NEW BOOK ON FESTIVALS BLACKLISTING FILM-MAKERS P.

40

UNIVERSAL FILM
www.ufmag.org

ISSUE 4 OF 2012

NEW MOVIE ON THE

LONE RANGER
IRONMAN 3

P.3

STANLEY KUBRICK P.13

SECRET
OF THE
WINGS

OZ
THE GREAT
AND THE
POWERFUL

THE
HOLLYWOOD
GRAFFITI
GOWN

Issue 4 of 2012

About UFM
The Universal Film Magazine is
a free magazine that delivers
passionate and creative coverage
about the global film and festival
communities. The publication
differs from the competition because it is totally free.
It is the mission of the Universal
Film Magazine to uphold our
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features and coverage that will
have a positive impact in the
world. We aim to give our readers
motivational and inspirational
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and give them a voice in the
media.

Universal Film
Magazine
Editor
Creative Director
Proof Editors

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Contributors

Editor-in-Chief

Tyrone D Murphy

TYRONE D MURPHY
DOM MURICU
TODD VOLZ
MICHELLE GOODE
KATE SPATOLA
PAUL PASTOR
PAUL WOODS
LANNAH SAWYER-DIGGINS
KEVIN A MURPHY
EV JOHNSON

PATRICIA J. PAWLAK
PETER SHILLINGFORD
ROY BENSON
RON GILBERT
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Contents
FEATURED STORIES:

5
9

Orson Wells
An interesting story My time with Orson
Wells by Peter Shillingford
JOHN FORD - his visual legacy

White OMourn the cottage where the

Quite Man was filmed in rural Ireland

Ironman 3 P.3

FILM FESTIVALS
11 RECENT
Ron Gilbert writes about his recent travels to

Film Festivals
KUBRICK
13 STANLEY
Roy Benson writes about his work with leg-

endary filmmaker Stanley Kubrick

THE HOLLYWOOD GRAFFITI GOWN

17 Famous dress by emmy nominated designers

with 450 signatures of famous women
CAHAN
19 BEN
Industry legend Ben Cahan talks to UFM about

his online screenwriters platform Talentville

FILM FESTIVAL BOOTCAMP 3
29 Patricia
J Pawlak is back with the next install-

The Lone Ranger

P.7

Secret of The Wings

P.25

Total Recall

P.27

ment of her Film Festival Bootcamp series

33

INTERNATIONAL CONFEDERATION
OF ART CNEMA
UFFO partners CICAE (3000 cinema network)
announces new trailing schedule

TO IMPRESS A SCRIPT READER

41 HOW
Michelle Goode writes about work as a script

reader
YOUR KEEP
49 EARNING
Earning your keep whilst in the

creative process by Gail Spenser

RON GILBERTS MONTHLY COLUMN
57 Actor,
producer and journalist Ron Gilbert
writes about his exploits around the World
ZOE MOON MONTLY HOROSCOPE

59 Celebrity astrologist Zoe Moon gives her

monthly horoscope to UFM readers

THE PERFECT CIRCLE

73 INSIDE
Documentary film Inside the Perfect Circle:

www.ufmag.org
g

The Odyssey

Universal Film
Issue 4 of 2012

Following in the footsteps of

the record-breaking Marvel
Studios release Marvels The
Avengers, production on the
highly anticipated film Iron
Man 3, directed by Shane
Black, has commenced production in Wilmington, North Carolina. The production schedule
will also include locations in
Raleigh/Durham, North Carolina, Miami, Florida and China.
Based on the ever-popular
Marvel comic book series, first
published in 1963, Iron Man
3 returns Robert Downey Jr.
(Iron Man, Marvels The
Avengers) as the iconic Super
Hero character Tony Stark/Iron
Man along with Gwyneth Paltrow (Iron Man, Iron Man 2,)
as Pepper Potts, Don Cheadle
(Iron Man 2) as James Rhodey Rhodes and Jon Favreau
(Iron Man, Iron Man 2) as
Happy Hogan. Set for release
in the U.S. on May 3, 2013,
Marvels Iron Man 3 marks
the second feature to be fully
owned, marketed and distributed by Disney, which acquired
Marvel in 2009.
Iron Man 3 continues the
epic, big-screen adventures
of the worlds favorite billionaire inventor/Super Hero, Tony
Stark aka Iron Man. Marvel
Studios President Kevin Feige
is producing the film. Executive producers on the project
include Jon Favreau, Louis
DEsposito, Alan Fine, Stan Lee,
Charles Newirth, Victoria Alon-

so, Stephen Broussard and Dan In 2010 Iron Man 2, starring

Mintz.
Robert Downey Jr., Gwyneth
Paltrow, Don Cheadle, Scarlett
The creative production team Johansson and Mickey Rourke,
on the film includes two-time took the #1 spot in its first
Oscar-winning director of weekend with a domestic box
photography John Toll, ASC oce gross of $128.1 million.
(Braveheart, Legends of
the Fall), production designer In the summer of 2008, Marvel
Bill Brzeski (The Hangover, produced the summer blockDue Date), editors Jerey buster movies Iron Man and
Ford, A.C.E. (Marvels The The Incredible Hulk. Iron
Avengers, Captain America: Man, in which Robert Downey
The First Avenger) and Peter Jr. originally dons the Super
S. Elliot (Fantastic 4: Rise of Heros powerful armor and
the Silver Surfer), and cos- stars alongside co-stars Tertume designer Louise Frogley rence Howard, Je Bridges and
(Quantum of Solace, Conta- Gwyneth Paltrow, was released
gion).
May 2, 2008, and was an immediate box oce success.
Marvel Studios most recently Garnering the number one poproduced the critically ac- sition for two weeks in a row,
claimed Marvels The Aveng- the film brought in over $100
ers, which set the all-time, million in its opening weekdomestic 3-day weekend box end. On June 13, 2008, Marvel
oce record at $207.4 million. released The Incredible Hulk,
The film, which is currently in marking its second number
release, continues to shatter one opener of that summer.
box oce records and is The
Walt Disney Studios highest- Marvel Entertainment, LLC, a
grossing global and domestic wholly-owned subsidiary of
release of all time and marks The Walt Disney Company, is
the studios fifth film to gross one of the worlds most promimore than $1 billion world- nent character-based enterwide.
tainment companies, built on
a proven library of over 8,000
In the summer of 2011, Marvel characters featured in a variety
successfully launched two new of media over seventy years.
franchises with Thor, starring Marvel utilizes its character
Chris Hemsworth, and Captain franchises in entertainment,
America: The First Avenger, licensing and publishing. For
starring Chris Evans. Both films more information visit www.
opened #1 at the box oce marvel.com.
and have grossed over $800
million worldwide combined.

www.ufmag.org

Universal Film

ironman 3

www.ufmag.org

Issue 4 of 2012

Universal Film
Issue 4 of 2012

ORSON WELLS

by Peter Shillingford

My Time with Orson Wells

n the 1970s, Orson Welles was involved in a series of commercials

I produced for Christian Brothers
Wine Company. We will sell no
wine before its time, was the
commercials tag line. The crew, however,
took to creating its own catchphrase and
were soon heard saying, We will sell no
swine until its brine.
Mr. Welles, being a rather large man, had
problems walking any great distance.
The locations we scouted in Hollywood
had to be both easily accessible for Mr.
Welles and quickly adaptable for setting
up a cocktail party venue. Additionally,
we need to accommodate Orsons special
seat, a huge and heavily reinforced piano
seat, that was often centre stage.
The limousine would arrive at 10:00 am
and Orson would roll out the back and
take his seat. By 4:00pm, he would usually be finished, having been word perfect
for the length of the shoot. The creative
agency, however, was little pleased with
Mr. Welles, who often dismissed their
script and worked from his own words.
Lets face it, the man was a film genius

be it in Citizen Kane, television or commercials.

During the many lunch breaks I sat with
him, he never ate and I would listen with
an open mouth to his stories.
One of the last commercials we shot Orson did not arrive until midday and very
much the worst for wear. He had been
filming in Las Vegas all night and they had
run over his allotted time. Being a consummate professional he hung in there
and even rang us to say he would be late.
Not a real problem with his usual word
perfect delivery.
In the limo down to the Hollywood location he took a sleeping pill to get at least
a few hours sleep but it never took eect
so he took another. When he arrived at
noon in the sleeping pill finally kicked in.
The man was a shambles; he could hardly
speak and the agency guys were considering suing him.
After a couple of failed takes I, as producer, sent the agency guys o to lunch.
I asked the owner of the mansion if we

could let Orson rest for a few hours in the

house. . She was delighted and quickly
agreed. A day bed was prepared and I
had the honour of stripping o the great
mans shirt and trousers. Somehow, he
managed to wrap himself in a sheet and
I tucked him in. At 3:00 pm Mr. Welles
appeared immaculate and word perfect
and we finished the shoot at five oclock.
Thus, averting overtime and the fury of
the agency. As the line producer on the
Academy Award winning film Genocide
we had Orson with Elizabeth Taylor as the
two voice overs. From this opportunity
came a lunch invitation from Mr. Welles to
discuss further voice over work in the UK.
Arriving for lunch I found him finishing his
meal with two other people. After they
left he and I dined. I was dispatched at
2:00 pm and two more people sat down
with him and he had the same lunch again.
Soup, steak and fries and an apple crumbleall washed down with champagne.
The man was amazing!

www.ufmag.org

Universal Film

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Issue 4 of 2012

Universal Film
Issue 4 of 2012

The
Lone
ranger
T

he Lone Ranger is an upcoming action

Western film directed by Gore Verbinski
and distributed by Walt Disney Pictures.
The film stars Armie Hammer in the lead
role and Johnny Depp as Tonto.

In March 2002, Columbia Pictures announced their

intention to make a Lone Ranger film with Classic
Media, who owned the film rights at the time. Husband-and-wife producers Douglas Wick and Lucy
Fisher joined the project. The tone was to be similar to The Mask of Zorro, and Columbia suggested
that Tonto be rewritten as a female love interest.
The projected budget was set at $70 million. In May
2003, David and Janet Peoples were hired to write
the script. By January 2005, the Peoples script was
rewritten by Laeta Kalogridis, with Jonathan Mostow to direct.
Jerry Bruckheimer Films and Walt Disney Pictures
The Lone Ranger languished in development hell
until January 2007 when The Weinstein Company
became interested in purchasing the film rights
from Classic Media. However, the deal fell through,
and Entertainment Rights eventually optioned the
property. By May 2007, producer Jerry Bruckheimer
(alongside Entertainment Rights) set the film up at

www.ufmag.org

Universal Film
Issue 4 of 2012

Walt Disney Pictures as Lone Ranger. Ted Elliott and Terry Rossio, who had worked with Bruckheimer and Disney on the Pirates
of the Caribbean film series, were being considered to write the
script. In late March 2008, Elliott and Rossio were in final negotiations. Disney then announced in September 2008 that Johnny
Depp would be portraying Tonto.

Addressing the projects production problems in October 2011,

Disney confirmed that the film was back on track after the budget
was reworked to give the studio a chance to recoup its costs. It
was reported that filming would begin on February 6, 2012 for a
projected release date of May 31, 2013, which was subsequently
moved to July 3, 2013.

The Elliot/Rossio script had a supernatural tone, and has since

been rewritten by Justin Haythe. In May 2009, Mike Newell, who
was then directing Prince of Persia: The Sands of Time for Bruckheimer and Disney, entered negotiations to direct Lone Ranger.
However, Bruckheimer explained the following June that he
wanted to wait on hiring a director until Newell completed Prince
of Persia, and until Depp finished filming Pirates of the Caribbean: On Stranger Tides. The priority is most definitely Pirates
4, Bruckheimer commented. They are going to cast the title role
once they get a director and Disney greenlights. We dont have a
director yet. In September of 2010, Gore Verbinski was hired to
direct. Filming was slated to begin after Depp finished work in
Dark Shadows. Actor Armie Hammer will play the role of the Lone
Ranger.

Filming commenced the first week of March 2012 and on March

8, the first photograph of Armie Hammer as the Lone Ranger and
Johnny Depp as Tonto was released.

www.ufmag.org

The film was initially scheduled for a Summer 2011 release date,
but Pirates of the Caribbean: On Stranger Tides replaced it, because the latter was considered a priority for the studio and because Lone Ranger did not have a director. After Gore Verbinski
signed for director, Lone Rangers release date was moved to December 21, 2012. However, budget concerns and negotiations resulted in a production delay, so the release date shifted to May
31, 2013. On May 31, 2012, the release date was pushed further
forward to July 3, 2013, assuming the place of Disneys Robopocalypse for the July Fourth holiday weekend.

On August 12, 2011, Disney announced that production on The

Lone Ranger would be delayed due to budget concerns, and on
August 15, 2011, it was revealed that The Lone Ranger had been
shelved for the foreseeable future due to said budgetary concerns, as well as the under-performance of another Western-genre film, Cowboys & Aliens.

Cinematographer Bojan Bazelli has been confirmed for shooting.

Verbinski and Bazelli worked before in the successful horror film
The Ring.
Release

Universal Film
Issue 4 of 2012

John Ford

visual legacy

ocals and fans from around the

world are rallying on the Facebook social network to renew
the dream of seeing the cottage
featured in John Fords classic movie The Quiet Man, restored to its
1952 cinematic beauty. Today, the
structure is barely recognizable as it
lies in shambles neglected for 25
years by its American owner.
For Paddy McCormick, from Belfast
and now living in Toronto, this dream
began in 1998. As an ardent fan of
John Ford he began what he termed
a pilgrimage to visit the film locations of this magical movie. He was
delighted to find most of the locations still remained just as they appeared on screen. Unfortunately his
dream trip fell short when he found
the once perfect Irish cottage of
Sean and Mary Kate Thornton lying
in total ruin, on a neglected farm lot.
In 1951 the Hollywood crew for Republic Studios and famed Director
John Ford descended on the quiet
little village of Cong in County Mayo,
Ireland. Little did the locals realize
that in the weeks to follow film history was going to be made right in
their midst. You can only imagine
the excitement the filming had on
the population at the time. Of course
not all of the villagers shared the enthusiasm, but the endeavor did provide many jobs for locals and quite a
change of pace for all.
The village and surrounding area
became a movie set for exteriors
of the film The Quiet Man a film
that would become known not only
as one of John Fords greatest films
(and reportedly his own personal favourite), but considered by many, a
movie masterpiece.
The crew left in mid-July, 1951 and
the movie was released in 1952.
It became a huge hit in the United
States but, somewhat understandably, met with mixed reviews in Ireland. Some objected to the stage
Irish and others felt that one partic-

ular scene where Sean Thornton

drags Mary Kate across the countryside depicted the Irish as chauvinistic and was an example of how they
treated women.

haps not so well known), and in so

doing, to honour Irelands enormous
contribution to cinema through the
achievements of this great film-maker.

In the village of Cong, however, locals soon learned that tourism was
increasing to their area because of
the film and as the years passed,they
gave tourists a great place to visit.
They provided souvenir shops, tours
of the film sites, and Cohans Bar
(which was originally a store) is now
re-designed as a replica of the Irish
pub from the movie and open for
business. The spirit of The Quiet
Man still lives thanks to the locals
who work hard to keep it alive.

A restored White OMorn, in the condition in which it was used as the

centerpiece of the movie, would be
both a living monument and a lasting
tribute to Fords enormous stature. It
would, indeed, be a living celebration of Irelands preeminent place in
movie history, and of the countrys
influence on one of its most accomplished sons.

Paddy McCormick has now set up

White OMorn Foundation, a nonprofit organisation which is pursuing, in collaboration with several
interested groups and the support
of the Irish Government, his dream
to bring the cottage featured in the
movie back to life.
White OMorn Foundation Mission:
To restore part of the wonderful visual legacy that John Ford left us and
to highlight Fords strong links with
Ireland, both professionally, i.e. The
Quiet Man, and personally (his origins in Spiddal, Co Galway, are per-

A more fitting icon cannot imagined:

the perfect whitewashed Irish cottage, centerpiece of one of Fords
most loved movies, and situated in
the vicinity of where his parents left
Ireland for a new life across the Atlantic. Indeed, Ford once emotionally described the very same cottage,
in symbolic terms, as ...the little cottage I was born in
White OMorn, restored to its 1951
film glory would, we feel, be a way of
bringing John Ford back home to Ireland and to his beloved Connemara.

www.ufmag.org

Universal Film

www.ufmag.org

10

Issue 4 of 2012

il
l F2

soaf 201
r
e

iv e 4
UnIssu

NEVER TO OLD

At 75 yrs old Patricia Weaver is breaking all the stereotypes! Weaver is producing a short
form documentary of TV quality filming older adults who were children during WWII. An interesting note, Weaver has never made a film before. To quote her directly what a learning
curve! The film is historical, the adults now in their 70s are speaking about a very fearful
time, a love of country and a feeling of unity. The film will be available late 2012,2013,

Feel Good
Film Festival
T

he Feel Good Film Festival is

right around the corner.

Coming August 3-5, 2012, we

will celebrate the Festivals 5th
Anniversary. This lively, feelgood event will be arriving with
a full schedule of film screenings
aimed at both adult and family
audiences that highlight positive
themes, and happy endings, make
audiences laugh, and capture the
beauty of our world. The Festival, hosted by Laemmle NoHo7
in North Hollywood, is dedicated
to provideing a platform for filmmakers worldwide with positive
views on life.
During the three-day event, 60
films will be shown, including 15
features, 32 shorts, and 13 student and future filmmakers films.
The Festival opens with the signature Yellow Carpet Entrances
and an Opening Gala Party hosted
by a celebrity. The Opening Night
feature film, Red Dog, won the
coveted Best Film award at the
Australian Academy of Cinema
and Television Arts in addition to
many other awards.
Throughout the weekend 18 separate film screening blocks will accompany an original screenplay
competition, a screenplay panel
discussion, a Saturday Evening
Gala, and a Closing Night Awards
Gala, including a BBoy dance
performance, and celebrity host.
Additionally, the Feel Good Film
Festival will represent eleven
countries including the U.S, U.K,
Switzerland, Italy, Spain, Australia,
Germany, Austria, Belgium, Czech
Republic, and Israel.
www.fg.org

Dances With
Films Festival

by Ron Gilbert

The Dances with Films Film Festival has planted its footing along the
stars on Hollywood Boulevard at the Mann Chinese theatre. Festival
directors Leslee Scallon and Michael Trent have moved this festival
into the ranks of a festival to be reckoned with. As the saying goes the
Truth is in the Pudding and after attending this festival now in its
second day ,the theatre is packed to capacity which always make me
happy and it goes without saying that the filmmakers are also very
pleased. I had not been to this festival in years and remember when it
started out at the Laemmle theatres in Santa Monica and then moved
to the Sunset 5 (which is now closed )in West Hollywood.This film
festival is what the o former Sundance used to be like until it became
Sundance Hollywood.
The opening night film, Jeremy Fink and the Meaning of Life directed by 3 time alum Tamar Halpern with Oscar winner Mira Sorvino and
Emmy award winner Joe Pantoliano was the best choice for a kicko. That film was followed by Attack of the Bat Monsters which had
been shown in the 3rd year of the festival and has found distribution,
which confirms the saying A winner never quits and a quitter never
wins.
On the second day of the festival, I was very fortunate to see Downbeat :A Collection of Music and Dance which featured music videos
and dance films and short documentaries and that series took me on
both an inspirational and emotional journey which was always filled
with laughter. I commented to the filmmakers and the festival directors that that was one of the best collection of shorts that I had ever
seen and I have been to Sundance and all the other major festivals to
be able to make that statement.
Following that was the feature Dead Dad which had a comic ring to
it even though the title clearly is was the film is about.The film was
shot on weekends and the cast of actors were truly convincing.
I am now looking forward to the 3rd day of the festival which opens
with the film ,Crocodile in the Yangtze and that will be followed
by the short film group competitions and the features The Exquisite
Corpse Project ,Liars,Fires and Bear,3 Days of Normal and end
with the film Disorientationwhich I am feeling at the moment.
Dances with Films runs from May 31-June 7 at the Chinese theatre in
Hollywood so jog over and have some fun experiences
www.danceswithfilms.comnt.

11

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by Ron Gilbert

m
Fil 2
al 01
rs 4 of 2
ivesue
Un Is

LOS ANGLES FILM FESTIVAL

LITTLE BIG BOY

Little Big Boy is a horror/comedy that tells the story of acclaimed horror film director
Jimmy Duncan, infamous for his
psychotic temper and his unique
brand of exploitative movies.

However, movie fans were looking

forward to Oscar winner Woody Allen appearing to present his romantic new film To Rome with Love.
Love was in the air all over Downtown Los Angeles with smiling Hollywood film fans on the red carpet.
The LAFF directors were very smart
to get this film as their opener.
Woody must have felt like he was in
NYC being in the vicinity of the Staples Center, Nokia , The Convention
Center, and with the Regal Cinemas
and L.A. Live across the street to The
Ritz Carlton and The Marriott. Sort
of like being on Central Park West
in NYC without Central Park. If the
festival sponsors had provided a
horse and carriage alongside a yellow cab, Woody might have had a
New York moment. But hold on for a
moment - his new film was shot in

www.ufmag.org

Rome, Italy and not Rome, New York.

Actors are always very happy to be
in a Woody Allen film because they
might win an Oscar, get a nomination or a higher IMDb rating on account of the popularity of Woody
Allen movies.Woody is a hopeless
romantic and love is always on his
mind and in his movies. Sometimes
he even falls in love with the actresses; he actually married Mia Farrow who was one of his stars.
At this years Film Festival talented
female cast members Penelope
Cruz, Greta Gerwig, Alessandra Mastronardi and Simona Caparrini heated up the red carpet. Film Independent (FIND) has an excellent sta of
programmers for LAFF who pick the
best films from Sundance, Berlin and
Cannes including indies and world
premires. There are also numerous
panels led by icons in the film industry who provide the most current information on all aspects of making it
in Hollywood.

Director Kim Snderholm about

the film: Its probably gonna
cause a lot of controversy and I
know a lot of people are instantly gonna be turned o by it and
hate it automatically, but I also
know the opposite to be true - I
know a lot of people are gonna
find it hysterical and hopefully
even thought provoking. So...
Without further ado - make sure
you get the film! Release date is
August 21, 2012 and the film is
already available for pre-order at
various webshops.

12

The opening day of The Los Angeles

Film Festival 2012 was full of excitement with fans packing the streets,
watching the parade and honoring
the Stanley Cup champions.

Having witnessed the murder of

his mother at the age of seven,
Duncan grew up in an orphanage and then worked his way up
in the movie industry. Caught
up in the downward spiral of his
own success and surrounded by
negatives: movie reviewers who
refused to acknowledge his obvious talent, starlet wannabes
with zero ability to act, producers with little patience, and
those who will exploit anyone to
become famous in a soul-eating
industry, we the film follows
Jimmy while he is working on
his latest feature Death Stalker. The shoot quickly descends
into insanity when his leading
lady leaves the production halfway through shooting the film.
Haunted by his childhood experiences, Duncan finds himself in
an abyss from which there is no
return.

Universal Film
Issue 4 of 2012

STANLEY KUBRICK

Ledgendary Film-maker
byRoy Benson

I had the honour to work with Stanley on the production Dr Strangelove...

custard pie fight between the American and Russian diptanley Kubrick remains one of cinemas
lomats in the War Room, showing the futility of war. The
most controversial film-makers of all time.
film had been completed and a final graded print struck,
Although he is one of the most acclaimed and
when he decided to show it to a group of friends one
controversial filmmakers of his generation, he
evening. I came in to the editing rooms the next day to
was also an intensely private man who rarely
hear Stanley talking to an associate in the next room.
gave interviews and produced most of his films
It was clear that the person was not happy about
under a shroud of secrecy. This tended to foster
something in the film. Next moment Stanley came
a great deal of rumour and speculation about
Roy, cut the
into my room and said Roy, get the last reel of the
his working methods. He is remembered for
custard pie
film, we are cutting out the custard pie sequence.
his relentless creative vision and his imporscene
I was amazed, and said no, you are not going do
tance and influence as an artist.
that are you? He insisted, and it was my job to
edit the sequence from the film. It has never seen
I had the honour to work with Stanley on the
the
light of day since. My feelings are, that it was the
production Dr Strangelove. Never have I learnt
perfect
ending to the film.
so much about filmmaking in my career than during this
time. During the editing of the production I told Stanley I
was going to make my own short film. To my amazement,
he sat down with me for two hours explaining how he
started, suggesting I do the same. Get a stills camera and
shoot stills constantly, that are the way you will learn
about camera set up and framing your subject. Shoot
the whole film mute and add in the dialogue and eects
later, the way he had shot his first feature Killers Kiss.

There is a lot of discussion with regard to the ending of

Dr Strangelove. Stanley spent six weeks shooting the
famous custard pie sequence. The sequence was a

Below is an outline of Stanley Kubricks career, which is

like no other Director in the realm of movies. A career
that opened new doors to filmmaking that has taught
new filmmakers what filmmaking is all about at the highest level. A career that is a part of history within the history of film.
Stanley Kubrick was born in New York, and was considered intelligent despite poor grades at school. Hoping
that a change of scenery would produce better academic
performance, Kubricks father Jack (a physician ) sent

13

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Universal Film
Issue 4 of 2012

In the next few years, Kubrick had

regular assignments for Look, and
would become a voracious moviegoer. Together with friend Alexander
Singer, Kubrick planned a move into
film, and in 1950 sank his savings
into making the documentary Day Of
The Fight ( 1951 ) . This was followed
by several short commissioned documentaries Flying Padre ( 1 951 ) , and
Seafarers, The ( 1952) , but by attracting investors and hustling chess
games in Central Park, Kubrick was
able to make Fear And Desire ( 1953)
in California.
Filming this movie was not a happy
experience; Kubricks marriage to
high school sweetheart Toba Metz
did not survive the shooting. Despite
mixed reviews for the film itself,
Kubrick received good notices for
his obvious directorial talents. Kubricks next two films Killers Kiss (19
55) and The Killing (1956 )brought
him to the attention of Hollywood.
In1957 he directed Kirk Douglas in
Paths Of Glory(1 957 ).
Douglas later called upon Kubrick
to take over the production of Sparatacus ( 1960 ) , by some accounts
hoping that Kubrick would be daunted by the scale of the project and
would thus be accommodating. This
was not the case, however: Kubrick
took charge of the project, imposing
his ideas and standards on the film.
Many crewmembers were upset by
his style: cinematographer Russell
Metty complained to producers that
Kubrick was taking over his job. Ku-

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bricks response was to tell him to sit

there and do nothing.
Kubricks next project was to direct
Marlen Brande in One-Eyed Jacks (
1961 ) , but negotiations broke down
and Brande himself ended up directing the film himself. Disenchanted
with Hollywood and after another
failed marriage, Kubrick moved permanently to England.
Kubricks first UK film was Lolita (
1962), which was carefully constructed and guided so as to not offend the censorship boards which at
the time had the power to severely
damage the commercial success
of a film. Dr. Strangelove: Or How
I Stopped Worrying And Love The
Bomb (1964) was a big risk for Kubrick; before this, nuclear was not
considered a subject for comedy.
Originally written as a drama, Kubrick
decided that too many of the ideas he
had written were just too funny to be
taken seriously. The films critical and
commercial success allowed Kubrick
the financial and artistic freedom
to work on any project he desired.
The next film he completed was collaboration with sci-fi author Arthur
C. Clarke. 2001: A Space Odyssey
(1968) is hailed by many as the best
ever made; an instant cult favorite,
it has set the standard and tone for
many science fiction films that followed. Kubrick followed this with
A Clockwork Orange (1971) , which
rivaled Lolita (1962) for the controversy it generated - this time not for
only for its portrayal of sex, but also
of violence. Barry Lyndon (1975)
would prove a turning point in both
his professional and private live. His
unrelenting demands of commitment and perfection of cast and crew
had by now become legendary.
Filming a story in Ireland involving
the military, Kubrick received reports that the IRA had declared him
a possible target. Production was
promptly moved out of the country,
and Kubricks desire for privacy and
security have resulted in him being
considered a recluse ever since.
Having turned down directing a sequel to The Exorcist (1973), Kubrick
made his own horror film: The Shining (1980). Again, rumors circulated
of demands made upon actors and
crew.
Kubricks subsequent work has been

well spaced: it was seven years before Full Metal Jacket (1987) was
released. By this time, Kubrick was
married with children. Seen by one
critic as the dark side to the humanist story of Platoon (1986) , Full Metal
Jacket (1987) continued Kubricks
legacy of solid critical acclaim, and
profit at the box oce.
In the 1990s, Kubrick began an onagain/o-again collaboration with
Brian Aldiss on a new science fiction
film called Artificial Intelligence (AI)
, but progress was very slow, and Kubrick returned to his in-development
projects, but encountered a number
of problems: Napoleon was completely dead, and Wartime Lies
(now called The Aryan Papers ) was
abandoned when Steven Spielberg
announced he would direct Schindler
s List (1993 ) , which covered much
of the same material.
While pre-production work on AI
crawled along, Kubrick combined
Rhapsody and Blue Movie and officially announced his next project as
Eyes Wide Shut (1999), starring the
then married Tom Cruise and Nicole
Kidman. After two years of production under unprecedented security
and privacy, the film was released to
a typically polarized critical and public reception; Kubrick claimed it was
his best film to date.
Special eects technology had matured rapidly in the meantime, and
Kubrick immediately began active
work on Artificial Intelligence: AI(2
0 01) , but tragically suered a fatal
heart attack in his sleep on March
7th, 1999.
After Kubricks death, Spielberg revealed that the two of them were
friends that frequently communicated discretely about the art of
filmmaking; both had a large degree
of mutual respect for each others
work. AI was frequently discussed;
Kubrick even suggested that Spielberg should direct it as it was more
his type of project. Based on this relationship, Spielberg took over as the
films director and completed the last
Kubrick project.
How much of Kubricks vision remains in the finished project-- and
what he would think of the film as
eventually released -- will be the final great unanswerable mysteries in
the life of this talented and private
filmmaker.

14

him in 1940 to Pasadena, California,

to stay with his uncle Martin Perveler.
Returning to the Bronx in 1941 for
his last year of grammar school, there
seemed to be little change in his attitude or his results. Hoping to find
something to interest his son, Jack
introduced Stanley to chess, with the
desired result. Kubrick took to the
game passionately, and quickly became a skilled player. Jack Kubricks
decision to give his son a camera for
his thirteenth birthday would be an
even wiser move: Kubrick became an
avid photographer, and would often
make trips around New York taking
photographs which he would develop in a friends darkroom. After
selling an unsolicited photograph
to Look Magazine, Kubrick began to
associate with their sta photographers, and at the age of seven teen
and was later oered a job
as an
apprentice photographer.

Universal Film
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Universal Film
Issue 4 of 2012

Dear Mr Cameron
Rushes Soho Shorts 2011 award winner Kay Productions presents DEAR MR
CAMERON (DMC). A ground breaking
provocative short film inspired by the UK
riots of August 2011. The film was made
without a budget from external investors
and everyone involved in the production
volunteered their services and resources
because they believed it was a worthy
project that questioned the status quo
and promotes change in a dysfunctional
society.
The film was shot in one day at the Union
Chapel in Islington. The former church is
an award- winning venue and centre for
those homeless and in crisis in London.
The end credits song The Kids Dont Play
No More by Mister Biscuit, features BBC2
award winning songwriter Megan Henward. The track generated 120,000 hits
in its first month on YouTube. The original score was written by BAFTA nominated composer Andrew Barn Barnabas.
Barn has created a score of great depth
that perfectly captures the on-screen
emotion.
The screenplay is based on the poem
of the same name, written by former
rap artist Beng. Beng has worked with
Hip Hops finest including Erik Sermon,
Method Man and Ludacris. He is currently
stage manager for Mastermind, one of
the biggest music stages at the Notting
Hill Carnival. Last year he was responsible for providing performances from acclaimed artists including Mz Bratt, who
featured on The Children In Need Single
2011 and Omar, nominee MOBO Best R &
B / Soul Act 2011.
Beng wrote the poem in response to Britains youth being labeled as Public enemy no.1 by the media and government
after the riots. Although bold and seemingly confrontational, the poem does not
seek to glorify the events or justify the
actions of the rioters but instead oers
an opportunity for society to contemplate a broader picture.
There was no discourse about the root
of the problem or the government and
medias part in creating a society where
there is corruption at the highest levels. Young people feel they have no role

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models in the countrys leaders (expenses scandals), no trust in the media (newspaper hacking scandals) and absolutely
no confidence in the reckless & greedy
Banks (Banks bailout and bonus scandals). There is a general breakdown of
morals from people running the country
and people who create the media agenda.

lenge 2010 and best music video Thinking of You by Jordan Mba, awarded by
the Beverly Hills TV, Film and New Media
Festival 2011.

Since the poem was written, the feedback

has been overwhelming with people
sharing it, re- posting, blogging, forwarding the piece and even wanting to start a
petition. It is for this reason the DEAR MR
CAMERON film project was born.

DMC will be promoted online (dedicated

website www.dearmrcameron.com, facebook page www.facebook.com/dearmrcameronfilm and twitter account @
DMCFILM2012) and oine screening in
community centres, particularly those affected by the riots, and schools in order
to spread the message of the film. The
film has the support of Camilla Batmanghelidjh of the childrens charity Kids
Company (www.kidsco.org.uk).

The film was directed by award winning

Film and Music Video Director Martin
Denham. Martin directed Kay Productions
short film The O Site, winner at Rushes
Soho Shorts Festival 2011 and AAA New
Music Awards Best Video for the Smith
6079 song Kill Romeo in 2007. Martins
Shakespearian vision brought Bengs poetic words to life on the screen.

DEAR MR CAMERON is provocative and

provides an alternative narrative to that
which we have seen in the mainstream
media thus far. It highlights many of the
issues that young people struggle to deal
with including double standards, mixed
messages and abuse of power. But it also
touches on remorse and regret and is essentially a cry for help.

Martins interpretation of the poem was

Prime Ministers Question Time in the House of
Commons with members
of the community from
all sections of society:
middle classes, working
classes, dierent racial
backgrounds and ages
confronting the Prime
Minister in response to
the riots. The performance has a theatrical
structure with the cast,
recreating through props
and editing eects, the
oppressive state of society & the corruption and
hopelessness of their
situation.
DMCs Producer and CEO
of Kay Productions Karine
Alexander has over 10
years experience
in the TV & Film industry.
She has worked with a
variety of companies and
individuals including
Sheepish Productions and
the Mastermind sound
stage at Notting Hill Carnival 2011. Her award
winning credits include
short films The O Site,
Internet Bully for the
Aprilfest 24 hr film chal-

14

I believe DMC is extremely powerful because of its unique artistic presentation

of the subject matter; you hear it, see
it and feel it...its like 3D poetry! Beng
(Writer of DEAR MR CAMERON)

Universal Film
Issue 4 of 2012

The
Hollywood
Graffiti Gown
Legendary fashion designer Randy
McLaughlin is a couture fashion designer in the realm of glamour, and
a perfectionist in the world of detail
fashion design. A one-of a-kind at
his craft of beading, Randy has designed some of the most infamous
and spectacular costumes and gowns
of the 20th & 21st century.
Randy began his fashion design career at an early age with partner,
Jerry Skeels in 1980 and was recognized by the fashion industry immediately when Joan Collins chose to
wear his Red Poinsettia Gown for the
cover of Playboy Magazines December 1983 issue, which is now known
as The Lady In Red playboy cover.
For the next three decades, Jeran Design was on the fast-track and the
design company of choice among
the Hollywood elite.

The dress
has over 450
signatures of
the worlds
leading ladies

During this period, Randy and Jerry

sketched, designed and created in
amazing detail, a vast number of
costumes, dresses and gowns for
television and theater. Some of the
programs they created for included
P.S. I Luv U starring Connie Sellecca, One West Waikiki starring
Cheryl Ladd, The Young and the
Restless, and The Bold and the
Beautiful. The pair also designed
for the models on Star Search and
spent 22 years designing gowns for
the models of The Price Is Right. A
variety of stars have worn their garments ranging from Lana Tuner, Kim
Novak, Donna Mills, Lindsay Wagner,
Tina Turner, Natalie Cole, Little Richard, and most notable Liberace of
which he enjoyed working with such
a legend and talent.
Randy and Jerry were nominated
twice for an Emmy for best design
and also had been recognized for
their achievements by winning the
United Nations International Spirit
Award in 1984, The Golden Needle award in 2003, Lake Arrowhead
Ambassador award, and numerous

17

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Universal Film
Issue 4 of 2012

humanitarian awards. Randy has recently received the Lifetime Achievement Award for his
thirty years of contributing to Fashion on June
12,2010 from the Art Institute of CaliforniaInland Empire.
One of the most amazing creations ever designed by Randy was the Hollywood Grati
Gown in the early years of Jeran Design, having a vision of a list of female stars names
hand-beaded into the plushest of fabrics;
Black German Velvet. The first to loan their
names to this gown concept were Hollywood
legends Bette Davis, Rita Hayworth, Lana Turner, and soon after came Elizabeth Taylor. On
March 13th 2004, the gown was unveiled as
a special presentation at the Academy of Television Arts and Sciences in North Hollywood,
having been created over a 24-year span. The
gown now contains over 350 bugle, seed, and
platinum beaded signatures of the most influential women ranging from Mother Teresa, to
the political figures as California Senators Diane Feinstein and Barbara Boxer, to the most
current actresses Cate Blanchett, and the cast
of Desperate Housewives. After its unveiling
in 2004, the gown has since been presented
in Los Angeles, San Francisco, as well as in La
Paz, Bolivia.
In 2009, Randy decided to honor their fashion career by coming up with the idea for an
illustrated book spanning the Jeran career of
three decades titled The Glamour Kings of
Hollywood which he is still looking forward
to getting published. Later that year, Randy decided that it was time to share with the world
the Hollywood Grati Gown, it was sent to
the Hollywood Museum for a portion of 2010.
People came from all over the world to see
the Hollywood Grati Gown up close and in
person. In May 2010, a reception was held at
the museum in its honor, which attracted such
television stars as Florence Henderson, comedians Rip Taylor, Joanne Worley, and Judy
Tenuta as well as Dee Wallace, Stefanie Powers, and many more. The Hollywood Museum
exhibit closed in September 2010. The Hollywood Grati Gown will soon be auctioned
o. The proceeds will be given to a number of
AIDS Awareness Charities that have supported
the presentation of the gown.

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18

Randys return to Hollywood Glamour Fashion

may be a time for Hollywood and the world
to stand up and take notice once again, along
with his drive to take his fashions & designing
to the public worldwide in the projects he is
working on, this will catapult him straight to
the top.

Universal Film
Issue 4 of 2012

BEN

CAHAN

Talentville.com. Crowdsourced Script Development.

The co-founder of Final Draft turns his attention to
the internet to discover talented screenwriters with his
new venture, Talentville.com.

Ask aspiring screenwriters their biggest frustration and you

wont hear how dicult it is to write a good script, let alone
a great one. After all, and they will be happy to point this
out, theirs are all great, the next blockbuster just waiting to
be produced. What you will hear instead is how impossible it
is to get anyone who matters to read them. Their scripts collect dust and Hollywood isnt returning phone calls or emails.
Ben Cahan, the creator and co-founder of screenwriting software Final Draft, wants to do something about that.
His new online screenwriting community, Talentville.com, is a
cross between a social network for screenwriters, a peer review
system for screenplays and a management company for those
who work their way to the top of the heap. Using a worldwide
network of screenwriters to sift, sort, critique and ultimately
recommend worthy projects, Talentvilles goal is to help develop talent and promote market-ready scripts.

Talentville is here!

To that end, Ben has been busy promoting the site to not
only screenwriters but also to his many contacts in Hollywood, namely the agents, managers and producers who are
on the lookout for projects they can option, sell and produce. Many of us have used crowdsourcing sites when we
want to read a book (Amazon.com) or when we want to
go out to eat (Yelp.com). According to Ben it works with
screenplays as well because when all is said and done,
a good story is a good story, with the bonus that fellow
screenwriters are uniquely qualified to judge the technical aspects, from plot points to character arcs.
Add to that the fact that if a script works its way up
the ranks, Talentville brings in the professionals,
a sta made up of readers from some of the biggest talent agencies and production companies
in Hollywood. Make it past the members, earn
the endorsement of their sta and Talentville
promises to get involved and help promote
your script.

19

Universal Film
Issue 4 of 2012

4000
Members

To date, Talentville has a membership of almost 4000

screenwriters who have uploaded over 1100 screenplays and contributed almost 3000 reviews, but according to Ben that is just a starting point. His goal
is to make it the go-to destination for both writers and Industry professionals, a true marketplace
with a built in quality control system so that writers know where they stand and producers know
what others have to say before they even read
Fade In:.
If you are a screenwriter just starting out or one
with a stack of scripts sitting on a shelf, check
out Talentville, upload your projects and see
what happens. You never know, it might just
be that you do have what it takes but just
didnt get the right people to take notice, and
the folks at Talentville would love to say they
were the ones who discovered you.
About Ben Cahan
Benjamin Cahan was the original developer
and co-founder of Final Draft, the worldwide
leader in screenwriting software for motion
picture and television industries. As the companys CEO from 1989 to 2001, he took Final
Draft from a home-based software company
to a valuable brand name respected and used
by the majority of writers, producers and studios
across the globe.
Prior to developing Final Draft, Mr. Cahan received a Bachelor of Science degree in Computer
Science from the University of Maryland in 1984.
He worked as a computer programmer for IBM during his college years and moved to Los Angeles after
graduation to work for a defense contractor in Los
Angeles. Eighteen months later, after taking a film
production class at the University of Southern California, he left the defense industry and formed his own
company developing film production software.

20

The idea for Talentville was born in 2009 when Mr. Cahan
was scouring the internet for a comprehensive site that
filled the needs of both writers and the Hollywood professional community alike. Failing to find any site that in his
opinion truly addressed all the needs of aspiring writers,
from reviews and coverage to networking, industry participation to active project marketing, continuing education to collaboration, he set out to combine all these necessary elements
in one place.

Universal Film
Issue 4 of 2012

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Issue 4 of 2012

Universal Film
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the
big
black
23

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Universal Film
Issue 4 of 2012

tutes are an important basis for filmmaking in our country.

But our submissions were refused and thus, we decided to
do it on our own. Hearing what the gatekeepers said, considering their warnings but not letting them drag us away
from our goal. Because the most powerful and dangerous
gatekeeper is your own mind!

THE BIG BLACK is a road movie, featuring young Jack driving

through purgatory, trying to escape the demons of his past.
Of course, he drives a hearse and in Winter 2009 I phoned
through several undertakers businesses in order to find a
hearse for a quick photo-shooting. So we would have some
key visual to underline our plans.

There is this magical triangle between money, time and

quality. Less money means either less quality or less time.
There was no discussion about the quality and so time became more and more valuable. Our plans had put the first
shotting day to March, 1st. In order to get the spooky surroundings we needed to tell purgatory. Only five weeks to
go and so much to do...

When I saw the Chevy Caprice 79 waiting in the small alley

in a tiny village in Southern Germany, lightning hit me: this
was Jacks car, for sure!
After the shooting the undertaker committed that the hearse
had had her last job just this morning. For around 800$ he
would give it away. I agreed, feeling that this hearse would
be the horse to carry our mission and negotiated for a coffin on top. Saying, without thinking: Not necessarily a new
one. A used con is ok for us. Have you ever heard an undertaker laugh aloud?
After calming down and me understanding my (obvious) error he came up with a somewhat scarred con that had
fallen down from the forklift in the con company. Well,
no more questions from me and on the road with my new
horse, feeling the hearse shiver on the highway.
From then on, we would drive with the Chevy to all meetings
concerning THE BIG BLACK, thus proving that we would really do it. By the way, a mock-up of a DVD with the first key
visual on the cover, was always placed inside the con. A
totem, so to speak.
When we started acquiring cast & crew in Berlin in February
2010 (during Berlinale, where they are all in town) we met
another classical character of a heros journey:
the Gatekeeper(s).
In our case, the gatekeepers were those who said it is impossible to produce this film in Germany wihtout the support of the funding institutions or TV stations.
Of course we had tried to get this support, the funding insti-

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Then, in Summer 2011 (!) we finally had picture lock

and in January 2012 finally finished re-recording THE BIG
BLACK. Already in December 2011, we had our worldwide
premiere, in Korinth (Greece), running in competition for the
GOLDEN PEGASUS, an animal from Greek mythology, having
huge wings. An omen?
Might be, as we won the GOLDEN PEGASUS for BEST DIRECTOR and BEST SCORE.
Meanwhile, our baby has been screened in New Delhi (IDFF)
and will run in competition at Cyprus International Film Festival in October.
But, of course, the journey is not over. Seeking distribution
AFTER having finished the film and not having an A-list actor
in your castlist is the next challenge.
Many distributors told us: Go, get some A-Festivals, then
come back. Many festivals told us: Go, find a distributor,
then come back. Again, we have to be aware of our magic
weapon - our belief in what we do and approach the cave
of the dragon. And as soon as well have defeated the dragon whatever that means in our case we will rise up to the
surface and see the light. Or in other words: see the world
premiere of our film in a cinema in Germany. Or the U.S. Or
whereever.
What have we learned, so far?
Never fear making a mistake. Listen to what the pros say, but
let noone stand in your way. And, most important: believe
in what you do. Otherwise you will not make it. We are Jack,
driving through purgatory of distribution, seeking salvation.
Geronimo!

24

ll that we see or seem, is but a dream within a

dream. Dear Mr. Poe, I truly understand your
words, since I directed THE BIG BLACK.
Just now, still seeking distribution and fighting
sharks in the pool I wonder when we will see the
surface again. But I guess thats what all this is about: daring, not looking back & fighting until the end.

Universal Film
Issue 4 of 2012

Secret of the Wings

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2012. In the film, Tinkerbell ventures into the

forbidden world and discovers a secret. Starring the voices of Mae Whitman, Lucy Liu, Megan Hilty, Raven-Symon, Jesse McCartney and
Angela Bartys, it also features new cast members who include Matt Lanter, Timothy Dalton,
Lucy Hale, Bella Thorne, and Debby Ryan.
In Secret of the Wings, Tinker Bell ventures into
the mysterious Winter Woods and meets a frost
fairy named Periwinkle and a magical secret is
revealed!

26

ecret of the Wings (formerly known as

Tinker Bell and the Mysterious Winter
Woods) is an upcoming computer-animated comedy film, based on the Disney
Fairies franchise, produced by DisneyToon Studios. It revolves around Tinker Bell,
a fairy character created by J. M. Barrie in his
play, Peter Pan, or The Boy Who Wouldnt Grow
Up, and featured in subsequent adaptations,
especially in animated works by the Walt Disney Company. Secret of the Wings is the fourth
movie in this series of direct-to-DVD films and
is scheduled to be released on October 23,

Universal Film
Issue 4 of 2012

Total
Recall
otal Recall 2012. A new American science fiction action film
remake of the 1990 film of the
same name, which is based on the
1966 short story We Can Remember
It for You Wholesale by Philip K. Dick.
Unlike the original 1990 film, the
plot of this new version lacks a trip to
Mars[2] and contains strong political
overtones. In addition, the film also
blends Western and Eastern influences together, due to the fact that the
two nation states, New Shanghai and
Euroamerica are battling for political
power.
It is directed by Len Wiseman, written
by Mark Bomback, James Vanderbilt,
and Kurt Wimmer, starring Colin Farrell, Kate Beckinsale, Jessica Biel, Bryan Cranston, John Cho, and Bill Nighy.
It was first announced in 2009.[3] It is
scheduled to be released in the United

States and Canada on August 3, 2012.

In a futuristic political setting of 2084,
after being devastated by war, Earth
is divided into two superpowers, Euroamerica and New Shanghai, who are
locked in a battle for supremacy. In this
world lives Doug Quaid (Colin Farrell),
a factory worker suering from violent
nightmares. Dissatisfied with lowly existence, Quaid visits Rekall, a corporation that provides its clients with implanted artificial memories of the lives
they would like to have. McClane (John
Cho), a Rekall representative, finds
that Quaid has already had his memory erased and demands to know why
Quaid has come to Rekall. Armed men
shoot and kill McClane and other Rekall
employees before Quaid kills them.
He returns home to his wife Lori (Kate
Beckinsale) who, after trying to kill him,
reveals that he really is a secret agent
and she is not really his wife.

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Universal Film
Issue 4 of 2012

Film Festival Boot Camp 3

by Patricia J. Pawlak

othing is more discouraging than standing at the

screening door of your
film at a festival, waiting
for guests to arrive, while
the theater next door fills up. Even
worse, having to sit in a screening
with empty seats and hear a raucous
crowd in the theater next door. Before you have created a following, it
takes work to build an audience for
your screening, whether you are paying a high-powered PR dream team
or using your own elbow grease.
Youll probably have some heady
films screening during your time
slot that will create competition. You
can make getting people into your
screening a fun experience; its all in
your attitude.

just politely leave a message on the

answering machine. One good tip:
ask for the assistant of the executive
you want to reach. This is the person
that you need to charm in order to
get their boss to the screening. Also,
they may be going to see films themselves (and they may become the
next Head of Acquisitions and will
remember you).

think of anything you can do to raise

awareness of your screening.
When you arrive at the press oce
the first time with your press release
(save one for another visit), bring a
gift, say, a box of chocolates or wine
for everyone to enjoy. They may be
able to get you some interviews
and give you all the information you
need.

Press Releases
See if you can come up with a catchy
press release about the cast, the dog
in the film, the directors next gig
and screening, etc., to leave with the
press oce. You should have at least
three dierent press releases with
you. Look up how to write them correctly.

I have already addressed two things

you must do depending on the focus
of your screening: (1) Get a list of all
press and attendees from the press
oce, and (2) Get a list from IFTA (or
the Internet) of buyers who would
be interested in your film.

Hotel Drop Os
Certain festivals may have a list of
where certain buyers and producers
are staying. In Cannes and AFM, it is
easy to find the buyers, as the hotels
are local. After a long day and before
business dinners, we would actually
drop o invites and screening cards
to the hotels where the buyers were
staying. At some point, the concierges got savvy, and some hotels started
asking $5 per delivery. Try to avoid
this by first tipping the Concierge at
least $20, and usually theyll make
sure your screening cards are delivered for no extra charge.

Also, you might want to think of leaving a nifty gift basket with screening
invites for the buyers whom you
want to see your film. When I had
a budget, Id send fruit baskets and
snacks to my clients room. Once
during the London screening, I made
personalized baskets with Godiva
biscuits (for tea time) and my invites,
and had them delivered to the top
buyers. You can leave a gift, a giveaway or both, with your screening
times and contact numbers. Note:
top magazines such as The Reporter,
Screen and Variety will have separate oces at the larger festivals/
markets. You want to go to those offices as well, with invites, presents,
treats, anything you have to prod
someone to cover your film and give
you some press. Perhaps you can establish a relationship with one writer, give him or her your press release
before anyone else, and say its an
exclusive.

Gather your team

Invitation/flyers
Make sure you have a very catchy
invitation to give out to anyone and
everyone who will take it. It can be
a simple postcard. Drop it o at all
oces and booths. You never know
who may be standing next to someone at a booth who may be the buyer for you. Chat up your film, but be
honest; dont tell a buyer its Gone
With The Wind if its not. I have always been honest with buyers, saying, for example, I have this quirky
horror film that you might like. Buyers get so much hype thrown at them
that they are more likely to respond
to an honest assessment. They dont
want to waste their time.
Calls
Hopefully, you have sent out the
invitations before the festival as I
recommended last month. But now,
get someone from your team (or
yourself) to make calls to the oces
or phone numbers that you have,
reminding these people of your
screening. If you cant get through,

Give Away-Gifts/Swag
I dont know what it is, but people
love free stu. I have had some of the
wealthiest men in the world as my
buyers come in for free T-shirts. A lot
of them want presents for the children, and its a great way to market
your film. Now, I would think about
a giveaway item that people could
wear to promote your film, one thats
appropriate to the climate and also
stands out. If you are going to Berlin,
think a warm hat, funny hat or scarf
that publicizes your film. I would
not do umbrellas in Palm Springs.
If you have a rabbit in the film, Id
walk around with rabbit ears and
give them away. Always, always get
some friendly girls and guys to walk
around with your giveaways, even
if you have to pay them $20. Just

I actually have gone to Costco and

picked up large tubs of treats like licorice and jelly beans, brought them
to Cannes, and had them delivered
to the to press oces. Treats from
home can be a surprise. Put your
screening times on the tub. Find out
from the press oce (and anyone
else) about any parties and events
so you can plan your strategy. Plan
where you want to be each day and
night to be seen most eectively.
Once, I was running a campaign for
a foreign film that I was distributing
that was up for a Best Film for both
a Golden Globe and an Oscar. I attended a screening of a Pedro Almodvar film with the star of my film,
who was unknown in the States but a
huge star in his country. The print did
not arrive on time at the Almodvar
screening. It was a small room,

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Universal Film
Issue 4 of 2012

Parties
Try to get into any party that you
can, and make sure you are promoting your film with those bunny
ears, T-shirts and hats. Trust me, I
have thrown parties at many major
festivals; I let people in because I
have the room and its appropriate.

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If its a seated luncheon for buyers at an expensive hotel, you may

or may not get in. Each situation is
dierent, but certainly try. I always
like some fun festival attendees at
my parties. Once, at Cannes, at 1:30
a.m. while I was asleep at my hotel, I
got a call from a very excited French
man (luckily I know some French)
who knew my assistant in Cannes.
He had found out that I had a party
ticket that I was not using for a big
party that night at midnight that
had just started. I told him he could
have it. A few minutes later, he was
at my door. It was a very surreal experience, me in my jammies, handing this ticket to a local French guy
whom Id never met before. He was
so ecstatic that it was worth waking
up. Remember: spread the joy!
To follow up on how to pack your
screenings:

1. Get a list of distributors and send

out invitations.
2. Make follow up calls.
3. Contact the press oce to get a
list of invitees and where they are
staying. Deliver invitations, flyers
and gifts.
4.Create several press releases to
hand out to the press oce and any
magazines there.
5. Create a fun giveaway and give
it away, wear it everywhere, and be
everywhere to promote your film.
(Patricia J. Pawlak is a veteran of
festival around the world from Berlin to Shanghai and has attended
Cannes for twenty years distributing and marketing films.)

30

people were chatting, and I stood

up with the star and pitched my
film for a screening the next morning. Everyone was thrilled to meet
him, it passed the time, and then
the print came. Suddenly, we were
being invited to dinners and parties. Our 9 a.m. screening was in a
large theater and it was standing
room only. So many people from
the night before came to see the
film and our actor because of that
wonderful luck. Be open to your
door of opportunity and seize it. If
you are ready and prepared, good
things will come.

Universal Film
Issue 4 of 2012

NO

SMOKE
is a compelling 77-minNouteSmoke
drama made by a new kid on

the block, Sue Shearing, 66.

Sue, a semi-retired journalist, wanted to tell the true story of how an

ordinary woman next door became
caught up in a bizarre situation involving the police, Special Branch
and terrorists.

No Smoke is based on a true story,

but Sue says there is some artistic
license and a shock ending. The film
received critical acclaim from The UK
Film Festival who said it was highly
regarded and in a select group. The
producers have what it takes.

Although Sue had little previous

experience of filming, a distributor
signed up No Smoke for a five-year
deal covering the UK and USA. Unfortunately it fell though, and now
Sue is open to new oers.
A trailer for No Smoke can be seen
on IMDb.

Her heroines savings were taken

by the police under the Proceeds of
Crime Act, which allows them to confiscate money, goods, houses and
cars if the owner cant prove where
the cash came from. No crime has
to be proven, or charges brought.
The police just have to make an assumption that the money is ill gotten gains.
Not a lot of people know that,
quipped Sue, who wrote, produced
and directed the film. There have
always been people who have kept
their savings under the bed or who
save cash in jars, and there is no way
they can prove where it came from.
Made on a micro budget and filmed
using a Sony F900 over thirteen
days in Hertfordshire, UK, Sue and
her professional crew and actors
even managed to film inside the
Crown Court and had the run of a
police station for a day.

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Universal Film

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32

Issue 4 of 2012

Universal Film
Issue 4 of 2012

International
Confedertion
of Art Cinema
ART CINEMA = ACTION + MANAGEMENT
European Summer University for
professionals of Arthouse cinemas
Venice, San Servolo Island, 27th
August 2 September 2012
The 9th European Summer University for professionals of Arthouse cinemas organized within
the framework of the MEDIA Programme of the European Union,
will take place on the campus-island of San Servolo, during Venice International Film Festival.
Arthouse extended all over Europe in the 1950s, 1960s and
1970s. They now account for
4.000 among the 30.000 cinema screens on the continent.
Their position is very dierent
depending on the European regions: organized networks in
some countries and mostly isolated cinemas elsewhere.
Still, there is in all countries a
need for preparing the future
generation of art cinemas managers and a need for getting
ready the present managers to
face the new challenges of their
profession.
The ambition of the training
ART CINEMA = ACTION + MANAGEMENT training is:
to hand-on on to the new generation the specific know-how
(methods, tools, ideas, contacts)
for programming, animating and
managing an art cinema.
to give to the present managers, a place for discussing the
challenges independent exhibitors have to face in the age of
new business models and for
making recommendation useful

for the all profession on how to

strengthen the competitiveness
of independent exhibition
Two sessions are prepared for
the participants: Juniors and Executives. The 55 participants will
follow the lectures, case studies,
and hold debates and discussions
on Arthouse cinema exhibition
and will share their experiences
with 30 international professional trainers : Alberto Barbera, the

director of the Venice Film Festival the Icelandic director Fridrik

Thor Fridriksson, Emmanuel Joly
from the MEDIA Program of the
European Commission, the German producer Alfred Hrmer, the
economist of cinema and professor at the Sorbonne University,
Laurent Creton; the General Director of the Mexican Cineteca
Nacional, Paula Astorga ; the deputy director of the Sofia International Film festival, Mira

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Universal Film
Issue 4 of 2012

Film Festival and manager of

Cinema Valli in Pula (Croatia), Francesco Clerici, Responsible of the educational
projects of Barz and Hippo,
writer, documentary director,
videomaker and Jon Barrenechea General Manager of The
Duke of Yorks Picturehouse
in Brighton, he is also the
author of the blog/podcast
Splendor Cinema.
The International Confederation of Art Cinemas for the
development of Art Cinema
worldwide

26 countries will be represented

on the island: Belorussia, Belgium, Bulgaria, Croatia, Czech Republic, Estonia, Emirates, Finland,

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France, Germany, Hungary, Iceland, Ireland, Italy, Latvia, Lithuania, Malta, Mexico, Netherlands,
Norway, Poland, Romania, Slovakia, Slovenia and United Kingdom.
A CICAE Jury will participate
at the Venice Film festival, and
will choose a film which will be
awarded with the Art cinema
Award. The members are : Tanja
Milii, Festival Producer at Pula

For More Information: Marketa.

hodouskova@cicae.org - www.
CICAE.org

34

Staleva , Romanian director and

distributor Tudor Giurgiu, the director of Venice Film Market Pascal Diot, the director of the Independent cinema Oce Catharine
des Forges, Jiri Sebesta from the
Czech distribution Company Aerfilms to name but a few.

Aims & Actions >> Supporting

the diversity of the cinematographic oer and strengthening theatrical exploitation of
art films
by defending the cultural
diversity and to grant the access of people to a variety of
independent films and widespread programmed cinemas
including the masterpieces
of film history and a special
oer for the Young Public;
by oering exhibitors which
share the same aims, a space
for the sharing of information
and experiences ,
by fostering collaboration
between exhibitors and the
creation of regional and national
market-influencing
groups capable to obtain
support for Arthouse cinemas
from government bodies and
local institutions.
by promoting the screening of art films from festivals
to art cinemas for improving
their circulation and increase
their audiences (a dozen of Art
Cinema Award granted every
year)by organizing professionals
trainings (about 500 professionals trained since 2004 in Berlin,
Cartage, Dakar, Mexico City, Paris,
Toulouse, Valdivia and Venice)

Universal Film
Issue 4 of 2012

e
il

F
-

s
e

W
l
a
v
i
t

by Tyrone D Murphy
hat is the Mobil Film Festival?

The Mobil Film Festival is a project of Susan Botello of S.

Botello Productions. The film festival is exclusive in that
it only accepts films that were shot with cell phones. Its open
to anyone who shoots using cell phones, any brand. We are an
international film festival and will accept all human and legitimate
filmmakers from around the globe without age limits, income limits, experience or connections. We only ask that the camera be replaced with
cell phones of any brand.

Why did you create the Mobil Film Festival?

The fact that mobile phones have video cameras made me realize even a child could
shoot video, as I witnessed during a visit to a cell phone provider store. And if a child can
shoot, anyone with skills can edit. I thought it would be a great way to show what you could
do if someone gifted you with a professional camera and said, Shoot and edit something. My
thoughts and feelings about mobile film are connected to my visions of the future and it is tremendously interesting to see it evolve just as I imagined. The fact that I expressed the idea of projector
apps for cell phones to project on a big screen a wall or a sheet of paper is an example. I cant tell you how
many people I engage every day on this subject. App developersI have mentioned to many and many said
that it could not be done for a few more years. We are now seeing apps and accessories that are on the way to
providing this for us. So they could be correct. I also notice more blogs and ads focusing on the technical specifications of cell phone cameras (both video and still). As these things come together to bring better quality, we see the
additional benefit and transformation of filmmaking.

b
o

The quality of films in the Mobil Film Festival was good and were presented on the big screen with remarkable production
values. They looked good and sounded good. Of course a cell phone brand and editor can make a dierence. The dilemma with a
filmmaker who is trying to get their work seen is the financial investment. This is very typical. The investment of time and eort
is guided by artistic passion. This is where creativity blooms, I think. And here is a way for more creative filmmakers to show their
skills and talents without the financial investment barrier and become part of this emerging filmmaking practice. Who would have
thought that the film industry and cell phones could play such an integral role together, other than the typical communication tool
it has always played in Hollywood? The producer on set talking on the cell should come to mind.
Do films have to be edited on the cell phone as well?
The primary dierence is you are replacing a film or video camera with a cell phone. Everything else can stay the same. You can
edit your video with a computer or tablet or even right on your cell phone. You can use external microphones, tripods, dollies
skateboards--whatever you like. The only restriction as far, as it stands for now, is the use of apps that make the decisions for the
editor (you). This is a great opportunity for the filmmaker who is truly skilled and talented to show o his or her strut. Special
eects are neither encouraged nor discouraged. For our first film festival this past April, we limited the length of films to three
minutes. This year, we still have the minimum running time of thirty seconds, but the length is not more than five minutes. I do
want, however, to emphasize that the second-prize winner of our first film festival had no experience as a filmmaker on a professional level. He didnt go to school for it either. And if you open the minds of everyday people to the possibility of making an old
childhood dream come true, or maybe just a personal wonder one may have, it is like a jar of light filled with possibilities. And the
tool is right in their pocket. There is no reason to fear the outcome. You can see your outcome yourself, too. And entering our film
festival is completely free.
What is the connection between SBP and Grossmont College?
In my opinion, colleges are hurting due to the economy and that means students are hurting too. The speed at which technology is
growing may be playing a role for a foundation or organization to get a grip on investments. And schools have to think about the
future in what they are teaching as well. Also, there is a need for community partnerships to help keep them populated regarding attendance. The college I graduated from with a degree in Media Communications, Grossmont College (www.grossmont.edu)
has always had an open door for me during and after my studies. This is precisely why I have a connection to the department. Mr.
Snead, in particular, has been supportive of other projects and friends projects on a local level as well and so that has kept us
connected as well.
As a member of the Media Communications Department here at Grossmont College, we have always been happy to follow, encourage and support the projects of current and former students. Although the focus of our classroom experience is on teaching
students to use professional equipment we have certainly been aware of the financial challenges facing students and emerging
filmmakers today. The rapid changes in technology and the escalating costs of equipment is dicult for us to keep up with as well.
The development of phone technology which takes both still and video images in very high quality has inspired many to consider using phones to acquire video footage to tell stories. Applications for editing, special eects, and post-production are now
available, which makes story telling with phone images possible for competition and festivals. The results have been anything
but amateurish. We support Susans forward thinking vision of a global cell-phone video festival and would encourage others to
grab their phone and make a movie. I believe there is a place other than YouTube for films made with cell-phone technology to be
shown and recognized for their inspiration and quality. William Snead, Media Communications Department, Grossmont College.
(www.grossmont.edu)

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Issue 4 of 2012

Are there categories?

We introduced one category: Community
Stories. This year, we are adding a category of films that are
entirely produced with cell phones, including editing. There is no limit on
how many cell phones you use for shooting or producing a finished film. There are obvious limits in this newer way of filming and we provide room for creativity as in any production. As
we grow in numbers we plan to add more categoriesOf course, we do ask the filmmakers to be tasteful in
their choices and we dont allow vulgarity. We respect children as a category.
Who are your judges?
For MFF2012 last April we had two instructors from the Media Communications Department at Grossmont College, William Snead and Evan
Wirig. Another judge was Producer/Actor Stephanie Reibel from Los Angeles, whom I have known on a professional level for a few years. Some
of her television credits include guest starring roles in Two and a Half Men (CBS), Monk (USA), 90210 (CW), Genetically Challenged (FOX),
and Sons of Tucson (FOX) with recurring roles on The Game (CW) and General Hospital (ABC). Her film credits include the leading and title
role in April Moon, and a supporting role in National Lampoons The Legend of Awesomest Maximus, just to name a few. Stephanie also keeps
herself busy creating reality shows.
The Judges are listed on our website as partners. For MFF2013 next April, we hope to continue to include last years panel and add new ones. The
hope is for entertainers & celebrities in film and music & journalism to be a part of the judging panel.
Do you judge films?
No I dont. I love them! Sometimes I watch them over and over in awe. I am being extremely honest. But my passion toward filmmakers makes it
so that I need to be more of a supporter. I got their backs! I really do try to promote them and include them with our activities and plans, and I
think most of the pioneers from our first inaugural film festival, MFF2012 last April, know this.
What is in the future for the Mobil Film Festival?
We are introducing our work in progress on our website and that is just the beginning: Mobile Film TV. We are also working on training workshops for mobile filming on a global level. There are already some people who have been doing that in other countries. Its amazing!
Again, our goal is to provide a venue for mobile filmmakers to express their talents, showcase their skills, to grow and expand. That is the future
we are working on providing. It basically sustains itself by providing a showcase venue, a distribution and entertainment channel & a mobile
film-training program. Mobile filmmakers around the world who shoot with cell phones can share, network, collaborate and, perhaps, make a
living with whats in their pocket. Isnt that something!
When and how can someone submit a video?

Anyone can enter between now and the end of January next year.
Go to www.mobilfilmfestival.com

On the menu, look for the Filmmaker Registration page.

On the Registration page, fill out the form and submit it.

Sometime between 24 hours to a few days, you will receive an email with instructions and a link to upload your film.

As soon as you have submitted your film go to our website www.mobilfilmfestival.com and look for Submission Confirmation.

On the Confirmation page, fill out the form and submit it.
That is it. We will stay in touch and keep you updated with progress on our film festival and programs.
Who sponsors the Mobil Film Festival?
Grossmont College is our sponsor, our partner and supporter. Other supporters include Red Giant Software, who will provide a prize, Mobile
Festival in Skopje, Macedonia, i-nigma QR code reader app by 3Vision.
One of our biggest supporters, Mobile Festival (www.mobilefestival.net)in Skopje found us online and offered us the opportunity to share our
vision. We both share a philosophy best quoted by Vesna Ristovska, of the Mobile Festival:
Use your creativity and make everything possible. Creativity gives power to change. Transform the moment into creation. Turn on your mobile
and film your idea. The motto for the 2012 Mobile Festival in November 2012 is, Everyone can make it! Vesna Ristovska
The Mobile Festival features an article about one of their winning contestants who competed at the Mobil Film Festival. Dukagjin Borova came
to San Diego from Macedonia to attend the festival, walk the red carpet, to experience watching his film, Everything Is Money, on the big screen
with an audience and networking with other filmmakers.
Whats Next?
We are working with San Diego Audio Video (SDAV.com), a supplier of production equipment & services, to provide a resource to mobile filmmakers. San Diego Voice and Video is working on providing a great equipment resource for mobile filmmakers and some other possible production services with benefits.
We are creating mobile filming workshops & well have mobile filming workshops around the world. Conrad Mess is working with us to be one
of the leaders on this venture. Participants will also receive benefits from Jewelbeat.com who is partnering with us to provide royalty free music.
JewelBeat was founded by musicians who were passionate about bringing high quality production music at a sensible price. JewelBeat offers a
huge selection of quality music for your projects. Together, with JewelBeat, we will offer discount term membership packages for participants
of the workshops around the globe.

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Universal Film
Issue 4 of 2012

Asian CineVision presents the

35th ASIAN AMERICAN

INTERNATIONAL
FILM FESTIVAL
JUL 25 AUG 5, 2012 | NEW YORK CITY

AAIFF.org
The 35th Asian American International Film Festival is made possible with public
funds from the National Endowment for The Arts,by the New York State Council
on The Arts, with the support of Governor Andrew Cuomo and the New York State
Legislature and the New York City Department of Cultural Affairs.

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Universal Film
Issue 4 of 2012

By Lisa Reznik, Creative Director, Film Society of Summit

In 2009 Phil Capobres launched the
SENE Film, Music and Art Festival, with
Don Farias, in the art-friendly town of
Providence, Rhode Island. The idea
began at a dinner after volunteering
at another festival. We love festivals
and independent films and decided to
create our own which we could start
fresh and run ethically, Capobres explains. The concept came from the desire to give audiences something different. We were starting from scratch
and thought wed include music and art
in our mission statement, he says.
Capobres considers the 2012 festival,
held April 11-15, their best yet. 110
independent short and feature-length
films were screened, ten musicians
performed and nineteen artists including first time exhibitors, emerging artists and accomplished artists saw their
work displayed.

THIS IS OMAR, A TEENAGE

REFUGEE FROM SOMALIA.

A LIFE ON HOLD

IS A NEW FILM ABOUT

OMARS LIFE IN A REFUGEE
CAMP IN TUNISIA.
WATCH AT
AMNESTY.ORG/REFUGEES

CHILDREN OF
THE JAGUAR

AN INDIGENOUS COMMUNITY IN
THE AMAZON JUNGLE TAKE ON
THE COMBINED MIGHT OF THE
GOVERNMENT AND AN OIL
COMPANY IN ORDER TO SAVE
THEIR WAY OF LIFE AND THE
RAINFOREST THEY LIVE IN.

WATCH AT
BIT.LY/JAGUAR-TRAILER

Find out more:

avproduction@amnesty.org

The SENE Festival adheres to the Universal Film and Festival Organization
business code of practice in its selection for festival line up. The benefit
of following ethical principles is that
filmmakers trust us, Capobres, the
festivals artistic director, explains. A
direct result of earning a reputation for
fairness has seen an increase in submissions from 300 the first yearto 500
in 2012. Submissions came from as far
away as South Korea.
Originally from Phoenix, Arizona, Capobres came to Providence eight years
ago for a job as a statistician with Fidelity Investments in Smithfield, RI. He
considers running the SENE festival his
creative outlet. The story a film tells
matters to Capobres more than the
technical impressions it might make.
He and Don Farias watch every film.
And while theyve watched as many
as 20 short films in a day, its much
more likely theyll watch from five to
10 shorts at a time. They never watch
more than two features when reviewing.
When we pre-screen, we recommend
the films we like to the committee for
that category, Capobres explains. Between 20 and 30 people attend monthly festival pre-screenings open to the
public, at which films are ranked from
1 to 6 to determine which films in each
category will make it into the festival.
While he calls drama his favorite genre,
Capobres doesnt favor any particular

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genre in selecting films for the lineup. The final selection for this years
festival included a mix of features and
shorts in horror, comedy, drama, animation and documentarys. Many films
selected incorporate a music-related
theme, for example the UK feature City
of Dreamers by Jamie Patterson, which
won the jury award.
Creating the schedule for screening
110 films over three days is a fun time
for Capobres and Farias who have a
system of writing the name and running time of each film on a magnet,
and arranging them as part of a package. We do it all in one evening and
the next night, we end up moving everything around, he laughs.
Each screening series is followed by a
Q & A; a format audiences and filmmakers appreciate. We get submissions
by filmmakers simply because they like
our main venue, the independent Cable Car Cinema on South Main Street,
Capobres says. Films are also screened
at the Chace Center Metcalf Auditorium
at the Rhode Island School of Design.
For awards, Capobres says he and
Farias nominate films in each category
based on reactions at monthly screenings where audiences rank films. Films
are judged only against other films in
the same genre and awards are determined by an independent panel of
judges from all over the country.. Films
compete for $1,000 cash prizes in Best
Feature and Best Short categories.
Filmmakers also compete for juried
and audience awards in twenty additional categories.
Through his experiences screening
thousands of films, Capobres feels
filmmakers benefit tremendously from
showing an almost-final cut to an audience that will evaluate the film in an
unbiased way, as well as tightening
film length whenever possible.
Capobres admits running a film festival
is a lot of work, even with the help of
twenty-five dedicated volunteers. He
says hes more than satisfied with the
results of the 2012 festival, and is always thinking about improvement to
the SENE Festival. Next year, wed
like to streamline our schedule to show
only two films at a time so viewers
wont miss one great film when theyre
watching another, Capobres says.

38

REAL LIFE
STORIES OF
STRUGGLE
AND COURAGE
FROM
AROUND
THE WORLD

SENE Film, Music and Art Festival

Universal Film
Issue 4 of 2012

THE REVIVAL INFO

T

HE REVIVAL INFO is an independent Christian documentary series,

dedicated to follow the footsteps of
God in our age. The Bible says that
in the last days the disciples of Christ
will take the Good News to all corners
of the earth, regardless of the political system, religious, or cultural traditions...
The subject of the series first episode
was the Islands of the Sea which is
Nusantara - the worlds most populous Islamic state was called so on the
local language of Indonesia. Although
ocially being a Muslim country, in
fact it is a real melting pot of cultures
and religions.
Rooted in ancient animist cults, Buddhist, Islamic and Christian empires
were built through the ages. After the
colonial life ended in 1945 Indonesia
became an independent state with
religious principles in its constitution
about the belief in a One and only

God without restraints concerning His

identity. It seems that the many thousands of tribes and traditions became
to live in complete harmony and balance under the ocial country slogan:
Unity in Diversity.
For a few month of visitation in the
country the first episode of the series
has been filmed. The documentary
gives a panorama view about the religious freedom, about the contradictory relationship of the dierent religions and about how they really exist
on the basis of constitutional principles.
We recognize the transform of ancient
animist tribal cults to commercial
tourist attractions while we see the
spirituality turning into the practice
of meaningless traditions. In this milieu the film focuses on the Christian
movements which develop the most
funding dynamic communities with a
strong eect on the society.

This movements are the greatest challenge to the majorly Islamic government, since standing for the Full Gospel values they are there in all areas
of the country with the answers and
solutions to many serious social, cultural and economic problems. Their
beneficial social impact is expressed
without religious expectations blessing and loving their enemies, which
confuses and challenges for thinking
many.
Besides the worldwide known and
respected religious leaders speaking
as Reinhard Bonnke, Marilyn Hickey,
Marvin Hier, Abdurrahman Wahid,
Abraham Alex Tanuseputra, or Indra
M. Gautama the special archival footages evoke also the key historical moments.

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Universal Film
Issue 4 of 2012

THE BLACKLIST
A new book being written is highlighting the
practice of blacklisting film-makers. Although
this practice is by a number of small film festivals, it has destroyed the careers of the entire
cast and crew of films with little more than a
casual comment.
This look behind the screen is a fascinating
expose at how these small festivals operate
in this group and barter and bargain filmmakers films in a marketplace that is strictly
for film festivals. This is a group where filmmakers are not at all welcome and are not see
as having an active role in the film festivals
and do not share in any of the income generated by the festival, despite making the films.
This is a must read for any filmmaker and festival

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Keep an eye out for this one!

Universal Film

How to impress a

Issue 4 of 2012

This is a must read !

script reader

o youve got an awesome idea for a movie and

youve written the script. You think its great
and are eager to send it out. You will have if
youre wise sent your work to be critiqued by
a professional script reader, or at least have gotten several peers to give it their honest opinion before
rewriting it to perfection. Sadly, perfection is subjective
when it comes to screenplays, but there are things you
can do to make sure your script gets noticed.

by Michelle Goode

through and how the tone and pace of the piece reflects
the story and its genre. The most common issues are with
flat, uninteresting descriptions which give unnecessarily simplistic details (think he walks over to the door,
turns the handle, opens the door and steps outside as
a basic example). Sometimes descriptions are too long
or are written in large blocks of text (four lines per section of action description helps break it up and makes
it easier to read). Dialogue is frowned upon when its
too expositional, otherwise known as on the nose. If
a character tells back story via dialogue or tells another
character something that is obvious to them purely to let
the audience know about it, its on the nose. Sometimes,
it is necessary, but should be done in a subtle way; ideally in the context of the scene or through interactive
and purposeful dialogue interactions. Often, style helps
the tone of the screenplay and the pace. Interesting yet
concise descriptions and dialogue which is sparing yet
meaningful can really help with smooth and entertaining reading.

Good first ten pages

The first ten pages are essential when it comes to hooking a reader and enticing them to give the script a full
read. The first ten pages (essentially the first 10% in
any script length) are crucial in setting up who the proThere are so many places you can send your script to
tagonist is, what the story is and where the story is becompetitions, agencies, production companies... But
ing told. In a blog article on the first ten pages of
they all have one thing in common. No matter
a script, I wrote a check list of questions to help
where you send your finished script, youll have
determine whether your script opening has what
to get through the mighty gatekeepers: script lets look
it takes:
readers. With a large amount of submissions to at the basic
get through every week, theyll not be wanting
Are we introduced to the world/setting? What
process
their time wasted. Often it can take a mere five,
do we learn about the setting from the opening
ten or fifteen (if youre lucky) pages for a script
which informs the story (era, country, rich/poor,
reader to decide whether your script is worth a full
social status, etc)?
read. So how can you impress them?
Are we introduced to the protagonist/main characters?
Correct format
What do we learn about them from their description/
One of the biggest problems with scripts one which
dialogue/behaviour (age, family status, personality)?
immediately screams amateur - is bad format and
style. Whilst a brilliant story and a talent for a style
Are we introduced to the need/want/problem?
element such as dialogue can render your bad format
forgiveable, this usually only happens if a producer or
Is there a hook? What happens (of significance) in the
a director has a particular interest in you or your story.
first ten pages? Will the reader be left wanting to know
Unfortunately, the likelihood is that via normal submismore?
sion processes your script will not get a full read if bad
format gets in the way of a reader engaging with your
Originality
story. Format is a really easy one to get right there are
Originality can be a tricky one, as many stories have been
plenty of examples on the Internet, including my Lontold before. It is how the story is told (is it told in a fresh
don Screenwriters Festival colleague Lucy Hays One
or unique way?), and who goes on the storys journey
stop format shop, a free PDF guide to script format. Us(how original are the characters?), which determines its
ing screenwriting programs such as Final Draft or Celtx
appeal. Readers will be thinking about how original the
(which is free) can also help eliminate mistakes in forpremise and the theme is, and who the target audience
matting.
(commercial potential) would be. In a competition, readers will need to find the characters and the story comGood style
pelling or remarkable enough to warrant a high score.
Style is less easy to perfect, but mostly comes about by
A production company reader may also be looking for
making informed choices about the way you write descripts that will fit their briefs and be achievable budgetscriptions and dialogue, how your writers voice comes

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wise, so doing your research before submitting a

script is essential.

style and structure. However, youll still need to

hook whoever reads it. Documents such as loglines,
synopses and treatments can help brief a reader
before they approach your script, so its well worth
writing these. They will inevitably help inform the
writer throughout the developing of their script,
as well as sometimes being a necessity if youre
submitting to production companies, agencies or
initiatives. Non-linear films also seem to challenge
the rules, but they too will have common elements
related to structure and pace. If you want to learn
more about how to structure a non-linear script,
you cant get a more comprehensive guide than
Linda Aronsons book: 21st Century Screenplay.

Exorcist
Chronicles

Characters
Creating genuine, believable and non-clichd characters and by telling their story in a fresh way can
help to make your script stand out from those which
may be similar. Readers want to find characters who
they can empathise with, or about whom they feel
curious. Great stories are often character-led; ordinary people in extraordinary situations, people
who learn something about themselves or others,
people who change for the better (or for worse),
and above all people who have something to lose.
Raising the stakes in a screenplay, especially by
way of giving characters motivation and goals; i.e.
in the set up/first ten pages and also by raising the
stakes as the screenplay progresses to provide tension and maybe even plot twists, can really help to
engage a reader and ultimately an audience if the
screenplay ever gets produced.

Plot
Is there a story of some sort with a beginning, middle and an end? It sounds obvious, but sometimes
scripts especially short scripts can seem more
like a snapshot in time; a moment, or an introduction
to something bigger as opposed to a self-contained
story with a theme and an outcome. Structure can
be really useful to ensure the plot plays out as dramatically as possible. Any story needs progression
with turning points, a climax and a resolution. They
may be subtle or they may be bold, but they will be
there. Common issues that aect plot progression
are a delayed catalyst or a second act which runs
on the spot leaving not much time at all for the
third acts rise to the climax and resolution. A wellpaced script will keep a reader on the edge of their
seats. If you dont hook them in the first ten pages,
the script wont get read. This is where openings
which spend far too long setting the scene or back
story can work against a writer. If the script runs on
the spot; losing focus of its plot or going o on a
tangent, it risks the reader losing their focus, too.
A rushed ending and resolution can also leave the
reader feeling cheated, which is why it is so important to ensure that the pace works and that the plot
reaches a satisfying conclusion in good time.
Exceptions
There will always be exceptions to common rules
and advice, especially in indie films which can have
the aim of challenging common film narratives,

Multiple Drafts & Feedback

A reader can tell when a script is a first draft. A lot of
the time, writers even label their drafts with numbers which is inadvisable as one, two or even three
drafts could be considered lazy. Of course, you
may well write a perfectly respectable script in two
or three drafts, but its best to leave this information out. Writing several drafts will ensure you have
refined your script, even if its just to proofread it or
tidy up descriptions and dialogue. Typos and bad
format/style is very o-putting. You may think that
an interested producer or director will want to work
on a rough script to develop it to suit themselves
but unless they have specifically requested one,
a rough script will spell out time and money. You
need to prove that you are the one who is capable
and worthy of being the writer for the project (after all, you wouldnt want your script commissioned
and then assigned to a dierent writer for rewrites).
Gaining feedback on your script before sending it
out is one of the best ways to check its readiness.
A fresh pair of eyes; be it a friend, writing peer, colleague or a professional script reader, will help to
pinpoint problem areas in your script which you
will then be able to fix before attempting to get the
script past the gatekeepers. After all, impressing a
script reader will get your screenplay read and noticed; something that is well worth having investing
time and eort in.
Michelle Goode script reads for The London Screenwriters Festival, Girls On Film, Screenplayreaders,
New Writing South and Julie Grays Just Eng Entertain Me as well as for private clients via Writesofluid editing services. She also reviews films for
Raindance Film Festival and is a contributing editor
at Universal Film Magazine.

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z: The Great and Powerful is an upcoming 2013 fantasy film directed by Sam Raimi. The film is adapted
from L. Frank Baums 1900 novel The Wonderful
Wizard of Oz. The film stars James Franco as the protagonist. Mila Kunis, Michelle Williams, and Rachel
Weisz star as the three witches. The film will be released in
traditional 2D, as well as in the Disney Digital 3D, RealD-3D
and IMAX 3D formats.
When Oscar Diggs (James Franco), a small-time circus magician with dubious ethics, is hurled away from dusty Kansas to the vibrant Land of Oz, he thinks hes hit the jackpotfame and fortune are his for the takingthat is until
he meets three witches, Theodora (Mila Kunis), Evanora
(Rachel Weisz), and Glinda (Michelle Williams), who are not
convinced he is the great wizard everyones been expecting.
Reluctantly drawn into the epic problems facing the Land
of Oz and its inhabitants, Oscar must find out who is good
and who is evil before it is too late. Putting his magical arts
to use through illusion, ingenuityand even a bit of wizardryOscar transforms himself not only into the great and
powerful Wizard of Oz but into a better man as well.

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oz

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46

THE GREAT AND

THE POWERFUL

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EArning your keep

whilst in the
creative process
(without losing your soul)
by Gail Spenser

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This article is the alternative to the very controversial area of the lo/no deferred no pay job that all
who reads are more than familiar with. The extended lifelong internship was never the intension, but
things have just turned out that way, where nearly
95% of works you will see in the creative sector
that will put anything on your resume of note are
unpaid. No-one has yet done a totalising and damning industry calculation of the energy on a daily
basis consumed in nothing jobs. Blogging has to
be the worst for this with nearly all jobs advertised
meaning no money for the writer but the chance to
get the blog owner up in the esteem of publicists.
Good for them. Rotten for you and the landlord, who
just doesnt seem to understand. He never will. The
utopia for the creative where there is and are people that need paying who will wait while you morph
into Stanley Kubrick is the stu of Science Fiction. If
it is any consolation whatsoever, Shakespeare wrote

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Hamlet whilst the bailis were knocking at the door,

but how to remain psychologically dogged and
determined whilst working is the stu of another
piece.
Another vocational truth is the amount of work there
is which is related to the sort of work that you want,
that which isnt a call asking you to come in and audition for that top TV show everyone is clambering
over each other to get onto. These are the ideal jobs.
The jobs that may or may not turn you into a superstar. These are the ego jobs that are about luck not
management. The world keeps turning on other hidden jobs in the industry not necessarily advertised
on Mandy, that would serve as respectable bread
and butter, as well as putting an addition to your CV
to show that you are savvy sucient to give yourself a less glamorous turnaround of work. There is
also the none too finer point of making sure that you
add to your resume those transferable skills (such
as language acquisition) that put you ahead of the
game.
What this article looks at is two distinct subject areas: One filling your resume with skills set which
will help you all your life, regardless of whether you
get top notch jobs in the creative industry or not
which will probably help you to get those as well.
Second, to find out where those hidden jobs are in
the creative world that will keep you ticking over.
We shall also be looking at how to build and fill your
resume to put it on the top of the pile for those positions that are more to do with management than
chance. But first, that all important job the resume,
or as Brits would call it the CV. How to make it stand
out and what to put on it .this goes into what some
would consider secretarial territory, that of formatting.

50

reatives are not in proper jobs lets

face it. What your parents said to you is
true: you will never be able to pay your
rent and the chances of you becoming a
big success are slender. Well, this is a sort
of truth. The amount of screenplays that are written ratio wise to those produced must go into 100,
000, 000 /1 (only a slight exaggeration), and there is
only ever 4% of the acting industry in a related job
at any given time. An immeasurable figure of creative grads in the world of work end up in low paid
jobs struggling financially to put a roof over their
head whilst their resume gets the odd creative work
thrown at it in between gathering dust on an agents
desk. And then there is the film maker who has his/
her own creative vision tucked sleepily in his/her
head and the rest of the time this poor soul has to
scratch together sucient work in the commercial
sector elsewhere to fund both it and him.

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The Creative Resume/CV - presentation

Most people believe, wrongly that
the creative resume should have on
it nothing but the work done that immediately relates to the skill/art on
show. This is a fallacy, and results
in endless streams of case histories
filled with microscopic additions to
the world of TV/Film/Art/Stage which
are usually extra work, walks on, traces of glory of some denomination. It
should have on it and entrenched in
it a sense of self with a marked personality put across in a professional
manner with the ability to stand out.
Creative work is no dierent to your
bog standard 9-5 in that only the recruiter knows for sure what it is that
they are after and to write the resume from the perspective of mindreader is near on impossible. What
isnt though is to make the thing less
boring and distinctive without compromising on professionalism. Fixing
a CV/Resume is an afternoons work
and it is amazing how fit and prepared you will feel once this is done
to greater eect. Regardless of what
job you are in, doing this for yourself
never fails to bring about a feeling of
self-empowerment and readiness for
the immediate future.
Watermarks and creative features are
a good idea on a creative resume as
is a good font away from the usual
Times New Roman/Helvetica/Calibri/
Arial. You are a serious person but
with a distinctive style begging to be
seen and noticed for the same and
this should be coming across. Do not
make the appearance that funky that
it is dicult to read, but do lean towards the prospect of showing a bit
of artistic flair. There are plenty of
creative CV templates online if you
Google the search term: should you
do this there will be a wealth of choices for you to engage with which will
seem related to the job in hand like a
cartoonist putting his/her CV into the
format of a strip. This writer recently
wrote a resume for a film maker inside a film strip which looked fantastic and did not draw from the content
whatsoever but served to act as margin for it. It is generally accepted that
the creative industries allow for more
personality to show through from the
creation of CVs to what is allowed as
work wear. Use this but dont abuse
it. Eccentricity is rarely taken on for
its own sake.
Integrating features into the CV is not

that dicult. There are tools that can

help you, you just need to get hold of
Word 2007/10 as this software package will help more so than anything
else and is universally available. If
you have Adobe CS Suites to help
you, all the better, but the principles
and actions in this guide are transferable from package to package.
Put together a file of pictures that
you feel adequately sums you up in
a symbolic sense. Keep it as an adjunct to your resume file (you should
always have more than one resume
and all drafts should be kept in a
folder). Go to Google Images. If you
are a cameraman, put film camera in
the search window. Have a look at the
good selection that comes up. There
will always be a mix between illustration and picture. Illustration works
better as a watermark, but there is
the graduating tool in Word that delineates the pixels to varying eects
- play with it and see what you come
up with. The watermark function is
in the page layout tabulation. Pick
out the file and click apply. See how
it looks with the wording of your resume on top of it make a few examples. This is one creative feature that
you can use.
The other is to integrate features into
margins. This can be done with the
use of colour or not but is best to
keep the colour to no more than two
to three. In any event the print out
will not reflect your creative magnificence and will be done in black &
white. Do not make this too complex
and remember that the margins on
paper are dierent to what you will
see on the screen. Dont repeat the
same image over and over, it will look
na, but try to find some imagery
that will be both representative and
professional. Try not to make your resume into a gender specific vehicle
or a statement this is what will get
you work in the areas we are about
to go into below in some detail. The
use of bold should really only occur
for the title heading and to highlight
important roles and functions appertaining to the work applied for. When
it comes to font, try the following
away from the norm but with sucient individuality to stick out: DokChampa, Batong, Bookshelf Symbol
7, Candara, Colona MT, Fang Song, Gill
Sans MT, Goudy Old Style, High Tower, Kaiti, Levenim MT, Meiryo, Ming
Liu, Narkisim, Plantagenet, Poor Richard, Shonar Bangla, Verdana, Vrinda.

There are more to try but these are

great for the job in hand. A photo ID
is only necessary for a resume in the
acting or modelling professions. Anywhere else, no-one cares.
Content & Emphasis
Ok. There is a major debate and diversity of opinion as to whether formal qualifications go at the front or
back of a resume or CV. Back is best.
The top is for your name, contacts,
address, and the term Resume / Curriculum Vitae. Down immediately
from this is your personal statement
which should be no more than a paragraph. This is your personal log line,
the whammy. This has to brim over
with personal dynamism. It should
read correctly as to who and what
you are as opposed to what it is you
are willing to give or your heart felt
ambition. Do not whatever you do go
to loved ones for advice here. They
will not be objective, nor will your
friends. This statement need sum in
a few choice sentences what you are
thus far and what you are in the game
for doing more of. Sell your Unique
Selling
propositions
(hereafter
USPs). Here is a couple of examples
using writing, video production and
acting as skills base to go on.
Video Producer Example
Video production specialist with
over ten years experience looking
for freelance and agency work. Project management experience with
small crew on low to mid-range budget. Financially astute and commercially ware with fundraising savvy.
Well versed in digital and traditional
methodology, adept in Adobe Final
Cut pro and other editing tools. Portfolio available on request.
Writer Example
Freelance writer available for in
house or ad hoc work. All subjects
covered including heavyweight finance and legal. Hard and soft copy
literate with five years proofing and
editing work experience. DTP a speciality and advanced in all MS Office applications. Excellent standard
of English in both English usage
and American. Readily adaptable to
house style.
Acting Example
Muscular vocally dextrous 6 male
in mid-thirties available for extra/
walk on and speaking roles. Some 15
years in the business specialising in

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What the personal statement should

contain is:
(1) Years of experience
(2) Specialisms
(3) Scant top dollar work experience
in the industry
(4) Any job that related to timing and
delivery perfected to great satisfaction
(5)Technicalknowledge/special packages/software expertise & application
(6) Any other stand out material
What next is the bulleted list of
achievements and career highlights
which is not indierent to the above
but a more plentiful account of your
career plus points. These should be
nothing but achievement based. If it
is the case that you are a newcomer,
look at what you have done on a voluntary basis or transferable skills and
traits. Note any experience whilst in
your education. Put in and dont shy
away from any proven people skills,
empathy, diplomacy, calm in crisis
etc. name any positions of responsibility at school, university that made
you look in control and to be trusted/
relied upon. Start with the most recent first and work backwards. People
want to know what you are doing now
and availability. Now we look at what
it is you look for and how to approach
and eventually use it.
Meaningful 9-5
A meaningful 9-5 is a job working
within the industry but not exactly
within the creative level where you
can flex your talent muscles. This
writer has been a database manager
at a major Hollywood studio. This is
useful as there was the opportunity to
learn and know about the extent and
diversity of the television channels in
the EMEA region. This is very, very informative. It gives a great idea of potential market for any work knowing
the standard contract between studio and broadcast entity gives a kind
of knowledge at a level that I would
hitherto not have been privy to. How
all foreign language channels regard
American and British output is very
interesting. My predecessor made the
outrageous mistake of oending the
bosses by trying to use the job as a

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means to get into media junkets and

was understandably sacked for it. A
seemingly boring job for an exhibitor
will inform you as to who is watching
what and when. If you are in a retail
position in a cinema, become your
own stats manager and start writing
about modern cinema mores. Develop enviable cine literacy and talk to
the customers about their film experience.
There is nothing worse than a member of sta at a cinema who appears
not to love film. Less than useless.
Better still if you are a programmer
for a theatre where you can be in
charge of what is seen. Many grads do
this and are very adept at gauging this
form of paid 9-5 with writing up the
output of film festivals. Of course this
is hard whilst you are waiting to be
accepted onto the course or MA you
want in whatever takes your career
to the next level, but it does give you
something and the key here is not to
dis the day job. It is harder emotionally to do this if the job is not directly
or even distantly related to creative
mediums.
Non-Meaningful 9-5
A non-meaningful 9-5 is a job that
has nothing whatsoever to do with
creativity, but is purely being used
from the perspective of the employee to finance a career elsewhere. This
can be anything from being a waiter,
to an oce worker which is usually
where creatives end up as a rite of
passage and can and often do feel
threatened with dismissal as their
heart is evidently not in it. So how is
this eectively managed in the heart
and mind? Easier than is imagined.
First o, talk to your colleagues about
your hearts desire. Friends at work
can and often do find it the epitome
of cool to have someone who has the
guts to follow their dream.
It is like another world to them and
remember that most people eat and
sleep paying the rent and work is but
a facilitator. Having a courageous
person in the oce is a reflection of
the sorts of friends that these guys
want at their dinner parties. Behind
every CEO lurks the heart and mind
of a closet Poet/Philosopher/Raconteur/Film Director if only they hadnt
cashed their chips in at the starting
gate and given in to the demands of
the rat race. One boss of this writer
upon learning I had done a stint as a

REAL LIFE
STORIES OF
STRUGGLE
AND COURAGE
FROM
AROUND
THE WORLD

THIS IS OMAR, A TEENAGE

REFUGEE FROM SOMALIA.

A LIFE ON HOLD

IS A NEW FILM ABOUT

OMARS LIFE IN A REFUGEE
CAMP IN TUNISIA.
WATCH AT
AMNESTY.ORG/REFUGEES

CHILDREN OF
THE JAGUAR

AN INDIGENOUS COMMUNITY IN
THE AMAZON JUNGLE TAKE ON
THE COMBINED MIGHT OF THE
GOVERNMENT AND AN OIL
COMPANY IN ORDER TO SAVE
THEIR WAY OF LIFE AND THE
RAINFOREST THEY LIVE IN.

WATCH AT
BIT.LY/JAGUAR-TRAILER

Find out more:

avproduction@amnesty.org

52

voiceover as well as acting positions.

All accents and dialects covered in
wide ranging portfolio. Willing to relocate. Fluent in Spanish, French and
German.

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(1) Typing we are all typists now

and Microsoft Word is our common
currency. This comes in handy for
script writing, formatting of creative
material and making sure that your
speed and grammar are running in
tandem improvement and pace wise.
(2)
Time and budget management vital in the movie industry
and if you have experience of this in
a 9-5 sense, it should be on your creative CV/Resume
(3)
Team management this is
related to any work which involves
systems of negotiation. Vital now in
all creative work, but especially directing.
(4) Internal Communications every
corporation has an internal intranet
and internet. Finding out about this
and how it aliates externally and
to who is informative as to the mindset of a corporate culture. This helps
garner knowledge on association and
sponsorship, gives you some insight
as to how business relationships
work. Internal social media matters
as a word of mouth tool not that
which is posted necessarily but that
which is discussed and viewed as important. The lesson here is empathy
which will seep into your ideas.
(5)
Advertising and marketing is the same all over and if you
work for a large corporation or public
body, find their marketing department on the intranet and have a look
at their communications strategy to
see if there is anything that can be
learned. There will be.
(6)
The politics of the place
where you work is quietly informative; it will be blue printed for anywhere everywhere. All hierarchies
function on the same insecurities,
gossip, pettiness, unfairness, sycophancy and getting to grips with it all
in a place that is essentially expendable has its virtues.
Agency work

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Not literary, model or talent agency.

But Recruitment Agency these are
the folk that hold the contracts to
ad agencies that have some of the
work that is available for at least
those in visuals. They will also be the
key gatekeepers for the copywriters
amongst you who will be light/middle/heavyweight and all of this sector will no doubt have portfolios and
be self-employed. Advertising Agencies are the place to go to for your
resume building work the commercials, the safety videos, the corporate
work etcand in some instances the
pop promos.
The recruitment agent will be either
the immediate work portal and deal
with the entry level to the ad agency
or will have a consistent presence
for those taken on a short term contract. There are contractor portals for
the freelance, but these will be gone
in to in a moment. For the moment,
there is the matter of finding these
people and more importantly how to
approach them.
The best way to find the agents who
deal with agency contract work is to
make a pointed Google search. Media Recruitment Agents then geography (your city or town). There will
then come up a list of those responsible for allocating these kinds of jobs.
Make a list of all of them and then
visit each of their websites in turn to
see what kind of jobs there are under
contract that they are taking care of.
Look also at the one that is on oer.
As a rule of thumb, agency work, or
work acquired through this means
does not pay as well as work gained
as a freelance where you can charge
per hour or per non-negotiated add
on. It depends on how poor you are
relative to the worth of the job and
how much you need it. Media jobs
can be open to interpretation and
abuse due to the overwhelmingly
prevalent presumption that they are
in short supply, are glamorous and
that those in receipt of them are
lucky. True enough, the post-recession market is slim pickings but try
not to sell you short. What happens
eventually is that the market rate is
set by what folk are prepared to work
for and not their worth or the weight
of the job and skills set required.
Apply to those jobs that you have
seen advertised on the sites of the

chosen agencies, but be prepared

to be told that the jobs have already
gone: the prospect of web sites in
this area of industry being kept up to
date is slender indeed, however, approaching the work in this way gives
you a fighting chance of entering another arena for work that you would
have not been aware of. Not every
job available in the industry is posted on Mandy or other such industry
press. Besides, the numbers of people combing Mandy on a daily basis is
considerably higher than those with
this approach. What you do is keep
hold of the sites, the sorts of jobs
advertised, send in your CV/Resume
and keep a contact name. Go visit
their HQ and speak to a rep there.
Make friends with them and keep in
touch. Let them know you are alive.
Contractor Portals
The freelancers friend: Freelancer
(dot) com/People Per Hour/ifreelance/writing bids etcmany more
Google them. What you do here is
post your jobs the sorts you want
and you will be sent email alerts of
those that come in to the central portal in question. You then bid on the
basis of expected pay rate (or that offered). You can oer a link to a vimeo
portfolio or to your own website.
There are a few snags to this kind of
work acquisition. First, it inspires a
lot of down bidding between entities
(people) from all nations (including
India/Third World/Eastern Europe)
where labour costs are cheaper. This
means that a job that has or means a
level of Western understanding especially in Marketing and PR cannot
readily be done outside of its given
geographical remit, but is done and
often badly.
There is the problem of the charges
made by the portals themselves for
the job of acting as nothing more
than portal. There is an increase with
each type of job you have sent to
you so if you specialise in PR and
Writing like as not, regardless of the
vast area of crossover, you will have
to pay a subsidy on the sub areas of
work outside of the main areas of
expertise you sign up for. There are
places you can go to agents that will
advertise you as a freelance and just
take a standard bottom rate introduction fee to their client base and these
are gold if you get them. There are
those that can and do make a decent
living through contractor portals, but

54

Stand Up, proceeded to tell me his

finest jokes every day from thereon
in. Needless to say they were all
appalling and to the benefit of the
world at large, he didnt give up his
day job. In a more direct and measurable sense we can look at what is garnered in the workplace. Listed below
are transferable skills that seep into
your creative life that you can steadily tune whilst on the job. They make
a dierence without you even realising it and come in handy in areas you
would not have dreamed of.

Universal Film
Issue 4 of 2012

you have to treat the job chase as

almost as energetic as the work you
will get out of it. Give it a whirl and
see if works for you, though bear in
mind not everyone will find the results worth the journey.
Random Searches
If you isolate what and who you are
into a few bite size roles and functions - there are sites that will send
you jobs through on a daily, weekly
basis with that title in the job description and spec. The best are by
far Indeed and Rapido - sites that
know no territorial boundary. You
just put in the job term and geography and set up the email alert and
way you go. You normal bog standard
job sites will do this as well. It is useless to label them here as outside of
what has been already mentioned,
there is a national bias with each as
there is a huge amount of territory to
cover.
This writer could go on and on from
a UK perspective but that would be
useless to anyone from outside of
Blighty. The methodology matters
you have to get your head around doing something more than the obvious
to build your career and feel more
in charge. Monster, CW Jobs and Total Jobs (for the record) are brilliant
in the UK. Find those that suit by
searching for them. This writer would
be interested to know of those that
are the best elsewhere.
Networking (Social & Actual)
Go to events, be a presence, talk to
people but without being one of
those sad hangers on. Be purposeful

in your delivery of yourself in your

actual networking. The Arts is massive do not limit yourself to film. Go
to museums, fashion outings. Go to
local shindigs and find the film unit of
your local municipality get involved
in what they do. Leave calling cards.
Find the production companies in the
area and make sure they know about
you. Whatever bakes your cookies,
go to similar entities or to group outings. Some of the festivals that go on
have events that go on outside of the
festival itself and you should make
yourself a regular feature.
Find out about your local Chamber of
Commerce and get to know the most
important business folk in the area.
There will be a local film angels sector find them and network. There is
nothing as eective as making sure
that you are a known face, without
seeming or being pushy. Do stu for
charities of note. Film/write about
the dierent aspects of your particular area. A Day in the Life of Your
Local MacDonalds anything novel
and fresh. Shooting People is a great
organisation and is international.
Join.
Just how much you can reap rewards
from the use of social media is questionable. The Find Friends function
on Facebook is great if you ignore
the rule or general guideline that
you have to know the person before
requesting their friendship which
is what anyone and everyone does.
On a social level, Facebook is an art
to be learned. There are those that
are close friends and adding to this
works on a Pyramid system which is

what it all is and how it moves and

shakes. This in itself does not generate anything, but Facebook has just
been floated at $60billion. The reason being is its marketing value as
knowing how its members think and
what they like. If this had no mileage
whatsoever, there would be no value
at all in a mass chat entity which was
always at heart a tool for showing o.
Both Facebook and LinkedIn are trying to function as viable B2B tools
and to an extent they do fulfil this
function successfully. Have a look
though at the Facebook presences
that has reached their max on the
friends front. Arent they just always
the epitome of cool? Yes. Are they financially successful and household
names? Maybe not.
Not all Facebook fame translates into
being a star. It does get your name
about a bit though if used ruthlessly. LinkedIn and Facebook should be
used as resource banks of contacts
that you can tell about your manoeuvrings as and when and add then to
your email list for your site updates.
Though you should really be thinking about what you have to oer as
well as what you can reap from your
friends. Dont fill their lives and inboxes with meaningless smoke. Tell
them things that they are likely to
want to know about.
This knits nicely to the topic of the
next work which is to build your career and turn yourself into your own
brand without really trying.
Gail Spencer

55

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56

Issue 4 of 2012

Universal Film
Issue 4 of 2012

ron gilbert

0th Outfest Film Festival is Triumphant and Proud

I must honestly say that this is the

happiest film festival in Los Angeles. I
should tell executive director, Kirsten
Schaer, to rename it, The Happy film
festival from all the smiling faces of the
packed audiences and participants.Everyone is in the happiest frame of mind
to be there which translates into the real
meaning of the wordGay.
This year they hit the pinnacle of their
success in my opinion.The opening night
film Vito was the most perfect and
touching film to present and along with
the 16th Annual Achievement Award
recipient ,John Waters.Ricki Lake( his
former Hairspray starlet) introduced
him ,but John needs no introduction.In
his acceptance speech,he said that Gay
people are my Saints and you could feel
the bolt of love and emotion with those
words,after that quote.Divine must have
been smiling down on him from above.In
his closing he said Im tired of being an
outsider and his plan is to be an insideran outlaw. John has always been an insider to all of us in the film industry.
Director Jerey Schwarzs documen-

Actor, producer and journalist Ron Gilbert ..

column

tary film Vito comes at a perfect time

because the issues discussed still exist
,but not so much in the open.Vito Russo
was a hero and makes all of us proud to
have known him.For those of you who
havent ,you should read The Celluloid
Closet and see how the atmosphere has
changed for the better in some ways but
not all. Stars are still reluctant to come
out and those who did recently like Anderson Cooper, make us proud.
In the documentary we are shown how
Vito discovered his voice as a gay activist
and critic of how LGBT was presented in
the media. His passion for justice continued through the AIDS crisis and resulted
in ACT UP. His memory will be in our
hearts forever.
Programming director,Kim Yutani and
her sta have made excellent choices on
the lists of films in the fest.This year Kim
went above and beyond in her passion to
find the films in the schedule.
There are so many to list and I will see
as many as I can . On Saturday I was fortunate so see Love Free or Die,Sassy
Pants and Beauty. Each film was so
dierent and you were able to reflect on
them at the after party .Director Macky

Alstons film Love Free or Die won

The 2012 Sundance Special Jury Prize
for Agent of Change,director Oliver Hermanus film ,Beauty won the Queer
Palme dOr at the Cannes Film Festival
and director Coley Sohns Sassy Pants
was her feature debut. In Coleys film ,
the lead character(Bethany)portrayed
by Ashley Rickards about a young girl
finding her way and wanting to be a
fashion designer had you both laughing
and crying with a perfect choice of music to complement whatever you were
feeling.Haley Joel Osment as her dads
boyfriend was a hoot.After the screening
,Coley was a true spark plug full of energy discussing back story and her own
personal life.As of this moment,this film
was my audience award favorite. More
on the way later.
The Outfest film festival will continue
until June 22 you must do yourself a big
favor along with your friends to come on
down.Most screenings will be at the DGA
but check out the schedule for more info
call 213-480-7065 or check out the
website.
www.outfest.org

57

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Universal Film
Issue 4 of 2012

Mad Frankie Fraser

A new docudrama on Britains most
prolific killer, Mad Frankie Fraser. He
is reputed to have killed 40 people,
been certified insane 3 times and
spent 42 years in prison.
The DVD is now available

www.ufmag.org

58

www.madfrankiefraser.com

Universal Film
Issue 4 of 2012

ZOE MOON ASTROLOGY JUNE MONTHLY FORECAST 2012

ARIES

TARUS

GEMINI

You may be celebrating or wrapping

things up with friends, groups, the internet, astrology, or charities on the 1st. Kids,
creative projects and love move forward
again from the 7th or 8th and new doors
open in these areas from the 17th forward.
You should be able to reach your goals or
end things with the hospital, prison, addiction, film, music, art project, clandestine
affair, retreat, research, investigation, or
spiritual pursuit by the 31st

Career matters, ambitions, goals, fame,

and matters involving authority figures,
bosses or dad reach a peak on the 1st as
you celebrate achievements or mark
endings. Home interests, moves, real
estate deals, roommate or family situations, moms interests, or security needs
begin to move forward again from the 7th
or 8th and you get a New Moon beginning
to seed fresh starts here from the 17th
onward. Mark the last day of the month
for big celebrations or wrapping things up
with friends, groups, the internet, astrology, or charities, social occasions, networking, or aspirations.

The media, publishing, marketing, travel,

legal, ceremonial, or educational interests
peaks on the 1st in celebration, achievement or endings. Agreements, writing
projects, sibling or neighbor issues, moves,
vehicle or electronic interests, meetings,
talks, ideas, and decisions begin to move
ahead again on the 7th or 8th. The New
Moon in these same areas gives you two
strong weeks to seed new ideas, agreements, meetings, or decisions from the
17th onward. You can purchase that
vehicle or electronic now or start over with
siblings or neighbors. Career heights
occur by the 31st as you reach a new level,
see fame or the spotlight upon you, or hit
a high note with bosses, authority figures
or dad.

FOLLOW ZOE ON TWITTER: HTTP://TWITTER.COM/ZOEMOON

LIBRA
SCORPIO
SAGITTARIUS
The month kicks off with big moments
involving kids, creative projects or true
love so get ready to celebrate or wrap
things up. If you have been revisiting past
issues or reworking things with friends,
groups, the internet, astrology, or charities,
these areas begin to move ahead again
from the 7th or 8th. You get a New Moon
here on the 17th so seed new ventures or
meet new connections in the 2 weeks that
follow. Celebrations and achievements as
well as endings focus on home, moves,
real estate, family, roommates, and security needs by months end.

Things reach a peak at home, with a move,

renovation, real estate deal, family, mom,
or security needs on the 1st. Wrap things
up or celebrate the moment. Career goals,
ambitions, fame, leadership, and dealing
with bosses, dad, or authority figures has
been in a bit of a backwards trend, on the
7th or 8th these areas begin to move
forward again and by the 17th you get a
New Moon and fresh starts in the 2 weeks
that follow. A love, child or creative pursuit
hits a high point by the months end, prepare to celebrate or wrap things up.

You hit a high point with a writing project,

agreement, meeting, talk, sibling,
neighbor, move, vehicle, electronic, or
decision on the 1st. You may be celebrating or wrapping things up here. If youve
felt stuck or moving backwards where
travel, media, publishing, marketing, education, ceremonies, or legal interests were
concerned, these being to open back up
on the 7th or 8th and you will get real
momentum behind new endeavors in
these areas from the 17th onward. Expect
something big to culminate at home, with
a move, real estate deal, family matter,
roommate, or mom by months end in
celebration or endings..

59

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Universal Film
Issue 4 of 2012

ZOEMOONASTROLOGY@GMAIL.COM OR CALL 818-613-6067

LEO
VIRGO
CANCER
A sexual attraction or issue, divorce or big
financial matter hits a peak on the 1st so
expect that you will be celebrating or
wrapping things up now. Any slow-downs
or past issues involving income ease up on
the 7th or 8th and you can see that money
matters are now starting to flow again.
You get a New Moon in this area on the
17th so mark the two weeks that follow as
your best time to seed new money making
ventures. A big publishing, marketing,
media, travel, educational, legal, or ceremonial matter is celebrated or wrapped
up by months end.

The month opens with celebrations, achievements or endings involving partners,

agents, attorneys, specialist, competitors,
or opponents. If you have been backtracking on personal, image, identity, or physical interests or feel like you have been
slowed down, that shifts on the 7th or 8th
and forward you go. Start new image
changes, identities, or personal and physical goals from the 17th onward. By the end
of the month you will have reached
another level with a sexual attraction or
issue, divorce matter, loan, settlement,
inheritance, insurance policy, tax situation,
alimony or child support, commission,
royalty, or partners financial situation.

Celebrate the high point the opens this

month in work, with co-workers,
employees, with health, or animals. You
have reached a goal or are wrapping
things up here. Hospital or prison matters,
addictions, secret love affairs, film, music
or other artistic projects, spiritual pursuits,
research, or investigations will finally shift
direction and begin to move ahead from
the 7th or 8th. New beginnings in these
areas can be initiated in earnest from the
17th onward. A peak moment comes by
the 31st with a partner, agent, attorney,
specialist, or competitor as you achieve
goals, celebrate or end things.

FACEBOOK: HTTP://FACEBOOK.COM/ZOEMOONASTROLOGY
PISCES
CAPRICORN
AQUARIUS

www.ufmag.org

August opens with a lot of focus on something big happening with you. This could
be about your image or some new look
you are achieving, identity peaks in the
range of a marriage or doctorate, some
physical goal you reach now, or a personal
desire you have coming to fruition. If you
have been dealing with reversals or slowdowns with romantic or business partners,
agents, attorneys, specialists, competitors,
or opponents, these shift by the 7th or 8th
with new beginnings opening up from the
17th onward. Expect earnings to peak
around the end of the month as you celebrate a big paycheck or wrap things up
with one source of income.

The hospital or other institutional matter,

film, music or other art interest, spiritual
pursuit, clandestine affair, or addiction, is
going to peak as the month opens. You
will be celebrating achievements or wrapping things up here. New work prospects
open up on the 17th and in the 2 weeks
after which should be good news after all
the slow-downs or past issues here. The
same goes for any health matters or pets
needs. You should see things begin to
pick up speed as soon as the 7th or 8th.
You reach your personal high on the 31st
this year as the Full Moon in your sign
helps you celebrate your achievements
and reach goals that are close to your heart
or physically important.

60

Income concerns or rewards hit a peak

moment around the 1st to open August
with plenty to celebrate on the monetary
front or the need to wrap things up and
get it in gear for the next chapter of earning. You may have had to wait on an
investment, settlement, insurance or tax
matter, alimony or child support payment,
inheritance, bankruptcy, commission,
royalty, or other outside resource, or you
may have been back paddling with a
divorce, reproductive or sexual issue, or a
sexual attraction but come the 7th or 8th
you will see these interests begin to move
ahead again with fresh starts in the 2 week
period that begins on the 17th. Expect big
talks, agreements, meetings, decisions,
short trips, sibling issues, moves, writing
projects, or ideas to hit a high point at
months end.

Universal Film
Issue 4 of 2012

inside the perfect circle

the odysse of joel thome

nside the Perfect Circle: The Odyssey of Joel Thome, a multi-award

winning music documentary inspires audiences as it explores the life
and work of Grammy Award Winner and
Pulitzer Prize nominee Joel Thome. After suering what could have been a
career-ending stroke in 1998, Thome
used the power of music as a means of
healing. With the aid of noted neurologist Dr. Oliver Sacks at the Institute for
Music and Neurological Function Thome
returned to the stage in 2009.

Joel Thome had already won a Grammy

for his work with Frank Zappa. He had
already conducted at Carnegie Hall,
Groupe Litinraire in Paris, and in Israel.
He had already written a composition for
the Guggenheim Museum that required
Red Grooms to play the curtains. He
had already founded his own orchestra,
Orchestra of Our Time. He had already
chaired the music department at Carnegie Mellon University and composed
the score for Pablo Picassos play. And
yet his stroke became a metaphor for his
growing dissatisfaction with traditional
music forms. Ultimately on that day in
1998, the stroke that Joel Thome suffered turned out to be a stroke of genius.

by Alison Ross

heart as the brilliant Scorchio Quartet

performs Thomes unique and modern
mandala music.
The film is a visual and auditory meditation, a story of triumph, of love, of
dedication. It is a universal film blending eastern and western philosophies. It
showcases the inspiring true story of how
conductor/composer Thome chose life,
love and music over suering, highlighting how he broke down the barriers that
confined musical notation before him.
Thome is a composer before his time,
influenced by the work of Sri Aurobindo,
specifically the tale of Savitri, a symbolic
myth of love conquering death. Thome
too used love to conquer the possibility
of a death of his music, his life force. He
pushed through the physical constraints
brought about from the stroke that he
faced as a conductor and the musical
constraints he observed from traditional
music notation as a composer, he broke
down any and all barriers. As Thome
says, The mind is healer, music is messenger, and in so realizing he went on to
triumph over all limitations.

of most commonly as an eastern symbol,

the circle is in reality a universal symbol
that transcends cultural boundaries. The
circle having no beginning and no end
being complete and eternal represents
many things but above all it is a symbol
of unity.
This entirely self-funded documentary
includes an assemblage of live concert
footage, rehearsal footage, interviews
with musicians, colleagues, performers, archival videos, and so much more.
Since being on the film festival circuit,
the documentary has received major accolades including the likes of:
Winner BEST SHORT DOCUMENTARY
FILM New Jersey Film Festival
Winner AUDIENCE AWARD DocMiami
International Film Festival
Winner INDIE AWARD feature documentary The Indie Fest, San Diego
Winner BEST MUSIC DOCUMENTARY
Philadelphia Independent Film Festival
Finalist MOST INSPIRATIONAL DOCUMENTARY DocMiami International Film
Festival
And the list goes on

Award winning independent film director/producer Chris Pepino captures Your Chance to complete the perfect cirthe vision of sound in an extraordinar- cle:
Every film has a score, but for this film ily divine manner with a meditative
and composer, traditional methodolo- soundtrack, abstract mandala paintings This documentary is 100% complete,
gies in compositional form were stifling. by artist Harry C. Doolittle swelling in however in order to distribute the film
To capture the infinite variety of transfor- the background in perfect sync with the or broadcast it, the production company,
mation, in both life and in music, Thome live concert, and Thome conducting this True Form Pictures, still needs to raise
created a new format for notation, his living, dynamic and transcendental mod- the rest of the funds for licensing fees.
graphically drawn mandala scores. This ern masterpiece, the audience is taken This is a story that touches all those who
documentary captures the dual trans- on a sublime journey through new and see and hear the healing power within
formation in life and in music that was unchartered territory. According to Pe- it. If you are interested in making a doand is Joel Thome. We see first hand the pino, the perfecect circle has dual sym- nation please visit the following link for
further information
power and triumph as Thome returns to bolism in the film, asThomes life and Normski
Andersonand to watch the
the stage with his mandalas at the Ru- career is shown coming full circle with documentary trailer: www.insidetheperbin Museum of Art in New York City. The this return to conducting, the circular fectcircle.com
Though PAOLA
mandalas
are thought
soundtrack plucks at the strings of TYRONE
the Mandala.
D MURPHY,
BERTA,
JON DEVO

61

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f

Universal Film
Issue 4 of 2012

The great content shift the demand for content anytime,

anywhere has set in motion a kaleidoscope of innite consumption
options with unlimited business models. But only if you shift focus and
work with the right players. Broader-casting professionals are leading
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that moves forward with or without you. Register now!

CONFERENCES April 1419, 2012 EXHIBITS April 16 19

Las Vegas Convention Center, Las Vegas, Nevada USA

Natasha Goulden
www.ufmag.org

62

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