Newport Beach Film Festival
April 24-May 1st, 2014
Newport Beach Film Festival has a rich spectrum of comedic feature films and documentaries that both explored humanity. There were far too many good films to review them all.
However, there were two comedies that stuck out for me. The first is Finding Neighbors and the documentary Follow Friday the Film.
Review of Finding Neighbors
At a time when movies are losing story, Ron Judkins brings his unique vision to the table, one of simplicity and respect for the process.
Finding Neighbors, directed by two-time Academy Award winner Ron Judkins (Best Sound for Saving Private Ryan, Jurassic Park), is a comedic drama about three sets of Los Angeles neighbors who are searching for a true connection in their life. Six months late on a book delivery, stay at home graphic novelist Sam Tucker (Michael O’Keefe-The Great Santini, Caddyshack) has succumbed to a full-on mid-life crisis. Between ice cream, television and a severe case of writer’s block, Sam mourns the loss of his youthful inspiration. After his stellar earlier success and failure of his last project, Sam is unable to move forward.
Sherrie (Julie Mond-House MD, Love Begins), the provocative girl-next-door, offers him an easy and willing distraction. But it is Sam’s budding friendship with another neighbor, Jeff (Blake Bashoff-Spring Awakening, Mad Men) a gay man, which helps him begin to reconnect with his creative thread. After a ridiculous misunderstanding, the men start to spend time together. Their unlikely friendship frees each of them from the weight of their past.
But Sam Reveals nothing of this to his wife Mary (Catherine Dent- 21 Grams and TV’s The Shield). And as he begins to change she becomes suspicious about what is actually going on in the neighborhood. Mary’s anxieties spiral out of control and as she wonders if he’s having an affair, she realizes he is just speaking intimately with another man.
Michael O’Keefe delivered a superb comedic performance as Sam, managing to nail every nuance and moment of being uninspired. It was obviously an excellent script from Ron Judkins, but there were some really funny moments that were O’Keefe’s facial expressions and body language is what showed the depression. The best part of his performance was his understanding of nuance.
Another smart directorial choice by Ron Judkins, was Sam and Sherrie do not fall prone to movie cliche. Their characters are allowed to be people and do not have to satisfy us, with audience expectations (the sexy girl-next-door story that has been so over-played). It is OK we did not see any fantasies or realities when it comes to a gorgeous girl we can’t have.
The premise and story behind this film was refreshing, but I have never seen or heard of such an original concept. A man with a mid-life crisis turns to his gay neighbor? Nothing against gay/straight (anyone), but the script chose to be unique and felt like Judkins maybe made a list of movie cliches and said “We are not doing any of them.” Ron Judkins’ best quality is taking the extremely hard parts of life and simplifying them on the screen.
Paul’s Score: 9.5/10
An Interview with Ron Judkins (Writer/Director Finding Neighbors)
Paul Booth: What was the toughest part of Finding Neighbors? Outside of fundraising, what filmmaking aspect (editing, sound design, writing)?
Ron Judkins: I think the toughest part of the process for me has been bringing the film to market. There was a lot to learn about social media and outreach that began when we started our kickstart campaign and this has continued all the way through our festival run. If you’re talking about which aspect of the actual filmmaking process was most difficult, I would have to say designing and executing the animation in the movie. We use animation in the main title sequence, and as transitional elements throughout the film. We went through many versions of each piece of animation. I learned that was just part of the process.
PB: The film seemed very economical, did you have 1-2 takes or did you shoot a lot of coverage? Any deleted scenes?
RJ: Lots of times we would shoot two takes, sometimes we would go to three, and less frequently four. We shot for twenty-one days, so we didn’t have the liberty of shooting a lot of coverage. We just tried to get enough coverage so that the scene would work, and that we could have at least a couple of options. There are a few deleted scenes–as our first cut of the movie was long. It was difficult at the time to let them go, but it’s a much tighter, more concise movie now.
PB: As a sound man, was it easier or harder to separate yourself from “hearing” everything? (In such a visual medium). Even though many times people over look sound and forget it is 50% of every movie.
RJ: On my first film, the Hi-Line, I micromanaged the production sound for the first few days. Then I realized that if I was doing that–I was standing in the wrong place. So I decided to concentrate on being the director! And honestly, filmmakers were telling stories with film fifty years before sound came around. Having said that, your sound design is a potent secret weapon in affecting the mood and tone of your movie. Many people in an audience will sense when they’re being manipulated with the music in a film, but few of them notice when a very busy or on the other end, very stark background sound track affects them emotionally.
PB: Is your overall goal to continue with life-stories like this, or do you have other genres you hope to explore?
RJ: I next want to do something political and controversial. And yes, it would be a life story as well.
PB: On this second outing as a director, was there something you learned on a professional level that made you think “I can use this lesson next time”?
RJ: That’s an interesting question. After we had been editing on this film and had a solid first cut, my wife and I (producer Jennifer Young) went away to work on Lincoln. We closed up the editing room and stepped away for about four months. It was the best thing that could’ve happened. I came back with a lot more objectivity and realized that there was still a good amount of work to be done on Finding Neighbors. I plan to incorporate this into my work flow the next time around.
PB: You have a solid resume and background as a department head, many filmmakers would jump to stay in a great position. What I am getting at is, what makes you be able to say “I have been at the top, I want to push past”, when there is few things to do after the top. I think Finding Neighbors probably showed some of what a top-level film industry person goes through.
RJ: For me, life is about staying in motion and learning new things. There’s a part of me that really enjoys my sound work, and through that–being able to facilitate another person’s vision. But I also love being a storyteller myself. I’ve never been the kind of person who sits back and settles for the status quo. I’m always asking, “What’s next?
PB: How many years have you been making films and did you go to film school?
RJ: I went to school that had a small film department, Southern Methodist University, in Dallas. After I graduated and started working in the film industry, no one ever asked me if I had even gone to school. The couple of things that a film school environment can help you with is being able to check out a few different crafts, and developing a skill-set in a forgiving environment. At school you will also connect with your peer group who will become your networking partners in the future. I’ve been working in some aspect of the industry for about thirty-four years.
PB: I want to return to Finding Neighbors. I like to see Film History tie films together. How a director influences another or a great actor molds their style based on another actor. What films for you, make you want to direct? I mean as a filmmaker. I think we all have those 5 films that inspire us decade after decade or year after year.
RJ: Apocalypse Now, The Dancer Upstairs, The Constant Gardner, Central Station, Paris Texas, Children of Men
PB: Were there any on-set challenges with Finding Neighbors, with sound, lighting or technical, for example? You made such great use of locations do you have a film or set experience that gave you the ability to make such great use of location?
RJ: The biggest challenge is in trying to shoot a movie in 21 days! There’s almost no time for experimentation or exploration. In both of my films, the locations have served as an additional character in the movie. In The Hi-Line, the stark winter Montana landscape speaks of loneliness. In Finding Neighbors, our Atwater Village streets and neighborhood provide just the opposite–support and community.
PB: Where can people see Finding Neighbors next–is it set for the usual outlets or will it be playing festivals for a while longer?
RJ: We are just about to sign a distribution deal which may include a conventional cable TV sale. After that, it’s all the usual formats, DVD, VOD, etc. We’ve had a very good festival run here in the states and we’re starting to think about foreign festivals. People who want to know how and when the movie will be released can email us at findingneighbors@gmail.com and we’ll keep you up to date on what’s happening.
PB: What was the film shot on and what are your thoughts on digital? As a filmmaker who has been on so many 35mm sets, do you find the new formats to be valuable for directors or do you feel nothing beats film.
RJ: We shot digitally on a Sony F3. I’m not one of these guys who is crying over the demise of film. In fact, digital in many ways is so much easier. Regardless of format, as a filmmaker you want to work with the best cinematographer you can, and tell a good story. What else is there?!
*****
Review of Follow Friday the Film
The second film was a documentary titled Follow Friday The Film. It tells the story of some filmmakers who set out on a 22 State cross-country road trip to meet (for the first time) their Twitter followers in person. The crew goes from Los Angeles, Austin, New Orleans to Washington D.C., New Jersey, New York City, Wyoming, Colorado (even being in town during the Aurora shooting) and all the way back to San Francisco.
This is was simply a fun film. It was a nice treat to see so many States, to see people getting along in a world where so few do. The concept of taking Twitter on the road and exploring Twitter for it is or can be, was ingenious. I would love to go on and on, but the film was simply great. It is like being in a museum, you don’t need to talk, watch and enjoy.
Paul’s Score: 9.5/10
An Interview with Giana Mucci — Follow Friday the Film Producer
Paul Booth: Were you guys already filmmakers or did you decide to make a movie based on your Twitter idea, and how long was the development and editing process?
Giana Mucci: This is our first official film but we have all worked in the industry in different capacities for a while. The development was extremely short, maybe a month in total before the road trip began. The editing took over a year. It was a cross between having so much footage and having so little money, so we all had to return to our day jobs and edit on nights and weekends.
PB: How many days did it take to film? How many States was it? Do you have a favorite State or city? Please tell us a tiny bit.
GM: Unfortunately I wasn’t on the entire road trip. I was part of the operation from here in LA. I was lucky enough to fly out and help them a few different times, including for the Cory Booker interview. I believe the road trip covered 22 States in 40 days.
PB: To you, what is the film about?
GM: I think the film is about people. The desire we all have to be connected and how twitter is a vehicle people use to make those connections.
PB: Did you guys have a set plan for the ending of the film or was it kind of “the road will shape the film” ?
GM: All we knew for sure was that we wanted the road trip to end at Twitter. We didn’t know what to expect at Twitter headquarters or on the road, for that matter, so it was all a little bit of a leap of faith.
PB: That was pretty cool you had Cory Booker, how was that for the crew?
GM: Amazing. The morning when he agreed, on Twitter, to do the interview and simultaneously helped raise $17,000 for charity was unreal. Meeting him at Newark City Hall and talking to him was something I’ll never forget. We were supposed to have 15 minutes with him for the interview, he talked with us for over 2 hours! Such an incredible experience.
PB: What is your hopes this film does for you guys, Twitter or the social experience as whole?
GM: We’d love for this film to get distribution. I think people really enjoy it, it has a nice uplifting message and it’s also educational. I have friends that have now joined Twitter because of our film.
PB: Was this your guys first film? How many festivals has this played? If Newport Beach Film Festival was the premiere, are you screening somewhere next?
GM: This was our first film. Newport Film Festival was our premiere and we are hoping to show at other festivals but none are confirmed yet.
PB: How many followers does the film have right now and from how many States?
GM: Erin, our director, has the most followers. I think she is up to over 6,000 and when I met her two years ago she was at maybe 150. I’d guess she has followers from every State.
PB: Does the director Erin Faulk have any project planned or are you guys seeing how this does?
GM: We would all love to do another project but we would like to see this one hopefully get picked up first. We all had to put in a lot of our own money to get this movie finished so budget is a big concern. If can come up with the money, I have no doubt we’d be starting on Follow Friday the Film 2 – International version.
Newport Beach Film Festival – Part 2
April 24-May 1st, 2014
Welcome Nowhere (Documentary)
The Roma people (commonly known as Gypsies) are the largest and most excluded ethnic minority in Europe today. Victims of extreme racism, they struggle to have access to basic housing, proper education and equal employment opportunities.
Welcome Nowhere tells the story of one Roma community in Sofia, Bulgaria, that is the story of many across Europe. Having settled on a piece of government property for more than 50 years, they were eventually kicked out of their homes when a large supermarket chain bought their land. The Government provided them with housing in old train box cars and promised them homes within six months. That was 2001.
This film picks up nearly 10 years later with the Roma still waiting for their new homes. Forgotten by the Government who placed them there they still live in train boxcars that are falling apart at the seams. With no showers or toilets, mud and feces fill the ground and the children play on piles of trash filled with broken glass. Disease runs rampant and patience is wearing thing.
Next door to all of this are two companies who have seen their businesses suffer since the arrival of the Roma people. Clashes between them have caused intense hatred toward the Roma and they complain about the air pollution, violence and theft that the businesses endure. Despite complaints, the Government has done nothing to resolve growing tension.
These stores are not rare across Europe. The discrimination and conflicts between the Roma people and their neighbors happen every day. With little employment opportunities, the Roma remain stuck in a cycle of poverty with no sign of getting out.
Welcome Nowhere takes the startling stories of racism and puts names to them, allowing the Roma people to tell their side of the story for the first time.
Did the Mayor have a right to movie this community out of their former homes? Why can’t the Roma people just move into apartments on their now? Does the current government have any plans to help them? What does the future hold for this community, and European Roma as a while?
Welcome Nowhere tells the story of their fight for new homes and better opportunities for their children and ultimately their place in the world.
Review:
Set to the tone of Ethan Hawke’s voice describing brutal images of poverty, Welcome Nowhere leaves us with one thought “be thankful.” Kate Ryan’s skill as a director and editor shine through with boundless love and compassion for her subject (the Roma people). It takes a rare breed of filmmaker to put themselves out there for a cause that examines the horrific side of humanity; Kate pulled it off without being political or condescending.
The film’s most redeeming quality was it did not force you to accept its opinion. Kate Ryan’s directorial hand stayed in the middle. It goes without saying she had a passion for the impoverish people and she had her own personal vision or agenda, but the true skill of making a film is to have your vision without shoving it down people’s throats.
Interview with Kate Ryan (Director Welcome Nowhere)
Paul Booth: What is Welcome Nowhere about from your point of view?
Kate Ryan: Welcome Nowhere is the story of a community of Roma people (commonly known as Gypsies) struggling to survive after centuries of racism. The largest and most excluded ethnic minority in Europe today, the Roma people struggle to have access to basic housing, proper education, and equal employment opportunities. Focusing on a specific community of Roma people in Sofia, Bulgaria, the film tells their story of having to live in old train boxcars for ten years after being forcibly evicted from their homes. Exploring the history of the racism towards them, what led them to be evicted, and why the government hasn’t done anything to help them, the Boxcar Community paints a complicated picture of one of Europe’s most controversial issues.
On a universal level, Welcome Nowhere is an in-depth look at poverty, tolerance, and human rights. As the story slowly unfolds, it becomes clear that the challenges this community face are systemic, and are the result of centuries of neglect and marginalization. This story can easily be applied to any minority group around the world, whose struggle to better their future is met with insurmountable obstacles by corrupt governments, lack of resources, and hateful mindsets.
PB: What are the specifics of the county it takes place, name of the people depicted in the film?
KR:: Welcome Nowhere takes place in Sofia, Bulgaria, which is located in Eastern Europe. The Roma people are the third largest ethnic minority in Bulgaria, and make up nearly 5% of the population. The film follows the stories of many Roma living in the Boxcar Community, including 27-year-old Stefka, an illiterate mother of four who makes her living by sweeping streets, 21-year-old Maria, who is being threatened by loan sharks to pay back loans or be raped, and Rumi, a 19-year-old girl whose leg is infected with gangrene at the neglect of doctors. In addition, it follows the efforts of two Bulgarian pastors, Zhoro & Mariana Penchev, who are trying to help the Boxcar Community. We were lucky enough to also get interviews with many notable scholars, professors, and politicians to speak about the issue, including former President of Bulgaria, Zhelyu Zhelev, former mayor of Sofia, Stefan Sofianski, and Roma activist and author, Georgi Parushev.
PB: How many years did you spend on this film? Did you write? Or edit? Something outside of Directing?
KR: I first decided to make Welcome Nowhere in 2008, after having had the idea for awhile. I spent 2008 writing grant proposals and saving up money for production, which happened in late 2009. We then had to slow down in post-production, as I had to once again work to save up money to pay for the translator to translate all of the footage into English for me. In addition to producing and directing, I also edited the film along with the help of some very talented assistant editors. They helped keep me sane while trying to cut a film in a different language (a new challenge for me). I finally finished the film in early 2013, and we premiered at the Raindance Film Festival in London at the end of September, 2013. So, from start to finish (although we are still working on it if you count distribution), it has been a six-year project.
PB: How many cuts did you have–I mean, did you hone in on the final pretty quickly?
KR: We started with a rough cut that was about 25 minutes longer than the final version, and that had no narration. I showed it to a few documentary filmmaker friends who helped me see what was missing from the perspective of someone who had no previous knowledge of the issue. They suggested adding narration to help American audiences understand the background of the Roma people in Europe. I did a second cut that had temp narration, and sent that out to another round of friends. Once they gave their notes, I adjusted the cut and then held a private screening for the next circle of artistic and filmmaker friends. I also screened it for a documentary class at my old university, California State University Northridge, and collected notes from the students there. Each round I kept refining the film to make sure the story was the best it could be. I was adjusting the edit up until the very last minute, but I would say that we had at least six different cuts that spanned the work of five months after our initial rough cut was done.
PB: Addressing poverty in another country is intriguing. Some say Americans do not pay enough attention to their own issues, but I believe we need to think globally. What attracted you to stepping outside the border to make a film?
KR: My background in making short documentaries was almost primarily overseas, so it felt natural for me to choose to tell a story a bit far from home. I had been to Central America, Africa, and all over Europe, and out of all the people groups I had been privileged to meet, the Roma people stood out to me as the least talked about issue. I don’t think I was quite aware, however, for how much catching up I would have to do in order to fully understand the complexity of European history that has brought the Roma people to this point in history. However, as I began to dive deeper into the subject, it became clear how universal the struggle of this community is, and how the systemic neglect towards the Roma people can be applied to just about any minority in the world in one way or another.
PB: How long have you been making films? Was this your first feature?
KR: I have been directing and editing for the past 15 years, starting with promos and short documentaries for non-profit organizations – one of them based in Eastern Europe, where I first learned about the Roma people. When I graduated from film school in 2007, I knew that I wanted to explore the issue of the Roma people more, so I decided to return to Eastern Europe and make Welcome Nowhere as my first feature film.
PB: This is meant to be a very quick answer. If you were to pick a city in the U.S. to make this same film about, which city would you choose?
KR: Any Native American Reservation – I think this is the closest current comparison that America has to the Roma people in Europe. If it was solely about the challenges facing those in poverty, then, Detroit.
PB: How did you get Ethan Hawke to narrate?
KR: Ethan’s mom, Leslie Hawke, runs a wonderful organization in Romania called OvidiuRo (www.ovid.ro/en). They work to get impoverished kids into school, many whom are Roma. Because of this, Ethan is acutely aware of the issue, and was willing to lend his voice to the project when we reached out to him.
PB: How do you approach directing a voice? Let alone, a voice we all know.
KR: Truthfully, Ethan required very little directing. He understood the tone that we were going for, and only had to be given guidance on how fast or slow I needed it to be for timing. I was very lucky to have someone as talented as him, and felt that his voice naturally matched the tone of the rest of the film.
For more information visit www.welcomenowherefilm.com
The Red Robin
Fresh off the Special Jury Prize for Excellence in Filmmaking at the Gasparilla International Film Festival, The Newport Beach Film Festival screened Red Robin. The film stars Oscar-nominee Judd Hirsch (Ordinary People) and C.S. Lee (Dexter).
In The Red Robin, Hirsch’s character Dr. Shellner, a father of five, is a celebrated psychiatrist specializing in trauma, rumored to have worked for the CIA during the Cold War. During a family reunion, Dr. Shellner’s adopted son (played by O’Nan) makes the stunning accusation that his dying father, adopted his children not out of love, but for the purposes of dark experiments in mind control. A night of revelations ensues which brings forth truth, disbelief, grief and introspection defining the mask of a loving father against the backdrop of a winter storm.
Review:
In a near-flawless script full of love, passion and the dark side of family life, director Michael Wechsler delivers his vision with a simple slap in the face. It’s a good thing few directors can execute a film without any melodrama or moments where characters explode. In most dramas, someone has to yell or break a window. Instead, you have wonderful actors and brilliant editing carrying the audience down the path of demons we all have, or know someone who does.
Judd Hirsch is a great treasure of acting. There are moments you can trace through his career (especially his Oscar-Nominated role in Ordinary People) where Hirsch simply knows how to play the scene. He is not searching, wondering, hoping, he is sure in his choices as an actor. In The Red Robin there is a key scene where every actor we all love, would have went too far. The moment required nothing but eyes and facial expressions, no words. Hirsch played it like a silent film actor. It was amazing and one can only hope this film brings Hirsch back into the cinema world. He is not just the guy on Taxi (all due respect). Superb film, check it out online and be sure to see it when it comes to a town near you.
Paul’s Grade A.
Interview with C.S. Lee
Paul Booth: How do you prepare for such a serious drama like The Red Robin, compared to what fans know you for in Dexter?
C.S. Lee: The script to The Red Robin was one of the best I read in a long time. The most important thing in preparing for this was just to make sure to tell the story.
PB: Are there specific things you experience with drama vs. dark-comedy? I do not mean, obviously the material says you work for the Police or says you are a tortured son?
CSL:I tend to like scripts with substance. I find dramas and dark comedy’s generally have more substance than comedies. With material like these it’s always about the relationships and the story. And hopefully the director has the same vision.
PB: Is it easier or harder for an actor when T.V. shows have similar schedules, due dates for an air-time, but a film can actually be pushed. What is the pressure like knowing “you have to get it today?”
CSL: TV shows are definitely much harder since the schedules are tighter. There is not a whole lot of room to experiment with a TV schedule. Either way, you have to ready to bring it all to the table (when it comes down to the shoot).
PB: Do you have a movie or TV show that made you want to get into this? A TV show? Or are you theatre trained?
CSL: Yes, I trained in the theater. I think because of this I am appreciative of good scripts. I grew up in Washington State and started watching a whole lot of films–foreign, indies especially. I thought that the film medium was a great way to coax change and test society’s morals–thru storytelling. I still think that today.
PB: Is it easier or tougher to find a spot in a “dark” ensemble like Red Robin vs. the many styles of acting in Dexter?
CSL: Every project has its challenges. Ensemble pieces can be easier but they have their own challenges. That’s why it’s so important to cast an ensemble piece well, so that the director can focus on other things and the acting part of it will be handled by the stellar cast.
PB: Do you prefer to do movies or TV?
CSL: I prefer good material. Lately, TV has had a lot better material. But certainly good films, although harder to find these days, are still being made. I love what Woody Allen has been doing lately. Prime example of great storytelling with interesting characters in interesting situations. Although I enjoy some, I tend to shy away from big budget Hollywood films. I just don’t find many of them interesting. But I know they are out there for a pure entertainment reason and that is totally ok. I just don’t gravitate toward them.
PB: Were there any challenges with being so well known for a big show? The transition from the fact you are an actor not a “character” on a t.v. show.
CSL: Yeah. I’m still finding out what that means here in LA. People tend to be a bit less imaginative here in LA versus NYC. And I’m appreciative of the fans I’ve gotten because of Dexter. But I’m in it for the long haul not the short. It may take some time, hopefully not long, for people to realize there is more to me than my character in Dexter.
PB: Do you have aspirations to direct? Have you?
CSL: I do want to direct films. Before I started acting I wanted to direct films. I’m getting close to that. Hopefully soon. It’s tough to find that perfect first feature script.
PB: What is your main purpose with your work (past to entertain)–due you have a driving force to one day do movie with a social issue or use your work to better people’s life?
CSL: I always felt films and TV is a great platform to inspire change in people’s lives. Change for the better. Not to preach- but to inspire society to question and think about why things are the way they are. And if a good story can instill change in a person for the better then that would be amazing.
PB: What was it like to work with Oscar-nominee Judd Hirsch.
CSL: Judd was amazing. You could see his experience and knowledge seeping out of his acting. For a guy his age he was just as youthful, vibrant, and loads of fun off set. It was amazing watching a master of his craft do his thing.
PB: Anything you hope the audience takes from the film? I know it did well at the Gasparilla International Film Festival (which I also covered).
CSL: I just hope more people can watch the The Red Robin and have fun discussing what happened in the film and reasons why. If the film can do this then I see it as a success.
Article by Entertainment Writer, Paul Booth
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