at the drop of a hat. It’s really one of the more underappreciated films in existence. I also think it was either that or Untouchables that introduced me to DeNiro and, thus, the other movies I’ve watched most are DeNiro films: Goodfellas, Mean Streets, Raging Bull, Deer Hunter, etc, etc.

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

TL: My compass for a great film is simply that elicits a strong emotional response – whether it’s laughter, tears, genuine shock or deep thought (which I consider emotive). I see too many films these days that are languid. I understand that filmmakers want to get away from the action and plot-driven Hollywood fare, but I think they also sacrifice the need to emotionally connect with an audience. Great filmmakers are able to make character-driven films that are artful, heady, yet engaging and accessible.

MT: How is the film scene in your city?

TL: Our community has a deep appreciation of cinema. This fest is really a community-driven event. It’s so well supported locally. And as far as filmmakers, more and more move here each year. They may fly out to shoot, but the more they’re here, the more local filmmaking will increase. At BendFilm, we’re trying to coalesce everyone together at least quarterly to network and develop collaborations. We also have a great relationship with Tim Williams at the Oregon Film Office. A former BendFilm Director, Sandy Henderson, is also opening up a Central Oregon Film Office to increase local filmmaking.

____

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 Coordinator Emily Smith Beitiks (Superfest: International Disability Film Festival)

festreviews Festival Interview, film festival, film festival reviews, FilmFreeway Review, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , ,

Superfest: International Disability Film Festival is a showcase of juried films held in the San Francisco Bay Area. For nearly 30 years, this annual competition has celebrated cutting-edge cinema that portrays disability in all its diverse, complex, and empowering facets. We are proud to be the longest running disability film festival in the world.

http://www.superfestfilm.com/

Interview with Emily Smith Beitiks:

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

Emily Smith Beitiks: Superfest provides an opportunity for filmmakers to tell stories about disability that are more nuanced and complex than what we typically see in Hollywood, unfortunately. We celebrate the work of filmmakers with disability and explore how the insights of living with a disability enrich their work. In addition, we work closely with our filmmakers to help them get their films audio described and captioned. Even though the films are about disability, many filmmakers have never considered the importance of making films accessible to people with disabilities. We coach them on how they can go about this, as it is a mandatory requirement for all films that screen at our festival.

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

EMB: Our 2016 attendees will experience some exceptional films that will push our audiences to reconsider what they know about disability and disabled people worldwide, but there’s much more to Superfest than just watching the films. We deliberately choose to limit our festival to a weekend so that it can serve as a more unified cultural event. From our hilarious emcee Nina G (the world’s best female, stuttering comedian) to our rich panels with filmmakers to our event party, Superfest allows our attendees to come together as a community to celebrate how disability enriches the arts. This year is the 30th anniversary of our festival, so we’re working even harder to make this our best year yet.

MT: What are the qualifications for the selected films?

EMB: Most importantly, we seek films that avoid the common but problematic tropes of disability. For example, we’re looking for films that neither patronize nor deify people with disabilities, that avoid stereotypes to go beyond disabled people as victims or villains. We get a lot of submissions that the disability community calls “inspiration porn.” These films look at the stories of individual disabled people while they do things like climbing Mt Everest or biking across continents to show what they can do in spite of their disabilities, never addressing the discrimination people with disabilities face nor questioning why a disabled person should have to do such herculean tasks in order to prove their social worth. Those get rejected real fast.

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

EMB: It depends on the festival of course, but some prioritize high standards for technical quality and production, which hurts some really great (but radical and incredibly low-budget) stories from getting screened. While we of course want films that are executed with high quality, a film with a really great message made on a shoestring budget can make it into Superfest.

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

EMB: Personally, I’m grew up with a disabled mother so I witnessed how our society treats people with disabilities. I believe that disability need not be seen as tragedy nor pity, and feel that having a disabled mother transformed me for the better. This upbringing motivates my efforts to showcase how disabled people bring creativity and expertise that enriches our world.

The directors of the festival, Catherine Kudlick, Director of the Longmore Institute on Disability, and Bryan Bashin, CEO of the SF LightHouse for the Blind and Visually Impaired, are both disabled people themselves who are motivated to participate in Superfest because of the festival’s rich history among Bay Area disability groups and long-standing record of promoting the rights and interests of disabled people. All of our judges are disabled people, so we proudly support the disability rights slogan “Nothing About Us, Without Us” through out festival’s grassroots approach.

MT: How has the festival changed since its inception?

EMB: After its developmental years in Los Angeles, Superfest was transferred to the Bay Area in 1998. Operated as a project of Culture! Disability! Talent! (CDT), annual film festivals were held in Berkeley 1998-2011. In 2012, CDT began to search for new leaders with the vision, talent and energy to take Superfest to the next level. They found Catherine Kudlick and Bryan Bashin. Because the festival is now connected two organizations, we have a stronger infrastructure to put on a bigger festival and to promote it more widely. In addition, we’re now making Superfest a model of accessibility. All films screen with audio description and captioning, our spaces are wheelchair accessible, and ASL interpreters are always present.

MT: Where do you see the festival by 2020?

EMB: Since the Paul K. Longmore Institute on Disability and the SF LightHouse for the Blind and Visually impaired took over the festival in 2012, we’ve sold out every single one of our screenings. By 2020, we want to maintain the feeling of community that we’ve achieved in our past three festivals but we want to be able to accommodate an even larger audience so that no one will have to miss out. This would also allow us to make new partnerships and broaden the festival’s reach to groups that might not be thinking about disability in the arts (but would benefit from doing so – veterans are a good example of this).

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

EMB: Well my real answer would probably be something that I watched repeatedly as a kid like The Labyrinth. But if you’ll allow me to connect it to Superfest: in 2014, we screened a short film called “The Interviewer” and since, I’ve probably watched it over 20 times. Many colleagues and friends have spread the word about how great it is and keep requesting that I play it for others. And honestly, I still laugh in earnest every time I see it – that’s how good it is.

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

EMB: A great film takes something ordinary but helps me think about it an entirely new way, or it takes something extraordinary and yet allows me to connect with it.

MT: How is the film scene in your city?

EMB: So, so, so good. San Francisco is a hard place to live with the high cost of rent, but man, the support for diverse culture and arts here is pretty phenomenal. That being said, I’m a mom of two young kids, so I don’t take full advantage of it.

____

Growing up with a disabled mother, Emily Smith Beitiks witnessed how our society treats people with disabilities. She believes that disability need not be seen as tragedy or pity, and feels that having a disabled mother transformed her for the better. Beitiks received a PhD in American Studies at the University of Minnesota in April 2012. In her current position as Associate Director of the Paul Longmore Institute on Disability at San Francisco State University, she continues her work as a scholar and advocate of disability to showcase how disabled people bring unique value that can benefit us all. She is the coordinator of Superfest: International Disability Film Festival.

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 Travis Gonzalez (Yale Student Film Festival)

festreviews Festival Interview, film festival, film festival reviews, Interview, interviews, matthew toffolo wildsound, Q&A with the Artistic Director, Uncategorized , , , , , , ,

The Yale Student Film Festival (YSFF) is an emerging student-run short film festival, providing the opportunity for university-level filmmakers, both foreign and domestic, to exhibit their work. It will be held on Yale University’s campus April 18th – 23rd.2016.

Interview with Travis Gonzalez:

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

Travis Gonzalez: I think the Yale Student Film Festival succeeds at providing a large platform for filmmakers who may not attend a university known for it’s film production students. At Yale, it’s currently the most visible exhibition of our small community of filmmakers, whose work generally will only be seen by a handful of close friends and family (unless they choose to apply to other festivals). YSFF offer visibility where there previously was very little. By opening up the submission process to university-level filmmakers internationally, we are hoping to connect Yalie artists with the larger network of students out there creating work, many on their own or for the first time. The festival is an initiative born out of the Yale Film Alliance, a new umbrella organization fostering growth in the film community through events and coordination with Bulldog Productions (est. 2003, Film Production) and The Yale Film Society (est. 1950s-1960s, Film Appreciation)

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

The 2016 iteration of YSFF, it’s second year, will be a week-long showcase, beginning with screenings and workshops led by Yale Alumni in the entertainment industry. This will culminate in our two-day student screening block, where approximately twenty-five short films will screen across five different blocks (Super Shorts, Narrative Shorts, Documentary Shorts, Experimental Shorts, and The 2016 Yale Senior Thesis Films). Every screening will be followed by a Q+A. The student screenings will be followed by an awards dinner for all invited filmmakers. The festival is designed to be a learning and networking environment, where filmmakers from different universities will be able to connect and exchange ideas, while those rooted in the industry provide guidance and relevant feedback.

MT: What are the qualifications for the selected films?

All selected films must have come from a filmmaker currently enrolled in University. The films must be work that demonstrates movement towards professional filmmaking, but not quite at that level. Basically, we are looking for first-timers or those taking their first steps towards becoming professionals. YSFF is a short film festival, so we have a cap of forty-five minutes for a film, although generally it is more likely for a twenty-five minute film to be programmed into the screenings over one of double that length. Beyond those restrictions, the festival is open to submissions from students at an international level.

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

Traditionally, Film Festivals can be seen as cultural gatherings that benefit the image of the city or host organization providing support for the event. Because of that, I think many festivals want to select films that are flashy and add to the spectacle of having a multi-day screening event. Films that are more understated, challenging, and out-there have a harder time of being accepted because they run the risk of taking us out of the spectacle. At Yale, however, there is a stronger emphasis on the filmmaker as part of the process, and bringing films to campus that do more to engage with an audience on a more thoughtful level. For us, it’s not a matter of what project will get the most “oohs” and “ahhs,” but whether or not you leave the theatre still thinking about and engaging with the work.

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

As a filmmaker myself in a school not traditionally known for film production (we have a great Film Studies Program, however), it’s very easy to feel isolated from the arts community. Theatre has very old roots at Yale, and film, by comparison, is very young. My team and I are motivated by a desire to bring our fellow artists into the spotlight and to showcase the work they are making early in their careers. By doing so, this will ultimately foster a stronger network of alumni and current students in the film industry, and bring further resources to filmmakers trying to turn their ideas into reality. This festival will be our roots.

MT: How has the festival changed since its inception?

Last year, the inaugural festival was only a weekend-long and was restricted to Yale affiliated filmmakers across the undergraduate, graduate, and alumni networks. We still screened twenty films, and the result further fortified our community, but it was much more insular than this year’s festival.

MT: Where do you see the festival by 2020?

I definitely see this festival being brought into a larger network of student film festivals, especially within the Ivy League. I definitely predict larger blocks of student screenings, and hopefully expanding our submissions categories to include screenplays and other aspects of filmmaking. Right now the festival is focusing on celebrating the technical craft of filmmaking, but I feel like it will soon expand to cover acting and writing as well.

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

Little Miss Sunshine. It was the first film that I connected to on a deep personal level, and I never saw film the same way after seeing it. And so I watch it any chance I get.

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

A great film is one that can transport you to another world, another time, another way of thinking, but by the end of its runtime, still hit close to home.

MT: How is the film scene in your city?

New Haven has an enclave of artists in general that are sometimes over-shadowed by the Yale Community. There is a festival Arts and Ideas in the summer, and an emerging New Haven Documentary Film Festival that will also be going up around the same time. So, like Yale, I think the New Haven film scene is growing, and finding out what niche of film is the most prevalent.

http://yalefilmalliance.wix.com/yalestudentfilmfest
https://www.facebook.com/yalestudentfilmfestival/?fref=ts

PHOTO: Travis chats with fellow colleagues at the 2015 Film Festival:

yale_people.jpg

_____

Interviewee TRAVIS GONZALEZ is a senior in Film & Media Studies at Yale University and a filmmaker from Staten Island, New York. He was the president of Bulldog Productions, Yale’s only student-run film production company, and is the film festival director for the Yale Film Alliance. Travis has worked as a writer, producer, and director on various student films, and has worked as a freelance filmmaker for several clients, including: The Yale Admissions Office, The Association of Yale Alumni, Paprika!, Sugar Hill Culture Club, Those People, First Things Foundation, City Atlas: New Haven. He is currently in post-production for Over Dinner, a twenty-minute dramedy about an eccentric grandmother, a single mother/daughter, and her son/grandson that he wrote and directed.

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 Fesival 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.