The first Floodlight Summit will take place from Nov. 30 to Dec. 3 in Cartagena, Colombia. The event, curated and organized by Philippa Kowarsky and Alesia Weston, is a one-of-a-kind pilot for a long-term alliance that seeks to connect investigative journalists and their reporting with the film and television industry.
The event has been established by the Organized Crime and Corruption Reporting Project (Occrp) and the Gabo Foundation as part of both institutions’ public interest focus. It will attempt “to nurture a symbiotic relationship between investigative journalism and fiction filmmaking that will result in storytelling that entertains, educates, and inspires,” according to a press statement. “Investigative journalists can help adapt their extensive reporting about organized crime and corruption into new formats to reach more audiences while filmmakers can pull from a wealth of content and expertise across subjects to inform their projects.”
Writer-director Rodrigo García, Gabo Foundation board member and son of author Gabriel García Marquez,...
The event has been established by the Organized Crime and Corruption Reporting Project (Occrp) and the Gabo Foundation as part of both institutions’ public interest focus. It will attempt “to nurture a symbiotic relationship between investigative journalism and fiction filmmaking that will result in storytelling that entertains, educates, and inspires,” according to a press statement. “Investigative journalists can help adapt their extensive reporting about organized crime and corruption into new formats to reach more audiences while filmmakers can pull from a wealth of content and expertise across subjects to inform their projects.”
Writer-director Rodrigo García, Gabo Foundation board member and son of author Gabriel García Marquez,...
- 11/27/2023
- by Leo Barraclough
- Variety Film + TV
Investigative journalists specializing in crime and corruption reporting will pitch their stories to filmmakers and series at the first Floodlight Summit, which kicks off in Cartagena, Colombia, on Thursday, Nov. 30, and runs through Dec. 3.
Curated and organized by Oscar-nominated producer Philippa Kowarsky (The Gatekeepers, Sweet Mud) and Alesia Weston, the summit is set up as a pilot for a planned long-term alliance aimed at connecting international investigative journalists with the film and television industry.
Erin Brockovich writer Susannah Grant, The Big Short and Bombshell writer Charles Randolph, Slow Horses and The Americans producer Graham Yost, Toni Erdmann producer Janine Jakowski and No Man’s Land director Danis Tanovic are among the confirmed industry attendees.
The Floodlight summit brings together the Organized Crime and Corruption Reporting Project (Occrp) and the Gabo Foundation, set up by Nobel Prize-winning author Gabriel García Marquez to promote quality journalism in South America.
“This is the kind...
Curated and organized by Oscar-nominated producer Philippa Kowarsky (The Gatekeepers, Sweet Mud) and Alesia Weston, the summit is set up as a pilot for a planned long-term alliance aimed at connecting international investigative journalists with the film and television industry.
Erin Brockovich writer Susannah Grant, The Big Short and Bombshell writer Charles Randolph, Slow Horses and The Americans producer Graham Yost, Toni Erdmann producer Janine Jakowski and No Man’s Land director Danis Tanovic are among the confirmed industry attendees.
The Floodlight summit brings together the Organized Crime and Corruption Reporting Project (Occrp) and the Gabo Foundation, set up by Nobel Prize-winning author Gabriel García Marquez to promote quality journalism in South America.
“This is the kind...
- 11/27/2023
- by Scott Roxborough
- The Hollywood Reporter - Movie News
The 2020 edition of the New Zealand International Film Festival will take place entirely online, after organizers conceded that the coronavirus crisis has made it impossible to pull off a conventional festival in theaters.
“Nziff At Home – Online will be a true film festival experience featuring world and New Zealand premieres of films each night, and including virtual red-carpet, and filmmaker Q&As and we can potentially invite more international guests to present their films to our festival audiences than ever before using virtual means,” said Marten Rabarts, festival director who is curating his first edition.
“Some films will be screened as special ‘one-off’ events, and many of the films presented will be exclusive to Nziff and won’t have other New Zealand screenings.”
Organizers said that Rabarts has received has assurances from key film distributors in Australia, New Zealand and around the world that they are committed to making the online edition work well.
“Nziff At Home – Online will be a true film festival experience featuring world and New Zealand premieres of films each night, and including virtual red-carpet, and filmmaker Q&As and we can potentially invite more international guests to present their films to our festival audiences than ever before using virtual means,” said Marten Rabarts, festival director who is curating his first edition.
“Some films will be screened as special ‘one-off’ events, and many of the films presented will be exclusive to Nziff and won’t have other New Zealand screenings.”
Organizers said that Rabarts has received has assurances from key film distributors in Australia, New Zealand and around the world that they are committed to making the online edition work well.
- 4/30/2020
- by Patrick Frater
- Variety Film + TV
Exclusive: Seattle International Film Festival selects two documentary projects and two narrative features for programme.
The 43rd Seattle International Film Festival has selected the participants for its inaugural New Works-In-Progress Forum.
The new initiative is designed to nurture emerging voices in world cinema by connecting the announced groups with industry veterans.
The documentary film teams chosen for the event are: Jordan Schiele’s The Silk And The Flame (China/USA), and Maximilien Van Aertyck and Axel Danielson of Plattform Produktion presenting Cecilia Björk’s A Good Week For Democracy (Sweden) and Hemen Kurda’s Children Of Arbat (Sweden).
The documentary industry mentors are Shane Smith, director of programming at Hot Docs; David Nugent, artistic director for the Hamptons International Film Festival, and Monika Navarro, senior manager content and initiatives at Itvs.
The narrative features chosen for the event are: Alvaro Delgado Aparicio’s Retablo (Peru), and Roxy Toporowych’s Julia Blue (Ukraine/USA).
The narrative industry mentors...
The 43rd Seattle International Film Festival has selected the participants for its inaugural New Works-In-Progress Forum.
The new initiative is designed to nurture emerging voices in world cinema by connecting the announced groups with industry veterans.
The documentary film teams chosen for the event are: Jordan Schiele’s The Silk And The Flame (China/USA), and Maximilien Van Aertyck and Axel Danielson of Plattform Produktion presenting Cecilia Björk’s A Good Week For Democracy (Sweden) and Hemen Kurda’s Children Of Arbat (Sweden).
The documentary industry mentors are Shane Smith, director of programming at Hot Docs; David Nugent, artistic director for the Hamptons International Film Festival, and Monika Navarro, senior manager content and initiatives at Itvs.
The narrative features chosen for the event are: Alvaro Delgado Aparicio’s Retablo (Peru), and Roxy Toporowych’s Julia Blue (Ukraine/USA).
The narrative industry mentors...
- 5/30/2017
- ScreenDaily
The Indian Film Festival of Los Angeles has announced the juries and additional programming for the upcoming 14th edition, which runs April 6-10 in Hollywood.
Three films have been added to the line-up on April 10, including Lena Khan’s feature debut The Tiger Hunter, and a community screening of Sami Khan’s Khoya.
A restored version of Sujata, provided by the National Film Archive Of India, will screen as a tribute to director Bimal Roy on the 50th anniversary of his death.
The jury for the 2016 Narrative Film Competition includes:
· Shonali Bose, film-maker (Margarita, With A Straw & Amu);
· Shalini Dore, Variety; and
· Alesia Weston, international consultant to independent film-makers and film festivals.
The jury for the 2016 Short Film Competition includes:
· Rizwan Manji, actor (Jim Jarmusch’s upcoming Paterson);
· Aldo Velasco, director and editor (Chittagong); and
· Laura Nix, documentary film-maker (The Yes Men Are Revolting).
As previously announced, the festival will open with Angry Indian Goddesses (pictured) and the...
Three films have been added to the line-up on April 10, including Lena Khan’s feature debut The Tiger Hunter, and a community screening of Sami Khan’s Khoya.
A restored version of Sujata, provided by the National Film Archive Of India, will screen as a tribute to director Bimal Roy on the 50th anniversary of his death.
The jury for the 2016 Narrative Film Competition includes:
· Shonali Bose, film-maker (Margarita, With A Straw & Amu);
· Shalini Dore, Variety; and
· Alesia Weston, international consultant to independent film-makers and film festivals.
The jury for the 2016 Short Film Competition includes:
· Rizwan Manji, actor (Jim Jarmusch’s upcoming Paterson);
· Aldo Velasco, director and editor (Chittagong); and
· Laura Nix, documentary film-maker (The Yes Men Are Revolting).
As previously announced, the festival will open with Angry Indian Goddesses (pictured) and the...
- 3/31/2016
- ScreenDaily
The 31st Jerusalem Film Festival gets underway today with a new management team determined to present a world-class event despite the escalating troubles in the region.
Aside from postponing the opening-night open-air premiere of Dancing Arabs (see full story here), the team is hoping for business as usual as much as possible.
“No doubt about it, the festival takes place as planned,” said CEO Noa Regev yesterday. “We are continuing our lives in the best way possible with the situation around us.”
She added: “The escalation in the security situation over the past few days saddens us all, and we hope for days of calm. The Festival will proceed as planned, in accordance with the instructions of Homeland Command and the police. The staff of the Cinematheque hopes to see the Festival venues full with the thousands of film lovers who attend the Festival every year.”
More than 200 films from around 50 countries will screen at the enlarged...
Aside from postponing the opening-night open-air premiere of Dancing Arabs (see full story here), the team is hoping for business as usual as much as possible.
“No doubt about it, the festival takes place as planned,” said CEO Noa Regev yesterday. “We are continuing our lives in the best way possible with the situation around us.”
She added: “The escalation in the security situation over the past few days saddens us all, and we hope for days of calm. The Festival will proceed as planned, in accordance with the instructions of Homeland Command and the police. The staff of the Cinematheque hopes to see the Festival venues full with the thousands of film lovers who attend the Festival every year.”
More than 200 films from around 50 countries will screen at the enlarged...
- 7/10/2014
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
She replaces Alesia Weston, who left the post after less than one year.
After several troubled years at the Jerusalem Cinematheque, the temporary Board of Directors has hired Noa Regev as its new CEO, a position which puts her in charge of the prestigious Jerusalem Film Festival and the Israeli Film Archive as well.
Regev, 32, is a graduate of the Film Department at the Tel Aviv University, and she was previously head of the Student Film Festival in Tel Aviv and had a short spell as the director of the modest Holon Cinematheque.
She is now facing a tough and complicated job. Shaken by managerial problems since its perennial founder and evergreen director Lia van Leer moved to a honorary position a few years ago, the venerable institution had hoped, back in 2012, that former Sundance executive Alesia Weston. But Weston left the post after less than one year, leaving the Board to face once again a vacant...
After several troubled years at the Jerusalem Cinematheque, the temporary Board of Directors has hired Noa Regev as its new CEO, a position which puts her in charge of the prestigious Jerusalem Film Festival and the Israeli Film Archive as well.
Regev, 32, is a graduate of the Film Department at the Tel Aviv University, and she was previously head of the Student Film Festival in Tel Aviv and had a short spell as the director of the modest Holon Cinematheque.
She is now facing a tough and complicated job. Shaken by managerial problems since its perennial founder and evergreen director Lia van Leer moved to a honorary position a few years ago, the venerable institution had hoped, back in 2012, that former Sundance executive Alesia Weston. But Weston left the post after less than one year, leaving the Board to face once again a vacant...
- 12/3/2013
- by dfainaru@netvision.net.il (Edna Fainaru)
- ScreenDaily
Sundance Institute has hired Paul Federbush to become International Director, Feature Film Program (Ffp), a highly sought-after job which Alesia Weston left open when she left in May to become Executive Director of the Jerusalem Film Centre and Fesival. Federbush began September 24 and is reporting to Michelle Satter, Founding Director, Feature Film Program.
Paul is already reaching out into new geographic areas searching for those filmmakers who have the greatest potential for making a brand new mark on the worldwide film business. His responsibility is the planning and execution of the international work of Sundance Institute’s Feature Film Program which includes year round support for International artists through Labs, granting, and ongoing mentorship providing creative and tactical support. Federbush will oversee international Labs in collaboration with local partners in the Middle East and India, outreach and discover new international filmmakers and projects, steward programs such as the Sundance Institute|Mahindra Global Filmmaking Award and Sundance| Nhk Award, and support the international artists participating in the annual Sundance Labs in Utah. In addition he will develop opportunities to further advance and broaden the scope of the Ffp’s International initiative.
We congratulate Paul and are proud to be able to say that we have known him since his early days at Fine Line. Federbush is a seasoned production, acquisition, and distribution executive with eighteen years of experience in the entertainment industry. Most recently Federbush, along with partner Laura Kim, started a distribution company, Red Flag Releasing. Prior to forming Red Flag, Federbush served as Senior Vice President of Production and Acquisitions at Warner Independent Pictures where he oversaw the acquisition, production, and development of projects including Danny Boyle’s Slumdog Millionaire, and Hany Abu Assad’s Paradise Now.
For nearly three decades, Sundance Institute has promoted independent storytelling to inform and inspire audiences across political, social, religious and cultural differences. Through Labs, direct artist granting, special projects with key partners and the Sundance Film Festival, the Institute serves as the leading advocate for independent artists worldwide. Sundance Institute Feature Film Program Over its 30-year history, the Sundance Institute Feature Film Program has supported an extensive list of award-winning and groundbreaking independent films.
Ffp films currently in the marketplace include Benh Zeitlin and Lucy Alibar’s Beasts of the Southern Wild (winner of the Grand Jury Prize at the 2012 Sundance Film Festival), Craig Zobel’s Compliance, Mike Birbiglia and Seth Barrish’s Sleepwalk With Me, Todd Louiso and Sarah Koskoff’s Hello I Must Be Going, and Ira Sachs’ Keep the Lights On. Recent international Ffp films include Sally El Hosaini’s My Brother the Devil, Andrei Zyvagintsev’s Elena, Edwin’s Postcards from the Zoo, Alejandro Landes’ Porfirio, and the festival films Haifaa Al Mansour’s Wadjda and Ziad Douieri’s L’Attack.Additional notable films supported over the program’s history include Sean Durkin’s Martha Marcy May Marlene, Dee Rees’ Pariah, Maryam Keshavarz’s Circumstance, Cherien Dabis' Amreeka, Cary Fukunaga's Sin Nombre, Fernando Eimbcke's Lake Tahoe, Ryan Fleck and Anna Boden’s Half Nelson, Andrea Arnold's Red Road, Miranda July’s Me and You and Everyone We Know, Hany Abu-Assad’s Paradise Now, Debra Granik’s Down to the Bone, Josh Marston’s Maria Page 2 Full of Grace, Lisa Cholodenko’s Laurel Canyon, Peter Sollett’s Raising Victor Vargas, John Cameron Mitchell’s Hedwig and the Angry Inch, Darren Aronofsky’s Requiem for a Dream, Kimberly Peirce’s Boys Don't Cry, Lucrecia Martel’s La Cienaga, Walter Salles’ Central Station, Chris Eyre and Sherman Alexie’s Smoke Signals, Nicole Holofcener’s Walking and Talking, Allison Anders' Mi Vida Loca, Paul Thomas Anderson’s Hard Eight, Tamara Jenkins’ Slums of Beverly Hills, and Quentin Tarantino’s Reservoir Dogs.
Sundance Institute Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America, and through its New Frontier initiative, has brought the cinematic works of media artists including Pipilotti Rist, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney . Join Sundance Institute on Facebook, Twitter and YouTube. # # #...
Paul is already reaching out into new geographic areas searching for those filmmakers who have the greatest potential for making a brand new mark on the worldwide film business. His responsibility is the planning and execution of the international work of Sundance Institute’s Feature Film Program which includes year round support for International artists through Labs, granting, and ongoing mentorship providing creative and tactical support. Federbush will oversee international Labs in collaboration with local partners in the Middle East and India, outreach and discover new international filmmakers and projects, steward programs such as the Sundance Institute|Mahindra Global Filmmaking Award and Sundance| Nhk Award, and support the international artists participating in the annual Sundance Labs in Utah. In addition he will develop opportunities to further advance and broaden the scope of the Ffp’s International initiative.
We congratulate Paul and are proud to be able to say that we have known him since his early days at Fine Line. Federbush is a seasoned production, acquisition, and distribution executive with eighteen years of experience in the entertainment industry. Most recently Federbush, along with partner Laura Kim, started a distribution company, Red Flag Releasing. Prior to forming Red Flag, Federbush served as Senior Vice President of Production and Acquisitions at Warner Independent Pictures where he oversaw the acquisition, production, and development of projects including Danny Boyle’s Slumdog Millionaire, and Hany Abu Assad’s Paradise Now.
For nearly three decades, Sundance Institute has promoted independent storytelling to inform and inspire audiences across political, social, religious and cultural differences. Through Labs, direct artist granting, special projects with key partners and the Sundance Film Festival, the Institute serves as the leading advocate for independent artists worldwide. Sundance Institute Feature Film Program Over its 30-year history, the Sundance Institute Feature Film Program has supported an extensive list of award-winning and groundbreaking independent films.
Ffp films currently in the marketplace include Benh Zeitlin and Lucy Alibar’s Beasts of the Southern Wild (winner of the Grand Jury Prize at the 2012 Sundance Film Festival), Craig Zobel’s Compliance, Mike Birbiglia and Seth Barrish’s Sleepwalk With Me, Todd Louiso and Sarah Koskoff’s Hello I Must Be Going, and Ira Sachs’ Keep the Lights On. Recent international Ffp films include Sally El Hosaini’s My Brother the Devil, Andrei Zyvagintsev’s Elena, Edwin’s Postcards from the Zoo, Alejandro Landes’ Porfirio, and the festival films Haifaa Al Mansour’s Wadjda and Ziad Douieri’s L’Attack.Additional notable films supported over the program’s history include Sean Durkin’s Martha Marcy May Marlene, Dee Rees’ Pariah, Maryam Keshavarz’s Circumstance, Cherien Dabis' Amreeka, Cary Fukunaga's Sin Nombre, Fernando Eimbcke's Lake Tahoe, Ryan Fleck and Anna Boden’s Half Nelson, Andrea Arnold's Red Road, Miranda July’s Me and You and Everyone We Know, Hany Abu-Assad’s Paradise Now, Debra Granik’s Down to the Bone, Josh Marston’s Maria Page 2 Full of Grace, Lisa Cholodenko’s Laurel Canyon, Peter Sollett’s Raising Victor Vargas, John Cameron Mitchell’s Hedwig and the Angry Inch, Darren Aronofsky’s Requiem for a Dream, Kimberly Peirce’s Boys Don't Cry, Lucrecia Martel’s La Cienaga, Walter Salles’ Central Station, Chris Eyre and Sherman Alexie’s Smoke Signals, Nicole Holofcener’s Walking and Talking, Allison Anders' Mi Vida Loca, Paul Thomas Anderson’s Hard Eight, Tamara Jenkins’ Slums of Beverly Hills, and Quentin Tarantino’s Reservoir Dogs.
Sundance Institute Sundance Institute is a global nonprofit organization founded by Robert Redford in 1981. Through its programs for directors, screenwriters, producers, composers and playwrights, the Institute seeks to discover and support independent film and theatre artists from the United States and around the world, and to introduce audiences to their new work. The Institute promotes independent storytelling to inform, inspire, and unite diverse populations around the globe. Internationally recognized for its annual Sundance Film Festival, Sundance Institute has nurtured such projects as Born into Brothels, Trouble the Water, Son of Babylon, Amreeka, An Inconvenient Truth, Spring Awakening, Light in the Piazza and Angels in America, and through its New Frontier initiative, has brought the cinematic works of media artists including Pipilotti Rist, Doug Aitken, Pierre Huyghe, Jennifer Steinkamp, and Matthew Barney . Join Sundance Institute on Facebook, Twitter and YouTube. # # #...
- 10/9/2012
- by Sydney Levine
- Sydney's Buzz
To my friends and readers: We are about to conclude the Jewish High Holidays which began 10 days ago with Rosh Hashanah and ends tomorrow with Yom Kippur. In the spirit of this season, I must ask everyone, if I have offended any of you, whether knowingly or unknowingly, I ask your forgiveness. If I have not published articles I promised you I would, please forgive me. I meant to when I said I would but have so many other commitments and things I must do. I am sure that the article is not forgotten and I may get to it in the coming year. But I ask forgiveness for overreaching and for commitments and promises I have not kept.
By the way this free ranging stream of consciousness blog will go, it could also be called Jews in the News, the “News” being New Years and New York, and of course films. Imagining this as a new feature, and because it might only run once a year, I am going to use it here as a platform to mention everyone on my mind as they come up as a sort of New Year’s wrap up of things left undone.
To begin, I am writing about all the people and things I saw and did in New York and, again, I hope friends I don’t mention will forgive me. Like Lynda Hansen whom I did see at New York Film Society's Walter Reade Theater…or Wanda Bershan whom I saw across the room at a press screening or Gary Crowdes the editor-in-chief of Cineaste Magazine and whom I meant to greet but didn’t. I saw so many old New York friends and acquaintances and because it was New Years and a time of reflection, I revisited what were my circumstances when I left it in 1985 to return to L.A.
When I first moved to New York in 1980 to work for ABC Video Enterprises, I had spent 5 years practicing Orthodox Judaism. Being in New York represented the apotheosis of all things Jewish (outside of Israel, whose films and festivals will be the subject of another blog - excuse me Katriel Schory of the Israeli Film Fund and Alesia Weston the new director of the Jerusalem Film Festival). In New York, even those who were not Jewish by religion seemed Jewish to me by virtue of living in New York. When I realized this, my own Orthdoxy fell away from me as if I were shedding a cloak. I understood that my Jewish self was Jewish no matter what life style I would live. And I liked the New York life style most of all.
After Tiff 12 (Toronto International Film Festival 2012), Peter and I came for a week of relaxation to New York City. What a city! So New York, in-your-face, loud, crowded, lots of horns honking, and people: People. The best. We saw our friends, we saw New York with New Eyes.
We arrived by train from the airport, straight to our apartment! What great rapid transit, even if it is old and ugly, so blackened by dirt and age. I noticed new decorations on some walls of some stations, some works were better than others. I wish we had such a quick easy way to zoom around our fair city of L.A.
We stayed in an apartment in Chelsea – that of our daughter’s mother-in-law who lives half the year in the apartments built by the Amalgamated Ladies Garment Union. (The other half she spends in Truro.) Such history! Coincidently these are the very apartments I had wanted to live in when I was leaving NYC in 1985.
We were invited to a screening by Hisami Kuroiwa, whose friendship goes back to our early days in Cannes, or back to the days she produced Smoke and Blue in the Face with my other old friend Peter Newman. Araf (Venice Ff, Tokyo Ff, Isa: The Match Factory), which she associate produced, will be presented at the New York Film Festival (NYFF50), September 28 – October 14. The press screening at the new Walter Reade Theater was a great treat. The film’s director, Yesim Ustaoglu, ♀, who also directed Journey to the Sun and Pandora’s Box spoke via Skype at the press Q&A afterward.
Araf in Turkish means “somewhere in between”. The Somewhere in Between in the film is a 24-hour restaurant halfway between Ankara and Istanbul. The young girl whose first job it is; her friend – an “older” woman, not much older than herself who becomes her guide to adulthood; the girl’s childhood friend who works there as a teaboy and whose mother is not much older than the other two women and a truck driver who comes through en route, are the protagonists in this piece which brings to life a very distant place where the people’s most intimate issues are very much like our own to the degree that all the women share the same life issues of sex, love, work and family today in a world where traditions are giving way to the exigencies of modern life.
The issues are so much the same as what we are facing today, namely, our own bodies and all that entails. Parenthetically, these are the same issues in The Patience Stone (Isa: Le Pacte), which takes my prize for the Best Female Film at Tiff 12.
Both of these films deeply affected me in my own ways. When I say “affected”, what I mean is that some thought comes into my head which seems unrelated to the film but comes so suddenly and vividly to me and illuminates some part of my life. When this happens to me during a film, I know the film is really good because it is affecting a subconscious part of me and of something of concern to me. A thought comes to me which makes my life come together in a new way and I sometimes feel transformed by the experience. This is my criteria for what makes a good film. Of course story, script, direction, cast, music, costume and art decoration also count, but in the end, it is the emotional impact a film has upon me as a passive viewer which makes it a winning film for me. The same pertains to me for all art, whether painting, architecture (Wow factor here for NYC on the architecture front!) , sculpture, music, dancing, etc.
We were given a week’s guest pass to The Sports Center at Chelsea Piers by Alan Adelson whose documentary about James Joyce's hero, Leo Bloom in Ulysses, In Bed with Ulysses, is an exciting new film which I hope to see in the upcoming festival circuit. At the dinner, prepared and served by Alan and his wife Katie Taverna, an editor, who also has a new documentary about to surface, I was astounded by their home - so New York. Only in New York could someone live in Tribeca’s 19th century warehouse district in such an architecturally unique home amid such astounding works of art. Docu filmmaker, Deborah Schaffer and her late dear husband, the N.Y. architecht, Larry Bagdanow, introduced us to Alan several years ago. He also publishes Jewish Heritage Press, and he gave me a beautiful book entitled, The Last Bright Days: A Young Woman’s life in a Lithuanian Shtetl on the Eve of the Holocaust . Beile Delechy who, along with her brother, were the photographers for a small town called Kararsk in Lithuania, brought her photographs with her when she left Europe for the U.S. in 1938. They show the everyday reality for Jews and Lithuanians during the 1930s. Published by Jewish Heritage and Yivo Institute for Jewish Research, this book embodies my own aspirations. If I could have my books on my family published in such a way as this, I would die happy.
Speaking of Lithuania and this blog, being Jews in the News, must also cover some other Eastern European news because like New York, its innate character still seems Jewish, even though there are very few Jews there. There seems to be a resurgence of interest in the subject however, among the third generation since the Shoah.
Kaunas International Film Festival’s Tomas Tangmark, who heads distribution for the festival, is also a filmmaker whom I met at Wroclaw’s American Film Festival last November. By now his 12 minute short films should have wrapped. In Cannes, when we met again, he showed me his financial plan for “Breshter Bund – A Union Forever” which has received Development Support from the Swedish Film Institute and money from Swedish TV, has a production budget of around €25,000. It is about the workers at the Vindsberg factory in Vilkaviskis, Lithuania in 1896. Influenced by the current events in the world, the workers at the factory organize a strike. Their demand is a 10-hour working day. Whether they win, or lose, the outcome could change The Russian Empire. It was to shoot on location in Vilkaviskis, Lithuania in Yiddish this year.
This 12 minute short is only 1 of the 2 Yiddish language films we have heard about. Peter also heard about a feature which will be entirely in Yiddish. Thank you Coen Brothers whose A Serious Man opened the way!
When I was in Cannes this past year, I heard about Jewish Alley (Judengasse) at The Short Film Corner. Unfortunately Blancke Degenhardt Schuetz Film Produktion GmbH did not include any contact information on the brochure I picked up. Judengassse tells of the ordeal that the Jewish family Blumenfeld undergoes from 1933 to 1938. It is shot in B&W from a single camera position and presents the Holocaust and thoughts for the coexistence of different cultures in our modern society.
Also in Cannes I was so sorry to miss Raphael Berdugo’s second film since he left his company, Roissy Films, in the hands of EuropaCorp in 2008. The Other Son (Le fils de l’Autre) (Isa: La Cite, U.S.: Cohen Media Group) directed by Lorraine Levy ♀ about a man preparing to join the Israeli army who discovers he is not his parents’ biological son. In fact, he was inadvertently switched at birth with the son of a Palestinian family from the West Bank.
Returning to the subject of Eastern Europe in Cannes, Odessa comes to mind. Odessa cinema tradition began in 1894, a year and a half before the Lumiere brothers showed on the Boulevard des Capucines and its first studio opened in 1907. Serge Eisenstein made Odessa legend. On the very place where Battleship Potemkin was filmed, the Odessa Film Festival holds an open-air screening for 12,000 with a view of the sea. During their first year, there were 30,000 attendees. By year three, there were 100,000. It takes place in an opera house on a level of that in Vienna, but their emperor did not pay as in Austria; the people themselves paid for the building. There are $15,000 cash prizes giving for Best Film, Best, Director, and Best Actor. Tomboy won last year. It has a small market for Russian and Ukrainian films, a pitch session and a “summer school” where the students live in tents at attend master classes and a sort of Talent Campus. There is good food by the sea! Don’t you want to attend? I’m hoping to find a way to go, especially after Ilya Dyadik, the program director, so graciously showed me all that goes on there and introduced me to Denis Maslikov, the Managing Director of the Ukrainian Producers Association. It takes place in July.
Estonia is another country on my mind. During Tiff A Lady in Paris (Isa: Pyramide) warmed my soul. Starring Jeanne Moreau, and costarring Laine MÄGI, an actress who reminds me of Katie Outinen, (Kaurimaki's favorite actress) the film was about women and love and oh so French! How could you not love the imperious Jeanne Moreau wearing Chanel and being won over by an Eastern European drudge who, under Moreau’s tutelage transforms herself in a vividly chic woman. And ,Patrick Pineau, who plays the owner of of those upscale cafes you like to have lunch in when in Paris, only needs to take one small step toward Laine, and oh la la, you too fall in love with him!
Edith Sepp, the film advisor for the Estonian Ministry of Culture, met us originally at the Vilnius Film Festival in Lithuania and we had a lot of fun hanging out there. We already had a connection to Estonia because the Estonian American documentary The Singing Revolution was our client’s film. We introduced our client to Richard Abramowitz in 2006 who did extraordinarily well with the film’s theatrical release. Edith invited us to their Cannes reception at Plage des Palmes and we continued our conversation. At Tiff 12 and Karlovy Vary, their film Mushrooming screened, but the one I am really eager to see is In the Crosswind. It shot through four seasons. The director is a 23 year old young man and this is his first film. It cost 700,000 Euros which went into historical costumes, extras and a new technology he is creating to make a profound drama about the relocation of whole populations by the Soviets, a theme which has shaped European history. I hope to see it in Berlin…or Cannes…or Venice.. The film is a sort of documentary story, somewhat similar to Waltz with Bashir, but it is old in live action and with still photography. During Cannes, they were seeking 200,000 Euros to complete the film. There is much to say about both of the Eastern European countries with their new generation of articulate and talented filmmakers. I hope they will be the subject of another blog or two in the coming year.
One last note on Eastern European films. A veteran Czech producer, Rudolf Biermann whom we know since the early days of Karlovy Vary's freedom from the Soviet bloc, is still producing young, fresh comedies like the one one that showed at Tiff 12, The Holy Quaternity by Jan Hrebejk (Isa: Montecristo). This romp brings marital sex which has become boring to a new and simple solution between two couples who have been best friends throughout their marriage. It's risque and sweet and plays with two generations' differing views on the sex games we play for fun.
But I have digressed from New York...And now I must go to Yom Kippur services for the rest of today. This blog will be continued tomorrow!! Watch for Part II which will be about New York!
By the way this free ranging stream of consciousness blog will go, it could also be called Jews in the News, the “News” being New Years and New York, and of course films. Imagining this as a new feature, and because it might only run once a year, I am going to use it here as a platform to mention everyone on my mind as they come up as a sort of New Year’s wrap up of things left undone.
To begin, I am writing about all the people and things I saw and did in New York and, again, I hope friends I don’t mention will forgive me. Like Lynda Hansen whom I did see at New York Film Society's Walter Reade Theater…or Wanda Bershan whom I saw across the room at a press screening or Gary Crowdes the editor-in-chief of Cineaste Magazine and whom I meant to greet but didn’t. I saw so many old New York friends and acquaintances and because it was New Years and a time of reflection, I revisited what were my circumstances when I left it in 1985 to return to L.A.
When I first moved to New York in 1980 to work for ABC Video Enterprises, I had spent 5 years practicing Orthodox Judaism. Being in New York represented the apotheosis of all things Jewish (outside of Israel, whose films and festivals will be the subject of another blog - excuse me Katriel Schory of the Israeli Film Fund and Alesia Weston the new director of the Jerusalem Film Festival). In New York, even those who were not Jewish by religion seemed Jewish to me by virtue of living in New York. When I realized this, my own Orthdoxy fell away from me as if I were shedding a cloak. I understood that my Jewish self was Jewish no matter what life style I would live. And I liked the New York life style most of all.
After Tiff 12 (Toronto International Film Festival 2012), Peter and I came for a week of relaxation to New York City. What a city! So New York, in-your-face, loud, crowded, lots of horns honking, and people: People. The best. We saw our friends, we saw New York with New Eyes.
We arrived by train from the airport, straight to our apartment! What great rapid transit, even if it is old and ugly, so blackened by dirt and age. I noticed new decorations on some walls of some stations, some works were better than others. I wish we had such a quick easy way to zoom around our fair city of L.A.
We stayed in an apartment in Chelsea – that of our daughter’s mother-in-law who lives half the year in the apartments built by the Amalgamated Ladies Garment Union. (The other half she spends in Truro.) Such history! Coincidently these are the very apartments I had wanted to live in when I was leaving NYC in 1985.
We were invited to a screening by Hisami Kuroiwa, whose friendship goes back to our early days in Cannes, or back to the days she produced Smoke and Blue in the Face with my other old friend Peter Newman. Araf (Venice Ff, Tokyo Ff, Isa: The Match Factory), which she associate produced, will be presented at the New York Film Festival (NYFF50), September 28 – October 14. The press screening at the new Walter Reade Theater was a great treat. The film’s director, Yesim Ustaoglu, ♀, who also directed Journey to the Sun and Pandora’s Box spoke via Skype at the press Q&A afterward.
Araf in Turkish means “somewhere in between”. The Somewhere in Between in the film is a 24-hour restaurant halfway between Ankara and Istanbul. The young girl whose first job it is; her friend – an “older” woman, not much older than herself who becomes her guide to adulthood; the girl’s childhood friend who works there as a teaboy and whose mother is not much older than the other two women and a truck driver who comes through en route, are the protagonists in this piece which brings to life a very distant place where the people’s most intimate issues are very much like our own to the degree that all the women share the same life issues of sex, love, work and family today in a world where traditions are giving way to the exigencies of modern life.
The issues are so much the same as what we are facing today, namely, our own bodies and all that entails. Parenthetically, these are the same issues in The Patience Stone (Isa: Le Pacte), which takes my prize for the Best Female Film at Tiff 12.
Both of these films deeply affected me in my own ways. When I say “affected”, what I mean is that some thought comes into my head which seems unrelated to the film but comes so suddenly and vividly to me and illuminates some part of my life. When this happens to me during a film, I know the film is really good because it is affecting a subconscious part of me and of something of concern to me. A thought comes to me which makes my life come together in a new way and I sometimes feel transformed by the experience. This is my criteria for what makes a good film. Of course story, script, direction, cast, music, costume and art decoration also count, but in the end, it is the emotional impact a film has upon me as a passive viewer which makes it a winning film for me. The same pertains to me for all art, whether painting, architecture (Wow factor here for NYC on the architecture front!) , sculpture, music, dancing, etc.
We were given a week’s guest pass to The Sports Center at Chelsea Piers by Alan Adelson whose documentary about James Joyce's hero, Leo Bloom in Ulysses, In Bed with Ulysses, is an exciting new film which I hope to see in the upcoming festival circuit. At the dinner, prepared and served by Alan and his wife Katie Taverna, an editor, who also has a new documentary about to surface, I was astounded by their home - so New York. Only in New York could someone live in Tribeca’s 19th century warehouse district in such an architecturally unique home amid such astounding works of art. Docu filmmaker, Deborah Schaffer and her late dear husband, the N.Y. architecht, Larry Bagdanow, introduced us to Alan several years ago. He also publishes Jewish Heritage Press, and he gave me a beautiful book entitled, The Last Bright Days: A Young Woman’s life in a Lithuanian Shtetl on the Eve of the Holocaust . Beile Delechy who, along with her brother, were the photographers for a small town called Kararsk in Lithuania, brought her photographs with her when she left Europe for the U.S. in 1938. They show the everyday reality for Jews and Lithuanians during the 1930s. Published by Jewish Heritage and Yivo Institute for Jewish Research, this book embodies my own aspirations. If I could have my books on my family published in such a way as this, I would die happy.
Speaking of Lithuania and this blog, being Jews in the News, must also cover some other Eastern European news because like New York, its innate character still seems Jewish, even though there are very few Jews there. There seems to be a resurgence of interest in the subject however, among the third generation since the Shoah.
Kaunas International Film Festival’s Tomas Tangmark, who heads distribution for the festival, is also a filmmaker whom I met at Wroclaw’s American Film Festival last November. By now his 12 minute short films should have wrapped. In Cannes, when we met again, he showed me his financial plan for “Breshter Bund – A Union Forever” which has received Development Support from the Swedish Film Institute and money from Swedish TV, has a production budget of around €25,000. It is about the workers at the Vindsberg factory in Vilkaviskis, Lithuania in 1896. Influenced by the current events in the world, the workers at the factory organize a strike. Their demand is a 10-hour working day. Whether they win, or lose, the outcome could change The Russian Empire. It was to shoot on location in Vilkaviskis, Lithuania in Yiddish this year.
This 12 minute short is only 1 of the 2 Yiddish language films we have heard about. Peter also heard about a feature which will be entirely in Yiddish. Thank you Coen Brothers whose A Serious Man opened the way!
When I was in Cannes this past year, I heard about Jewish Alley (Judengasse) at The Short Film Corner. Unfortunately Blancke Degenhardt Schuetz Film Produktion GmbH did not include any contact information on the brochure I picked up. Judengassse tells of the ordeal that the Jewish family Blumenfeld undergoes from 1933 to 1938. It is shot in B&W from a single camera position and presents the Holocaust and thoughts for the coexistence of different cultures in our modern society.
Also in Cannes I was so sorry to miss Raphael Berdugo’s second film since he left his company, Roissy Films, in the hands of EuropaCorp in 2008. The Other Son (Le fils de l’Autre) (Isa: La Cite, U.S.: Cohen Media Group) directed by Lorraine Levy ♀ about a man preparing to join the Israeli army who discovers he is not his parents’ biological son. In fact, he was inadvertently switched at birth with the son of a Palestinian family from the West Bank.
Returning to the subject of Eastern Europe in Cannes, Odessa comes to mind. Odessa cinema tradition began in 1894, a year and a half before the Lumiere brothers showed on the Boulevard des Capucines and its first studio opened in 1907. Serge Eisenstein made Odessa legend. On the very place where Battleship Potemkin was filmed, the Odessa Film Festival holds an open-air screening for 12,000 with a view of the sea. During their first year, there were 30,000 attendees. By year three, there were 100,000. It takes place in an opera house on a level of that in Vienna, but their emperor did not pay as in Austria; the people themselves paid for the building. There are $15,000 cash prizes giving for Best Film, Best, Director, and Best Actor. Tomboy won last year. It has a small market for Russian and Ukrainian films, a pitch session and a “summer school” where the students live in tents at attend master classes and a sort of Talent Campus. There is good food by the sea! Don’t you want to attend? I’m hoping to find a way to go, especially after Ilya Dyadik, the program director, so graciously showed me all that goes on there and introduced me to Denis Maslikov, the Managing Director of the Ukrainian Producers Association. It takes place in July.
Estonia is another country on my mind. During Tiff A Lady in Paris (Isa: Pyramide) warmed my soul. Starring Jeanne Moreau, and costarring Laine MÄGI, an actress who reminds me of Katie Outinen, (Kaurimaki's favorite actress) the film was about women and love and oh so French! How could you not love the imperious Jeanne Moreau wearing Chanel and being won over by an Eastern European drudge who, under Moreau’s tutelage transforms herself in a vividly chic woman. And ,Patrick Pineau, who plays the owner of of those upscale cafes you like to have lunch in when in Paris, only needs to take one small step toward Laine, and oh la la, you too fall in love with him!
Edith Sepp, the film advisor for the Estonian Ministry of Culture, met us originally at the Vilnius Film Festival in Lithuania and we had a lot of fun hanging out there. We already had a connection to Estonia because the Estonian American documentary The Singing Revolution was our client’s film. We introduced our client to Richard Abramowitz in 2006 who did extraordinarily well with the film’s theatrical release. Edith invited us to their Cannes reception at Plage des Palmes and we continued our conversation. At Tiff 12 and Karlovy Vary, their film Mushrooming screened, but the one I am really eager to see is In the Crosswind. It shot through four seasons. The director is a 23 year old young man and this is his first film. It cost 700,000 Euros which went into historical costumes, extras and a new technology he is creating to make a profound drama about the relocation of whole populations by the Soviets, a theme which has shaped European history. I hope to see it in Berlin…or Cannes…or Venice.. The film is a sort of documentary story, somewhat similar to Waltz with Bashir, but it is old in live action and with still photography. During Cannes, they were seeking 200,000 Euros to complete the film. There is much to say about both of the Eastern European countries with their new generation of articulate and talented filmmakers. I hope they will be the subject of another blog or two in the coming year.
One last note on Eastern European films. A veteran Czech producer, Rudolf Biermann whom we know since the early days of Karlovy Vary's freedom from the Soviet bloc, is still producing young, fresh comedies like the one one that showed at Tiff 12, The Holy Quaternity by Jan Hrebejk (Isa: Montecristo). This romp brings marital sex which has become boring to a new and simple solution between two couples who have been best friends throughout their marriage. It's risque and sweet and plays with two generations' differing views on the sex games we play for fun.
But I have digressed from New York...And now I must go to Yom Kippur services for the rest of today. This blog will be continued tomorrow!! Watch for Part II which will be about New York!
- 9/26/2012
- by Sydney Levine
- Sydney's Buzz
Locarno Film Festival Artistic Director Olivier Pere is leaving his job after just three years in order to take over as the general director of Paris-based Arte France Cinema. The very sudden and unexpected event left Locarno Festival organizers desperate to find a replacement. In the past, Locarno artistic directors have stayed for at least four years. Today Hollywood Reporter announced the replacement with Carlo Chatrain, an Italian journalist, a 10 year veteran of Locarno who has worked under 4 directors, and who came in with Irene Bignardi, also an Italian journalist who preceded Marco Mueller who is now heading the Rome Festival after leaving Venice.
Arte France Cinema, a content producer, and a part of UniFrance is based in Paris, where Pere lives most of the year. Pere will replace Michel Reilhac, who will leave the post as of December 1 in order to work on “personal projects.” His sudden departure, according to some rumors, comes as a result of having taken some unhappy steps that displeased his higher-ups, particularly at the Jerusalem Film Festival. The Jerusalem Film Festival is also under the new leadership of Sundance veteran, Alesia Weston.
The next and 66th edition of the lakeside Swiss festival is scheduled to open August 6, 2013, which means that if a successor is named in September, he or she would have around 11 months to pull together the next edition of the event. That is more than what recent appointed first-year artistic directors have for example in nearby Italy. New Venice artistic director Albero Barbera and new International Rome Film Festival head Marco Mueller were both named just eight months before their respective events, and new Taormina Film Festival director Mario Sesti had only 40 days to pull this year’s festival together. However in Locarno, changes are usually more deliberate: Pere was named more than 16 months before his fist edition opened, while predecessor Frederic Mare was still on the job overseeing the final festival of his mandate. The last edition of the Locarno festival, acclaimed by many as the best under Pere, finished August 11. Recently Pere said he “loved” the job in Locarno and was looking forward to future editions. It is not clear where Pere’s departure leaves the “mini” version of the Locarno festival scheduled to take place in March, as announced by festival president Marco Solari at Locarno’s close. Pere was to be given full rein to organize the three-day event, set to start March 24. Solari said Pere’s only instructions were to “explore the connection between cinema and literature, between imagination and art.” In a brief statement issued by the festival, Solari said, “I wish to thank Olivier Pere for his work and major achievements over the last three years, that have consolidated Locarno’s position in the international arena, and I am delighted for him at this next step in his brilliant career.” In the same statement, Pere is quoted as saying, “I am very sad to be leaving the Festival but am also immensely satisfied with what has been achieved.”...
Arte France Cinema, a content producer, and a part of UniFrance is based in Paris, where Pere lives most of the year. Pere will replace Michel Reilhac, who will leave the post as of December 1 in order to work on “personal projects.” His sudden departure, according to some rumors, comes as a result of having taken some unhappy steps that displeased his higher-ups, particularly at the Jerusalem Film Festival. The Jerusalem Film Festival is also under the new leadership of Sundance veteran, Alesia Weston.
The next and 66th edition of the lakeside Swiss festival is scheduled to open August 6, 2013, which means that if a successor is named in September, he or she would have around 11 months to pull together the next edition of the event. That is more than what recent appointed first-year artistic directors have for example in nearby Italy. New Venice artistic director Albero Barbera and new International Rome Film Festival head Marco Mueller were both named just eight months before their respective events, and new Taormina Film Festival director Mario Sesti had only 40 days to pull this year’s festival together. However in Locarno, changes are usually more deliberate: Pere was named more than 16 months before his fist edition opened, while predecessor Frederic Mare was still on the job overseeing the final festival of his mandate. The last edition of the Locarno festival, acclaimed by many as the best under Pere, finished August 11. Recently Pere said he “loved” the job in Locarno and was looking forward to future editions. It is not clear where Pere’s departure leaves the “mini” version of the Locarno festival scheduled to take place in March, as announced by festival president Marco Solari at Locarno’s close. Pere was to be given full rein to organize the three-day event, set to start March 24. Solari said Pere’s only instructions were to “explore the connection between cinema and literature, between imagination and art.” In a brief statement issued by the festival, Solari said, “I wish to thank Olivier Pere for his work and major achievements over the last three years, that have consolidated Locarno’s position in the international arena, and I am delighted for him at this next step in his brilliant career.” In the same statement, Pere is quoted as saying, “I am very sad to be leaving the Festival but am also immensely satisfied with what has been achieved.”...
- 9/4/2012
- by Peter Belsito
- Sydney's Buzz
Sundance Institute alum Alesia Weston has taken on the role of executive director at the Jerusalem Film Center, a position she begins June 15. The new job involves a relocation to Israel just in time for the Jerusalem International Film Festival, which runs July 5-14. "Alesia brings a wealth of international as well as Israeli and particularly Jerusalem experience to this new and challenging endeavor," said David Harman, speaking for the Jfc board. "Her extensive background with Sundance, the most influential force in independent filmmaking in the world, and her inspired and irrepressible enthusiasm for Jfc will provide fresh leadership
read more...
read more...
- 4/16/2012
- by Jay A. Fernandez
- The Hollywood Reporter - Movie News
Alesia Weston, who many filmmakers know from her work as Associate Director of the Sundance Institute’s Feature Film Program, has been named the new Executive Director of the Jerusalem Film Center. She will begin her new job mid-June and will oversee all of the center’s artistic and educational programs, including the upcoming Jerusalem International Film Festival, the organization wrote in a press release.
From the press release:
“I am thrilled to be associated with this great team, especially Lia van Leer, and I am looking forward to expanding the vision she set in motion as founding director. The vibrant Israeli film industry, and Jfc’s interface with the most diversified constituency of any arts organizations in the country are just two of the attractions this legendary place holds for me,” says Weston.
Weston’s nine year tenure at Sundance Institute has seen a dramatic growth in the scope...
From the press release:
“I am thrilled to be associated with this great team, especially Lia van Leer, and I am looking forward to expanding the vision she set in motion as founding director. The vibrant Israeli film industry, and Jfc’s interface with the most diversified constituency of any arts organizations in the country are just two of the attractions this legendary place holds for me,” says Weston.
Weston’s nine year tenure at Sundance Institute has seen a dramatic growth in the scope...
- 4/9/2012
- by Scott Macaulay
- Filmmaker Magazine - Blog
Mumbai Mantra, the media and entertainment division of the Mahindra Group, is collaborating with Sundance Institute for the inaugural Mumbai Mantra Sundance Institute Screenwriters Lab 2012. Eight feature film projects have been selected through a rigorous evaluation process of submissions from Indian screenwriters from around the world . These Screenwriting Fellows will have the opportunity to work intensely on their feature film scripts with the support of Creative Advisors (established Screenwriters and Directors) in an environment that encourages innovation and creative risk-taking. Through one-on-one story sessions with the Creative Advisors, the Screenwriting Fellows will engage in an artistically demanding process that offers indispensable lessons in craft, a fresh perspective on their work and a platform to fully realize their material.This year.s Screenwriting Fellows who will go through an immersive five day workshop (March 11-16) at a Club Mahindra Resort are: . Charudutt Acharya (Sonali Cable Centre). Shonali Bose & Nilesh Maniyar (Margarita,...
- 3/14/2012
- Filmicafe
Palo Alto, CA - The Palo Alto International Film Festival (Paiff) has announced its speaker series for the 2011 festival. The series will feature eight panels and more than 30 speakers exploring the collaborative nature of the creative process and celebrating the game-changers whose work catalyzes innovation in film and media.
Paiff.s speaker series includes panels on the future of global cinema, character animation and hybrid entertainment, along with a panel on the impact of technology on the distribution and marketing of today.s films. Several of the speakers, including visual effects artists, animators, sound designers, independent film and video game producers, writers, entrepreneurs and financiers, have worked on film projects that are household names, while others are instrumentally involved in the future of film and media in ways that are less obvious. Additionally, Paiff will be broadcasting several of the panels live at www.paiff.net.
.Audiences will hear what...
Paiff.s speaker series includes panels on the future of global cinema, character animation and hybrid entertainment, along with a panel on the impact of technology on the distribution and marketing of today.s films. Several of the speakers, including visual effects artists, animators, sound designers, independent film and video game producers, writers, entrepreneurs and financiers, have worked on film projects that are household names, while others are instrumentally involved in the future of film and media in ways that are less obvious. Additionally, Paiff will be broadcasting several of the panels live at www.paiff.net.
.Audiences will hear what...
- 8/26/2011
- by Michelle McCue
- WeAreMovieGeeks.com
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