List of Lily ‘N’ Rose’s past and upcoming screeningsRead More
It was a long winter in post production but with spring springing it actually feels like the perfect time to finish Lily 'N' Rose! I will write more in the coming months about the journey of making my 4th short film. It was a wonderful journey and we are thrilled to be sharing it with the world.
For now please enjoy our trailer. And get ready for summer!
Do you remember your best friend?
Back in February, Maggy Stacy and I were having coffee and decided to make a film together. Something short, experimental, to have fun and stretch our creative muscles. She said, "I have this Shakespeare sonnet I'm doing for John Moore's Denver Sonnets Project. Wanna check it out? Oh and I think we should do something unexpected, like shoot it in a nightclub."
Next thing you know, we were workshopping her performing the sonnet as if she were at a nightclub at Screen + Play, a lab for filmmakers & actors created for just such a purpose. We both immediately felt its potential to be a powerful exploration of heartbreak and longing as derived from Shakespeare's text:
When proud pied April, dressed in all his trim,
Hath put a spirit of youth in every thing,
That heavy Saturn laughed and leapt with him.
Yet nor the lays of birds, nor the sweet smell
Of different flowers in odor and in hue,
Could make me any summer’s story tell,
Or from their proud lap pluck them where they grew:
Nor did I wonder at the lily’s white,
Nor praise the deep vermilion in the rose;
They were but sweet, but figures of delight,
Drawn after you, you pattern of all those.
Yet seemed it winter still, and you away,
As with your shadow I with these did play.
Maggy and I created the story for Miranda (a nod to Shakespeare's character in The Tempest): it's winter still despite spring around her because she's missing her lover who is gone away, perhaps forever. She goes to a bar and in the course of the evening, thanks to the live music playing and a man she grooves with, she rediscovers her body, her sensuality, and a way forward.
From this idea, we attracted an amazing crew: 7 and Co Productions' Wesley Matheny and Thomas Jaeger (who also edited and shot the film respectively), Neil Lyons from Moon Magnet who got the extraordinary Syntax Physics Opera on board as the location and Sunboy, a group I'd fallen for at the Underground Music Showcase, as the band. Wes and Thomas suggested the charming Matt Block who rounded out our cast as the suitor.
Honestly, it was a charmed experience from start-to-finish and I am filled with deep gratitude to that all who were involved in bringing this story to life. Please enjoy our film here.
It's hard to believe it's been nearly 24 years since I landed in Prague full of that special hubris reserved for the young. I was there to study at FAMU, the world famous film school (or at least famous for those who knew Eastern European cinema). This was not the first time I'd been to Prague. I'd gone three years before, just months before the Velvet Revolution and was already under its spell. I knew I'd be back, but I had no idea then, at 18, about to head off to college, that I would return to make a film.
FAMU was an amazing experience especially at that time. Foreigners had just recently started to enroll in the program. Our Czech counterparts were eager to see if our savvy, democratic ways might rub off. Even in the year I was there that began to sour as they realized it doesn't, and we were just making everything more expensive. But I'll never forget the generosity and openness I felt those first few months as a fellow student.
I'd never studied film much less made one. I was not remotely Spielbergian for whom the fairy tale goes made films on an old 8mm starting at 10. But I had always loved film. Growing up in Arkansas, movies and TV were my windows onto the whole wide world I was desperate to play a role in.
It wasn't till the summer after my sophomore year, under the haze of mononucleosis, that I summoned (or perhaps it summoned me) the idea that I could be a director. I'd burnt myself out overloading on classes that dove deep into the intricacies of arms control and disarmament that were quickly unraveling as a new world order supplanted the old one.
I knew it was crazy to think I could be a director. I had no contacts in the business. No one I knew even wanted to be in the film business. Stanford didn't have a film program. I thought about transferring but I knew I had to finish what I started. So i went back to school and put my nose to the grindstone finishing up all the courses I would need to graduate a year early.
But I still had one requirement; I had to study abroad. And then I saw it: a blue flyer stapled haphazardly onto a kiosk just outside the Coffee House: STUDY FILM IN PRAGUE! I nearly fell over.
Three months later I was on a plane to Prague.
Three months after that I was color-correcting ALEXIA at Barrandov Studios. It was a dream come true, and I was hooked.
I wish I could say it's been a smooth journey on my road as a filmmaker. Alas, it is not the case, as it surely isn't for anyone bit by this bug That said, I'm grateful for this first experience because it gave me a glimpse of what a creative life could be like.
It's been enough to keep me going as I've dragged the negative from house to house, city to city over this last quarter century. Thanks to wonderful restoration work by Cinepost in Georgia and Wes Matheny here in Denver, I give you ALEXIA.
More than a month later, I am still glowing as I reflect on THAW playing to a sold-out audience at the first annual MNFF. It was truly a homecoming, after all THAW was made in Vermont. The festival was so well run and inviting to filmmakers and filmgoers. Lloyd Komesar and his production team, Phoebe Lewis and Kyla Jarrett, rocked it.
A highlight of any festival is the chance to meet and mingle with fellow filmmakers. In this case we were all first / second timers, which contributed to the convivial vibe. Making the 45-minute ride from BTV to Middlebury seem like a blink were Travis Gutierrez Senger and Sabrina Coulston, the writer/director and producer behind the haunting DESERT CATHEDRAL, and A24's David Laub, a true cinephile and mensch to boot. It was a treat to share visual artist Kate Tilton's beautiful home with fellow Film Fatale Catherine Dudley-Rose. Catherine made the formidable PARALLEL CHORDS, and I'm thrilled her film was one of the VTeddy Award winners. Lucky audiences around New England will get to see it as part of the MNFF tour along with Conor and Tyler Byrne's FOUREYES and Rodrigo Rezende Meireles's JOHN THE BAPTIST. I love that Rodrigo's second night ever in the US was in Middlebury, Vermont. It was also great to hang with Molly Beitchman and Andrew Beguin (COMPLETELY NORMAL) and Miguel Matias (EMMA'S FINE).
I love getting turned on to new artists, and Bill and Turner Ross truly are. They were on hand to receive the festival's inaugural Cinematic Vision and Imagination Award. I highly recommend 45365, their first feature doc, to see where it all came together for these super talented guys.
The panels moderated by the festival's Artistic Director Jay Craven were a good complement to the program. The topics were timely from What Producers Look for in a Screenplay, Crowdfunding and Festival Strategy with the sharp, funny Katie McCullough all the way from the UK, to a look back on Female Film Pioneers by Sarah Lawrence Film Professor Kathryn Hearst. David Laub helped illuminate the fast-changing distribution landscape for indie films. Though it was a kick to hear Jay talk about barnstorming his own indie feature bypassing traditional distribution all together.
Last but not least, it was wonderful to see so many friends from Burlington, Shelburne, Montpelier, and Middlebury. I miss you all so much. Now to get invited back, better get on that feature.
For a little more on my experience, please check out my interview with Kurt Broderson for Reel Local.
Patricia Arquette's acceptance speeches were hands-down the highlights of the Golden Globes and Oscars. First, let's not forget what won her those moments: her stellar performance in BOYHOOD. She and writer/director Richard Linklater showed us a woman not just aging, but maturing. It was revolutionary.
Perfect too was Amy Poehler's quip at the Globes about the dearth of parts for women over 40: "Even Patricia Arquette had to get her role in Boyhood while in her 20's."
I admit I was disheartened when the Oscar noms came out and not one female writer or director was nominated. Then I noticed not one of the Best Picture nominees had a female protagonist. This is even true for THE THEORY OF EVERYTHING, based on Jane Hawking's memoir about her marriage to and divorce from Stephen. Written as her story, her husband ultimately steals the show (and wins the Oscar).
In a very telling piece by Dan Kois of Slate's BROWBEAT column, he points out that "In the past 20 years, only 21 movies that tell stories of women have been nominated for Best Picture, out of 125 nominated overall." That's just 6%.
Women are 51% of the population yet only 6% of the most acclaimed movies of the last 20 years are female-driven narratives. The number gets only slightly bigger, 12%, for the top 100 grossing films. (see study here)
No wonder there are so few female directors in Hollywood.
No wonder the first (and only) woman to win an Oscar for Best Director was Kathryn Bigelow for THE HURT LOCKER. Interestingly, the film was an internal character study, yet it had a war setting and a male protagonist. ZERO DARK THIRTY had a female lead and was a more ambitious film, yet it did not earn her a directing nomination.
Why do we discount female narratives as less important than male ones? In books and on TV we gobble up female stories left and right. At the Independent Spirit Awards, which Arquette also won, she thanks network TV for her livelihood, not studio or independent film. Is it a coincidence that books and TV allow us to consume these stories in the privacy of the home, whereas movies are created as public spectacles?
And yet The Hollywood Reporter headline, based on UCLA's second annual Hollywood Diversity Report, states: "Diverse Casts Deliver Higher Ratings: Bigger Box Office: Study." The article points out that the problem is not audiences so much as executives. When the people who make the hiring and greenlighting decisions in TV are 96% white and 71% male and in film are 94% white and 100% male, it's not surprising there's a lack of diversity in storytelling.
Back to Patricia. Over this award season she has again morphed before our eyes. She concluded her moving Golden Globes speech addressing her children: "My favorite role in this life has been being your mom." By her Oscar speech she's talking to us all: "To every woman who gave birth to every taxpayer and citizen of this nation, we have fought for everybody else's equal rights. It's time to have wage equality once and for all and equal rights for women in the United States of America!"
Tell it Patricia.
Don't know about you but I'm having major SDFF withdrawal. It was a terrific film fest. A special shout-out to all the folks who came to THAW. Last Friday, I got to reflect on the filmmaking process in an interview with Susan Witkin and Mike Rice on 850 KOA. Check it out!
So excited to be part of SDFF37 wonderful Colorado Shorts program. Come out and see us at the UA Pavilions 11am Saturday, November 15 and 9:15pm Thursday November 20th.
THAW will screen Saturday, 3:15pm October 25, 2014 as part of the Vermont Filmmaker’s Showcase at Main Street Landing.