DEADLINE TODAY: Submit to the Festival via FilmFreeway:
It was wonderful working with this film festival. They are responsive and enthusiastic. I was honoured to have Beat Keepers: The Next Chapter recognized for best short film as well. Thank you!
A storyboard artist, or story artist, creates storyboards for film productions that are generally for large scope scenes, actions, and/or camera movements. The artist visualizes the story in collaboration with the director and sketches frames of the story on paper.
It was an honor to sit down with the brilliant storyboard artist Kurt Van der Basch, who worked on Star Wars: Episode VII. Of course he’s not allowed to talk about it, which is fine because there are so many other questions to ask him.
Please go to his website or follow him on Facebook and view 100s of storyboards from his various credits, including: Assassin’s Creed, Sense8, The Borgias, Chronicles of Narnia, and The Illusionist, to name a few.
www.facebook.com/kurtvanderbaschstoryboards
Matthew Toffolo: I understand that you are not allowed to talk about Star Wars! No problem. Are you allowed to say that you had a creatively inspiring experience?
Kurt Van Der Basch: Yes, I can definitely confirm that it was a creatively inspiring experience and I loved the result as much as everyone else seems to have.
Matthew: Looking at your storyboard examples on your website your storyboards are so visual and amazing to look at. I see the story unfold by just looking at the images. They are like a graphic novel that could be published. Do you have any (or many) graphic novel ideas?
Kurt: Thanks a lot. Sequential illustration is sequential illustration whether it’s in the rougher form of storyboards (usually, at least) or in the ready-for-publication form of a graphic novel. We more or less tell stories the same way in both fields. It’s interesting too that with the growing popularity of graphic novels and the rise of DVD extras that storyboards, interest in storyboard art has grown a lot. Now lots of people know what they are and are keen to see them. As for graphic novel ideas – I have lots of but I don’t consider myself much of a writer. I’m still waiting for ‘the perfect fit’ with a writer who wants to collaborate.
Matthew: What’s the general working relationship and process between a storyboard artist and the director? How early do you meet before production begins?
Kurt: The storyboard artist can often be among the first crew mambers to start. I did a long job this past year where I was one of the first 3 people hired then slowly more and more crew joined the production. Early on, there’s generally a list of the most complicated scenes which the production need storyboarded for budgeting and planning purposes listed from highest priority to least. In these discussions the 1st Assistant Director is a key player and as the production goes on, it’s the 1st A.D. who always knows best what’s most urgent and what the latest developments are.
Usually the storyboard artist has daily storyboard meetings with the director (Often arranged by the 1st AD. As the production grows and the director begins to be yanked in a million directions these meetings may not be so frequent) and they sit down and discuss the scene. Often the director will start by showing some references, video clips or still images that they think could be a good style or tone guide. If there’s already a production designer then he or she may provide location photos or a model (either a white card one or, more commonly these days, a digital sketch-up model) so we have a geography to work with. Then the director will begin to describe shots of the sequence. While the director is describing the shots I draw quick little thumbnail sketches so the director can intercept and say, for instance, ’no, a little bit wider’ or ‘could it be a slightly higher angle?’ etc. until I am drawing what he or she is envisaging. It’s common dirng these meetings to draw a little plan view and indicate on it camera and characters too. Some directors will dictate every shot of each sequence that gets storyboarded, but, especially on huge action movies where it’s nearly impossible for the director to arrive with all the shots of each scene planned out in their head in advance, some directors encourage the storyboard artist to make suggestions or even ask them to have a crack at the whole scene as they see it. Then the director can react to those ideas and say ‘yes that’s interesting, keep that, but here I thought we could….’ etc. This can be a fun and creative way to work. Later in the production these meetings often include the DoP as well. As time permits the little thumbnails drawn during the meeting are taken away and the storyboard artist makes more clear and solid versions of them with directional arrows and shot descriptions added next to the panels, plus proper scene and shot numbering. Sometimes time doesn’t permit and it’s necessary to settle for the rough thumbnail scribbled out in the meeting. Sometimes the director insists on the storyboards being left at the rough stage so the crew won’t take particularities of the drawings too literally.
Matthew: When talking about the cinematic design with the director, is the overall theme and tone of the film always present in each storyboard you create?
Kurt: It can be but isn’t always. Sometime it’s very technical and the most important thing is just to clearly show a certain camera move + character action. If your drawing can convey a bit of the atmosphere in these instances that’s great but not if it takes away the clarity.
Matthew: How is the process different when doing a TV episode assignment in comparison to working on a feature film?
Kurt: TV production usually doesnt have the luxury of pre-production time that film has. From what I’ve seen TV directors tend to behave and are treated much more as regular crew members and in my experience TV directors tend to be extremely focussed and organised knowing how little time they will have to complete their block of episodes (on a series the directors usually trade off in ‘blocks’ of episodes so while one is shooting their 2-3 episodes the other is prepping theirs.) The TV storyboard process can be more intense – longer hours and more frames per day, and often less ‘finished’ in order to get all the necessary sequences boarded before shooting. Also there’s less scope for spontaneous ideas – a sudden brilliant suggestion of a shot from inside the microwave can’t just be thrown in in TV world without serious consideration of the extra time and cost etc. I really enjoy storyboarding for TV.
Storyboard from DEAD SNOW 2 (2014), Director Tommy Wirkola
Matthew: What are you looking for in a director?
Kurt: Well the question is really what are they looking for in me because it’s me who is hoping to get hired. But if they do pick me then I look for patterns in how they describe things so I can get to sense what they probably will want as quickly as possible. For some directors articulating the shots they need isn’t as easy as it is for others and it’s the storyboard artist’s job to help with this. This is where the thumbnailing process can be great. Sometimes seeing my totally wrong scribble can be the very thing that helps a director get across the shot in his or her head. On the other hand I’ve worked with directors who draw beautifully and make perfect thumbnails that are a very clear guide that I then just have to draw up in a more finished way.
Matthew: Do you have a Storyboard mentor?
Kurt: The Engish storyboard and strip cartoon artist Martin Asbury essentially created a whole style and standard in the industry that influenced a whole generation of storyboard artists, at least here in UK/Europe. I’ve been lucky enough to work with him twice and both were great experiences. On top of being a huge talent he’s also a really funny and generous man.
Matthew: You have worked on a lot of Action, Fantasy, and Horror films. How important is the creation of the storyboard to the production team for these genres?
Kurt: In an action movie there’ll be two or three big sequences that the storyboard artist works on and sometimes just these scenes may be revised over and over the entire time on the job.
Storyboarding is more important for these genres than others because of all the VFX and stunts involved. Storyboards are neessary initially for making a budget because it answers questions like: In how many shots do we see the flying ship? How often does the camera tilt up enough to require digital set extension? Do we see the stuntman land or does he just fly off the roof? etc. Often it goes that once boards are made of scenes and compared with the budget then the producers then get out their sharpies and start crossing out shots that the production can’t afford. Then it becomes a discussion of where to use the VFX bdget to best advantage. Of course storyboards are also needed in these genres beyond just technicalities but to give an idea of a scene overall and know if it works in terms of drama and suspense. For this, sometimes the individual storyboard frames are plugged into editing software to make a ‘board-o-matic’ that plays the frames in order with timing and added music and sound effects. This can really give a feeling of the final sequence before it’s actually shot. There are some great examples of this on You Tube from Captain America.
Matthew: The film “Serena”, starring Bradley Cooper and Jennifer Lawrence is almost a lost film. Many film fans don’t even know it exists despite the all-star cast. The film is also a bit of a departure for you as it’s a straight up drama. Can you tell us your experiences working on that film and how working on a drama is different from the action/movement movies you generally work on?
Kurt: It’s the strangest thing isn’t it? I think it’s a good movie yet it took ages to be released and even then it was very limited. I was hired in this case by the production designer Richard Bridgland who I had worked for on Alien vs Predator. I did ink and marker illustrations of all his sets for presentation to the director Susanne Bier and then when my job was done the production asked if I could stay on as a storyboard artist as there were a few scenes where it moved out of the relam of straight-up drama and needed storyboarding. An accident on the cutting slope of a logging camp involving trains and falling trees and later a sort of chase scene and fight.
Storyboard from SERENA (2014), Director Susanne Bier
Matthew: Besides the films you’ve worked on, what movie have you seen the most in your life?
Kurt: Definitely ‘The Exorcist’. But a close second is the annual holiday showing of ‘The Sound of Music’ which is a Canadian tradition since before I can remember. I also know most of ‘Mommy Dearest’ by heart.
Matthew: You have worked on over 40 productions in the last 15 years. Do you have a favorite experience?
Kurt: Working on ‘Cloud Atlas’ was probably the most memorable. It was just such a great group of people over in Berlin and the script is magic to me. So ambitious and crazy but they pulled it off. I also did a sci-fi short called ‘A Living Soul’ with the Swedish director Henry Moore Selder that was really cool. On a short there’s limited money and the storyboards make a huge difference to the production. We did about 400 frames in 2.5 days on that project and the result, I think, is fantastic.
Storyboard from CLOUD ATLAS (2012), Directors Tom Tykwer, Andy & Lany Wachowski
Matthew: What director would you love to work with that you haven’t worked with yet?
Kurt: There’s a few. Maybe when Xavier Dolan makes an action or Sci-fi movie I’ll get to work on it. He’s a genius. And there’s also Ridley Scott!
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto Thursday’s of every single month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Feeling confined by their small empty town and unambitious locals, Jasmine and Sarah entertain the idea of moving away to New York.
Review by Julie C. Sheppard:
The short Small Town Girls is a classic tale about big dreams of leaving a humble home town for the excitement and freedom of the big city. The thoughtful set decoration captures the essence of a small town 50’s diner. Colourful floral wallpaper and a gum ball machine, long drinking straws and cups, a sparkly neon sign, and a comfy booth all combine to set the tone of the period.
The matching cheerleading outfits of the two young female leads indicate their time in life — displaying the quintessential high school activity. It would be remiss not to mention the atmospheric soundtrack — Heartbreak Hotel by Elvis Presley was a wildly popular tune of the day. The two leads are perfect foils — one confident with the goal of leaving after high school for big city life in NYC, the other initially shy and hesitant when introduced to the idea.
The subtle sound design works well for the narrative, notably the off camera giggles of the local waitresses, perfect examples of folks living an uneventful life after high school in a place where nothing exciting happens. In contrast, the well written screenplay captures the feeling that in NYC you can take exciting risks — you can be or do whatever you want. Dreaming of this thrilling move is a classic story that never gets old, and the film does a stellar job telling it.
The Interrogation, 5min., USA
Directed by Kyle Riggs, Dylan Lighthall
A Russian mob interrogation goes awry when an over-eager enforcer tries to pitch in, but can’t get his mind out of the gutter.
www.instagram.com/dylanlighthall
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Maria Djurkovic is one of the most talented Production Designers in the industry today. She has created a multitude of worlds in many critically acclaimed movies and TV shows, including: Sliding Doors (1998), Billy Elliot (2000), The Hours (2002), Mamma Mia! (2008), Tinker Tailor Soldier Spy (2011), and Gold (2017).
Matthew Toffolo: Is there a film or two that you’re most proud of?
Maria Djurkovic: Yes – Tinker Tailor Soldier Spy.
I also was very pleased with The Invisible Woman. I dont think you can tell we had a very small budget.
PHOTO: Still from the film”The Invisible Woman” (Director Ralph Fiennes)
MT: What is a director looking for in a Production Designer?
MD: I am certain each director is looking for something different. Wes Anderson will be looking for very different qualities in a designer than Ken Loach.
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MT: What is a Production Designer looking for in a director?
MD: I am certain that everyone is different. I like to work with directors for whom visuals are very important. This may seem obvious in such a visual medium as filmmaking, but believe me it isn’t.
I will meet a director for a job with a very clear idea of how I see their film. I actually like to stick my neck out, because I really don’t want to spend the next 6 to 9 months arguing. If a director likes my ideas I will get the job. If they don’t, or if they are not looking for an opinionated designer, I won’t.
The best working relationships for me are the very collaborative ones. Tomas Alfredson is my dream director. We practically finish off each other’s sentences. I enjoy working with directors who are unafraid of bold visuals and who dont get caught up in stuff that actually doesn’t matter. Those who are comfortable cheating locations and are not too literal.
Obviously the material they are wanting to direct has to be good and I have to like their work.
A sense of humor is hugely important to me. We will spend hours and hours in cars, looking at locations. We need to get on.
MT: You were nominated for an Oscar for The Imitation Game (2014). How was the Oscar experience? You didn’t win, but is it just as good being nominated? Or, did you really want to win!?
MD: It was crazy from beginning to end. I knew I would not win because I was up against “The Grand Budapest Hotel” that year. Knowing that I wouldnt win actually made the eremony much more relaxing. The year I was nominated for a BAFTA for “Tinker” I was a nervous wreck during the ceremony and had an anaphylactic shock during the dinner.
I was working in Boston in the coldest recorded east coast winter when I heard about my nomination. I had one Saturday to find a dress. Flew to LA one weekend for the nominees luncheon, the following weekend to London for the BAFTAS and the one after for the actual Oscars.
I was tired and jet lagged but the whole experience was quite extraordinary, and i am thrilled to have had it. Hair/ Make-up / the biggest celeb count on the planet, all huge fun.
PHOTO: Still from the movie “The Imitation Game” Directed by Morten Tyldum:
MT: How early do you come into pre-production before shooting starts? When do your hire and bring on the rest of your key team members?
MD: I come on board very early, normally after the producer and director. The amount of prep I get varies from project to project. Anything from 10 to an incredibly generous 24 weeks I have had on the movie I am working on right now. The Art Dept. has a massive pyramidal structure and I try to secure my supervising art director and set decorator as soon as i am allowed, everyone else follows.
MT: What film, besides the ones you’ve worked on, have you watched the most times in your life?
MD: Probably Kusturica’s films.
MT: Do you have a Production Designer mentor?
MD: No
MT: Do you have any advice to kids currently in high school or in university who want to be a Production Designer?
MD: Be prepared to work insanely hard, be a monomaniac and really want to do it. Take every opportunity and be persistent. Be prepared to take knocks. Keep immersing yourself in visual culture, refresh your resources. I am always shocked how ignorant many students are about period. Period knowledge should run in your veins
MT: Where did you grow up? How did you get into the film industry? Was this something you always wanted to do?
MD: I grew up in Harrow, wanted to be a Production Designer from about the age of 8 – this is the Monomania I was talking about. Made period clothes for my Barbie dolls and loved going to the v& more than anywhere else.
My dad was an art director and hated the idea of me following in his footsteps. Said that the film industry was full of shits. He was right, but I persisted.
Studied fine art at Oxford. Did a post grad course in theatre design. Started at the BBC the day after I graduated. Stayed there for 3 years before I went freelance, built up my career step by step alternating between set decorating bigger films and designing small TV things and working my way up. I designed my first film in 1995…..
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 20-50 screenplay and story readings performed by professional actors every month. And the FEEDBACK DAILY Festival held online and in downtown Toronto, and Los Angeles at least 2 times a month. Go to www.wildsound.ca for more information and to submit your work to the festival.
Immersed – A Cinematic Immersive Album by Justin Gray, 60min,. Canada
Directed by Justin Gray, Michael Fisher
Justin Gray’s Immersed is a groundbreaking cinematic album that transforms how audiences experience music. Composed, recorded, and produced as an immersive audio experience, the album features 38 artists from Toronto and around the globe, placing listeners at the center of a three-dimensional global orchestra.
https://www.instagram.com/justingraysound/
Review by Julie C. Sheppard:
A bright, articulate opening monologue by Justin Gray, the mastermind behind this film Immersed, reveals how satisfying it can be to be completely engulfed in and surrounded by the arts. Given this heartfelt preamble, viewers are tipped off that they are in for a real treat.
The film’s structure is well framed with a series of section titles that help shed light about the tone of each of the upcoming musical interludes. The title Flow, for example, is apt in that we are presented a smooth, well-edited section — we are gracefully introduced to the work of several talented musicians who will be guiding us through the piece, such as the guitar of Justin to others on percussion, brass, vocals, keyboard and strings. Repose is a gorgeous meditative section with singing bowls, and the motif of Indian classical music and movement. The use of household items for foley sound effects in the section Tapestry is highly entertaining, as is the fine dance choreography enhanced with various fabrics and lighting, and upbeat, jazzy phrasing. The section called The River’s Edge utilizes striking indigenous movement with gorgeous winter vistas. Joyful, lively refrains come from the section called Orion’s Belt. Pendulum is a section full of rhythm and sensuality and, finally, the section entitled Illuminate blends images of waterfalls and butterflies with soaring violin and other orchestral groups.
The camera comes in close throughout and shows the skill of these artists and captures their heightened emotions when performing this dynamic piece. It is truly inspiring to hear from many of these people who have shared their talents. The extensive credit list alone displays the fierce commitment to this massive undertaking – artists, technicians and producers, all seeking to connect with a cinematic audience, while allowing viewers to immerse themselves in a feast of sight and sound.
FREE festival starts at 8pm EST tonight at http://www.wildsound.ca/browse
Watch the festival here: https://festivalreviews.org/2025/06/24/watch-todays-free-film-festival-winning-sci-fi-feature-fillm-reuniverse/
Feature Film Winner from the BLACK Feedback Film Festival.
Afeni shakur and the trial of the Panther 21, 70min., USA
Directed by Ray Barron- Woolford FRSA
The Untold inspired story of Afeni Shakur one black woman pregnant with the rap star Tupac, charged with 156 acts of terrorism with no lawyer or legal training fought her corner to be found NOT GUILTY on every charge
https://www.instagram.com/ray_woolford
Adam Kirley is one of the best stunt performers in the world today. He has performed in over 60 films in the last 16 years, including: Iron Man 3, Sherlock Holmes: A Game of Shadows, X-Men: First Class, Terminator Salvation, and Munich. He was Daniel Craig’s stunt double in the landmark James Bond movie “Casino Royale”. He is also a Screen Actors Guild and World Stunt Award winner.
Interview with Adam Kirley:
Matthew Toffolo: The action/comedy “Grimsby” is currently playing at a a theater near you. What can we expect to see? How was your working experience doing stunts on that film?
Adam Kirley: Grimsby is a mix of a Bond/Bourne action mixed in a Sacha Baron Cohen comedy film. It was a challenge to do believable gritty action without loosing the SBC comedy elements.
MT: Have you suffered a lot of injuries doing stunts? If so, what has been your worst injury?
AK: Unfortunately its the nature of our game. You can reduce the risk as much as possible but there will always be an element of risk that remains. I have had the usual cuts and bruises that most performers receive on a daily basis. My more serious injuries include: 6 knee surgeries, 1 shoulder reconstruction, and a broken back. These actually weren’t caused by a big accident just years of wear and tear.
MT: You’ve done stunts on over 60 films in the last 16 years alone. Do you have a favorite experience? What film are you most proud of?
AK: I think my proudest moment as a stunt performer would have to be working on Casino royale stunt doubling for James Bond. The Bond movies are such iconic action films with so much history its quite an honour to be a part of.
PHOTO: Adam jumps from crane to crane in the opening scene in Casino Royale:
MT: What does a Stunt Coordinator do on set?
AK: On Set the stunt coordinator basically choreographs the stunt team to perform the scene. The job of the stunt coordinator starts well before the shoot day, we have to look at the script, and with the director design the action required. Then we assemble a team that is best suited to perform the action.
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MT: Has there been a stunt that you love to perform that you haven’t performed yet?
AK: I have been very fortunate over my career to perform a wide range of stunts so really don’t have an outstanding stunt I wish I could do.
MT: How did you get into the stunt performer game? Was there extensive training involved?
AK: My beginnings were on a traveling stunt show. I performed the human torch & human cannon for 2 years then I did my training to join the British Stunt register which consisted in getting to a high level (Instructor) in 6 different disciplines. I did Swimming, Scuba diving, Judo, Fencing, Trampolining and Gymnastics and had to get my Actors Equity card also. This training is just to get you to a level of fitness and show you have the aptitude to learn new skills. The real training begins when you start working on set with the more experienced stunt performers and coordinators.
PHOTO: Adam jumps off a cliff with another performer and a car:
MT: Where do you see the future of green-screen stunt performing in the motion pictures?
AK: Green-screen sets seem to be increasing on every production I work on. I think its mainly used to reduce costs on set builds and give the director the creative freedom to change things in post Production. It doesn’t really change our job a great deal it just makes it a little boring staring at green walls all day.
MT: What’s the biggest high risk stunt you’ve performed to date?
AK: I think the most dangerous stunts I have ever performed would have to be the ones on Casino Royale. I was one of the doubles for Bond so was kept very busy. I was one of the guys that jump from crane to crane for the opening sequence and I also got to drive the Aston Martin DBS that climaxed with a crash at 85mph that ended up being a world record. (see slide show of this stunt below)
MT: Have you done a lot of stunt driving? What type of training does one have to do to become a stunt driver?
AK: When I was about 8 years old I wanted to be a racing driver and after doing a few years of karting, it became very expensive so unfortunately it wasn’t an option. Then when I was 17 I started out in stunts doing traveling shows for 2 years. It was an auto stunt show so was a great place to learn stunt driving. I then went away and practiced a lot and picked up small stunt driving jobs that built my reputation. Its quite a long process becoming a stunt driver.
MT: Do you have a stunt performer mentor?
AK: My mentor was my Step-Father (Steve Griffin) who is a stunt coordinator and a 2nd unit director. He was very helpful showing me how the industry worked in my early days and still offers me great advice.
PHOTO Slide Show: Adam does a car stunt. (Don’t ever try this!)
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Interviewer Matthew Toffolo is currently the CEO of the WILDsound FEEDBACK Film & Writing Festival. The festival that showcases 10-20 screenplay and story readings performed by professional actors every month. And the DAILY Film Festival held online and in downtown Toronto on Thursday’s of every single month. Go to http://www.wildsound.ca for more information and to submit your work to the festival.
Deadline Today to submit to the festival:
Very impressed with the table read of ‘Auberon’s Last Chance’. Far more professional than other’s I’ve seen. Full marks to all at the Toronto Festival!
Get to know the writer:
1. What is your screenplay about?
Self discovery, healing from trauma and beating the ubiquitous “imposter syndrome”. It is a comedic and sometimes horrific, plant medicine fueled, spiritual journey of self awareness for 3 diverse yet troubled Americans where they emerge victorious and more god-like.
2. What genres does your screenplay fall under?
Dramedy, Horror, Fantasy, Magical Realism, SciFi, Travel Adventure, Self-Discovery, Transformational
Why should this screenplay be made into a movie?
It is a prescient story that reminds viewers of the importance and power of Mexican culture. It also represents a very different story for gay and trans people. One is battling depression and PTSD due to police abuse, and the other, impostor syndrome. Conditions that are the most prevalent mental health challenges today. They are both battling for self-love instead of societal abuse (which does happen). It also reinforces the importance of plant medicines for healing our minds and spirits, which is experiencing more mainstream acceptance. Many cities in America and across the globe are realizing the life-changing healing properties of Psilocybin and Ayahuasca and are legalizing them for use in healing depression and PTSD.
3. How would you describe this script in two words?
Self Love
4. What movie have you seen the most times in your life?
The Wizard of Oz because it’s about an individual’s spiritual journey towards enlightenment. I read a book that covered the back story on L. Frank Baum’s inspirations for the Wizard of OZ and how the author created the story as an allegory for Buddhism. The yellow brick road was written as a metaphor for an individual’s “golden path” to enlightenment. I love the character development and the world-building. Also love how the story totally immerses you and takes you on an unexpected journey. I feel Pueblo is similar in structure. Basically, the hero’s journey.
5. How long have you been working on this screenplay?
So the seed of the story happened about 10 years ago. I had written many notes over that period. The time to write the actual screenplay took about 3 months. It was after a day trip to the ruins of Ek Balam near Cancun Mexico. My best friend and I planned to go visit the ruins but after many unexpected events getting there we felt like we went through some kind of 5th dimensional portal where time and space didn’t exist. Weed aka “The Devil’s Lettuce” was involved so that helped but going through the jungle was many levels of surreal, kind of like Dorothy when she goes into that nightmare forest. We saw so many strange things and once we got to the ruins it had just closed so we never got to see them but the small town adjacent to the ruins was also creepy and a bit of a time portal and we couldn’t find a way out for a bit. Add to this while on the way driving through the jungle on a one lane highway, my best friend shared a story of a past-life regression he had where he saw that he was a Mexican peasant that died a miserable death as an alcoholic. Needless to say, my creative juices started imagining a story that incorporated this wild experience and my favorite ancient culture – the Mayans with their rich mythologies.
6. How many stories have you written?
I have 4 features. 1 is titled The Cuban American Dream, which coincidentally just placed as a top 10 finalist in Screencraft family Contest on the same day I received the email for this win.
I also have 2 short film screenplays and 4 TV pilots with 2 pilots having 2 episodes completed.
2 published children’s books (Harper Collins) for ages 3-8 about nutrition and coping with fear.
Finally, I am currently pitching a fictional spiritual adventure manuscript that explores benevolent beings from across the galaxy and the Universe written for Middle Grade to Young Adults. It’s kind of like a prequel to The Little Prince.
7. What motivated you to write this screenplay?
So I have a list of stories that I am constantly developing, and I factor in current events and the zeitgeist of our time on whether I complete one screenplay over another. With the current trend of authoritarian governments using LGBT+ individuals and immigrants as scapegoats to gain support, I felt this specific story needed to be born now. It is a story of two LGBT individuals who are successful financially and not battling any of the issues we see in most LGBT+ films (coming out, abuse, etc). They are battling for a full and absolute, unconditional self-love. The other main character, Jahari, who is a heterosexual male, is best friends with Wallace, a gay man, which mirrors a normal situation where many heterosexual males have at least one gay friendship. Jahari is trying to achieve the “American Dream”, battling his materialistic, money-hungry ego that mirrors the psyche of most Americans today. Most films show a female with a gay best friend. I wanted to break stereotypes across the board, especially with Odys, who is a gorgeous, dynamic Trans woman who passes for a biological woman. She owns her own business and is thriving, but her only demon is herself.
The other social issue I wanted to shine a spotlight on was Mexican culture and its many contributions to society today. It seems to be a focus point for our current President Trump to attack and characterize them as rapists and evil people as well as going after trans individuals. I wanted to honor the Mexican culture. To remind Americans that the Mayan civilization was highly sophisticated, making advances in mathematics, agriculture, astronomy and architecture that lasted for over 3000 years and left many contributions to our society today. They invented the number zero, cultivated cacao (chocolate) as a food source, and their calendar was more accurate than the European one at the time. Their cities were more populous and sophisticated than Europe’s largest capital cities. The only thing they didn’t have were guns. That and immunity to foreign diseases ultimately led to their downfall. Being an archaeologist who has studied their rich culture for decades, I used the Mayan Hero Twin Myth as a structure for Pueblo. Our main characters are led down the same path as the Hero Twins in the Mayan underworld (Xibalba) where they are tested in underground houses inside a subterranean cavern system and eventually come out more god-like. Pueblo is essentially like Disney’s Coco, a homage to Aztec and Mayan culture and how their lessons can be applied to modern people of today. I wanted people to remember the importance of Mexico and its fallen empire as a mirror to the United States, which seems to be an empire in decline.
8. What obstacles did you face to finish this screenplay?
Not many. Like I said, I have a lifetime of research on the subject of the Maya so that really helped make sure I was getting their story right. I also hired Rhys Ernst, a trans producer of HBO’s Transparent, for a sensitivity read to make sure the trans character was correct in every way, and he added a few notes that improved Odys overall. Being a gay man myself, I didn’t need help getting Wallace right.
9. Apart from writing, what else are you passionate about?
Anthropology and Archaeology. I’ve done a few digs in Egypt and Bosnia and am a freelance journalist for Popular Archaeology magazine. History overall fascinates me because as they say the past is prologue and we are destined to repeat the same mistakes until we learn the lessons of our past. History is a rich repository for fascinating myths and stories.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
To be honest, there aren’t many LGBT focused screenplay festivals out there, so you came up in my Coverfly feed, and I really love Toronto, so an alarm bell went off to enter.
11. What movie have you watched the most times in your life?
Come to think of it, it’s a tie between The Fifth Element and The Wizard of OZ.
Festival Reviews 