Triumph

One of the greatest music videos of all time was also by my favorite rap group of all time - The Wu Tang Clan. The video for the song "Triumph" proved to be very popular. It was directed by Rush Hour director Brett Ratner. Throwback Sundays this week remembers "The Killer Bees" first single off of their second classic LP, Wu Tang Forever.

Unusually for a single, the song does not have a chorus. Instead, it solely consists of verses from eight of the nine Wu-Tang members and Cappadonna, as well as an intro by Ol' Dirty Bastard.
When their producer RZA (who later would do the score to Tarantino's Kill Bill) spoke in an 2005 interview about having the whole Clan work together, he mentioned: "...I did "Triumph" ....radio and video stations was telling me it was too long... ..I had to edit it.. ..I told them... ...take it as is... ..or they wont get nothing, feel me? ...Next thing you know, we did the impossible: We got a 6 minute song on the radio... 6 minutes man, that's serious, its unheard of.. ...a 6 minute video..."



The video begins with a fictional breaking news bulletin alerting of a massive swarm of killer bees converging on Manhattan via New York City's four other boroughs, Brooklyn, Queens, The Bronx and the Wu's native Staten Island. The news anchorwoman then goes on to reveal that none other than Ol' Dirty Bastard is atop a Manhattan skyscraper surrounded by police helicopters and police with guns drawn, ready to jump and with his finger on a detonator to what is assumed to be a bomb. The anchorwoman then mentions that there just may be a connection between these two seemingly coincidental events.

Inspectah Deck, a 'superhero', is climbing on the side of the building directly beneath ODB. When ODB jumps off to evade police, Deck runs down the side of the building, reaches the ground, and catches him. As people are scrambling in the street below, Method Man and others ride on motorcycles through the chaos trying to outrun the fireball behind them. When he finishes rapping it explodes and Meth is flung far away. The killer bees are seen passing by them, and go down the sewers and arrive at Cappadonna's secret lair. U-God is seen in a burning forest, hanging on a tree with a few doppelgängers. The killer bees then travel across the water to an Alcatraz-esque prison, where they bust a hole in the wall in the shape of the Wu-Tang symbol. RZA is wearing artificial wings, and appears to be walking to the hole in order to jump out and glide to safety. Instead he transforms into a swarm of bees and kills the guard. The scene switches to space, and GZA is watching over the Earth as an infinitely wise, God-like figure. He makes a gesture with his hands, and sends the killer bees back down into Manhattan. They conglomerate to form Masta Killa, who is standing on a tower in the shape of the Wu-Tang Clan symbol. People gather around him as if he was preaching. He forms a spark in his hands that enters all of their eyes, symbolizing the exposure to "true hip-hop". He then fades away in the form of killer bees, who travel to a club, where Ghostface and Raekwon are rapping. After they finish, the crowd transforms into a mass of bees that travel into the sky, forming the W on a searchlight similar to the bat-signal.

The time to make a film is NOW!

I was lucky enough to run into this article, while on my morning brush through indiewire.
It breaks down a new model for Indie film based on the digital distribution revolution. I love the article and I really appreciate the The 401st Blow :: Thoughts On Media for writing it!

"Whether you are making a traditional 90-minute feature or a ‘new media’ work, we are ALL in a new distribution model. As filmmakers we need to not cling to the arguments of past success but instead look at the future and show where our products can exist and thrive."

Read the full article HERE!

-R

Humpday in New York!

HUMPDAY will be enjoying two NYC screenings in June.

Saturday June 20, 6pm, BAM Cinema

http://www.bam.org/view.aspx?pid=1211 (filmmaker in attendance)

Friday, June 26Rooftop Films http://www.rooftopfilms.com/summerseries.html

Venue: On the Open Road Rooftop above New Design High School
Address: 350 Grand St. @ Essex (Lower East Side, Manhattan)

(filmmaker and cast in attendance)

www.humpdayfilm.com

Declaration of Independence.

Dear voice of independent film,
Spoiler Alert: You aren't speaking for me, like you think you are!

Lions, Tigers and Structure, OH MY!

Structure is not the enemy! In fact, it's just a word. A word that is defined by inter-related components, a relationship to a community or entity, often intangible.
The idea that a structure is just one thing, is completely absurd and certainly not a defining characteristic of the subject. In short, don't be afraid to be part of something, cause you already are, and guess what?...it might be completely different than what I'm part of...and they are both structures!
The indie film community, or whatever clever marketing word is produced as a tool for the media, relies on the structure of it's collaborators. In defense of the lone do-it-yourself auteur, your subject can be considered your collaborator. A community relies on the participation of the individual. This is a structure. A community has a structure. Now, I don't mean a business plan or a mission statement. This is not a battle between the suits and the artist's. Those things are for dramatic circumstances in your next brilliant screenplay. This is about understanding who we already are, and perhaps where we can go. Keyword: WE.
I would like to suggest that we consider this an observation on the "D.I.O" method, rather than the slowly leaning towards a negative connotation "D.I.Y." method. "Do It Ourselves", seems far more appropriate for the community that I feel like I'm a part of. In fact, I dare say "D.I.Y" doesn't even belong in the filmmaking vocabulary anymore. I mean sure, someone can write a script, shoot it all, star in it, edit it, and sell it --but why the hell would you want to do that? From my perspective, the joy of filmmaking is the collaboration process, when you get to be involved in your community, and share the creative process. I don't want to get too caught up in vocab here---I just want to give you some perspective.

DISTRIBUTION doesn't have to be your day job!

Distribution, is the art of sharing. The process requires an individual to share an entity with another individual. This is a the beginning of a structure and relationship. The mainstream approach to media distribution is the relationship between an artist and a network of revenue channels. Usually a broker seals the deal between the artist and it's network. The network goes from being the buyer, to the seller. It distributes the work, using its revenue channels to share the media. Self distribution is the marriage between the artist and the network. This requires the artist to continue to create work while creating a network in which to hustle the work. At the most basic level, the middle man is no longer required. Not every self-distribution method requires the creator to promote, sell, package and mail the work. New technology and media business now allows the creator to maintain control of the work, while dictating a percentage of the labor to an outside source. This process may cut into the percentage of profit that the creator makes, but the labor is also distributed accordingly. Some people complain of the outside source not being transparent enough, but from my experience, it's as obvious as many other forms of business.
Independent film distribution doesn't always involve a brokered deal and an advance, but on the split side, It also doesn't mean you have to promote, sell, package and mail your own work. There's a huge spectrum of method's and each film requires something specific and thought out. There is no defining perspective on this idea. It's just important to remember, at it's most basic, distribution is about sharing something with someone else.

Creativity requires artistic integrity!

As a great filmmaker once told me, "the audience doesn't know what you were going to do, they only know what they see." It's important to approach the work with integrity. We must be pure in our intentions. Respect your audience enough NOT to consider them while you are creating! There is a really good chance that what you've made isn't beyond them, no matter the subject. When it comes down to it, film is about watching humans behave, sometimes within the context of a narrative. Stories are older than words, and so is human behavior. Film is about the observation of humans, not the creation of them. This should take the weight off of our shoulders.
Within the industry, and even with the self proclaimed rebels against it, there is the pressure to think of the audience. In fact, I was once called an "amateur" filmmaker, for not considering the audience ahead of time. The need to please is a huge mistake! Be true to your intentions, not your need for acceptance---that's artistic integrity.

It takes TALENT not MONEY to make great work! Talent is the art of believing in your creative process and constantly working to fully realize it.

Recession is a word, not a boundary. If I want to make a film, I'm going to do it. If I want to make a film, put it in a major film fest, and sell it, then I'm going to do everything my heart tells me to do, to make it happen. If I want to make a film with friends and self distribute, there are many roads to take and luckily for me, none of them are wrong!

Independence is the very spirit of art. To make films, requires one to find that independence. Don't you dare accept anything besides true artistic integrity.

Dear voice of indie film---there is nothing wrong with the independent film structure, except for you and your vocabulary.

Sincerely,
Ryan
Director of CARTER.
www.carterthemovie.com

Natural Causes at the Newport Film Festival

Our friends, the directors of the critically acclaimed feature film Natural Causes are screening their film in Newport, Rhode Island at the NewPort Film Festival.

In a strikingly poetic but natural depiction of romance among inexperienced twenty-somethings, NATURAL CAUSES explores the effects of uncertainty on young relationships. Well-meaning but still clueless about women, David breaks up with Shaina only to fall for her good friend, Cara. David and Cara seem to have the love that they've both been looking for, but can't ignore the feeling that this relationship, like others before it, is short-term. Beautifully shot and infused with genuine humor, NATURAL CAUSES preserves the sweetest moments of new love while refusing to simplify its often painful realities. This is the debut feature of Rhode Island natives and writer/directors Paul and Alex Cannon.

Date: Saturday, June 6, 2009
Time: 9:30pm - 11:45pm
Location: Opera House Cinemas
Street: 19 Touro St.
City/Town: Newport, RI

www.naturalcausesmovie.net/

"Making 'Cookies & Cream'" - Episode 6

From INDEPENDENT ENTERTAINMENT, LLC comes the 6th in the web series from director Omar Hernandez on the making of the handicap budgeted tour de force, feature film "Cookies & Cream" - by One Way or Another Productions.



www.cookiesncreammovie.com

You Wont Miss Me NYC Premiere

Ry Russo Young's YOU WONT MISS ME will have it's New York premiere next month at BAM as part of the BAMcinemaFEST.

Tickets went on sale yesterday. Find them HERE.

The movie is playing on
Friday, June 19th, 9:30p @ BAM Rose Cinemas
June 23rd,6:30p @ BAM Rose Cinemas

Since the premiere at Sundance in January, the film has been playing at film festivals including SXSW, Sarasota, Marfa and Maryland.

Recently, Stella Schnabel won BEST ACTRESS at Method Film Festival in California.

YOU WONT MISS ME has gotten a great critical response, here are a few quotes..

"...a wrenching and beautifully shot character study..."-Andrew O'Hair, Salon

“…a well-constructed, sharply observed, unsentimental modern-moment “Alice in Wonderland.”” -Ray Pride, Movie City News

“…an artful collage that brings to life one of the more dynamic, complicated, and fully formed young female protagonists of recent memory.”-Michael Tully, Hammer to Nail

Also, if you haven't seen the trailer yet,you can watch it HERE.

For more info on the film, go HERE.

First NYC screening of Carter.

Despite technical issues with the venues sound, We had a great time!
The turn out was great, and I was very happy to spend the evening drinking with my friends and talking about films.

Ryland Bouchard

As I'm sitting and working on my new script, I'm listening to the newest record by Portland-based singer/songwriter Ryland Bouchard.
"Seeds" is the kind of record the feels like an experiment in experience, being driven by emotional trial and error rather than some melodic narrative. It's a really moving album with surprises around every corner. It's been a pleasure stumbling upon this haunting work. Ryland's self directed super 8 music videos are equally as moving and heartbreaking as the song's they highlight.

For more information about Ryland Bouchard's "Seeds" CLICK HERE!
The album is available for purchase on Itunes.

The Examiner Reviews Torn

Ron Moore from The Examiner just did a well written review of Richard Johnson's latest feature film Torn, starring Jace Nicole (Cookies & Cream). Torn recently premiered at the Black Film Showcase in Baltimore, MD. Here is some of it below:




"Torn is the story of a young man with ambitions. Ambitions to live, to thrive, to find and to conquer. He searches for his prey not out of avarice but out of the need to explore the boundaries of his own emotional terrain. Along the way he is supported by friends, family, co-workers and lovers. Some could be considered enablers, but none are haters. Torn is a scripted reality show of a life that teeters on the precipice of love and creation. His only fear is touching or being touched too deeply.

Torn is the first feature film of Richard Johnson, a Baltimore artist, musician, producer and creative force of nature. Johnson has written a stirring and true to life portrayal of the choices made in our communities. He brings together a cast motivated by loyalty, dedication and the desire to co-create this work of art. It is the artists of our community that keep us alive and allow us to thrive and think and challenge ourselves to attain and achieve and grow."

Read the full Review HERE.

Twin Rivers Film Festival Selects Uptown!

Brian Ackley's debut feature film Uptown has been selected in the Honorable Mention section at the Twin Rivers Media Film Festival in Asheville, North Carolina.

The Twin Rivers Media Festival supports independent media artists, audio artists, and writers by exposing their work to the artistic community of Asheville, NC throughout the year.

Screening dates will be determined by the festival, as we decide the best month to show the movie within the next few months. Stay tuned here for all our updates, screening times, venue, etc.

http://www.twinriversmediafestival.com/

http://www.uptownfilm.com/

Bear Facts and The Lionshare

I recently got to watch a screener copy of Josh Bernhard's film "The Lionshare".
The Lionshare is the debut feature from writer/director Josh Bernhard. Shot with consumer equipment and a “do-it-yourself” ethic, the movie is being shared with its audience in the same spirit.

-I enjoyed the film, and thought it was beautifully shot. I was surprised to find out that it was scripted, because the dialogue was so casual and the performances were so natural.
The film's sub plot was most interesting to me, regarding the lead's roommate and his relationship with his father. I think the idea of a sub plot being more interesting in the case of these twenty-something relationship (with people and technology) films is noteworthy, because it really highlights the directors effort to actually say something. It gave the film a sense of weight and layers. I could relate to the film, as a male viewer. I think the dude style friendships were spot on. I would have liked to see more of our female lead love interest. I think it would be an interesting companion film (and im not suggesting actually making it) to see what she does during her days, with her friends. This is a moment to moment, real life kind of film, and it's comforting to know that other people are doing the same things as we are---making music for girls, online dating, chillin, drinking beer and trying to figure out what the hell to do with your time after college.
If you are interesting in d.i.y relationship films, from the male perspective, then I recommend trying to catch a screening of The Lionshare. It was a fun film!

-Ryan
ryan@ryanbalas.com
For more information about the film, check out the website HERE!

Uptown, Carter trailers at PULP Movies

Pulp Movies dot com has posted the trailers for Uptown:
http://www.pulpmovies.com/trailers/uptown

and Carter:
http://www.pulpmovies.com/trailers/carter

Thanks!

Zombies for $70

From CNN's Tom Foster---
A budding British director is enjoying success on a shoestring at Cannes with "Colin," a new zombie feature that cost a scarcely believable $70 to make.

Japanese distributors are currently in negotiations for the rights to the film and buzz around the no-budget zombie chiller has attracted interest from some major American distributors -- all of which is a very nice surprise for the team behind "Colin."

"We were almost fainting at the list of people who were coming [to the final market screening of the film]," said Helen Grace of Left Films who is helping the film's director Marc Price publicize the film in Cannes. "Representatives from major American distributors -- some of the Hollywood studios."

"When we say it's a low budget film, people presume a couple of hundred thousand [dollars]. People can't figure out how it's possible. What Marc's achieved has left people astonished."

It was by advertising for volunteer zombies on social networking site Facebook, borrowing make-up from Hollywood blockbusters and teaching himself how to produce special effects that thrifty director Price was able to make the film for less than the price of a zombie DVD box set.

Read the rest of the article HERE!

The Truth of Petey Greene

Courtesty of HULU: "Adjust the Color, the truth of Petey Greene"
A documentary about the late, great shock jock, who became the voice of the black community, on radio and television. Featuring early clips of Howard Stern.




If you have trouble watching the embedded video just CLICK HERE.

An Incredible Review for Uptown

Richard Propes at The Independent Critic gave Uptown a great, well written, and honest review. Here some of it is below:

"Have you ever fallen in love with someone you shouldn't?

Have you ever felt such a deep desire for connection, even a semblance of connection, that you would gladly risk your heart or your mind or even your very values on the offbeat chance you might find it?

If you have, "Uptown" is about you. You will do more than watch "Uptown," you will breathe it in. You won't just be a witness to "Uptown," but you will experience it.

The debut feature film from actor/director Brian Ackley, "Uptown" is the second film in the One Way or Another "Naked Series."

Naked is, in fact, the perfect word for "Uptown," the story of a man, Ben (Chris Riquinha), and a woman, Isabel (Meissa Hampton), and the ways in which they dance, flirt, dive and tiptoe in the often muddy waters of human connection."

Read Full Review HERE.

www.uptownfilm.com

Filmmaker / Lesbian Dominatrix

My Normal, starring our good friend Naama Kates (Cookies & Cream), is playing at the Dances With Films Festival in LA!

"My Normal" is the story of Natalie, a young lesbian from the Lower East Side, who's struggling to find a balance between her dreams of becoming a film maker and her lifestyle as a dominatrix. Her exotic looks and unconventional techniques make her one of the most desirable mistresses in the NYC underground. After befriending her weed dealer and igniting a steamy love affair with her new girl, Natalie gets an internship on a real movie set. But if everything she ever wanted is becoming a reality, why is her life falling apart? When it seems that all is lost, Natalie realizes that the only way to turn her dreams into reality is to use her unique talents as a dominatrix to get exactly what she wants. Get Tickets and Showtimes HERE.



www.myspace.com/mynormalthemovie

NPR Reviews The Rollo Treadway

NPR just gave our friends The Rollo Treadway a great review of their debut LP! The Rollo Treadway, one of my favorite bands signed or unsigned, has given us music for Cookies & Cream ("Rua Garura 188," a great song that appears towards the beginning when Carmen prepares for her first date). We even used their wonderfully creative and adventurous song "Dear Mr. Doe" for the film's official trailer. After reading this review, you will see why you HAVE to get yourself a copy of it (which you can do below). Its incredible. Here is the full review:

"The Rollo Treadway's self-titled debut sounds like something you'd find in a dusty record store that specializes in baroque pop and psychedelic rock from the 1960s. Listen to the five-part harmonies and jangly guitars, and you'd swear it was a long-forgotten album by The Zombies or The Byrds. But this Brooklyn-based quintet has only been together for two years — producing, in that time, a beautifully realized concept album of glittering, reverb-soaked gems that pay tribute to '60s pop, without sounding like a gimmicky imitation.

The 13 tracks on "The Rollo Treadway" detail the kidnapping of two children, told through the eyes of various characters. "This blindfold's pretty tight / I can't tell if it's day or night," frontman David Sandholm sings on the album opener. It's the beginning of a grim tale, made creepier by the cheery tone of the music itself.

"Dear Mr. Doe" begins with the clattering typewriter of the kidnapper composing his ransom note, as the band lists his demands with Beach Boys harmonies. "The Seahorse" is an instrumental interlude that sounds like a circus dirge, while the album closes with an a cappella lullaby: "Now it's time to say goodnight / Climb up into bed / No more time to laugh and play / Rest your little head."

The Rollo Treadway, which gets its name from Buster Keaton's character in the 1924 movie The Navigator, features David Sandholm on guitar and vocals, Tyler Wenzel on guitar, Jorg Kruckel on keyboards, Grant Zubritsky on bass guitar and Blake Fleming on drums."

Here is the NPR review link

Get a copy of the record HERE.

www.myspace.com/therollotreadway

Room 314

It's my last night in a hotel, before returning back to NYC.
This found footage video seemed appropriate...



Sweet Dreams,
-Ryan
ryan@ryanbalas.com

Charlie Kaufman Considers Leaving Movies

Got an interesting link from Tambay Obenson from The Obenson Report on this story. Here is some of it below:

"Frustrated with film, Charlie Kaufman is considering a switch to the small screen. But something tells me the maverick director might need reigning in.

What do you do when your directorial debut struggles to find a distributor, then finds it even harder to secure an audience in your native land? If your name is Charlie Kaufman, you begin to consider shifting your schtick to the small screen.

The Oscar-nominated screenwriter-turned-director, whose new film Synecdoche, New York finally stumbled into UK cinemas on Friday, after a year in which it confused the critics at Cannes and disappeared without trace at the US box office, is reportedly mulling a move into TV. "I am seriously considering it," he told the London Paper last week. "I would want my own show. I like the idea of telling something over time. It might be a fun challenge. The movie business has changed, and with the stuff I do, it would be an interesting place to go."

Full Story HERE.

Baystate Blues

As I sit in my hotel room, in Massachusetts, preparing to work on the web series "Blue Collar Bastards" , I would like to take some time to highlight the critically acclaimed film that it's based on---

Baystate Blues
Written/Directed/Produced by Mark Lewis
"What do you think of when you hear the term 'small town America'? Chances are
if you're on the Conservative Right, you think of a Norman Rockwell utopia. If you're
on the Liberal Left you think of a haven for the brain dead redneck NASCAR fans.
As with most things the truth lies somewhere between the two extremes.
This is a story of the truth."

Now available to watch at the OFFICIAL WEBSITE!

Cinema-Crazed: "...a very intriguing and engrossing drama with brutal chemistry and a slew of exceptional performances".Bread review

Short End Magazine: (Review/Interview) "Like a bittersweet but beautiful hangover of the Brat Pack era..."B read review

Rogue Cinema: "...a perfect reflection on real life...the best drama I've seen in quite some time."B read review

Pulpmovies: "...All of the cast deliver superb performances...the film quickly becomes utterly engrossing."B read review

World of Cinema: (8.9 out of 10) "...Mark Lewis, the writer and director of this film has major talent and an eye for cinema."B read review

Peaceful Critic: "It's beautiful to behold...a writing style not too far removed from that of the Coen Brothers..." B read review

Film Arcade: "If you cannot relate to at least one of these characters, you have no soul. I actually wanted to watch more of this film once it was done." B read review

World's Greatest Critic: (3 1/2 Stars) "...'Baystate Blues' exceeds most mainstream films of its kind." B read review

Celluloid Dreams: "...thoroughly absorbing and skillfully made and easily one of the best independent films I've seen." B read review

Microfilmaker Magazine: (8.6 out of 10) Awarded Best of Show, June 2008
B read review

Askew Reviews: "...an independent movie that runs emotionally deeper than 98% of mainstream fare."B read review

Moviebuffs: "Kudos to Lewis for his sure direction and to his marvelous cast...fine ensemble work."B read review

JWR FILM/DVD: (4 Stars) "...a gem of a film."B read review

SONIC-CINEMA: Final Grade: A- B read review

The Great Roger Ebert on Self Indulgence

"A director who really wants to do something with a film, who has a need to express it, and fulfill his wish in that way, is going to make a more interesting film than most directors, who's wish is to make a lot of money and get a lot of tickets sold at the box office. Is he self indulgent? Bergman is self indulgent, Fellini is the most self indulgent of directors. Every great director is self indulgent. I mean, who else are you gonna indulge? If you indulge the audience then you're not a director at all. You're just a caterer."

- Roger Ebert

(in the The Outsider)

The Outsider on Youtube!

Today is a great day of discovery for OneWayTV, and hopefully you our readers.

Thanks to Snagfilms, you can now see The Outsider in full for free on Youtube!

Our friend Nickolas Jarecki directed a funny and cool film for us to watch about some more friends of ours (a few appear in this film). But we wont drop names (who cares anyway?).

From Bugsy to Two Girls and a Guy, you know his movies, but may not know the man behind them. This documentary about James Toback is very entertaining and informative. With only a partial script and 12 days to shoot a feature film, we learn a lot about what it takes to be a director who "makes things happen".

The best scenes show Toback actually directing the actors, demonstrating the difference between directing and micro-managing. There are some great anecdotes from "celebrity guests", and a lot of great insight from Toback's good friend Robert Downey, Jr., who has been in quite a few Toback pictures. (The Pick-up Artist, Two Girls and a Guy, Black & White to name a few). Don't miss the story of how Toback's agent first met him.

You can now watch the full feature film HERE.

Five Feet High and Rising

The most acclaimed short film of 2000. Using non-professional actors, this New York-based film takes a cinema verite' inspired look at a sexual innocence and discovery.

I am very proud to be able to present the "calling card" film for director Peter Sollett, who went on to direct the latest Hollywood teen-hit feature Nick and Norah's Infinite Playlist. But it all started with Five Feet High and Rising, a 26-minute short, and can be seen as the film that started it all for Sollett. Although he wrote and directed this film from the heart without being fully aware of what a hit short film could do for a director back in 2000 (arguably the last moment in time where a short film playing a film festival could directly lead to funding for your first feature), the film went on to win several awards, and play Cannes, Aspen Shortfest, SXSW, and Sundance, where it was picked up and shown regularly on the Sundance Channel (where I first caught it).

After this short, he expanded his idea into a feature, but used the same leads in the short as lead actors in the feature (the great Victor Razuk, and the great Judy Marte). That feature was called Raising Victor Vargas, and is an absolute revelation of a movie. Most independent and Hollywood movie dialogue will sound artificial after one viewing of Raising Victor Vargas. His process in these two films still seems a bit of a mystery, at least when it comes to finding out what it actually is. Maybe an interview here and there, but nothing much. Which makes this, and the feature that followed it, even more special.

Five Feet High and Rising



www.netflix.com
www.blockbusteronline.com
www.amazon.com

Tron_Mode

Here is a short film called Tron_Mode, by Massimiliano Melis.

- with Antonio Landi /a poetry of Wallace Stevens



To see more of this painter/musicians art, visit his Youtube Channel.

Cookies & Cream Official NYC Premiere!

Cookies & Cream is having its official NY premiere on Sunday July 5th, 2009 at 9:15 pm. In November last year, the film had a sneak preview screening at the wonderful Sexy International Film Festival by director Jason Turley. Now after some minor adjustments to the film that resulted in a final director's cut, the critically acclaimed feature debut of director Princeton Holt is an official selection of the NewFilmmaker's Series, and will be screening at the famous Anthology Film Archives in New York City. You can stay tuned to OneWayTV and view the listing HERE at the Festival's Official Website. Make sure if you are in the NY area to come and see the movie. If you cannot be here, make sure to grab a sneak preview copy of the DVD at the website below.




"A strikingly visual film, full of fantastic performances from everyone in the cast, and a magnificent musical score. It stays in your mind well after seeing it because it offers a vantage point not often shown in cinema." - RogueCinema.com

www.cookiesncreammovie.com

Irena's Vow

Last week, I went to see "Irena's Vow" on Broadway, thanks for the recommendation from social/political blogger Ryan J. Davis (thanks again, ryan!). Unfortunately, I was dateless to the event, but was happy to have an empty chair beside me, to hold my red wine.
I had a lovely time at the theater, and am always interested in plays about the holocaust. It is a subject that is timeless in it's message and urgent to be told..as the real Irena would say "before history repeats itself. The message of universal love, and the power to look evil in the face and refuse to give in to it's iron fist is very important now and forever. There was a moment in the play (spoiler alert!) where one of the jewish women in hiding has to make a decision whether or not to have a child (she finds herself pregnant...even under such difficult circumstances)...it's a matter of life and death. The woman can abort the baby and help protect those in hiding...or she can have baby and risk their capture. Irena makes it very clear that if the baby is aborted, than hitler wins. It was a very interesting dilemna that I found myself on both sides of, at different times in the play.
The play used video clips as part of the multimedia set design. It was very enjoyable connecting the film world with live theater and I think it's a very effective storytelling method. There was a moment in the play where Irena described the gathering and murdering of Jews within a ghetto and as the story built, red light gathered on the back drop, making a very clear and powerful statement that I will never forget. The power of hate is a very scary and persuasive tool.
The acting was great...many very real, and intimate moments. However the leading lady's reputation proceeds herself (and if the 75% name above the title, full page bio, and only character in color on the poster doesn't give it away...then I dont know what will). There was a moment when Irena (Tovah Feldshuh) turns to the audience and says "I love you all, I really do" and I couldn't help but feel like maybe she expected us to same the same thing back to her. In that moment...I didn't see humble Irena.
The writing was a good mix between drama and comedy while pushing the narrative forward. There were times I felt it felt distinctly North American and a little contemporary but as I said, the story is timeless and I think that it helps to translate the themes to a new audience.
If you are in the New York City area this spring/summer and you want to laugh and cry...go see Irena's Vow on Broadway. The story is important to share.
-Ryan Balas
ryan@ryanbalas.com

Click the photo, to see the official Irena's Vow website!

One woman. Twelve lives. Only one choice.

Following a triumphant sold-out engagement, four-time Tony Award® nominee Tovah Feldshuh returns to Broadway in the critically acclaimed, tremendously moving new play, IRENA’S VOW.

Featuring a cast of ten, IRENA’S VOW is the riveting, life-affirming story about one of the most courageous and unsung heroines of World War II. During the German occupation of Poland, Irena Gut Opdyke, a Polish Catholic, was forced to work as head housekeeper for a prominent German major. Over a two-year period of service, Irena would risk her own life in order to protect the lives of twelve Jewish refugees whom she secretly took under her care. IRENA’S VOW is the extraordinary true story of one woman’s choice and the twelve lives that would ultimately be saved - or lost - by her decision.

IRENA’S VOW marks Tovah Feldshuh’s first return to Broadway since her incomparable performance
in GOLDA’S BALCONY.

The production is looking for relatives and descendants of the Jews Irena saved.
If you have any information, please email: IrenasVowSurvivors@gmail.com

Raging Bull Final Monologue

Lead actor alters his physical appearance for his character. Academy Awards. Scorsese. Deniro. Throwback Sundays. 'Nuff said.

www.amazon.com

How to Make Mini DV 24p Look Like 16mm

Here is a cool tip for those of you shooting features in 24p.



Above is a still from our most recent film. During the post production of Uptown, we discovered a peculiar thing after cutting the opening scene. Our under lit original footage, shot on location in the increasingly darkening Mulberry Street Restaurant, immediately resembled 16mm film after contrast was raised using the color correction feature in Final Cut Pro. This then reminded us of a couple of scenes in Cookies & Cream (especially the dance sequence), that resembled available-lit 16mm film.



Here is how to acheive this affect:

Shoot in low, available light. Lights should not be too bright, but not absolutely black either. Try to find a dim light, somewhere in the scene's location, and use it. You will be able to see it through your viewfinder, and it may look fine as is. You will see however, after you have output your film to DVD and watch it on a flatscreen (or even some regular TVs), that it appears really dark - an almost unable dark.

Step two, edit your footage into a scene of your liking. Its okay, trust us. Get it to where you are happy. After color correction, you should be ready to pass on it. Find the color correction feature on Final Cut Pro (or many others including Sony Vegas - which was used in Cookies...). Simply raise the contrast during those scenes or shots where you want the affect, or where the scene appears too dark and underlit for your taste. Raise it up!



Now you have your affect. Again, this works best in your lower lit shots. This may be common sense to some experts, but you would be surprised at how little this is written or talked about. Its a practical trick that we are curious to see explored, possibly into an entire feature film project. It appears that we are only shooting 24p on one more feature, the soon approaching Miranda by Kent Sutton. But if any of you are shooting a short or even a feature with 24p mini DV, I would be anxious to hear how far you are able to take it when it comes to screen time and usage. I would love to see an entire project with this affect. Maybe it could be marketed as "the 16mm feature that was shot on DV."

www.wix.com/onewaytv/uptown
www.wix.com/onewaytv/cookies

It’s All About The Music

Craig Brewer, easily one of my favorite new filmmakers, is turning next to the web to create.

Thanks to HammertoNail for the post.

$5 Cover is now streaming for free online at mtv.com. They also have a blog that provides much more insight into the Memphis music scene.)

At the 2009 Sundance Film Festival, writer/director Craig Brewer (The Poor and Hungry, Hustle and Flow, Black Snake Moan) gave a sneak peak of his upcoming MTV web series down in the curtained basement of New Frontiers. $5 Cover is comprised of thirty eight-minute webisodes that feature a different Memphis musician going through a normal day leading up to the performance of a song. As in all of Brewer’s work, the true reality of living life on the edge of poverty is vividly conveyed and the struggle to make ends meet is inseparable from the struggle to create music.

The bite-size episodes (Brewer calls them ‘tracks’) combine reality-based drama with music performance in a tight compact form that often makes it feel like you are watching a mini-movie. This is due to the fact that the reality episode we witness is often a riff on the lyrics we hear the musician singing in the performance. In that sense each ‘track’ has a dramatic arc, which maximizes every minute with cumulative power as we gain more and more insight into both the artist and their lifestyle. By the time we get to the song performance we know the background of the lyrics because we have just lived through the musician’s life, which inspired the song.

Full Piece HERE.

Uptown, Carter, Cookies on DVD!!

So as a part of our Summertime Naked Series Release, you can now get Uptown, Carter, and Cookies & Cream on DVD for $20 each!



TcwReviews calls Uptown "a titillating film, with a great cast, outstanding score, and gorgeous cinematography that makes you feel like youre right there." (full review HERE)

About Carter, Sonic-Cinema says "Carter is about idiosyncrasies in human behavior. You feel a genuine connection with these characters that’s hard to ignore." (full review HERE)

IndieWIRE's Filmmaker Sujewa calls Cookies & Cream, "one of the strongest, well made, generally effective, debut feature dramas I've seen in several years." (full review HERE)

Get Your Copies HERE!

Making Movies With Woody

“This book is full of wisdom, insight, and practical filmmaking experience. It’s really what goes on day to day in the trenches. Where was this book when I was starting out?” — WOODY ALLEN

Tom Reilly has spent three decades making movies, working with some of the best filmmakers in the world. In The Big Picture he uses fifty short, entertaining essays to share what he has learned on the sets of critically acclaimed films and commercial blockbusters. He illuminates the craft and the personalities that go into making a great movie.

The Big Picture is a must-have book for any aspiring filmmaker who wants to know the secrets of the pros, or for movie buffs who want to know what really happens on the sets of their favorite films.

The veteran of more than forty films, Tom Reilly worked with Woody Allen on classics such as Husbands & Wives, Bullets Over Broadway, Hannah & Her Sisters, Zelig, and Manhattan Murder Mystery. He has also been the Assistant Director on major motion pictures such as Big, The Prince of Tides, Glengarry Glen Ross, Hide and Seek, and Evening.

Go here for more info.

Zero Film Festival

This seems like a really cool fest for no-lo budg films!
They are currently looking for nyc/brooklyn indie filmmakers.




Focusing on a niche in the independent film community which has been traditionally ignored, Zero Film Festival is dedicated to screening self financed, zero budget films from the United States and around the world.

In the age where the majority of festivals are Hollywood marketing campaigns, and even "indie" and "underground" festivals screen financed films, we are here to offer something different. We recognize authentically independent films and filmmakers who take risks and fight the odds to see their visions through.

The 1st annual Zero Film Festival is the first festival of it's kind, designed to exclusively showcase zero budget films, and open up the door for original and innovative works from DIY filmmakers with inspiration and dedication (but not the budget), who sadly are all too often overlooked by the mainstream festival circuit.

Zero Film Festival has established itself as a festival representing authenticity, integrity and innovation.
2009 - Zero is bright, crisp and clear.

FAQ:
I'm a zero budget filmmaker who went out and shot a film that was completely original, and I broke all the rules along the way. I've been submitting to all the big festivals and two months later get a Dear John. Should I risk another 40 green ones on your festival?

Answer: Dear Filmmaker, Zero Film Festival was designed for YOU.
If this is a zero budget film festival, then you know we're broke, why are you charging us submission fees!??

Answer: It's our goal to make sure every selected filmmaker is able to attend our festival, and charging submissions helps us make this a reality by weeding out uncommitted filmmakers and allowing more time for our panel to select quality films. All films submitted are screened multiple times by different judges. JUDGES! Not interns who speed through the first ten minutes and dump it in the recycling because there aren't any C-List stars!
But, I'm short on cash, and fast drownin' in the credit card debt, can't you give me a break?!

Answer: Absolutely. Each selected filmmaker becomes part of the Zero Film Fest family- and never again will be charged a submission fee. We will cultivate our relationships with emerging talent until the day they move on to big budget more Hollywood oriented festivals.
What do you consider "Zero Budget"?

Answer: The primary reason why we ask submitting filmmakers to write a cover letter is because part of the selection is determined by YOUR DEDICATION TO YOUR FILM... We know the filmmaker who put everything into their film will attend the festival and work hard to help promote their film, bringing a lot of people along to watch the screening and celebrate life at the After Parties...
Yo! Check out my movies on YOUTUBE! Let me know what you think!

Answer: No! Submit to our festival and we'll preview your film!

Once submitted, we are not opposed to screening youtube films. If the submitted film is on youtube, it better be amazing because it will be more difficult to get people to show up to rad warehouses and community film centers-- Even if there will be AMAZING after parties with AMAZING bands playing!
Why do you require a cover letter? How long should it be? What should it say? I'm a filmmaker not a paper writer for -----'s sake!

Answer: Tell us how much you care about your film, how much you spent, did you sell your kidney, were you arrested by the Homeland Security, did you get stitches running from security guards after getting that mind-blowing guerilla shot? It could be one sentence, could be a page, tell us why we should care about your film, we don't know... we are programmers, not professional readers for -----'s sake!
But, I'm really broke, and my film's got the best dialogue since Linklater/Taratino/Ozu.. can't you waive the fee?

Answer: We want to, we really do, but our policy is 100% no fee waivers. If your film is that good, enter it and we'll screen it, then you'll never ever have to pay another one of those pesky entry fees again.
Please?

Answer: We're sorry. No. This is the Zero Film Festival, everyone submitting is broke, it just wouldn't be fair.
I sold the houseboat my uncle gave me for Christmas and used the 1.4 million to pay for my first ultra low budget short film staring some staid actor. Should I submit?

Answer: Yes, but we won't screen your film.
My six friends and I each put (one, ten, thirty) grand a piece on our credit cards and shot a feature documentary about camels, is that zero budget? I took my still camera, switched it to video, and made a documentary about camels, should I submit?

Answer: Absolutely! Camel double feature, what a coincidence! This makes programming so easy...
Hey! On your website the international features are like way discounted, what's the deal, are you a traitor?!

Answer: We are the Zero Budget International Film Festival according to our articles of incorporation. We are committed to screening films and hosting filmmakers from the GLOBAL film community.
But Zero Film Festival, can't you please waive my fee or check out my youtube video?

Answer: We don't have time to figure out how to waive fees or click on youtube, we're too busy previewing properly submitted films from around the world and hooking up rad booze sponsors...
What's the deal with this slots reserved for other cities nonsense? I'm from L.A., how come there's not an L.A. spot reserved? I'm from Rhode Island, where's the Providence slot?

Answer: Relax. We have plenty of slots to be filled. If your film is original, ground-breaking, hilarious, we'll probably screen it. The reserved slots are a way for us to broaden the community of zero budget filmmakers. There is room for everyone with an amazing film.
What about other cities from around the world?

Answer: We will program a good amount of international films. In addition to rad after parties with amazing booze sponsors, we plan to screen the best low/no/zero budget films in the world. So, if yours is in that category, SUBMIT! Right now!
Withoutabox? What is that? Seems like inside the box to me!

Answer: Within the next two weeks we'll update our website on information for direct submissions to Zero Film festival, but unfortunately it won't be up and running before the Earlybird Deadline.
This is a great festival concept! Can I help?!

Answer: Yes, we are currently looking for marketing interns in several key cities throughout America and the rest of the world to help get the word out to filmmakers with zero budget films. Don't hesitate to get in contact with us! Check out the partners page on our website, www.zerofilmfest.com
My cinematic work of no budget to speak of is powerful, but it's marginal and doesn't have an easy marketing hook. If I submit, and you screen my film because it's so original and amazing, what will I get out of it besides recognition for my years of hard work and dedication, the best parties in Los Angeles and free booze?

Answer: We're working on recruiting some relevant representatives to attend the event/ bribing some critics to show up for the free booze from our booze sponsors. The best way for this to happen is for high quality films to be submitted by you.

$100,000 to Make a Short??

This is so odd to me, but I will not take any shots. I wanted to at first, but I read the entire rules list twice, and decided that its not the worse contest in the world, because there is no entry fee, they pay the filmmakers $500 if you win (although they are going to make MUCH, MUCH more from ad revenue than you will), and that there is no premiere status requirement. All of this looks good (well, except for the fact that none of the films in our community from our friends that aren't African American have a chance in hell of being accepted).

A short film contest from BET where the winning short filmmaker gets
$100,000.00 to produce a short film to be aired on the BET Networks and program services

Got a short film? Played it at film festivals?
Now what?
Why not submit it to the Lens on Talent: Johnson & Johnson Presents A Filmmakers Challenge?

Can I submit more than one film?
Yes.

Can my short film have been previously screened at a film festival?

Yes. The contest is open to short films that have been screened at any film festival. If so, please indicate the film festival(s) and year(s) that your film(s) played

What constitutes a short film?

For the purposes of the contest, a short film is any film under 20 minutes in length.

What are the contest dates?

The entry period begins April 3, 2009 and ends on November 30, 2009

Is there a required film format?

Each entry must be submitted on either, DVD-R (AVI or Quicktime), or VHS format. Please send in a copy, NOT your Master!

Who determines the winner?

A reviewing committee comprised of executives within the film industry will judge each entry and select the winner.

I'm interested, what do I do next?

Follow the Official Rules located in this document.

For full rules, etc, go HERE.

Visions of My Journeys

VISIONS OF MY JOURNEYS- Steve Sandler

"Why France? Because that was where the art was. The ghosts of Cézanne, Matisse, Bonnard, and Picasso speak the loudest but there’s also Monet, Derain, the Expressionists, and lest we forget Van Gogh. They came to the South for the light; the ancient olive trees with their gnarled branches and grey-green leaves glowing in the Provençal sun; the Mediterranean’s sparkle. I’ve been to Roussillon where they mined the pigments for their oils, to Collioure where Matisse and Derain found Fauvist colors in the anchovy boats bobbing in the harbor; the Côte D’Azur; Nice where Matisse’s window looked out onto Baie des Anges; Arles/St.Remy—Van Gogh’s haunts; and Cassis to see the pure whiteness of the Calanques.

Why France? Because I’ve been to Aix-en-Provence and once stayed at “Château Noir” one of Cézanne’s studios and lived amidst his motifs. I journeyed up a hill a little past Atelier Cézanne to Les Lauves and the spot where he consumed Montagne Ste-Victoire with his paints. We climbed over a fence to see the quarry at Bibémus and another studio. I once found a way to get to Barrage Zola to view the mountain, and found Pont Des 3 Sautets over the L’Arc. I’ve been to “Cézanne World”!

Why France? Paris! I’ve been to their studios, walked their streets, studied their motifs, seen their work in the Museums, had coffee in their cafes, and drank in their bars. A little piece of heaven was sketching in the Jardin du Luxembourg on a sunny fall day—yum!

So I see each of these travelscapes as a reminder of my past travels; each a memory; each a footprint left in the dirt to lead me back to these special places.

Let me share these paintings with you. I hope that my enthusiasm will inspire you to travel to some of these places for a first time or to return to see them in a different light.

I know I can’t wait to return."

- Steve Sandler April 2009

AEON LOGIC ART GALLERY
4, Malcolm X Boulevard, Brooklyn
Brooklyn, NY 11221 US

Please join us for an evening with Steve's paintings of his interesting journey around France.

Friday, May 15, 6:30PM

http://www.aeonlogicartgallery.site90.net