GRFF and Wildcraft collaborate on A Night at The Oscars
March 2, 2010
Cambridge ON – The Grand River Film Festival (GRFF) is pleased to be collaborating with The Charcoal Group to offer film lovers a chance to come together to view the 82nd Annual Academy Award’s Red Carpet and Ceremony at Wildcraft in Waterloo.
A Night at The Oscars will take place Sunday March 7th with a special prix fixe menu beginning at 6pm complete with Red Carpet. At 8pm the Oscar presentations begin in the bar area where guests can enjoy special themed drinks and complimentary hors d’oeuvres.
The gathering is an opportunity for film lovers to have some fun discussing the Oscar-worthy selections of 2010 and watch as the Oscars are awarded. There will also be contests and prizes throughout the evening.
The evening is in support of GRFF which will hold its fourth annual film festival Thursday October 21st – Sunday October 24th, 2010. Last year’s Festival was a huge success, screening more than eight critically-acclaimed films and premiering the winners of the BMO SHORT Shorts. The Opening Gala was attended by acclaimed Canadian Director Bruce McDonald while the Closing Night Gala was attended by the 2009 Oscar-winning director for Best Foreign Language Film Departures, Yojiro Takita.
GRFF Chair David Marskell said “Oscar night is ideal to bring together film enthusiasts, at the trendy Wildcraft venue offering a unique space to view Hollywood’s most fascinating awards show while showing support for GRFF and its Film Society”.
“The collaboration with Wildcraft will create a fun and supportive way to enjoy and discuss film” – a concept that embodies the purpose of the 4th Annual Grand River Film Festival.
Entrance to A Night at The Oscars and 2010 GRFF Membership is: $20.00 a person, $10.00 for Students or, the “Hollywood” three course prix fixe dinner for only $40.00.
Tickets are available at Wildcraft in Waterloo or The Museum in Downtown Kitchener.
-30-
For more information, please contact:
David Marskell 519-574-0291 David.Marskell@TheMuseum.ca
Jody Palubiski 519 893 6570 JodyP@CharcoalGroup.ca
The GRFF’s Indie Lounge concluded today with a daring roof-top jump and a man running ablaze down King St. Stuntman Blair Johannes jumped from the top of the Kitchener Children’s museum. The jump was quickly followed by Randy Butcher and dramatically staggering down King St. Both stunt demonstrations were part of a more elaborate event that brought industry professionals from around the world to Kitchener to talk the film industry. This included seminars and workshops in film editing, production, art direction, attaining funding and distribution, and combat filming. Award winning set and costume designer, Sarah Armstrong, was part of a workshop focused on set design and production. I asked Sarah a few questions via e-mail before the Indie Lounge and she gave me some great answers regarding the nature of her work. Here is the interview:
Q: Are you excited about Grand River Film Festival and Indie Lounge?
Sarah : Any venue that allows artists to get together and share ideas, see each others’ work and get inspired excites me.
Q: What inspired you to get into art direction and costume design?
Sarah : I started out designing sets and costumes for theatre. I fell into film and loved it as a medium…and found it suits who I am as an artist.
Q : What education have you attained, both institutional and “real-world”?
Sarah : I have always been involved in the arts from a young age doing everything from drawing, sculpting, painting, dancing, performing and writing. Formally, I went to York University in Toronto for Set and Costume Design in Theatre. After that I went to the Emily Carr College of Art and Design in Vancouver for Textile Arts and Design. But everything I have learned about film has been “hands-on” and all on the job.
Q : What accomplishments are you most proud of?
Sarah : I am always proud that I can continue to survive working in the arts. But I guess the awards I have been nominated for and won validate that I am good at what I do. I also feel proud when I am happy with the end result of a project and I have been able to stay true to my artistic vision throughout all the complications and realities.
Q : What are (some of) the key concepts in art direction and costume design?
Sarah : I think understanding the story and trying to remain true to the storytelling in a visual way is integral to any project…be it film, television, video, theatre, dance or opera. Helping the story to be told in a believable way is part of what I do and I take it very seriously. Making sure that you can facilitate the look of the world being created and also being a part of the creation of that world is part of the job.
Q : What are (some of) the steps in your design process?
Sarah : Reading the script and absorbing it. Thinking about what the world of the story looks like and the people within it. Talking to the director and screenwriter (if possible) and collaborating with them. Assembling visual sources, photos, sketches, scale models, collages, etc……anything that will help to get my ideas across. Talking to performers and getting ideas for costumes from them. Working with the Production Designer and other designers to collaborate on ideas. Looking at the world around me.
Q : How much does a text aid in your design?
Sarah : It is absolutely essential. Without a story to tell, what is the point?
Q : Do you prefer individual or team work?
Sarah : I always prefer team work and collaboration. Although it can make things slower or more difficult, it allows me to learn and grow as an artist. Everything I know is because I have worked with others and learned from them. Also, nothing in film gets done by the individual…it is always about being part of a team and having to rely on each other.
Q : How do you want an audience to react to your designs?
Sarah : I want an audience to believe in what they see and get absorbed by the story. I want my work to facilitate that.
Q : Does appealing to an audience take precedence?
Sarah : No. I think making the story believable and staying true to that is more important. The audience will draw conclusions of their own no matter what you do. You ultimately can only ever please yourself.
Q : Do you have any advice for budding art directors and costume designers?
Sarah : Do as much as you can to learn the craft. Be curious and ask questions about the world around you and spend time exploring it. Get inspired from things you enjoy. Take time to get to know what YOU like and what turns you on visually. Talk to established professionals in the field and find out who you might like to work with and learn from.
The Indie Lounge is a great event for budding film-makers to meet and learn from industry professionals. The speakers all have their own experiences with the competitive film and theatre industry and all give great insights. These would be beneficial to anyone who has any inkling of a desire to have any part of a film or theatrical production.
-KS
And here is a hint of things to come – with Simon Fon
October 24, 2009
Indie Lounge is just around the corner and to give you a hint of what’s to come I have for your reading pleasure an interview with stunt coordinator and Indie Louge attendee Simon Fon.
In terms of stage combat, what is one of the most difficult scenes you’ve had to work on? And what made it so much of a challenge?
Simon Fon – Great question because right now at the Young Centre for the Performing Arts The Mill: Parts one and two are running in rep and I must say that The Mill part one: Now We Are Brody has been one of the most challenging projects to date. This is simply because the Tank House Theatre is not a Fly space, it’s a very small black box stage that seats 85 people capacity, and so to make actors fly in that space and simultaneously hide wire effects has been very difficult. We had budget constraints, a set that was completely different on the page then when it was finally built, and I could only use two people to pull/fly the actors in an extremely confined backstage space. Fortunately it all worked out, and the audience and critical response has been very positive.
We are going to be seeing you during IndieLounge. Without giving too much away, what can we expect to see?
Simon Fon – A lot of action. Basically deconstructing stunts that I have personally coordinated over the past 20 years, and sharing some secrets on how to stage effects and gags.
What do you think that an event like IndieLounge can offer to an amateur videographer?
Simon Fon – Knowledge and community. Young film makers have to be supported, it’s one of the main reasons I RIOT ACT (www.riotact.ca). People like myself can share details of how to do things so that they don’t have to make the same mistakes I did when starting out and getting very little to no support.
Come check out Simon Fon this weekend and ask him more questions yourselves.
-JR
GRFF Kicks off with Star-Studded Opening
October 22, 2009
Canadian Director Added to Tomorrow’s Gala Opening
Cambridge, ON – The Grand River Film Festival (GRFF) is pleased to announce more stars have been confirmed for the Opening Night Gala. Acclaimed Canadian director Bruce MacDonald has agreed to join the festivities kicking off on this Thursday evening.
Joining MacDonald at the screening and after party is Tony Burgess, the writer of Pontypool and stars of the flick, Stephen McHattie and Lisa Houle. Pontypool, a Canadian horror film, has been catching the eye of horror fans worldwide since its release. Taking place in the small Canadian town of the same name, the film explores the influence of language and the deadly consequences it can have.
“Not only are we proud to be providing even more exposure to an already popular Canadian film, we are thrilled to have the director, writer and actors join the opening events of our festival,” said David Marskell, Chair of the GRFF Volunteer Board. “To showcase Canadian talent and have fans meet those associated with the film is a once in a lifetime opportunity for all involved.” The actors and writer will be familiar with the area, as they researched their roles in the CHYM FM studios in the early stages of the film.
The Pontypool screening will take start at 7:30 pm at Galaxy Cinemas in Waterloo on October 22nd, kicking off the third annual Grand River Film Festival. Tickets to the Opening Gala are $50 and are available for online at www.GRFF.ca , The Children’s Museum in Kitchener or the Cambridge Galleries in downtown Galt. A limited number will be available at the theatre on Thursday. The festival will run from Thursday October 22nd to Sunday October 25th.
A second screening will take place at The Gig theatre in downtown Kitchener Saturday October 24th at 7:30pm. Tickets are only $7.00 and details can be found at www.GRFF.ca
For more information, please contact:
David Marskell
Chair, Board of Directors, Grand River Film Festival
Word,
New youtube advertisement for the Indie Lounge. Learn how to film combat scenes the right way. Please, don’t try this at home: http://www.youtube.com/watch?v=Va5BAqII518&feature=player_embedded
- JD
And where is Indie Lounge?
October 20, 2009
We’re getting closer and closer to the big day – or in our case the big days. Yes Indie Lounge is right around the corner and some of you might be wondering exactly where it all goes done. I mean nobody wants to miss the chance, even just the slightest chance, of seeing us “throw the mayor off the roof” right?
So here it goes. Saturday October 24th. Be there at Kitchener’s own Children’s Museum. Where is that? Right in downtown Kitchener at 10 King Street West – barely a stone’s throw from town hall and only a short walk from the Charles Street Transit Terminal.
Day two all goes down at the Walper Terrace Hotel. Can’t find it? Then head back toward the Children’s Museum because it’s just down the street from it. ! King Street West is where day two begins and ends.
I hope to see crowds out there this weekend. No one can say they couldn’t find the place.
- JR
Here is the remainder of the interview with Ryan Alexander, director of a Short film being shown at the Grand River Film Festival next week.
Q. What is your favourite equipment to work with?
Ryan – This a tough question but I will tell you that I got my first video camera in grade 7, a Digital8 Sony Handycam. Since I began studying at Sheridan I have had a growing admiration for shooting on film. It’s most definitely my most favourite format to shoot on, whether it be 8mm or 16mm. Sheridan is a big promoter of using film and I’m glad I was exposed to it. (No pun intended.)
As for film cameras, I really only have experience with a range of Arriflex 16mm cameras, Bolex H16 and a variety of regular 8mm cameras.
As for video cameras, I have a Panasonic DVX100A that I bought in grade 11 and still have today which I used during my last two years of high school and first year of college. It’s a great camera, I swear by it but it’s standard definition and high definition is where the technology has already moved. I owe a lot to that camera though, it was a great tool and allowed me to progress in making films.
Sheridan provides the students in the Media Arts program with a lot of great resource. I am particularly a fan of the Sony EX-1.
This past summer I had the opportunity to work with the prestigious Red One digital cinema camera. It’s an amazing camera, I enjoyed working with it a great deal but I won’t say too much about it because I don’t want to sound like an expert, because I’m certainly not that. (I’m working on it though.)
I just began learning lighting practices specifically this year but I enjoy Arri lighting kits and the ever so popular Kinoflow lighting systems.
As for editing systems, I use Final Cut Studio and beginning to use Avid Media Composer, which I was lucky enough to learn how to use while completing a Co-Op at Rogers Television in grade 12 and now relearning at Sheridan.
Q. In your Greg & Ron films, how did you go about approaching them about being filmed? And do you find that most people are okay about being on camera?
Ryan – I was at the newly constructed Waterloo Square filming some skateboarding during a jam that the local shop, Sanction Skate & Snow, hosted when I met Greg and Ron. I noticed Ron strumming away and Greg tuning his banjo. I thought it would be great to get a live recording of the two jamming. I wasn’t exactly sure what to expect when I walked up to them and asked if I could film a song or two. It was more of an impulse. Ron was very enthusiastic and agreed. They finished to first song and asked me to film two more. Afterwards Ron and I had a great conversation then asked me to email him a YouTube link of the videos.
Since I began studying documentary in my second year at Sheridan the film I am working on right now has already started into production. The crew I am working with currently has found most people fairly comfortable around the camera.
Q. Can you describe your set up for your most recent skateboard video? Since lighting seems to play such an important role in the film, can you talk about the importance of lighting?
Ryan – For the Skate 60fps video my two roommates and I were just doing camera and lighting tests for a shoot the following day. (This sort of relates to my second previous answer about how filming skateboarding is very spontaneous and uninhibited.)
Technically speaking we had two 650-watt tungsten lights and the camera was a Sony EX-1 shooting at 60 frames per second.
For the film in the festival, Daily Routine, the main character/subject of the film, Ryan Carell was my roommate from last year, I was very fascinated by his insomnia so I chose him as my subject for a project at Sheridan. During production I relied fully on ambient light from available sources, I never set up lights, we just used what was already there. This was challenging because every shot in the film takes place at night. It was a good exercise in terms of utilizing the light available in a particular room or outside.
The importance of lighting is a question in itself. It’s such an important part of filmmaking, especially for someone like myself that is interested in cinematography. It’s really the starting point of any photograph. Theirs is so much I need to learn on the subject, I am just beginning to learn lighting practices but I can say that I appreciate the effort, time, creativity, innovation, etc.. dedicated to lighting for a film.
Q. I noticed that you split your films between “film” and “video”. Why?
Ryan – The simple answer as to why I have the two sections, film and video, would be that the work I shoot on film, either 16mm or 8mm are in the film section and any work shot on digital is under video.
The reason I have segregated the two is because I feel that they are two very different mediums. Film requires much more discipline and planning where as video you can shoot as much as you like. The two mediums entail very different production processes as well. While at least I have found that in my experiences. I enjoy using film much more than video, for reasons I could talk about for hours. I think it’s important for a filmmaker, especially someone interested in cinematography to understand film and know how to use it.
Q. What would you suggest to someone interested in starting to shoot video? What is one of the most important things to consider?
Ryan – I don’t feel like I am entitled to answer that question. I am still young and naïve, I have a lifetime of learning ahead of me. Even when someone thinks they know enough to be an expert there is always more to learn.
I suppose one of the most important things to consider is the story or idea you are trying to communicate with your audience. It’s hard to pinpoint the most important thing to consider when making a film because I have no idea.
Q. Are you interested in photography as well as film?
Ryan – I first started taking black and white photos in October 2008. I initially started because I wanted to learn more about film and the photographic process itself. It was also a good chance for me to practice image composition and lighting. At first I was sending film to a lab but later a friend introduced me to hand processing the film and printing the photos in a darkroom. After one session I was hooked. The reason why I decided to switch from 35mm to 120mm is simply because I was intrigued by the size of the film. I like the square frame and the size of the negative holds an enormous amount of resolution, something that digital will never replicate. I think the reason I still enjoy shooting black and white is because of how primitive it is. The process is very simple and it yields amazing results. The camera equipment isn’t hard to come across and the darkroom equipment is even easier to find. The initial setup is expensive but it’s well worth it. I share my bedroom with my darkroom at my place in Cambridge during the summer and use the facilities at Sheridan during the school year.
I was lucky enough to have my photos in the 2008 Waterloo Arts Festival during the summer and this past September one of my photos was accepted into the Photo-Op Photography Exhibition at the John B. Aird Gallery in Toronto. I also have some photos at Corner Stone Interiors in Cambridge. (Where the GRFF Closing Night Gala is taking place.)
-Ryan Alexander
Stay tuned for more interviews and news from the Grand River Film Festival’s Indie Lounge!
Interview with Ryan Alexander – Director of “Daily Routine”
October 14, 2009
The Indie Lounge is only part of this year’s Grand River Film Festival. This year’s festivities include screenings of films from around the world – but not without a touch of home. GRFF will feature Shorts from local videographers and, in the spirit of Indie Lounge, independent filmmaking, and even the possibility of a bit of education, I spoke to the director of one of this years shorts, Ryan Alexander.
Q. What got you interested in film?
Ryan - I began making short films with friends from school when I was in grade 8. We would just mess around with the camera and never really have a story to tell. During this time and found myself filming skateboarding with friends. I was never much of a film buff growing up but for a reason I’m still unsure of filmmaking has become my main focus. I enjoy storytelling, developing and conveying ideas and film in my opinion is the best way of doing both.
As I entered my last two years of high school I really became interested in filmmaking. In grade 12 I helped a classmate, Nicole Greg, make a short documentary on the argument of graffiti as art of vandalism. During this time I was also working at Rogers Television as an assistant editor through the co-op program at my high school. My experiences in high school were the major influences of my decision to follow filmmaking as a career. And a risky one at that.
I’m very lucky to be able to study it at Sheridan, it has opened my eyes to a whole new world of filmmaking, specifically documentary production. I enjoy this genre (and it’s subgenres) because it is much more personal and interactive than dramatic film. You are able to involve yourself with your subject’s life and dig for the story you are trying to tell. I don’t believe this can be found anywhere else but in documentary film.
It’s a tough question to answer because you can find inspiration in the strangest places. I couldn’t specify it to one moment in time. I would say that because of the opportunities and inspirations that I have been connected with continue to fuel my interest in film.
Q. What are the particular challenges or advantages to filming in the KWC area?
Ryan – I like to keep things organised so I will answer the advantages first followed by the challenges.
I had spent my entire life living in Cambridge (up until September 2007 when I moved to Oakville to attend Sheridan College, only returning to Cambridge during the summer) so I have a strong attachment to the city. I spent a lot of time in Galt, primarily downtown, filming skateboarding with my friends. As we got older we ventured to Kitchener and Waterloo to new spots.
Advantages to filming/filmmaking in KWC are that the architecture is amazing so whatever you are shooting always has a very pleasing quality. The region is filled with great places to shoot a film, whether it is a park or a building in downtown Galt.
An advantage to making films in the region would also have to be the Grand River Film Festival itself. There’s always growing need for culture in the area and a film festival is a great way to promote that and I was lucky enough to have a film accepted into the festival.
When filming skateboarding the issue of trespassing and stereotyping prevails. I suppose we always knew that we shouldn’t have been filming on private property but it’s just apart of skate culture. Not many security guards or police officers are pleased with skateboarding so we had to be quick when we were filming and know when the best time was to film at a specific spot around the region.
In regards to making a dramatic film or documentary in the region I have found it so far to be a very positive experience. The City of Cambridge is always open to productions and like I said before it is a beautiful city with great places to film. On the other hand, not experiencing any animosity from citizens of political figures doesn’t follow a filmmaker to fight for his voice. This may be a negative attribute to filmmakers because “the best art comes when people are oppressed.” (I forget who said that quote.) Not that I’m asking Doug Craig to ban all productions from the City of Cambridge but it’s true that when you have to fight for something you’re film always turns out better in the end.
—
Tune in tomorow for the rest of the interview. In the mean time you can check out Ryan’s work over at http://www.ryanalexandermedia.com/
Cheers
-JR
Indie Lounge: Behind-the-Scenes
October 9, 2009
All the sizzle and excitement would not be possible without the hard work of a team of volunteers dedicated to bringing key industry people to this region for the benefit of local filmmakers and media producers.
No one is getting paid to organize or run the Indie Lounge. We’re just a bunch of crazy videographers, indie filmmakers, producers, festival directors, etc. who see the value in working together to bring a whole new level of professional networking and insider industry knowledge to the Tri-City area.
We have been clocking hundreds and hundreds of volunteer hours since late last winter to pull the Indie Lounge together this year. A core group of us have met at the Multicultural Cinema Club in Kitchener to talk programming, public relations, budgeting, event locations and much more.
We started off with a survey sent out to a number of indie filmmakers and media producers in the region to get their input for content for Indie Lounge 2009. One of the top priorities was the age old issue of chasing down cash. We have responded to those requests by bringing in a panel on funding, producing and distribution – geared for indie filmmakers.
Since deciding on a schedule of events, we have had to find the talent to run the workshops, demos and panels. We have been very lucky to find dedicated professionals who are eager to share their knowledge. All the guests at the Indie Lounge are coming out for the love of their craft. They are certainly not coming out for the meagre gas money and lunch that we can afford to offer!
We have also had volunteers negotiating deals with our two generous host locations: The Children’s Museum and The Walper. Some of us have spent hours cajoling kindly sponsors; figuring out how to squeeze more and more from the tiny budget and co-ordinating websites and promotional material. Others are currently busy working out the copious logistics of running this event smoothly – from filling out paper work to tracking down all the necessary equipment to making sure our guest professionals can find the event!
It only gets busier for us from here on in.
But it has all been a labour of love.
Please enjoy our hard work. See you at the Indie Lounge!
Eliza Crosland, Indie Lounge Committee
Thumbs Up for Indie Lounge!
October 6, 2009
