Tuesday

The Deadline Approacheth

Hope all you DIY Filmmakers had a fantastic New Year celebration.  Welcome to 2015!!!!!



Or maybe you were bent over your edit bay, suffering over that last edit in time to get your film out to the festival circuit....

Our DIY FILM FESTIVAL deadline is fast approaching!!!!!  We will be accepting films postmarked by Feb. 14th, Valentine's Day, which is a Saturday this year.  We will announce the finalists soon after, and the gala will be in early March to announce the winners. If you're a FINALIST you will be NOTIFIED ASAP!



  Pinnacle Editing software, is again offering editing software as prizes to the award winning films, their software is an excellent tool for the DIY Filmmaker, and Kinonation is offering distribution for the winning films; they have an excellent distribution model for the DIY film.


So hurry!  Time to get your entry into withoutabox.com and into the mail!!!






Filmmakers sad to have missed the deadline for the film fest....

 






Meanwhile....


Was just reading about the journey of film director Jonathan Demme in the latest DGA magazine (written by Rob Feld) who began his career working for prolific move producer Roger Corman...  and how he went from a DIY Film Director to a studio maven.... and back.


DGA Quarterly Jonathan Demme Manchurian Candidate
BRAINWASHED: Demme directs a scene from The Manchurian Candidate. When you have someone like Denzel Washington, Demme says, you want to do close-ups. (Photo: Courtesy of Paramount Pictures)

Here are some excerpts from his interview in the DGA Magazine: 

ROB FELD: Looking at how you first got started making movies, it’s nothing you could have planned.

JONATHAN DEMME: It’s true. My dream was to be a veterinarian, but I flunked out of chemistry. I was an obsessive film buff and completely broke. When I went home to Miami and resumed working in animal hospitals, I found a little paper needing a film critic. I couldn’t have been happier and I then had the opportunity to become a publicist. Now I was inside the movie industry, meeting amazing people, and I didn’t want to do anything else—until I got a call to be Roger Corman’s unit publicist. 

On my first meeting with him, he said, ‘You write good production notes. You’re hired as the publicist, and listen, do you know how to write a script?’ I went, ‘Yeah, sure.’ It wasn’t like a dream come true. It was just an extraordinary thing. So Roger buys the script and says, ‘Jonathan, you would probably be a good producer. You can produce it.’ And, again, I never had any dreams of producing movies.

Q: And how did that lead you to directing?
A: Later on we made The Hot Box [1972]in the Philippines and encountered monsoons. We went way behind schedule and it became necessary to have a second unit, so I became the second unit director to shoot these battle scenes. What the hell? I went out to shoot and fell instantly in love with directing. And Roger gave me an opportunity to direct. He said, write a women’s prison movie, which was Caged Heat. I never had dreams of doing that sort of thing, either. To be a publicist in the movie business was as good as it gets.

Q: What were some of the things you picked up from the Corman playbook?
A: I’ll never forget having my directorial one-hour luncheon at a spaghetti joint on Sunset Boulevard, around the corner from New World Pictures, where Roger gave me all the rules. There were a number of things that struck me hard. He said you have to think in terms of the human eyeball at all times. It’s a visual medium and our eyes are what keep our brains engaged in the movie. 

If you start boring the eye, then the brain will get bored. So try to get a variety of angles and not fall into the same kinds of angles and compositions scene after scene. Try to have different close-ups for every scene. Whenever you’ve got the motivation, move the camera, because the human eye loves that element of surprise. Where are we going? What are we going to see next? That’s before the brain even gets involved.

He also said you don’t have to do a lot of fancy moving, either. Roger felt that the best shot in cinema is dollying slowly down a hallway toward a closed door. You can’t beat that shot. I’ve done it a million times and it’s always great—the introduction of Dr. Lecter in The Silence of the Lambs. It signals that something important is going to happen on the other side of that door. It may be a surprise party or it may be Linda Blair in The Exorcist.

Q: Can you remember the first film where you did a camera move and went, ‘Oh, that really works’?
A: Totally. Caged Heat, the first movie I directed. I had a 20-day schedule, not knowing what the hell I was doing, thinking, ‘Are we really going to take the time to set up a dolly shot?’ But [cinematographer] Tak [Fujimoto] and I set up this elaborate dolly shot to introduce all the women confined in the cellblock. We gave everyone a little business and, to me, it seemed as great as anything in Doctor Zhivago.
......

Q: Even from your earliest films you were getting strong performances. How has your method of working with actors evolved?
A: At a certain point a giant light bulb goes off in a new director’s head, if they weren’t smart enough to get it from the outside, which I wasn’t. The actors have been preparing for tomorrow’s scene, so not only should I not come tell them where to sit and when to stand up to go get the water, I should just shut up and trust that this wonderful actor I’ve cast is going to bring fabulous stuff. The beauty of shooting digital is that you can say, ‘On this next take, let’s just do four straight runs; we won’t come in and touch you up. I’m not going to say anything.’ 

I’ve seen it happen so many times; no one is going to have a better idea for Meryl Streep or Anne Hathaway on their next take than Meryl Streep and Anne Hathaway. They’ve just done it, now give them a chance to do it again. After three or four runs you just see what starts happening, and if I have any requests, then I can make them. That to me is the great breakthrough in technology, giving the actors an opportunity to do these repeated shots unencumbered by cut, makeup, little adjustments, all that stuff.

Q: But you are having discussions with the actors beforehand?
A: The part gets offered to them and we meet and talk about the script. The one thing I want to know for sure is, ‘Is there anything in here that you’re not comfortable with, that you don’t buy, or do you feel it’s missing something?’ Because that’s when we have to figure out if we’re on the same wavelength. I make a deal with actors: You will try anything I request, whether you think it’s good, bad, or ugly, and I will always make sure that you never leave a scene feeling you didn’t get a chance to have what you wanted to do captured on film. 

I don’t think there’s any right or wrong, just what ultimately works best for the story scene by scene. Sometimes people will say, ‘Oh, I love the performance you got out of so and so.’ I didn’t get anything out of anybody. I encouraged, I protected, I helped create an open, positive atmosphere where the actors know that we are all there to support and capture the magic they create. I hopefully tossed in a couple of good ideas, but that’s their performance.
.....

Q: How do you decide when to use more subjective POV shots instead of over-the-shoulder shots?
A: The most powerful shot of all is when you put the viewer right in the shoes of one of the characters so that they are seeing exactly what the character is seeing and, ideally, having the same response that the character is having because they’re so identified with them. How do you get into that POV shot? We’ve discovered you have to have tight over-the-shoulders in order to get there invisibly. 

Of course, you don’t want your audience to realize your actors are staring into the camera. You want them to be so immersed in the moment that it’s their reality, so you need that tight, tight over the shoulder to get in and out of the subjective camera. We felt like that shot was made for The Silence of the Lambs because, in their confrontations with each other, Dr. Lecter [Anthony Hopkins] and Clarice [Jodie Foster] are going deep inside each other’s heads. The more you back off and loosen the over-the-shoulders, you’re just moving away from the goal of the intensity of the sequence, becoming more and more objective. I love pushing the subjective side of things whenever possible for the viewer.

Q: How does that apply to the shot where you introduce Hannibal Lecter?
A: Again, that’s from Corman’s dollying down a hallway. We dollied down a cellblock to reveal this guy standing there. We knew we were going to push the POV aspect of things in every scene that Jodie was in because she’s the one that we’re going to identify with. In our shot list, our close-ups were always super tight, over and into the lens. 

And we knew that whatever she did, whatever walk she took, we’d have a moving POV there. We’d have a record of everything she saw throughout the course of the story. We could go to her point of view whenever we wanted, would have the matching shot to tie us in with it, and we would have the overs to get us into that delicious little duet of POVs.

Q: So, when do you shoot what we’re seeing and when do you shoot what we’re feeling?
A: The feeling part is super important, isn’t it? So it really becomes a question of how do we translate what we want the feeling to be through what we see? Very often that brings us back to the character’s face and what they’re presented with in the moment, their POV of things. I knew the end of The Silence of the Lambs would work great, when Buffalo Bill runs away from Clarice in the dark, because a lot of it was like the endless variations on dollying down the hallway to the closed door. 

We’re dollying through this scary basement and there’s so many doors. If you’ve got Jodie Foster or Meryl Streep or Denzel Washington, you really love those close-ups of them. So what about a close-up where they’re looking at the audience and the audience now sees what they’re seeing? POV is just so vital. I’m surprised it isn’t used more often.
....

Q: How much of a practical business head do you need to have as a director?
A: Corman always says that a director has to be 40 percent artist and 60 percent businessman, and then he’ll quickly point out that 40 percent is a strong percentage. I really think that’s true. I’ve made documentaries that I shot myself, on my own little cameras. When I’m doing that, I can do anything I want because I’m paying for it. 

But as soon as you take a job as a director and someone’s going to entrust you with a certain amount of money, your job is to give them their money’s worth and more. Whether it’s $171,000 for Caged Heat or huge amounts, it’s our job to justify that investment. That’s a profound responsibility. Now, you need to unleash your artistry inside of that, but part of the 60 percent means lining up a cast that’s going to be extraordinary, getting the best crew imaginable, making sure that the script is as strong as it possibly can be. These are all business decisions on a certain level. 

And I think that’s fine. You may have to fire people sometimes, just to keep things going in the best possible way. Charlie Okun, when he was my AD, once encouraged me to kick a writer off set because he was complaining to the actors about how a scene was going. That put me in touch more than ever before with the tremendous responsibility I had as a director, and it made me realize a director might have to be ruthless sometimes for the sake of the picture.....

Monday

DIY Wishing You Happy Holidaze

This post is like the old holiday ornaments that are stuffed in the closet... it's that time of the year to dust them off and hang them on the tree, put them in the window, light the candles, do whatever it is that puts you in a better mood.  The world is a complicated place, and your camera is something you can pick up and use to change the world... so don't hesitate to do so...  meanwhile, here's some sound advice from a previous post.. reposted like an old ornament.........



We at the DIY Film Festival wish y'all a wonderful holiday season.
DIY Santa


We're getting closer to the deadline for submissions - and we will be announcing the finalists in February for the awards ceremony in March.

First, sit back and congratulate yourself for having finished your film!  Not everyone does that.  Many folks want to start a film and never get around to it.  So you've won that battle.  And now that you've done all that work and have started to submit it to festivals worldwide, also consider the most logical and best ways to market your film, as well as to consider how to distribute your film.

We here at the DIY Film Festival are fans of do it yourself distribution as well.  If you've entered it into festivals and gotten great feedback from friends and the viewing public, all the better. But if you want to find your audience online, there's no better way to do that than doing it yourself.

One method we've seen work is to:

1. Consider creating a method for distribution through Amazon.com - they're the largest online retailer, and posting your film on their website is a logical way to do reach people you never considered reaching.  How to do that? Easy.  Use Createspace.com - they're the aggregator for Amazon, don't charge you anything to create and build your own catalog.  You follow their easy instructions, submit your film in the way required, submit your artwork to their easy to design covers, and within a few days you could be looking at a sample copy of your film.

Once the film is on their site, it automatically becomes linked to Amazon.  Then make sure all your friends check out your film, and if possible get them to write a review of what they thought of the film. It's a way of building interest.

Also, the film automatically is offered as a DVD, as a streaming video and a download on demand. Amazon keeps a percentage of the money collected, but it's worth checking into.

2. Consider putting your film onto itunes.com - another giant retailer.  However, it's a bit harder to do so, as you must go through an aggregator to get them interested in your film.  And the aggregator has to be able to format the film in the way that apple will accept it - and sometimes they will charge money to do so.  However, KinoNation.com offers a simple and easy alternative - they will format and put your film onto all the major outlets, and retain a percentage of what the film earns.

3. Then its up to you to consider how to create public awareness and interest.  That would be offering your film to colleges and universities to review, getting yourself onto radio shows or television outlets, or having public screenings at your local library - which usually cost very little to do.  The only thing preventing the filmmaker from creating their own tsunami of publicity is themselves.  So get to work!

And good luck with all your festival entries, including ours!
Monty Python wants you to have Holiday Fun


Wednesday

Call for entries!!! And a word from one of our sponsors...

DIY FILM FUTURE

Everything seems back on track with WithoutABox - other than a couple of snafus, everything seems to be working fine. If you submitted a film a couple of weeks ago and haven't heard a confirmation, please let us know.

And now a word from our sponsors:

Corel has released some new editing software.Pinnacle 16 is a PC based editing system that seems designed for DIY filmmakers and filmmaking. Although why they name things "ultimate" is a bit loopy, as it's usually "the ultimate" until it's not.  That being said, if you're not a MAC based editor, Pinnacle is worth looking into.  Not expensive, but has the bells and whistles of Avid software backing it up.

Our sponsor Avid dealt Corel their Pinnacle division, so it remains to be seen how that will affect Avid's foray into the low end (DIY) editing world.  Currently they're focusing on Media Composer, a professional editing system that handles the higher end material, in a Final Cut Pro fashion.

Where there's a will, there's a way - there are free editing solutions and opportunities in every platform, whether windows "movie maker" or "ifilm" from Mac.

There are many camera platforms to consider, from Canon single lens reflex series that also shoot HD, to the standards of Sony, Panasonic and other versions.  With feature films using the RED digital film systems for their big budget pictures, it's a matter of time before these systems become prosumer.

Lighthouse to the DIY future
In terms of DIY film distribution, what appears to be the easiest to navigate, is the createspace.commodel - where you submit your DVD to their service, they digitize it, copy it, and make it available on Amazon.com in return for a percentage of your profit.  Once you've created the DVD or the streaming video, it's up to you to promote and sell and make it worth the effort to make it.  Itunes requires an aggregator to be the go-between between filmmaker and their sales outfit - and that can cost the filmmaker thousands of dollars in order to format it in their system.

 In that vein, KinoNation is a new company that will act as an aggregator, but takes their cut from the profit of the film.  Worth looking into.  It's a matter of time before DIY production, distribution becomes a larger share of the creative workplace. 

It seems to be the DIY way of the future.

And now back to the show!  Click on some of the films along the side panel to get an idea of the kinds of DIY winning films we've had the pleasure of honoring over the past 12 years!!!! Keep up the good work and thanks.

Sunday

DIY Film Festival's New Sponsor: Kinonation

DIY Film Festival is proud to announce a new sponsor for our film festival!

Kinonation is a wonderful place for do it yourself filmmakers who’ve made award winning films to get distribution for their films. The grand prize winners from the festival will have an automatic window to sign up with Kinonation for distribution. The Winners in each category will also be eligible for distribution from Kinonation.

It’s not an exclusive contract, so there’s no fear of being tied up with one particular company.  You’re free to continue submitting your film elsewhere, but while you’re doing so, your film could be generating a revenue stream to pay for the festivals themselves.

We at the DIY Film Festival encourage filmmakers to find innovative new ways to get their work into the marketplace, or into the public eye. If you search our web page you'll find articles about DIY distribution, DIY filmmaking and DIY creativity.  We're only limited by our imagination, and while we're working on our next project, it makes sense to find a home for our last one!

Kinonation has taken all the stress of figuring out how to put your film in the marketplace, was created by a group of filmmakers with extensive distribution and filmmaking experience.

Kinonation also has distribution agreements with Hulu and Amazon Prime, and a host of other online resources, and can help guide your film into the world of online distribution.  You’ll be surprised at the number of outlets available for filmmakers to make money for their hard work and labor, and having checked into a number of various distribution entities and believe that their distribution offer of 80% for the filmmaker, is the best we’ve found.

The DIY Film festival is proud to announce this new relationship with Kinonation. For more information on how their distribution model works, check out Kinonation.com:

Filmmakers & production companies
Sell & stream your title on Hulu, iTunes, Amazon and many others
Whether multinational studio or indie filmmaker, Kinonation – distribute directly to Digital Service Providers (for example Video-On-Demand outlets) and other business partners, manage your catalogs, promote your titles and create digital revenue around the world.

How it works
1 You upload

Upload your titles and trailers using our unique Upload Manager. Add artwork and enter metadata. Easily resume uploads with unlimited file sizes, and parallel uploads from several locations – making the upload fly!

2 We transcode
Your video assets are transcoded into many formats as required by our digital outlets, for example iTunes, Netflix, Amazon, Hulu and many more.

3 We author

Our system also prepares the artwork and "metadata" files which describe your title. Then we package everything into outlet-specific delivery bundles.

4 We distribute
Your title - including metadata, trailer & images - is automatically delivered to the chosen VOD outlets. They review the package and make their selection.

5 They watch

Consumers rent, buy or stream your film to their HDTVs, home theater systems, game consoles, Blu-Ray players, streaming players, computers, phones and tablets.

6 You get paid


We consolidate accounting from all outlets, and create convenient online reporting for you. The outlets pay us, we keep our 20% share, and you can withdraw your revenue anytime.



Monday

Call for Entries!

"Film will only become an art when its materials are as inexpensive as pencil and paper." 
Jean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) French poet, novelist, painter, and filmmaker.

The DIY Film Festival is now in its twelfth year.  Hooray!

A festival that's dedicated to highlighting "do it yourself" filmmaking, we've been honored to be part of this totally independent movement.  Some of the films we've seen have been part of Kickstarter campaigns, some have been financed by friends and family, and many have been created under the auspices of a film school.

We've also seen films from across the globe; this past year's winners included films from Uganda and Ukraine - and their films tell fresh new stories from the point of view of people living in far flung places across the globe.  Film is a universal language, and whether it's shot in the streets of India, or the streets of Manhattan, the one thing these filmmakers have is a burning desire to tell a story.

We've had the great opportunity to honor documentaries from around the globe - this past year's winning documentary was shot in Antarctica over the course of an entire year.

Here are some notes on the winning films and the finalists from this past year's festival:

DOCUMENTARY
Director Keith Reimink
Keith Reimink decided to head down to Antarctica with his Canon Vixia to see what he might be able to discover "down under."  His film is haunting and amazing.


DOCUMENTARY SHORT
Directed by Matthew VanDyke
Festival winner Matthew VanDyke's haunting portrait of the war in Syria told by two people who are in the midst of it.  The idea of being able to film under such circumstances is pretty astounding, but the heartbreaking visuals of what's happening now in their country is hard to turn away from.  


DRAMATIC FILM FEATURE
Directed by John Adams and Toby Poser
John Adams and Toby Poser have taken DIY Filmmaking to a different level - they enlist the acting talents of their kids while making these moving portraits and telling compelling stories.  The images are beautiful, the characters rich and full of development, and the stories are worth checking out.

DRAMATIC FILM SHORT
Directed by Tyler Bodamer
Tyler Bodamer's haunting portrait of a love affair - with a boy who is trying to find roots in a rootless world, and a girl trying to find her own way on the planet - he creates a haunting portrait of a time and place where two young lovers can find each other.

WORLD CINEMA FEATURE
Directed by Jeremy Etienne and Julienne Rathore (India/Norway)
This film was shot on the streets of India using local kids telling their own compelling story.  A film that looks like it must be a documentary, but is actually great story telling, is reminscent of the films of Satijat Ray, the great Indian filmmaker who also filmed on these same streets.

JURY PRIZE
Directed by Krista Imbesi (Uganda)
Moving and compelling portrait of people working in Uganda to help those that have been neglected by society.  This documentary takes the viewer into the huts and homes of these people, and leaves an indelible impression not easily forgotten.

WORLD CINEMA SHORT
Directed by Mariia Ponomarova (Ukraine)
Mariia Ponomarova is a filmmaker working in Ukraine, telling unusual and fun stories of everyday people.  Her directing style and artistic sense is evidenced in this unusual tale about a train stopping on a snowy afternoon.

COMEDY FILM
Directed by Godefroy Ryckewaert
This is just a really fun comic take on the idea of a local man who decides to become a super hero.  Last glance, Godefroy had taken down the link to the full film, but hopefully the trailer is still available.  Short but very funny.

MOCUMENTARY
Directed by Chris R. Wilson and Zacharia Persson
Former DIY Fest winner Chris Wilson is at it again.  He brings a decidedly surrealistic sense of humor to his filmmaking, and this mocumentary, pretending to be a documentary about some guys trying to think up of a plot for a film, but filming the actors who come in for an audition when there is no script, is firmly out of left field.  

STUDENT FILM
Directed by Eric Hayes
A stylish look at an unusual hit man.

ANIMATION
Directed by Ari Grabb
A fun romp into the mind of an offbeat filmmaker with an eye towards cutting edge animation.

Congratulations to all of you filmmakers for finishing your film. 

Here are some novel ways to find DIY Distribution: 

KinoNation (which puts it onto Itunes) there are many creative ways to get your work in front of an audience, and to also get your money back from making your film.
CreateSpace (which then puts it onto Amazon) 

However, it's important to remember, we don't always pick up the paint brush to pay the rent; sometimes we're compelled to pick up the brush, to approach a blank canvas with our heart in our hand, to try and express ourselves in a way that only we can accomplish.  It takes courage to dip the brush and face the canvas; there's no time like the present to make that effort!

Tuesday

Congrats DIY Film Fest Winner Cody Blue Snider on winning the Seattle Film Fest!

Cody Blue Snider, winner of the DIY Film Festival in 2011 has just won Best Short at the prestigious Seattle Film Festival. Here's the trailer on VIMEO

Kudos Cody!




GOLDEN SPACE NEEDLE 
AWARD – BEST SHORT FILM
Fool’s Day, directed by 

Cody Blue Snider (USA 2013)









JUNE 8, 2014 | 10:30AM PT


Alex Stedman
News Editor, Variety.com
@a_sted

Richard Linklater’s “Boyhood” was the big winner at this year’s Seattle Film Festival,
 beating out “How to Train Your Dragon 2″ and “The Fault in Our Stars” to win the
 Golden Space Needle Award for best film.

GOLDEN SPACE NEEDLE AWARD – BEST SHORT FILM
Fool’s Day, directed by Cody Blue Snider (USA 2013)
First runner-up: The Hero Pose, directed by Mischa Jakupcak (USA 2013)
Second runner-up: Strings, directed by Pedro Solis (Spain 2013)
Third runner-up: Mr. Invisible, directed by Greg Ash (United Kingdom 2014)

Fourth runner-up: Aban + Khorshid, directed by Darwin Serink (USA 2014)

Thursday

Call for Films!

"Film will only become an art when its materials are as inexpensive as pencil and paper." 
Jean Maurice Eugène Clément Cocteau (5 July 1889 – 11 October 1963) French poet, novelist, painter, and filmmaker.

The DIY Film Festival is now in its twelfth year.  Hooray!

A festival that's dedicated to highlighting "do it yourself" filmmaking, we've been honored to be part of this totally independent movement.  Some of the films we've seen have been part of Kickstarter campaigns, some have been financed by friends and family, and many have been created under the auspices of a film school.

We've also seen films from across the globe; this past year's winners included films from Uganda and Ukraine - and their films tell fresh new stories from the point of view of people living in far flung places across the globe.  Film is a universal language, and whether it's shot in the streets of India, or the streets of Manhattan, the one thing these filmmakers have is a burning desire to tell a story.

We've had the great opportunity to honor documentaries from around the globe - this past year's winning documentary was shot in Antarctica over the course of an entire year.

Here are some notes on the winning films and the finalists from this past year's festival:

DOCUMENTARY

Director Keith Reimink

Keith Reimink decided to head down to Antarctica with his Canon Vixia to see what he might be able to discover "down under."  His film is haunting and amazing.


DOCUMENTARY SHORT

Directed by Matthew VanDyke

Festival winner Matthew VanDyke's haunting portrait of the war in Syria told by two people who are in the midst of it.  The idea of being able to film under such circumstances is pretty astounding, but the heartbreaking visuals of what's happening now in their country is hard to turn away from.  


DRAMATIC FILM FEATURE

Directed by John Adams and Toby Poser

Directed by John Adams and Toby Poser

John Adams and Toby Poser have taken DIY Filmmaking to a different level - they enlist the acting talents of their kids while making these moving portraits and telling compelling stories.  The images are beautiful, the characters rich and full of development, and the stories are worth checking out.


DRAMATIC FILM SHORT

Directed by Tyler Bodamer

Tyler Bodamer's haunting portrait of a love affair - with a boy who is trying to find roots in a rootless world, and a girl trying to find her own way on the planet - he creates a haunting portrait of a time and place where two young lovers can find each other.



WORLD CINEMA FEATURE

Directed by Jeremy Etienne and Julienne Rathore (India/Norway)

This film was shot on the streets of India using local kids telling their own compelling story.  A film that looks like it must be a documentary, but is actually great story telling, is reminscent of the films of Satijat Ray, the great Indian filmmaker who also filmed on these same streets.


JURY PRIZE

Directed by Krista Imbesi (Uganda)

Moving and compelling portrait of people working in Uganda to help those that have been neglected by society.  This documentary takes the viewer into the huts and homes of these people, and leaves an indelible impression not easily forgotten.


WORLD CINEMA SHORT

ICE CREAM
Directed by Mariia Ponomarova (Ukraine)

Mariia Ponomarova is a filmmaker working in Ukraine, telling unusual and fun stories of everyday people.  Her directing style and artistic sense is evidenced in this unusual tale about a train stopping on a snowy afternoon.


COMEDY FILM

Directed by Godefroy Ryckewaert

This is just a really fun comic take on the idea of a local man who decides to become a super hero.  Last glance, Godefroy had taken down the link to the full film, but hopefully the trailer is still available.  Short but very funny.


MOCUMENTARY

Directed by Chris R. Wilson and Zacharia Persson

Former DIY Fest winner Chris Wilson is at it again.  He brings a decidedly surrealistic sense of humor to his filmmaking, and this mocumentary, pretending to be a documentary about some guys trying to think up of a plot for a film, but filming the actors who come in for an audition when there is no script, is firmly out of left field.  


STUDENT FILM

Directed by Eric Hayes

A stylish look at an unusual hit man.

ANIMATION


Directed by Ari Grabb

A fun romp into the mind of an offbeat filmmaker with an eye towards cutting edge animation.

Congratulations to all of you filmmakers for finishing your film.  Find a way to get it out in front of the public, whether distribution, or self distribution, or finding a way to put it out through CreateSpace (which then puts it onto Amazon) or KinoNation (which puts it onto Itunes) there are many creative ways to get your work in front of an audience, and to also get your money back from making your film.

However, it's important to remember, we don't always pick up the paint brush to pay the rent; sometimes we're compelled to pick up the brush, to approach a blank canvas with our heart in our hand, to try and express ourselves in a way that only we can accomplish.  It takes courage to dip the brush and face the canvas; there's no time like the present to make that effort!