Born into a tight-knit wrestling family, Paige and her brother Zak are ecstatic when they get the once-in-a-lifetime opportunity to try out for the WWE. But when only Paige earns a spot in the competitive training program, she must leave her loved ones behind and face this new cutthroat world alone. Paige’s journey pushes her to dig deep and ultimately prove to the world that what makes her different is the very thing that can make her a star. KIDS FIRST! Adult Reviewer Kimbirly O. comments, ” When I heard about this film, I thought, “What a crazy title!” Well, it is not so crazy; it is enchanting.” See her full review below.
Fighting With My Family By Kimbirly O., KIDS FIRST! Adult Juror
When I heard about this film, I thought, “What a crazy
title!” Well, it is not so crazy; it is enchanting. This film is based on a
true story and follows the antics of a former wrestler and his family, as they
make a living wrestling in small venues in northern England. The family is in the
business, and the kids dream of making it in big in the WWE (World Wrestling
Entertainment).
While wrestling is not my jam and the film is slow at times,
it captured my heart with big family values – life lessons about believing in
oneself and each member of one’s family. The sibling wrestlers Saraya (Florence
Pugh) and Zak Knight (Jack Lowden) have trained for the big stage of wrestling
since they were young. In fact, Zak reminds us that this was his dream since he
was three. When they get the call from a WWE scout named Hutch (Vince Vaughn),
it is a dream come true. On the other hand, is it?
Florence Pugh is fantastic and I cheered for her throughout
the film. Her family brings a lot of comedy and grit to their roles. Dwayne
“The Rock” Johnson is in all the trailers and has some key scenes. He will
definitely help sell tickets! It is great to see Vince Vaughn in a positive and
upbeat role.
I give this film 3 out of 5 stars and recommend it for ages 8
to 18, as well as adults. The stunts are detailed and outstanding. The
choreography is flawless. The casting is great. The costumes are authentic and
there are many laugh-out-loud lines. You do not have to be clan of grapplers in
Norwich, England to like this film! The film
screened at the 2019 Sundance Film Festival and opens in theaters nationwide February
22, 2019. Look for it!
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Shining A Spotlight on Women in Literature and Hollywood Hosted by 72andSunny & LAI Communications
The 2nd Annual Black History Month celebration once again shines a spotlight on women and girls of color in Hollywood and media using literature as its entry point. The evening featured dramatic readings from the works by New York Times best-selling authors, Virginia DeBerry and Donna Grant, along with the newest release of the novel, Blurred Lines, by Courtney Parker and Mona Scott Young. An empowering panel discussion followed on the current state of women of color in Hollywood and media. The panel also highlighted recent research studies by Baylor University as well as Creative Artists Agency and shift7. The former study found that movies starring women of color had strong staying power (which equals profitability) in movie theaters on an average of 20 weeks. The latter study looked at movies, from 2014 to 2017, and found that films with female leads earned more than their male-led counterparts. With all of the great successes and progress for women in 2018, there is still more work to do. We “Gotta Keep on Tryin!”
Moderator: Madeline Di Nonno, CEO, Geena Davis Institute on Gender in Media; Panelist: Yolanda Brinkley, Founder, Diversity in Cannes; Kellee Edwards, Travel Expert & Television Host; Sharon Liggins, PR Strategist; Tyrha M. Lindsey-Warren, PhD/MBA, Business Executive, Artist, Entrepreneur; Courtney Parker, VP Alternative Programming, Adaptive Studios and Co-author, Blurred Lines; Actors: Joni Bovill, Napiera Groves, Benita Krista Nall, Fredericka Meek
Gotta Keep On Tryin’! By Samantha Marcus, KIDS FIRST! Film Critic, Age 19
I absolutely loved attending the stage reading and panel
discussion about gender in media. It left me feeling empowered, driven and
motivated. While there aren’t as many women in media as there are men, we can
change that. After hearing about five successful women finding their voices and
making a difference in the world, I can’t wait to do the same.
Hosted by the Geena Davis Institute on Gender in Media, this
event highlighted the dynamics of gender in media, shining an immense spotlight
on women of color in literature and Hollywood.
Women of different races, backgrounds and lifestyles gathered to view stage
readings from two pivotal novels: Gotta Keep On Tryin’! by Virginia Deberry and Donna Grant, and Blurred
Lines by Mona-Scott Young and Courtney Parker. Both novels illuminate the power
of women and recognize how women need to be a driving force in changing the way
they are represented in society today. The panel discussed their career paths
and struggles within our ever-growing and diverse society
The panel consisted of Yolanda Brinkley, Keller Edwards, Sharon
Liggins, Dr. Tyrha Warren and Courtney Parker. Each woman emphasized how never
giving up is imperative in making your dreams come true. I admire how Courtney
Parker, co-author of Blurred Lines, personalized her writing passions by
sharing how she questioned Goldilocks and the Three Bears, when she was only
four years old. Kellee Edwards developed her own show Travel Channel after she
filmed herself traveling the world on YouTube.
My favorite part was meeting Geena Davis. She is such an inspiration to me and she was so happy to take a picture with me. I aspire to be like her when I grow up. The message of this event is to find your voice. It wasn’t easy for these women, but once they did, nothing was impossible. This event was appropriate for ages 13 to 18, as well as adults. Teenage years are divine in a young woman’s life, so make the most of them. To learn more about the Geena Davis Foundation, become a member and attend their monthly events, go to www.seejane.org. To all the young women reading this, promise me you’ll let nothing stop you. If men can do it, so can we!
Tryin’ to Sleep in the Bed You Made Shining A Spotlight on Women in Literature and Hollywood By Jordan M., KIDS FIRST! Film Critic, Age 12
On February 20, the Geena Davis Institute on Gender
in Media hosted a See Jane Salon celebrating the 20th anniversary of Tryin’ to Sleep in the Bed You Made by
New York Times best-selling authors Virginia Berry and Donna Grant. Held in
honor of Black History Month, the event was a lively discussion about the state
of people of color in media.
Founded by Academy-Award winning actor Geena Davis, the Institute is a research-based organization in the media and entertainment industry focused on eliminating bias, highlighting gender balance and challenging stereotypes.
The event featured dramatic readings from some of
the authors’ most popular books including Tryin’
to Sleep in the Bed You Made, Gotta Keep on Trying, What Doesn’t Kill You and Far from the Tree. Readings featured actors Roseanne Currry,
Magaly Coleman, Lisa Wilkerson and Harry Lennix.
Each of the performances took the audience through a
range of topics from friendships to a troubled marriage to young womanhood.
Some of the scenes were humorous and others were more traumatic and emotional.
It was interesting to see all of the books portrayed live, a much different
experience than just reading them. It was like watching a play in action with each
book a different scene.
The readings were followed by a panel discussion on the state of people of color in the media. The panel was moderated by Madeline Di Nonno, CEO of the Geena Davis Institute on Gender in Media. Madeline kicked off the discussion by asking each of the panelists to share their journey to success, including challenges, and then provide advice for breaking into the industry and share their thoughts on where media is now. It was a lively discussion filled with humor and honesty.
Authors Virginia DeBerry and Donna Grant shared their journey to becoming best-selling authors and the challenges of breaking into the literary industry as women of color. They discussed their journey from meeting as plus size models in the fashion industry, to becoming best-selling authors. Tyrha Lindsey-Warren discussed her experience working in television and film development with the Creative Artists Agency and Edmonds Entertainment. Actor Harry Lennix, currently on NBC’s hit show The Blacklist, discussed his process to becoming a successful actor from stage to screen. He noted that in order to become an actor, you need to study the work of those that you admire. Entrepreneur Yolanda Brinkley, discussed founding Beyond Borders: Diversity in Cannes. The goal of her program is to highlight diversity in independent film at the international festival each year. Yolanda discussed the importance of people of color in Hollywood having a seat at the table. Because Beyond Borders is not yet an official part of the festival, Yolanda stressed pushing hard to advocate for what you are passionate about doing. She is still striving to make it an official event, but shared how she works to reach out to actors and filmmakers of color to get the word out and the event is growing each year.
Talking with
author Virgina DeBerry about the direction of women and people of color in the
media, DeBerry stated “We need to continue to get better representation,
especially for women in the media. We are so interesting and have so many
facets and the media tends to pigeon hole people. We need to be able to break
out of the slot and show all that we have to offer.”
The event and the panel discussion was inspiring. It
was good for the audience members to not only hear the journeys of the
panelists, but get their advice on how to begin journeys of their own.
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With a new generation of critically acclaimed genre films making
big bucks and becoming indispensable internet memes, ever wonder why certain
movies just seem to keep you on the edge of your seat more than others? The
final night of the 2019 DCU features a crack team of cutting-edge midnight
movie mavericks, whose collected works have shocked and thrilled millions of
audience members the world over.
Director’s Close Up: Thrill Seekers: Directing Dynamic Genres By Gerry O., KIDS FIRST! Film Critic, Age 16
In the cloudy
evening of February 27, 2019, Film Independent hosted the final panel of their
month-long event, Director’s Close-Up. The event featured many directors in the
horror genre such as Fade Alvarez (writer/director, The Girl in the Spider’s
Web, Don’t Breathe), Drew Dowdle
(writer/producer, Waco, Quarantine), John Eric Dowdle (writer/director, Waco, Quarantine),
Aaron Katz (writer/director, Gemini,
Land Ho!) and Daniel Stamm
(director, Fear the Walking Dead, The Last Exorcism). The panel was
moderated by Scott Mantz (film critic, Collider).
These filmmakers
had no interest in monsters, giant bugs, ghosts, or ghouls. They all wished to
invest their time into a much deeper side of terror. Alvarez’s Don’t Breathe
made the audience afraid to move or make a sound. Drew and John Dowdle’s As
Above causes viewers to feel claustrophobic, struggling to breathe and
wishing for more room. While it may seem simple to terrify an audience, Stamm pointed out a fundamental crux
of horror filmmaking:
There is only a finite amount of methods to scare someone, causing a
completely brand-new concept in horror to be a rare sight.
Horror has also
been the place for many directors with smaller budgets to undertake. Drew and
John attempt to make their film like a business for investors. They illustrate
a detailed step-by-step plan that allows the film to have high chances of
making a profit. Their strategy gives investors a clear end goal, motivating
them to contribute to the film. They did add though, that a smaller budget can
perhaps make a film even more terrifying, since the crew cannot afford to
actually show what causes the fear. Merely hinting at the presence of something
can greatly increase the intensity. Katz
thought that dealing with a low-budget properly can make the film even more
exciting and Stamm believed
that a micro-budget and no budget gives you true creative freedom to do what
you wish instead of running after investors. After receiving funding, all
filmmakers go through a lengthy period of pre-production, but the exact details
of what should occur in pre-production differed between panelists.
Alvarez personally
only does storyboards if it works for the crew, such as a car crash that
requires careful planning and coordination. The Dowdles similarly both opt to
do them, depending on what the scene has
and they also added that they only show storyboards to department heads. Showing
it to all the crew can lead to confusion if the director decides to skip or
modify a shot. Katz prefers a
different method entirely – overheads of the scene. He likes to go to the
location where filming is taking place and see how the different shots of the
scene work with each other. After planning and filming a movie, a filmmaker
must now complete the tedious process of editing the project.
While most consider
the film to be fully put together in the editing room, Alvarez believes that
editing can only do so much. Production and pre-production make the film. No
amount of editing can drastically raise the quality of the film. Drew Dowdle believes three films are being
made – one in pre-production,
one in production and one in post-production. Drew and John Dowdle added that
you cannot begin to think about sound design until the editing room. In horror,
sound makes up at least 50% of the quality of a movie. Alvarez’s Don’t
Breathe and the year-old A Quiet Place by John Krasinski demonstrate the power of
sound. In both films, the audience becomes terrified of every noise that comes from
the screen. But this amount of intensity and fear only exists with masterful
sound design and editing.
The panel added
some important lessons for all filmmakers. Drew and John Dowdle stated that, “as
a filmmaker, you cannot work on a film focusing on making money back, but must focus
on the craft of cinema itself.” Stamm
added the important lesson that many indie and new filmmakers attempt to make a
movie look as close to “Hollywood style” as
possible. In truth, good films are those that stand out and look different from
the norm. The panel showcased the intricate art involved in causing fear in
movies and the many lessons to learn when trying to create a film.
Film Independent’s Director’s
Close Up series, as a whole, truly showcases the deep complexities of
being the director of a film and how much goes into making each film we enjoy
on the screen.
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At this year’s perennial favorite, 2019 Spirit Award-nominated directors
discuss their craft, their journeys as artists and the ways in which they have
been able to balance their artistic integrity while making movies that resonate
with audiences.
Director’s Close Up Independent Spirit: A Director’s Roundtable By Gerry O., KIDS FIRST! Film Critic, Age 16
The grand gem of Film Independent’s Annual Director’s Close
Up event is “The Independent Spirit: A Director’s Roundtable.” Hosted by
Film Independent President John Welsh, this year the panel featured premiere
directors from the industry including Bo Burnham, Debra Granik, Barry Jenkins,
Tamara Jenkins, Boots Riley and Paul Schrader. The six highlight the modern
world of moviemaking and how it is transforming for the next generation of
directors.
The panel began by discussing the image and color of the
film. All six directors mastered color and style in their films into something unique for each of them. Paul Schrader
discussed how technology has improved so much to allow for a colorful, crisp,
modern look of cinema with tablets and apps allowing cinematographers more
opportunities in the light set up than ever before. Barry Jenkins shared just
how many options filmmakers have now with modern cameras. He discussed how in Moonlight
they reprogrammed the way the cameras processed color, in order to better
reflect darker skin. Debra Granik discussed how modern cameras’ ability to read
green color better allowed her to capture the forest beautifully in her film,
Leave No Trace. Schrader also shared a story from the making of Star War:s
Episode 1, where Liam Neeson and George Lucas disagreed on how a role
should be played. When Neeson refused to do what Lucas wanted, Lucas simply
changed Neeson’s face in post!
Boots Riley and Paul Schrader both discussed their
experiences in taking inspiration from other films, with one example of Riley using
inspiration from one of Shrader’s films. This fact demonstrates an important
key aspect in cinema. It is collaborative, not competitive. Filmmakers can take
from each other’s ideas and build their own unique strategies.
The panel also debated heavily on the concept of rehearsals before filming. Paul Schrader was adamant about the cruciality of rehearsals stating, “It is for the director, not the actor.” Schrader discussed how it allows for the story to be rewritten, dialogue tested, interactions perfected and more. He believes that a director should not test things or figure things out on the day of shooting. Burnham disagreed. In his directorial debut, 8th Grade, he only rehearsed the daughter and father and left the rest to be done fully and openly. This strategy, coined the “Bo Burnham approach,” was supported by Barry Jenkins as well. While Jenkins did table reads that led to changes in the script, he, like Burnham, likes letting the actors explore the role in front of the camera. Tamara Jenkins had a different take on rehearsals. In her film Private Life, Tamara’s story revolves around a couple and, in order to get the actors to get along as a couple might, she simply made them do chores that a married couple would typically do, in order to get them to bond. In 8th Grade, Burnham had the challenge of portraying kids realistically and he discussed how it often isn’t the child actor’s fault for an unrealistic representation, but simply poorly written dialogue. All panelists agreed that each actor has requirements and strategies unique to themselves.
One of the most interesting parts of this panel was when
each member delved into the philosophical side of their films and filmmaking as
a whole. Barry Jenkins described how literature and film differ. Literature
forces the brain to imagine all the senses, while film only connects to the
visual and auditory. So, when trying to make powerful emotional scenes, Jenkins
had to carefully structure the elements of his scenes to evoke emotions. Burnham
discussed the connection we have to the Internet and how it is developing as
years go by. He shared how he wished to capture our relationship we share with
the Internet behemoth in his film, 8th Grade, as Bo felt that no film
had truly captured the Internet and how we interact with it. One of the most
powerful things he discussed was the times we use the Internet in the late
evening before going to sleep. We always have a choice. We can close our
eyelids, or we can open up our phone to the totality of human knowledge. “It is
infinity or oblivion,” he explained. Panels like these show just how filmmaking
has changed and adapted to new technology and artistic styles. Film, like all
other arts, goes through a constant transformation and these six panelists are
only one of the thousands of filmmakers all around the world finding new and
innovative ways to express themselves and tell stories. Paul Schrader said it
best, “a script is not literature – it is an oral tradition.”
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This has been
a stellar year for documentary film. From fresh new voices telling compelling
personal stories to veterans who continue to push the boundaries of
storytelling, the form continues to evolve and grow into an exciting canvas for
filmmakers to represent the world we live in. Join us as we discuss many of the
questions and challenges inherent to nonfiction films, with the directors
behind some of the most acclaimed documentaries of the year. They’ll explore
how they go beyond letting reality unspool on screen to carefully crafting
narratives that bring us closer to the truth.
Director’s Close-Up: Another Type of Narrative: The Truth of Docs By Gerry Orz, KIDS FIRST! Film Critic, age 16
In the world of cinema, there is a division between jobs,
between mediums and between genres. Yet, no bigger division exists than that
between the world of fictional films and the world of documentaries. The third
week of Director’s Close Up examined the documentary world by creating a panel
of some of the most premier documentarians of the last year. It featured Alexandria
Bombach (director; On Her Shoulders, Frame By Frame); Talal Derki (director; Of Fathers and Sons, The Return to Homs); Bing Liu (director, Minding the Gap); Morgan Neville (director; Won’t You Be My Neighbor?, 20 Feet from Stardom); Sandi Tan (writer/director, Shirkers) and was moderated by Lisa Leeman (director; One Lucky Elephant, Out of Faith)
Each documentary had its own unique challenges. Alexandria’s documentary is about Nadia Murad, a victim of
sexual violence that was abducted by ISIS. The
story had to carefully tell her story and discuss her career without
victimizing the heroine and making her relive the nightmarish experiences that
she suffered. Talal perhaps had the most dangerous experience where he gained
the trust to follow a radical Islamic family for two years. Bing’s journey to
make his documentary was brave and complex as he examines three friends living
in volatile families in a small rust-belt town. Morgan, a highly seasoned and
Oscar award-winning documentarian took up the challenge of telling the story of
Fred Rogers and revealing the depth of what everyone assumed was a simple two-dimensional
TV personality. Lastly, Sandi chronicles the discovery of 16mm tapes for a film she made over two
decades ago, that were stolen by the film’s director and her journey of
reconnecting with old friends.
Talal told
many stories of his experiences portraying the level of dedication he had to
his project. He talked about how he had to delete photos from social media and
go on pro-jihadist syndicates in order to seem supportive of radical Islam.
This sacrificed many friends, but he succeeded. His troubles did not end there
though. He explained that he could never have too much cash on him out of fear
of being kidnapped, and had to cut his stay in dangerous territory after he
learned that bloodthirsty leaders began hearing about him and his filmmaking.
During the entire project, it was simply him alone in very dangerous zones with
a camera. He had no crew, no backup and no friends in the foreign land. His
journey is a prime example of the levels of danger and dedication a
documentarian needs to have in order to get the access to material needed to
make the film.
Many of the
panelists discussed changes they made in the process of creating their films. Neither
Bing nor Sandi planned on being in their own films, until very late in the
production process, with Sandi having to use every second of footage of her
available. Bing’s film features skateboarding often and he discussed his style
of filming skateboarders, where he keeps the camera at eye-level, causing the
focus to be on the skaters and their emotions instead of on the footwork and
the skateboard. Morgan stated the importance of sound in Won’t You Be
My Neighbor?, due to how meaningful music was to Fred Rogers. He also
discussed the editing process and how to establish a certain mood, flow and
style. He explained that “The Instructions for the film you are making are in
the film you’re making.” Morgan also discussed how he wished to show the
concept of nature leading to harmony and, at first wished to include many
nature shots, but ended up deciding on one simple shot of a bird at the
beginning to communicate his message. Their stories demonstrate so clearly just
how much a documentary can change and how many elements must be considered in
the filmmaking and editing process.
These five
creators opened the eyes of the audience to the remarkable art form of the documentary.
By bringing together such a varied group of filmmakers, Film Independent was
able to show that, not only is each documentarian unique in their craft and the
story they choose to tell, but also how unique their challenges are. Talal, in
the Middle East had very different challenges from Sandi or Alexandria. It also shows how any scale of a
story can be eye-opening. Alexandria’s
story about Nadia should be listened to by all equally to Morgan’s story on
Fred Rogers. The most captivating films are not ones of mass proportion, but –
just as this panel demonstrated – are ones that are real, emotional, relatable
and natural.
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While the first week of Director’s Close Up featured the beautiful web of
relationships between actor and director, the second week takes a look at much earlier process
in a film’s production: the writer and director. The event included Jane Anderson (writer, The
Wife, Olive Kitteridge) and Billy Ray (writer, Captain Philips, co-writer,
The Hunger Games) as well as moderation by Robin Swicord (writer/director, Wakefield, writer,
The Curious Case of Benjamin Button). All three have both
directing and writing experience and shared with the audience on how to best
form a strong partnership between two of the most conflicted roles in the film
industry.
Most known is the tension that exists between
the writer and the director.
Billy compared it to a track race. He related the writer to be the first on the
track. You write your script and you finish the lap around the track and then
hand it off to the next runner. The next runner starts running their lap and
the success of the game falls in their hands instead of yours. A film shares
many similarities – the writer runs first, the director runs second. This act of
trusting another with a developed piece of art such as a script can lead to
great conflict and tension or a great success.
Billy and Jane also shared strategies they use
such as encouraging the director they’re
working with to help them with parts of the script in order to build a solid
foundation of trust. They also explained that, at the end of it though, the
writer must give the reins of control over to the director and let them fly with the
film themselves.
Both Billy and Jane shared their experiences
with this. On Captain Philips, director Paul Greengrass and Billy
had many different arguments and fights. Billy explained that he originally
wished for the Captain’s wife to be part of the story. Paul disagreed and also
wished for the Pentagon to have a side story, as they attempt to organize a
rescue, much to Billy’s protest. Billy explained that it was Tom Hanks (Captain
Philips) who told them both that the story should never leave the ship that
Philips was on. This led to the Captain Philips we know today.
Jane had her own experiences with writing and directing.
Her script for TheWife took fourteen years for
her to make and involved many rewrites and defeats. The film failed again and
again in being produced, due to the simple fact that it has a female protagonist
and the male characters of the story are secondary to her. Finally in 2018, we are
able to see this incredible story. She said there were many troubles along the
way, with many directors wanting
her to change it to be more masculine with a male lead, but she was able to
persevere. Robin shared her own stories and tips. She recommended to the
audience to go outside their comfort zones and attempt to write something they
would be fearful to direct.
Jane Anderson, Billy Ray, Robin Swicord
The art of writing holds many challenges and
all three shared tips in the craft. Billy related writing to marble. His
analogy was that writing is like a block of granite. You start with the entire
world in your screenplay, that is the granite, and chip away everything that is
not the story. You are left with a beautiful statue that is your film. They
also explained the challenges of an ending. Jane, Billy and Robin all discussed
how, at times, the ending must be so perfect that it is sometimes necessary to
go back and change earlier parts of the film to make the ending flow just
right. Jane explained how the climax scene for The Wife took
many rewrites and redesigns to get right, while Billy explained how the climax
scenes in Captain Philips were one of the rare cases where
both him and the director had
no arguments, fights or disagreements. Jane also shared an important note to
those who write and direct their own films. She said that many director/writers will
write their scripts as directors, where
they get immersed into the shot design, set design, actors and the many details
a director has
to deal with. She recommended that you write a script as a writer only, and you
direct a script as a director only.
Then, the story is completed preserved in the writing process and is held to
the highest importance.
The art of writing has many challenges and is one of the most under-looked places in the film industry. For every incredible motion picture ever made, there is a 120 page script that took weeks to years to write and polish. All three shared how the creator of this blueprint and the director who develops the blueprint are at times in conflict, but their goal never differs – to tell an incredible story. Billy, at the beginning of the panel, said it best, “It’s okay to disagree about the how, as long as you’re not disagreeing about the what.”
Images courtesy of Getty Images and Film Independent
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Film Independent’s 2019 Director’s Close-Up Series began this week with one of everyone’s favorite indie auteurs, Nicole Holofcener. It is often said that a director’s job is 90% complete in the casting room. Hear from both sides of the camera as Nicole, her long-time casting director Jeanne McCarthy and actor Thomas Mann discuss the art of casting and directing actors, and what it takes to bring memorable and believable characters to life. Panelists: Nicole Holofcener (writer/director; The Land of Steady Habits, Enough Said); Jeanne McCarthy (casting director; The Land of Steady Habits, Private Life); Thomas Mann (actor; The Land of Steady Habits, Me and Earl and the Dying Girl); Moderated by Karyn Kusama (director; Destroyer, The Invitation)
Director’s Close Up 2019 – January 30th By Gerry O., KIDS FIRST! Film Critic, Age 16
The annual Film Independent’s 2019 Directors Close-Up
began on January 30, eventfully with a deep and compelling discussion on the
relationships between the director, casting director and writer. The panel
included director Nicole Holofcener, casting director Jeanne McCarthy and actor
Thomas Mann. All three have proven themselves over and again in the film
industry as talented creators with a true love for cinema. Moderated by Karyn
Kusama (director of Destroyer and The Invitation), the first
night left every audience member with a fresh new perspective in the acting
world of movies.
The evening began with Nicole and Jeanne discussing the role
of a casting director. Some very interesting conversations emerged, mainly
about finding the right person for the role. Nicole shared her many experiences
of attempting to decide which person she felt was best for her stories and
Jeanne shared her perspective in the casting director role of trying to find
who she thought not only would be best suited for the part, but best suited for
Nicole as well. It seems booking a role in a film does not simply come from the
performance of a person, but their relationship with the director as well.
Nicole shared many examples of how she makes sure an actor
and she can get along before ever stepping onto a film set. She discussed the
necessity of meeting with the actors she is considering, in order to make sure
that she will be able to work with them for lengthy periods of time and under
heavy stress. Both Karyn and Nicole made it clear that an actor can be
incredible at acting, but a character in a film will always reflect the
chemistry of the actor and director, no matter the talent of either. Another
point Nicole noted was the sad case where an actor does not make the
performance needed. She stated that, after a certain amount of takes for a
scene, she realized that she will never get the performance she wants and must
just figure out how to make the best of it in the post room. Of course at
times, the process may fail and an actor must be replaced. “It’s painful, but I
do it,” Nicole said solemnly.
Thomas shared many experiences from the third angle, that of
the actor themselves. Thomas and Nicole shared their experiences with rehearsals.
For Nicole, she enjoys the fact that, not only does the time allow for her to
build a stronger bond with the actors, but also time to understand different
ways of running the scene and how the actors approach their characters. Thomas
had a slightly different benefit, building a relationship with fellow actors. Thomas
brought up the point that, very often the first shooting day can include very
emotional scenes and it can be difficult to deliver a natural performance if
the scenes are with actors who have never met each other. The rehearsals allow
them to build their relationships in order to deliver a natural performance.
Of course, once on set, the relationship does not end there.
The actual film must be made and the art of directing actors came up many times
in the evening. Nicole honestly shared her many mistakes when she was starting
out as a director. She often would give lines and lines of back story to an
actor, explaining every detail, every reasoning for emotion and every single
aspect of that character. She realized an actor doesn’t need all this. They
need simple commands. Thomas also backed that up. While many first-time
directors go the route of too many details, they both explained that, in
reality, an actor simply needs to hear very basic instructions such as “do it
again louder,” instead of the deep reasons why this actor in this specific
moment must say that line louder.
The event held a much larger range of insight, advice and
proverbs that enriched the mysterious process of choosing and working with an
actor. Thomas also discussed the unique situation of being in a supporting role
of a film, when you come in as the filming is already in progress and leave
before the production is wrapped. Thomas explained that it creates an
interesting challenge when the actor must hit the ground running and be
prepared to handle the already established energy of the crew who have been
there since the first day. This event lasted a couple of hours, but the
panelists truly she a light into the hidden relationship between acting,
casting and directing. This was another successful and memorable event hosted
by Film Independent!
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The Lightning Thief: The Percy Jackson Musical – The Electrifying Off-Broadway Musical Heads Out On Tour. Lightning
struck Off-Broadway theater Lucille Lortel’s stage in the form of The Lightning Thief: The Percy Jackson
Musical in early 2017. The updated hit musical garnered three Drama Desk
Award nominations including Outstanding Musical and now brings its action,
magic and music to a theater near you on a mammoth US tour beginning last fall.
Based on the cult-classic Young Adult novel by acclaimed fantasy author Rick
Riordan (which also spawned a feature film), the production may be aimed at a
younger audience, but its self-aware humour, ubpeat pop rock score and
satisfying special effects make it perfect for older mortals too.
Life is
tough enough when you’re going though puberty, but Percy Jackson’s not only
facing teendom with ADHD and dyslexia, he’s just discovered he’s a demi-god,
son of the God Of the Sea Poseidon. In this epic coming of age tale, Greek
myths are very much real! When Jackson’s human mom is kidnapped and the
lightning bolt of Zeus is stolen by malevolent forces, the wonderkid and his
newfound friends go on a quest to set the world to rights.
KIDS FIRST! Adult Juror Juanita Seon Leary comments, “I am a
fan of musicals and this production is an excellent adaptation. It takes place
in present day, starting out in Camp Half-Blood in Long Island, NY and moves to
several places as it develops.” See her full review below.
The Lightning Thief: The Percy Jackson Musical
Juanita Seon Leary, KIDS FIRST! Adult Juror
The Lightning Thief:
The Percy Jackson Musical opened at the Merriam Theater on Tuesday, January 22, 2019 and I was
thrilled with the production. This musical is based on the books written by Joe
Tracz and adapted by Rick Riordan.
I am a fan of musicals and this production is an excellent
adaptation. It takes place in present day, starting out in Camp Half-Blood in
Long Island, NY and moves to several places as it develops.
The story follows a young man, Percy Jackson (Chris
McCarrell), who finds out that he is half human and half god. He struggles with being expelled from six schools
in one year. Percy feels as if he cannot do anything right. After he learns
that his father is Posiedon, one
of the Twelve Olympians in ancient Greek
religion and mythology, god of the Sea and other waters and of
earthquakes and horses, Percy sets out to right a wrong caused by a war between
the gods.
I enjoyed watching Percy Jackson as he joins the other
half-bloods (children with one human parent and the other a god) in their
quest. It was exhilarating to watch the cast of young actors work together to
to prove that Percy did not steal the lightning bolt.
One of my favorite scenes is when Percy and his friends
Annabeth (Kristin Stokes) Grover (Jorrell Javier) set out on their quest and,
while traveling on a bus that is bombed by the gods to deter them, confetti of
gold strips of paper fly out into the audience. I received several bursts of
confetti which was fun and exciting.
All the cast members are excellent singers, dances and
actors. The sets and stage props are
magnificent and well-constructed. This show has messages of friendship, never
giving up and appreciating your life.
The Lightning
Thief:The Percy Jackson Musical is now playing at the Merriam Theater in Philadelphia, PA
Through Sunday, January 27, 2019. I recommend it is for ages 8 to 18, as well
as adults and give it 5 out of 5
stars. For a complete list of dates and locations through July, 2019 go to: http://www.lightningthiefmusical.com/ – home
ADDITIONAL INFORMATION: CAST AND CREATIVE
CAST Chris McCarrell as Percy Jackson Kirstin Stokes as Annabeth Sarah Beth Pfeifer as Clarice James Hayden Rodriguez as Luke Jorrel Javier as Grover and Mr. D Ryan Knowles as Chiron Jalynn Steel as Sally
Understudies Izzy Figueroa Sam Leicht T. Shyvonne Stewart.
CREATIVE Book by Joe Tracz Music and lyrics by Rob Rokicki Directed by Stephen Brackett Choreography by Patrick McCollum Set design by Lee Savage Costume design by Sydney Maresca Sound design by Ryan Rumery Lighting design by David Lander Fight direction by Rod Kinter Orchestrations by Wiley Deweese and Rob Rikicki
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Dr. Don Shirley is a world-class African-American pianist who’s about to embark on a concert tour in the Deep South in 1962. In need of a driver and protection, Shirley recruits Tony Lip, a tough-talking bouncer from an Italian-American neighborhood in the Bronx. Despite their differences, the two men soon develop an unexpected bond while confronting racism and danger in an era of segregation. KIDS FIRST! Reviewer Kimbirly O. comments, “American History is often not pretty. When it comes to Green Book, it is purely ugly and lovingly told. From the stereotypical Italian-American neighborhood of the Bronx in New York, to the Deep South during the 60s, this film is based on a true story of unlikely friends. See her full review below.
Green Book
By Kimbirly O., KIDS FIRST! Adult Juror
American History is often not pretty. When it comes to Green Book, it is purely ugly and lovingly told. From the stereotypical Italian-American neighborhood of the Bronx in New York, to the Deep South during the 60s, this film is based on a true story of unlikely friends. Tony “Lip” Vallelonga (Viggo Mortenson) is a working-class Italian-American bouncer and sometimes “assistant” within the mob, who becomes the driver of an African-American classical pianist, Dr. Don Shirley (Mahershala Ali), on a tour of venues through the 1960s American south. A classically trained virtuosic pianist, Dr. Shirley embarks on a journey to play for the wealthy throughout the south – the same people who will not eat with him, nor share a restroom, among other things. The title of the film refers to the Negro Motorist Green Book, a travel book Tony and Shirley follow to guide them to “approved” hotels and restaurants during their travels. Dr. Shirley’s journey to and through the south is truly more than a drive of a thousand miles; it is a road to self-discovery for both men.
Tony “Lip”, not Tony the Lip, mind you, is a family man. He, like his father before him, is a hard-working proud Italian man, who lives in the same neighborhood as the generations who came before him. He is married (his wife is played by Linda Cardellini)) and they have two sons. He prides himself on being a “bullshit artist.” When he loses his job, he is recruited to serve as the driver to a renowned pianist, who just so happens to be African-American. Dr. Shirley, on the other hand, is estranged from his family and searching. The two men are cast perfectly and bring the best both offer and then some. There are some very touching scenes within this film.
I will not dwell on the racial stereotypes prevalent throughout the film, instead I will focus on the unlikely friendship, which continued throughout the lives of both men. This film is based on a true story. It is co-written by Nick Vallelonga (Tony’s son), Bryan Currie and Peter Farrelly, who is best known for films written with his brother Bobby and more sophomoric in nature (i.e. Dumb and Dumber). Peter Farrelly also directs the film.
Awards buzz – 18 wins thus far and the major film awards have not yet begun. This film has been the darling of 2018 film festivals with many audience wins. History shows us how The Academy loves true stories. I am looking for several names from this film on January 22.
I give this film 4.5 out of 5 stars and recommend it for ages 12 to 18, as well as adults. There is a LOT of smoking, I mean SO MUCH SMOKING. It takes place in the 60s and everyone seems to smoke. There is also a lot of drinking in the film. Racism is prevalent throughout as it takes place in the Deep South where people were referred to as “colored” and segregated. There is also a brief scene, which intimates a sexual encounter between two men, although there is no true nudity. This film opens in theaters nationwide November 16, 2018. See it! Stay for the credits.
All Clara wants is a key – a one-of-a-kind key that will unlock a box that holds a priceless gift from her late mother. A golden thread, presented to her at godfather Drosselmeyer’s annual holiday party, leads her to the coveted key-which promptly disappears into a strange and mysterious parallel world. It’s there that Clara encounters a soldier named Phillip, a gang of mice and the regents who preside over three Realms: Land of Snowflakes, Land of Flowers, and Land of Sweets. Clara and Phillip must brave the ominous Fourth Realm, home to the tyrant Mother Ginger, to retrieve Clara’s key and hopefully return harmony to the unstable world. Kimbirly O., KIDS FIRST! Juror comments, “From the beginning of the film, your senses will be ALIVE! Every set looks edible with color and life. Truly, this live-action Disney film is a breath of fresh air.” See her full review below.
The Nutcracker and the Four Realms
By Kimbirly O., KIDS FIRST! Adult Juror
Do you remember The Nutcracker ballet? What about Cinderella? As I screened this film, both childhood memories came to mind.
Disney’s The Nutcracker and the Four Realms has brought the magic of Disney back to the big screen. From the beginning of the film, your senses will be ALIVE! Every set looks edible with color and life. Truly, this live-action Disney film is a breath of fresh air.
While you may know the story of The Nutcracker, your senses will be awakened by the colors, costumes, and scenery in this film. As with most Disney films, there is a theme of loss, yet it is also so alive!
Clara (Mackenzie Foy) is an amazing young protagonist. I found myself drawn to her curious nature and determination to live up to her mother’s curious nature. As a young girl, she plays a curious and adventurous spirit, who is also very mechanically inclined. She amazed me by her desire to succeed, and her courage. She walks into dark spaces knowing she is enough, and encounters creatures who challenge her along a path of discovery. She encounters toy soldiers and magical mice – some of whom are not kind! Clara’s quick mind and wonderful, kind skills help her get through a lot of sticky situations!
Without giving too much away,the gist of the story is about a gift, presented by her Father, but left to her by her mother at Christmas. Her second gift is from her godfather Drosselmeyer (Morgan Freeman) at his annual holiday party, which leads her to a coveted key – which promptly disappears into a strange and mysterious parallel world. From one world to the next, Land of Snowflakes, Land of Flowers and Land of Sweets, Clara and a soldier she meets named Phillip (Jayden Fowora-Knight) must brave the ominous Fourth Realm, home to the tyrant Mother Ginger (Helen Mirren), to retrieve Clara’s key.
The Sugar Plum Fairy Sugar (Keira Knightley), we learn, is not to be trusted and at times, gets annoying with her over the top antics. But in the end, this film has all the feels (and reminds me of so many things) of a Victorian English Christmas, the beloved Russian ballet, lively forest creatures from Disney and the bond of family. Misty Copeland makes a magnificent addition to the film, showcasing her balletic perfection.
Hats off to the costumers and make-up artists! I give this film 4 out of 5 stars and recommend it for ages 4 to 18, as well as adults. You should know this film deals with the death of a parent. It opens in theaters nationwide November 2, 2018. Look for it! You’ll be glad you did.