Bang Bang...wins Best 1st Feature Award @ LA Asian Pacific Film Fest!

 

At the dazzling closing night gala for the LA Asian Pacific Film Festival last night it was announced that the flick "BANG BANG" (directed by Byron Q) got the nod for the Best First Feature by the Jury Awards Committee..

Frankly, the news came as no surprise to me!

As soon as the flick splashed across the screen earlier in the week at the trendy CGV Theatre complex in Hollywood, it was evident to me from the get-go that Byron Q possessed a rare gift - and a lot of raw talent - sure to catapult him into dizzying heights in the film business in the not-too-distant future.

If he keeps his nose to the creative grindstone, that is!

Although the low-budget project (which focuses a searing lens on an Asian street gang) was a bit ragged around the edges now-and-then - there were moments of brilliance which ultimately saved the film from disintegrating into mediocre bill-of-fare right before the filmgoers' eyes.

Needless to say, Mr. Q won this tough movie critique over, in a heartbeat.

For starters, there was an effective use of the RED camera, which set a dynamic overall tone which lent itself well to the gritty plot unfolding on the silver screen.

The unique way the 1st-time-out director weaved classical music into the sound track also bowled me over.

Sheer genius!

The haunting strains of strings strategically weaved in at an emotional arc in the storyline - at one point - resonated so sweetly that it caused a few members of the audience to weep.

Ah, powerful filmmaking that touches, resonates - and ultimately - heals!

"I love all music. That's why I tried to use hip-hop, rock, and classical in the mix," Byron Q responded to my query in the upbeat  Q &A  a few minutes after the curtain fell down.

His locales for the shoot were very natural, too.

"I was also the location manager," he fessed up.

"I scouted down locations (in San Diego) where I could shoot for free," he chuckled.

"One of the houses featured in the film is where I stayed when I was in town working on he project Bang Bang."

Uh-huh!

When a film director has a low-budget, he or she often ends up becoming chief cook-and-bottle-washer in the grand scheme of things.

The acting throughout the street-wise drama was first rate; in fact, a couple of the new faces on screen turned in performances which may launch their film careers, I expect.

Although the subject matter has been mined in the past by more-experienced directors - here - the director manages to rise above the obvious pitfalls and potential cliches to make his own distinctive cinematic mark.

I was particularly taken with the dialogue which was well-written and believable. 

Not stilted or phony, in the least bit!

When one audience member asked Byron Q how he accomplished that, he joked that the production team enlisted the aid of a sort-of "gang-speak" expert to ensure authenticity.

A bit of levity always goes a long way.

And, I expect that Byron Q will too.

Kudos!

Two PR folks on staff at the Asian Pacific Film Festival (Eseel Borasa and Abraham Ferrer) would be wise to take a cue from Byron Q when it comes to manners and effectively reaching out to filmgoers.

Their standoffish (aloof) manner tends to turn-off white folks - who can't help but feel that they are crashing the Asian Community's private party each year - whenever they attend the annual Festival in Los Angeles each year in Los Angeles.

Lighten up, eh?

Sorry, just an observation which may be worth looking into, David Magdeal (co-director).

http:www.thetattler.biz

Fast Five...dazzling premiere at Asian Pacific Film Festival! Sung Kang & Sandra Oh hit red carpet!

Sandra Oh trots red carpet at Asian Pacific Film Fest!

Sung Kang

I'm in the Mood for Love

When Sung Kang strolled down the red carpet last night for the premiere of "Fast Five" at the Director's Guild of America, he was definitely the man of the hour!

The handsome actor who stars in the just-released "Fast Five" (the sequel to "Fast & Loose) was literally mobbed with well-wishers at the annual Los Angeles Asian Pacific Film Festival.

When a local interviewer (Jocelyn Wang @ 8 Asians) asked Mr. Kang what film made him cry, he was quick with an answer that was a surprise.

"Pippi Longstalking," he beamed.

"That's you're only question," he wondered aloud.

Uh-huh!

When I cornered the charismatic star, he noted he was pretty much content with his career.

In response to my own question about what kind of flick he would like to sign on for in the future, he was quick on the uptake.

"A comedy," he grinned ear-to-ear.

Meanwhile, the wine flowed, the tony guests snacked on delicious finger food, and a posse of up-and-coming stars mingled and chatted each other up to a fever pitch 'til the witching hour when the curtain finally fell on the first night of the Asian Pacific Fest.

Dapper PR man - David Magdael (sporting a well-tailored dark suit with an orchid in the lapel) - excitedly noted that this year's film outing was "bursting at the seams".

"Within two days, both the opening night and closing night galas sold out."

A big draw this year turned out to be the "Fast Five" (starring Paul Walker & Vin Diesel) screening - a flick that was directed by an alumni of the festival - Justin Lin.

"Justin premiered a film nine here years ago," Magdael pointed out for the record.

"We called him up and asked if he would like to premiere "FAST FIVE". He jumped at the opportunity. He has never forgotten his roots."

Mr. Lin recently launched a Short Film Competition which has been well-received also.

The popular web site - "You Offend me You Offend my Family - was set up to launch that altruistic effort.

http://www.YOMYOMF.com

Actually, it was quite a night for the Asian Film Community.

Danny Pudi (NBC's "Community") - who acted one of the MC's at the glittering gala (alongside Parvesh Cheena of NBC's "Outsourced") - gushed that the opening night launch was just "fabulous".

"The Asian community is so together. It has been such a rewarding experience for me to attend," he excitedly blurted out as he greeted a posse of fans in the DGA lobby after the screening.

Obviously, Danny was floating on a cloud, judging by his animated presence as he courted attendees at the glittering celebration.

There was quite a stellar turn-out  - which not only sparked the night - but set the tone of glamour for the week-long event.

The arrival of Archie Kao (CSI) on the red carpet triggered screams from adoring women. 

Yes, he's single, ladies!

Archie whispered in my ear that he will be featured in a big-budget feature later in the year.

Kelvin Han Yee was beaming with pride over the fact he helped raise 1.6 million dollars at a fundraiser for victims of the Japan disaster.

Mr. Yee is starring in an episode of "Hawaii 5-0" (he plays a Police Chief) which will broadcast on May 16th.

Karin Anna Cheung who I interviewed last year when she appeared in "People I've Slept With" looked stunning in a chic understated red cocktail dress.

I also spied (and said hello to) Director Quentin Lee - quite a character in his own right - who flitted among the guests quipping jokes and having a gay old time.

Randall Park - on his way to stardom - is currently appearing in "Supah Ninjahs" on cable.

When I quizzed the outgoing down-to-earth actor about future plans, he confided he was open to meatier roles.

"I would like to be the first Asian romantic leading man."

A tall order to fill, but he has what it takes - the looks, the talent, the "it" quality - to achieve that goal in my estimation.

Parvesh Cheena (who co-hosted the event's premiere) was excited about a voice-over role in an upcoming "Transformer" project.

Gillian Jacobs (NBC "Community") caused quite a stir when she posed for the paparazzi on the electric red carpet, too.

Sandra Oh (Grey's Anatomy)  - was fashionably late (she was the last star to trot in and dash off to catch Fast Five in the packed DGA Theatre) - but no one seemed to be miffed.

Shooting late on set, perhaps?

One of the actresses that stood out was Monique Cumen.

Ms. Curnen (Fast & Furious & The Dark Knight) was effervescent and glowed in her tasteful black cocktail dress.

Actually, it was quite the night for fashion statements all round.

Gowns ran the gamut from floor-length (and body-hugging) to short short - and more-often-than-not - were awash with pretty floral motifs or dazzling mood-uplifting pastels.

The men - a few Asian males actually sported orange "do's" (which jelled well with their trendy hip street-wear) - were sharply turned-out, too.

Some wore black dress slacks or jeans, teamed with ubiquitous t's etched with a smattering of designer logos and off-beat stylish etched prints on their face.

Fedoras and Berets added a European flair to the aura of the night's festivities.

I also was blessed with the opportunity to meet up-and-coming talent which is always a plus for me.

The Director of  - "I'm in the Mood for Love"  (who was in attendance last night) - chatted me up.

Jason Karman's short film - a gay love story - screens on Monday May 2nd at the Festival.

The young actor playing one of the leads is certainly "on the rise" in respect to his eventful career.

Kyle Toy has a charismatic appeal that is sure to take him far in the biz!

A synopsis of the film?

A singing telegram worker meets his ex-boyfriend while having hot pot and learns to embrace his new found bachelorhood through popular song

Catch it if you can, especially in view of the fact it is slated to screen in Toronto in the near future, and has also garnered several awards that single it out as quality film that deserves a following!

By the way, what a blast last night's premiere proved to be!

The Disc Jockey spun danceable upbeat tunes that rocked from the get-go.

I ecstatically blurted out to Mr. Magdael that he really outdid himself this year!

Indeed, tony guests packed the local venue - and lit up the prestigious home for the local chapter of the Director's Guild - as the "faces" of legendary stars peered down from the walls (such as Elizabeth Taylor, Montgomery Clift, Jack Lemmon, Orson Welles, to name-a-few).

Well-heeled waiters in elegant uniforms floated through the crowd offering up a glut of treats - such as delectable chocolate sweets- yummy cream-filled-cake, delicious finger food, and exotic cocktails provided by a host of sponsors (KeKel Vodka, for one).

In particular, a handful of merchants sprinkled around the charged keyed-up foyer, satiated any-and-all pangs of hunger by virtue of mouth-watering offerings that were gulped down in one full swoop.

Hot Stuff Cafe's finger foods were sensational (to say the least).

http://www.hotstuff.cafe.com

"The Candy Chef" was on hand to treat the film fans with hard candy, delightful Asian sweets, and chewy snacks that really hit the spot.

I was asked to inform folks that their specialty is Candy Arrangements.

Check them out!

http://www.TheCandyChef.com

I also got hooked on a coconut ball (on a stick) which was - well - just yummy.

Kudos to THE SWEETER THINGS

http://www.TSTCHOCOLAT.com

I didn't even wake up with a hang-over this morning - in spite of the fact I also caught the Royal Wedding - and did not tuck in until I actually heard a rooster crow in Hollywood at about 5 a.m. (

No kidding, folks!

Tonight, I expect to trot down to the DGA to catch The Wedding Palace (feature) and Saigon Electric.

See 'ya there!

Tickets & Info

www.vconline.org

http://www.thetattler.biz

.


Director Justin Lin premiered Fast Five!



Director Quentin Lee in high spirits!

DOC U...Haskell Wexler & James Longley appear @ IDA Panel Discussion! Hollywood!

Doc U focuses on filmmakers!

In the wake of innovative new technological advances (where cameras are cooler, niftier, and more flexible in nature) - and in view of a proliferation of in-your-face reality-based shows on TV  touting gladiator-style entertainment programming - the role of the documentary filmmaker is being held up to closer scrutiny.

With that scenario unfolding in mind, three high-profile filmmakers were invited to attend a panel discussion last night at DOC U (under the auspices of the International Documentary Association) in Hollywood at the Silent Film Theatre on Fairfax Avenue to discuss the boundaries of the medium - if any - that exist today in an atmosphere where there appears to an "anything goes" or "take no prisoners" mentality.

The three panelists - at the top of their game right now (and as different as night and day in their approach to their scintillating projects) - openly discussed their roles with the aim of shedding some light on the kind of dilemmas that filmmakers face today.

Richard Pearce moderated the event as part of a DOC U series sponsored by ida (International Documentary Association).

In the old-world charm of the Silent Film Theatre (where publicity stills of Hollywood legends graced the dusty walls), Joan Churchill ("Dixie Chicks: Shut up and Sing"; "Role of a Serial Killer", "American Family"); Haskell Wexler ("Medium Cool", "Who's Afraid of Virginia Woolf") and James Longley ("Irag in Fragments") succeeded in rustling up a riveting cinematic event that ended up being upbeat, thought-provoking and inspiring to the packed house comprised mostly of aspiring young filmmakers interested in pursuing a mainstream career in documentary filmmaking.

When asked what were some of the ethical problems that documentary filmmakers faced today on the fast-shifting film terrain that has literally transformed the industry, the discussion became a lively informative debate.

For example, Ms. Churchill underscored that it was important to be "inside the circle" - and not outside of it - for a project to succeed.

After all, cementing a trust between filmmaker and subject is of paramount importance in the overall scheme of things.

The low-key down-to-earth filmmaker gave an example.

One day, an unexpected tragedy caused Churchill to shoot a handful of intimate personal scenes - that were highly sensitive, in nature - in respect to a subject featured in her documentary.

Instead of swooping down like a vulture - in pursuit of her prey - Churchill was prompted to act ethically instead.

Once the shy soft-spoken director captured the unexpected turn-of-events on film, she turned the footage over to her subject, and left the matter in her hands.

Whether the footage would be included in the documentary would rest on a decision made by the young lady involved - not the director - Joan Churchill.

In this way, the filmmaker managed to establish a rapport with the individual after-the-fact - and ultimately - gained the woman's trust and respect.

In the end scenario, Churchill was given permission to use the thought-provoking material, which was not surprising in view of the way the filmmaker handled the issue.

In one hilarious moment, out-of-the-blue, Mr. Haskell took the mic and shouted out.

"What am I doing here?  What am I doing here?"

At first, audience members thought the legendary filmmaker was having a senior moment.

However, when Haskell continued, his message - which came across a little off-the-wall a few seconds earlier - ending up ringing crystal clear.

"As a filmmaker, I have to ask. What am I doing here?  What am I trying to accomplish?"

Then, there was the issue of putting creativity - and the artist's vision - on the line.

What sacrifices must be made, if any?

When John Longley's clip - "Iraq in Fragments" - was previewed last night, it was evident that he took risks - personally and professionally - in a nervy bold-faced effort to land his precious footage in the can.

Because of his sensitivity to the subjects - and his keen ability to instinctively tip-toe thorugh a potentially-volatile situation unscathed - he was able to pull a remarkabe coup off.

Film buffs in the audience - myself included - were astounded when the breathtaking stunning images he conjured up on film splashed across the screen with great cinematic style.

Unlike Joan Churchill (who said she didn't care what the film looked like because she was just concerned with the content) Longley's film turned out a remarkable work of art.

Which underscores the obvious.

Documentaries don't have to be boring accounts of mundane subjects thrown together with the express purpose of teaching and/or enlightening the masses.

Indeed, judging from the response of the audience at last night's panel discussion, it is evident that documentary filmmakers are not only breaking exciting new ground in the realm of documentary film, but garnering ia helluva-a-lot of interest to boot!
From the bottom up.

"You don't need a lot of money to make a film if you make it yourself. You just have to pay for your equipment," underscored Joan.

And, it didn't escape my attention, that there were quite a few advantages to working para-military-style with quality hand-held cameras in tow.

After all, the easy-to-use lensers are capable of zooming in, out, and documenting far - out-of-the-way - intimate places that 35 mm cameras can't begin to.

Even the lights can drag a cameraman down and hinder the shooting process as well.

Moderator Richard Pearce ("Hearts and Minds", "Food, Inc.") was a charming inquisitive host who carried off the challenge of fielding questions admirably.

Pearce began his professional career in the late 1960’s as a documentary cameraman.

His early credits as a cinematographer include four Oscar-winning films: Woodstock, Marjoe, Interviews with My Lai Veterans and Hearts and Minds.

Pearce made his feature directorial debut with the period drama "Heartland" which won the Golden Bear at the 1980 Berlin Film Festival and opened the New York Film Festival’s first “Showcase of American Independents.”

Haskell Wexler took home statuettes for his work on Mike Nichols' "Who’s Afraid of Virginia Woolf" and Hal Ashby's "Bound for Glory".

Wexler has worked with Norman Jewison, George Lucas, Michael Moore, and John Sayles.

He directed two features, Medium Cool and Latino.

I caught a screening of Medium Cool earlier this year in San Francisco which was screened in tandem with a major exhibition at the Museum of Contemporary Art.

Post: 03/03/10

http://ijulian.blogspot.com/2011/03/san-francisco-museum-of-modern.html

Both films broke the mold of conventional story telling by using the immediacy of documentary-style filmmaking.

Wexler was  the first Cinematographer to every land a star on the Hollywood Walk of Fame.

Joan Churchill began her career doing camera work on a series of music films such as "Gimme Shelter" (Rolling Stones), No Nukes (directed by Haskell Wexler), and Barbara Kopple and Hail, Hail Rock and Roll, (directed by Taylor Hackford).

Churchill is probably best-known for her work on the cult series "An American Family "(which broadcast originally on PBS).

Early on in his film career, James Longley was honored for his work by prestigious organizations.

"Portrait of Boy with Dog" was awarded a Student Academy Award® in 1994 by the Academy of Motion Picture Arts and Sciences.

He made his first feature documentary "Gaza Strip" in the early months of the second Palestinian uprising.

In 2002, Longley began pre-production work on his second documentary feature "Iraq in Fragments".

The film was awarded jury prizes for Best Documentary Directing, Best Documentary Editing, and Best Documentary Cinematography at the Sundance Film Festival.

"Iraq in Fragments" went on to win the top documentary film awards at major national and international festivals, garnered an Emmy Award nomination for Best Documentary Cinematography, and an Academy Award® nomination for Best Feature Documentary.

After the panel wrapped - film buffs, the press, and invited guests - strolled back to the patio (under a romantic star-lit sky) to sip on wine, snack on delicious crackers and cheese, and chat each other up.

At this point, a couple of revelations overcame me, which are worthy of sharing.

For starters, steer clear of the talent's "handlers" wjhen mixing and minglimg - and, if possible - alight next to the guest star instead.

For example, when I approached Mr. Wexler and asked if he had any thoughts on Elizabeth Taylor (who he worked with on "Who's Afraid of Virginia Woolf" many moons ago) a woman - who stuck like glue to the Director's side all night - pooh-poohed my query.

"That's not an appropriate question here," she snipped at me with a mean edge in her voice.

But, Mr. Wexler turned to me, and was inclined to follow up.

"What did he say," Wexler quizzed his escort pointedly, as he turned up the volume on his hearing aid.

At this juncture, the rude woman relented, and repeated my question to the honored guest.

Surprise!

The talented filmmaker was only too happy to respond.

"The one thing I will say about Elizabeth is this. When I won my Oscar that night, I accepted it in the name of Art and Peace. Later, Elizabeth came over to me, and thanked me for saying that."

Meanwhile, Joan Churchill - who was apparently choking over a whiff of garlic (?) - didn't have much of a personality to warm up to. She practically faded into the wall, that's how much charisma she exhibited backstage.

When I asked what project was on the horizon next, she stared at me blankly.

To lighten up an awkward situation, I persisted.

"Any scoops for me?"

"No scoops for you," she replied, with all the charm of a worm.

Eugh!

On that note, I waved my good-byes, and headed out.

For the most part,  the Doc U event was a dynamic entertaining one.

See 'ya there next month, eh?

http://www.thetattler.biz



Tribeca Film Festival...Brian Williams to interview Robert De Niro! Elton John documentary to screen! April 20th - May 1st in NYC!

To celebrate ten years of screening cutting-edge films, officials at the Tribeca Film Festival have announced they are introducing a thrilling thought-provoking "Talk" series to feature high-profile personalities in the industry.

Brian Williams, Alec Baldwin and Martin Scorsese are slated to conduct one-on-one interviews with the likes of - Robert DeNiro, Doug Liman and Souleymann Cissee respectively - at the much-anticipated Director series to be held in New York City.

The upcoming annual fest - which normally boasts packed houses - runs April 20th through May 1st in lower Manhattan.

In recent days, the organizers have also leaked out details about a handful of dazzling special events, causing a big buzz in show-biz circles.

For instance, Cameron Crowe's documentary on singer - Elton John - premieres at a free outdoor screening on April 20th at the North Cove at the World Financial Plaza.

Attendees will need TFF wristbands to be seated at the event which will be distributed to the public on a first-come first-served basis at the BMCC Tribeca Performing Arts Center on April 20 at 4 pm..

"The Union" is a behind-the-scenes snapshot of the "out" Diva - who recently recorded his latest album - as a collaborative musical effort alongside legendary rock 'n roller (and good friend) multi-talented Leon Russell.

Producers are hailing the flick as an extraordinary journey of the heart which captures a "candid portrait" of one of the world's most-treasured enduring artists.

“Cameron Crowe gives audiences unprecedented access to Elton John and Leon Russell’s artistic process in an emotional and realistic way," one festival biggie enthused at a recent press junket.

Award-winning T-Bone Burnett took on the role of studio producer and nurtured the eclectic recording project to completion in recent days.

Lyricist Bernie Taupin, Neil Young, Brian Wilson, legendary R & B organist Booker T. Jones, and steel guitarist Robert Randolph (in addition to a 10-piece gospel choir) are also showcased on the much-touted album.

At press time, it was announced that Elton will take the stage after the screening of the insightful documentary and perform a tune or two with celebrated friends in tow.

"It’s a special opportunity to open our 10th Festival in a distinct and unique way. Not only are we inviting the community to join us for the world premiere of Cameron Crowe’s film - "The Union" - but to have Elton, whose music transcends generations, perform after is an extraordinary gift to our Festival and more specifically the downtown community,” gushed Jane Rosenthal, co-founder of the Tribeca Film Festival.

Crowe sang Elton John's praises, too.

"As a longtime fan of both artists, it was a pleasure to spend a year filming their collaboration,” said Cameron Crowe.

“We can't wait to show it to one of the greatest audiences in the world at the Tribeca Film Festival," Cameron crowed to all within earshot.

In addition, the "Tribeca Talks" showcase five new documentary titles, which feature lively discussion panels with a spotlight on the likes of actor/director Sean Penn and top vocalist Harry Belafonte, for example.

Five of the documentary titles are - "The Education of Dee Dee Ricks", "Love Hate Love", "Off the Rez", "Grandma, A Thousand Times", and "Sing Your Song "- all of which receive exclusive screenings as part of the Tribeca Talks "After the Movie” series.

Another one-of-a-kind world premiere event will be the screening (and in-depth examination) of the feature L.A. Noire  - which is a new interactive crime thriller being released in the spring by Rockstar Games.

A Q & A will follow a "L.A. Noire" live demonstration of the detective game (where players solve complex, historically-inspired crimes in a beautifully recreated and fully interactive rendition of 1947 Los Angeles).

Tribeca’s special events are rounded out by a handful of Tribeca/ESPN Sports Film Festival screenings which include Alex Gibney’s "Catching Hell" (about notorious Chicago Cubs fan Steve Bartman), free “Tribeca Talks: Industry” panels (designed for industry professionals to explore the ways they can use new digital platforms to advance their film projects) and “Tribeca Talks: Pen to Paper” (which are insightful panels hosted by Barnes & Noble that focus on the artistic process of screenwriting.

“We wanted to celebrate our Tenth Festival by inviting some of the finest filmmakers, media artists and actors of our time to share their insights and experiences through the Tribeca Talks series," underscored Nancy Schafer, the Executive Director of TFF.

“We have over the years established a tradition of conversations that both engage audiences in the details and revelations of contemporary film making as well as offer a perspective as to the direction and the future of storytelling and the industry. This is so much a part of what festivals can do to enrich the viewing experience for their audiences and we are proud to present this special series."

There will be quite a few world premieres to keep film buffs clucking around the circuit, too.

The world premiere of "The Education of Dee Dee Ricks" is a documentary which demonstrates how a successful businesswoman and mother’s life changed when - after being diagnosed with breast cancer - she set out to make life easier for less fortunate cancer patients.

The stirring film is followed by a conversation with Dee Dee Ricks, producer Lisa Cohen, Ralph Lauren Center for Cancer Care and Prevention founder Harold P. Freeman MD, and public health advocates.

The event is to be moderated by director Perri Peltz.

"The Beautiful Mind" screening examines the life of Nobel Prize-winning mathematician John Forbes Nash Jr. and will be followed by a panel discussion puts the glare of the spotlight on director Ron Howard, producer Brian Grazer, screenwriter Akiva Goldsman, the film’s math consultant, Dave Bayer, author Sylvia Nasar (whose book inspired the film) and theoretical physicist and mathematician Brian Greene.

The event is slated to be moderated by NPR’s Ira Flatow.

The North American documentary premiere of - "Grandma, A Thousand Times" - examines a family matriarch as she struggles to cope with the silence of her once-buzzing house and imagines what waits her beyond death.

Hosted by the Doha Tribeca Film Festival, it should be noted for the record, that the film won the Audience Award for Best Documentary Film (2010).

The screening will be followed by a discussion with director Mahmoud Kaabour on the experience of making films in the Middle East.

The world premiere of - "Love Hate Love" - is all about the difficult journeys of three families torn apart by three separate acts of terrorism - the attacks on the World Trade Center, the London bus bombing, and the Sari Club bombing in Bali - and is followed by a conversation with executive producer Sean Penn, directors Dana Nachman and Don Hardy (as well family members featured in the film which includes Liz Alderman, Steve Alderman, Esther Hyman, and Ben Tullipan).

The New York premiere of - "The Loving Story" - recounts the unknown love story of Mildred and Richard Loving (the couple behind the 1967 Supreme Court ruling overturning anti-miscegenation laws in the United States).

The stirring legal foray is followed by the appearances of director Nancy Buirski, attorney Phil Hirschkop (who represented the Lovings), Anthony Romero, and the Executive Director of the American Civil Liberties Union (who discuss the landmark case and current issues surrounding race and marriage equality).

"Off the Rez" - a world premiere event - tracks Shoni Schimmel (a Umatilla Indian and one of the best high school basketball players in the country) whose hoop dreams of being the first from her tribe to get a college scholarship are threatened after her family leaves the Umatillia Indian Reservation.

The screening is followed by a Q & A with executive producers Kelly Ripa and Mark Consuelos, director Jonathan Hock, Discovery and TLC Networks president Eileen O’Neill.

The special event is moderated by Pulitzer Prize-winning journalist - and author of Friday Night Lights - Buzz Bissinger.

The world premiere of - "Revenge of the Electric Car" - is an up-close peak behind the closed doors of - Nissan, General Motors and Tesla Motors - at a time when the major auto makers race to develop the world’s first and most economically accessible electric car.

The screeners are promoting a panel discussion to be headed up by guest speakers director Chris Paine (President and Chief Executive Officer) Nissan Motor Co. Carlos Ghosn, Tesla Motors CEO Elon Musk, and Pulitzer Prize-winning Wall Street Journal columnist Dan Neil.

The much-anticipated event is moderated by actor, writer, and director David Duchovny.

"Sing Your Song" - a New York premiere offering - is a stirring documentary that examines legendary entertainer Harry Belafonte’s continued humanitarian contributions to the arts, the U.S. Civil Rights Movement, the fight against Apartheid, combating starvation in Ethiopia, and so much more.

Harry Belafonte is scheduled to appear for a Q & A with the filmgoers who attend.

Moderated by Tavis Smiley.

To fill out the program, there will also be scintillating screenings of 11 short films which explore the contributions of women filmmakers in the canon of the American experimental avant-garde.

This program also celebrates 15 years of direct financial support for preservation of historically under-recognized films by women through the Women’s Film Preservation Fund of New York Women in Film & Television.

A discussion follows with an eclectic group of women filmmakers who helped shape avant-garde cinema.

"Digital by Design", meanwhile, focuses on a conversation with producers, filmmakers, SAP and industry executives about the emergence of online digital platforms and applications that provoke filmmakers to confront technology head-on including funding models, intellectual property management and distribution channels.

Sponsored by SAP.

Panelists that night include Richard Whittington, Senior Vice President of media and entertainment at SAP, and writer/director Edward Burns.

"Shooting Film on a Budget" is an interesting presentation on the subject of filmmaking which is understandably sponsored by Kodak.

One of the most important aspects of realizing your independent feature is determining the right look.

How will you capture your images and bring the script to the screen in a meaningful, visual way?

Filmmakers and cinematographers must consider many variables such as mood of the story, production restrictions, post work flow, etc.

Too often these important decisions are determined by the bottom line.

However, many filmmakers are able to get the most out of their budgets while still shooting film.

Kodak invites budding filmmakers to attend this event which features celebrity guests - Michael Cuesta (writer/director of Roadie) and producer Karen Chieto - to learn how they created beautiful and cost-effective cinematic narratives on film.

Also -the "Business of Entertainment" - is expected to draw large crowds.

The program will explore the trends that affect the economics of the film business and the broader entertainment industry.

This year's panel have invited leading CEOs, producers, financiers, media - and other industry leaders - who will focus on how to finance films in the 21st century.

"Are Documentary Films Changing the World?" focuses on - filmmakers, distributors and community groups - and the new trends in documentary filmmaking (such as collaborations between filmmakers and NGOs to increase distribution and influence public perception and policy).

Panelists include filmmaker Abigail Disney - and the Co-Founder of Impact Partners - Dan Cogan.

For the Internet crowd - "Amplify the Message: Social Media" - may be of particular interest.

The panel discussion focuses on how film producers and directors engage new interactive audiences through such networks as Twitter, Facebook, Tumbles, GetGlue and Foursquare (and how much of an impact social networking has on a movie’s success or failure on multiple platforms).

Moderated by Marc Schiller (the CEO and Founder of Electric Artists).

Panelists include Rider Strong, director/screenwriter of The Dungeon Master, Howard Tullman, President & CEO of Tribeca Flashpoint Media Arts Academy, and others.

The conversation will be streamed live on the Tribeca Online Film Festival website.

http://www.tribecaonline.com

Finally - "Meet the Documentary Broadcasters" - is expected to be a spirited conversation with industry broadcasters about the type of nonfiction films they’re drawn to and their thoughts on where this genre is headed.

See 'ya there!

http://www.thetattler.biz

IDA...Food Inc. Director & Sundance Rep appear @ panel discussion! Silent Movie Theatre!

 





Although I have driven past the Silent Movie Theatre a dozen times over the years, for the first time last night, I sauntered inside the doors to catch an entertaining IDA (International Documentary Association) panel discussion on the ability of the "lowly" documentary to - not only impact - but ultimately change the world.

A celebrated gang of notables in the field engaged in an upbeat informative exchange of ideas which kept the rapt audience - comprised mostly of aspiring young filmmakers - on the edge of their seats.

The guests included Robert Kenner (the Director of "Food, Inc."), Cara Mertes (high-profile Sundance program rep), Jennifer Arnold (Director of "A Small Act), and Dennis Palmieri (Director of Communications @ ITVS).

The evening's festivities were ably monitored by Sara Hutchinson (Producer and co-founder of Good Gravy Entertainment).

The venue - a modest environ - has been a fixture on the West Coast scene since a golden heyday of filmmaking circa 1940's.

The interior is washed in warm golden tones, and trimmed in rich inviting chocolate hues , which frame a smattering of eye-catching publicity stills featuring a handful of movie legends of yesteryear (underscoring management's efforts to be mindful of their roots and the luminaries that have passed through the doors over the years).

Meanwhile, as the hosts prepared to kick off the event, a definite buzz permeated the packed house that was difficult to ignore.

The IDA event was the hottest ticket in town last evening in Hollywood!

IDA is a non-profit organization that supports documentary filmmaking worldwide and believes in the power and artistry of the documentary as an art form that is vital to cultures and societies globally.

Their mission is to provide the community with educational ton, special support services, opportunities, and related resources to clients and documentary filmmakers.

Sundance (an organization founded by Robert Redford originally) - on the other hand - promotes freedom of expression by providing financial support in the form of grants, a forum where concerned  artists may throw a spotlight on a cause for social justice, and a podium where individuals may lobby for civil liberties and human rights.

A main thrust of Sundance is to encourage - and provide financial support - so that innovative non-fiction storytelling may take a foothold in the community-at-large.

During the course of the discussion last night, the filmmakers openly discussed their approach to their projects.

Food, Inc. Director - Robert Kenner - underscored that a doc often remained in flux.

Originally, he set out to produce an insider-look at aspects of the food industry, but ended up turning out a hard-hitting piece that focused more on human rights.

"When I attended a hearing on the state of the industry in this country today, I was shocked to learn that Corporations were in charge, not the farmers," he lamented in so many words.

After the head of one company stressed that it was not in the best interest of consumers to reveal the ugly truths about the production line, Kenner sat up and took notice.

"We were not welcomed with open arms. The food manufacturers tried to shut us out."

At that point, the insightful director uspected that something insiduous was going on.

This especially appeared to ring true, when he learned that fruits and vegetables were being plumped up with chemicals so they could go to market throughout the year (and not just during one season or two when the product was ripe for plucking off the vines).

I asked the filmmakers if they were ever tempted to strong-arm their position to get their arguments across to filmgoers.

The Sundance rep noted that her organization always followed the four ethics of journalism.

In some instances, funding at Sundance helped filmmakers round up documented evidence, now being used in Tribunals to bring perpetrators of crimes against Nations to Justice - and to effect - overall healing  in the process (such as in the instant case of Enemies of the People).

I was quite surprised to hear that some funded projects are not published on their site, though.

In some specific instances, the subject matter (and issues raised) may be controversial, so there is a real threat that fillmmakers may be hunted down, and punishment exacted by unsavory characters working on behalf of evil regimes, dictatorships, and/or corrupt government officials who feel threatened, etc.

Kenner argued that telling both sides of the story - especially in respect to a controversial subject - was the best way to go.

Ultimately, all panelists agreed last evening, that the filmgoer was not dumb and was capable of seeing through the attempts at cover-ups, maniupulation, and so-forth-and-so-on.

However, they also fessed up that documentaries were - indeed - "works of passion".

Subsequently, movie-makings are - above all - bent on getting their POV (arguments) across to the public, special interest groups, and those affected thereby.

When it came to impact - the best way to judge a documentary in that regard - was at the box office (the Sundance employee concluded).

Food, Inc. has been exalted for having pulled off the near-impossible.

It landed in the top twenty in respect to box office receipts. Something unheard of previously for documentaries of that nature.

Ms. Arnold added that it was also important to line up "partners" early on in the process.

On one occasion, when she referred to the "backers" as part of the team, a handful scoffed at the notion.

"Well, they don't work for you. They're not employees. What I mean is, that in the outreach phase, you need a team to launch, distribute, and help you reach out and embrace the marketplace," she added in so many words.

Mr. Palmier's role was different, according to the ITVS exec.

"We come in at the end to help those who don't have the finances to promote the project, or the connections to get the documentary distributed in a meaninful way, in the manner it deserves."

Essentially, the panel discussion ended up becoming a "pep" talk - geared toward locating resources, outlets, and backers - to ensure that young hopefuls were able to get a foothold once their projects were either underway or ready to unveil to a targeted audiences, industry-insiders, etc.

The IDA gathering was quite a mellow affair overall.

One sponsor - Pithy Wine - provided three choice wines (Rose, Chablis & Dry Red) for guests to sip on as they mixed and mingled (snacked on imported cheese & gourmet crackers) and engaged in sparkling conversation with a posse of articulate guests who turned out in full-force for the enlightening event.

One more glass of the tasty wine, and I would have been in need of a tipsy tow, alright!

According to Jon Curry (Office Manager & Membership Services @ IDA) - the Silent Movie Theatre - has become a temporary home for their monthly events.

Interested parties should cruise on over to their web site, and sign on for the newsletter, in the event they wish to be apprised of upcoming events such as the thoroughly engaging one which unfolded last night in the trendy Fairfax District in West Holllywood.

Resources information and grant data is also available to peruse on the Sundance web site.

IDA

http://www.documentary.org/

Sundance

www.sundance.org/documentary

http://www.thetattler.biz

Crude...Judge issues subpoena for director's footage! Michael Moore objects...

Over the past year or so, CRUDE, has been making the rounds at Film Festivals around the country - and garnering a handful of prestigious awards and widespread critical acclaim - among filmmakers and film fans alike.

Three years in the making, this cinéma-vérité feature from acclaimed filmmaker Joe Berlinger (Brother’s Keeper, Paradise Lost, Metallica) weaves  the intriguing true story of one of the largest and most controversial environmental lawsuits on the planet.

"Crude is a real-life high stakes legal drama, set against a backdrop of the environmental movement, global politics, celebrity activism, human rights advocacy, the media, multinational corporate power, and rapidly-disappearing indigenous culture," according the film's producers.

The film explores a myriad of complex issues from all angles in a bold-faced effort to reveal the truth about environmental peril and human suffering  as seen through the eyes of Berlinger's searing penetrating lens.

Now there is a new twist to the complicated drama!

Recently - Chevron demanded 600 hours of outtake footage from the "Crude" production offices (by way of a subpoena submitted to the court) - arguing in its defense that said evidence may be able to establish that the filmmakers intentions have not always been so lily-white and pure (or  altruistic in nature).

In a nutshell, Chevron is seeking  to establish corruption and misconduct on the part of the plaintiffs.

In a knee-jerk response, the Plaintiffs submitted a vigorous defense to the Judge presiding over the case.

For example, in their legal brief, the filmmaker argued that his work was protected by journalist privilege which protects reporters and others in the news-gathering business from being compelled to reveal confidential sources or divulge confidential material.

Judge Lewis A. Kaplan of Federal District Court in New York found little merit with the arguments and proceeded to grant  the request for the subpoena.

The filmmakers did qualify for the privilege, Judge Kaplan wrote, but the conditions for overcoming that privilege had been met.

The judge’s decision sparked outrage among documentary filmmakers, who said it endangered their form of journalism.

Michael Moore said the decision could have “a chilling effect.”

“If something like this is upheld, the next whistle-blower at the next corporation is going to think twice about showing me some documents if that information has to be turned over to the corporation that they’re working for,” Mr. Moore said.

“Obviously the ramifications of this go far beyond documentary films, if corporations are allowed to pry into a reporter’s notebook or into a television station’s newsroom.”

Chevron lawyer, Randy M. Mastro, said that those criticizing the subpoena were on the wrong side of established law concerning what kinds of materials can be obtained -  and that whatever “Crude” is  it should not be considered journalism.

“This isn’t about the First Amendment,” Mr. Mastro said.

“This is about a plaintiffs’ lawyer who decided he wanted to star in a movie and gave a sympathetic filmmaker extraordinary access to the plaintiffs’ case and strategy," he accused.

The outtakes provide - “a compelling video record of exactly the activities that these plaintiffs’ lawyers have engaged in to corrupt and taint the political process in Ecuador” - he summed up.

Ilann Maazel, a lawyer for the plaintiffs, called the efforts by Chevron to get the outtakes “another last-minute attempt to delay the proceeding and avoid justice.”

He accused the defendants of  - “twisting  the truth” and mischaracterizing the scenes from the film -  to make the plaintiffs’ actions appear to be corrupt.

“The corruption is not in some 600 hours of videotape."

“It’s in the ground and water of the rainforest for anyone to see and smell.”

In his decision, Judge Kaplan acknowledged that the Court of Appeals for the Second Circuit recognizes the existence of a “qualified privilege for journalistic information” and declared that “Crude” merits that protection.

But that is only the beginning of the process, since the privilege does not grant absolute protection of materials.

“It doesn’t necessarily mean you’re exempt from the subpoena,” said David Hudson of the First Amendment Center in Nashville.

“It just means that there are hoops the party seeking the material has to jump through.”

Judge Kaplan referred to those hoops in citing a 1999 case (Gonzales v. NBC) which upheld a District Court subpoena for outtakes from a “Dateline NBC” program that reported on what it called racially-based traffic stops by Louisiana law enforcement officers.

Materials can be released - the Court of Appeals for the Second Circuit held -  "if they are confidential, are likely to be relevant to a significant issue in the case and are not reasonably obtainable elsewhere."

The conditions were met in this case, Judge Kaplan concluded; the outtakes, he wrote, “will contribute to the goal of seeing not only that justice is done, but that it appears to be done.”

Experts in media law said Judge Kaplan’s opinion did not fall outside of the mainstream of First Amendment jurisprudence.

Dave Heller, senior staff attorney at the Media Law Resource Center in Manhattan, said that if someone seeking a subpoena says the material is relevant to significant issues, “it’s appropriate for the judge to take that seriously.”

However, Mr. Heller added that he was not sure this request should have been granted.

“The common-sense reaction is, ‘This is just a documentary — it speaks for itself,’ ” he said.

“It suggests that Chevron and the other defendants in Ecuador would have more than enough leads to follow up and question people to obtain relevant information to their litigation there, without imposing on the documentary filmmaker to compromise his relationship with his sources and disgorge his own unpublished material.”

The film’s director, Joe Berlinger, said Judge Kaplan’s order came as a shock.

“To have this broad request to turn over everything related to the case, to me, is just a trampling of the First Amendment and the journalist’s privilege,” he said.

Even though the people on camera had agreed to participate in the film and had signed waivers, Mr. Berlinger argued, they still had a measure of confidentiality that should have counted for more in Judge Kaplan’s consideration of the case.

“People who agree to be in a film don’t agree to have their lives exposed as if they agreed to be on a 24/7 Web cam, which is in essence what’s happening,” he said.

He said he hoped the order could be overturned.

“At the end of the day, if I lose all my options, yeah I’m going to comply with the subpoena and turn it over. I’m the father of two children, and this is certainly not worth going to prison over.”

In response, the filmmakers have organized a petition - which has been signed by a who's who's of the Hollywood elite (Oscar-winners are on the list) - and have submitted an "open letter" urging a reconsideration.

Since I personally have some knowledge of the court system ( I studied law) - I am keenly aware that while the petitioners have a right to urge a reconsideration - it must be submitted in the proper format in the correct forum with legal jurisdiction over the issues.

To clarifty this, I asked the Public Relations firm handling the dialogue between the filmmakers and the press, to kindly advise as to what they hoped to accomplish wth an open letter - which in my estimation - carries no legitimate weight in the eyes of the judiciary in its current incarnation.

As of this date, there has not been any response back.

Subsequently, I am publishing their "open letter" herein below verbatim to at least get their protest arguments out to the general public so that a dialogue may commence in the community at large.

_________________________________________________

May 13, 2010

An Open Letter in Support of Joe Berlinger
(Documentary Filmmaking Team of "Crude")

As members of the documentary film community, we the undersigned strongly object to the Honorable Judge Lewis A. Kaplan's ruling last week in the case involving our colleague Joe Berlinger, the Chevron Corporation, and Berlinger's 600 hours of raw footage shot during production of his documentary film "Crude".

Judge Kaplan sided with Chevron and ruled that Berlinger must turn over all of his raw footage to Chevron for their use in the lawsuit discussed in the film. Berlinger and his legal team plan to appeal the ruling.
In cases such as these involving access to a journalist's work material, whether they involve a newspaper or online reporter, a radio interviewer, a television news producer, or a documentary filmmaker, it is understood that First Amendment protection of the journalist's privilege is never absolute.

Typically, if such privilege is successfully rebutted in court, a turn-over order demanding a document or other thing is issued and the journalist must comply or face the consequences. Therefore, it is astounding to us that Judge Kaplan demanded that all of the footage shot during the production of the film be handed over to the attorneys of Chevron, given that the privilege exists primarily to protect against the wholesale exposure of press files to litigant scrutiny.

While we commend Judge Kaplan for stating "that the qualified journalists' privilege applies to Berlinger's raw footage", we are nonetheless dismayed both by Chevron's attempts to go on a "fishing expedition" into the edit rooms and production offices of a fellow documentary filmmaker without any particular cause or agenda, and the judge's allowance of said intentions.

What's next, phone records and e-mails?

At the heart of journalism lies the trust between the interviewer and his or her subject.

Individuals who agree to be interviewed by the news media are often putting themselves at great risk, especially in the case of television news and documentary film where the subject's identity and voice are presented in the final report. If witnesses sense that their entire interviews will be scrutinized by attorneys and examined in courtrooms they will undoubtedly speak less freely.

This ruling surely will have a crippling effect on the work of investigative journalists everywhere, should it stand.

Though many of us work independently of large news organizations, we nevertheless hold ourselves to the highest of journalistic standards in the writing, producing, and editing of our films. In fact, as traditional news media finds itself taking fewer chances due to advertiser fears and corporate ownership, the urgency of bold, groundbreaking journalism through the documentary medium is perhaps greater than ever.

This case offers a clear and compelling argument for more vigorous federal shield laws to protect journalists and their work, better federal laws to protect confidential sources, and stronger standards to prevent entities from piercing the journalists' privilege.

We urge the higher courts tooverturn this ruling to help ensure the safety and protection of journalists and  their subjects, and to promote a free and vital press in our nation and around the world.

Patrick Creadon
Los Angeles, CA

Doug Blush
Los Angeles, CA

Eddie Schmidt
President
International Documentary Association
(IDA)

http://www.thetattler.biz

San Diego Film Festival...seeking film entries!

The San Diego Film Festival is seeking entries!

The annual event - which attracts about 15,000 film buffs each year - was founded in 2002 with the express aim of tossing a spotlight on up-and-coming filmmakers and the best that the world of cinema has to offer.

From its inception, the organizers have been committed to the notion that the best way to enjoy fine films is in a fun, relaxed, and festive environment such as the idyllic picturesque one that is San Diego.

Each year, the Festival hand picks eight-five unique stand-out projects to showcase at the popular Southern California festival.

According to festival Officials, they deliberately mimicked the very best ideas from film fests around the globe, the end result being a celebration of film which guarantees great venues, an eclectic mix of theatre-goers, and a round of upbeat parties sure to appeal to the most discerning party-hearty die-hards!


Festival Date
September 24th - 27th

Deadline for Submisions
Early Deadline: May 1st (2009)
Final Deadline: June 1st (2009)

Info: http://www.sdff.org/filmmakers.htm

http://www.julianayrs.com/

Tribeca Film Festival...kicks off April 22nd in NYC! Woody Allen premieres...

Wednesday (April 22nd) amid a lot of fanfare, the Tribeca Film Festival kicks off with the glitzy world premiere of Woody Allen's "Whatever Works".



The highly-anticipated comedy is the first film the quirky film director has shot in Manhattan since 2004.



"Whatever Works" was written & directed by Allen and stars character actor Larry David (Curb Your Enthusiasm), Evan Rachel Wood (The Wrestler), Patricia Clarkson (Vicky Cristina Barcelona), and Ed Begley Jr.(Pineapple Express).



Recently, festival co-founder Jane Rosenthal gushed about how excited she was to launch Allen's new pic at Tribeca.



"I fell in love with New York through Woody Allen’s movies and I am excited we are opening this year’s Festival with Whatever Works."



According to Rosenthal, the stand-out feature is a uniquely funny addition to the celebrated director's body of work.



Allen, the die-hard New Yorker, enthused that it was a lovely idea to show his film in al festival in his own hometown.



"Very exciting," he beamed.



Sony Pictures classics is planning a June 19th release date if you miss the opening.



Tribeca promises to be the entertaining, thought-provoking fest, it has proven to be over the past few years since it first started up.



The roster of projects is far-reaching, too, and includes:

Art Themed Films

Asian Themed Films

ESPN/Tribeca Sports Film Festival Films

Hispanic/Latino Themed Films

Middle Eastern Themed Films

Jewish Themed Films

Music Themed Films

Politically Themed Films

Women Themed Films

Tribeca will close out the festival with "My Life in Ruins" which was directed by Donald Petrie and written by Mike Reiss.



The Fox Searchlight release stars Nia Vardalos, Richard Dreyfuss, María Ádanez, Sheila Bernette, María Botto, Rachel Dratch, Alexis Georgoulis, Ralph Nossek, Bernice Stegers, and Harland Williams.



Nia Vardalos, the writer and star of "My Big Fat Greek Wedding", has turned out a hilarious uplifting comedy about her character's lost kefi (Greek for "mojo"), according to Festival organizers.



Discouraged by her lack of direction in life, she works as a travel guide, leading a rag-tag group of tourists as she tries to show them the beauty of her native Greece while waiting to land her dream job.



Opening their eyes to an exotic foreign land, she too begins to see things in new ways - finding her kefi - and possibly love in the process.



Several of the cast members will attend the special screening to be held at the BMCC TPAC in lower Manhattan on Saturday May 2nd.



The new release is slated for unveiling in Theatres nationwide on June 5, 2009.



Another festival treat will be the screening of an actual work-in-progress which focuses on the high-profile Pop Singer Bon Jovi.



Directed by filmmaker and photographer Phil Griffin and produced by Academy-Award and Emmy-winning producers @radical.media, the documentary was filmed on the road backstage with the band during their 2008 Lost Highway World Tour.



The behind-the-scenes doc also features an up-close and personal glimpse at two sold-out frenzied concerts at Madison Square Gardens which wowed fans at the end of the celebrated tour.



"Throughout the process of working with Bon Jovi, I was amazed at the candor and humility Jon and his band showed me,” said director Phil Griffin.



"The result is not a neatly wrapped up bundle of staged interviews and musical interludes, but rather a series of open and sometimes difficult conversations, explored against a backdrop of music spanning 25 years. It is a film about the peace of Tico, the complexity of Richie, the drive of Jon and the brutal honesty of Dave. It is their willingness to share their stories that gives us what I hope is a very human story - that humanity is what I believe has seen this band stand the test of time."



Festival organizers are wildly enthusiastic about the upcoming screening, too.



"This compelling documentary gives you a glimpse behind the scenes of one of the great rock bands and unveils how they have stayed on top for the past 25 years. Jon has been a stalwart supporter and remarkable friend to our Festival, making it incredibly exciting to premiere the Bon Jovi story at Tribeca," according to a press release.



In addition to movie debuts (and red carpet extravaganzas) there will be a number of panel discussions, including conversations with Spike Lee, Barry Levinson, Steven Soderbergh, Kirby Dick, and Alex Gibney.



Tribeca will also present a much-anticipated line-up of short films.



This year’s Festival shorts are a culmination of works from across the globe, including Cuba, Brazil, Norway, Italy, South Korea and Australia.



The Festival received 2463 short film submissions this year - of which - 46 were selected to be presented in six thematic programs.



The voices behind these works range from first-time to veteran filmmakers that include animators, graphic artists and actors taking the helm behind the camera. Collectively, through captivating narratives and gripping documentaries, they tell stories about life’s lessons drawn from dreams, desires and the coming-of-age experience.



"The films in this year’s program represent a strong showcase in the craft of short filmmaking. It's exciting that as digital content platforms continue to emerge, short films are accessible to, and being watched by an increasingly larger audience.” said Maggie Kim, Tribeca Film Festival shorts programmer.



Among the highlights is a short narrative written and directed by Tom Everett Scott, as well as a documentary narrated by Richard Gere.

Directors making return visits to the Festival include Jason DaSilva, Brian Durnin, PaulaGaitan, Ken Jacobs, and Mark Street.



Robert De Niro, Jane Rosenthal and Craig Hatkoff founded the Tribeca Film Festival in 2001 following the attacks on the World Trade Center to spur the economic and cultural revitalization of lower Manhattan through an annual celebration of film, music and culture.



The Festival’s mission is to assist filmmakers reach the broadest possible audience, while enabling the international film community and the general public, the opportunity to experience the power of cinema (and promote New York City as a major filmmaking center).



The popular annual festival works under the auspices of Tribeca Enterprises, a diversified multi-platform media company, located in downtown New York City.



The company currently operates a network of branded entertainment businesses including the Tribeca Film Festival and Tribeca Cinemas.



The Company's mission is to provide artists with unique platforms to expand the audience for their works and to broaden the access point for consumers to experience independent film and media.



Since its founding, the Festival has attracted over two million attendees from the US and abroad and has generated more than $425 million in economic activity for New York City.

Info: http://www.tribecafilmfestival.org

Info: 1-212-941-2400

http://www.julianayrs.com

AFI Dallas...overbooked seats, mistreatment of Festival Volunteers, and John Wildman's rude & insulting staff!

AFI Dallas just celebrated its third illustrious year on the Festival circuit.

Already, the AFI chapter out of the Lone Star State, has proven to be a creative (and marketing) force to reckon with.

For example, when the festival wrapped last year, ticket sales were tallied at a whopping $100,000.00.

But, get this!

Before AFI Dallas even swung open its screening doors at the two venues playing host this year (NorthPark & Magnolia Theatres) the box office had already managed to rustle up the staggering sum of $100,000.00 plus in sales receipts.

Understandably, AFI Dallas is currently going through growing pains, especially in respect to the booking process.

For example, shortly after I left the red carpet one evening, two film buffs dashed up and angrily waved a couple of tickets in my face.

"Sir, this festival is selling seats that aren't any good," he hollered with a tinge of frustration in his voice.

Say what?

Apparently, the filmgoer and his girlfriend purchased two tickets for "Gigantic" at Victory Park, then proceeded to stand in line with all the other excited ticket-holders the night of the much-anticipated screening.

After about thirty minutes later, they were turned away without explanation (along with about thirty other disgruntled movie buffs in the same situation).

"It's not the money," he lamented.

"My girlfriend and I made the plans for the date earlier in the week and intended to make a romantic night of it with dinner and everything."

Then, he made an important observation.

"There was no notice on the ticket that said we might not get a seat. And, they didn't inform us that even if we stood in line, we might not get in."

Boy, was he pi**ed!

I noted for the record that I was in their corner all the way.

In retrospect, it appears that a pass-holder (an individual who buys a pass for access to all films during the course of the AFI Festival for a set fee), Festival big-wig, or a member of the Press was given priority in spite of the fact the young couple paid well-in-advance with cash in hand.

That stinks!

In addition, a handful of volunteers who were promised passes to a couple of films in exchange for their services throughout the day, found themselves SOL on occasion, too.

Frankly, in my opinion, those tickets should have been honored along with the rest.

If not, the least the Festival could do is promise cash in exchange for the face value of the ticket, to ensure volunteers are properly compensated for their generous contribution to the success of the Festival.

Don't you agree?

Notwithstanding those glaring irregularities which need a quick fix, a couple of John Wildman's staff in the publicity department were not only incompetent (and prone to tell lies), but rude and insulting to members of the press, on occasion, as well.

For instance, although I received an invitation to attend a noon-hour event sponsored by the YMCA for underprivileged kids, details about the red-carpet event were not forthcoming from Tanya Wright (who was in charge of organizing the press).

On the night prior to the outing for the young ones, I hadn't received specific details to facilitate coverage of the event, so I queried Miss Wright about the schedule for the next day in person at the Magnolia venue.

"I'm organizing that now," she excitedly chirped, "And, will send out the information tonight."

When the info failed to arrive by 9 a.m. in the morning, I zipped off an e-mail to Wright with a request for the info.

In a response e-mail, which arrived about an hour later, John Wildman's right-hand woman suddenly did an astonishing about-face.

"There isn't any event scheduled for the lunch hour," she insisted in her curt reply.

At this juncture, I dredged up the e-mail invite from the AFI mailbox, and inserted the information into a follow-up communication that essentially noted for the record that she was obviously mistaken.

Within minutes (and shortly after firing off an e-mail to John Wildman about the discrepancies) Ms. Wright e-mailed back.

"Okay. There is a function. You are welcome to attend. Show up on the red carpet at 11:45. See you there."

Duh!

I arrived at NorthPark just in the nick of time, as hundreds of kids bounced off bright yellow busses, and on to the red carpet for photo ops with popular actor Patrick Warburton.

When Ms. Wright spied me taking notes, a curious look crept across her face.

Then, she dashed over and made an odd comment in view of the aforementioned facts.

"Oh, you came!"

"Of course," I replied sternly, "I was invited."

After the fun-filled event wound down, and the kids were happily seated in the theatre munching on snacks, I proceeded to check my e-mail.

In one hasty communication, John Wildman tried to gloss over the obvious, and took a position in which he sought to exonerate himself and Miss Wright of any blame for the alleged misunderstanding.

In so many words, Wildman asserted that the info on the event was not forthcoming because he and Miss Wright were under the impression I would probably not be interested in attending an event crawling with hundreds of kids (!).

Then, he took a dishonest leap, and made a wild statement that since the Tattler wasn't the kind of publication that was interested in news items pertaining to school kids, that AFI Dallas elected not to follow through and provide the information promised.

Mr. Wildman obviously never reads the Tattler.

If he did, he'd know that I have penned stories on Kids First, for instance, an organization that sifts through films in search of ones that meet the right set of criteria for the youth market.

In addition, I have reported on workshops for children that are held from time to time at the David Geffen Playhouse in Westwood.

Likewise, I have written posts on children's books, the dangers of lead-poisoning in toys, face-painting and costume-making at the Grove mall, and so forth and so on.

I always endeavour to reach out to the community, no matter what the age group!

In a follow-up e-mail, I pointed out that I was disappointed that Wright would lie to me to cover up her shortcomings and save face.

That evening, Miss Wright (obviously stung by the remarks I made to John Wildman earlier in the day) continued with her lies and deception.

Although I informed her that I did not wish to discuss the matter further - after all, she was causing a scene on the red carpet in front of other journalists, the paparazzi, and Festival-goers - she became belligerent.

In a burst of rage, she retorted angrily:

"No wonder no one likes you!"

I was shocked by her unwarranted mean-spirited remark which was totally unprofessional.

In fact, her wild assertions were not true!

Almost daily, I have received complimentary remarks in response to a myriad of posts - and, likewise, regularly receive a raft of e-mail communications in which fans note how much they do, in fact, like me.

Needless to say, I didn't attend AFI Dallas to win a popularity contest.

A few minutes later, I happened to bump into John Wildman on the red carpet.

Holy mac!

He refused to believe that his self-indulgent assistant uttered the nasty comment.

"She didn't say that," he angrily asserted.

Fortunately, a journalist who was present when Miss Wright aimed the ugly slur at me, happened to stroll by at that precise moment.

So, I grabbed his arm and pulled him Wildman's way - at which point - he confirmed what had transpired earlier.

"I'll talk to her," he promised.

I guess he followed through, because on the heels of the incident, I began to also experience problems with Miss White's associate (Michael Devous).

Was he retaliating against me because of my run-in with Tanya Wright?

Although John Wildman assured me details for two big gala events would be forthcoming in an hour or so from the desk of Mr. Devous, no confirmation on time schedules and locations were sent out.

Finally, I drafted an e-mail to Mr. Devous in which I noted for the record, that for some inexplicable reason the information was not forthcoming.

Mr. Devous reacted like a flippant Queen.

In an communication fired off a few seconds later, Devous "pasted" a page from the dictionary which spelled out the precise meaning of the word "inexplicable".

Then, the catty little man had the gall to infer that the e-mail address on file for me (which I provided weeks ago) was probably the reason for the mix-up in question.

In sum, Devous tried to thrust the blame on me by alleging that I gave him an incorrect e-mail address, which accounted for the failure of information to arrive safely in my mail box.

What a load of hogwash!

The e-mail address he was referring to was - in fact - correct.

If the bombastic little sh** had a higher IQ, he would have surely noticed that the e-mail address he was referring to "forwarded to" my yahoo account.

In a nutshell, the two e-mail accounts were merged together, so there would be no need to check both accounts individually each day.

Indeed, every e-mail Mr. Devous sent out since we were first in touch weeks ago not only arrived without incident, but was promptly responded to.

How do I know?

I forwarded all the e-mails to myself so there would be copies on file.

Of course, I am not surprised by the bit**y conduct of Mr. Devous - especially after witnessing his personality on the loose in the AFI Lounge now and then during the course of the fest.

For example, on two specific occasions I was witness to, the PR flunky was drunk and disorderly in front of a roomful of celebrated festival guests, members of the press, and AFI staff.

Yup, the swirling dervish made a total a** of himself!

Time to clean house, Mr. Wildman!

http://www.julianayrs.com

AFI Dallas...The Cove, The Burning Plain, Valentino & Pearl are films to keep eye on! Festival a rousing success...

The Cove, an informative tale on wild-life preservation from a TV producer turned activist, is one of a handful of films I missed at AFI Dallas due to scheduling conflicts.

Many film buffs faced the same dilemma as they struggled over festival choices and ended up - like moi - tossing a coin!

All kidding aside, of the 180 or so AFI offerings this year, there were a few stand-outs worth catching at the local movie house or renting at the DVD outlet nearest you when they're released sometime in the near future.

Here is a run-down (and a synopsis) of a few of 'em.

The Burning Plain

In this intense drama, director Guillermo Arriago explores the past and present and the curious way both affect several people separated by time and space.

"It's all about a journey to redemption," according to the producers.

Starring Kim Basinger and Charlize Theron.

Valentino: The Last Emperor

An intimate peak into the scintillating world of legendary fashion designer Valentino.

The filmmaker insightfully pulls back the veil and artfully spotlights the icon and a celebrated career that spanned the decades - and in the process - impacted the rag trade immeasurably.

Tattooed Under Fire

Director Nancy Schiesari was passionate about her project when I spoke to her one day on-the-fly in the AFI lounge at Victory Park.

"Tattooed" is an in-depth look at military personnel and their penchant for body art.

"The tattoo is a language that soldiers use to bond and communicate with each other."

Ultimately, the life-changing filmmaking foray, amounts to a provocative, poignant, and highly personal look at the human and cultural cost of war, she alleges in the final analysis.

Pearl

The inspiring tale of a young Chickasaw woman with a passion for flying and mentor Wiley Post who helped the young dreamer accomplish her lofty goal to become an aviator.

Directed by King Hollis (The Accident)

Whatever it Takes

Director Christopher Wong focused his revealing lens on a remarkable man who runs a center for Science and Mathematics for underprivileged black youths in the Bronx.
(Documentary)

Push Button House

A delightful peak at an environmental wonder crafted by creative genius Adam Kalkin.

With a visionary eye towards the future, a packing crate is transformed into a sleek, modern pre-fabricated home.

Directed by Ryan Silbert & Robert Profusek

The Cove

Director Lois Psihoyos throws the spotlight on Richard O'Barry, the creator of the original "Flipper" TV Series.

In this riveting expose, the activist uncovers the ills that befall animals held in captivity against their will.

Zombie Girl: The Movie

A 12-year-old's journey into the topsy-turvy world of film production not only entertains, but ends up being instructive to young filmmakers in the throes of crafting their first project .

Directed by Aaron Marshall, Justin Johson, and Erik Mauck.

Hollywood Beats

In the wake of the success of Slumdog Millionaire, a dreamer's musings - which unfold in an uplifting manner in Bollywood

In a nutshell, it is a tale about a down-on-his-luck dancer who sees his fortunes change due to a chance encounter.

A celebration of the indomitable human spirit.

Director/Screenwriter: Mehul Shaw
Executive Producer: Kathryn Taylor
(Patron of the Arts)

As they say at MGM:

That's all for now, folks!

http://www.thetattler.biz