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Casting for a Shoot Jun 19th in LA



A very interesting project is slated to shoot on June 19th in Los Angeles. This is a film of a children’s book by Alethea Allen, and should be quite the cool project.  The production is looking to fill the following roles:

The Emperor:  Featured / Male / Asian / 50 – 80 years

Description: Looking for a very important role to fill in a children’s book, the role of the Emperor. I need someone who is Asian, heavyset, has a wide range of emotions, preferably with a black Fu Manchu mustache and beard, but not required. Age 50′s- 70′s. There is pay, as well as a copy of the book. What is required is that for one day, you wear a beautiful costume and that you are photographed with other actors playing parts in the story, including children. The more expressive you are, the better. This is a very special role in a book that children will love for many years to come. Please email your headshots to liddy (at) auntliddysbooks (dot) com. The shoot date is June 19th, so only those available on that date need apply. Thank you.

Wardrobe: Provided.

Factory Workers:  Day Player / MALE OR FEMALE / 40 TO 70 / Asian, Chinese, Filipino, Japanese, Korean, Polynesian, Southeast Asian, Thai, Vietnamese

Looking for older Asian actors to play factory workers, male and female, ages 50+ or can be made to look elderly. Please email your headshots to liddy (at) auntliddysbooks (dot) com. The shoot date is June 19th, so only those available on that date need apply. Thank you.

Factory Workers – children:  Day Player / MALE OR FEMALE / 4 TO 10 / Asian, Chinese, Filipino, Japanese, Korean, Polynesian, Southeast Asian, Thai, Vietnamese

Looking for young Asian actors to play factory worker, ages 4-10, or can play younger. Please email your headshots to liddy (at) auntliddysbooks (dot) com. The shoot date is June 19th, so only those available on that date need apply. Thank you.

The Emerging Skills Needed by #Film Publicists


Now that there is some form of distribution available to every project made, whether it is working with a service company to theatrically release or uploading the project online for free and enabling perpetual viewing, it is time to acknowledge that new mindsets and skills are needed not just for filmmakers, but also for film promotion. Traditionally, a publicist’s role  was to leverage the relationships she had formed with editors and journalists (the media) to ensure story placement in publications and she strived to convey a cohesive message about a film. She endeavored to control the message and those who were allowed to carry it. The prominence of social channels has torn this process apart. Now, the media aren’t the only ones talking about a film and it is getting increasingly difficult to control the message. It is becoming more prevalent to create the dialog instead.

Whether you choose to take on the promotional role yourself as a microbudget filmmaker or you are looking to start working in film promotion, the skills now needed go well beyond writing a good press release and having a good database of personal contacts ( but you still need those too). Here is a look at some emerging skills with the knowledge that it is nearly impossible to find strong abilities for all of these in one person.

-Storytelling and curation. Writing skills still play a vital role in film publicity, but there’s more writing now than ever. As social tools enable a production to reach an audience directly and wherever they congregate online, something besides a “message” must be written. Stories that are memorable, relatable and “sticky” will pull people to you and keep them coming back and the stories aren’t only written by a journalist; not when one has a blog, a newsletter, a Tumblr page, a Facebook page, a Twitter account, Pinterest boards and possibly participating in forums. We’re now talking to the audience, not through third party media. Many more tools, many more skills needed to understand how each one works and how to get the most from them. A visual sense of storytelling is needed as well because many of the social posts that get the most interactions and shared are photos/videos/infographics. In order to develop stories that resonate, one must spend much more time getting to know the audience as people with definite tastes and interests, not as faceless, broad demographics. Also, time must be spent finding great information and sharing it which is just as important (perhaps MORE important) as creating it. Tools that help aggregate useful information and inspire self published content will need to be found and this has become a standard duty in the work day.

-Technical skills. The ability to code, photo and video edit and format, graphic design, link building and SEO,  as well as keeping up with every little trick Facebook settings can throw at you will become increasingly useful. In order to use the new tools effectively and keep to a modest budget, personal training should be undertaken to develop a good understanding and at least a basic level of performance.

-Observation and monitoring. Learning to listen first is without a doubt a very useful skill in the online world. Too many times we are pushed to “sell” “convert” “promote” with no real understanding of who we are talking to and what they care about. Indeed, previously it was difficult to know what “they” care about because “we” didn’t really talk to “them”, but this isn’t the case anymore. Sharing opinions, recommendations, emotions, interests, locations, and personal details abound on the internet and there is no longer an excuse to guess about the needs and wishes of the audience. They are talking online every day, so listen. Monitoring conversations, picking out trending topics, predicting what is likely to spark interest, and THEN actively participating in those communities in an authentic way is how to get the information and interest flowing.

-Measurement. This is now the world of big data and making sense of everything that can be tracked (because lots can be accurately tracked) is increasingly needed. Analytical skills to evaluate trends, outcomes,  and correctly interpret and apply data are skills that enable communicators to turn data into actionable work and measure return on investment. Also, turning data into visual interpretations for management (charts, graphs, statistics) helps show the impact of your work or where things need to be adjusted.

-Fundraising and organizational outreach. Not a week passes that I am not asked about advice on a crowdfunding initiative. Crowdfunding is not only about raising money, but also raising a profile, creating attention, building mutually beneficial partnerships and gathering an audience for a project that may just be starting. Understanding the needs and motivations of a particular group of people sounds quite psychological and it is. Communicators have always needed to be aware of psychological triggers that cause people to care about the message, but in the online space where one isn’t face to face and many decisions hinge on long earned trust, it takes a different mindset and skillset than writing out a good prospectus or pitch letter.   Continual research and outreach to influencers and organizations helps to build up the long term trust that can enable one to call on help when it is needed, whether it is financial help, spreading the word on a project or collaborating together by submitting material (crowdsourcing) in order to give the project a richer life than one the production could create on their own.

-Constant adaptation. Most of the above skills are a catalog of communication demands that didn’t exist 5-10 years ago. Nothing is constant in life but change, right? You can be sure that as new technology and platforms emerge and information gets even thicker and faster, the ability to learn something that wasn’t around even last year will serve you well. Spend time every day learning, reading, and practicing for improvement. A Google search engine is a wonderful thing and nearly everything can be researched and learned for nearly free online. Failing to understand when the shiny new tool becomes THE necessary tool in the pack could marginalize you. Keep up with the trends and adapt accordingly.

I will be participating in a half day workshop in Los Angeles on May 26, 2012 with The Film Collaborative’s Orly Ravid and Jeffrey Winter. This will be an intensive session filled with tools and strategies you should know regarding building an audience with online tools, utilizing film festivals and how to plan your distribution with particular emphasis on digital distribution. This workshop is for filmmakers who are ready to accept the new challenges of film marketing and distribution and not intended for those only seeking a traditional, all rights scenario. Tickets are more than affordable ($20 for TFC members, $50 for non members) and are on sale now.


ACTORSandCREW is fully psyched to be featuring Sheri Moss Candler’s 411 for the PMD. PMD stands for Producer of Marketing and Distribution and this is the person in a production whose sole job is marketing and figuring out the distribution path for the film so the producer and the rest of the production crew can get on with their work. Sheri is an expert inbound marketing strategist who helps independent filmmakers build identities for themselves and their films. Through the use of online tools such as social networking, podcasts, blogs, online media publications and radio, she assists filmmakers in building an engaged and robust online community for their work that can be used to monetize effectively. She collaborates with filmmaker/author Jon Reiss (who coined the term PMD) in his TOTBO workshop series by teaching filmmakers about utilizing social media and building personal brands. For Sheri’s complete bio visit her site, here.


New Film About Hollywood Legend Mary Pickford To Begin Production in Early 2013

Pic to be directed by Jennifer DeLia, written by Josh Fagin and produced by Julie Pacino

Poverty Row Entertainment, a production company headed by Julie Pacino and Jennifer DeLia, has recently acquired the rights, along with producer Said Zahraoui, to silent screen legend Mary Pickford’s biography “Pickford: The Woman Who Made Hollywood,” written by Eileen Whitfield.  This definitive biography establishes the star as a groundbreaking genius, casting new light on one of the most influential – and least understood – artists in the history of popular culture.

THE UNTITLED PICKFORD FILM will delve into Pickford’s life from a woman’s point of view and will illuminate the artistry, spirituality, and integrity that moved Mary Pickford through the ground-breaking and controversial world of her time.  A script by Josh Fagin (“Born to Rock;” “Pride and Glory”) is currently being written with production aiming to begin in early 2013.  Pacino and DeLia are currently in talks with potential talent and will be in Cannes to take further meetings about casting as well as financing.

“With no intention of creating a conventional biopic, we will use the language of film to hopscotch through time, in order to tell the story of a woman so ahead of her time who was living one of the most romantic love stories of all-time,” said Pacino and DeLia in a joint statement.  “Mary Pickford’s story is one of intense emotion, astute intuition, dedicated artistry, and about the creation of Hollywood.  Pickford was floating between the worlds of vast femininity and of masculine savvy and power.  It’s synchronistic for us to be where we’re at as filmmakers as we’re exploring the world through Pickford’s eyes.”

From 1892 through to her passing in 1979, Pickford was the powerhouse who, along with Douglas Fairbanks, Charlie Chaplin and D. W. Griffith, created their own distribution company, United Artists, that was designed to serve the filmmakers rather than the studio heads.  Known as ‘America’s Sweetheart,’ ‘Little Mary,’ and ‘The Girl with the Curls,’ the Canadian-born Pickford was one of silent film’s most important performers and had international fame that reached heights never seen before, as for the first time, an idol emerged from moving images or ‘cinema.’  She was the biggest and most beloved movie star of the time; she was the face of the American Military; she was one of the 36 co-founders of the Academy of Motion Picture Arts and Sciences; and she was an activist.  She fulfilled missions that no one else in her time could have and no one since her could even imagine.

In acquiring the rights, Steven Beer at Greenberg Traurig handled the legal representation for Poverty Row and Said Zahraoui.

The filmmakers strongly believe in the work done over the years by the staff at the Mary Pickford Institute for Film Education (MPI) and encourage everyone to show their support in the preservation of her memory and legacy by signing this petition: http://www.thepetitionsite.com/447/355/995/save-the-mary-pickford-institute-for-film-education/.


Bana and Hall Begin Shooting on an Untitled John Crowley Suspense Thriller


Production begins next week in the U.K. on Focus Features and Working Title Films’ untitled international suspense thriller starring Eric Bana (of Focus’ Hanna) and Golden Globe Award nominee Rebecca Hall (Vicky Cristina Barcelona, The Town) for director John Crowley (Boy A). The original screenplay is by Steven Knight, Academy Award nominee for Dirty Pretty Things and BIFA Award nominee for Focus’ Eastern Promises.

Rounding out the cast are British Independent Film Award nominee Riz Ahmed (Four Lions); Academy Award winner Jim Broadbent (Iris); Olivier Award nominee Kenneth Cranham (An Inspector Calls); BAFTA Award nominee Anne-Marie Duff (Nowhere Boy); in his fifth film for Focus, Ciarán Hinds (Tinker, Tailor, Soldier, Spy); and Golden Globe and Emmy Award nominee Julia Stiles (Dexter). Adriano Goldman (Focus’ Jane Eyre) is the feature’s cinematographer; Jim Clay and Natalie Ward, both of Focus’ The Debt, are the production designer and costume designer, respectively.

Mr. Bevan and Mr. Fellner are producing the film with Chris Clark (The Guard), and Working Title’s Liza Chasin is executive producer. Focus holds worldwide rights to the feature, and will commence overseas sales at the Cannes International Film Festival in May.

In the thriller, two ex-lovers, Martin (to be played by Mr. Bana) and Claudia (Ms. Hall), find their loyalties tested and their lives at risk when they are joined together on the defense team in a terrorism trial.

Working Title Films, co-chaired by Tim Bevan and Eric Fellner since 1992, is one of the world’s leading film production companies. Founded in 1983, Working Title has made nearly 100 films that have grossed over $5 billion worldwide. Its films have won 6 Academy Awards, 30 BAFTA Awards, and prestigious prizes at the Cannes and Berlin International Film Festivals. The company’s 2012 slate includes Baltasar Kormákur’s Contraband, starring Mark Wahlberg and Kate Beckinsale, which recently posted the company’s all-time biggest domestic box office opening weekend; Les Misérables, directed by Tom Hooper and starring Hugh Jackman, Russell Crowe, and Anne Hathaway; and Joe Wright’s epic love story Anna Karenina, starring Keira Knightley, Jude Law, and Aaron Johnson.

Focus Features and Focus Features International (www.focusfeatures.com) comprise a singular global company. This worldwide studio makes original and daring films that challenge the mainstream to embrace and enjoy voices and visions from around the world that deliver global commercial success. The company operates as Focus Features in North America, and as Focus Features International (FFI) in the rest of the world.

Upcoming Focus releases include Moonrise Kingdom, the new feature from Wes Anderson that will world-premiere as the opening-night film of the 2012 Cannes International Film Festival, starring Bruce Willis, Edward Norton, Bill Murray, Frances McDormand, Tilda Swinton, and Jason Schwartzman; Lorene Scafaria’s Seeking a Friend for the End of the World, starring Steve Carell and Keira Knightley; Sam Fell and Chris Butler’s ParaNorman, the new 3D stop-motion comedy thriller from animation company LAIKA; Jamie Travis’ contemporary comedy For a Good Time, Call…, starring Ari Graynor and Lauren Anne Miller; the historical tale Hyde Park on Hudson, directed by Roger Michell and starring Academy Award nominees Bill Murray and Laura Linney; and the aforementioned Anna Karenina.


The Top 10 Best Filmmaking Apps for the iPhone


This handy guide is published courtesy of ActorsandCrew website, which means the apps featured have been tested by professionals and covers pretty much all aspects of filming on the iPhone





Movie Slate by PureBlend Software. (Cost: $4.99)

(iPhone/iPod Touch, OS: 2.1 or later)

Movie.Slate is a digital slate, clapper board, shot log, and shot notepad. designed for use with film, television, documentaries, interviews, and home movies. Movie.Slate provides an easy way to log footage and take notes as you shoot. saving you time later when you capture and edit the footage on your computer.

“Here’s a few highlights: It can log data from multiple productions, and export the data as Final Cut Pro XML files. It has a terrific interface for changing data on the fly. You can customize the hell out of it, including stick designs, colors, and fonts. You can save text, voice, and photo notes for each shot. You can rate the audio and video quality of each take. You can set markers within a shot to remember when something specific happened. And here.s a feature that knocked my socks off: You can wirelessly sync the running timecode of multiple iPhones running Movie*Slate over bluetooth. Now that.s just sick.”



Hitchcockby Cinemek inc (Cost: $19.99)

(iPhone, OS: 3.0 or later)

Cinemek® Hitchcock for iPhone and iPod Touch is a mobile storyboard and pre-visualization composer designed for Directors, Directors of Photography, Producers, Writers, Animators, Art Directors, film students and anyone who wants to be able to visualize their story.

“The price of Hitchcock is not for the novice. It.s $19.99. But, for broadcast and film professionals, it.s a drop in the bucket. Plus, there is NOTHIING else out there on the desktop that can compete with Hitchcock.s speed and ease of use. If you.re doing film or commercial work and you have an iPhone. You HAVE to buy this App or your competitors will. They will get the job because they were faster to visualize your idea. Hitchcock is a game-changer.”




pCamby David Eubank (Cost: $39.99)

(iPhone/iPod Touch, OS: 2.2.1or later)

A Motion Picture and Still Photography calculator for Directors of Photography, Photographers, Camera Operators, Camera Assistants, VFX Supervisors, Script Supervisors, Gaffers, Grips, Editors, Production Designers, Art Directors, Film and Photography Students. Created by the same Hollywood Camera Assistant who created the widely used Palm version.

“The mother of all lens calculators. Originally written for the old Palm Pilot, pCam has been updated for the iPhone with an intuitive graphical interface. It calculates depth of field, field of view, focus splits, hyperfocal distance, exposure compensation, running time, HMI safe speeds and shutters, color correction filters, diopter shift, macro, time lapse, underwater focus distance, illumination beam intensity, light coverage and even has a built-in Siemen.s Star focus chart.”


Action Log Pro

Andris Ltd (Cost: $29.99)

(iPhone/iPod Touch, OS: 2.0 or later)

Action Log is a film and television logging tool, designed for use on location or in a studio with up to 25 recording devices. At the touch of a button the logging system keeps track of all reel names and timecodes for each recorded piece of action.

“Entry of comments is quick and easy by constructing clip names from predefined lists and use of the inbuilt keyboard. All clips in a project can be emailed as ALE and XML files to overnight digitisers and editors for immediate ingestion. For those who like to edit with printed logs in hand, HTML formatted log sheets sorted by reel name, can also be forwarded. Supports up to 25 virtual recording devices.”





by Black Mana Studios. (Cost: $2.99)

(iPhone/iPod Touch, OS: 3.0 or later)

Black Mana Studios. Screenplay is the world.s first fully-functional mobile screenwriting application. It allows professionals and hobbyists alike to write complete movie and television screenplays directly on the iPhone or iPod Touch.

“Black Mana Studios is an official technology partner of Final Draft, Inc., creators of the industry-standard Final Draft Production Suite.”





by Audiofile Engineering. (Cost: $9.99)

(iPhone/iPod Touch, OS: 3.0 or later)

FiRe was created specifically to be a field recorder for the iPhone, not a voice or memo recorder. It is a truly professional recorder developed for audio professionals by audio professionals. It has many professional features other recorders don’t. In addition to supporting stereo recording, it.s the first iPhone recorder to display an accurate audio waveform in real time, and the first to support markers, Broadcast WAVE metadata, and the instant downloading of files in multiple file formats. FiRe is also the first recorder of its kind to offer native SoundCloud integration.

“Excellent quality and design. Some real thought went in to this one. When I don’t have my Zoom H2 handy, this is my field recorder.”





by Michael Zinman. (Cost: $19.99)

(iPhone/iPod Touch, OS: 3.0 or later)

A photometric database and calculator with a vast array of the most popular lighting instruments for film and stage lighting. Need to know what an ARRI 10K fresnel lamp at 25. will deliver in beam spread and footcandles? The Gaffer.s best reference tool.

“Needs some updates for AARI specific stuff, but generally kicks total ass.”




Gel Swatch Library

by Wybron. (Cost: $9.99)

(iPhone/iPod Touch, OS: 3.0 or later)

Browse, search, and compare over 1,000 GAM, Lee, Apollo and Rosco gel colors with Wybron.s Gel Swatch Library. for the iPhone and iPod touch. The Gel Swatch Library gives you multiple ways to find the perfect color for your production. Scroll through lists of gels made by each manufacturer, or search for a specific gel name. Spectral Energy Distribution curves and CMY/RGB percentages listed for each color provide the vital data you need to create breathtaking scenes.

“This thing is amazing. No more fumbling around for a swatchbook in my bag. And now that it has Apollo, it’s perfect.”





by MyWeather, LLC. (Cost: $4.99)

(iPhone/iPod Touch, OS: 3.0 or later)

MyWeather Mobile is a feature rich weather application with animated looping radar and satellite, 36-hour temperature, precipitation and wind speed/direction graphs (USA only), 7-day forecasts, over 10,000 U.S. cities and now thousands of international cities. You can also rotate the phone horizontally to view FULL-SCREEN radar animation and 36 hour trend graphs (USA only).

“Sever weather push notifications definitely put this app on the top of the pile of paid weather apps. If the weather is mission critical, you should really get this.”



by Chemical Wedding. (Cost: $29.99)

(iPhone/iPod Touch, OS: 3.0 or later)

Artemis is a digital directors viewfinder for the iPhone. Designed with both cinematographers and directors in mind, Artemis works in much the same way as a traditional directors viewfinder, though much more accurately and much more conveniently. After selecting a camera format, aspect ratio and lens type, Artemis uses the camera in the iPhone to simulate the lens views you can expect when you come to shoot. You can either compare all the lenses (as above) or hit zoom and the camera will zoom in to fill the viewfinder with the equivalent view of the lens you.ve chosen.

“This app is exceptional. Thank you, Chemical Wedding, for taking this platform seriously.”


A Few Thoughts on #SAGAFTRA and Yesterday’s Historic Development

March 31, 2012 BelowTheLine No Comments

Words of wisdom from the capital “B” Brilliant Ed Fry of (the former) AFTRA-NY:

We often hear of things spoken of in “historic” terms. This really is historic. It’s not hyperbole. SAG is gone. AFTRA is gone. We have a new union, SAG-AFTRA, built for our day. Congratulations to all of us for so fully choosing our future. No squeeker this. This was a full-throated YES. Better than 80% in both unions. 

You can see the former members of AftraNOW on our old website with a slightly new banner (www.aftranow.com) You can get further information at www.Aftra.com orwww.SAG.org and notice that both sites are now SAG-AFTRA sites. 

We have acted. We have changed our history and our future. Soon enough, we’ll begin the work of our new union. But, for now, a couple beers and some rest. 

Congrats, one and all. What a day.

#SXSW Film Announces 2012 Award Winners


Jury and Audience Award-winners of the 2012 South by Southwest (SXSW) Film Conference and Festival were announced tonight at the Festival’s Awards Ceremony, presented by Veam and hosted by comedian and actor Doug Benson. The Awards took place at the Vimeo Theater in Austin, Texas. Feature Films receiving Jury Awards were selected from the Narrative Feature and Documentary Feature Competition categories. Films in these categories, as well as all feature categories, with the exception of Special Events, were also eligible for 2012 SXSW Film Festival Audience Awards. Only Narrative and Documentary Feature Audience Awards were announced tonight. Narrative Spotlight, Documentary Spotlight, Emerging Visions, Midnighters, 24 Beats Per Second, SXGlobal and Festival Favorites Audience Awards will be announced separately on Saturday, March 17, with the Headliner Audience Award to follow on Monday, March 19, 2012. SXSW continues showing films through Saturday, March 17, details can be found at www.sxsw.com/film.

SXSW also announced the Jury Award-winners in Shorts Filmmaking and winners of SXSW Film
Design Awards Presented by iStockphoto, as well as Special Awards, including the Louis Black “Lone
Star” Award, the SXSW Chicken & Egg Emergent Narrative Woman Director Award and the SXSW
Wholphin Award. New for 2012, Jury Awards will be handed out for Short films in the SXGlobal and
Midnight Shorts sections. Audience Award results for all categories were certified by the accounting
firm of Maxwell Locke & Ritter.

“It’s been amazing this year to hear over and over again about the high range of quality across the
board,” said Janet Pierson, Film Conference and Festival Producer. “I know I’m always going on about
the great variety of our program, but this year it seems to have been embraced in even wider measure
and it’s very exciting. SXSW is a special moment for the creative community to both inspire and be
inspired. We appreciate the audience and jury engagement and recognition for these highlighted titles.”

The 2012 SXSW Film Festival Juries consisted of:

Narrative Feature Competition: Lisa Hintelmann, J. Hoberman, Jane Schoettle
Documentary Feature Competition: David Courier, Philipp Engelhorn, Catherine Shoard
Narrative Shorts: Susan Arosteguy, Mark Elijah Rosenberg, Thuy Tran
Documentary Shorts: Anna Higgs, Gerald Peary, Basil Tsiokos
SXGlobal Shorts: Margaret Brown, Chale Nafus, Linda O. Olszewski
Animated Shorts: Brad Graeber, Brad Phillips, Bryan Pudder
Midnight Shorts: Nate Bolotin, Tim League, Ti West
Music Videos: Jim Eno, John T. Kunz, Mark Woollen
Texas Shorts: Karim Ahmad, Jennifer Cochis, Anderson Le
Texas High School Shorts: Marcy Garriott, Emily Hagins, Bart Weiss
Title Sequence Design: Ian Albinson, Jenny Lee, Ben Radatz, Gareth Smith, Kurt Volk
Poster Design: Craig Crutchfield, Tim League, James Leal-Valias, Charlie Loft, Danny Parker
Louis Black “Lone Star”: Elizabeth Avellán, Christy Lemire, Ron Mann


The 2012 SXSW Film Festival hosted a total of 132 features, consisting of 74 World Premieres, 17
North American Premieres and 11 U.S. Premieres, with 58 films from first-time directors. 138 shorts will
screen as part of 12 overall shorts programs. The nearly 275 films were selected from a record number
of overall submissions, over 5,300, comprised of approximately 2,000 features and 3,300 shorts. This
was a 7% increase over 2011 despite moving submission deadlines a month earlier than in previous

The 2012 SXSW Film Festival Award Winners:

Feature Film Jury Awards


Grand Jury Winner: Beware of Mr. Baker
Director: Jay Bulger


Grand Jury Winner: Gimme The Loot
Director: Adam Leon

Special Jury Recognition for Performance:
Jamie Chung – Eden
Besedka Johnson – Starlet
Nico Stone – Booster

Feature Film Audience Awards

Winner: Bay of All Saints
Director: Annie Eastman

Winner: Eden
Director: Megan Griffiths

*Audience Awards for Narrative Spotlight, Documentary Spotlight, Emerging Visions,
Midnighters, 24 Beats Per Second, SXGlobal and Festival Favorites sections will be announced
on Saturday, March 17. The Headliner Audience Award will follow on Monday, March 19, 2012.

Short Film Jury Awards

Winner: The Chair
Director: Grainger David

Winner: CatCam
Director: Seth Keal


Winner: Don’t Hug Me I’m Scared
Directors: Rebecca Sloan & Joseph Pelling

Winner: The Perfect Fit
Director: Tali Yankelevich

Winner: (notes on) biology
Director: Danny Madden

Winner: Battles, “My Machines”
Director: DANIELS

Winner: Spark
Director: Annie Silverstein

Winner: Boom
Director: Daniel Matyas & Brian Broder

SXSW Film Design Awards presented by iStockphoto

Winner: Man & Gun
Designer: Justin Cox

Special Jury Recognition: Pitch Black Heist
Designer: Andrew Cranston

Audience Award Winner: The Maker
Designer: Christopher Kezelos


Winner: Les Bleus de Ramville
Designer: Jay Bond, Oily Film Company Inc.

Special Jury Recognition: X-Men: First Class
Designer: Simon Clowes, Prologue Films

Audience Award Winner: Bunraku
Designer: Guilherme Marcondes, Hornet Inc.


SXSW Special Awards

Winner: The Black Balloon
Director: Benny Safdie & Josh Safdie

Winners: Megan Griffiths for Eden and Amy Seimetz for Sun Don’t Shine

Winner: Bernie
Director: Richard Linklater

Special Jury Recognition: Trash Dance
Director: Andrew Garrison

Presented to: Lindsay Utz


#SAGAFTRA MERGER MYTH #3: #SAG and #AFTRA haven’t done a constitutionally required study of the impact on their benefit plans.


MERGER FACT: This is absolutely false: there is no requirement that the unions conduct a study of  the impact of merger on the benefit plans. Nevertheless, the unions commissioned a Feasibility Report that demonstrates that merger of the unions will only benefit the plans and their participants.
Critics contend that there should be an actuarial study using non-public information held only by the plans. No such actuarial study can be conducted without management’s cooperation and management trustees have already made clear that they will not agree to conduct an actuarial study before the unions themselves are merged.

Those who claim there is a requirement to conduct a study point to language in the Phase I agreement between SAG and AFTRA. That agreement, however, is a dead letter. In 2008, it was suspended and deemed terminated. Even so, the language of the Phase I agreement does not require a study. It provides as follows:

The Committees agree to recommend that the consolidation of the respective pension plans be studied so that it may ascertained (a) what, if any, merger plan can be achieved which will satisfy the requirements of  law and the protection of all eligible members against loss of benefits, presently or in the future; and (b) the willingness of industry trustees to consolidate the plans.

All that this language requires is that the committees that negotiated the Phase I agreement back in 1981 “recommend” to the National Boards that “consolidation of the respective pension plans be studied.”  The National Boards in fact considered this recommendation and found that the Feasibility Report met  the objectives and that it would be futile to pursue an actuarial study in advance of merger of the unions.

First Run Grabs U.S. Rights to Girl Model Doc; Plans Summer Theatrical Release


First Run Features announces its acquisition of U.S. theatrical, home video and VOD rights to David Redmon and Ashley Sabin’s acclaimed documentary Girl Model. First Run plans a summer theatrical release, followed by a fall DVD and VOD release to coincide with the film’s broadcast premiere on PBS’s POV series. Told through the eyes of a 13-year-old Siberian girl and the American scout who discovered her, Girl Model follows a complex global supply chain of young girls sent abroad to seek their fortunes in the unregulated and often murky world of the modeling industry. Just released in UK theatres by Dogwoof, Girl Model has garnered strong audiences and overwhelming critical acclaim for both its provocative subject matter and its realistic portrayal of what many think is a glamorous profession. Girl Model follows two protagonists involved in the modeling industry: Ashley, a model scout who scours the Siberian countryside looking for fresh faces to send to the Japanese market, and one of her discoveries, Nadya, a 13-year-old plucked from her rustic home in Russia and dropped into the center of bustling Tokyo with promises of a profitable career. After Ashley’s initial discovery of Nadya, they rarely meet again, but their stories are inextricably bound. As Nadya’s optimism about rescuing her family from financial hardship grows, her dreams contrast with Ashley’s more jaded outlook about the industry’s corrosive influence. Girl Model is a lyrical exploration of a world defined by glass surfaces and camera lenses, reflecting back differing versions of reality to the young women caught in their scope. As we enter further into this world, it more and more resembles a hall of mirrors where appearances can’t be trusted, perception becomes distorted, and there is no clear way out. Will Nadya, and the other girls like her, be able to find anyone to help them navigate this maze, or will they follow a path like Ashley’s, having learned the tricks of the labyrinth but unable to escape its lure? Girl Model received funding through the Sundance Institute Documentary Film Program, Cinereach, Puffin Foundation, Harvard Radcliffe Institute, IFP, Chicken and Egg Pictures, and The Fledgling Fund. David Redmon and Ashley Sabin have produced, directed, edited and photographed six feature documentaries: Mardi Gras: Made in China (2005), Kamp Katrina (2007), Intimidad (2008), Invisible Girlfriend (2009), Girl Model (2011) and Downeast (2012). Their intimate and intricately crafted documentaries have won a variety of film festival awards, and their work has aired on television stations throughout the world. Redmon received his Ph.D in sociology from the University at Albany, State University of New York. In 2010/2011 he was a Radcliffe Fellow at Harvard University. Sabin received her BA in Art History from Pratt Institute. “We’re delighted and thrilled to work with First Run,” said Redmond and Sabin. “It is an established, hard-working company with an excellent reputation for distributing a wide range of successful movies in numerous outlets.” “It’s an honor to be working with Ashley and David on their mesmerizing, unforgettable film,” said First Run’s VP Marc Mauceri. “I’m guessing it’s going to be a shock to anyone who follows the fashion and modeling industry. And hopefully what it reveals will help change things.” Founded in 1979, First Run Features is one of America’s notable distributors of documentary and foreign films. Recent releases include Jason Cohn and Bill Jersey’s Eames: The Architect and the Painter, DA Pennebaker and Chris Hegedus’s Kings of Pastry, Ken Bowser’s Phil Ochs: There But For Fortune, Joe Berlinger’s Crude, and Judith Ehrlich and Rick Goldsmith’s Academy Award-nominated The Most Dangerous Man in America, Daniel Ellsberg and the Pentagon Papers.

Edoardo Ballerini is an actor and a writer. He has appeared in over forty films and television series, including Boardwalk Empire, The Sopranos and the indie hit Dinner Rush. He was last seen on Theater Row in New York in “Honey Brown Eyes.”You can reach Edoardo on Facebook or Twitter

Actors, What Kind of Success Do You Want?


In the span of two hours I was referred to as a “semi-celebrity,” and had a woman write me asking “Who are you?” (Why she bothered to write is entirely a mystery, but hey…) Still, it did illustrate the murky waters of notoriety actors can swim in. Somewhere circling amongst the “A-listers,” the “has beens,” and the “never should have beens” are the “aren’t you?… no, never minds.”

Between the Taping and the Viewing…


In the acting life, there is also a falling shadow, and it comes between the gig and the screening. Between the filming and the airing… Theater is different, of course, but for now let’s stick to the world of screens. After you walk off set for the last day, there’s a good chance you won’t see your work for months, if not even years, or if ever.

Reviews: To Read or Not to Read (h/t to @edoballerini)

A friend just opened a play last week and he was very excited. Weeks of hard work had …

ACTORSandCREW is fully psyched to be featuring Sheri Moss Candler’s 411 for the PMD. PMD stands for Producer of Marketing and Distribution. Sheri is an expert inbound marketing strategist who helps independent filmmakers build identities for themselves and their films.

The Emerging Skills Needed by #Film Publicists


The Mindset Change of Social Media


I was recently interviewed for a blog and was asked about using social media for marketing a film. It really got me thinking about that question. Is that all most filmmakers see social media being used for? One big promotional effort only to be used when they are looking to sell something? I think within 10 years this will be a non issue as everyone will be adapted to social media. Those who have refused to start will be so left out it will be like the people who held out on rotary phones and terrestrial TV signals.

Using #Pinterest as a tool for your #Film #Marketing


Speaking of Pinterest…I only recently started using it for the Joffrey project which is why all of my boards are devoted to that. Looking at them gives a good idea on the kind of thing you could use it for on your production. In my workshop presentations, I talk about posting regularly on your social channels and not just information directly about your film, but also about the interests of your audience; those who would be a fan of your film and of yourself as an artist. I am using the boards to show Joffrey history through pictures and videos. The ballets they created, the ballets they revived, their alumni dancers, Robert Joffrey through the years as well as photos of the merchandise available to buy through our site. It’s a balance of audience interest and promotion for the film.

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