City of Joy[/caption]
In what might be one of the most important and uplifting documentaries premiering at DOC NYC, City of Joy follows a community for women survivors of violence in the Eastern Democratic Republic of Congo. The documentary displays how these women triumph over abuse and join forces to revolutionize their community. The doc is equally stirring as it is inspirational, and encourages a catalyst for change at every turn. As a fantastic reassurance of what women can do when the work together, this is one documentary not to be missed. We sat down with the director Madeleine Gavin, to tell us more about this film.
Can you tell us what City of joy is all about?
City of Joy takes place in Eastern Democratic Republic of Congo, an area often referred to as “the worst place in the world to be a woman.” The film follows the first class of women who enter a leadership center in Bukavu, in Eastern DRC for a 9-month leadership training. It also focuses on the founders of this center, three activists who imagined this revolutionary place where women who have suffered horrific rape and abuse can learn to lead others and work toward changing their country, in spite of all they have endured.
What was your motivation for making a documentary about women survivors of violence in the Eastern Democratic Republic of Congo? When did you first become aware of these women?
What motivated me to want to make this film began a few years before this leadership center, City of Joy (from which the film gets its title) opened. At the time, I was creating web pieces that tracked some of the work Eve Ensler (author of The Vagina Monologues) and V-Day (the movement she founded) were doing to end violence against women and girls around the world.
I remember the first piece I did about the Democratic Republic of Congo. I had known about the genocide in Rwanda but, at the time had only a vague knowledge of the DRC and the violence occurring there since the mid 1990’s. As I began to learn more about was going on, the torture, the devastation to women’s families, to their communities, their children, their bodies, I was shaken to the core. Having a young daughter myself, it was impossible to imagine how these women could envision a life with meaning after being through what they had or witnessing their children go through such atrocities. And yet there was a resilience and insistence on hope in these women that was palpable. To say that it was awe-inspiring is really an understatement but it was this awe I felt in the face of the incomprehensible strength of these women that initially motivated me to want to make this film.
Once City of Joy opened and we began shooting and following the first class of women there, my commitment to this project became even stronger. I knew of Co-Founder Eve Ensler’s work and her dedication to ending violence against women but getting to know Co-Founder Christine Schuler-Deschryver and seeing the work of Co-Founder Dr. Denis Mukwege, left an indelible mark on me. Risking their own personal safety, the founders of City of Joy – as well as many others who teach and work there – have a fierce devotion to the women of Congo and to the country they dearly love. I felt I needed to tell the story of this devotion, this dedication to hope in a world where so much hopelessness surrounded them.
How long did it take to film and what did you find to be most challenging part of making it?
We shot on and off for a little over four years. There were many challenges in the making of this film. There were times when, because of the logistics of shooting in Congo and issues related to access and security, I had to reimagine what I had wanted to shoot, mid-shoot. This was often difficult because material I dearly wanted might become impossible to shoot. But one of the most challenging things overall I would say was trying to find the balance between the devastation of what these women had suffered and the incredible force of hope and joy that they embodied. I didn’t want audiences to go numb in the watching of this film and to shut down and stop listening. So I grappled a lot with the shifting tones. In the shooting, there was of course wrenching, heart-breaking emotion. But there was also a huge amount of humor, irreverence and joy. It was really important to me that audiences experienced the powerful and often incomprehensible array of emotions I myself experienced in Congo.
In a sentence or two, tell our readers why they should see the City of Joy.
I think audiences should see City of Joy because there is so much they can learn from the individuals in it and because our worlds are connected and we need to take action to care about others the way these women care about each other. I myself feel like I learned a lot about the meaning of the word “joy” from the women of Congo, a very important word that the graduates of City of Joy are taking along with their courage and strength, into their work in villages all over Congo.
It is an incredibly important topic, particularly now. I think people will get a lot out of your message. What specifically do you want the audience to take away from City of Joy?
I hope that audiences will be moved by the individuals in this film, by their strength, their courage and their dedication to each other and to changing their country. I also hope people will be outraged by what the women have suffered and that they will begin to understand how connected our world is, that we can’t separate corporate greed from violence in villages that we could never even find on a map. I really hope people will leave the theatre with the belief that change is possible and that we all have a huge role in that. If these women at City of Joy can move beyond experiences that would paralyze many, then I really hope audiences will actively join their fight.
Can you give tips to any prospective Documentary film makers? What did you learn while making the film?
I learned so much from the people in the film, first and foremost. But in terms of filmmaking itself, I definitely learned to be even more flexible with narrative, sometimes intentionally and sometimes out of necessity. I really wanted this film to have its own particular style of story-telling, to be an experience for an audience rather than information. I grappled a lot with this and, whether I was fully successful or not, I learned an enormous amount about pushing boundaries of narrative. Regarding tips for others, I would only say that trying to be true to the specificity of what you want to explore in a film is so important. Being open to criticism and new ideas is equally important. Doing something that goes against the central core of your film, however, is often worth fighting against. Of course trying to figure out the sweet spot of where that line falls can be difficult but is also key.
What’s next step for both you and the doc?
City of Joy is the first film I have directed. Before this I have worked primarily as an editor in both documentary and narrative. I love both forms and tend to go back and forth between them. Right now I am working with Rebecca Cammisa (WHICH WAY HOME) on her new film for HBO about radioactive waste that was illegally dumped in downtown St. Louis. I am also developing a new project that I hope to direct.
City of Joy premieres tonight at 7:00 PM at SVA Theatre
For more information and to buy tickets click here.News
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Director Madeleine Gavin Discusses Her New Film CITY OF JOY Premiering at DOC NYC
[caption id="attachment_18245" align="aligncenter" width="1000"] City of Joy[/caption]
In what might be one of the most important and uplifting documentaries premiering at DOC NYC, City of Joy follows a community for women survivors of violence in the Eastern Democratic Republic of Congo. The documentary displays how these women triumph over abuse and join forces to revolutionize their community. The doc is equally stirring as it is inspirational, and encourages a catalyst for change at every turn. As a fantastic reassurance of what women can do when the work together, this is one documentary not to be missed. We sat down with the director Madeleine Gavin, to tell us more about this film.
Can you tell us what City of joy is all about?
City of Joy takes place in Eastern Democratic Republic of Congo, an area often referred to as “the worst place in the world to be a woman.” The film follows the first class of women who enter a leadership center in Bukavu, in Eastern DRC for a 9-month leadership training. It also focuses on the founders of this center, three activists who imagined this revolutionary place where women who have suffered horrific rape and abuse can learn to lead others and work toward changing their country, in spite of all they have endured.
What was your motivation for making a documentary about women survivors of violence in the Eastern Democratic Republic of Congo? When did you first become aware of these women?
What motivated me to want to make this film began a few years before this leadership center, City of Joy (from which the film gets its title) opened. At the time, I was creating web pieces that tracked some of the work Eve Ensler (author of The Vagina Monologues) and V-Day (the movement she founded) were doing to end violence against women and girls around the world.
I remember the first piece I did about the Democratic Republic of Congo. I had known about the genocide in Rwanda but, at the time had only a vague knowledge of the DRC and the violence occurring there since the mid 1990’s. As I began to learn more about was going on, the torture, the devastation to women’s families, to their communities, their children, their bodies, I was shaken to the core. Having a young daughter myself, it was impossible to imagine how these women could envision a life with meaning after being through what they had or witnessing their children go through such atrocities. And yet there was a resilience and insistence on hope in these women that was palpable. To say that it was awe-inspiring is really an understatement but it was this awe I felt in the face of the incomprehensible strength of these women that initially motivated me to want to make this film.
Once City of Joy opened and we began shooting and following the first class of women there, my commitment to this project became even stronger. I knew of Co-Founder Eve Ensler’s work and her dedication to ending violence against women but getting to know Co-Founder Christine Schuler-Deschryver and seeing the work of Co-Founder Dr. Denis Mukwege, left an indelible mark on me. Risking their own personal safety, the founders of City of Joy – as well as many others who teach and work there – have a fierce devotion to the women of Congo and to the country they dearly love. I felt I needed to tell the story of this devotion, this dedication to hope in a world where so much hopelessness surrounded them.
How long did it take to film and what did you find to be most challenging part of making it?
We shot on and off for a little over four years. There were many challenges in the making of this film. There were times when, because of the logistics of shooting in Congo and issues related to access and security, I had to reimagine what I had wanted to shoot, mid-shoot. This was often difficult because material I dearly wanted might become impossible to shoot. But one of the most challenging things overall I would say was trying to find the balance between the devastation of what these women had suffered and the incredible force of hope and joy that they embodied. I didn’t want audiences to go numb in the watching of this film and to shut down and stop listening. So I grappled a lot with the shifting tones. In the shooting, there was of course wrenching, heart-breaking emotion. But there was also a huge amount of humor, irreverence and joy. It was really important to me that audiences experienced the powerful and often incomprehensible array of emotions I myself experienced in Congo.
In a sentence or two, tell our readers why they should see the City of Joy.
I think audiences should see City of Joy because there is so much they can learn from the individuals in it and because our worlds are connected and we need to take action to care about others the way these women care about each other. I myself feel like I learned a lot about the meaning of the word “joy” from the women of Congo, a very important word that the graduates of City of Joy are taking along with their courage and strength, into their work in villages all over Congo.
It is an incredibly important topic, particularly now. I think people will get a lot out of your message. What specifically do you want the audience to take away from City of Joy?
I hope that audiences will be moved by the individuals in this film, by their strength, their courage and their dedication to each other and to changing their country. I also hope people will be outraged by what the women have suffered and that they will begin to understand how connected our world is, that we can’t separate corporate greed from violence in villages that we could never even find on a map. I really hope people will leave the theatre with the belief that change is possible and that we all have a huge role in that. If these women at City of Joy can move beyond experiences that would paralyze many, then I really hope audiences will actively join their fight.
Can you give tips to any prospective Documentary film makers? What did you learn while making the film?
I learned so much from the people in the film, first and foremost. But in terms of filmmaking itself, I definitely learned to be even more flexible with narrative, sometimes intentionally and sometimes out of necessity. I really wanted this film to have its own particular style of story-telling, to be an experience for an audience rather than information. I grappled a lot with this and, whether I was fully successful or not, I learned an enormous amount about pushing boundaries of narrative. Regarding tips for others, I would only say that trying to be true to the specificity of what you want to explore in a film is so important. Being open to criticism and new ideas is equally important. Doing something that goes against the central core of your film, however, is often worth fighting against. Of course trying to figure out the sweet spot of where that line falls can be difficult but is also key.
What’s next step for both you and the doc?
City of Joy is the first film I have directed. Before this I have worked primarily as an editor in both documentary and narrative. I love both forms and tend to go back and forth between them. Right now I am working with Rebecca Cammisa (WHICH WAY HOME) on her new film for HBO about radioactive waste that was illegally dumped in downtown St. Louis. I am also developing a new project that I hope to direct.
City of Joy premieres tonight at 7:00 PM at SVA Theatre
For more information and to buy tickets click here.
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Director Ryan Jones Talks Aboout SCOTT’S PIZZA TOURS, a Documentary You’ll Want To Devour
[caption id="attachment_18236" align="aligncenter" width="1000"]
Scott’s Pizza Tours[/caption]
After what some might call a post-apocalyptic week, Scott’s Pizza Tours might just be the documentary to remind you that you can have fun again. The documentary follows the life of Scott Wiener, pizza enthusiast and New York’s slice-spirit guide, letting you in on the secrets of New York’s unparalleled pies. We interviewed director Ryan Jones to tell us more about the film and why this is the doc you’ll be craving. Scott’s Pizza Tours makes its world premiere at 2016 DOC NYC.
This isn’t what one might call a tradition subject for a documentary, when did you first become aware of Scott Wiener and what was your motivation to choose him as your subject?
I had known Scott for a few years through my wife, but I hadn’t had the chance to go on his pizza tour. I knew the depth of his knowledge, and his personality, so I had mentioned to my co-director, Shawn Willis, the idea of doing a doc about Scott, but it was kind of on the back-burner. Then I went on a tour and I was blown away. I called Shawn from the tour and said, “We need to do this movie immediately.” He is a true showman on the tour, and I knew that would translate on-screen. Plus, he’s talking about the most popular food in the world! We felt that it was a great combination of food doc and personal profile of this quirky pizza lover who has taken his passion and turned it into a successful business.
What do you hope the audience takes away from seeing Scott’s Pizza Tours?
We hope that the audience comes away with a better idea of the history and science of this food that everyone loves so much, but more importantly, we hope that Scott’s story inspires people to see what can be created from their own passions.
In a brief summary, can you tell our readers why they should see this documentary?
This is a movie about pizza, and Scott Weiner, a really lovely human being, who wants to tell you all about it. There are no skeletons in the closet, no dark secret life; it’s just a funny, uplifting story, and it’s the perfect escape from the post-election depression we’re all feeling.
That is an excellent sales point! So what’s next for you and the doc?
We’ve just re-cut the movie into a short, so we’re re-submitting to some other festivals that passed on the movie before. Next, we’re hoping to do a documentary about the rise and fall of Gawker.
Can you give tips to any prospective Documentary filmmakers?
The great thing about making a documentary is that you don’t have to have all the best gear, a huge production team, or a bunch of industry connections. All you need is a good story well told. Production quality can be forgiven, and the film will find its way to the public, so long as you tell an engaging story. So my advice is to just go for it. Don’t wait for the stars to align; just start shooting by any means necessary.
Did you run into any roadblocks trying to get Scott’s Pizza Tours made?
Our only roadblock was trying to hold a camera with one hand and eat a slice of pizza with the other.
Scott’s Pizza Tours makes its world premiere on Friday, November 11 at 5:30pm at IFC Center and screens again on November 14th at 12:45. You can get more information and buy tickets here.
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EXCLUSIVE: Spotlighting THE LURE With Exclusive Clip and Interview with Tomas Leach
[caption id="attachment_18212" align="aligncenter" width="691"]
The Lure[/caption]
Though stories of treasure hunts are often reserved for the fiction genre, director Tomas Leach is captivating audiences by documenting the hunt for eccentric millionaire Forrest Fenn’s buried treasure in The Lure. Fenn was an art dealer who in 2010 decided to bury his fortune in the Rocky Mountains, leaving only a cryptic poem as a treasure map. The Lure follows dedicated treasure seekers on their expedition to find the fortune as well as documenting the history of the hunt and interviewing Forrest himself about his motivations and the effects the hunt has had on his life. In addition to the sense of adventure so rarely found in real life, the doc’s scenery throughout the tranquil and transcendent Rocky’s make the audience feel that the true reward can be found in your surroundings. The Lure will be making it’s world premiere at DOC NYC. VIMOOZ was fortunate enough to get an exclusive first clip as well as interview Tomas Leach himself.
When did you first become aware of Forrest Fenn and the treasure hunt?
I read a small article about Forrest and his treasure and it sparked something inside me that got me excited to find out more. There’s something mysterious and magical about a hidden treasure that sets the mind racing.
Once I started to research more and spent time with the searchers, I realized the story had a depth and cinematic beauty to it that I really wanted to make a film about.
[caption id="attachment_18216" align="aligncenter" width="1000"]
Tomas Leach Shooting THE LURE[/caption]
Now that you’ve done the documentary. Do you know where the treasure is?
As soon as I flew out there, I knew that even starting to think of where the treasure is would lead to me lost in the Rockies, with a massive beard and a gleam in my eye.
How long did it take to shoot and what was the hardest part about making it?
We made several trips to film over 2 years and then took another year to edit and finish the film. Every film has challenges and this was no different. From a practical viewpoint, the Rockies are vast and untamed. And in terms of the story, I wanted to weave together multiple narratives and make it a richer film than just a wacky treasure chase.
Can you tell our readers why they should see The Lure and what you want the audience to take away from the film?
I think the film taps into something universal and magical about people searching. Whether it’s for gold, happiness, great stories or whatever it may be, we are all on the search for something to make us feel more complete. The Lure is an entertaining and I hope touching tale about that and more, all set in a visually powerful and mysterious part of the world.
The feeling of magic definitely looms throughout the film! Can you give tips to any prospective Documentary film makers? What did you learn while making In No Great Hurry?
The most important thing for me is always to fall completely into the story. Don’t make something you don’t want to live and breathe for years. Get people around you that you trust and get feedback even on the early idea. And don’t forget that film is a visual medium. If you can’t communicate through images, it’s failing.
What’s next step for both you and the doc?
I have a few feature doc ideas that I developing at the moment, but I’ve also written a narrative feature that I’d like to make next year. As for The Lure, I’m excited to get it in front of audiences at the world premiere this weekend and stay tuned for next steps!
The Lure will World Premiere at DOC NYC on Sunday, November 13, 2016, at 7:45 PM at Cinepolis Chelsea and screens again on Tuesday November 15, 2016, 3:00 PM at the IFC Center. Click here for tickets and additional information!
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INTERVIEW: Joel Potrykus – The New King of Underground Cinema
[caption id="attachment_18175" align="aligncenter" width="1000"]
Joel Potrykus[/caption]
Whether his characters are doing stand-up comedy, eating spaghetti in fancy hotels, or devoting their lives to conjuring the Devil himself, Grand Rapids native and filmmaker Joel Potrykus has no trouble making sure it gets really, really weird. Through three features, including last year’s critically acclaimed Buzzard, Potrykus has given audiences a peek at a certain kind of American that is rarely encountered on the average day. Like one of Austin’s wanderers in Slacker who’s read one too many Bret Easton Ellis novel, Potrykus captures a certain shocking, toxic masculinity that’s as subversively hilarious as it is alarmingly relevant. I had a chance to talk to Joel about his latest film, The Alchemist Cookbook, about a forest-dweller named Sean who really wants to get possessed by Satan.
Josef: Your previous films, Buzzard and Ape, have flirted with elements of horror, but your most recent work, The Alchemist Cookbook, is the closest thing you’ve ever made to a genre film. At what point did you realize you were capable of tackling something that may have required a lot more precision in execution than some of your previous work? On the other hand, do you think your previous work has always had a pacing and tone that feels unrehearsed but is, in fact, extremely precise?
Joel: Buzzard was very precise. Every tiny exchange between characters and prop was thought over for months and months. Sometimes, the more you prep, the more it looks improvised. With Cookbook I certainly wasn’t setting out to make a horror movie. It was black magic and a demon, but I still would never call it horror. I’m just trying to make movies that I would want to see. I’d want to see Cookbook even if I hadn’t directed it.
I’m definitely not here to impose a political agenda on you or your films, but with more noticeable diversity campaigns online (#OscarsSoWhite for instance), did you make a conscious decision to cast people of color in the two lead roles, or was that something that came to you naturally during writing and pre-production?
It was a choice from the start. I didn’t want to get pegged as the guy making movies about angry white guys in the suburbs. So I intentionally brought this one out into the woods with black guys. There were so many great movies I loved growing up that focused on black characters and rarely did they get the chance to mess around with the Devil and chemistry, even. I never want to tell a story that is predictable or cliched in any way at all. Ty Hickson, who plays Sean, said he’s never been offered a role like this. He was just as excited as I was to shake things up.
Another really striking aspect of this film is its subtle comments on the nature of mental illness and how sometimes it can feel like you’re being possessed by some kind of invading force. The way it’s portrayed in the film seems like it came from a very personal place. Exploring mental illness through horror has surfaced to the mainstream in a big but ultimately disappointing way this year, with films like Lights Out seeming more exploitative than empathetic. How did you maintain that balance between entertainment, empathy, and realism in your portrayal of Sean’s mental state as it fluctuates throughout the film?
My goodness, was Lights Out a disappointment. Love the short, but it’s a simple concept stretched way too far. To be honest, the movie is about a mental illness that overcame my grandfather when I was a kid. That type of paranoia is a lot scarier to the person suffering than it is to us. Most people could never imagine the waking nightmare of schizophrenia. I’ll never make a film about just one thing, or a film that lives in one mood or tone. Our everyday lives are full of drama, humor, and even horror. This type of mental illness is a straight up horror most of the time. It was important to try to get inside Sean’s head. The camera never strays from his perspective for a reason. I want the audience to question everything.
[caption id="attachment_16518" align="aligncenter" width="1000"]
The Alchemist Cookbook[/caption]
Moving away from the thematics of the film and more into technical aspects, what was it like shooting on an Alexa? If I’m not mistaken Buzzard was shot on a Mark III so this is a huge step up in terms of the range of images you’re able to capture. I noticed a lot more night scenes in this film that were confidently lit using dim candles, campfires, and other sources of natural or visible lighting.
For the first week I hated the Alexa. It was heavy, bulky, and slowed my process down. But DP Adam J. Minnick is about the only guy I’d trust to see the scene the same as I do. So I was totally confident. The only artificial light used were blasting into the trailer in order to maintain consistent daylight effect throughout the long shooting day. Otherwise, all exteriors are natural light, which is important to Adam and me. I never want my movies to look like a movie. At night, in the woods, it’s dark. Really dark. I wanted no fake blasting full moon. I wanted the audience to strain to see things. We actually darkened night scenes to make them even blacker.
I can imagine that you and the actor who played Sean, Ty Hickman, got very close over the course of this production. Tell me a bit about the casting process, and what it was like to spend all that time focusing mostly on one actor. Specifically, did it ever cross your mind to cast someone who was right for the role as well as being someone you wouldn’t mind spending a month alone in the woods with?
Personality is important to me. Ty first got my attention after a scene in Gimme the Loot when he leaves a basement and hits a punching bag on the way out. One of the first things I asked him about is whether or not that was scripted. It wasn’t. He said, “who wouldn’t punch that?” Exactly. That’s the kind of actor I want to work with. Someone with instincts. On Cookbook I’d let the scene play out as scripted, then just let the camera linger and see what Ty would do. It threw him off for the first day or two, but once he understood that I was messing with him a little, he got into it. Those are my favorite moments – the unscripted ones, where I’m surprised. Even better if the actor can surprise himself. I hate sticking to the page and feeling like it’s a construction site. I want mistakes and surprises.
Touching again on the intimacy of it all, how big was your crew on a day-to-day basis, and what was the lodging situation like while on-set? I remember you going dark on Facebook pretty much the entire time you were shooting, and I was scared you guys had run into a Blair Witch Project scenario.
I wish we’d run into a real life witch or demon. Total bummer that those woods weren’t actually haunted. This was our biggest crew – around 20, I’d say. Not my usual style. Most of us crashed in a huge 10 room house that acted as our production headquarters, and a few stayed with friendly residents in Allegan, Michigan, where we filmed. I’m stoked to someday go back to the old set and look for the “pay up” tree and some props we hid around the woods.
What was your relationship like with horror films growing up and into your adulthood? One of my favorite things about Sean is that he so desperately wants to be possessed by the Devil, while most characters in scary movies do everything they can to avoid such a fate. Was there any part of you that wrote that character with the meta elements in mind?
Yeah, it’s rare to see a character actively pursuing evil. The original Evil Dead inspired me to make films at an early age. I’ve always been obsessed with horror and it’ll always be present in my work one way or another. An American Werewolf in London may be my favorite movie ever. Its tonal shifts are perfect. Just last night I watched Halloween III and the shitty new Ouija movie.
[caption id="attachment_18176" align="aligncenter" width="1000"]
The Alchemist Cookbook[/caption]
During our last interview I remember you talking briefly about the spaghetti scene in Buzzard, which has since become something of a legend amongst indie film buffs. But it seems like you just love to film people eating. Is there something that you feel is captured when the audience watches a character eat that can’t be conveyed any other way, or am I reading far too much into what’s ultimately just a nifty coincidence?
Eating is one of the most private things we do. It’s something we need to do and something we love to do. I’m fascinated by watching people eating when they think no one is watching. I’m a sloppy eater, with no manners. I never really consciously thought that I need an eating scene in my movies, they just appear on the page. But some of my favorite scenes are when a character eats – I want to join Zack and Jack at the table during that Italian feast in Down by Law.
I read somewhere that you’re currently not going to divulge whether or not the possum in the film is real. That’s fine! My only question is, whether or not it was real, that scene could not have been easy to shoot. Was it a scene that you had already planned out in your head or was it something you knew you’d have to figure out down the line?
Well, magic happened and we got the shot in the first take. The evil spirits of cinema were on my side that night. I watched in fascination as the camera rolled.
I’d like to know a little bit about your life as a teacher, and how your own experiences inform your lessons, or if any students have come to you as fans of your work and if that can actually help establish a connection with them without necessarily having to “prove yourself.”
I try not to talk about myself or own work much, but generally students know who I am and sometimes ask direct questions about my movies. I think it lends some credibility to watch me talk about it in class. I like to cut through the textbooks and get to the reality of the industry, especially the indie world which is in constant motion. It’s great to expose film students to work that I consider important, like Aguirre, 8 1/2, Gummo, or even Wendy and Lucy. I also think it’s just as important to learn from others’ mistakes, so occasionally we dive into Birdemic or bad commercials.
[caption id="attachment_18177" align="aligncenter" width="1000"]
The Alchemist Cookbook[/caption]
You’re obviously responsible for launching Joshua Burge’s career, and he went from Buzzard to The Revenant in just a year’s time. Have you guys stayed in regular contact since making the film? I know if there’s anyone who’s going to keep his head from getting too big it’s going to be you.
Well, I wouldn’t say I’m responsible for launching his career. And if I am, then he’s responsible for launching my career. It’s a total blast to see him get the recognition he deserves. The dude’s just got it. Hoping we work together on the next one. He still lives only a few minutes away from me, so I see him whenever he’s not in a far off land acting with the big shots. He’s still just Josh to me.
Lastly, I feel almost obligated to ask what you’re working on next since that’s the question that ends most interviews, but I’d really like to know what your day-to-day is like when you aren’t actively working on a movie. A lot of aspiring directors forget to account for the downtime in between projects, and I’m curious how you keep your mind active when you aren’t talking to producers or actors or reading over budgets and rewriting drafts.
I’m always working on at least one feature script. I’ve got three finished right now, but focusing on one to shoot next summer. Just looking for the money, as usual. Normally, I start my day looking at emails and Facebook in bed, oatmeal breakfast, then get to writing for a few hours, lunch, grade papers, read a chapter or two from whatever stuffy film theory book I’m into at the moment on my bus ride to the university, teach for a couple hours, watch some Howard Stern clips on YouTube, write for a little longer, dinner, watch an episode of Shark Tank, write, end the night with a movie in my office. I get set in my routines.
**The Alchemist Cookbook is available for purchase on any website where movies are sold, including a pay-what-you-want option on BitTorrent**
https://www.youtube.com/watch?v=2IFqOBquZjU
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Adrienne Shelly’s Husband Speaks Out Against Trump’s Attempted Anti-Immigration Exploitation
[caption id="attachment_17761" align="aligncenter" width="1000"]
Adrienne Shelly[/caption]
Andy Ostroy, the husband of director Adrienne Shelly, whose life was tragically cut short in 2006, spoke out against the right-wing attempts to use his wife’s brutal murder to aid their anti-immigration campaign in an opinion piece for The New York Times
It was a decade ago (almost to the date), when Adrienne Shelly, an indie director and actress best known for her film Waitress was found dead in her West Village Office. Shelly was killed by an undocumented construction worker named Diego Pillco, who ended her life by staging a fake suicide after fearing she would have him deported. Though the tragedy would be a prime example to justify Trump’s anti-immigration position, Andy Ostroy artfully spurned the offer. In the article, Ostroy admits “Given the anger and grief I still feel, I could easily be seduced by Donald J. Trump’s anti-immigrant rhetoric that is the cornerstone of his presidential run.”
Yet Ostroy is committed to his pragmatic perspective, writing “Adrienne was not murdered by an illegal immigrant, per se. She fell victim to a depraved killer who simply happened to be an undocumented immigrant. It is an obvious distinction, almost too obvious, but it’s an important one to consider as the country goes further down the dangerous path of demonizing those not born here.”
In addition to being approached by Trump’s campaign, Ostroy has also been asked to speak out by Bill O’Reilly and Megyn Kelly in order to give legitimacy to their anti-immigrant argument. However, refusing to let Shelly’s murder be used as “a political prop”, Ostroy writes “It’s politically expedient for xenophobic agitators like Mr. Trump to scapegoat the millions of foreigners who have come to the United States in search of a better life. But his malevolence toward immigrants runs counter to the principles on which our great nation was founded. It’s disheartening to see so many people being swept out to sea in a riptide of ignorance and hate.”
Ostroy also mocked the Republican’s the futile attempt to have him speak out by saying “Who better than a Democrat to attack an entire segment of our population, right?”
While Ostroy agrees, “We have an immigration problem that is in desperate need of reform.”, he is against the foreseeable damage that Trump has proposed “His “solution” includes a deportation force that would separate people from their families and “send them back to wherever they came from.”
The right-wing attempt of using Shelly as a poster girl for their arguments backfired, driving Andy Ostroy to use his position to serve as a model example of how to keep a moral standing despite having been through circumstances that could easily deviate our dispositions.
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Film Review: Lorcan Finnegan’s WITHOUT NAME
The woods are scary. This isn’t a concept that’s too difficult to grasp. Nature scares people. The uncontrollable elements scare people. Bears scare people. Witches scare people. All these things are in the woods and, unless I’m with at least three other people who run slower than me, I won’t be. However, if your inclination is to tell me that I’m more afraid of myself than I am the forest, not only would you be correct, you’d be the perfect audience for Lorcan Finnegan’s debut feature, Without Name.
When Eric (Alan McKenna) is contracted to survey a land known as gun ainm (literal translation being, you guessed it, “without name”), he finds himself spending more time investigating the area’s history than the land itself. Leaving behind a wife (Olga Wehrly) and teenaged son (Brandon Maher) but accompanied by his colleague and occasional mistress, Olivia (Niamh Algar), Eric becomes obsessed with the land’s previous owner, William Devoy (Brendan Conroy), who left behind a field guide to the surrounding forests, its plants, and potentially supernatural properties before succumbing to its powers, where he was found catatonic and nearly dead with no concrete explanation.
Undisturbed but morbidly curious, Eric’s grasp on reality grows thin as the mysteries surrounding Devoy’s current mental state and explorations in the forest pose more questions than they answer. Meanwhile, Eric and Olivia become close with a traveling local, Gus (James Browne), who tries to open their minds to the possibilities of nature as sentient beings that communicate with each other in a complicated ecosystem beyond human comprehension.
Bursting with an energy rarely seen outside of a debut feature, Without Name is a challenging, unnerving, and ultimately rewarding film about the relationship between man and the surroundings which he cannot control through distinctly human concepts like infrastructure and property lines. Finnegan, with cinematographer Piers McGrall, uses the camera to breathe a life into these woods that’s rarely seen in the movies. The film’s most visceral moments have a tendency to erase the barrier between viewer and screen, leaving you as disoriented as the characters you’re watching.
While we’re on the topic of character, it took watching this movie to realize how long it’s been since I’ve seen a horror movie with three-dimensional human beings to root for. I can’t emphasize enough how refreshing it was to hear people talking on-screen without desperately wanting one of them to be murdered mid-sentence. By avoiding the “creepy local” trope entirely and allowing the horror to come from within Eric and as a result of his surroundings, Finnegan is able to foster these distinct relationships amongst the characters that imbue his film with a sense of purpose with which the worst horror films don’t even bother.
However, that same energy and attention to detail that characterize the best debut features are occasionally offset by a narrative structure commonly associated with first films on the negative end of that spectrum. For all of its risks, Without Name‘s screenplay sometimes slips into more telegraphed territory, which actively works against the mystery that makes this film a lot of what it is. All the more disappointing because the film’s highs are high. It’s a confident debut that sometimes doesn’t trust itself to go the distance and shed any semblance of the reference points and visual cues that most first-time directors rely on to find an audience.
Similarly, Without Name has a tendency to bare its micro-budget teeth that no amount of editing can hide, including a third act that, while visually stunning and genuinely breathtaking to behold, utilizes overly simplistic (read: cheap) setups to get its point across, including an altercation between two nude men in a forest that’s probably a lot goofier than it was intended to be.
These are all minor gripes, though. The bottom line of Without Name is that it’s daring, it’s unnerving, it’s gorgeously shot, impeccably scored, masterfully edited, and only occasionally clunky. I predict nothing but good things for director Lorcan Finnegan and his writing partner, Garret Shanley, who are well on their way to being the next Adam Wingard/Simon Barrett one-two punch of a writer who understands the genre with a bold vision, and a director who’s able to manifest that vision into something that’s not only watchable, but potentially transcendent. In its closing shot, Finnegan confirms that he already knows the one thing most horror directors tend to avoid: killing your characters isn’t the best or only way to scare your audience, as there are many, many fates worse than death.
Grade: B+
https://www.youtube.com/watch?v=cd4K6qICqC8
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THE ISLAND PRESIDENT’s Mohamed Nasheed, Granted Refugee Status in Britain
Mohamed Nasheed, the former president of the Maldives, and subject of the award winning documentary The Island President has reportedly been granted refugee status in Britain.
Nasheed was in Britain on medical leave from a 13-year prison sentence on terrorism charges.
The former president, Mohamed Nasheed, the country’s first democratically elected head of state, was jailed for ordering the military to arrest a sitting senior judge, which the court said was an abduction punishable under a section of an antiterrorism law. He was found guilty of terrorism and sentenced to thirteen years in prison.
Mohamed Nasheed had earlier resigned the presidency in February 2012, after weeks of demonstrations and a mutiny by some police officers.
The Island President, directed by Jon Shenk, is the story of President Mohamed Nasheed of the Maldives, a man confronting a problem greater than any other world leader has ever faced—the literal survival of his country and everyone in it. After bringing democracy to the Maldives after thirty years of despotic rule, Nasheed is now faced with an even greater challenge: as one of the most low-lying countries in the world, a rise of three feet in sea level would submerge the 1200 islands of the Maldives enough to make them uninhabitable.
The Island President captures Nasheed’s first year of office, culminating in his trip to the Copenhagen Climate Summit in 2009, where the film provides a rare glimpse of the political horse-trading that goes on at such a top-level global assembly. Nasheed is unusually candid about revealing his strategies—leveraging the Maldives’ underdog position as a tiny country, harnessing the power of media, and overcoming deadlocks through an appeal to unity with other developing nations. When hope fades for a written accord to be signed, Nasheed makes a stirring speech which salvages an agreement. Despite the modest size of his country, Mohamed Nasheed has become one of the leading international voices for urgent action on climate change.
https://www.youtube.com/watch?v=x10EbJymLz4
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Ten Narrative Film Projects Selected for 2016 IFP Filmmaker Labs
Ten narratives have been selected for the 2016 IFP Filmmaker Labs, IFP’s annual yearlong fellowship for first-time feature directors.
The creative teams of the selected films are currently attending the first week’s sessions – The Time Warner Foundation Completion Labs – taking place May 23-27th in New York City.
The IFP Narrative Filmmaker Labs are the only labs that support first-time feature directors with projects in post-production as they complete, market and distribute their films. The Labs provide filmmakers with the technical, creative and strategic tools necessary to launch their films and careers.
Now entering its twelfth year with over 100+ first-feature filmmakers supported, the community of Labs alumni is comprised of some of the most exciting and critically-acclaimed artists working today across film, television, new media and VR; these include multi-hyphenate creators such as Amy Seimetz (“The Girlfriend Experience”), Alex Karpovsky (“Girls”), David Lowery (PETE’S DRAGON), Dee Rees (BESSIE), Andrew Dosunmu (MOTHER OF GEORGE), Tim Sutton (DARK NIGHT), Jennifer Phang (ADVANTAGEOUS), and Terence Nance (AN OVERSIMPLIFICATION OF HER BEAUTY).
Recent 2015 IFP Labs Fellows have been already making their mark on the festival circuit. Just this year, THE ARBALEST won SXSW’s Narrative Grand Jury Prize and DONALD CRIED received distribution from The Orchard. Of the ten selected projects, seven have already premiered at top festivals including SXSW, Tribeca, Los Angeles Film Festival, Slamdance and Bentonville and two fellows are shooting new projects this summer.
“To highlight and support diverse stories and storytellers has always been the mission of the IFP Labs and of IFP as a whole,” says Joana Vicente, Executive Director of IFP and the Made in NY Media Center. “This year’s Narrative Lab Fellows are a perfect example of this, and the boundless creativity and diversity in their work is evident in just how wide-ranging these films’ settings are: from Kyiv, Ukraine, to the Alaskan fish canneries, to right here in Brooklyn’s Borough Park neighborhood.”
Under the artistic direction of IFP Head of Programming Amy Dotson and Program Manager and Producer Zach Mandinach, the supervising 2016 Narrative Lab leaders include Jon Reiss, director/producer and author (BOMB IT!; Think Outside the Box Office), Susan Stover, producer (WELCOME TO THE DOLLHOUSE; HIGH ART; HAPPY ACCIDENTS); Pierce Varous, producer (ALWAYS SHINE; H.) and founder of Nice Dissolve; Scott Macaulay, Filmmaker Magazine’s Editor-in-Chief and producer (JULIEN-DONKEY BOY). Individual Workshop Leaders include composer Keegan Dewitt (I’LL SEE YOU IN MY DREAMS; QUEEN OF EARTH), film editors Sabine Hoffman (MAGGIE’S PLAN; THE BALLAD OF JACK AND ROSE), Lee Percy (MARIA FULL OF GRACE; BOYS DON’T CRY), Jennifer Ruff (A WOMAN, A PART; GLASS CHIN),) and Marc Vives (MUSEUM HOURS; I USED TO BE DARKER), marketing experts Adam Kersh (Brigade Marketing) and Nick Camacho (Oscilloscope Laboratories), producers Anne Carey (THE DIARY OF A TEENAGE GIRL; THE SAVAGES), Mollye Asher (SONGS MY BROTHERS TAUGHT ME), Jodi Redmond (THE WITCH), and Darren Dean (TANGERINE), festival programmers Tom Hall (Montclair Film Festival) and Dan Nuxoll (Rooftop Films), and fellow filmmakers Ingrid Jungermann (WOMEN WHO KILL), Leah Meyerhoff (I BELIEVE IN UNICORNS), and Takeshi Fukunaga (OUT OF MY HAND).
In addition to lead support from the Time Warner Foundation, additional support for the IFP Filmmaker Labs includes grants from The Academy of Motion Picture Arts and Sciences, Ford Foundation, Hollywood Foreign Press Association, New York City Department of Cultural Affairs, New York State Council on the Arts, and SAGIndie. Lab partners include The Adrienne Shelly Foundation, BMI, and Rooftop Films.
The selected narrative projects for the 2016 IFP Filmmaker Labs and their attending Lab Fellows are:
ALASKA IS A DRAG
An aspiring superstar’s diva fabulous dreams are hard fought working at a fish cannery in Alaska. He dreams of escaping the monotony of fish guts and fist fights, but in the meantime, out of necessity he has learned to fight and is scouted by the local boxing coach and a new boy moves to town and wants to be his sparring partner. Shaz Bennett (Director, Writer, Producer), Jean-Pierre Caner (Producer, Consulting Editor). Los Angeles, CA.
A BAD IDEA GONE WRONG
A comedy about two would-be thieves who accidentally arm the alarm system and have to break out of the house they just broke into. When they discover an unexpected housesitter, they suddenly have to deal with a hostage situation, double crosses, and discoveries that make their difficult escape even more dubious. Jason Headley (Director, Writer), Tim Fender (Editor). San Francisco, CA.
COLD NOVEMBER
A 12-year-old girl being raised within a matriarchal household is taken through the right of passage of killing a deer for the first time. Expectations dissolve into chaos, and Florence finds herself alone, relying on instinct and training to follow through with her decisions and pull herself together while simultaneously living through the aftermath of a recent family trauma. Karl Jacob (Director, Writer, Producer), Pete Ohs (Editor). Hibbing, MN.
DAYVEON
Dayveon is a twelve-year-old boy who is coming to terms with the death of his older brother. Torn between a loving sister who has become his sole caretaker and the sense of camaraderie offered by his local gang, he’s forced to make decisions that threaten to rob him of his innocence. Amman Abbasi (Director, Writer, Producer), Steven Reneau (Writer, Producer). Little Rock, AR.
HEARTLOCK
A convict realizes his best shot at escaping is to master the art of “ducking,” a specialized form of prison manipulation in which an inmate befriends a flawed guard for the purposes of blackmail. He targets a tough-as-nails female guard with an underlying vulnerability. However, it doesn’t take long for his plan to hit a snag: he falls in love with her. Jon Kauffman (Director, Writer), Chris Cummings (Writer), Dominic Laperriere (Editor). New York, NY.
JULIA BLUE
Julia, a bright university student, is preparing for a life abroad when she meets English, a damaged soldier returning from the war zone in eastern Ukraine. An unexpected romance sparks between the two, as Julia and English fall deeply for each other. From metropolitan Kyiv to a remote Carpathian village, Julia and English must decide if they are ready to build a future together in a homeland that is slowly being torn apart. Roxy Toporowych (Director, Writer), Nilou Safinya (Producer), Ben Kim (Editor). Brooklyn, NY.
THE MISSING SUN
After a solar flare powers down her remote community, Alma discovers her husband Terry comatose. Pursuing a series of bizarre clues, she soon believes Terry is astral traveling to reunite with his deceased ex-wife. Determined to bring him back, Alma seeks helps from Terry’s estranged, psychedelic son and from the leader of a new-age religion who believes the sun-storm may signal the end-times. Brennan Vance (Director, Writer, Producer, DP, Editor), James Christenson (Producer). Minneapolis, MN.
POOR JANE
Jane and Henry are in a loving marriage. Another man humiliates Henry at a Christmas party and Jane decides she no longer loves him. The following morning Jane tells Henry she’s going to Target, but instead checks into a hotel and stops answering her phone. Jane spends the holidays drinking, having impulsive encounters with men and contemplating whether or not she wants to remain married. Katie Orr (Director, Writer), Alex Orr (Producer), David Swinburne (Co-Producer). Atlanta, GA.
SOLACE
When her father dies, Sole, 17, numbs her emotions with food. She unwillingly lives with her estranged grandmother. Desperate to escape her grandmother’s controlling love and illicit relationship with the pastor, Sole enters a forbidden friendship with the rebellious teenage neighbors. Juggling these relationships spirals Sole out of control with food but it ultimately forces her to confront her pain. Tchaiko Omawale (Director, Writer, Producer), Eileen Cabling (Associate Producer), Amanda Griffin (Editor). Los Angeles, CA.
UNTITLED HASIDIC FILM
Given unprecedented access to New York’s Orthodox Jewish community, the film is a story of faith and fatherhood – performed entirely in Yiddish. Joshua Z Weinstein (Director, Writer, Producer, DP), Daniel Finkelman (Producer), Danelle Eliav (Co-Producer), Royce Brown (Co-Producer). Brooklyn, NY.
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Film Review: ma ma Starring Penlope Cruz
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ma ma[/caption]
Ma ma is set in Madrid, Spain, and stars Academy Award®-winning actress Penelope Cruz as Magda, a woman recently diagnosed with breast cancer who’s also going through a separation from her self-centered husband Raul (Alex Brendemuhl), who left her for one of his students.
It’s a few of several devastating hardships Magda endures in Spanish director Julio Medem’s film, written and produced by himself, Cruz and Alvaro Longoria.
After a few months of ignoring a lump on her right breast, Magda decides to get it checked out. Her doctor, Julian (Asier Etxeandia), biopsies the lump for cancer.
Shortly afterwards, much to her dismay, he delivers the terrible news that she indeed has cancer, and will require grueling chemotherapy sessions to shrink the nodules before having a mastectomy.
Each chemo session is accompanied by a glaring white background that distracts the viewer more than adding anything to the scenes. But the wonderful cinematography and camera work pull you back in.
Looking to for a bit of escapism, Magda attends her son Dani’s (Teo Planell) football game, where she meets a man, Arturo (Luis Tosar), a talent scout for the famed football (soccer) team, Real Madrid.
Arturo is interested in recruiting her son, a standout player on his youth squad, in Real Madrid’s junior program, which helps develop young talent into future professionals.
While there, Arturo receives unimaginable news of his own, that there has been a car accident, which has claimed the life of his daughter, and left his wife in a comma.
Magda accompanies Arturo to the hospital, subsequently visiting him while undergoing her own chemo treatments, which she hasn’t divulge to anyone at the time.
However, she eventually tells Arturo, who winds up losing his wife, and the two become each other’s support system. As she recovers from her operation, and is in the clear for the time being, they predictably fall in love, and form the perfect family unit.
But cruel misfortune steps in again on the hard-luck Magda, as Dr. Julian, who belts out beautiful, romantic songs in a bedside attempt to soothed her, informs his patient that the cancer has spread to her other breast, and metastasized to wall of her lungs. Subsequently, the doctor delivers a gut-wrenching prognosis of only six months to live.
What follows is an over-the-top attempt of series of events intent on extracting more tears from movie-goers, with the final scene cumulating in another foreseeable outcome.
Overall, though, ‘Ma ma’ is worth seeing despite its campy, overdramatic feel—which is only exaggerated by a few scenes in which beating hearts are splashed across the screen for shameless, emotional effects—because of its positive message of strength, courage, and hope amidst tragedy.
‘Ma ma’ opens in New York City on May 20th, and in Los Angeles and Miami on May 27th, with national expansion to follow.
https://www.youtube.com/watch?v=RxtB15K-nN4
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Alamo Drafthouse Greets Brooklyn with FREE Outdoor Film Screenings
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BEST IN SHOW[/caption]
With its Downtown Brooklyn theater set to open later this summer, the Alamo Drafthouse Brooklyn will offer a taste of its movie programming with three free admission outdoor screenings at Fort Greene Park.
Featuring three revered contemporary classics, these outdoor shows are a chance for Alamo to introduce itself and connect with New York’s movie-lovers. Each screening will take place at sundown and will be complimented by themed festivities before the show.
“We’re excited for the opportunity to finally share movies with the community before our venue opens. With the Brooklyn sky as our roof, these Fort Greene Park screenings represent the perfect opportunity to meet our new neighbors and introduce them to Alamo Drafthouse,” says NY Creative Manager/Programmer Cristina Cacioppo.
One-of-a-kind film experiences have long been a hallmark of Alamo Drafthouse’s unique approach to programming: for over fifteen years the company has produced screenings of iconic films in iconic locations across the globe. Such high profile signature events have included Sergio Leone’s FISTFUL OF DOLLARS in Spain, ESCAPE FROM ALCATRAZ on Alcatraz Island, CLOSE ENCOUNTERS OF THE THIRD KIND at the foot of Devil’s Tower, and JAWS on the famed sandy beaches of Martha’s Vineyard.
“Alamo Drafthouse primarily operates in a theater environment but we’re not limited to that experience,” says Henri Mazza, VP of Special Events. “We exist to create unique and memorable cinematic experiences for audiences everywhere, whether it’s in a theater, on a lake, or in a beautiful park in the heart of Brooklyn. These screenings are a sample of what’s in store for the coming years.”
May 27 – Bring Your Own Dog Screening of BEST IN SHOW
Enjoy Christopher Guest’s uproarious mockumentary along with your pooch! Dog owners are welcome to bring their pets and will have the chance to parade them before the audience in a pre-movie dog show.
June 3 – Quote-Along®: LABYRINTH
Alamo’s beloved version of LABYRINTH allows the audience to sing-along with the David Bowie tunes and quote the best lines of the movie. Free souvenir props will also be available for the first to arrive at the park!
June 10 – FINDING NEMO
One week before the release of FINDING DORY, kids big and small can revisit Pixar’s original aquatic adventure with the Tank Gang. Costumes are encouraged, and surprises are in store!
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Robert De Niro, TANGERINE, Honored at 27th GLAAD Media Awards
Robert De Niro, the film TANGERINE, were among the best in film, television, and journalism honored at the 27th GLAAD Media Awards hosted by Laverne Cox, at the Waldorf Astoria New York on Saturday.
The GLAAD Media Awards recognize and honor media for their fair, accurate and inclusive representations of the LGBT community and the issues that affect their lives. The GLAAD Media Awards also fund GLAAD’s work to amplify stories from the LGBT community and issues that build support for acceptance.
At the ceremony, Academy Award-winning actress and surprise guest Jennifer Lawrence presented Robert De Niro with GLAAD’s Excellence in Media Award, which is presented to media professionals who, through their work, have increased the visibility and understanding of the lesbian, gay, bisexual, and transgender community.
https://www.youtube.com/watch?v=H5zm67vgX1w
In his acceptance speech, De Niro celebrated the Supreme Court’s landmark decision for marriage equality, while cautioning to “also remember oppressive laws like the ones in North Carolina that let us know the struggle continues and challenges us to be vigilant and aggressive in protecting all our rights.” De Niro continued, “Thank you for this honor, I’m proud to stand with you, I’m GLAAD.”
Tangerine (Magnolia Pictures) was given the award for Outstanding Film – Limited Release.
https://www.youtube.com/watch?v=ALSwWTb88ZU
The complete list of GLAAD Media Award recipients announced Saturday in New York.
Excellence in Media Award: Robert De Niro (presented by Jennifer Lawrence)
Ally Award: Mariah Carey (presented by Lee Daniels)
Outstanding TV Journalism – Newsmagazine: “Bruce Jenner: The Interview” 20/20 (ABC) [accepted by: Diane Sawyer, Caitlyn Jenner, and David Sloan, senior executive producer]
Outstanding TV Journalism Segment: “Interview with Jim Obergefell” Anderson Cooper 360 (CNN) [accepted by: U.S. Supreme Court plaintiff Jim Obergefell]
Outstanding Magazine Overall Coverage: Cosmopolitan [accepted by: Laura Brounstein, special projects director]
Outstanding Film – Limited Release: Tangerine (Magnolia Pictures)
Outstanding Individual Episode: “The Prince of Nucleotides” Royal Pains (USA Network)
Outstanding Digital Journalism – Multimedia: “Stopping HIV? The Truvada Revolution” Vice Reports (Vice.com)
Outstanding Newspaper Article: “Cold Case: The Murders of Cosby and Jackson” by Dianna Wray (Houston Press)
Outstanding Magazine Article: “Behind Brazil’s Gay Pride Parades, a Struggle with Homophobic Violence” by Oscar Lopez (Newsweek)
Outstanding Digital Journalism Article: “This Is What It’s Like To Be An LGBT Syrian Fleeing For Your Life” by J. Lester Feder (Buzzfeed.com)
SPANISH-LANGUAGE NOMINEES
Outstanding Daytime Program Episode: “¿El marido de mi padre o yo?” Caso Cerrado (Telemundo)
Outstanding TV Journalism – Newsmagazine: TIE: “Amor que rompe barreras” Un Nuevo Día (Telemundo) and “En cuerpo ajeno” Aquí y Ahora (Univision)
Outstanding TV Journalism Segment: “Víctimas de abusos” Noticiero Univision (Univision)
Outstanding Digital Journalism – Multimedia: “Campeones de la igualdad” (Univision.com)
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Dates Announced for 23rd Screen Actors Guild Awards
SAG announced the key deadlines and dates leading up to the 23rd Screen Actors Guild Awards. The award ceremony will be simulcast live on TNT and TBS on Sunday, Jan. 29, 2017.
SUBMISSIONS FOR NOMINATION CONSIDERATION OPEN JULY 11
Submissions for nomination consideration for the 23rd Annual Screen Actors Guild Awards will open on Monday, July 11, 2016. With the actor’s permission, producers, studios/networks, agents, managers, or publicists may submit a performance from 2016 for consideration in a category of the actor’s choosing. Actors may also submit their own performances. Submissions may only be made online and will close on Monday, Oct. 24, 2016.
NOMINATING COMMITTEES HAVE BEEN CHOSEN
Of the top industry honors presented to actors, only the SAG Awards are selected entirely by performers’ peers in SAG-AFTRA. Potential members of this year’s separate film and television nominating committees–now grown to 2500 members each–were randomly drawn on March 3rd and were required to opt-in by April 8th. SAG-AFTRA actor/performers, singers, dancers or stunt performers from around the country who had not served on the same nominating committee in the past eight years and who paid their November 2015 membership dues by February 26, 2016 were eligible. The SAG Awards was the first televised awards show to acknowledge the work of union members and the first to present awards to motion picture casts and television ensembles.
NOMINATIONS VOTING CLOSES DEC. 11
Nominations voting will close on Sunday, Dec. 11 at 5 p.m. PT. Nominations will be announced on Wednesday, Dec. 14. Once nominees are selected, all active members of SAG-AFTRA may cast votes to determine who will receive the coveted Actor(R) statuettes for this year’s outstanding performances. Last year’s voting body numbered 116,741 SAG-AFTRA members.
CREDENTIAL APPLICATION DATES ARE SET
Media credential applications for the nominations announcement and ceremony open on Monday, Oct. 3 and close Oct. 31. Publicists credential applications for the nominations announcement open on Monday, Nov. 7 and close Dec. 5.
Upcoming key deadlines and events leading to the 23rd Annual Screen Actors Guild Awards are:
Monday, July 11, 2016 Submissions Open at sagawards.org/submissions
Monday, Oct. 3, 2016 Period to Request Paper Final Ballots in Lieu of Online Voting Begins
Monday, Oct. 3, 2016 Media Nominations and Ceremony Credential Applications Open
Monday, Oct. 24, 2016 Submissions Close at 5 p.m. PT at sagawards.org/submissions
Monday, Oct. 31, 2016 Media Nominations and Ceremony Credential Applications Close
Monday, Nov. 7, 2016 Publicists Nominations Credentials Applications Open
Thursday, Nov. 17, 2016 Nominations Balloting Opens
Thursday, Dec. 1, 2016 Deadline for Paying November 2016 Dues and/or Changing Address with SAG-AFTRA to be Eligible for Final Balloting
Monday, Dec. 5, 2016 Publicists Nominations Credentials Applications Close
Thursday, Dec 8, 2016 Records Pulled for Final Balloting
Sunday, Dec. 11, 2016 Nominations Balloting Closes at 5 p.m. PT
Wednesday, Dec. 14, 2016 Nominations Announced
Thursday, Dec. 15, 2016 Publicists Ceremony Credentials Applications Open
Monday, Dec. 19, 2016 Final Voting Opens
Monday, Jan. 9, 2017 Publicists Ceremony Credentials Applications Close
Friday, Jan. 13, 2017 Final Day to Request Paper Final Ballots in Lieu of Online Voting
Friday, Jan. 27, 2017 Final Votes Must be Cast Online or Ballots Received by the Elections Firm by 12 Noon PT
Sunday, Jan. 29, 2017 23rd Annual Screen Actors Guild Awards(R)
About the 23rd Annual Screen Actors Guild Awards(R)
The 23rd Annual Screen Actors Guild Awards(R) presented by SAG-AFTRA with Screen Actors Guild Awards, LLC will be produced by Avalon Harbor Entertainment. Inc. and will be simulcast live on TNT and TBS on Sunday, Jan. 29, 2017 at 8 p.m. (ET) / 5 p.m. (PT).
Image: LOS ANGELES, CA – JANUARY 30: (L-R) Actors Billy Crudup, Brian d’arcy James, Mark Ruffalo, Rachel McAdams, John Slattery, Michael Keaton and Liev Schreiber, winners of the award for Outstanding Performance by a Cast in a Motion Picture for “Spotlight,” pose in the press room during The 22nd Annual Screen Actors Guild Awards at The Shrine Auditorium on January 30, 2016 in Los Angeles, California. 25650_015 (Photo by Jason Merritt/Getty Images for Turner) *** Local Caption *** Billy Crudup;Brian d’arcy James;Mark Ruffalo;Rachel McAdams;John Slattery;Michael Keaton;Liev Schreiber