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

 

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

Frankly, the news came as no surprise to me!

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

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

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

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

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

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

Sheer genius!

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

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

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

His locales for the shoot were very natural, too.

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

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

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

Uh-huh!

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

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

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

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

Not stilted or phony, in the least bit!

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

A bit of levity always goes a long way.

And, I expect that Byron Q will too.

Kudos!

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

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

Lighten up, eh?

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

http:www.thetattler.biz

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

Sandra Oh trots red carpet at Asian Pacific Film Fest!

Sung Kang

I'm in the Mood for Love

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

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

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

"Pippi Longstalking," he beamed.

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

Uh-huh!

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

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

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

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

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

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

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

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

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

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

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

http://www.YOMYOMF.com

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

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

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

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

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

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

Yes, he's single, ladies!

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

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

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

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

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

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

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

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

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

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

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

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

Shooting late on set, perhaps?

One of the actresses that stood out was Monique Cumen.

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

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

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

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

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

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

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

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

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

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

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

A synopsis of the film?

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

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

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

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

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

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

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

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

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

http://www.hotstuff.cafe.com

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

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

Check them out!

http://www.TheCandyChef.com

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

Kudos to THE SWEETER THINGS

http://www.TSTCHOCOLAT.com

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

No kidding, folks!

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

See 'ya there!

Tickets & Info

www.vconline.org

http://www.thetattler.biz

.


Director Justin Lin premiered Fast Five!



Director Quentin Lee in high spirits!

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

Doc U focuses on filmmakers!

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

What sacrifices must be made, if any?

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

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

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

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

Which underscores the obvious.

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

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

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

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

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

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

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

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

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

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

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

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

He directed two features, Medium Cool and Latino.

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

Post: 03/03/10

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Surprise!

The talented filmmaker was only too happy to respond.

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

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

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

To lighten up an awkward situation, I persisted.

"Any scoops for me?"

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

Eugh!

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

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

See 'ya there next month, eh?

http://www.thetattler.biz



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

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

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

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

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

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

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

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

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

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

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

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

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

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

Crowe sang Elton John's praises, too.

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

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

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

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

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

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

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

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

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

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

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

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

The event is to be moderated by director Perri Peltz.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Moderated by Tavis Smiley.

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

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

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

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

Sponsored by SAP.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

http://www.tribecaonline.com

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

See 'ya there!

http://www.thetattler.biz

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

 





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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The IDA gathering was quite a mellow affair overall.

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

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

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

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

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

IDA

http://www.documentary.org/

Sundance

www.sundance.org/documentary

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