It is the morning of April 4th, 2014. The Visions4 staff moves around UNCW’s Fisher Student Center and Lumina Theater setting up for the day’s event. Catering soon arrives, providing filmmakers, scholars, and guests a hearty breakfast, with plenty of coffee, of course. As breakfast concludes, Lumina Theater slowly but steadily fills with Visions4 and UNCW faculty, guests from around the community, and a diverse crowd of undergraduate students, filmmakers, and scholars from around the world. As the last few badgeholders venture into Lumina, everyone settles into their seats, waiting now only for speaker Kiva Reardon to begin her eagerly anticipated keynote presentation.
After a brief, warming welcome from Festival Director Shannon Silva, and Hospitality Director Zoe VanderPloeg, it is finally time for the Visions4 experience to begin. Eight months of extensive preparation and hard work arrive at this point in time. What does the day hold in store?
What would define the day’s success?
V4 staff member, Kateland Lee, introduces Reardon to the Lumina audience. A thunderous roar of applause greets the Visions4 keynote, setting a tone that reverberates throughout the day’s events--from Reardon’s brilliantly original, insightful, and witty presentation, to the after party at Bourgie Nights in downtown Wilmington, NC.
It’s fourth year now in the books, Visions Film Festival & Conference has become not only a beneficial experience for the undergraduate film student, but for the future of filmmaking and film scholarship overall. Highlighting the exceptional, innovative work of young filmmakers and scholars, Visions has again provided an exclusive, sneak-preview of the creative minds that will soon head the medium in narrative, documentary, animation, and experimental production, as well as film theory and research. Reardon expressed her own thoughts on the day, “I was so impressed with the festival, from the programming, to the organization, to everyone's overall enthusiasm and professionalism. I was honored to be a part of it.”
Visions4 exceeded a day full of amazing films, presentations, people, and food--the experience and benefit of the undergraduate filmmaker and scholar remains, and will always remain, at the heart of the Visions mission. Filmmaker Jon Kasbe, director of the award winning documentary selection Heartbeats of Fiji, voiced an overall positive experience throughout the filmmakers and scholars: “The festival was incredible, I was so impressed with every aspect of it. It was very special for all of us.” The ability for Jon, as well as every filmmaker, scholar, and undergraduate in attendance (including the V4 staff), to gain invaluable experience inside of the festival/conference atmosphere, which, at times may seem intimidating or unwelcoming to a young artist, is a significant accomplishment. Visions4 has offered undergraduate artists a welcoming introduction to an environment of travel, film screenings, Q&A sessions, and presenting to large audiences, strengthening any future aspirations in filmmaking and/or scholarship.
All of these elements make a case for the success of Friday, April 4th. However, the strong relationships formed between the staff, keynote speaker, guests, filmmakers, and scholars seem to encompass all elements of the day, regardless of how flawless or smooth, no matter the level of applause. There was an immediate connection, a bond of like-minded individuals that will surely be cherished for years.
On behalf of the Visions4 staff, I would like to extend the highest level of gratitude to all those involved in making this year's festival and conference truly amazing. As the year comes to a close, we are left to sit back and reflect on these past eight months. But don't get too comfortable--Visions5 will soon be in full swing along with a few new faces come the Fall. So stay tuned...
We shall be back!
Steven Gamble
Marketing Content Director
Visions Film Festival and Conference
Thursday, May 8, 2014
Thursday, April 17, 2014
V4 Visionary Highlight.8: Wes Anderson
Success can sometimes change people. Too much, too soon can have adverse effects. Praise, fame and money unfortunately can over inflate a person’s ego and sense of self worth. Someone that “makes it to the big time,” all too often becomes a casualty of the thing they so wanted to attain.Too many stars in the Hollywood system reek of this break in reality, some even we are left to wonder how big of a jerk they are. In light of this unfortunate occurrence, it is even more admirable to look to individuals who started out with nothing and remain unchanged by their success. We can’t help but admire people who stays true to their roots, no matter how many awards won, how many critics praise their hard work.
It is very admirable when someone coming from humble beginnings doesn’t let success change their drive, their passion to create. Currently in the spotlight for his 2014 delight The Grand Budapest Hotel, Wes Anderson is one such individual who has perfected his craft through the years. Anderson’s unconventional directing style and creative vision has provided the world with several films of immense comedic and stylistic substance. Anderson’s body of work includes underground classics like his debut Bottle Rocket, to award nominated films such as The Royal Tenenbaums, to the incredible Moonrise Kingdom (2012).
Anderson grew up in Houston, Texas and attended the University of Texas at Austin where he studied philosophy. This was also a crucial time in Anderson’s life where he met Owen Wilson, a lifelong friend and collaborator in almost every film Anderson has made. He got his break with the original short film, Bottle Rocket (1993). Originally supposed to be a dramatic crime drama, Anderson and Wilson soon realized they were out of their element, and this change charted the course for their prospective careers. Anderson got his big break after the short screened at the Sundance Film Festival in 1993, and so impressed director James Brooks that Anderson soon found himself under contract to make his simple short into a feature length film. The young director had his first major box office breakthrough with The Royal Tenenbaums in 2001, combining critical success with financial triumph.
Anderson’s unusual directing style consists of his meticulous color choices, an obsession with symmetry in all shots, and a constant use of close ups of his characters. His fresh, original directing style produces a beautiful and vibrant world on screen, and combined with his dry humor and wit, a true filmic joy is created. Anderson’s films bear the look and texture of independent films, all made under the watchful eye of the big studios.
Wes Anderson is not an individual afraid to take risks in his career, and although he has been hailed as “the next Martin Scorsese” (a quote spoken by the current Martin Scorsese, Martin Scorsese) he hasn’t let that influence his filmmaking. From Bottle Rocket to The Grand Budapest Hotel (2014)., Anderson’s quirky comedy and his beautiful yet unusual style have defined his films. Anderson’s body of work is a delight, and the man hasn’t let success change him or his vision. A visionary both through style and commitment to his art, Anderson’s contribution to the film community is already a vast and impressive body of work, and is bound to get even better.
Written by Jacob Smith Chamelin
Web Content Writer
Visions Film Festival & Conference
Wilmington, NC
Thursday, April 10, 2014
V4 Visionary Highlight.7: Gabriela Cowperthwaite
When it comes to film, a single moment can change a person’s life forever. The magic of this medium has the power to profoundly change the way an individual can feel or think. Throughout history, film has been used as entertainment, education, propaganda, and indoctrination. Moving images hold an immense resonance with the viewer, but also with the individual behind the camera. The prospect of creating one’s own art, of expressing creativity and imparting knowledge through film attracts many artists to the medium. This call is answered by many, and can often be traced to a single defining moment in a person’s life.
Gabriela Cowperthwaite is an individual that had such a moment. The daughter of an American real estate developer and Brazilian psychoanalyst, she grew up speaking Portuguese in Denver, Colorado. Cowperthwaite often remarked that her life was a relentless pursuit of the truth, but she didn’t always have the means to express it. She graduated from Occidental College with a degree in Political Science, and was on track to complete her Ph.D at USC. However, that all changed after she made a trip to Guatemala. It was there that she witnessed a woman with a camera in her bag, going around and interviewing local children. The moment moved her so much that she dropped out of her doctorate program and she enrolled in a documentary film course at USC. Despite never picking up a camera before, Cowperthwaite knew she had found a new home. “It changed my life,” she said in an interview with LA Weekly.
From a simple documentary film class, Cowperthwaite embarked upon an incredible career in the film industry. Her first film related job came in making a documentary about high speed crashes. From there she directed, wrote, and produced documentaries for the History Channel, Animal Planet, National Geographic, Discovery, and ESPN. Her first directorial debut came in 2009, with the film LAX: An Urban Lacrosse Story. Cowperthwaite was immersed in the Los Angeles inner city for eight months during the making of the film. Her work chronicles the lives of six twelve year olds as they struggle through middle school, in lives filled with violence in gang-ridden neighborhoods.
Cowperthwaite has recently been in the spotlight for her 2013 film, Blackfish. Focusing on the killer whale named Tilikum (responsible for the deaths of 3 individuals), it has caused an immense stir and controversy. Cowperthwaite admitted it was not a film that she could had made if she was concerned with “who I pissed off.” Blackfish especially created a controversy with SeaWorld, which has since dismissed the film as completely inaccurate and misleading. Cowperthwaite, however, hasn’t backed down from criticism and continues to work in the field of documentary tackling difficult subjects.
A visionary doesn’t have to be someone gifted with natural abilities and skills. They just have to possess the passion for creating art, no matter what the consequences. They can emerge from any walk of life, or at any point in their life. Gabriel Cowperthwaite was headed in a completely different direction in her life when her sudden realization of film proved to be a game changer. This passion for investigation and telling the truth has lead her to become a prominent filmmaker. Documentary filmmakers often find themselves embroiled in controversy, but those who stick to their convictions don’t back down. Gabriela Cowperthwaite isn’t the kind of person to shy away from a challenge, and this relentless drive is what makes her our Visionary profile for this week. Aspiring undergrads should take notice of her story. It is proof positive that a single moment can change a person’s life and career forever.
Written by Jacob Smith Chamelin
Web Content Writer
Visions FIlm Festival & Conference
Wilmington, NC
Friday, March 28, 2014
Visions4 Featured Filmmaker and Scholar Highlight.1 : Director Jon Kasbe and Film Scholar Amanda Stonebarger
In the third edition of our Visions4 Filmmaker Highlight series, we bring you filmmaker Jon Kasbe. His documentary film, Heartbeats of Fiji, documents two individuals, Ben and Masi, as they cross paths at Fiji's Beat Making Lab--an organization designed not only for the creation of music, but to inspire positive change in people and communities through the power of beat making.
Director Jon Kasbe, born in Sydney, Australia, grew up in Raleigh, North Carolina and attended Leesville Road High School, just northwest of the city. Now, many of our V4 selections have described their interest in filmmaking and/or film scholarship as sparking in college, high school--even as early as elementary school. What has been consistent, however, is their layered experience with the film medium--passion for film is not necessarily engrained within or realized at any specific moment in time; it is organic, yet immortal in nature--constantly shifting, changing direction, even going through lulls from time to time. But, most importantly, the light grows with every new experience and opportunity. It can never completely extinguish. Jon has a similar view of his own love for filmmaking: "There wasn’t one special moment where it all just made sense and I fell in love. It’s been an ongoing process, like waves that come and go. The passion doesn’t always burn all that bright, but sometimes I can’t stop thinking about it. Creating videos is one of the few things I’ve found in life I can do without realizing it. As long as that flow sticks around, I’ll probably keep with it" (Kasbe PI).
It can be common for those receiving any formal education in cinema to be uncertain of which path they will eventually take, as with any area of study. What will it be? Production? Scholarship? Ok, production it is! Now, directing or screenwriting? Maybe editing? Documentary? Narrative? Animation? Experimental? It may seem overwhelming, but a lesson can be learned from Jon's perspective--any pursuit or goal one sets out to achieve must be rooted in an unconditional interest that needs to be explored. Even if the experience is not there to complete a project, a filmmaker that is fueled by this interest will take personal initiative to learn the required skills, practice, and eventually complete his/her vision. Although unsure of his future pursuit as a director, Jon is an example of this initiative, as he alone has produced, shot, and edited most of his film projects (Kasbe PI).
Jon's Heartbeats of Fiji will premiere at Visions4 in UNC Wilmington's Lumina Theater on April 4th, as well as the RiverRun International Film Festival in Winston Salem, NC (April 4th - 14th). His film will be the finale of our second and final screening block of the day, scheduled for 8:30pm in Lumina Theater.
Like in any event, it is important to end the day on a high note, or in this case, some inspiring beats from Fiji's Beat Making Laboratory.
Steven Gamble
Marketing Director
Visions Film Festival & Conference
Web: www.visionsfilm.org
Facebook: www.facebook.com/visionsfilm
An Interview With Film Scholar Amanda Stonebarger
Author of the Visions4 Conference selection, "Pied Piper vs. Faun: Storybooks and Female Empowerment in The Sweet Hereafter and Pan's Labyrinth"
What made you choose Visions4? Is this your first time presenting your scholarly findings to an audience? What do you hope to gain from this experience?
To
be honest, I completely lucked into Visions4. The paper I’m
presenting was published in Film
Matters
magazine earlier this year, and in January, I received a Facebook
message from Matt Gossett in which he invited me to submit my paper
to the conference for consideration. It was an opportunity I had to
take. This will be my first time to do this type of presentation,
which is both thrilling and nerve-wracking (but more thrilling than
nerve-wracking). I think the thing I hope to gain from this
experience is just that-- experience.
I’ve been to film festivals and panels before, but always as
someone in the audience. Ultimately, I’m eager to share some ideas,
watch some good films, and learn some new things at Visions4.
When did you discover your passion for film and writing? Was it always present, or did you have a particular experience that changed your creative life forever?
I’m
not totally sure where it came from. I don’t know that anything
specific pushed me toward writing. It’s just always been easier for
me to express myself through writing than through any other medium. I
was in college before I truly realized that not everyone else felt
the same way and that my enjoyment of movies and writing didn’t
have to be a hobby.
What
would you say your favorite subjects of film to write about are? Ex.
Feminism, adaptation, genre, cultural analysis, editing?
I’m
so eclectic that it would be difficult for me to narrow it down.
Feminism is obviously important to me—I am definitely a feminist
and my paper is all about female empowerment—but all of those
examples interest me. What’s truly fascinating to me is the way
that people craft effective and interesting stories. I constantly
find myself dissecting whatever type of media I’m consuming
(including books and television) to figure out what makes it work or
how the filmmaker/writer is conveying a message or story. When
choosing a topic for something like a film paper, I tend to go with
whatever part of that specific film strikes me the most.
What
inspired you to write your particular essay?
Well, this paper was written for my senior film capstone over global art cinema. Our final assignment was to do a research paper over any two art films. The only requirement that I can remember was that they be from different countries. I started to consider my topic as I drove home that day. We’d watched Pan’s Labyrinth during one of our weekly class screenings and I’d done a presentation with a partner on The Sweet Hereafter, and the images of Ofelia and Nicole with storybooks just kind of hit me as I was pulling into my driveway. That image got me thinking about how they forged relationships with the fantastic, which pointed me toward the role of those relationships in conflict, which led my wandering mind to how they were confronted with male power, and so on, and so on. The more I thought about it, the more excited I got—which is always a good sign.
Do
you have any current projects in the works? What are some of your
future aspirations?
I
don’t have any film-related projects right now. I’m currently
(very) slowly chipping away at a novel I started during my undergrad.
I also have a blog called “Randomanda,” where I mostly explore my attempts to become a better writer and a healthier human. Each week, I
check in on what I call the 2014 Mile Project, a personal fitness
venture in which I require myself to walk/bike/go 2,014 miles by the
end of this year.
As
for the future, I’m sure a lot of my aspirations are similar to
those of most people. I plan to finish my novel, publish it, try a
screenplay, publish more articles and stories, travel more, and
perhaps live abroad. Mostly, I want to prioritize writing and do it
as much as I possibly can.
Do
you have any authors/filmmakers in particular that you enjoy? Perhaps
a few that inspired you?
Again,
I don’t know that I could list anyone specific. I find that I’m
especially inspired by any artist who is passionate about his or her
craft. Passion is contagious. This will sound so corny, but I also
try to look for inspiration in whatever I’m watching or reading. My
writing classes in college taught me to view all films, television,
articles, and books not just as entertainment, but as opportunities
to learn and to grow as a writer.
What
do you hope the audience takes away from your presentation?
If
anyone gets anything at all out of it, I’ll be happy. These are two
films that I love, and I’m looking forward to discussing them.
Dallis Frie Covey
Print & Media Relations Copywriter
Visions Film Festival & Conference
Web: www.visionsfilm.org
Facebook: www.facebook.com/visionsfilm
Thursday, March 27, 2014
V4 Visionary Highlight.6: Julie Delpy
There are certain individuals that are seemingly born with a destiny to accomplish great feats in the art world. Those fortunate enough to hail from a family of art appreciators often go on to have fantastic careers in the arts. A family environment that nurtures and helps develop artistic tendencies and critical thinking is a wonderful way to grow up. This is not to detract from their own accomplishments in art, implying that they have an easier start, or that opportunities are handed to them. A burning desire to create and influence is at the core of all artists, and is what each person in our Visionary series has in common.
Julie Delpy was fortunate enough to be raised in a family of artists. Born to Albert Delpy and Marie Pillet in Paris, Delpy was exposed to art at a very early age. Both her mother and father were involved in the theatre, Albert being a theatrical director, and Marie was an actress in feature films and in the avant-garde theatre. Delpy’s parents cultivated an appreciation of the arts in their young daughter by taking her to museums, the theatre and exposing her to the works of filmmakers such as Ingmar Bergman, as early as age nine. The impact on the young Delpy steered her in the direction of becoming an actress. She landed her first role at only age fourteen, cast by none other than Jean-Luc Goddard in his 1984 film Détective. In 1986 she earned her first lead role in a feature film, La Passion Béatrice. Delpy won an award for most promising actress for her work on the film and used the prize money to fund her first trip to New York City.
“I couldn't hope for better parents. They really raised me with a love of art, bringing me to museums and seeing things that a child wouldn't see at that age. I would see Ingmar Bergman movies when I was 9 and totally go for it. And they would bring me to see Francis Bacon's paintings, which I loved: so dark and at the same time it's so wonderful.”
- Julie Delpy, 2011
Like many other filmmakers in our series, Delpy attended New York University's Tisch School of the arts, where she studied directing and filmmaking. After permanently moving to the United States, Delpy would expand her horizons even further in the film community. Delpy has written, acted in, and directed over 30 feature films. Not content to simply work in film, she also released a solo album in 2003, Julie Delpy. She also wrote the score for her 2002 film 2 Days in Paris.
Julie Delpy came from a very artistic family, and a loving home that nurtured her and encouraged a deeper understanding and passion for the arts. This upbringing imprinted upon her the love for art and film that would direct her into a career in film. Her immense talent in film has been utilized in every way possible, from her incredible acting, writing and directing. Delpy is an excellent example of how an education in the arts, and exposure at a young age can shape an individual into forward thinking, hard driven artists of tomorrow. Delpy’s passion for all things art has shaped her life and career and allowed her to blossom into the extremely talented individual she is today. It is for this reason she is an excellent source of inspiration to all those looking to study art and film. The possibilities are limitless when art is approached from a childlike sense of wonder and excitement.
Written by Jacob Smith Chamelin
Web Content Writer
Visions Film Festival & Conference
Wilmington, NC
Sunday, March 23, 2014
Faces of Visions4: Hospitality Director Zoë VanDerPloeg and Video Race Co-Coordinator Taylor Woodell
Each week, we are presenting members of our Visions4 staff, so you can get to know the behind-the-scenes work (and the bright-n-shiny personalities) that goes into putting together an event like Visions Film Festival & Conference. The Director of Hospitality, Zoë VanDerPloeg, and the Director of Development, Jillian Kaszubski, work together with their teams to bring the flair and finishing touches to our event and also make sure we have the money to do so.
This week, I am bringing you our Director of Hospitality, Zoë VanDerPloeg, and 1 Hour/1 Take Video Race co-coordinator, Taylor Woodell. These women, along with their Hospitality and Development team members, Kateland Lee, Eliza Bryan, Jillian Kaszubski, Nathalie Fortunel, Audra Blake, and Allison Godsey, have worked extremely hard while maintaining an amazingly calm and collected demeanors. Their dedication and professionalism throughout these past eight months will finally be evident to our attending filmmakers, scholars, and those in attendance on April 4th.
Our Very Talented Hospitality Director: Zoë VanDerPloeg
DC: Did you choose your position? If not, why do you feel that you were chosen for it?
ZV: Shannon (Head Visions Director) recommended it to me last Spring, so I didn’t really choose it…but it would’ve probably been what I would’ve chosen anyway. I like doing all the logistics for the events-within-events (Video Race, parties, catering, etc.) and I like how high energy and team-oriented this position is. Plus my team is awesome.
DC: What has been your most difficult task this semester? Your favorite?
ZV: Keeping up with everything! This semester is crazy. Parties, outreach, Video Race, helping Jillian (Director of Development & Fundraising) with sponsorship, Swag Bag donations – we all have big stuff to do. Plus all the little stuff like e-mailing the filmmakers and scholars and doing budgets. And more so than some of the other departments, our bulk of work is this semester and goes right up to the day of the event. I like planning for the catering, Swag Bags, stuff like that - anything that makes people go, “Wow, this is cool!” I want to make the filmmakers and scholars feel special.
DC: What advice would you give for the next person to fill your position (individually/as a department)?
ZV: Well, I know that it is going to be Ally. So I would tell her to keep being her vocal, opinionated self, and to maintain her level of patience when dealing with her team members and other difficult tasks.
DC: Where do you feel that your team has contributed the most to V4, so far?
ZV: Organizing parties and outreach events. Although they are officially for PR and Development, I feel like another benefit to those events is that it helps draw our class together a bit outside of the confines of the our staff meetings.
DC: What are you looking forward to most during Visions4?
ZV: Meeting all our guests! And everything going smoothly…
DC: What part of V4 are you most proud of?
ZV: I think our Art Department is awesome. Although it took them a bit of time to get on their feet, they have really gotten everything together, and I think their defined campaign adds momentum to our whole group. Because of their awesome designs, Shannon was able to get more money for customized Swag Bag goodies for the filmmakers and scholars. That makes me look super good - but I couldn’t have done it without them.
Zoë has been one of the uniting voices driving the Visions4 Staff this semester, which has kept everyone at the top of their game.
1 Hour/1 Take Video Race Coordinator, Taylor Woodell
__________
Along with team member Kateland Lee, Taylor has been hard at work this semester to bring those participating in this year’s 1 Hour/1 Take Video race a new spin on a Visions tradition. All of the same rules still apply in this years competition, although the new innovation will not be revealed to participants until April 4th--so act now and register on our website!
Remember, the _ _ _ _ _ is ticking...
With this interview, Taylor has provided some insight into her position, as well as her experience in Visions this semester.
DC: Do you feel that you chose the position, or did the position choose you?
TW: I did not choose my position. I feel as though I was picked for it because Shannon has seen how I function as a producer, I am very diligent, thorough, and have a positive outlook, therefore I think those qualities transfer well into my Visions job title.
DC: What has been your most difficult (or most favorite) task this semester?
TW: The most difficult has been staying on top of all of the logistics that go into planning the video race. Oddly enough, the most difficult tasks have also been my favorite! I love seeing the progress Video race has made thus far.
DC: What advice would you give for the next Co-Coordinator?
TW: Work ahead, always have a back-up plan, and don’t be afraid to ask for help!
DC: Where do you feel that you or your team has contributed the most to V4?
TW: We have contributed to making a face for Visions4, and we also have contributed a lot to what goes on the day of, ranging from what our guests will experience (how they will see Visions and Wilmington,) as well as creating an awesome mini-event.
DC: What are you looking forward to most during Visions4?
TW: I am very excited to get to meet some amazing filmmakers and scholars from all different places! I also am just as excited to see how all of our (The V4 Staff’s) hard work has paid off!
DC: What part of V4 are you most proud of?
TW: I am very proud of Jillian realizing and going after getting Visions a grant! That is a huge deal and could give the all future Visions an even greater leg up. It gives the festival so many more opportunities to flourish and develop!
Taylor has been an amazing networking resource for many of the V4 departments. No matter what questions or leads someone has had this semester, Taylor seems to always say, "I know somebody we can talk to." Her connections (and cheerful smile) have helped out everyone.
__________
There you have it, folks! A relentless Hospitality Department and cool swag bags are just the tip of the V4 iceberg. Check back each week as we spotlight more vital members and departments of our Visions4 family.
Dallis Frie Covey
Print & Media Relations Copywriter
Visions 4 Film Festival & Conference
Friday, March 21, 2014
V4 Featured Filmmaker Highlight.2: Director Zach Wechter
In the four years of Visions Film Festival and Conference's existence, honoring the work of undergraduate film students, both filmmakers and scholars, has been consistent in our mission, as well as a permanent staple in all decisions made by our undergraduate staff--past, present, and future. Although, another factor holds a firm position next to this purely undergraduate event, and it is one of diversity in subject, mode, and genre among our film and paper selections. In last Friday's edition of our featured filmmaker highlight, the subject was animator Whitney Polk and her brilliantly animated short, The Science of Cats. In terms of film category, (animation, documentary, experimental) we remain true to these elements of Visions' diversity in presenting this week's featured Visions4 filmmaker Zach Wechter. His multi-genre narrative film, Straight Down Low, is scheduled to screen in our second film block, beginning at 8:30pm in UNCW's Lumina Theater.
Hailing from perhaps the Eden of American narrative cinema, Los Angeles, California, Zach's film career began long before his formal education at Chapman University. He began creating his first short films, like many successful directors, as early as elementary school: "Growing up, I was always into making movies. My friends and I shot our own homemade projects a few times a week starting in elementary school. I guess it's become more serious over time" (Wechter PI).
It's become very serious.
His film, Straight Down Low, has been selected into numerous festivals already, such as New Orleans, Cleveland International, Maryland, Starz Denver, as well as Santa Cruz, Bahamas, Kansas City and Capital City. SDL also received an A.S.C. Student Heritage Award in 2013. Now, it's Visions' turn to present this outstanding undergraduate's work.
The film was shot in only eight days, and Zach describes his inspiration for the project: "The inspiration came from a number of sources. Chief among them was a desire to make a plot-driven narrative that collides and refreshes familiar genres, inspired by my great affection for Rian Johnson's Brick (2005)" (Wechter PI). Wechter's SDL takes a similar approach to Johnson's neo-noir detective thriller, but with a spin all his own. Set in the inner city, SDL tells the story of a shrewd high school detective as he attempts to solve a curious Californian gangland crime to protect the girl he loves. Driven by a strong plot, striking cinematography, and moving performances, Wechter delivers audiences a thrilling spin on the hardboiled detective film, and the capabilities of genre blending in narrative cinema.
Zach has proved himself as a talented director with a bright future, although screenwriting and the collaborative process seem to be key driving forces in his passion for film: " I have always wanted to direct. It's my favorite part of the process. But the most important part to me is writing. My most significant collaboration is with Jack Seidman, my writing partner and college roommate" (Wechter PI).
From 2012-2013, Zach worked at the Sundance Institute in the Feature Film Program. Currently, he directs music videos and branded content at Everdream Pictures in Los Angeles, CA. He is also currently working on his first first feature film.
So, with this highlight, we welcome Director Zach Wechter and his film, Straight Down Low, to Visions Film Festival and Conference on April 4th. The Visions4 staff, UNCW, and the local film community are honored to present this young filmmaker as he continues to rise in the world of narrative filmmaking.
Steven Gamble
Marketing Director
Visions Film Festival & Conference
Thursday, March 20, 2014
V4 Visionary Highlight.5: Spike Jonze -- By Jake Chamelin
Through the first few installments in our Visionaries series, we've tried to shine a new light on individuals within film and art that have recently come into prominence. While historically the industry has not fully supported an individual who is well rounded in different media forms, the times are changing. Increasingly today, individuals who have a wide range of skills and talents, spread out over many different art forms, hold an advantage in getting ahead. This mastery of different positions on set, from an organizational, business, or creative standpoint, is both an inspiration and challenge for film students currently. As our world modernizes, film goes with it. No longer is a single skill the end all be all. Development of skills from all aspects of the filmmaking process is becoming paramount.
Such an individual with eclectic tastes and skills is Spike Jonze. Jonze has recently been in the spotlight after his latest film, Her (2013) became a runaway hit and took home the 2014 Academy Award for best original screenplay. While Her is a delicate look into the loneliness of human existence in the not too distant future, Jonze’s body of work is vast and no less impressive.
Written by Jacob Smith Chamelin
Web Content Writer
Visions Film Festival & Conference
Wilmington, NC
Friday, March 14, 2014
Visions4 Featured Filmmaker and Scholar Highlight.1 : Animator Whitney Polk and Film Scholar Brandon Konecny
In this first official Visions4 filmmaker highlight, we introduce North Carolina's own Whitney Polk. She is a Film Studies major at the University of North Carolina Wilmington, with a primary focus in the field of animation. Her animated film, The Science of Cats, will kick off our second film block, scheduled for 8:30pm in UNCW's Lumina Theater on April 4th. I was lucky enough to ask Whitney a few questions regarding her film, as well as the experiences that led her all the way to Visions Film Festival and Conference.
Born and raised in Albemarle, North Carolina, Whitney discovered her fascination with film and storytelling after her mother bought their family's first camcorder when Whitney was only 11 years old. The allure of film and her family's home videos soon turned to an interest in visual expression through animated imagery. Although beginning first with cut-out animation, Whitney's favorite mode is hand drawn, flip-book style, because "drawing each frame by hand gives the animation a sense of life that other modes often lack" (Polk PI). This style is present in her festival piece, The Science of Cats, and she explains what inspired such an original piece, as her animation reveals the brisk movement and character of the feline through image and fact: "I grew up with cats. I feel a deep connection with cats and all animals in nature, and I was inspired by that feeling to make the animation. It felt like I was transcribing a cat's spirit onto the film, and that's what kept me motivated throughout the process" (Polk PI). This will be Whitney's first festival appearance, and we are all thrilled at Visions4 to feature such a talented young artist, one with a very bright future in animation.
After film school, Whitney hopes to become a freelance animator for films, commercials, and television. Additionally, she would like to return to cut-out animation. What IS cut-out animation? Whitney explains: "Cut-out animation involves drawing, but once you've drawn the character, you cut them out with the intent to photograph them frame-by-frame and you, the artist, manipulate parts of their body. It's like the 2D version of claymation" (Polk PI). She obviously reveals great knowledge of her craft, a sign of true dedication and promise, especially early in one's career.
As far as Whitney's personal inspirations, Hayao Miyazaki's film, Nausicaä of the Valley of the Wind has had a big impact, not only on current and past projects, but on her thoughts of a pivotal point in any animators career--one that she will continue to strive towards: "All of [Hayao Miyazaki's] animated features are hand-painted cell animation which, to me, comes at the pinnacle of an animator's craft. His films, similar to hand-drawn animations, have so much detail and passion that the films are alive; they exist in time, not as some forgotten Pixar flop, but as a beautiful and priceless motion picture" (Polk PI).
So, with this special highlight, we welcome animator Whitney Polk and her film, The Science of Cats, to Visions Film Festival and Conference on April 4th. If her work, passion, and personal thoughts on animation speak for anything, this will certainly not be her last appearance on a festival platform.
Steven Gamble
Marketing Director
Visions Film Festival and Conference
A Short Interview With Film Scholar Brandon Konecny, author of the Visions4 Conference Selection, The "Unfilmable" Lightness of Being
Steven Gamble: When did you discover your passion for film and writing? Was it always present, or did you have a particular dawning moment?
Brandon Konecny: That's a good question, actually. I'm not sure. I consider myself an incurable cinephile, and as such simply like discussing films, be it with friends or whomever. I didn't really ever consider being a "writer" until it became a logical extension of this inclination, the only difference being I get to use formalized language and polysyllabic jargon; and this kind of platform became a necessity when I became a film major, of course. Where this really solidified, though, is when I began writing for Film International, getting some of my stuff published, and hanging out with Jacob Mertens, Film Int.'s review editor and a fantastic writer himself, who taught me what it meant to take the craft of writing seriously. It's mostly been a means to an end, I guess.
SG: What would you say your favorite subjects of film to write about are? Ex. Feminism, adaptation, genre, cultural analysis, editing?
BK: When it comes to particular interests in film studies, my tastes are pretty broad. I do have some favorites, though. Cultural analysis, for example, looms pretty large in my research, specifically as it relates to various topics in fandom studies. I also enjoy film theory quite a bit, especially as it relates to a lot of the new wave of theorists working today, like Joan Copjec, Todd McGowan, Matthew Flisfeder, and Slavoj ZIzek. It's doing a lot to politicize film scholarship and help film theory shake off some of the sweeping generalizations and totalizing tendencies of the early Screen theorists and French film scholars like Christian Metz; it's given theory more specificity as it relates to engagement with filmic texts. Genre is fun: I really like researching Cold War Era science fiction and screwball comedies. "I really like the burgeoning sub-discipline theological film criticism, as well as gender politics, especially in my work in fandom studies and postwar American avant-garde cinema. But what occupies most of my research, at least of the moment, is Eastern European cinemas.
SG: What inspired you to write your scholarly work, The "Unfilmable" Lightness of Being?
BK: Well, the novel itself. It holds a more or less special
place in my experience. I remember tearing through it during a Christmas
break with my girlfriend, texting back and forth discussing our reading
progress and amazement at its density and brilliance. And then you have
the disappointing adaptation. I
think the project, at a subconscious level, probably, was an attempt to
reconcile my love
for the source novel and the disappointment with Kaufman's adaptation,
and what resulted was so much more, with implications beyond just the
film itself, I think..
SG: Your research was very thorough, well rounded, and enlightening.
How did you first approach the research process? And did you have to
stray away from your original planning?
BK: My original idea for the project was quite different from
its present incarnation—in fact, the one Visions has seen is probably a
revision of a revision of a revision of a revision of a revision,
each with slightly different scopes and aims. Originally, my interest in
the topic was born out of my horror at watching the film adaptation for
the first time. There was certainly a privileging of the novel’s
romantic subplot and the performances were really lackluster.
However, as I continued to research to the film and watch it a
few more times, I realized there was more to consider here, that there
was more in this film than itself, perhaps. Some of its adaptive
decisions, while paling in comparison to its novel counterpart,
illuminated issues of the epistemological privileging given to narrative
film and its opposite polarity of the documentary. It became, I
suppose, kind of a springboard for other issues in film studies that
issued from this one filmic example.
SG: You are a returning Visions4 scholar. Any advice or tips for
those who have never presented their work in this environment before?
BK: A few points. First of all, practice your presentation!
You'd be surprised how many people either try to give an off-the-cuff
presentation or read straight from their paper. And while the latter
isn't a terrible thing--in fact, one should always follow some kind of
script, however general it may be--it can be uninteresting and, more
importantly, if you don't practice and simply rely on your original
draft, you'll most likely run over your time. And that brings me to the
next point: don't be irresponsible with your time. Fifteen-minutes is
nothing, really, so you'll doubtlessly be hard pressed for time. That
said, use it wisely and responsibly; it's infuriating when one has to
cut their time short because another presenter ate up most of the bloc.
Finally, and this is the trite piece of advice, HAVE FUN WITH IT. We're
here because we all love film, be it as a viewer, critic, scholar, or
filmmaker, so act accordingly. When you present, allow yourself to be a
bit conversational; treat it as if you're just talking with your friends
about some topic in film studies.
SG: You are currently a Film Studies graduate of UNCW. Any current projects in the works? What are some of your future aspirations?
BK: I’ve got a few projects in the works at the moment, many of which are submissions to some journals and doing some film and book reviews—a few of which I’m really excited for, actually. One that I’m particularly eager to get to is a book review of Hollywood Chemistry: When Science Met Entertainment, which I plan to co-author it with my girlfriend, who’s currently working as a microbiologist and way more scientifically acute than myself. I’m also planning—or dreaming of—submitting something to Slayage: The Journal of Whedon Studies Association. I really want do something on the Buffy the Vampire Slayer episode “Hush,” wherein I'd read its textual details (the uncanny creatures, the traumatic stealing of the voice, for example) under the rubric of Lacanian psychoanalysis, specifically regarding the function of the voice as the objet petit a, the "object voice," as I believe Mladen Dolar puts it. We’ll see what happens, though. Time has to permit. I’m also currently going through all the joys that going along with law school admissions, so that’s the next big project to accomplish. Ultimately, my intention is to pursue a career in law, perhaps something in IP, trademark, or patent.
SG: Do you have any authors in particular that you enjoy? Perhaps a few that inspired you?
BK: Honestly—a.) literary authors, b.) authors who write about film, or
c.) film authors. For the sake of thoroughness, I’ll include some names
from all three categories:
a. I read quite often, so I have quite a few literary authors I like: David
Foster Wallace, William Faulkner, John Jeremiah Sullivan, David Sedaris,
Paul Tillich, Matt Fraction, Ernest Hemingway, Slavoj Zizek, Jonathan
Franzen, Jack Kerouac, Milan Kundera, and probably a lot more that I’m
forgetting to mention.
b. Authors who write about film: P. Adams Sitney, David Bordwell, Robert Stam, and Todd McGowan.
c. Film Authors: Ernst Lubitsch, Pedro Almodovar, John Waters, Preston Sturges, Stan Brakhage, Frank Capra, Glauber Rocha, Tomas Gutierez Alea, Jonas Mekas, Andy Warhol, Andrei Tarkovsky, Elia Kazan, and probably a lot more that escape me at the moment.
Steven Gamble
Marketing Director
Visions Film Festival and Conference
Thursday, March 13, 2014
V4 Visionary Highlight.4: Lindsey St. Pierre
In recent weeks, this series has examined individuals who are already well established members within their respective fields, with a large and impressive body of work behind them. It is inspiring to all who look at filmmakers that have had success, often starting from such humble beginnings. When we examine their early ventures in film and academic careers, we begin to view their accomplishments through a different lense. But it isn’t only well established directors, or enterprising spirits within the film community that can be visionaries. Even those still in film school can step into this spotlight. The tools and techniques acquired during this film education often lay the foundation for a bright future within the industry.
It is within this re-examination of just who can be a visionary that, this week, we present a special piece on Lindsey St. Pierre. Lindsey has recently graduated from the Ringling College of Art and Design. Her senior thesis piece, Dia de Los Muertos, took home the gold at the 2013 Student Academy Awards. Most students could only dream of ever achieving such an accomplishment, and this award puts Lindsey in a class all her own. Her superior animation skills refined over years of work come to full fruition in this piece--a flawlessly animated transition from the natural world, to the land of the dead. Upbeat mariachi music ties the film together, not to be a frightening encounter, but a child's self-fulfilling journey that leads to an understanding of death. The main character, a young and innocent girl, learns that her deceased mother will always be with her, a guardian angel of sorts. Overall, it is a piece that packs a surprising emotional punch in a few short minutes. The animation is so crisp that it jumps off the screen, straight into the hearts of audiences.
Such hard work and dedication to craft is always admirable, but to have such an honor bestowed upon her at such a point in her career will no less bolster Lindsey’s passion even more. Since graduation, Lindsey has gone on to work for Humid Resources as a storyboard artist, as well as Epipheo Studios as a designer. Currently she is training to work for Walt Disney’s Animation Studio. Lindsay's honed skills in college have prepared her to pursue the dream of working in the field of animation--the payoff for a such an enormous amount of effort.
Lindsey St. Pierre may not have an extensive list of films under her belt at this point in her still young career, but she does have a work ethic of mammoth proportions. Already having a Student Academy Award to her name, she will undoubtedly go on to accomplish incredible things in the field of animation. We all hope she will; such raw talent must not go to waste. Our staff is so incredibly proud to feature Dia de Los Muertos in this year’s Visions Film Festival & Conference, and we wish Lindsey all the best in her future endeavors. Already an accomplished filmmaker, we know she will continue to excel, and it is for this reason that Lindsey St. Pierre deserves to be included among our list of Visionaries. She is an example of the success and acheivment that follow close behind passion, determination, and a true vision. Lindsey has set a path for all aspiring animators and filmmakers to follow.
Written by Jacob Smith Chamelin
Web Content Writer
Visions Film Festival & Conference
Wilmington, NC
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