The Golden Years

November 11, 2021 by Carmela Baranowska

This is a story about the enduring nature of love. How in a moment of emotional availability one partner can renew and revive the relationship.

Interview with Joshua Zev Nathan, Eythan Maidhof

Congratulations! Why did you make your film?

I wanted to make an adult children's storybook to help my parents love each other better.

Imagine I’m a member of the audience. Why should I watch this film?

Love is hard. Especially as time passes. When we fail to connect with our partner what does it take to reconnect? We learn that sometimes all it takes is a simple act of meeting each other on the same level and seeing one another eye to eye to understand our needs and feelings. Watch how one simple act creates a spark to restore loving safety to an aged and worn relationship.

How do personal and universal themes work in your film?

The enduring nature of love is a big theme. I've wanted to show that love can be mended and repaired over time as long as both partners are willing to work on it together. Sometimes it's as simple as touch.

How have the script and film evolved over the course of their development?

Eythan and I were aligned pretty much immediately on the vision of the film. We wanted to make a film about a couple that suffers an unexpected tragedy and must find a way to reconnect and love each other. The very first idea for a scene that we had is still the opening scene of the film. We had our anchor from the get go, we just tightened up the story, script, and characters over time.

What type of feedback have you received so far?

Has the feedback surprised or challenged your point of view?

The feedback has all been in support of our ideas and very positive so far. We always want to hear more.

What type of impact and/or reception would you like this film to have?

I wanted to make this film for my parents so they could hold each others hands.

I hope anyone else watching would do the same to who they love.

What’s a key question that will help spark a debate or begin a conversation about this film?

I think our film is more of a poem than a question-sparking-debate type piece ... I think a core question for me within the film is how do we cope with the passage of time.

What other projects are the key creatives developing or working on now?

I'm in development for my second feature film as writer/director. I'm also finishing up post production on a short film, 'The Basics of Love,' another love story, but this one is about the very first moments that two co-workers begin falling in love. I'm getting ready to co-direct a short thriller entitled 'Cairn.' I also have ongoing work as a commercial director and producer, most recently I directed a few spots for New Balance. - Josh

Having just graduated The American Film Institute as a cinematographer I'm pitching for more narrative work, fashion films, and music videos. I love working with topics of coming to age and family values. Growing up I always wished I had someone guiding me like a big sister and that's what I set out to do for others in the work I want to create. - Eythan

Interview: November 2021

We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela

The Golden Years

Length:

3:11

Writer/Director

Joshua Zev Nathan

Raised in a Mennonite village in Kansas, Josh was awarded a Mellon Fellowship for his feature doc, “Kansas an Eclogue,” (post prod). His narrative feature debut, "The Dreams of Rene Sendam," as writer and director will be released soon by Mutiny Pictures. He works as a commercial director (clients include New Balance and the LA2028 Olympic Committee). He appears in the role of 'Tilt' in Paul Thomas Anderson’s new film ‘Licorice Pizza.’ Josh has an MFA in Directing from The American Film Institute, and studied at Werner Herzog’s Rogue School.

Producer

Qiyi Fan

Born and raised in Chengdu, China, QIYI FAN graduated from UCSD with a BA in Visual Arts Media and a minor in Film Studies before pursuing her MFA degree of Producing at AFI. She has garnered her skills as a studying producer through producing seven shorts. As she is finishing up the program, she is participating in script development internships, as well as developing her thesis project, her own feature project and her producing portfolio.

Key cast:

Stephen Tobolowsky, Ann Hearn, Maddy McCuskey, Peter Schiavelli

Social media:

https://www.instagram.com/thegoldenyears.film/

Made in association with:

AFI Conservatory

Focus on AFI Conservatory - Afloat

November 10, 2021 by Carmela Baranowska

On the cusp of her biggest performance yet, a young ballerina finds herself in a void, trapped with a mysterious dancer. She attempts to free herself, learning the true meaning of accepting an uncertain future.

Interview with Writer/Producer/Cinematographer Akanksha Shyam

Congratulations! Why did you make your film?

This film was conceived and produced in the throes of the pandemic. With immense uncertainty around our collective future, I found myself wondering what my place is in the world as an artist and storyteller. I believe that it really is a time when the world needs hope and strength and it is our duty as storytellers to provide that.

The world has been on auto-pilot in many ways and the pandemic created a space to pause and reflect on the way we have been doing things. It has been a time of reimagination for us - to think about what's broken in our lives and to focus on what's important. This film is about stepping back and refocusing. It's about embracing an uncertain future with a new outlook.

Imagine I’m a member of the audience. Why should I watch this film?

This film is for anyone that is reckoning with change in their professional or personal lives. Being afraid of uncertainty is a roadblock for most people. This is a film about understanding and accepting uncertainty. It's a visual representation of that anxiety that we're hoping to express through this piece.

How do personal and universal themes work in your film?

The film is a very personal story about anxiety but told through the eyes of a ballerina who is on the brink of her biggest performance yet. As artists, we are often under a tremendous amount of pressure to perform, even under the worst circumstances. We can often get trapped in our own heads. This film aims to explore this idea.

How have the script and film evolved over the course of their development?

I have always felt that anxiety feels like drowning. This was one of the core ideas that we held on to as the script went through many changes and versions. Ultimately, we felt this film would best work as a dance piece about a ballerina who is trapped in a void, drowning in her own fears. It was a way of incorporating movement into a visual representation of a very internal struggle.

What type of feedback have you received so far?

We have gotten many different reactions, but one thing has been consistent - audience members seem to understand the mental struggle very clearly as it is pretty universal.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I am hoping to reach audiences that enjoy visually emotive films that have something to say.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I'm hoping to find visibility among film festival directors, distributors and journalists.

What type of impact and/or reception would you like this film to have?

This film was very close to our hearts and we poured every bit of creative energy into it. I'm hoping people recognize this as I hope to create more visual narratives like this.

What other projects are the key creatives developing or working on now?

I am currently prepping several narrative shorts that go into production starting early December.

Interview: November 2021

Afloat

Length:

3:10

Writer

Max Hersh, Stacy Pascal Gaspard, Akanksha Shyam

Director

Stacy Pascal Gaspard

Producer

Qiyi Fan, Akanksha Shyam

Key cast:

Maya Wright, Trinity Beasley

Looking for:

film festival directors

buyers, journalists, distributors

Social media:

www.facebook.com/akankshashyam

http://instagram.com/akankshashyam

More info:

www.akankshashyam.com

Made in association with:

AFI Conservatory

Focus on AFI Conservatory - The Birth of a Beautiful Butch

November 09, 2021 by Carmela Baranowska

A gay high school senior takes the first steps towards outwardly expressing and embracing her inner self.

Interview with Writer/Cinematographer Andi Obarski

Congratulations! Why did you make your film?

I made this film because, as a cinematographer, you get few opportunities in your career to make a film that is entirely from your perspective, unless you take on producing and directing your own concept. Through the Visual Essay Program at the American Film Institute, I recognized this as a unique opportunity to take a minute (or a year in this case) to look at myself and ask, "if you could tell any story right now, what would it be?" Having time in the early days of the pandemic, I did a lot of self-reflecting and wanted to focus on identity, specifically my identity as a queer person, and how fashion has become so integral to my identity and self-expression.

Imagine I’m a member of the audience. Why should I watch this film?

The Birth of a Beautiful Butch is worth a watch because it says a lot in a short period time. It's ultimately about the desire to be authentic to one's self despite the opinions of others, which I believe is a struggle every human being grapples with.

How do personal and universal themes work in your film?

Everyone has experienced the insecurity of being a kid in school on picture day. There is a feeling of permanence when you get your picture taken. When I was in high school, I remember thinking, "Do I really look this way? Is this how I want to be perceived?"

For LGBTQ+ folks on the verge of discovering their identities, this insecurity can be amplified. There is a lot of power in declaring who you are, but with this film, I wanted to show the progression of that courage, the transformation from, "Who am I?" to "This is who I am!"

How have the script and film evolved over the course of their development?

The story has largely stayed the same over the course of it's development, but it wasn't until later on that I decided I wanted to focus more on the fashion element of butch identity.

What type of feedback have you received so far?

So far we've received very popular feedback. We hope to keep this going through the festival circuit!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I would love to be able to promote this film to a community of people who are looking to make films that rise above surface level meaning. You can say a lot with images, most of the communication we do has humans is non-verbal anyway. I hope it inspires other LGBT filmmakers to analyze different parts of our identity. There aren't a lot of lesbian fashion narratives out there!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would love for film festival directors to see this piece so that it can have a life on the festival circuit.

What type of impact and/or reception would you like this film to have?

I would love for this piece to spur pride within the butch community. There are very few mainstream roles that highlight butch identity, so I want this piece to be a celebration for people who are visually underrepresented.

What other projects are the key creatives developing or working on now?

As of right now, I'm in the midst of a few commercial projects and will soon be starting prep for a 2022 feature film.

Interview: November 2021

The Birth of a Beautiful Butch

Length:

3:01

Writer

ANDI OBARSKI is a Los Angeles based cinematographer and a graduate of Ithaca College ('13), and the American Film Institute ('21). Her work includes short and long form narrative fiction, music videos, commercials and documentaries. She has experience shooting internationally and will travel for work. Andi is a member of the ICFC, Cinematographers XX, and IATSE Local 600. She is also a student member of the Society of Camera Operators and was selected as a mentee for the 2020 ASC mentorship program.

Director

GIA-RAYNE B. HARRIS is a University of Pennsylvania alum, a recent graduate of the American Film Institute, and a Mississippi Native. She has directed ten short films and the throughline of all of her work is adversity, empathy, and resilience. She seeks to place womxn at the center of her narratives and sees her career as a love letter to them.

Producer

JOSS UTTING is an Australian film producer living in Los Angeles. In 2018, she graduated with distinction from the Royal Melbourne Institute of Technology with a Bachelor of Media (Communications), while working at VICE, Asia in Video Production. Jocelyn's passion is to create content reflective of contemporary issues and to provide an educational voice for her generation. She has produced internationally, and her clientele includes Lee Jeans, Australia Post, Transport Accident Commission Australia and Ecca Vandal.

Key cast:

Elena Heuzé

Looking for:

film festival directors, distributors, sales agents, buyers

Instagram:

https://www.instagram.com/andiobarski/?hl=en

Hashtags used:

#lgbt #queercinema #femalecinematographer #butchlesbian #filmmaking #kodak5219 #shootfilmstaybroke #makemoviesthatmatter #fashionfilm #passionproject #queer #lesbian #butch

More info:

https://www.gofundme.com/f/the-birth-of-a-beautiful-butch

Made in association with:

AFI Conservatory

Oyate Woyaka (The People Speak)

November 03, 2021 by Carmela Baranowska

A feature length documentary following fluent Lakota speakers as they embrace their language and spirituality to heal from historical trauma.

Interview with Director Bryant High Horse

Congratulations! Why did you make your film?

This film is being made to give fluent Lakota speakers a platform to express their point of view on a wide variety of topics. From their treatment throughout history to repatriation and healing as well as their visions for the future.

I had a long conversation with my nephew, George McAuliffe and he agreed to help us make this documentary. He is also an educator who has been working in film and television. We are on the same wavelength and collaborate on all aspects of this film.

Imagine I’m a member of the audience. Why should I watch this film?

Most Americans know that the history of the United States includes horrific atrocities and genocide committed against Native Americans. Many believe that this is in the past and therefore cannot be changed or fixed. Oyate Woyaka is determined to show that we can still move into a new, healthier paradigm together. We will show how the past affects the present whether you view it from a western or a native perspective.

How do personal and universal themes work in your film?

We bring fluent speakers who carry the traditional Lakota culture together for conversations. We are connected to a spiritual past because many of us were taught by elders growing up. They gave us instructions for how to live a spiritual life guided by prayer.

We break away and follow us in our community working with the younger generations. This allows the elders to feel as natural and as comfortable as possible. We try to keep the film authentic and show the deep culture. Not the surface/performative culture. This allows the audience to connect to the universal humanity of family and service in the community.

This film is dedicated to all people in the world experiencing life through the lens of oppression; providing a platform, message, and an opportunity to help raise awareness to a larger audience that we are all connected.

How have the script and film evolved over the course of their development?

The film started with a fluent speaker talking circle but has grown to include more people, different ages and nations. This summer, we were invited to document the historical return of the remains of 9 boarding school children from Carlisle Boarding School, back to Rosebud for ceremony and burial. That is now the center of our story and explaining to the audience how our language is fading.

Most of the elders in our film attended boarding school. They were able keep their language but still struggle at times with this trauma.

Now we are exploring three different themes and showing how they are connected. The history through the Lakota lens and experience. Repatriation of human remains and stolen artifacts in hopes of healing. And finally, putting a spotlight on all of the tireless effort members of the community are engaged in to lead the young people into a more promising future. An example of that Lakota immersion schools.

What type of feedback have you received so far?

We have received positive feedback. The intentions are pure and all of our funding goes back into the film and community. We hope people outside of the community will be open to this story because we believe that everything is connected and that includes dominant American culture. Political division and climate crisis can benefit from our way of viewing life in a circle, not a competitive hierarchy.

Has the feedback surprised or challenged your point of view?

Not yet but we appreciate the outpouring of support.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We have a long way to go to get this film made. We would love for help producing and distributing our film. We are running a Kickstarter through the month of November (http://kck.st/3Bwp7QW)and would love for anyone who sees this to donate. We also encourage those who connect to our film to share it with others.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We need all hands on deck. Any and all help is appreciated. Producers, sales agents, buyers, distributors, film festival directors. Anyone who can help us connect our story to more people. We embrace support and need help. At this stage, we would like journalists to cover our story and Kickstarter campaign.

What type of impact and/or reception would you like this film to have?

We are looking to show the country and world at large, how valuable the indigenous perspective is. We would like to lead a new generation into this paradigm of thought that walks with our language and in balance with the natural world and does not engage in hierarchy.

They say you can tell how healthy a language is by how many young people are speaking. We want to see more young people speaking Lakota and other indigenous languages around the world.

What’s a key question that will help spark a debate or begin a conversation about this film?

What would it feel like to know your language holds balance and respect for everything that moves, yet it is slowly fading? To turn on the TV and see climate change, resource extraction, divisive political rhetoric and billionaires flying to space while life on earth suffers. Not just human life, but all life. What if that language held a spirituality so strong that it enables you to remain optimistic and hopeful? Would you listen?

Would you like to add anything else?

The importance of indigenous languages can no longer be undervalued. In addition to helping the community heal from historical trauma, the revitalization of indigenous languages is essential for ensuring the continuation and transmission of culture, customs, and history. Lakota can also be used to address biodiversity loss and climate change. The Lakota language holds deep connections to everything that moves, connections that were developed over thousands of years. With your support, we can give essential voices of traditional elders a platform to tell their story.

What other projects are the key creatives developing or working on now?

All of our focus is going into this project.

We do hope to support more indigenous communities in the near future.

Interview: November 2021

Oyate Woyaka (The People Speak)

Length:

1:26

Writer/Director/Producer

Bryant High Horse and George McAuliffe

Bryant High Horse Jr. Has been a cultural warrior his entire life. He shares his knowledge, philosophy and language by educating younger generations and Lakota children.

George McAuliffe is former educator in Chicago and continues to work towards social change through filmmaking endeavors.

Bryant and George work on a similar frequency and are in constant collaboration in all aspects of this film.

Looking for:

journalists

Social media:

https://www.facebook.com/Oyate-Woyaka-Film-107079161779376

https://twitter.com/oyatewoyaka

https://www.instagram.com/oyatewoyakaproductions/

Hashtags used:

#OyateWoyakaFilm #LakotaDoc #indigenouspeoplesmonth #Language #NativeAmerican #Indigenous #NativeAmericans #IndigenousPeople #Lakota #IndigenousRights #NativeAmericanHistory#IndigenousCulture #IndigenousMade #IndigenousAmerican #IndigenousLand #IndigenousHistory #IndigenousUnited #AmericanIndianMovement #Ogalalakota #IndigenousFilm #LakotaForever #IndigenousCultures #ProtectIndigenousPeople #LanguagePreservation #LakotaTribe #IndigenousFilms #LakotaLanguage #LakotaCulture #IndigenousDocumentary

MUTE

October 30, 2021 by Carmela Baranowska

Monette, a recently separated book salesman tells his grim story to both a priest and a hitchhiker, looking for absolution.

Interview with actor Andrew Bee and director Kyle Dunbar

Congratulations! Why did you make your film?

KYLE DUNBAR -- I have been a Stephen King fan for as long as I can remember and I wanted to adapt one of his stories into a film.

ANDREW BEE -- I first read Stephen King when I was thirteen. The book was Salem’s Lot, and I still remember the absolute terror I felt. I have read almost every book he wrote and am in awe of his unbelievable creative output. I love how Mute turned out and it now gives me a solid piece of work to showcase my skills as an actor.I have already done a Stephen King short film called, Big Wheels, through the Dollar Baby Program, and when Kyle told me about Mute and that he had adapted it with me in mind I said yes immediately. I have always loved Stephen King and am very grateful that he made some of his creativity available to the public through this program.

Imagine I’m a member of the audience. Why should I watch this film?

KYLE DUNBAR -- I wanted to shoot it more old school, not in 4K, and it was inspired by the 1980's crime/horror films.

ANDREW BEE -- Kyle and I want the audience to enjoy a story that stands on its own merit, without jump scares, gore or monsters. Mute is a fascinating tale of what can happen to an ordinary person.

How do personal and universal themes work in your film?

KYLE DUNBAR / ANDREW BEE -- The main character, Monette, is not a religious person, but under stress he did what most people do and went back to what he knew, which was religion.

How have the script and film evolved over the course of their development?

ANDREW BEE -- Kyle and I felt that the ending could be different, so we changed it when we were filming.

What type of feedback have you received so far?

KYLE DUNBAR / ANDREW BEE -- We have had some very good reviews, one in particular from Indie Mac User: “Andrew Bee is required to essentially carry the film and he manages to find different levels to his character that keep us hooked. Director Kyle Dunbar mostly allows the story and performances to speak for themselves; making only simple yet elegant visual choices.”

Has the feedback surprised or challenged your point of view?

KYLE DUNBAR / ANDREW BEE -- The feedback has been all good. I have not had enough press yet in my career to come across negative feedback. I am waiting for that day so I will be challenged.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

KYLE DUNBAR / ANDREW BEE -- Because of the agreement with the Stephen King Dollar Baby Program, we can't post Mute publicly. So we want critics to review it and festival programmers to showcase it for more people to watch it on online festivals. The timing is perfect for us because covid has forced many festivals to add virtual events to their programs.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

KYLE DUNBAR / ANDREW BEE -- What we want is to have as many film festivals and journalists promote Mute as much as possible.

What type of impact and/or reception would you like this film to have?

KYLE DUNBAR / ANDREW BEE --We want to show that a great story can be told without blood and guts, sex, or gimmicky filming.

What’s a key question that will help spark a debate or begin a conversation about this film?

KYLE DUNBAR / ANDREW BEE -- Why make a Stephen King short film?

Would you like to add anything else?

KYLE DUNBAR -- You can find more information about Mute at www.pendlefilms.com and pendle films on Instagram and Twitter.

What other projects are the key creatives developing or working on now?

ANDREW BEE -- I’m working on a couple of short films that are very, very dark and not politically correct. In the time we are living now, with Twitter and Instagram arbitrarily cancelling accounts they deem inappropriate, as an artist, I won’t give into the fear of offending someone. I spend a lot of time on social media, out of necessity, and when I see how terrified people are of saying anything “wrong” and the disclaimers that they put in their posts, I feel very sad that this is where we are in society.

Interview: October 2021

MUTE

Length:
22:48

Writer

Stephen King (Story), Kyle Dunbar (screenplay adaptation)

KYLE DUNBARKyle Dunbar is a British-Canadian film director, producer, and screenwriter based in Toronto, Canada. Particularly fond of horror stories and anthology shows, Kyle’s projects pivot towards societal satires and ordinary situations that take unexpected turns. He has directed several short narratives of various genres, which include an adaptation of a Stephen King story. While walking a tight-rope between comedy and horror, Kyle's approach to storytelling aims to captivate and surprise.

Director

Kyle Dunbar

KYLE DUNBAR is a British-Canadian film director, producer, and screenwriter based in Toronto, Canada. Particularly fond of horror stories and anthology shows, Kyle’s projects pivot towards societal satires and ordinary situations that take unexpected turns. He has directed several short narratives of various genres, which include an adaptation of a Stephen King story. While walking a tight-rope between comedy and horror, Kyle's approach to storytelling aims to captivate and surprise.

Producer

Rebecca Callender, Kyle Dunbar

REBECCA CALLENDER and KYLE DUNBAR are both based in Toronto, Canada and they both produced the short film MUTE.

Key cast:

Andrew Bee (Monette), Christian Tribuzio (The Priest), Alexandre Stoupenkov (The Hitchhiker), Rebecca Callender (Kelsie Ann), Laura Shanter (Barbara), and Marvin Holland (Cowboy Bob).

Looking for:

journalists, film festival directors

Social media:

https://www.instagram.com/aandrewbee/

https://twitter.com/AndrewBee10

http://facebook.com/ShortFilmMute

Made in association with:

Where can I watch it?

MUTE just started its film festival tour and will have its world premiere at the London Rocks Film Festival in the UK.

Slow Burn & The Muse

October 28, 2021 by Carmela Baranowska

Two songs, many years and one fruitful night tell the story of a singer/songwriter's road to success, and the power of connection to uplift and inspire.

Guided by her 2020-self performing "The Muse," a song she co-wrote with legendary bandmate David Crosby, this verite, lyrical look inside the career of singer/songwriter Becca Stevens finds the Brooklyn-based artist deep in songwriting mode. As she methodically takes us through her creative process, Becca’s wide range of talents and experiences come to life, and the slow burn of the work and of the artistic living is revealed. Ultimately, the muse leads her to the revelatory moment of literally finding a groove that scores her a 2021 GRAMMY nomination for the arrangement of her song “Slow Burn.”

Interview with Writer/Director/Producer Darah Golub

Congratulations! Why did you make your film?

It started out as a welcome distraction from chipping away at my first feature music documentary, a WIP for more than 13 years called The New York Love Songs. When the star musician of that project got nominated for her first Grammy Award at the end of 2020 for a song that I’d captured her writing, I took it as an opportunity to use the abundance of footage I have of her to create something separate and small, finish it, and put it out into the world.

Imagine I’m a member of the audience. Why should I watch this film?

Slow Burn & The Muse blends one night of songwriting with years of career development, for a super intimate and satisfying look at the creative process. Hopefully it’s inspiring to watch Becca struggle and search for inspiration and ultimately find the way through.
Also Becca Stevens is just an incredible musician whom you oughta know, and a total joy to watch. For musicians it’s all a fun bit of inside baseball too, and a who’s who of New York jazz.

How do personal and universal themes work in your film?

“Slow Burn” and “The Muse” are two songs by Becca Stevens featured in the short, and two ideas that are central to any artist or anyone striving to create or achieve something. I think everyone can relate to the occasional struggle to have patience and confidence in themselves amidst the many challenges of life and work, and often a certain spark is needed to carry on.

My feature WIP doc The New York Love Songs is a longitudinal tale of musicians developing from the college classroom out into the real world of the 2010s. I started filming it as a vocal student with a camcorder inside jazz school in 2007. I had no idea what I was doing then, and I’m still learning as I go today. To say it’s all a slow burn is an understatement. But I’m motivated and inspired by the artists I aim to celebrate in my work, and by the people who cheer me on. Whether it’s through the wisdom of experience, the encouragement from loved ones, or support from a friend sitting across a table, hopefully this short can be that reminder to “relax and know you’ll get there.”

How have the script and film evolved over the course of their development?

I initially developed this piece as promotional content for Becca, so actually a shorter version exists which tells less of a story and puts more of a spotlight on the scope of Becca’s work and roster of collaborations. But by removing certain bits and weaving in other subtle through-lines, a full circle story shines through which emphasizes the emotional elements that go into songwriting, and the importance of human connection to creative energy.

What type of feedback have you received so far?

The response from festival goers so far has been very cool. (Stories of creative struggle and strategy really resonate with filmmakers, go figure!)

People are often complimentary of the editing in particular, which is awesome because that’s what this project is all about. With over a decade’s worth of footage to work with, I think the power of both this short and the feature may lie in the occasional sense of magic that happens when connections are drawn across character, theme, music and time.

People are also quite taken with Becca Stevens as both a musician and a human, which is also awesome because she is a talented and wonderful one and I want everyone to know her.

Has the feedback surprised or challenged your point of view?

I wish I had crafted a short out of all my footage sooner. I’m surprised how each new festival has made me feel more heartened, more encouraged, more a part of the filmmaking community I’ve kept myself on the sidelines of all these years. I’ve been waiting to finish one epic project before stepping out, putting anything out at all. I feel empowered to finish The New York Love Songs because of Slow Burn & The Muse.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Having my work on this site is a real step for me. (Thank you so much Carmela!) I would love for the momentum I’ve felt from festivals to continue, with more opportunities like this, more chances to share the project in a variety of ways that may lead to new supporters or team members.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Literally all of the above.

Anyone who is enthusiastic about this short and who might be interested in working with me on the larger project The New York Love Songs, please gimme a ring!

What type of impact and/or reception would you like this film to have?

I'm thrilled for Slow Burn & The Muse to stand on its own as a lyrical deep dive into the artistic journey and creative process of a super talented and independent musician like Becca Stevens. But my hope is that it also demonstrates a uniqueness of style and point of view that will attract interest from folks who might wish to join or support me in the work of completing the feature doc The New York Love Songs — an immersive, inside look at interconnected musicians growing up and navigating the decade of digital revolution that was the start of their careers.

What’s a key question that will help spark a debate or begin a conversation about this film?

When the going gets tough, what is your personal key to unlocking the muse, unblocking creativity, or finding the path forward?

Would you like to add anything else?

I don't think so, I just really appreciate the platform, thank you so much!

What other projects are the key creatives developing or working on now?

you know the one...
The New York Love Songs!

Interview: October 2021

Slow Burn & The Muse

Length:

13:45 minutes

Writer/Director/Producer

DARAH GOLUB is a New York based filmmaker and singer. She studied at The New School for Jazz where she began shooting “The New York Love Songs” in 2007. During the 2010s she recorded and performed internationally as part of the band Parlour Tricks (The Village Voice’s #1 Pop Band in NYC 2014), and co-hosted Billboard’s “Soul Sisters” podcast, interviewing over 100 female artists. She currently works as VP & Managing Director of JBS, a non-profit educational TV channel where she created the series “Jewish NYC.”

Key cast:

Becca Stevens, David Crosby

Looking for:

distributors, producers, film festival directors, journalists

Social media:

https://www.facebook.com/TheNewYorkLoveSongs/

https://twitter.com/tnyls

https://www.instagram.com/tnyls/

Hashtags used:

#thenewyorklovesongs #tnyls

More info:

www.tnylsdoc.com

Focus on AFI Conservatory - Boys of a Certain Age

October 22, 2021 by Carmela Baranowska

A boy on the cusp of puberty discovers his new world is filled with danger and excitement as an ominous driver stalks him during a weekend of self-discovery with his best friend.

Interview with Writer/Director Spencer Wardwell

Congratulations! Why did you make your film?

This is a story that I've been wanting to tell for a long time.
Believe it or not, the events of the movie are largely based on my real life.
I wanted to make this film because to explore the juxtaposition of my internal and external fears growing up — how they related to each other and what one said about the other; my external fears being the paranoia I experienced based on my perceived (real?) stalker, and the internal confusion and panic I felt as during my adolescence.

Imagine I’m a member of the audience. Why should I watch this film?

I think, despite where it stems from — one's budding sexuality, shifting social and family dynamics, or many other potential factors — the experience of fear, uncertainty, and paranoia is a universal part of growing up.
Puberty was f*cking scary! And I think that's something that is collectively felt and somewhat repressed once we become adults.

Also, hopefully the movie, it's just a fun ride for the audience!

How do personal and universal themes work in your film?

Obviously, there are queer undertones between the two characters.
I think regardless of one's sexuality, many people have had experiences and/or attractions at some point in their lives similar to what the two characters in the film feel for each other.

What type of feedback have you received so far?

People are reacting positively to the film, which is great!
The feedback that's the most meaningful to me is that the film stayed with them in some way, or it has made them reflect on their own experiences during puberty that they haven't explored since that age.

I've had many men, who identify as straight, tell me that the dynamic between the two boys in the film is something they found very relatable, and have even gone into sharing their own personal experiences with me, which I'm always grateful for — I love when people react to the film with the same level of vulnerability that went into making it.

Has the feedback surprised or challenged your point of view?

Going back to vulnerability — I wouldn't say surprised or challenged my POV necessarily, but the feedback has definitely reinforced that, for me, it's important to be vulnerable when making any kind of art.
I want to continue to have my films make me feel naked and exposed.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I'd just love for it to reach a wider audience, who are hopefully moved, or at the least simply entertained by the film!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Anyone and everyone who would like to amply the message, help it get seen by more people, and anybody who'd like to come on to help turn it from a short to feature!

What’s a key question that will help spark a debate or begin a conversation about this film?

I don't want to give away too much, but — the ending.

Would you like to add anything else?

I'd like to just shout out the wonderful work everyone did on this film:

The actors, Joshua Benard & Matt Gomez Hidaka
Our DP, Nick Vera
Editor, Lily Judge
Production Designer, Sam Neidenbach
Producer, Tanya Olsen
Composer, Chase Hawley

I couldn't be happier or more impressed with the talent and hard work everyone brought to the film

Interview: October 2021

Boys of a Certain Age

Length:

14:50

Writer/Director

Spencer Wardwell

Producer

Tanya Olsen

Key cast:

Joshua Benard (Cole), Matt Gomez Hidaka (Angel)

Looking for:

sales agents, distributors, journalists, film festival directors, producers, buyers

Instagram:

https://www.instagram.com/spender_wardell/?hl=en

Hashtags used:

#BoaCA

More info:

https://www.liminalvisuals.com/

Made in association with:

AFI Conservatory

Pavement

October 20, 2021 by Carmela Baranowska

Anna, a teen girl, stands barefoot on burning hot pavement after discovering her father has terminal cancer.

Interview with Actor/Writer/Producer Emma Halleen

Congratulations! Why did you make your film?

I’d been wanting to explore how grief affects a kid for a while before I had written the actual script. When the story of Anna, a teenager who just learned her father had terminal cancer, played on the page, I knew I had something strong enough to engage the audience. That's when I went looking for my team to get this made.

Imagine I’m a member of the audience. Why should I watch this film?

Everyone has experienced loss, and if you’re fortunate enough to have escaped that tragedy, then you’ve experienced helping a friend through grief. There is a messiness and confusion that accompanies grief and loneliness. I think a lot of people can relate.

How do personal and universal themes work in your film?

Anna doesn't know how to express herself while losing her father. Because of this, she pushes her friend away - loss leads to loneliness. We wanted to convey Anna’s despair and how communicating it to a friend and struggling to feel heard leads her to be blocked off and isolated. The impending death of a loved one is isolating and detrimental to regular social relationships.

The universal theme surrounds coping with tragedy and the greater effects of doing so when you are also exploring and trying to understand the world around you as an adolescent. We entered into the film trying to answer one question: How does tragedy affect a teenager?

How have the script and film evolved over the course of their development?

The script began as a three page dream where, despite terrible circumstances, Anna feels completely supported and heard. It wasn’t right. So I reworked it to face the harsh reality that Anna doesn’t feel more connected to her friend through tragedy. If anything, she feels more alone and alienated than ever. Through the filming and editing process, we stayed pretty true to the script - but at the end of post production we actually cut a lot of dialogue. It was interesting to realize how few words were really needed to tell this story.

What type of feedback have you received so far?

The feedback has been extremely positive. Brendyn Gilbert, the director, did a fantastic job, not only telling the story, but also making it competitive for film festivals. It’s short, coming in around six minutes. The filming is gritty and real, showing off Anna’s acne and dark circles. The story grabs you immediately. We’ve gotten some really great suggestions for quicker cuts here or there and pulling more focus to Anna rather than longer cuts for Maddie and Luke (the other two characters). The thing that has stuck the most is the emphasis on point of view. Always head back to your main character's eyes.

Has the feedback surprised or challenged your point of view?

I’ve received some feedback on my writing that definitely took some processing. One piece of advice was to check my dialogue, making sure it was realistic to what a teen girl would say. A couple lines have been noted to be a little too poetic. The emphasis on reality and confirming realism really hit home, and it’s something I’ll carry to the next project.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Collaboration with other artists. I am a producer, writer and actor. My skill set isn’t in directing. So meeting directors is something very important to me. I’d also love to produce more scripts (mine or someone else’s) underneath The Millionth (the production company that put together PAVEMENT). And, I would love to connect with more people involved with film festivals. I’d love to learn more about what festivals are looking for and their perspective on films. Also, I would love to sit down and have a coffee with a sales agent. I find them to be mythical creatures, and I am fascinated by their line of work. Basically, a long way of saying I would take any opportunity to learn and collaborate with all the film industry’s different facets.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

The project has been fully filmed and is currently in its last leg of post production. At this point, I’d love to work with film festival directors and receive their input. I’d also like to talk with journalists to get the word out. It’s a 6 minute short, so as cool as it would be to work with distributors, I think The Millionth is still a couple projects away from that stage.

What type of impact and/or reception would you like this film to have?

I would love for this to speak to every kid and adult who is persevering or has persevered through losing a loved one. It’s a lifelong battle that, if you let it, can be incredibly isolating. I would love someone to look up at this film and feel seen.

What’s a key question that will help spark a debate or begin a conversation about this film?

Does Anna have culpability in her isolation?

Would you like to add anything else?

I appreciate the opportunity to be recognized on this platform. I believe that making a great film begins with getting the right people on your team. A huge thank you to the PAVEMENT team: Brendyn Gilbert, Rick Lawrence, Sam Heyer, Stephani Atkins and the whole cast and crew. They made the project truly great.

What other projects are the key creatives developing or working on now?

Currently, I am shopping for scripts. I’d love to follow PAVEMENT with a series of short films that focuses on specific emotional moments in coming of age stories. I’m hoping to produce another project in 2022 while working on getting PAVEMENT into the festival circuit.

Interview: October 2021

Pavement

Length:

5:45

Writer

EMMA HALLEEN

This is Emma's first script that has been fully produced. She began writing in 2019 and is excited to pitch more scripts in the future. Pavement was a semi-autobiographical look at loss and it's effects on a child. Grief at such a developmental stage in adolescance can distance and divide friends and contribute to substantial change in a child's character and personality. Pavement is an observation and example of how that can happen.

Director

BRENDYN GILBERT.

Brendyn Gilbert is a jack of all trades director who can edit, compose and write. His passion lies in direction which he has done on several short films under he and his DP's (Rick Lawrence) production company, OOPH Entertainment. He has the ability to capture the quiet moments of tragedy and humor in despair that makes his work palatable, meaningful and perfect for the creation of PAVEMENT.

Producer

SAM HEYER.

Sam Heyer is a serial entrepreneur and successful business man, he began to transition his business expertise to film after taking a clown class he thought was for public speaking. He has now produced multiple projects.

Key cast:

Emma Halleen (Anna), Zoë Lerman (Maddie), Landon Lee (Luke), John Lawrence (Anna and Luke's Dad)

Looking for:

Facebook:

https://www.facebook.com/emmahalleen.atkins/

Instagram:

https://www.instagram.com/emmathemillionth/

Hashtags used:

#Pavement #childloss #cancer

More info:

www.themillionth.com

Midwest Pariah

October 16, 2021 by Carmela Baranowska

He left for dead veteran returns back to his home to seek out revenge.

Interview with Actor/Director Tyler Henry

Congratulations! Why did you make your film?

We wanted to make a film expressing the discontent with capitalism, while making a Western. The reason for making it a Western will allow us to use americana in mythmaking. A victim of an imperialist propaganda machine gets his life further obstructed by the same people who put him there in the first place.

Imagine I’m a member of the audience. Why should I watch this film?

The western is in no means dying. But very few people make them now and the view points are not nearly as varied as they object were.

How do personal and universal themes work in your film?

The character loves his parents, and clearly has been brainwashed into believing his war crime are justifiable. His anger and hypocrisy gets redirected to his former partner; I think the themes of family loss and blind patriotism are very strong.

How have the script and film evolved over the course of their development?

The film always started out as a western, but I had to become a Neil western due to budgetary constraints it became a neo noir.

What type of feedback have you received so far?

Very positive feedback.

Has the feedback surprised or challenged your point of view?

Not entirely, our generation is heavily into similar left-wing ideologies.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

To spread the word about our film.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Festivals!

What type of impact and/or reception would you like this film to have?

We would love for younger filmmakers to learn about the strike in India and to watch more Westerns.

What’s a key question that will help spark a debate or begin a conversation about this film?

The filmmakers’ agreement with characters’ actions.

What other projects are the key creatives developing or working on now?

We’re planning a 50’s style noir.

Interview: October 2021

Midwest Pariah

Length:

25:30

Writer/Director

Tyler P. Henry

Working class born and bred. I like to make stories about the disenfranchised and those who feel forgotten and cast out of society due to their financial status.

Producer

Jalen Wilson-Nelem

Born in Waterford Michigan JALEN WILSON-NELEM has worked immensely hard and has acted since he was a little boy. Several siblings, he grew up in a loving creative family.

Key cast:

Jalen Wilson-Nelem(Bud Moss) Dryden Zurwaski(Taylor Reddings) Doran Berger(pastor)

Looking for:

film festival directors, distributors, journalists

Twitter

https://twitter.com/tylerphenry/status/1377786355560878080?s=21

Hashtags used:

#Midwest

More info:

https://vimeo.com/614635410

Queen of the Desert

October 16, 2021 by Carmela Baranowska

When a lonely long-haul trucker picks up a young Black hitchhiker, an encounter with the police forces them to push through their prejudices to find a connection as human beings.

Interview with Writer/Director Mary Ann Rotondi

Congratulations! Why did you make your film?

QUEEN OF THE DESERT grew out of my interest in exploring the presence of the Confederate flag in northern states - particularly my home state of Montana, where there are few Black Americans, and also few people whose ancestors fought for the south in the Civil War. I wanted to understand the attraction of this powerful symbol, and as a I explored that question, I was struck by the loneliness and isolation so many people feel today. When so much of the national dialogue seems aimed at pitting people against one another, QUEEN OF THE DESERT aspires to create a situation where lonely people might find a way to talk and make room for one another's shared humanity.

Imagine I’m a member of the audience. Why should I watch this film?

In the past few years, everyone has been struggling with isolation and discord as the biases woven into the fabric of our society have come to light. QUEEN OF THE DESERT seeks to highlight human connection in the face of those challenges.

How do personal and universal themes work in your film?

Through Gus and Livy we focus on the need to humanize those who we may have judged too quickly, and seen as "other" - in the night blooming cereus, a cactus which blooms just one night a year, we see a symbol of hope.

How have the script and film evolved over the course of their development?

QUEEN OF THE DESERT began in a writing room, where I worked to combine two powerful symbols that fascinated me - one is the Confederate flag, the other the night blooming cereus, the cactus which blooms just one night a year, and which brings people to the desert for that one night to watch it bloom. It took awhile to find a storyline to unite those two threads. Another challenge was finding a TRUCK to shoot the film in. I was lucky that my amazing DP Denver native Luke Akselson knew a friend who had a truck we could use. And so we shot most of the movie in a parking lot outside of Denver. It was super visual and fun.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

The timing of the release of this film is important - we are hoping QUEEN OF THE DESERT contributes to the visibility of more stories featuring Black female characters. We are also hoping to contribute to the current dialogue about challenging topics like racism with a story that address racism in what we hope is a healing and non-divisive way.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

I would absolutely love interest from producers, sales agents, buys, distributors, film festival directors and journalists. We are just getting Queen of the Desert out into the world, but the message of the film is important to us, and we'd love to see that message be amplified and grow.

What type of impact and/or reception would you like this film to have?

I would like this film to spark conversations about listening and kindness.

What’s a key question that will help spark a debate or begin a conversation about this film?

Can we put aside angry rhetoric and make room for one another as human beings? Can we look beyond our differences and talk? Can we find room in ourselves to listen and to hear what people who aren't like us might need?

What other projects are the key creatives developing or working on now?

MARY ANN ROTONDI is turning QUEEN OF THE DESERT into a feature-length script and she is in final stages of editing on a feature-length documentary about a murder in Montana. Producer JEANETTE BONNER is creator and producer of a new animated series A SINGLE MOMENT that uses real podcast audio to animate real life dating stories.

Interview: October 2021

Queen of the Desert

Length:

14:30

Writer/Director

MARY ANN ROTONDI, Montana native, New York resident, passionate about both places, wrote QUEEN OF THE DESERT to help encourage connections and communication in a difficult time.

Producer

JEANETTE BONNER is an award-winning actor and producer in NYC working in narrative film, theater, digital content, and podcast.

Key cast:

Robert Eli, Jade Radford, Andrew Keller, Michael Angelo Hodge

Looking for:

sales agents, distributors, film festival directors, producers, buyers, journalists

More info:

https://queenofthedesert.net/meet-the-team/

MDFF 2021 - Harbour Lights

October 15, 2021 by Carmela Baranowska

In Melbourne Australia at the turn of the 20th century a pioneering network of women at the Mission to Seafarers supported sailors who risked their lives at sea.

Interview with Writer/Producer Lucinda Horrocks

Watch Harbour Lights here:

Congratulations! Why did you make your film?

We wanted to share the story of Melbourne's iconic Mission to Seafarers building with a broader audience. We also wanted to explore some little known aspects of the city's history - the amazing networks of women volunteers who existed in Melbourne at the time, the diverse workforce who worked in shipping, the way seafaring connected Australia to the world.

Imagine I’m a member of the audience. Why should I watch this film?

If you love Melbourne you will love exploring Melbourne's rich past in this film. The archival footage, old photographs and soundscape takes you on a journey you won't forget.

How do personal and universal themes work in your film?

The universal themes are connection and commerce, the risks we take for both, and the efforts we have tried as a community over time to help ameliorate the harms of dangerous work like shipping in the inherently exploitative world of commerce.

The personal themes are what did it feel like to be a seafarer in that tough, rough, greedy early 20th century world? How scary must it have felt to be a merchant seafarer during the First World War?

And what drove a group of 20th century churchgoing Anglican women and men to try to make the lives of seafarers better?

Cutting across all of these themes are the dynamics of a permanently changing city and the lives and ambitions of its inhabitants.

Melbourne today is still a centre of commerce, constantly changing its structure and workforce. Today as a hundred years ago Melburnians respond to very real global threats.

And seafarers still do very similar dangerous and lonely work, bringing goods across the world so we can have access to clothes, technology, equipment, cars and other things that come in on container ships which
we consume pretty much without thinking.

How have the script and film evolved over the course of their development?

The film evolved a lot. Documentaries always do. We started with some basic themes we wanted to explore, and then we did a lot of research. One of our challenges was that there was very limited primary research into this history so we didn't have a go-to book or expert we could connect to. So it took a long time to develop the narrative elements. We don't usually script until we are well advanced into production. Usually a full script will only emerge at paper edit stage.

What type of feedback have you received so far?

We have had many people tell us they just loved watching the footage and photographs of early Melbourne. People who live in Melbourne often tell us how the film surprised them about the history, and telling us they want their kids to see it. Even historians have been surprised by the film and photographs we unearthed, asking us where we found the images, when they were taken and so on.

Has the feedback surprised or challenged your point of view?

It surprised us to find there were people so interested in the history. But in a good way. I think there is a bit of a history revival happening in Melbourne and Victoria at the moment.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We would like more people to watch the film and send us their takes on what they enjoyed learning about.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Distributors, directors, journalists would be great to help us connect to that audience.

What type of impact and/or reception would you like this film to have?

Good films are conversation starters. It would be great to begin conversations about those universal themes we talk about above. We always hope that our films will spark new questions and new research and more conversations.

What’s a key question that will help spark a debate or begin a conversation about this film?

Two questions:

What are the human costs of our interconnected world of global commerce and trade?

And

Why have women's contributions to history been so neglected?

What other projects are the key creatives developing or working on now?

We have been doing a lot of pitching as most of our productions went on hold for the last 20 months as the COVID crisis restricted our work. We are looking forward to starting those projects up again. One is a really interesting project on Aboriginal rescuers/first responders in Victorian history. Hopefully we will have more to tell you soon.

Interview: October 2021

Harbour Lights

Length:

17:51

Director

JARY NEMO is a director, producer and co-founder of Wind & Sky. He has worked in the media industry for four decades. Based in Australia he started out as a photographer and has worked across multiple disciplines throughout an eclectic career. He has worked in the music, theatre, advertising and film industry. His work has screened internationally in cinemas, on broadcast television, at institutions, in museums, galleries and film festivals.

Writer/Producer

LUCINDA HORROCKS (producer, writer) and JARY NEMO (director, producer, writer) are the co-founders of Wind & Sky Productions, an independent film company specialising in documentary storytelling. An award-winning team, they have produced over 30 short documentaries.

Key cast:

Sharon Turley (Narrator), Kate Darian-Smith (Interviewee), Jill Garner (Interviewee), Gordon MacMillan (Interviewee), Chris McConville (Interviewee), Janet Miller (Interviewee)

Looking for:

journalists, film festival directors, distributors, buyers

Facebook:

http://www.facebook.com/WindSkyProductions

Twitter:

https://twitter.com/lucinda_windsky

Hashtags used:

#harbourlights

More info:

https://windsky.com.au/harbour-lights/

Where can I watch it now?
Melbourne Documentary Film Festival Online

You Are Not Alone

October 09, 2021 by Carmela Baranowska

A journey of heartbreak over the loss of a child and the joy as one woman finally gives birth to her rainbow baby.

Interview with Director/Producer Lyndal Redman

Congratulations! Why did you make your film?

In late 2017 my husband and I found out that we were pregnant for the first time. We had discussed adding to our family for 6 years and finally had reached the stage where it was a reality.

Excitement was understatement, we told our families and friends early (or what many say is early) and as we waited for our 12 week scan everything seemed ʻnormalʼ and we couldnʼt wait to see our child. Our scan was like any other day, however it would change our lives forever. We were told in that scan that we had a ʻnon-viableʼpregnancy, and that in fact we had not progressed past 9 weeks. After we had gone through the medical procedure - a D&C - I tried hard to get back to normal life.

Being open and talking about our loss helped me get through that time, but what it also did was opened my eyes to how many others had gone through what I was experiencing. I thought we needed to be able to discuss this openly and honestly. To break down the stigma that is still attached to miscarriage. The blame, the hurt, the misunderstanding that women and men go through. To be able to properly invest in this storyline as a filmmaker, I think it was important to have gone through it personally, to be able to be empathetic and understanding to those who were willing to share and be part of the project.

In May 2018, I released a video on my Facebook page which was an interview telling some of my story. The video reached over 13,000 people and had more that 8000 views. The swell of support from those who watched the video was truly amazing and went to show that this project was important for those who are part of the documentary and those who are likely to experience the loss and grief in the future.

You Are Not Alone was created to tell the stories of those men and women who have experienced their own losses. Little did I realise that my own story would become an integral part of the documentary series, something that I struggled with, but with the help of my supportive husband we began the journey.

I approached my co-producers Caroline Winter and Lauren Hillman to come on board and help create You Are Not Alone. I was absolutely honored to have both accomplished broadcasters to help produce this series.

Imagine I’m a member of the audience. Why should I watch this film?

If you've been through a loss it can help to know that you aren't alone, if you know someone that has gone through a loss, then it can help understand what they are going through. If you haven't been through one, its an amazing, heartbreaking journey to motherhood for one of our couples. It may be a series you need to hold some tissues, but it certainly has heartwarming and funny moments.

How do personal and universal themes work in your film?

This was an extremely personal journey and project to complete. If I was going to ask others to come on camera and open up about their losses then it seemed that I too would have to be a part of the process. When we fell pregnant for the third time I knew I had to record elements of our journey to motherhood. It was hard to completely bare my soul and my relationship to the public, but if it helped one person then I knew I was doing something positive.

So many couples go through early pregnancy loss and its important to talk about it so that we, when we are going through realise we aren't alone, that yes our grief is our own, but the more we talk about it the more we break the silence around the loss of our child through miscarriage.

How have the script and film evolved over the course of their development?

Originally we started to develop a broadcast hour long one of documentary but after a trip the AIDC (Australian International Documentary Conference) in Melbourne and a very important meeting with Screen Australia we began the process of creating an episodic version and eventually the web series it eventually became.

After the conference we applied and was lucky enough to secure funding from Screen Australia, initially development funding then principal funding, then we was honored to also receive funding from The South Australian Film Corporation.

What type of feedback have you received so far?

All the feedback we have received so far has been overwhelmingly positive especially by those that have gone through an early pregnancy loss. Comments like "I wanted to thank you for your documentary. It is so real and relateable! " and "Congratulations on all you have achieved with this incredibly important documentary."

Has the feedback surprised or challenged your point of view?

I think one of the things that surprised me was how many people after the web series was released came forward to talk about their losses, those that haven't opened up about it before. It was amazing how many people

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

To help share this important message that you aren't alone in going through miscarriage and pregnancy losses.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Film Festivals, Journalists, it would be amazing to even find a VOD to host the series, or the 35-minute compile version..

What type of impact and/or reception would you like this film to have?

I want it to break the silence around the topic of miscarriage and pregnancy loss. Let's make it okay to say, you know what, I was pregnant but we lost our child. We know from experience that from the moment that positive test is in your hand, you are already thinking of that child, it doesn't matter how far along you are.

What’s a key question that will help spark a debate or begin a conversation about this film?

The topic alone is one that would spark debate to anyone that has watched it, the whole idea of the series was to allow people to realise it's ok to talk about it, and we need to be able to talk about it.

Would you like to add anything else?

There are some amazing men and women who truly opened up for this series, shared their relationships, both positive and heartbreaking, without them this series wouldn't have been the series it became. Honestly I was overwhelmed by their stories, and myself and my co producers Lauren and Caroline can not thank them enough.

I want to thank Screen Australia and South Australian Film Corporation for their funding and support through the process..

What other projects are the key creatives developing or working on now?

Myself and one of my producers are working on another project that is currently in a very early development stage, so we don't want to say too much. But I'm always exploring peoples stories, we all have one, and it's just trying to come up with a concept that allows those to shine.

Interview: October 2021

You Are Not Alone

Length:

14:30

Writer

Caroline Winter is an award winning radio and television journalist and radio presenter/producer who has worked with multiple broadcast media organisations across four states, spanning 16 years. She is currently a reporter for the ABC’s respected radio current affairs programs AM, The World Today and PM and is involved in training the next generation of reporters at the public broadcaster. Caroline has also worked as a political media adviser politics and public relations communication specialist. She has a passion for telling important, genuine and ethical stories and being involved in projects that promote social awareness and real outcomes for real people.

Director

Lyndal Redman, is an award-winning documentary maker, producer, editor and camera woman who runs her own media company Redman Media. Her web series You Are Not Alone on miscarriage, was recently recognised internationally through film festivals winning Best Series at MOM Film Festival, Best Documentary at the Women's Film Festival San Diego as well as Best Current Affairs/Feature for the 2021 SA Media Awards. She has worked on a range of crime series for UK based FirstLookTV, and regularly works for other broadcasters through Australia and internationally.

Producer

Since 2015, Lauren Hillman has been leading the team at Channel 44. During her time as GM she has been responsible for campaigning and lobbying the Federal Government resulting in recently securing a 2 year free to air broadcast licence extension for Community TV nationally. Prior to this Lauren’s TV career has spanned over 12 years, highlights include; Series Producer of the Channel Nine Easter Appeal, first event of it's kind in SA in over 30 years.

Lauren was a Producer/Director at ABC TV credits include; Restoration Australia, Poh’s Kitchen and many more. In 2014, Lauren wrote, directed and produced her own commissioned series for ABCIview, The Daters. In 2016, Lauren produced sold out Adelaide Fringe show, An Evening with Annabel Crabb at the Festival Theatre, which was awarded ‘Best Event for 2016’ in the Adelaide Fringe awards.

Key cast:

Lyndal Redman, Jamie Smith, Kristy Place, David Moore, Kate Nottage, Libby Parker, Janeanne, Lori Bell, Sam Payne, Dr Heather Waterfall, Jade Bilardi

Looking for:

distributors, film festival directors, journalists

Facebook:

www.facebook.com/youarenotalonedocumentary/

Instagram:

www.instagram.com/youarenotalonedocumentary/

Twitter:

twitter.com/redmanmediaau

Hashtags used:

#breakthesilence #miscarriagematters #youarenotalonedocumentary #youarenotalone #miscarriage

More info:

youarenotalonedoco.com

Cats of Malta

September 30, 2021 by Carmela Baranowska

Cats of Malta celebrates the Mediterranean island’s stray cats and the people who, through volunteering, art and folklore show the cats unconditional love and support.

Interview with Filmmakers Sarah Jayne Porteli and Ivan Malekin

Congratulations! Why did you make your film?

At the time of filming Malta was in limbo in regards to what was going to happen with Covid restrictions. Offices and businesses were putting in place safety measures to protect staff and all was uncertain on the island. We had just brought a camera and we wanted to test it out, so we started to film cats in Independence Garden, Sliema. We shot day and night. Then we had collected a bit of cat footage. Coincidently I was scrolling through my Instagram feed at work during lunch and someone I was following had posted a picture with the caption stating that local artist Matthew Pandolfino was repainting his statue. It was all white it's usually not. So I frantically did some research on my phone and told Ivan. We contacted Matthew, I chatted with him on the phone and I set up a time to go chat with him as he re-painted. Ivan and I went about three or four times to hang out with Matthew, talk about his work and the cat sculpture. During that time we then got the idea that there must be others like him celebrating cats.

The next person I found was Polly as she was posting on Facebook that she couldn't go feed her three colonies due to restrictions that were focused on the older population. I had just worked with her on a short film - so I contacted her. It snowballed from there! Then we realised that we were filming a doco. Somewhere along the line, we settled on Cats of Malta as the title name.

Imagine I’m a member of the audience. Why should I watch this film?

You should watch Cats of Malta because it is not just a film about cats. Cat's of Malta is a film about humanity and the connection between humans and cats set on an island that is unique and charming. It's also very entertaining, features adorable cats and stories we hope are highly addictive like cat nip!

How do personal and universal themes work in your film?

Cats of Malta is a film with a universal theme - the unconditional love of animals and the connection between animals and their carers or owners. This works well in Cat of Malta because without human involvement in the stray cat's lives we would not know the cat's personal stories. It works vice-versa as well without the cats, there would be no personal human story to share. It's a universal fact too that people all over the world love cats.

How have the script and film evolved over the course of their development?

There was no script at all for Cats of Malta because it's a documentary. Of course, as the director, I went into each interview with a list of questions and an idea of where I wanted to lead the conversation with our subjects. There were themes I wanted to discuss as I wanted to talk about a wide range of aspects - education, pet ownership, the stray cat stories, some Maltese history, government support and so on. What guided my direction and gave me a focus was getting to know what was the most interesting thing I could get the subject to talk about.

My questions came from researching their situation, what they do and any interesting stories I already knew about them and their stray cat colonies or their work. So much more did come out of these questions, there was a lot of the development and the evolution of the film's story happened organically. In the edit, like any doco, was when we, the filmmakers had the best chance to shape the story, as we created the story thread from what had evolved in front of the camera.

What type of feedback have you received so far?

Locals in Malta, our audience around the globe and our Kickstarter supporters are all anticipating the release. We do get people asking us when it will be finished and when I ask people for certain things related to the film, people ask me where and when it can be viewed. On Facebook when I promote the film in cat groups I do get some people in the cat community comment honestly that they hope that the film shows some of the challenges that the community faces, not just fluffy stories.

Has the feedback surprised or challenged your point of view?

The feedback so far (we are still in post-production) has been good. Our co-producers who helped us make some editing decisions gave us positive feedback for the story and the cinematography overall. What they also did, which we are super grateful for, is provide positive criticism. It changed the way we viewed the project overall and how we connected the interviews. Some of the feedback also helped us to confirm some things we already were not convinced by.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We would love a larger reach and to expand our audience, get more subscribers to the Cats of Malta newsletter and our course sponsors and influencers attacthed - that would be really cool!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Right now what we need are sponsors to jump on board. We want to reach a wider audience before we release Cats of Malta. We have a sponsor deck and any business, company or individual who wants to chip in a small amount (we have two reasonable sponsor levels) in exchange for some coverage on our channels is much appreciated. There are some wonderful incentives for doing so and a chance to be in the opening credits of the film.

Of course, partnerships are also good, as cross-promotion between us, Nexus Production Group and a partner can really send the film to more corners of the world. Anyone who wants to contribute to helping us send the world a big meow from Malta is a massive support right now.

What type of impact and/or reception would you like this film to have?

I would like Cats of Malta to do a number of things - tug on the heartstrings of the viewer, show the positive impact cats (not just in Malta) have on mental health, educate subtlety on the importance of education and of correct pet ownership, highlight Malta as a cat-loving island and the efforts of our subjects, attract tourists and of course, entertain. We want to brighten peoples day - the world needs more positive films right now.

What’s a key question that will help spark a debate or begin a conversation about this film?

Is enough being done by the Maltese government to support volunteer feeders and animal-focused NGOs, or is there still much more that needs to change in order to better the welfare of stray cats, and in turn make the lives of the volunteers easier? Does the large population of stray cats steam from a lack of public education or awareness?

Would you like to add anything else?

There is a website for Cats of Malta: www.CatsofMaltaFilm.com and there is also a newsletter you will find on the website page. After the social media pages that is the best way to keep up with the film. Find Cats of Malta on socials - Twitter, Facebook and Instagram.

What other projects are the key creatives developing or working on now?

We have another feature film we shot in 2020, just after we wrapped Cats of Malta called Machination. Machination is a psychological thriller also shot in Malta with a Maltese cast and crew. It will be released in 2021 like Cats of Malta.

Interview: September 2021

Cats of Malta

Writer/Producer

IVAN MALEKIN
Ivan Malekin is a prolific producer, director and editor whose short and feature films have screened and won awards all over the world. Named part of the Australian New Wave of Indie Filmmakers, Ivan has been making films since 2007, serving as producer on over 30 projects to date.

SARAH JAYNE
Since 2006, Sarah Jayne Portelli has worked in various roles within the film industry, predominantly as an Art Department all-rounder. SJ switched her focus to directing in 2013 with her first short film, Dusk, followed by another short, Anniversary. From 2015 onwards, SJ wrote, directed and produced her most recognised body of work, including the educational short film Daughter, starring Katherine Langford, plus three feature films.

Director

SARAH JAYNE
Since 2006, Sarah Jayne Portelli has worked in various roles within the film industry, predominantly as an Art Department all-rounder. SJ switched her focus to directing in 2013 with her first short film, Dusk, followed by another short, Anniversary. From 2015 onwards, SJ wrote, directed and produced her most recognised body of work, including the educational short film Daughter, starring Katherine Langford, plus three feature films.

Key cast:

Matthew Pandolfino (interviewee) Polly March (interviewee) Karmen Kolerio (Interviewee) Isaac Muscat (interviewee)

Looking for:

sales agents, journalists, film festival directors, distributors

Facebook:

https://www.facebook.com/CatsofMaltaFilm

Instagram:

https://www.instagram.com/cats.of.malta.doco/

Twitter:

https://twitter.com/MaltaCats

Hashtags used:

#catsofmaltafilm #catsofmaltadoco #meowfrommalta

More info:

www.CatsofMaltaFilm.com

La Casita de la Mariposa

September 29, 2021 by Carmela Baranowska

What happens to the Princess after she marries Prince Charming to find out he's a monster?

Interview with Writer/Director/Producer Samantha Ferrand

Congratulations! Why did you make your film?

I started telling stories through recounting the many adventures of my mother, Renee Samantha Gamero, to strangers on the street. She is a one-of-a-kind human being and I knew I always wanted to share one of her stories on the big screen. I never thought It would be this particular one, but the second the script came to mind, I knew there was no other way. La Casita de la Mariposa is an ode to every sacrifice made by women providing for their children. To first loves and great pain and how those two opposing forces intersect.

Imagine I’m a member of the audience. Why should I watch this film?

You should watch this film if you have ever experienced helplessness. This film is for mothers who never stop fighting and the children who idolize them. Or, if you are like me, perhaps this film is a chance to reconcile with hateful love. I made this film as a source of healing wounds I didn't want to face. I hope this film helps you heal in return.

How do personal and universal themes work in your film?

As a Latina, I grew up with the concept of "machismo" and the toxic nature that holds over our culture. We don't usually raise boys to express their feelings in a healthy manner, and often those feelings manifest in rage or depression. On the flip side, the language used for wives is to grin and bear it. We marry our spouses through sickness and health, but cruelty deserves to be the caveat to the agreement.

Unfortunately, it is not. I know far too many couples with skeletons in their closets. Falling in love with the wrong person is as universal as it gets. A mother's love is endless. Strong women move mountains to provide a happy life for their children.

How have the script and film evolved over the course of their development?

Of course! The earliest version of this script borrowed heavily from A Christmas Carol and involved a magical time-traveling car. We produced this short during Covid-19, and the restrictions passed down to us from our university started to change the overall flow of the story, but never the through line. Renee was always getting in that car to leave her husband.

My Director of Photography, Xuerui (Joy) Wang, and I got together via zoom once a week over a year to discuss each scene, not visually but emotionally. With every meeting, the scenes shifted to fit what was best for Renee's character arch. I am a firm believer in consistently working a story until it flows in the right direction. I'm very grateful for the final product and have my crew to thank for that.

What type of feedback have you received so far?

At the end of the day, I made this film for my mom. The best response I've received so far was the only one that ever mattered: the moment my mom saw the final cut. I saw her and she saw me. It is was the more cathartic shared crying session of my life!

Has the feedback surprised or challenged your point of view?

What's crazy is that every time I shared the story of my Butterfly Princess and her not-so-charming Prince, I met more and more people who identified with it. Growing up, I always felt like "other" because I didn't come from a white picket fence nuclear family, but the reality is that every family has its issues. Mothers, daughters, and even sons have responded with their own stories, and I've never felt more understood than in those moments.

On the flip side, we screened La Casita de la Mariposa for our school during the final stretch in post-production, and a majority of the feedback was helpful and complimentary; there was one note that never sat right with me. I was told to "soften" the Prince and to cut the flowers in the kitchen. "That's not the story you're trying to tell." Gender is inconsequential, but I should state that the entirety of the meeting was filled by older white men.

Their discomfort only confirmed how vital it was to share my mother's story.

To answer your question, I wish the response challenged my point of you but it only confirmed how we need to open a dialogue on marriage in the modern era. I believe in love, and I want to see more stories that confirm my suspicion that it's out there. Maybe we can start with the love of family and grow from there.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I want to honor the filmmakers who worked tirelessly to make this movie a reality by getting as many pairs of eyes on La Casita de la Mariposa as possible. Hopefully in doing so, this film will find more little girls who grew up like me and know they are not alone.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

La Casita de la Mariposa is a love story. The love of a mother and the love of self.

Heartbreaker Films is the production company co-created by Samantha Ferrand & Beliz Eyrilmaz, whose mission is to tell love stories that are genuine, diverse, and empowering.

Renee fell in love with her Prince not because he was cruel, but because he was kind. Whenever I see domestic abuse in mainstream media it is already in the thick of the violence, but abusive relationships don't start out with abuse.

We need to see better examples of love, in all its forms, to learn what is and is not acceptable behavior. While we don't discuss what makes for a healthy relationship, stories like Twilight & animated fairytales are telling our children how to "fall in love" but not how to navigate it.

Currently we are working on multiple feature length scripts dedicated to love and heartbreak with WPOC characters at the helm of the narrative. Love has so many shades of colors and Heartbreaker Films is making it their mission to discover each one.

What type of impact and/or reception would you like this film to have?

I want this story to be a healing and comforting experience. We need to discuss domestic abuse in the public forum. La Casita de la Mariposa isn't an uncommon story and I want women to feel identified in this film. Romance is a vastly overlooked genre. I can't empathize with a car chase or robbing a bank, but I know what it is to be heartbroken or to imagine every color in your lovers eyes. That's the beauty of existence. I hope La Casita acts as a wave of appreciation for romance in cinema.

What’s a key question that will help spark a debate or begin a conversation about this film?

We fall head over heels for the perfect version of a person, but how are we supposed to know who they will become over time? Is the family unit meant to stay together even if doing so is tearing it apart?

Would you like to add anything else?

Thank you for your time and consideration in watching my film La Casita de la Mariposa. It means the world.

What other projects are the key creatives developing or working on now?

Heartbreaker Films is currently working on multiple feature lengths scripts dedicated to love while also producing a TikTok series set debut later this year.

Interview: September 2021

La Casita de la Mariposa

Length:

20:23

Writer/Director

SAMANTHA FERRAND is a Peruvian-American filmmaker with a bachelor's degree in Motion Pictures & Psychology from the University of Miami and an MFA in Directing from Chapman University's Dodge College of Film & Media Arts. While visiting Poland at seven years old, Samantha attended a screening of "The Pianist" alongside her grandmother. Speechless from the film, the pair walked out to find a blizzard waiting for them after the credits. This experience was the moment Samantha knew she wanted to become a filmmaker.

Producer

ANNISSA OMRAN recently received an MFA from UCLA's TFT Producers Program. Prior to getting her masters, Annissa worked for several years as a freelance screenwriter and project manager for an informational video company. She has served as producer and production manager on features and short films shot in Miami and Los Angeles, including THE LAST THANKSGIVING (2020), a feature which made the rounds on the genre festival circuit before acquiring independent distribution.

Key cast:

Sole Bovelli (Renee) Victor Manso (Prince) Tricia Cruz (Martha) Adel Carrillo (Little Renee)

Looking for:

journalists, producers, film festival directors, distributors

Instagram:

https://www.instagram.com/samanthaferrand/

Where can I watch it now?

INDEPENDENT SHORT AWARDS/LA- SEPTEMBER 2021; HALLUCINEA FILM FESTIVAL/FRANCE - October 2021

Leylak

September 29, 2021 by Carmela Baranowska

In present day Queens, New York, a Turkish gravedigger is unable to face a shattering truth, and risks losing the dearest connection left in his life.

Interview with Scott Aharoni (Director/Producer), Mustafa Kaymak (Writer/Producer), Dennis Latos (Director/Producer)

Watch Leylak here:

Congratulations! Why did you make your film?

MUSTAFA: The inspiration came from a photo from an article that Scott Aharoni had shared with me on the 61st day of the Covid-19 lockdown. The picture was that of a gravedigger who held his axe and stared at an endless amount of freshly dug empty graves. I felt his despair and it made me question many things in my life.

I then sat at my desk and wrote a two sentence poem. It was a sweet moment between a father and daughter packed with yearning and love. It summarized everything about their relationship and I felt that they cared for each other. The father whispered; “Do you know why your mother calls you Leylak?” He answers his question; “Because you’re her flower.”

SCOTT: When the pandemic hit, and New York went into lockdown, a slew of emotions flooded me. Feelings of loneliness, despair, and confusion weighed me down. As creatives, we look out to the arts to help express ourselves when we don't know how else to do it. I felt that creating a film during this time, presented an opportunity I had not had before as an artist. I felt it was the perfect opportunity to engage in a story we were all presently living through. And with that, as a team, we figured out the intention of the film. Mustafa created the character of Yusuf where we would then begin to expose the harsh reality of grief through the beautiful story that was told.

Imagine I’m a member of the audience. Why should I watch this film?

DENNIS: If you are a member of the audience you should watch this film because you will be able to relate to it in some way, shape, or form. In its short running time, the film is able to captivate audiences and is able to move you emotionally and spiritually despite a dark topic which had encompassed the entire world the last two years. However, it is the film’s ending that keeps you optimistic and positive that regardless what grief you may have faced or are facing by losing a loved one in your life, we all have someone to lean on and despite dark times, there is always a light at the end of the long dark tunnel.

How do personal and universal themes work in your film?

We have all lost someone dear to us, before and during the pandemic, and it is with this emotional and personal experiences that helped us create an even more organic story.

How have the script and film evolved over the course of their development?

SCOTT: The script was a beautiful platform for our actors to perform off of. We gave our actors an open playing field where they were open to truly become the characters. Whether they wanted to change a line of dialogue, or add an action, we let them be as natural as possible.

MUSTAFA: I didn't write a lot of dialogues for the film. I think emotions are magic of being human being and when you put them into words, it loses its magic. Drama is emotion and Leylak is an emotional journey where you are meant to feel more than understand it.

What type of feedback have you received so far?

SCOTT: The feedback has truly been a blessing. The way people have been moved so emotionally and want to ask questions about the film, makes the whole process so rewarding. Being screened at various festivals has given our film a platform where the film can be seen and spoken about. So far, it seems our audiences have felt the emotional magic we have prayed we were able to create. With the Q&A's we have been blessed to have, it seems that audiences really want to understand our characters deeper and the actions in which they took and why we made certain decisions. And with that, I feel we did our job to pose and questions and stir up conversations with our art.

Has the feedback surprised or challenged your point of view?

MUSTAFA - There’re many metaphors in the movie. When people understands them, it changes their understanding of the movie. You watch it with a very different perspective and it hits you harder.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

DENNIS: Having our film visible on wearemovingstories.com will help get the word about the film out there more. I am hoping this platform will be another vehicle to more audiences to watch and review the film. The more websites and platforms we can get this film on, the better!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

DENNIS: Journalists are a great help. Writing about the film on different platforms helps get more eyes on the project. Also the more festivals we are selected into, the more exposure the film gets and more people see it. Ultimately, we are hoping the film can find a home to amplify the film's message.

What type of impact and/or reception would you like this film to have?

SCOTT: At the end of the day, audiences should walk away knowing that there is always light at the end of the tunnel.

DENNIS: No one likes negativity and negativity is just bad for the soul. We aimed to end off on a good note and I think we achieved that whole-heartedly. Leylak is a special film and a short that will hopefully represent our times.

What’s a key question that will help spark a debate or begin a conversation about this film?

Grief is a difficult thing to face and coming to terms with the truth is one step closer of it becoming your reality. The question is...How do you tell your child that their mother has passed away?

What other projects are the key creatives developing or working on now?

The next step for us all is embarking into the feature film world!

Interview: September 2021

Leylak

Length:

16:58

Writer

MUSTAFA KAYMAK is a Sundance (Green-2019) and Tribeca (Leylak-2021) award winning writer and producer. He was born in Ankara Turkey, where he received a BA degree in journalism (2008 Ankara University).

Director

SCOTT AHARONI & DENNIS LATOS are a directing duo based out of New York. They have produced a diversified slate of ad campaigns for international brands and have produced several award winning films that have garnered international success.

Key cast:

Nadir Saribacak (Yusuf), Isabella Haddock (Renk), Gamze Ceylan (Tulay), Samrat Chakrabarti (Abdul)

Looking for:

sales agents, journalists, distributors, buyers, film festival directors

Facebook:

https://www.facebook.com/leylakthefilm

Instagram:

https://www.instagram.com/leylakthefilm/?hl=en

Hashtags used:

#leylakthefilm

More info:

duoent.com/leylakthefilm

Where can I watch it now?

Hollyshorts Film Festival - September 23-October 1st
Nashville Film Festival - September 30-October 6th
Tirana International Film Film Festival - September 24-30th

GM65_20200712_184446.00_00_00_15.Still002.jpg

Rooftop Intermission

September 25, 2021 by Carmela Baranowska

Seeking a momentary respite from the strains of life in 2020, two strangers from the same building end up on a roof together and make a socially distant connection. Shot on a mobile phone by the sheltering-in-place cast.

Interview with Writer/Director/Producer Masa Gibson

Watch Rooftop Intermission on Masa Gibson’s website

Congratulations! Why did you make your film?

Back in the spring of 2020, we found ourselves halting preproduction on a feature project we'd been developing while we sheltered in place. Naïve and hopeful that everything would be back to "normal" within a couple of months, we decided to shoot a quick-and-dirty little "meet-cute" sketch on our rooftop, using Abby's phone as a camera, as a temporary creative outlet. Little did we know what the rest of the year had in store for us! As spring rolled into summer, the pandemic raged and BLM took to the streets. The little sketch took on a life of its own, and what we had envisioned as a one-weekend shoot ballooned into a long-term project.

Imagine I’m a member of the audience. Why should I watch this film?

It serves as a snapshot from a heightened time in our collective lives. Fans of theatre might enjoy this work, which plays out a bit like a one-act play.

How do personal and universal themes work in your film?

The film explores how different people connect with other people and with the wider world.

How have the script and film evolved over the course of their development?

The script evolved along with our world outlook over the course of the production, as various significant global developments occupied our attention. Luckily, dialogue continuity was not an issue thanks to the face masks worn by the characters (all dialogue was planned to be recorded as ADR in post-production), and the indefinite timeline and convenient location gave us the license to be more picky about shooting conditions; we shot an hour or less a day, during pre-golden-hour light, and we only used the takes with the best sky and wind conditions. (We paused shooting for a week when the sky hazed over from the western wildfires.) We even trained local birds to fly in and out of frame for the opening and closing shots. In a very real way, those shooting sessions became our own "rooftop intermissions".

What type of feedback have you received so far?

The film has only been screened in one online festival and one in-person festival so far, but people have commented on its gentle pace and the intimate atmosphere it evokes. People also seem to relate to certain elements in it that mark a certain time in our society's recent history

Has the feedback surprised or challenged your point of view?

Different viewers have located it on different parts of the spectrum between drama and comedy, which we've found interesting. In that way it seems to serve as a sort of Rorschach test.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

As with all of our films, we want to help this film find as wide an audience as possible.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We'd love to hear from any festival directors that might be interested in screening it!

What type of impact and/or reception would you like this film to have?

We strove to make this film universal and timeless while simultaneously serving as a snapshot of a very specific time and place. The setting is quintessential East Village in Manhattan, and people who were in this city in 2020 will recognize certain elements in the film that other people won't pick up on. But we hope that viewers from any part of the world, both now and many years from now, will see something in it that they recognize.

What’s a key question that will help spark a debate or begin a conversation about this film?

The two characters in the film, Brian and Martina, have contrasting personalities and are experiencing the circumstances around them in very different ways. Do you see yourself in one of them? Both of them? Neither?

What other projects are the key creatives developing or working on now?

We are developing another short that was inspired by the COVID 19 pandemic. Unlike "Rooftop Intermission", this film is much more fantastical, taking place in an alternate world gripped by a very different kind of pandemic (one of the virus's symptoms is that it turns the infected person's hair blue)...

Interview: September 2021

Rooftop Intermission

Length:

9:17

Writer

Masa Gibson, Abby J. Smith

Director

MASA GIBSON (they/them) holds a BA in Music from Rutgers University and a PhD in Linguistics from Cornell University. They are a classically trained singer and a Meisner-trained actor. After spending time on set as an actor, they migrated over to the other side of the camera to try their hand at filmmaking. ABBY J. SMITH (she/her) is an all-around designer/fabricator, working on all aspects of production design. Smith holds a Bachelor of Architecture from Cornell University and is a member of United Scenic Artists, Local 829 in NYC. She works in both theatre and film/TV; recent film/TV credits include Blade Runner 2049 (senior model maker and assistant art director for Weta Workshop’s miniatures unit), The BFG (senior model maker), and ITV’s Thunderbirds Are Go! (senior model maker and art department miniatures technician).

Key cast:

Masa Gibson, Abby J. Smith

Facebook:

https://www.facebook.com/RooftopIntermission

More info:

https://www.masagibson.com/rooftop-intermission

Where can I watch it now?

Super 9 Mobile Film Festival / https://super9mobile.com/?videos=rooftop-intermission; the film is also an official selection at an NYC-area festival to take place in late September/early October, but the organizers of the festival have asked that the film's selection status not be publicized until the festival schedule has been made more firm. TBA!

Washed

September 23, 2021 by Carmela Baranowska

In this stop-motion horror short, a couple enlists the aid of a mysterious figure to help them with their seemingly insurmountable laundry problem.

Interview with Writer/Director Michael Bartolomeo

Congratulations! Why did you make your film?

I made WASHED because the idea of a flesh-eating pile of laundry was too exciting not to bring to life on camera, and the pixilated, stop-motion style I had been applying for years was the perfect way of achieving these grotesque visuals.

Imagine I’m a member of the audience. Why should I watch this film?

Well, certainly a horror audience would be interested in viewing my film as there are a number of creepy moments and yes, some strong visceral body-horror imagery as well. But I do think non-genre fans could potentially appreciate it as well, particularly ones with an affinity for fantasy or science fiction.

How do personal and universal themes work in your film?

There are universal themes explored in the film, such as fear, loss of love, the inability to connect with someone, but instead of painting these with a broad brush I tried to convey them visually, and in a way that was also relatable. For example, the main couple in the film have become unable to communicate with one another, but instead of explicitly stating this with dialogue or movement, I used stop-motion to show their outfits changing rapidly within the span of several seconds and the discarded laundry piling up in the corner, representing unresolved tension. So that's totally relatable. We all have dirty laundry. And none of us really WANT to wash it but we know we have to.

How have the script and film evolved over the course of their development?

We had a fairly uneventful journey through the writing process. It was a little bit of a tennis match, where I'd write the treatment, pass it along to my wife Megan (who also served as producer and production manager) who would punch it up a little, then back to me, then back to my writing partner and lead actor, Steve, and then eventually we had distilled the final product from the mass of stomped grapes, as it were.

What type of feedback have you received so far?

Mostly very positive! Particularly when it comes to the technique and practical FX. As far as the narrative goes, there has been a considerable amount of bewilderment from viewers and I will admit I was prepared for that.

Has the feedback surprised or challenged your point of view?

I'm not sure the film has a point of view per se, at least not one that I intended. It sounds like bulls*** but it's true. I've really enjoyed being blindsided during Q&As by a question I didn't have an answer for, such as "who is the cloaked figure supposed to be?," or "why does the laundry pile come alive," both of which prompted me to sort of work through the answer live in front of an audience, which was probably pretty irritating to the person asking, haha. At the end of the day the film is a result of themes I had swirling around my head and I knew viewers were ultimately going to inject themselves and their own experiences into those themes

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

Exposure is the key at this point. The more eyeballs, clicks, tags, shares, and mentions we get, the better, and my hope is that the WAMS community would find our film enjoyable!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

The film has been available to the public for nearly a year now through Slamdance and fortunately we no longer have a need for any additional financial backing or publicity, but I suppose you can't ever have too much of that!

What type of impact and/or reception would you like this film to have?

In today's overly content-saturated landscape, my only real goal is that viewers FIND the film, let alone view it in its entirety, however if someone does stumble onto it via the algorithm, I hope that they at least are entertained by it. My dream though, is that they like it enough to re-watch it and at that point some of the film's subconscious messaging is revealed to them.

What’s a key question that will help spark a debate or begin a conversation about this film?

I'd say the single most important thing I'd want viewers to ask is "how well am I communicating with someone I care about?" The central conflict of the film is the lack of communication between the man and woman on the bed, and their refusal to confront the problems in their relationship, leading to the physical manifestation of their emotional "dirty laundry." So I'd hope viewers come away from it thinking about how to avoid this emotional pile-up in the first place.

Would you like to add anything else?

Nothing, except that I am very happy and honored to have been profiled on We Are Moving Stories once again.

What other projects are the key creatives developing or working on now?

We actually are doing a third film in this trilogy (cheekily referring to it as the "Ed" trilogy, the first two films being SOLVED and WASHED) and it's called FED and it's currently in production now with an anticipated 2022 premiere. And then I have this fantasy of making a Cassavetes-inspired feature drama about aimless aging hipster dads in NYC and I want to shoot it on 16mm.

Interview: September 2021

Washed

Length:

8:42

Writer

Michael Bartolomeo & Stephen West-Rogers

Director

MICHAEL BARTOLOMEO is a NYC-based filmmaker who creates visually unique short films in a variety of genres.

Producer

Megan Kortvelesy

Key cast:

Stephen West-Rogers, Sergine Garraud, Lukas Hassel

Looking for:

Twitter:

www.twitter.com/TriangleFilmsNY

Facebook:

https://www.facebook.com/washedthemovie

Instagram:

www.instagram.com/triangle_films

Hashtags used:

#getwashed #washedmovie

More info:

www.trianglefilmsnyc.com

Where can I watch it now?

WASHED is available to watch on The Slamdance Channel! Just visit

https://www.youtube.com/watch?v=nFGTYg-xbvE

The Unvisited

September 22, 2021 by Carmela Baranowska

An old couple in a spooky mansion enjoys sharing the twilight of their lives but yearns to be visited by their neglectful daughter before it’s too late. Oh well, at least they’ve got cats.

Interview with Writer/Director/Producer Rebekah Fieschi

Watch The Unvisited on Indieflix

Congratulations! Why did you make your film?

Thanks! There's such an emphasis on our differences lately that it's easy to forget that we are more alike than not. With THE UNVISITED I wanted to make a simple, silly and relatable film everyone could enjoy.

Imagine I’m a member of the audience. Why should I watch this film?

It's fun! It portrays characters rarely seen in TV/film without making that the focus of the story and, in a lighthearted way, explores universal themes. Plus, our locations are rather stunning and the music (composed by Zak Millman) is a character of its own .

How do personal and universal themes work in your film?

The idea came to me one day while imagining myself older and living in my dream house (for me, that's a haunted, PSYCHO look alike house), I suddenly became vividly aware that my partner and I would eventually die, and that one of us would go first. I built the story around the themes of happily growing older, the fear of losing one's partner, and the desire to be reunited with one's family.

How have the script and film evolved over the course of their development?

The film is very short and pretty much came out of my mind instantly and onto paper, and not much has changed since then. The duet scene was initially going to be a song and dance, but I decided to cut the musical aspect out and make it simpler. The couple was not originally written as queer, but since the two best performers during the audition were women -- and because they had such great chemistry -- it naturally became one.

What type of feedback have you received so far?

Audiences laugh out loud and chuckle. I've heard a lot that the lighthearted aspect is quite a relief in these times. And audiences seem to appreciate that the protagonists are an elderly queer couple without their sexuality being a theme of the short but simply a natural part of who they are

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

I hope it reaches a broader audience!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

Journalists, festival directors and distributors would be very welcome at this stage to keep reaching audiences far and wide.

What type of impact and/or reception would you like this film to have?

I want it to move and make people laugh and maybe -- if I were to be very optimistic -- could make people more accepting of differences and accept that love simply is love.

What’s a key question that will help spark a debate or begin a conversation about this film?

Can there be humour in death?

Would you like to add anything else?

Thank you for supporting independent film!

What other projects are the key creatives developing or working on now?

I’m working on a short film about a six-year-old who misunderstands a conversation she overhears and becomes convinced that her half-sister lives in the sea and becomes determined to find her. I am also developing my first feature film which is a psychological horror/thriller. I'm looking for a producer for both. I'm also writing several works of prose.

Interview: September 2021

The Unvisited

An old couple in a spooky mansion enjoys sharing the twilight of their lives but yearns to be visited by their neglectful daughter before it’s too late. Oh well, at least they’ve got cats.

Length:

5:48

Writer/Director/Producer

REBEKAH FIESCHI is a Franco-English writer and filmmaker originally from Corsica.
Her award-winning short films Sylphvania Grove and Mauvaises Têtes played in festivals around the world including FrightFest, FantaFestival and Starburst FilmFest.
Her fiction has appeared in the literary magazines The William and Mary Review and The Caterpillar.
She is currently developing her first feature film, along with several works of prose.

Key cast:

Cathy Washburn (Theodora), Kathi Baerns (Laura)

Looking for:

journalists, distributors

Facebook:

https://www.facebook.com/horromance

Twitter:

https://twitter.com/theHeadlessBeki

Instagram:

https://www.instagram.com/horromance/

Hashtags used:

#TheUnvisited

More info:

https://www.horromance.com/

Where can I watch it now?

IndieFlix release at the end of September

A Chance

September 18, 2021 by Carmela Baranowska

When Mia and Caroline reunite in a city park, they soon find out that the past is not always quite past. Conflicts are resurrected, sparks fly - and then things get complicated.

Interview with Writer/director/producer/actor Jillie Simon

Congratulations! Why did you make your film?

Thank you so much!

The original script of the short play that this film came out of ("Be Still"), is a very interesting and well-written slice of life, of a meeting between two exes whose relationship had failed but who still had strong feelings for - and chemistry with - each-other. When Ange Arabatzsis, the playwright, asked me to play the role of one of the characters, which had been written as Man & Woman, he also asked Karen Irwin to play the other character, saying, "Your energies are so different, I'd love to see you two as the ex-lovers". And I thought how great to make the characters same-sex lovers, making it an LGBTQ story...as sharing more stories of less well-represented and more marginalized people is a very good thing.

I felt that it could make a terrific short film if we had flashbacks of what led up to this moment in time, and if we could get them off the park bench, create more action, and he liked those ideas and agreed to all of it.

Imagine I’m a member of the audience. Why should I watch this film?

You should watch this if you like human stories, relationship stories that have twists and turns, great music and a tempo that builds and builds to the unexpected conclusion.

How do personal and universal themes work in your film?

"A Chance" highlights the universal nature of love and relationships struggling through turbulence. Love isn’t easy, sometimes things get messy and ultimately, if lovers are to make it through, they each need to rise to it. If they truly love each-other, they need to take care of each-other.

And, as Mia says to the homophobic bullies who are harassing the two women in a flashback scene, "it's just about love". Love is love, regardless of gender.

How have the script and film evolved over the course of their development?

Though I had written a couple of the flashback scenes, most of them were created through improvisation. We worked those scenes by starting with the initiating idea for what the scene was about, and then having the other actors improvise the scene with me.

I love when I've been asked to improvise at the end of scenes in comedic films and web-series, or asked to improv a scene in rehearsal for theater (and have done improv shows at the Upright Citizen's Brigade and with the GrownUps Playground) - and the other actors who were in the improvised scenes with me, Karen, Marija Juliette Abney and Valentine Aprile were terrific to play with. In fact, Valentine's audition for her role was an improv of the scene and she nailed it - and her line from the audition became part of the script. It ended up working very well for the film, to create those flashback scenes in that way. And the park bench scene, which was taken verbatim from the play, was rehearsed like a play, prior to the shoot.

What type of feedback have you received so far?

I've received some beautiful feedback, such as, at the Through Women's Eyes Film Festival in Sarasota, Florida, when an audience member came up to me with tears in her eyes, and thanked me, saying how good it was to see gay women represented on screen. And I received funny feedback from an audience member at - I think it was the Big Apple Film Festival, NYC -who came up to me, and said with a smile, "Through most of that I just wanted to strangle you!" But then he added "Ooh, that was so good. Well done."

Has the feedback surprised or challenged your point of view?

Feedback is always fascinating...I was not surprised that there is a hunger for film with LGBTQ protagonists, nor that it resonates with all audience regardless of sexuality. And nobody has challenged the points of view of the film. At one Q&A I was asked about the sexuality of the actors, and while I am simply an LGBTQ ally, several cast members are LGBTQ (as are members of the crew and post-production team as well) - and I was very glad in the pre-production stages to hear the script was well-received and resonated with them all.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

To spread the word about the film and the wonderful work of all involved in it so it gets to be seen by many. Which would also share the message that we are all one, we all love -and we all need to care for each-other and love one another. (-And we need to make sure everyone has their human rights to love whoever they choose!

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

We'd be very happy to hear from any journalists, distributors, film festival directors or buyers.

What type of impact and/or reception would you like this film to have?

A powerful impact and a positive reception!

What’s a key question that will help spark a debate or begin a conversation about this film?

Is it better for the spark or flame between two people to be ignored when they have a history of being bad for each-other? -I like that the film seems to provoke conversation about relationships, and the nature of love.

Would you like to add anything else?

It was a pleasure to work with such a wonderful cast and crew, and on a meaty, complex character such as Mia. And Thomas did an amazing job with the beautiful score and the editing as well as the cinematography. This film also had many challenges to get it all shot and finished, so as with our first film "Hungry", I learned a tremendous amount through the process of it. ["Hungry" which co-stars Eric Roberts, is currently streaming on numerous sites- here's the link to that http://www.hungry.movie ]
- and as to where "A Chance" will be found next, after our Other Venice Film Festival screening, please check back on the "A Chance" facebook page, we will post updates --and latest update is that we just received an Award of Merit / Honorable Mention at the Awareness Festival, L.A.!
-"A Chance" has also been honored to receive awards for Best LGBT Short or Feature (Action on Film Festival, Las Vegas), Outstanding Actress: Jillie Simon and Best Drama ( X World International Film Festival, Rome), Best Ensemble (The Brightside Film Festival, Jersey City) and Best LGBT Short (Skiptown International Film Festival, L.A.) as well as numerous nominations.

What other projects are the key creatives developing or working on now?

Jillie: I just finished work acting in "SkyLife", a proof-of-concept short film for a tv series, an exciting thriller by MarvaLee Peart. I play one of the ensemble lead roles, Diana Spenser, senior flight attendant. I'm also working on the script of a new short film and feature film- continuing the story of our short film "Hungry". And just got asked to play the lead female in a new comedy, a play by Tim Young, which we will do a developmental reading/workshopping of, later this fall.

Thomas Simon: I'm currently editing a few music videos, putting together a follow-up album with my latest project "Sonar Atmosfera" which is with Brazilian producer Joao Milet Meirelles of Baiana System. We'd released our debut album in April 2020 and due to not being able to tour because of the pandemic, began performing a weekly session online, playing together apart, which we still do most Saturdays. And I'm planning, with Jillie, to make a new music video of our new single "Save Our Planet". https://jilliesimon.hearnow.com/

Interview: September 2021

A Chance

Length:

15:50

Writer

Ange Arabatzsis and Jillie Simon

Writer/actor ANGE ARABATZSIS wrote short play, "Be Still", that the screenplay "A Chance" is based on. His plays have been performed Off-Broadway and in short play festivals in New York and Melbourne.
JILLIE SIMON, actor-singer-songwriter, whose previous screenplay "Hungry" became a multi-award-winning short film, was cast in "Be Still" and suggested it could make a great short film. She created the screenplay together with Ange.

Director

Jillie Simon and Ange Arabatzsis

ANGE ARABATZSIS came from Australia to NYC for two days of the shoot in November and directed the park scenes and party scenes. JILLIE SIMON, earlier that summer, had shot the flashback scenes that needed a warm weather setting. And then shot the rest of the scenes with the help of Producer/DP/Composer/Editor Thomas Simon, who'd co-directed their first short, "Hungry". They'd also co-directed two multi-award-winning music videos, of their band Musiciens Sans Frontieres.

Producer

Jillie Simon and Thomas Simon

Key cast:
Jillie Simon (Mia), Karen Irwin (Caroline), Alexandra Foucard (Fiance/Cyclist), Valentine Aprile (Val), Gisela Chipe (Threesome Woman), Jezabel Montero (Bartender), Chris Lazzaro (Bible-Spouting Bully), Steven Anderson (LoverBoy Bully), Ken Dillon (Drunken Bully), Marija Juliet Abney (Lu/Mia's friend)

Looking for:

distributors, film festival directors, buyers

Facebook:

http://www.facebook.com/AChanceFilm

Instagram:

http://instagram.com/jilliesimon

Twitter:

http://www.twitter.com/jilliesimon

Hashtags used:

#lgbtqfilm, #awardwinning, #loveislove #femalefilmmaker #shortfilms #filmfestivals, #drama, #indiefilm, #filmproducer, #madeinnyc, #diversityandinclusion

More info:

http://www.jilliesimon.com

Made in association with:

Where can I watch it now?

Other Venice Film Festival/ Beyond Baroque, Venice, California - October 2nd, 2021

When We Grow Up

September 17, 2021 by Carmela Baranowska

A004_04260427_C024.mov.04_27_49_15.Still001.jpeg

An intimate and progressive short-from drama series following an ensemble cast of six ambitious creatives navigating their thirties in Los Angeles. This is a story of major life transitions, jaded hope, friendship and the search for radical authenticity.

Interview with MADELINE MACK, BECCA Q CO, TERI WYBLE

Congratulations! Why did you make your film?

BECCA It’s a gorgeous opportunity to explore, embrace, and share my life experience as an artist, as an “adult” who never wants to grow up, and as a human who’s fought against being put into boxes/stereotypes my whole life.

TERI I believe that creating with friends and like-minded individuals who you truly vibe with, is where the magic happens. Besides the magic, we are also setting out to create some new social norms, rewrite the narrative, & give permission slips within our series.

MADELINE We know people will connect with our project because at the end of the day we are making a series that we all want to watch! Something that reflects our lives and struggles.

Imagine I’m a member of the audience. Why should I watch this film?

BECCA When We Grow Up reflects the messy middle, the transition from one stage of life to the next that we don’t often see reflected on screen.

TERI Every aspect will pull you in- the cast, the fun, the feel-good, all while giving you a new perspective to your own life and some how-to’s (or how-not-to’s) on navigating this thing called life.

MADELINE Look, if you watch our show you are going to fall in love with our cast. It's not a relationship you are going to walk away away from.

How do personal and universal themes work in your film?

MADELINE The obvious theme is major life transitions of your 30’s but these same feelings come up every decade to some degree. It's ultimately a battle with time.

BECCA One theme I’m excited to dig into is expansion -- the way that people can grow and become more fully and deeply themselves. Sometimes we can surprise ourselves, and I can’t wait to explore this as a group.

TERI I think my favorite theme is the power of friendship & support. Our series shows that ‘figuring it out’ as we age doesn’t have to be done alone, and honestly none of us know what the hell we’re doing anyway. Might as well do it together.

How have the script and film evolved over the course of their development?

MADELINE Oh man, the writing process has been very cool. Something about casting before you write has a certain kind of magic to it. It feels like we are all channeling, like the story is telling us what it wants to be.

TERI It’s been the most unique process/project I’ve ever been a part of as an actor, thus far. With the cast being there from it’s creation, it’s allowing so much freedom, so many options to play out. For me, there’s also comfort in knowing how much I’m wanted there. Validation isn’t something actors get often.

BECCA It’s been a blast to dream up and collaborate on my character and her story, and feel the pieces come together naturally before we jump into the full blown writing of it all. It’s been a magical, supported, and loving creative process so far.

What type of feedback have you received so far?

MADELINE So when we launched the campaign people thought we had already made it! They thought we were releasing a trailer! But we had only shot a sizzle. It’s been very cool to see how excited everyone is to watch the show and how connected they feel to the story. It motivates us because we know this is a show people are hungry for.

TERI This project is SO current, yet feels timeless. We are only at the beginning, but folks can definitely see what a talented team we have put together already- And very consciously & thoughtfully! We are so stoked to get started!

BECCA Many Friends and family have poured out lots of love, support, and excitement for the show. Let’s go BIPOC and queer leads basking in the wonder and the chaos that is finding yourself again and again!

Has the feedback surprised or challenged your point of view?

TERI Although we haven’t made it yet, the big surprise is that even though our show is highly specific to our generation, it also has commercial value because the content is so universal. Originally, we set out to do this project completely independently, because we were tired of waiting for Hollywood to notice us. Sometimes you just gotta create what you’d want to personally watch yourself, and that’s the ticket.

MADELINE We obviously haven’t released it yet but this process has made us think a lot about how the values we are representing on screen need to also be reflected behind the scenes. It’s important to us that the cast are empowered creatively and have equal equity in the project. It’s an evolving process and we are all learning as we go how to best uplift, empower and employ marginalized voices. We are currently looking for another producer as well as writers and crew to join our family that might balance out the perspectives of our team. If that could be you, and the project speaks to you, please reach out! @madelinemack_

BECCA I don’t have an answer for this one. / What they said!

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

MADELINE In addition to the crew, we are looking for our audience. Right now we are crowdfunding and hope to release the show directly to the people that have supported us. If this is a show you want to watch please stay tuned by following @wwguseries

BECCA We hope to reach a wider audience with our experiential show, and build community by lifting each other up and sharing our stories and our love. #representationmatters

TERI We want to find all of those folks with similar taste as ours, and who also feel that meaningful, feel-good content is so much more satisfying to watch. I haven’t had this much confidence in a project, ever. Honestly. I know that what we’re creating will find its audience. And you will love us because of the love we have for YOU (our audience) !

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

MADELINE We need another private equity investor. We are ready to start connecting with buyers and distributors now too.

BECCA We are still looking to fill out our writers’ room, and are especially excited about finding BIPOC and queer voices! We are excited for any further collaborators and investors to join us and help us achieve our vision for the show.

TERI I like when someone finds us because of what we put out into the world. If you watch our sizzle, our interviews, and our website, and you feel that we are meant to be friends and be a part of our team, reach out!

What type of impact and/or reception would you like this film to have?

MADELINE We want our show to be enjoyed. Enjoyed by an audience that hasn't seen their stories on screen enough.

BECCA For me, this project will have been a success if we’re able to move people and make people feel seen and celebrated.

TERI I would love it if our show helped you to be ok with ‘growing up’. Adulting is hard, y’all.

What’s a key question that will help spark a debate or begin a conversation about this film?

MADELINE When is taking big risks reckless and when is it brave?

BECCA What does it mean to bet on yourself and fight for your dreams?

TERI Does adulthood bring more questions than answers?

Would you like to add anything else?

MADELINE We have put a lot of work into our pitch deck and sizzle. We release content each week surrounding our themes. Check us out at wwguseries.com

BECCA I’m so grateful to be a part of this amazing team and I can’t wait to make this show a reality! Thank you so much to our supporters. I’d love to hear from anyone @beccaco.

TERI Reach out to me/us anytime! @TeriWyble

What other projects are the key creatives developing or working on now?

MADELINE This project is definitely my main focus, although I am also developing my first feature and two comedy series. Oh and I am attached to direct two short films in the fall. And if you are in LA, my film Baby Elephants will premiere at Hollyshorts August 24th!

BECCA I’m currently working on a short film called Honeywell that dives into self love, relationships, and second chances. I’m also working on a couple semi-autobiographical scripts.

TERI I’m currently flying to & from Atlanta on an HBO series called The Staircase, based off of the docuseries of the same name. Also creatively collaborating on a music video for Shanna Gilfix, the insanely talented musician who I get to call my fiancé.

Interview: September 2021

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A004_04260927_C032_Rendered.mov.09_28_03_20.Still005.jpeg

When We Grow Up

Writer

While creators MADELINE MACK, BRANDON HAYNES, and MICHAEL LANDRY are the principal writers of the series, we are looking to complete our writers room with fresh voices. We have also included the cast in the writing process. Our collaboration fosters authenticity.

MADELINE is an Australian writer/director/producer known for Baby Elephants (2021), Sweet Heart (2019) Hot Water (2018) and Six Pack (2018).

BRANDON is a Urologist by day and writer/producer by night known for Nice To Meet You (2020) and Beginners Guide to Gardening (2020).

MICHAEL is a writer/director/producer known for Nice To Meet You (2020) and Beginners Guide to Gardening (2020).

Director

MICHAEL LANDRY will be leading the charge here directing the pilot and a handful of other episodes. Continuing in our collaborative approach, Michael is currently assembling an exciting team of fellow directors and visionaries who will all take turns behind the camera for many of the episodes. So far that includes award winning director MADELINE MACK and cast members BECCA Q CO and SHEOPATRA.

Producer

TIM BARNSLEY, ALVARO VALENTE

TIM BARNSLEY is a cinematographer from Sydney known for Nice To Meet You (2020), Inferno (2012) and She Rex: P.O.W.E.R (2013)

ALVARO VALENTE is an Italian- Belgium producer known for Across The Sea (2014), Night Comes On (2018) and Tu Me Manques (2020).

Key cast:

Jeremy Batiste, Teri Wyble, Sheopatra, Yorelis Apolinario, Nate Walker, Becca Q Co, Sam Asghari, Amiyah Scott

Looking for:

distributors, buyers, sales agents, journalists

Instagram:

https://www.instagram.com/wwguseries/

Hashtags used:

#wwguseries

More info:

www.wwguseries.com

Where can I watch it?

We go into production early November, follow @wwguseries for release dates.