1) Submit for FREE and have your film shown at the Virtual Festival Platform www.wildsound.ca
(Includes awards and other options for movie reviews, interviews)
OR
2) NEW OPTION: All submissions receive an automatic acceptance to the festival!
We have created a hybrid festival with 4 tiers to enhance your film and your festival experience. All accepted films receive all four tier options:
Tier #1 – Your film plays at a private festival event where the audience will record their comments/reactions to your film on their camera or phone, then we edit them and send you a promotional video. No matter what you will receive a promotional video of your film of people commenting on your film.
Tier #2 (optional) – Your film plays on the Film Festival streaming service for 30 hours and invite a select industry audience to watch it. With this system, some films have already received a distribution deal as many platforms are looking for solid feature and short documentaries. We can not guarantee anything of course but this has been very helpful to many in the past. (see testimonials below)
Then (Tier #3) we will send you a list of questions to answer for our blog interview that will promote you and your film. Then after that (Tier #4) we will set up a podcast interview on our popular ITunes show where will we chat with you about the process of how the film was made.
Filmmaker Karen Akins’ darkly quirky personal quest to curb noise pollution in her quaint Vermont village uncovers dire consequences for noise regulation not only in her home state but nationwide. From a libertarian-controlled village, upholding a rural neighbor’s right to “recreational shooting,” to the basing of an ear-piercing fighter jet in the most densely populated area of the state, the examples are unending. As she consults leading experts and activists, including Ben Cohen of Ben and Jerry’s, Akins marshals the facts to frame noise pollution as an urgent yet overlooked crisis for both public health and civil society.
Review by Parker Jesse Chase:
In “The Quietest Year,” filmmaker Karen Akins embarks on a deeply personal and unique quest to address noise pollution in her quaint Vermont town. Through this endeavor, Akins uncovers alarming consequences for noise regulation not only in her private home, but across the state. The film is an exploration of how noise affects public health and civil society, framed within the context of a libertarian-controlled village upholding a rural neighbor’s right to “recreational shooting” and the bases of ear-piercing fighter jets in Vermont’s most densely populated area.
The documentary opens with a relatable montage for filmmakers: pauses in front of the camera to capture sound quality, often disrupted by planes overhead. This sequence sets the tone for the film, highlighting the pervasive nature of noise pollution. Akins effectively demonstrates that only a small percentage of the Earth remains uninterrupted by human-made noises.
Vermont, known for its environmental consciousness and forward-thinking mentality, serves as the backdrop for Akins’ journey. The state is home to Ben and Jerry’s, a company renowned for its activism, and Bernie Sanders, a prominent political figure. Even the footage of the town evokes nostalgia and a sense of peace, emphasizing the stark contrast between Vermont’s serene landscape and the oncoming intrusive noise pollution.
Vermont is unique in its choices to ban billboard usage and its anti-litter laws, yet it remains a “Wild West” of sound ordinances. This part of the United States is highly sensitive to noise, as exemplified by the harmful effects on even the simplicity of delivery truck drivers’ passerby noise, which can cause ear damage over long periods (as measured by an Apple Watch). The film reveals the detrimental impacts of sudden, impulsive sounds at night, which can disturb deep sleep and harm health. Even street sweepers cause disturbances in this noise-conscious community.
Akins delves into the historical context of noise regulation, highlighting the defunding of the Noise Control Act and the subsequent freezing of federal regulations without enforcement resources, a legacy of Ronald Reagan’s administration. This has left towns to navigate noise issues independently, often hoping neighbors will resolve conflicts amongst themselves.
The documentary emphasizes the impossibility of “closing your ears,” sound being a fundamental survival skill, and compares the loudness of roosters to jet engines. The negative physical response to living with constant noise, such as the crowing of three roosters outside a bedroom window, is palpable. The World Health Organization’s recommendation of general daytime noise levels of 55 decibels or less to prevent adverse health impacts underscores the severity of the issue. This town on a regular basis has the lowest in the mid60s.
“The Quietest Year” captures the unprecedented quiet of 2020 due to the Covid-19 pandemic, which the community found delightful. Akins continues to document stories of disruption, from detained sheep crying to gunshots at all hours to Ben (of Ben + Jerry’s) getting arrested for a protest display, sending people into distressing physical and mental states. Honing in on the filmmaker’s belief and undeniable truth that repeated exposure to noise causes a priming effect, enlarging the amygdala and making it more reactive to noise events exposing them to higher risk for a heart attack or stroke.
The film strongly establishes the community and lifestyle within Vermont, highlighting the sensitivity to noise that permeates across the state. This sensitivity manifests in various ways: personally (ongoing noise disturbances with neighbors), physically (impact on the nervous system and heart health), and through military actions, such as the national guard’s plane activities.
Akins presents a nuanced portrayal of noise complaints, revealing the complexities and challenges of addressing them through legislative avenues when civil conversations fall short. The documentary is rich with information, both social and scientific, about the sensory effects of sound and what constitutes healthy versus unhealthy noise levels for humans.
“The Quietest Year” is a compelling and informative documentary shedding light on an often overlooked yet urgent growing crisis in this area of the United States. Akins’ personal quest resonates deeply, making a strong case for the need to address noise pollution for the sake of public health and civil society as a whole.
A city lost in the past has to overcome its nostalgia to meet the needs of a modern community.
Retrocity takes you on a journey through the past 80 years of capitalism, consumerism, and individualism, exploring how they have all combined in time to transform our communities from collective, social, human environments, into individualistic, antisocial, car-centric environments.
Centred around Chatham, Ontario, Canada, and the annual retro festival it holds, the documentary takes you into the event to explore the city through the eyes and ears of its residents, showcasing the ironic tragedy of a community so enveloped in nostalgia for its past it has become lost in time.
Review by Victoria Angelique:
The history of Chatham, Ontario is told in a masterful depiction of architecture in RETROCITY. There is no dialogue, yet this is a powerful documentary that showcases the changes in a city through buildings. A sad story that goes from a thriving town to one abandoned throughout time due to society becoming increasingly antisocial.
The score is whimsical. It sets a nostalgic tone as the filmmaker, Jude Dauphin, takes the audience back in time to the beginning of a beautiful town. The captivating cinematography shows the beauty of a thriving town that had gorgeous architecture. The buildings are in contrast to the modernization of Chatham, with popular fast food and grocery store chains lining the outskirts of the magnificent historical buildings.
The editing is seamless as the scene transitions from the black and white past, to the colorful modernization and finally ending on a society beginning to decay. Dauphin showcases the decline in socialization through the lens of what appears to be an abandoned mall that still has the bright decor from decades ago and even payphones hanging from the wall. The footage is almost like an old home movie, reminiscing of the time when people would hang out at this shopping center as they socialized.
The contrast to people only coming together for a retro festival is not lost, as it shows the community still longs for the past before the world became antisocial and individualistic. Chatham, Ontario is a beautiful town that is being lost in time as people move on, leaving history behind them. The hope at the end is that this city can be saved and the people will once again come together as a community.
1. The title of my novel about a girl willing to sacrifice her name and her identity
2. The middle name of Cleo Hart, a scholarship student at a prestigious New England university in the 1950’s
3. A feminized form of “Thessaloniki,” a city in Greece possibly named after Alexander the Great’s half-sister
Get to know the writer:
1. What is your novel about?
A college student masquerades as her male classmate to join an archaeological dig in 1954 Crete. While excavating Minoan ruins, she unwittingly enters a labyrinth of post-war sociopolitical conflict.
2. What genres would you say this story is in?
Upmarket Historical Fiction
3. How would you describe this story in two words?
esoterico, exoterico
4. What movie have you seen the most in your life?
From the age of two to five, I probably watched The Wizard of Oz 300 times.
5. What is your favorite song? (Or, what song have you listened to the most times in your life?)
Choosing favorites of any kind always makes me anxious, for whatever reason. But Mozart’s Piano Concerto No. 23 has been a recurring refrain in my life for at least two decades. Especially the Adagio.
6. Do you have an all-time favorite novel?
Not really? Like I said, I’m not psychologically able to think about the world in terms of absolute favorites. Instead, how about three novels I’ve read (or reread) in the last five years that did something to me: The Blind Assassin by Margaret Atwood, Lonesome Dove by Larry McMurtry, and This Rough Magic by Mary Stewart.
7. What motivated you to write this story?
I wanted to write the kind of book I love to read.
8. If you could have dinner with one person (dead or alive), who would that be?
Now that I’ve got Mozart on the brain, it’d have to be him, the guy who compared his creative process to a cow pissing in a field. He’d order the sturgeon, and I’d make the chef angry by asking for mushroom goulash. We’d drink the most expensive bottle of wine available and charge it all to the Prince Regent of Bavaria’s account. Salieri would send us a complimentary, but poisoned, Sachertorte for dessert.
9. Apart from writing, what else are you passionate about?
Knitting, reading, teaching, swing dancing. I also like zipping around the world.
10. What influenced you to enter your story to get performed?
I’ve had good experiences in the past working with podcasts to adapt my essays. I like collaborating on creative projects and seeing my writing through the eyes of other artists, especially when several different types of expertise are involved.
11. Any advice or tips you’d like to pass on to other writers?
Try to have as much fun as you can with your work. Give yourself space to take risks. Always be learning, but have fun with that too. Maybe make a collage once in a while. Somehow, it always helps me.
Valentine’s Day is etched in Lisa’s memory as a day of betrayal. Four years ago, she embarked on a journey through a relentless snowstorm to surprise her fiancé, Jim, only to stumble upon a scene that shattered her – Jim with another woman.
In the wake of that devastating revelation, Lisa’s friends — Debbie, Mandy, Jenny, and Katie — fashioned Galentine’s Day, a cherished retreat where solidarity among the women reigns supreme. But nothing lasts forever. This is the final Galentine’s Day because the women each have busy lives and romantic partners they’d rather spend Valentine’s Day with. So the women get together for one last hurrah at a secluded lake house in the Ozarks.
Ultimately, Galentine’s Day is about friendship, love, betrayal, and how people slowly grow apart and change, no matter how hard they try to stick together.
2. What genres does your screenplay fall under?
It’s a slasher horror movie.
3. Why should this screenplay be made into a movie?
Galentine’s Day would make an excellent movie because it’s a female-led, action-packed, slasher film full of exciting twists and turns. What starts as a relationship drama, morphs into a buddy comedy, before becoming a murder mystery whodunit, and ending as a full-blooded, thrilling slasher.
The screenplay is a small ensemble full of engaging and distinct characters, each with unique voices and clear character arcs. Galentine’s Day wears its influences on its sleeve. It’s Scream meets Girls’ Trip meets Knives Out.
From a production standpoint, Galentine’s Day could be made on a limited budget. There are only six characters, one main location, and a handful of other smaller locations to consider.
4. How would you describe this script in two words?
Love hurts.
5. What movie have you seen the most times in your life?
Probably the original Star Wars (or as it’s called today Star Wars: Episode IV – A New Hope).
6. How long have you been working on this screenplay?
I wrote a detailed outline and the first draft of Galentine’s Day in about six weeks. Then, I spent about two months revising, rewriting, and polishing it.
7. How many stories have you written?
I’ve written two graphic novels (Pretentious Record Store Guy and Blood on the Tracks, illustrated by Brian Atkins), a collection of comics (SHORTS + LOSSES), a handful of comic books, five screenplays, six pilots, and two spec scripts.
8. What is your favorite song? (Or, what song have you listened to the most times in your life?)
“Bastards of Young” by The Replacements.
9. What obstacles did you face to finish this screenplay?
I wrote Galentine’s Day in a fever pitch after watching a bad horror movie with my wife on Halloween night that started well but quickly dovetailed into unwatchable territory. I thought it was terrible. She said it wasn’t that bad.
I went through the ways I thought the story could have been improved, the various plot turns made not so obvious, and the scares more suspenseful. She said, “Well it sounds like you should write a horror movie.”
So I did. I had the nugget of an idea, so I wrote a 15-page treatment to serve as the outline for the story. After that, the script wrote itself. The biggest obstacle I faced was having it done by my self-imposed deadline of… Valentine’s Day.
10. Apart from writing, what else are you passionate about?
I am a cartoonist who loves making art and telling stories. I’m passionate about movies, art, and design. My office is jam-packed with too many books on painting, design, architecture, screenwriting, and filmmaking.
11. You entered your screenplay via Network ISA. What has been your experiences working with the submission platform site?
Submitting to the contest was very easy, and I enjoyed the experience.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Horror fans are the most passionate, vocal, and supportive community of movie lovers around. As I was looking for horror-specific contests to submit my screenplay to, the Horror Underground Festival checked all the boxes and felt like the perfect fit.
The initial feedback I got from the contest was not only insightful but was actionable. The feedback came from a fan of the genre and they made a few good recommendations on how best to improve the script within the confines of the horror genre.
Teresa Amadei is a depressed young woman dealing with the sudden death of her mother, Juliana, with whom she has long been at odds since the murder of her father, Peter, when she was little. Her aunt and uncle, Bridget, and Jesse Abbate, send her to be helped by a Byzantine stylite in the Nevada desert, Father Simon. Father Simon trains her in the Way of Fire, a form of meditation that translates into a martial art, into a wandering, ascetic demon hunter and Lamp Bearer.
Teresa is sent on a journey to the city of Alexantine in the midwestern US, where many have started to move to as a refuge against the growing turmoil in the US and the West as a whole. Along the way Teresa fights the Daemoklos, demons who have escaped from their eponymous grimoire, led by their god-king Varazhah. To survive against the outer demons, Teresa must face her inner demons. Key to achieving this, Teresa must at last make peace with Juliana, who continues to speak to her daughter beyond the grave.
2. What genres does your screenplay fall under?
“The Stylite” is Action/Adventure, and can also be classed within “Drama,” “Spiritual,” “Coming of Age,” and “Sci-Fi/Fantasy.”
3. Why should this screenplay be made into a movie?
I believe “The Stylite” provides a unique, or at least not seen in a while, take on the hero’s journey, especially for young characters coming-of-age.
I wanted to write Teresa in a manner different from what has been “conventional” over the past several decades when it comes to female characters, especially in media targeted to younger people, namely in her relationship with her elders, and her “sibling bond” with Matthew. Often media wants to show these type of characters as “antagonistic to social norms” in general; and with regards to male siblings, the relationship is often portrayed in a “lopsided” way where the brother gets “discredited” in some way for some sort of “hypocrisy” that vindicates the sister’s views. Now Teresa has antagonism, particularly with her mother, but in a different way (or at least, a different style) than is often the case in media. The jibing between Teresa and Matthew is one part “normal sibling interaction,” but not at the expense of discrediting Matthew, the “elder brother,” as a character, which would ultimately have hurt his role in the story.
The dialogues and bantering between characters, good guys with good guys, heroes with villains, and even villains to each other, are all meant to express various themes and ideas that reflect many issues in the real world, especially cultural events in the West over the past thirty years. Yet at the same time, I tried to maintain a balancing act in weaving all these things in a way that doesn’t overshadow the story and characters to become a speech, but rather fits each character’s personality and motives.
4. How would you describe this script in two words?
“Overcome yourself.”
5. What movie have you seen the most times in your life?
Nothing comes to mind at the moment. There are many movies and shows I have rewatched over the years, mainly older ones from the 2000s and before. For “historical dramas,” I can say I have watched the 1974 miniseries “Fall of Eagles” (starring such people as Patrick Stewart, John Rhys-Davis, Kenneth Colley, Colin Baker, etc.) several times over the past decade.
6. How long have you been working on this screenplay?
The initial idea for “The Stylite” came back in the summer of 2014, while I was doing a graduate course. I was reading the book “In the Shadow of the Sword: The Birth of Islam and The Rise of the Global Arab Empire” by Tom Holland, which details the history of the Middle East and Mediterranean in Late Antiquity. The book went into detail on the Byzantine Empire, life in Constantinople (modern Istanbul) the stylites/Desert Fathers & Mothers, Christian monks/nuns who lived in seclusion in the dessert, and the Zoroastrianism of Sassanid Persia, namely their fire temples.
Reading all of that both indoors and outdoors in the summertime, one could feel immersed in the hot, dusty environments of that part of the world. From there came the first idea of a superhero-like character based on the stylites and the fire temples of Persia. I first started with designing the armor suits that Teresa Amadei, her older cousin Matthew Abbate, and the Saracen wear. My first draft for the novel was started only in 2019; after taking a year break, it was finished around Eastertime of 2022. The rest of 2022 was spent getting the draft beta-read and creating second and final drafts, and compiling the series bible before finally publishing the script in 2023, and the actual book early in 2024.
7. How many stories have you written?
Since 2008, I have completed a total of eight stories, and am in the process of developing several more. Many of those I used to post on tokusatsu fanboards and other sites; “The Stylite” is the first story I have published in an official manner. Two of the other completed stories will soon be published as well.
8. What is your favorite song? (Or, what song have you listened to the most times in your life?)
I’ve never really had a favorite song, or music genre. I mostly play things by ear: if it sounds good, I listen, and go back to listen again.
9. What obstacles did you face to finish this screenplay?
Dialogue has been the constant issue I’ve had with writing, namely coming up with such that sounds natural yet not too “contemporary” or “slang-y.” I like to use the dialogues from old TV shows and movies from the 1940s through the 2000s, as inspiration for my work. The trick has always been to try to emulate their style and “grandness” while still feeling like something my characters (especially the younger ones) could believably say. It often takes a few rewrites before coming up with something that I think is workable. The ultimate test of whether it worked, is how readers/viewers will respond.
10. Apart from writing, what else are you passionate about?
History and nature (namely, books and shows on historical and natural/biological topics), martial arts (currently a 2nd Dan black belt in taekwondo), and tokusatsu.
11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?
FilmFreeway has been a generally good experience. I have noticed that the more I submit my work, the more I get invited by other festivals to submit to them.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Feedback has been informative and appreciated. What spurs me on to enter festivals is based on the theme of said festival, and whether or not my scripts comply with that theme and their terms (If it’s the right length/format, etc.)
In a large sense, it’s about the end of an era in law enforcement and drug use. Through the lens of a pair of twins who, having been separated at birth, never knew each other. Though one seems better adjusted than the other, neither is happy in their relationship. One is connected to a drug kingpin (not violent), and the other is married to a local deputy sheriff. One is mistaken for the other, and their lives become entangled. We are flirting with two Greek myths: Helen and Clytemnestra, as well as Jason and the Argonauts.
2. What genres does your screenplay fall under?
Comedy / Action / Stoner / LGBTQ+
3. Why should this screenplay be made into a movie?
This subject is being dealt with in the collective even as we speak. There is a back and forth, state by state, as we find our way to a new relationship with drugs.
4. How would you describe this script in two words?
Heartfelt slapstick.
5. What movie have you seen the most times in your life?
Rick: Terminator, because it’s on all the time.
Ray: Monty Python’s The Holy Grail.
6. How long have you been working on this screenplay?
Off and on for four years.
7. How many stories have you written?
Together, we’ve written eight screenplays.
8. What is your favorite song? (Or, what song have you listened to the most times in your life?)
Rick’s Favorite: Get My Bearings by Joan as Police Woman (it’s a great Sagitarean message)
Ray’s Favorite: Brimful of Asha (Norman Cook Original Radio Edit Mix) by Cornershop
9. What obstacles did you face to finish this screenplay?
None. We can handle it.
10. Apart from writing, what else are you passionate about?
11. You entered your screenplay via FilmFreeway. What has been your experiences working with the submission platform site?
Can’t recall.
12. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
We were impressed at the effort put in by our reader, striving to understand the details of the story and the characters. I think she expects to find plot holes in most of the scripts that she reads. In our case, the script does get quite intricate, and there were, in fact, a couple of things that she had missed, but still, the feedback was much appreciated. It’s amazing that when we talked to her during the Zoom conference, she really had the entire script in her head.
HE ONLY HIT ME FOUR TIMES, 25min., USA Directed by Deidra Laquito McEachern An educated woman excuses the domestic violence she experiences, until she is faced with undeniable truth of how tragic the consequences can be..
I am an attorney and over my career I’ve worked on several domestic relations cases, some involving domestic violence. I’ve also see friends, family, and even myself have fallen victim to domestic violence. I wanted to spread the word that DV victims come from all walks of life, are present in all social, economical, and educational spheres. Anyone can be a victim of domestic violence. Even if you are not beaten regularly no DV should be acceptable. If you are a victim you should seek help to get out of the relationship. Period!!!
2. From the idea to the finished product, how long did it take for you to make this film?
It took me approximately 6 months from start to finish.
3. How would you describe your film in two words!?
I would describe this film as enlightening and moving.
4. What was the biggest obstacle you faced in completing this film?
The biggest obstacle I faced in completing this film was obtaining all of the locations. The location I’d planned to use for the urgent care scene became unavailable at the last minute. I was facing a time deadline. Also, I had to make the locations I got versatile enough to double for several scenes.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I was very pleasantly surprised when I watched the audience feedback. Then I was grateful and humbled. It was clear that the viewers actually got the message that I was trying to portray.
6. When did you realize that you wanted to make films?
I had written a novel and I heard about a film-making class. I’d written a play and I wanted to turn my novel into a film. That’s how it all began.
7. What film have you seen the most in your life?
I typically don’t watch films more than once. But I have seen Friday, Malcolm X, 12 Angry Men, Shawshank Redemption, Casa Blanca, Love and Basketball, Gone With the Wind, Imitation of Life, The Wizard of Oz, and Forest Gump. Ph and It’s A Wonderful Life more than once. So, I guess I’ve seen a few more than once. It’s hard to say which I’ve seen the most. But if I had to guess I would say It’s a Wonderful Life. (I know, long answer. Lol)
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
If there were more information for how filmmakers to get movies seen on a larger scale that would help.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
I love the platform. It made showcasing my film to festivals easy. It also, made me aware of film festivals I had not even heard of before.
10. What is your favorite meal?
My favorite meal is steak and lobster.
11. What is next for you? A new film?
Next, I will try to get my film, “He Only Hit Me Four Times” shown via tv steaming or a television network.
OTHERS, 19min., USA Directed by Chris Durr In a midwest suburb, an aging radio enthusiast becomes suspicious that a lonely hispanic teenager is a response to his interstellar transmissions. As misunderstanding and coincidence collide, Mateo perceives Frank as a potential threat, while Frank becomes convinced Mateo is a response to his message that he transmits to the skies. Their misperceptions are flipped over when they are interrupted by a close encounter with an unexpected guest. chrisdurr.dp@gmail.com
The polarization I’ve been experiencing in my country over the past decade has had me pondering what on Earth could drive humanity together…not saying “Others” is the answer, but I wanted to tell a story about two very different people misperceiving one another while experiencing the same isolation or loneliness. The sci fi alien stuff came from an experience I had in 2009 that left me very open minded, so I thought that might be a fun way to get us there in the film.
2. From the idea to the finished product, how long did it take for you to make this film?
15 months! I began to put pencil to paper in March of 2023 and we locked the final audio mix mid June 2024.
3. How would you describe your film in two words!?
Big Misunderstanding
4. What was the biggest obstacle you faced in completing this film?
We didn’t design a simple film to make and with limited resources it becomes very challenging to stay present minded for your department heads and actors, while also staying flexible for the creativity that arises in the moment. Some idiots wrote a movie that takes place mostly at night and running around on a bicycle the whole time. In the end, I’m very proud of how we stayed conscious of what mattered to the end result and navigated a complex puzzle as a team successfully. There were many challenges, but that is one that I really pushed my bandwidth with and still showed up in respect to the story.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
I thought it was very cool to hear the ideas and themes of the story really garnering a response and being appreciated by the audience members. The audience seemed like they all had very different backgrounds and there was a couple of differences of interpretation too, which I love because it was designed to work between a few different interpretations of the story. I was waiting for a criticism to make it spicy!
6. When did you realize that you wanted to make films?
Long story short, I had a health scare as a young person and decided I wanted to positively impact as many other people as I could – so I cancelled my university plans and went to art school. I didn’t even know film school was a thing, but I found my way onto set anyway.
7. What film have you seen the most in your life?
Big Fish, ET, Wizard of Oz
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
Some form of an in person event is always good.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site?
Great!
10. What is your favorite meal?
Kifta, Baba ghanouj, tabouli, fresh pita
11. What is next for you? A new film?
While Others the short was always intended to stand on its own, its a proof of concept for the feature length. We’ve been writing the feature version of Others all along the way. We’re wrapping up the screenplay, putting together a team, and beginning conversations with potential financial partners.
WARRIORS OF THE WORLD, 10min., USA Directed by Gary McMillan Jr. In a war that will decide the galaxy’s future, the greatest warriors from across the globe join forces to take down the dark forces of Death-Is-Fun-Gary and restore peace to the cosmos.
My love for Power Rangers and Mortal Kombat, I also wanted to play a villain.
2. From the idea to the finished product, how long did it take for you to make this film?
I had written the outline of this when I was a teenager, once I got to college I was able to structure and begin the process to film it. I’d say 3 years, I filmed 5 episodes and this was the cold opening that I showed.
3. How would you describe your film in two words!?
Wild adventure
4. What was the biggest obstacle you faced in completing this film?
Scheduling, I started filming during my last year of graduate school. I had access to equipment, the look book and bible was completed, but scheduling was an issues to get everybody together.
5. What were your initial reactions when watching the audience talking about your film in the feedback video?
Genuine shock. I thought it was going to get ripped apart but seeing a wide audience not only enjoy it but understand it shows that we did our job of bringing this to life. Especially with the Power Rangers and Saturday morning cartoon reference.
6. When did you realize that you wanted to make films? When I was 12 and wanted to be on Disney Channel and write for Power Rangers.
7. What film have you seen the most in your life?
Mortal Kombat (1995) and Lion King (1995)
8. What other elements of the festival experience can we and other festivals implement to satisfy you and help you further your filmmaking career?
You have done a great job so far, I could only think of is informing of a list of streaming service who’d be interested in streaming our films.
9. You submitted to the festival via FilmFreeway. How has your experiences been working on the festival platform site? So far it has been a great experience.
10. What is your favorite meal? Tacos and horchata
11. What is next for you? A new film? My next move is to release the full pilot of Warriors of the World and shop it around with the other 4 episodes.
Festival Reviews 