Martin Shkreli, who picked up the moniker “Pharma Bro” because of the high price at which he marketed a life-saving AIDS medication Daraprim, is being forced to hand over precious items in court. Martin Shkreli Forced To Sell Wu Tang Clan Album Federal prosecutors are asking for a forfeiture of $7.36 million they say Shkreli […]
Source: uInterview
The post ‘Pharma Bro’ Martin Shkreli Forced To Hand Over Wu-Tang Clan Album In Court appeared first on uInterview.
Source: uInterview
The post ‘Pharma Bro’ Martin Shkreli Forced To Hand Over Wu-Tang Clan Album In Court appeared first on uInterview.
- 12/1/2017
- by Hillary Luehring-Jones
- Uinterview
Vault Comics is one of the biggest stories on the indie comics scene this year. With publisher Damian Wassel and editor-in-chief Adrian Wassel at the helm, Vault has created a line of science fiction and fantasy comics with seasoned veterans like Tim Daniel doing design and art direction as well as books like Fissure and rising stars including David Booher on Powerless and Alien Bounty Hunter (with producer Mark Wahlberg) and Natasha Alterici on Heathen.
This past week I was able to chat with Deniz Camp and Vittorio Astone about their new comic at Vault, Maxwell’s Demons.
Joe: What’s the elevator pitch for Maxwell’s Demons? What’s the hook?
Deniz: Maxwell’s Demons is the story of Maxwell Maas, the greatest mind of his generation. Told in a series of standalone stories, each focused on Max at a different point in his life and arranged non-chronologically, it...
This past week I was able to chat with Deniz Camp and Vittorio Astone about their new comic at Vault, Maxwell’s Demons.
Joe: What’s the elevator pitch for Maxwell’s Demons? What’s the hook?
Deniz: Maxwell’s Demons is the story of Maxwell Maas, the greatest mind of his generation. Told in a series of standalone stories, each focused on Max at a different point in his life and arranged non-chronologically, it...
- 9/26/2017
- by Joe Corallo
- Comicmix.com
Method Man praised late Mobb Deep rapper Prodigy as an all-time great Mc on The Chris Gethard Show. "In his heyday, he was top five in New York for sure," he said of Prodigy, who died in June at age 42.
Gethard, one of Rolling Stone's 50 Funniest People Right Now, highlighted Mobb Deep's 1994 track "Shook Ones (Part II)" as an example of Prodigy's brilliance. He also argued the "top five" assessment was high praise, coming from the Wu Tang Clan great – to which Method Man added, "I applaud excellence."
"I'm still a fan,...
Gethard, one of Rolling Stone's 50 Funniest People Right Now, highlighted Mobb Deep's 1994 track "Shook Ones (Part II)" as an example of Prodigy's brilliance. He also argued the "top five" assessment was high praise, coming from the Wu Tang Clan great – to which Method Man added, "I applaud excellence."
"I'm still a fan,...
- 9/1/2017
- Rollingstone.com
Daily Dose: Wu Tang Clan, "People Say" (feat. Redman)...
- 8/25/2017
- Pastemagazine.com
Now, I'm not a huge fan of rap (though I respect it as an artform), but I have to admit I love me some Common and Wu Tang Clan. And I also love martial arts films, so when you mix those things up, you get me excited. Especially if it's a secret agent samurai. Anyway, here's the official plot synopsis for Black Samurai starring Common, and produced by Jerry Bruckheimer and RZA: The series will follow the character... Read More...
- 8/22/2017
- by Damion Damaske
- JoBlo.com
Rapper Prodigy, one-half of the New York hip-hop duo Mobb Deep, died from "complications caused by a sickle cell anemia crisis," the rapper's rep confirmed to Et. He was 42.
The rapper, whose real name is Albert Johnson, had battled sickle cell since his birth, and was in Las Vegas, Nevada, for a performance.
Related: Stars We've Lost In Recent Years
"It is with extreme sadness and disbelief that we confirm the death of our dear friend Albert Johnson, better known to millions of fans as Prodigy of legendary NY rap duo Mobb Deep," Prodigy's rep said in a statement. "Prodigy was hospitalized a few days ago in Las Vegas after a Mobb Deep performance for complications caused by a sickle cell anemia crisis. As most of his fans know, Prodigy battled the disease since birth. The exact causes of death have yet to be determined. We would like to thank everyone for respecting the family's privacy at this...
The rapper, whose real name is Albert Johnson, had battled sickle cell since his birth, and was in Las Vegas, Nevada, for a performance.
Related: Stars We've Lost In Recent Years
"It is with extreme sadness and disbelief that we confirm the death of our dear friend Albert Johnson, better known to millions of fans as Prodigy of legendary NY rap duo Mobb Deep," Prodigy's rep said in a statement. "Prodigy was hospitalized a few days ago in Las Vegas after a Mobb Deep performance for complications caused by a sickle cell anemia crisis. As most of his fans know, Prodigy battled the disease since birth. The exact causes of death have yet to be determined. We would like to thank everyone for respecting the family's privacy at this...
- 6/20/2017
- Entertainment Tonight
If you've been watching television for the last few months, you have probably seen Carrie Coon cry. This is not unusual, considering that, throughout her tenure on the three seasons of The Leftovers, HBO's bleak, brilliant drama has required the actress to turn on the waterworks numerous times. Also, she's an excellent crier, the kind who can run the scales from single-silent-tear-running-down-a-cheek to full-out crumbling, crinkle-faced ugly sobbing. A wise showrunner knows that when you've got someone on your team who can bring it like that on a series about trauma and tragedy,...
- 6/3/2017
- Rollingstone.com
We're straddling the edge of sanity with "Don't Be Ridiculous," and the title taunts us.
As we see on The Leftovers Season 3 Episode 2, the last three years have brought the Garveys and nearly everyone else to their knees. If they were coping well before, what we see on the surface now could mean anything.
Years of processing the loss of 2% of the population affected everyone differently. Some people are harder, some softer, some hard on the outside with a soft coating, gooey on the inside with a hard shell; but most appear willing to believe just about anything.
Much of the hour focuses on Nora. She excels at her job because she can see through the lies of someone who didn't truly lose someone to a Sudden Departure.
Nobody, from what we've seen, has departed since that first October 14, but people continue using the event to cover up other offenses.
As we see on The Leftovers Season 3 Episode 2, the last three years have brought the Garveys and nearly everyone else to their knees. If they were coping well before, what we see on the surface now could mean anything.
Years of processing the loss of 2% of the population affected everyone differently. Some people are harder, some softer, some hard on the outside with a soft coating, gooey on the inside with a hard shell; but most appear willing to believe just about anything.
Much of the hour focuses on Nora. She excels at her job because she can see through the lies of someone who didn't truly lose someone to a Sudden Departure.
Nobody, from what we've seen, has departed since that first October 14, but people continue using the event to cover up other offenses.
- 4/24/2017
- by Carissa Pavlica
- TVfanatic
Music, despite not playing a major role in Daredevil & Jessica Jones, played a fairly significant part throughout the course of Luke Cage season one and it sure sounds like Marvel/Netflix's next joint-collaboration Iron Fist is planning on following the same route. Last Friday, during a Facebook Q&A session with Extra, star Finn Jones explained his highly intricate process of getting into character as Danny Rand for the very first time: "So before I started the role, I actually made a playlist on my iPod of songs that Danny Rand would listen to" He then went on to list off a few of the artists we may or may not hear over the course of thirteen episodes: "It’s a lot of kind of '90s hip-hop like De La Soul, Jurassic 5, A Tribe Called Quest, Wu Tang Clan. Like that kind of music is really what Danny’s jamming to.
- 2/3/2017
- ComicBookMovie.com
Earlier this week the titles of the episodes of Marvel's Iron Fist was released, and each one was accompanied by the name of a director. The only episode that didn't have a director's name attached to it was one called "Immortal Emerges From Cave," Now, thanks to actor Finn Jones, we know that the episode was directed by Wu-Tang Clan's RZA. During an Extra live Q&A, Jones revealed:
"So before I started the role, I actually made a playlist on my iPod of songs that Danny Rand would listen to. It’s a lot of kind of '90s hip-hop like De La Soul, Jurassic 5, A Tribe Called Quest, Wu Tang Clan. Like that kind of music is really what Danny’s jamming to. And we actually feature that in the series. And actually, one of our episodes was directed by the RZA himself. Episode 6. So, yeah,...
"So before I started the role, I actually made a playlist on my iPod of songs that Danny Rand would listen to. It’s a lot of kind of '90s hip-hop like De La Soul, Jurassic 5, A Tribe Called Quest, Wu Tang Clan. Like that kind of music is really what Danny’s jamming to. And we actually feature that in the series. And actually, one of our episodes was directed by the RZA himself. Episode 6. So, yeah,...
- 1/30/2017
- by Joey Paur
- GeekTyrant
George Michael‘s already massive estate could stand to see up to $10 million more over the next two years as his music soars in popularity in the wake of his death.
The beloved pop legend sold about 100 million albums worldwide during his nearly 40 years of fame, and his estate value is estimated at $125 million — not including the British singer’s art ventures, according to entertainment attorney Donald David, who has represented the estates of Tupac Shakur and TLC’s Lisa “Left Eye” Lopez after their deaths and currently represents the estate of deceased Wu Tang Clan member Russell “Ol’ Dirty Bastard” Jones.
The beloved pop legend sold about 100 million albums worldwide during his nearly 40 years of fame, and his estate value is estimated at $125 million — not including the British singer’s art ventures, according to entertainment attorney Donald David, who has represented the estates of Tupac Shakur and TLC’s Lisa “Left Eye” Lopez after their deaths and currently represents the estate of deceased Wu Tang Clan member Russell “Ol’ Dirty Bastard” Jones.
- 12/28/2016
- by Char Adams
- PEOPLE.com
Of the many shows I’ve consumed as of late, two spring to the front of my mind when I want to spice up dinner conversation: Marvel’s Luke Cage, and FX’s Atlanta. They are a yin and yang both birthed from the peanut-butter-chocolate combination that is nerd and black Americans. One show is about a noble black man granted the superhuman ability to rise above white hate. The other is about a loser just trying to get a win in a world built to see him fail. What unites both shows is the through-line of Black America.
Each show is intrepid in its fascination, celebration, exploitation, and segregation of the African-American experience in today’s Trumped-Up United States. Each show on its own is solid, thought-provoking at times, and flawed in their details. Taken as a pair,they become something astounding. At their core, neither could exist...
Each show is intrepid in its fascination, celebration, exploitation, and segregation of the African-American experience in today’s Trumped-Up United States. Each show on its own is solid, thought-provoking at times, and flawed in their details. Taken as a pair,they become something astounding. At their core, neither could exist...
- 11/5/2016
- by Marc Alan Fishman
- Comicmix.com
Beyond Fest must have their check in the mail, because ol' Jack Burton himself is coming to the festival for a 30th anniversary screening of Big Trouble in Little China. Filmmaker James Gunn will be on hand to discuss the cult John Carpenter movie with the beloved actor, and that's only one of many events fans will want to mark on their fall calendars.
Taking place September 30th–October 11th at the Egyptian Theatre in Los Angeles, Beyond Fest 2016 will also feature screenings of Phantasm: Ravager, Phantasm: Remastered, George A. Romero's Dawn of the Dead in 3-D, Martin, In a Valley of Violence, The Wolf Man (1941), The Bad Batch, Raw, and City of the Living Dead.
A 4K restoration screening of Romero's The Crazies will also take place, as well as a live performance by composer Fabio Frizzi and his orchestra during a showing of The Beyond: Composer's Cut.
Taking place September 30th–October 11th at the Egyptian Theatre in Los Angeles, Beyond Fest 2016 will also feature screenings of Phantasm: Ravager, Phantasm: Remastered, George A. Romero's Dawn of the Dead in 3-D, Martin, In a Valley of Violence, The Wolf Man (1941), The Bad Batch, Raw, and City of the Living Dead.
A 4K restoration screening of Romero's The Crazies will also take place, as well as a live performance by composer Fabio Frizzi and his orchestra during a showing of The Beyond: Composer's Cut.
- 9/8/2016
- by Derek Anderson
- DailyDead
“You are marked for death… wherever you go! You cannot escape the… Shogun!”
Shogun Assassin screens Wednesday, September 7th at Schlafly Bottleworks Restaurant and Bar (7260 Southwest Ave.- at Manchester – Maplewood, Mo 63143) as part of Webster University’s Award-Winning Strange Brew Film Series.
“Send Your Ninjas! I’ll Kill Them All!!! And so he does!! Shogun Assassin (1980) is a bizarre and amazing cult classic samurai film that is apparently pieced together from two longer films in the “Lone Wolf and Cub” Series. From my point of view the viewer would never know this was a composite film and it stands alone as an amazing and strangely hypnotic piece of violent film history. Shogun Assassin has some of the best sword fights ever shot on film. The plot has Lone Wolf (Tomisaburo Wakayama) travelling the countryside, pushing his son, Daigero, ahead of him in a baby cart. The only time he...
Shogun Assassin screens Wednesday, September 7th at Schlafly Bottleworks Restaurant and Bar (7260 Southwest Ave.- at Manchester – Maplewood, Mo 63143) as part of Webster University’s Award-Winning Strange Brew Film Series.
“Send Your Ninjas! I’ll Kill Them All!!! And so he does!! Shogun Assassin (1980) is a bizarre and amazing cult classic samurai film that is apparently pieced together from two longer films in the “Lone Wolf and Cub” Series. From my point of view the viewer would never know this was a composite film and it stands alone as an amazing and strangely hypnotic piece of violent film history. Shogun Assassin has some of the best sword fights ever shot on film. The plot has Lone Wolf (Tomisaburo Wakayama) travelling the countryside, pushing his son, Daigero, ahead of him in a baby cart. The only time he...
- 8/31/2016
- by Tom Stockman
- WeAreMovieGeeks.com
On Friday, the 2nd Circuit Court of Appeals gave Jack Urbont, composer of the "Iron Man Theme" on the 1960s television show The Marvel Super Heroes, another shot in a copyright dispute with Sony Music over sampling by rapper Ghostface Killer. The decision not only has something of interest for fans of Marvel comics and Wu Tang Clan, but also for those dealing with the complexity of ownership in entertainment. Urbont, whose later musical work includes That 70's Show, Oprah, 20/20 and The View, was asked by Marvel's Stan Lee in the 1960s to create music for the television show, and after reviewing comic books
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- 7/29/2016
- by Eriq Gardner
- The Hollywood Reporter - Movie News
Hip-hop artist Common is continuing his foray into the acting world as today we’ve learned that he’s signed up for a leading role in Black Samurai. Touted as a potential TV series, the project is still in the early stages of development but has already garnered significant interest. Wu Tang Clan’s RZA is attached as an executive producer, hoping to bring additional clout when the show gets shopped to networks.
As for its content, Black Samurai is said to take inspiration from Marc Olden’s 1974 book series that also served as source material for the 1977 film of the same name. Common will star as Robert Sand, a man “rescued by a Japanese samurai master and trained for seven years. After suffering from vicious racism in the military, and seeing his teacher and fellow samurai killed before his eyes by terrorists, Robert Sand becomes a killing machine, out...
As for its content, Black Samurai is said to take inspiration from Marc Olden’s 1974 book series that also served as source material for the 1977 film of the same name. Common will star as Robert Sand, a man “rescued by a Japanese samurai master and trained for seven years. After suffering from vicious racism in the military, and seeing his teacher and fellow samurai killed before his eyes by terrorists, Robert Sand becomes a killing machine, out...
- 6/17/2016
- by Gem Seddon
- We Got This Covered
Iconic music legend Prince may have been laid to rest, but his career - and his estate - are expected to soar long after he's gone. The enigmatic rock star beloved by millions boasts TV/film appearances, more than 100 million records sold and a trove of unreleased recordings, all of which could stand to benefit the star's estate in years - and decades - to come. "I think that the minimum income flow over the next five years - minimum - is $100 million," entertainment attorney Donald David, who has represented the estates of Tupac Shakur and TLC's Lisa "Left Eye...
- 4/25/2016
- by Char Adams, @CiCiAdams_
- PEOPLE.com
For over 30 years Sundance Institute has been an iconic organization providing opportunities and resources to independent filmmakers and those that want to support them. Their two flagship programs are the renowned Screenwriters Lab and the Directors Lab, which allow up-and-coming artists to interact and receive mentorship from successful and acclaimed members of the film industry. To say that being part of one these programs is a once in a lifetime opportunity is an understatement. The proof is in the undeniable quality of the projects that are shaped during the labs and that eventually become part of the cinematic conversation.
While fostering talent is what Sundance Institute does best, they are one of the institutions that most diligently reinforces their commitment to provide opportunities for new voices that represent an eclectic array of backgrounds and experiences. In order to cast their net of support even wider, the institute offers numerous exciting programs beyond those that are already well-known in the filmmaking community. As part of Sundance Institute's Diversity Initiative, the Screenwriters Intensive is an invaluable resource that focuses on stories outside of the homogenous fare.
The program is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
The screening this year was Andrew Ahn's "Spa Night," which premiered at the Sundance Film Festival back in January and has now been picked up for U.S distribution by Strand Releasing. Centered on the conflicted son of a Korean immigrant couple in Los Angeles, Ahn's subtle yet poignant narrative deals with issues of identity both sexual and cultural. For the second day of the workshop, the fellows had one-on-one meetings with celebrated figures in independent cinema: Miranda July, Jennifer Salt, Deena Goldstone, Patricia Cardoso, Pete Sollett, Dana Stevens, Tanya Hamilton, Ligiah Villalobos, Scott Neustadter, and Kyle Patrick Alvarez
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
The application for the 2017 January Screenwriters Lab is currently open with a deadline of May 3. Applicants for the Screenwriters Lab are also considered for the Screenwriters Intensive, Sundance Institute Asian American Fellowship, and the Sundance Institute Feature Film Program Latino Fellowship, as eligibility allows. To learn more about the Sundance Institute's programs visit Here.
Khalik Allah
Project: "Kareem"
Khalik Allah is a self taught filmmaker and photographer. His work has been described as visceral, hauntingly beautiful, penetrative and profoundly personal. Photography and filmmaking are two overlapping circles that form a venn diagram in Allah’s mind; the area where they overlap is the space he inhabits as an artist. Allah’s cinematic vignettes document hardscrabble life at the corner of 125th Street and Lexington Avenue in Harlem (New York City), most recently in his award-winning documentary Field Niggas, which screened at festivals worldwide.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
My project is in an incredibly early stage. I'm basically taking the last four years of my life as a photographer on 125th and Lex and adapting it into a fiction narrative.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing was the mutual inspiration we gave each other. The lab advisors helped us dig deeper into ourselves. Their faith in us was tremendous. I took away a new lease on my future.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I met with Miranda July on day two of the lab. Wow she was incredible. She read my entire script and gave me many productive notes. I was impressed that she gave me so much time. Plenty of useful information I can implement.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I must keep writing.
Zia Anger
Project: "Despues De"
Zia Anger is a filmmaker and music video director. Her most recent short, "My Last Film," premiered at the 53rd New York Film Festival. In 2015, her short "I Remember Nothing" had its world premiere at New Directors/New Films and its international premiere at Festival del film Locarno. Other screenings include: AFI Fest, Denver Film Festival, Maryland Film Festival, Ann Arbor Film Festival, Basilica Soundscape, Intuit: The Center for Intuitive and Outsider Art, and Vienna Independent Shorts. She has made music videos for various independent artists, including Angel Olsen, Julianna Barwick, and Jenny Hval, the latter of whom she also tours with, projecting live video and participating as a performer. Her music videos have been featured in various online publications including: Pitchfork, the Guardian, and NPR. In 2015, Anger was included in Filmmaker Magazine's "25 New Faces of Independent Film" issue. She was a 2015 fellow in film/video from the New York Foundation for the Arts. In 2008, she was the recipient of the Panavision New Filmmaker Grant for her short film "Lover Boy." She holds a BA/Bs from Ithaca College and a Mfa from The School of the Arts Institute of Chicago.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Despues De" is about a missing white woman, a mother and daughter who try to find her, and the days leading up to her disappearance on a sorority vacation. It dissects the very particular mythological figures created by our tabloid crazed culture, white women's obsessions with themselves and each other, and the people and places who are alienated in their wake. I would say the project is creatively at the point where it's similar to someone in their late twenties, when you think "wow I know a lot, but fuck there is so much more and I'm open to that," as opposed to "I just turned 21 and I literally know it all." Artistically it calls for a certain amount of precision where high and low brow filmmaking techniques kind of collapse on to each other and end up smooching.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Joan seems to have figured out a really simple way to help even the most stubborn of (non) writers reenter their work at a time when it might seem impossible. What's cool is that once you do it it's really easy to do again. I'm thinking that having this point of access will be crucial to the continued creative development of the piece, beyond writing and moving in to those difficult creative moments onset, in the editing room, all those places you normally forget everything you've already figured out.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Immediately it's exciting to sit the the same room with someone who speaks the same alien language as you but who has had the experience deal with people who don't. I think it was Bergman or someone who talked about how inadequate a script can be, considering it's just this middle step. I find myself so disillusioned with this middle step and constantly questioning what exactly it's supposed to function as. It's a good exercise to talk through what is important and what should be more developed and also where you can cut the fat.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Probably keep learning.
Chris Benson
Project: "Death of Innocence"
Christopher Benson, a journalist and lawyer, is an associate professor of Journalism and African American Studies at the University of Illinois at Urbana-Champaign. He has worked as a city hall reporter in Chicago for Wbmx-fm, as Washington Editor for Ebony magazine, and as a speechwriter for Washington, D.C. politicians, including former Congressman Harold Washington and Eeoc Chair Clarence Thomas. He also has written for Chicago, Savoy, Jet, and The Crisis magazines, and has contributed to the Washington Post, the Chicago Tribune, and the Chicago Sun-Times. Most recently, he has written commentary on justice, race and media for the Chicago Reporter and the Huffington Post. His Chicago Reporter series on the wrongful murder conviction of Anthony Dansberry contributed to Dansberry’s release from prison (after serving 23 years) and earned Benson a Peter Lisagor Award for exemplary journalism. Benson also was a co-writer and associate producer of the Wttw Channel 11 documentary "Paper Trail: 100 Years of the Chicago Defender," and was named on two of the documentary’s three regional Emmy Awards, as well as another Lisagor Award. Benson is co-author with Mamie Till-Mobley of "Death of Innocence: The Story of the Hate Crime That Changed America," the account of the 1955 lynching of Mrs. Till-Mobley’s son, Emmett Till, and the winner of the 2003 Robert F. Kennedy Book Award Special Recognition. The feature adaptation of the book will be executive produced by Chaz Ebert and Shatterglass Films
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
Our project is titled "Death of Innocence" and it is the screen adaptation of a book I co-authored with the late Mamie Till-Mobley about the life and tragic death of her son, Emmett Till. Through this project that focuses on the brutal 1955 lynching of a 14 year-old kid, we want to help people make connections between the violent enforcement of racial segregation and the shooting deaths of young African American males by people who still are getting away with it in our contemporary moment. We also want to show how one person—in this case, Mamie Till-Mobley—can make a difference in the struggle for social and legal justice in America. This clearly is a challenge we still face and we need to learn lessons from some of the unsung heroes of the Civil Rights Movement. That is what we are trying to show with this picture.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
One of the many things I have taken away from the first day of the Sundance Screenwriters Lab is that I have to take ownership of the characters who populate this story—even this story based on true events and real people. As a professional journalist, I have spent years trying to keep a distance from the issues I write about and the people who humanize those stories, who breathe life into them. Despite cynical public opinion, journalists do go after the truth. In screenwriting, we are going after the essential truth. What is the meaning of everything that appears on the screen? So, even in stories based on real events, we are not simply cataloguing a series of facts in a sequence of scenes. We are supposed to find the story that rises from all those facts. The essential truth. The true meaning. That will affect my screenwriting for some time beyond the successful completion of this project.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I have to say that the coordinators of the Sundance Lab experience clearly put a lot of care and thought into developing a perfect match of advisors and fellows. The second day discussions with my advisors was phenomenal. As with the Sundance organizers, they had read the script very carefully and approached my sessions with a devotion to maintaining the integrity of the story, and helping fulfill the purpose we had set out to accomplish. It was amazing to listen to the comments that reflected a deep appreciation of the characters, the story and even the potential impact of this piece. I was especially struck by the connection my advisors felt with the main character, Mamie Till-Mobley, and the advice I was given to develop her and her motivation to a level that will result in quite a powerful rendering. I can't wait to get started on the notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My plan is to work with the notes I was given to consider ways to perfect the script. My advisors have indicated an interest in staying in touch on this, so that ongoing conversation will be great. The first step I am taking after the Sundance Lab is to engage in discussions with the other producers on our project to ensure that we all on the same page. Next will be to coordinate with the collaborators on the script to talk about the ideas that have emerged from the lab experience. Finally, I will begin to interpret it all on the page, and I am eager to see where the story takes me.
Shakti Bhagchandani
Project: "Purdah"
Shakti Bhagchandani is a screenwriter/director born and raised in the United Arab Emirates. She grew up in Dubai, in a melting pot of religion and culture, and cultivated her writing abilities with the help of her mother. She travelled to London to pursue a BA in English Literature at King's College London and while there she was awarded the prestigious Jelf Medal for her contributions to art and charity. While pursuing her undergraduate degree, she interned at the Vineyard Theatre in New York, the Gate Theatre and National Theatre Studio in London, and the Antenna Theatre in San Francisco. She directed a number of student and semi professional plays, including "Fanny & Faggot" by Jack Thorne and "Pornography" by Simon Stephens. After graduation she moved to New York to pursue an Mfa in Screenwriting & Directing at Columbia University. She is currently in her thesis years, specializing in Screenwriting under advisor Trey Ellis. While at Columbia, she has worked on a number of shorts, and as a writer her last short "Khargosh" screened at Palm Springs International ShortFest and won the Satyajit Ray Award at the London Indian Film Festival. Her first feature screenplay, "Bidoun", was shortlisted for the Sundance Screenwriter's Lab 2015, and her current feature project "Purdah" has been selected for the Sundance Screenwriter's Intensive Lab in La. She recently wrapped production on her short "LostFound" that she wrote and directed, and is currently in preproduction for her next short "Tunisian Jasmine" which is set in the UAE.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular. .
'Purdah' is a coming of age drama that follows a 16-year-old British Pakistani girl as she grapples with her burgeoning womanhood and her precarious sexuality in a world built on segregation and coercion. The project is currently in development.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day of the lab included one of the most invigorating writing workshops I've ever been a part of. Joan is a miracle worker! She guided us through a haze of snowploughs, dream sequences and inner monologues, and by the end of it I had somehow come up with about 20 new scene ideas. Characters I had neglected before were suddenly infused with new life and the possibilities for the story feels limitless. Andrew's film and the discussion afterwards was intensely inspiring and the perfect way to round off the day - he helped us believe that the future of our projects is entirely real and attainable.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?.
Patricia and Dana are wonderful! It was amazing to sit across from these incredible, passionate women - they were nurturing, encouraging and boundlessly generous with their advice. They talked about their own trajectories and experiences. They motivated me to dig deeper, to fine tune every detail, and to have faith in myself and the project. They came at my script from completely different angles, offering story notes, a ton of production thoughts, and advice on how to move forward with not only the script, but also my career.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Revise, revise, revise. And then revise again. The lab helped me see how much potential this story has and how much work it still needs. There is so much left to unearth and I'm excited to get started.
Reinaldo Marcus Green
Project: "Monsters and Men"
New York native Reinaldo Marcus Green is a writer, director, and producer. He is currently a thesis student at Nyu Tisch Graduate Film School and writing his first feature narrative, "Monsters and Men." Most recently, he was named one of Filmmaker Magazine’s 25 New Faces of Independent Film (2015). His latest short film "Stop," which he wrote, produced, and directed, premiered as an official selection at the Sundance Film Festival in January 2015. His previous short film, "Stone Cars," shot on a micro-budget in South Africa, had its international premiere as an official Cinéfondation selection at the Festival de Cannes 2014.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
At its core, "Monsters and Men" is a story about perspective.
The film consists of three interlocking stories, each told through the point-of-view of three protagonists -- Manny, a street hustler, Stacey, a female police officer, and Zyric, a high school athlete.
When Manny captures an illegal act of police violence on his cellphone, he unwittingly sets off a series of events that will alter the course of each of their lives...
"Monsters and Men's" three chapters connect narratively and thematically, painting a portrait of modern-day Brooklyn -- a community caught in the crosswinds of crime, police corruption, and social instability.
We’re in the final stage of development, planning to shoot this summer 2016 in Brooklyn, New York. We hope to cast the net wide and far in order to provide opportunities for new undiscovered talent, and new exciting voices. The ideal cast would be a mix of professional and non-professional actors. New York is full of immense diverse talent we can’t wait to work with.
As a filmmaker, my goal is to tell powerful, urgently-needed and authentic stories. I see a unique opportunity to challenge the status quo of independent cinema, to craft entertaining stories with heart and meaning - films which possess social relevance, emotional complexity and thematic resonance.
Ultimately, its my hope to create a highly-compelling narrative feature, entertaining to watch, but one which will add to the social conversation about law enforcement, violence, and justice in America. We want to share that experience with audiences in other places in the world, by giving rise to growing communities who are often marginalized and whose stories are rarely seen in film.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
First and foremost, I felt very lucky to be a part of such an amazingly talented group of filmmakers, with a broad range of diverse projects, across all genres. It was fascinating to see where my script fits in the larger spectrum, and what I realized is that each and every story at the lab was an outlier. Each writer had a singular voice, a unique take on genre, character, story, and structure.
The Lesson: “Come in from the side.”
During Day One at the lab, I felt I threw out any preconceived notions I had about my own script. It allowed me to digress and deconstruct without internally combusting. Joan Tewkesbury, a true master at her craft, went right to the core of who we were as human beings, ultimately going right into the core of who and what our scripts were all about, and what they have the potential to become. I think fear is something that holds most people back, the same fear that the world was once flat and we would sail off the edge. Joan refocused my center of gravity and provided me with tools to “access” that inner child, be playful and to keep digging.
Character is at the core of who we are and what makes us human. The digger we deep, the more we reveal about ourselves. I believe in that if I continue the excavation process, with delicate precision, and a gentle curiosity, it will serve me well in all my writing. I can’t be afraid to find out who I am underneath the surface, although sometime we bury things for a reason — because we don’t want to go there — there’s pain hidden in various forms. In writing, there’s a seemingly impenetrable darkness and then there’s light.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The opportunity to sit down with Peter Sollett and Tanya Hamilton was truly a special treat for me. Not only did are they both masters of their craft and highly-regarded writers and directors within their own right, I had been a big fan of their work before meeting them. Peter’s short film "Five Feet High and Rising," which he later turned into a feature, "Raising Victor Vargas" are two works that I admire deeply, and they have been a source for inspiration since the genius of the project.
Both Peter and Tanya are so sharp and so astute, it makes for brilliant analysis and conversation.
They have a slightly different approach to story, but essentially meet somewhere in the middle; Character. With both advisors, we really stepped back from the script — taking a birds eye view of what the film really means to me and how and what the best way to achieve telling it would be moving forward. We talked a lot about character, world, and theme.
Tanya and Peter both offered many ideas for “problem solving” — helping me hone in on areas in the script that could be refined and strengthened. It’s evident in their own work how much they care about the craft — both offering truly thoughtful insight and perspective into how each scene could advance the story. We discussed ways to deepen characters and how to build a compelling and complex world without compromising my voice, or the story I want to tell.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I think the simplest answer is to just keep writing. There’s still a ton of information to digest from the lab but the key is to not get bogged down in semantics, to move beyond the fear and paralysis that we create for ourselves. It’s time to problem solve, lock myself in a room and just write. More coffee please.
Jessie Kahnweiler
Project: "Meet My Rapist"
Jessie Kahnweiler has been featured in The New York Times, CNN, TMZ, People, The Hollywood Reporter, New York Magazine, Mashable, Buzzfeed, Elle, The Daily Beast, Jezebel, Indiewire, La Weekly, The Huffington Post, and The Independent. At the University of Redlands, Kahnweiler quickly began ditching class in order to make documentaries. For her thesis film, Little America, she hitchhiked across the country to explore the world of America’s truck drivers. After getting dumped, she wrote and co-directed the comedic short "Baby Love," co-starring alongside "Anchorman’s" David Koechner. Kahnweiler was selected for the 6 Points Artist Fellowship which inspired her comedic web series entitled "Dude, Where’s my Chutzpah?" Her short "Meet my Rapist," a dark comedy about running into her rapist at the Farmers’ Market, inspired her live show "The Rape Girl." Kahnweiler confronted her own white privilege in her viral hit "Jessie Gets Arrested." Her latest project, for which she serves as writer, director, and stars, is "The Skinny," a dark comedic series based on her 10 year relationship with bulimia. It premiered at the 2016 Sundance Film Festival and is produced by Refinery29 and Jill Soloway’s Wifey.tv Kahnweiler lives in La with her plants.
Describe your project briefly and at what stage in the creative process it is.
Include details about your artistic vision for this project in particular. My project is called "Meet My Rapist" and it is loosely based on a short film I made of the same name a few years ago. After the short had it's 15 minutes online I was moving on to other projects but I felt this gnawing at my gut. I tried to ignore it, popped some advil, and went to yoga but that gnawing just wouldn't stop. That annoying painful gnawing was the beginnings of this script. I've been working on the script on and off for about a year. I'm at the stage where I need to take out most of the flippant jokes and get to the real meat of the matter - the heart, the pain. I need to live and cry this story out. Because the project is so personal it is easy for me to get lost in it. Sometimes I forget where I end and my characters begin. So being at the Sundance lab is great timing. I feel totes blessed.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
That I can't hide behind my jokes. After writing in a feeling state all day our amazing teaching Joan looked at me and was like "Your movie is a song and you gotta hit the bass notes." I was like Mic Drop. I love the challenge of making something that is a comedy based in the tragedy of human reality. That is my north star for this movie. I'm not sure if I will get there but that's where I'll be heading.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was incredible to take a deep dive into the script with women who so deeply understand screenwriting from the inside out. The feedback was never like "do it My way" it was more about ripping open the guts of the script and getting to that deeper level. Okay this happens but Why? Screenwriting can be so daunting like "I need write the perfect thing so I can get an agent so I can get hired etc. " and the process can be so lonely and daunting . But in both my sessions we just talked about human behavior and what makes people tick and it reminded me that filmmaking is magic and I'm really lucky to be here. Also a woman, it was inspiring to meet with other women who are living my dream. Who are feeling for a living. In both my sessions I laughed, cried, and go to ask as many questions I wanted it. It was basically my ideal Tinder date.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I'm going to keep working on drafts of the script, keep sharing it with people I trust, keep begging Sundance to let me come over and eat bagels, keep pitching it to anyone who will listen, keep crying, keep feeling, keep making my movie.
Allison Lee
Project: "Jawbone"
Born in Washington, D.C. and raised in Los Angeles, Allison Lee studied English Language and Literature at the University of Chicago. She received her Mfa in Film and Television Production from the University of Southern California’s School of Cinematic Arts. Upon graduation, she worked in development and production at DreamWorks and NBCUniversal. Lee has received grants from the Media Action Network and the Academy of Motion Pictures, Arts and Sciences. She was also named a Project Involve fellow, and her short The Grizzly was produced by Film Independent. In 2015, she was one of five screenwriters who received a residency through the inaugural Hedgebrook Screenwriters Lab, where she was mentored by Jenny Bicks and Jane Anderson.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Jawbone" is about a Korean woman who undergoes drastic plastic surgery as a means to achieve what she and her peers view as success. After she gives birth to a daughter who looks nothing like her, her life begins to unravel and she’s forced to confront her past.
I am currently grappling with rewrites while meeting with potential producers and crew.
I see "Jawbone" as a hybrid of Korean cinema and American independent film. Korean movies relish the tension in tightly wound familial and social relationships. I think my personal connection to this fabric helps me discern and explore where the similarities and differences to American culture begin and end. I also think the best American independent films underscore the universality of specific personal stories, and I aspire to follow in this tradition.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I felt transformed by the sessions with Joan Tewkesbury. She pushed us to bare our souls and delve into our histories to deliver stories that were truthful and specific. My biggest fear about "Jawbone" is that a few extreme events in the plot would read as absurdist melodrama. Relating these events back to some of my own crises helped me re-center the emotional truth of my characters and their journeys.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was crucial to work with filmmakers who knew the Sundance aesthetic and had weathered the challenges before us. I knew the script needed improvement but had a hazy vision of what it required. Tanya Hamilton’s notes were both encouraging and precise about galvanizing and concretizing the protagonist’s journey. Patricia Cardoso, with her directorial and producerial expertise, reminded me that my artistic flights of fancy should still be grounded in reality and be economical and pragmatic. The breadth of their approaches made me feel like I was getting the best of all worlds.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am hustling on a rewrite ready to be seen by producers and representatives. Ultimately, I want to direct "Jawbone," and I am also working on a short film version.
Eliza Lee
Project: "A Beautiful Lie"
Educated in Canada and the Czech Republic, Eliza Lee began in Asia as a Dp trainee before returning to her first passion: screenwriting. She takes great pride in world building for her complex women characters. Lee’s feature, Maybe Tomorrow, about rock legend Chrissie Hynde of The Pretenders, is being produced by Michelle Sy ("Finding Neverland") and Sophia Chang (former artist manager for Wu Tang Clan), with Academy Award nominee Steph Green ("Run & Jump") attached to direct. Lee’s screenplay, "A Beautiful Lie," about crime novelist Patricia Highsmith, was honored at the 2015 Athena Film Festival, and was also selected for the 2015 Outfest Screenwriting Lab. In addition, she was a Cape 2015 Film & Television Fellow and was mentored by various executives from Sony, Paramount, and Fox, among others. Lee has several features and television projects in development. She is the 2016 Sundance Institute Asian American Fellow.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
When Strangers on the Train was published in 1950 and with the anticipation for it to be turned into a film by Alfred Hitchcock, Patricia Highsmith was catapulted into the literary spotlight. Here she thought was her opportunity to break free of the crime genre and finally write her Great American novel. Except, it was at the height of McCarthy’s witch hunt, and her Great American novel would become the iconic lesbian tale, The Price of Salt. In the book, Patricia defiantly gave her lesbian main characters a happy ending together, but faced with the real threat of being blacklisted, she is forced to publish it under a pseudonym. This decision would send her down a path of alcoholism, promiscuity and loneliness as she realized she would not have the happy ending she wrote.
With this story, I knew it had to come from the seminal moment in her life. And for me, it is when she braved writing The Price of Salt at a time where being who you are and believing in what you do can land you in jail, exile or financial ruin. She had to deny her nature, and coupled with a growing rage it would breed the infamous “monster” that would come to define her in her later years.
While her male peers have enjoyed forgiving, pedestal descriptors like "troubled", "complex" or the genius "l'enfant terrible", Highsmith was shown no such generosity.
On top of that, I am struck how often pictures of her old age are published displaying her alcohol and anger ravaged face. We made that. Juxtapose those with photos of Highsmith at 21, so full of hope, vitality and ready for all the wonders of love, and it is clear - she was born this way. "A Beautiful Lie" is about a woman’s quest for love when it was a crime.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Specifically, I learned I hide behind fiction or through my characters and not have to admit the narrative comes from a personal place. Through an incredibly safe and nurturing environment on the first day, Joan Tewksbury led us through a series of spontaneous and revelatory writing exercises that at first seemed random, but without time to allow the self-censor to kick in, the writing showcased how many more complex layers we can apply to our characters through our uninhibited sharing of our personal experiences. As a result, because the stories come from us, they are inherently going to be personal. It was like sleight of hand for the imagination.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were there to help us tell the story we want to tell. And the one-on-one sessions were focused solely on the writing, and was intended to be a dialogue. It was humbling to learn the tremendous amount of time they took to burrow deep into our scripts. I was thoroughly empowered by what these writers offered me, and excited that I could challenge such seasoned pros with my perspective and approach to telling a story. Ligiah Villalobos dared me to linger longer in emotional scenes and to take my pursuit for emotional truths for my character even further. While Scott Neustadter and I discussed much about memories as structure, he also pushed me to defy a note i have received that my character is “unlikable” and to allow her to have even more anti-hero moments. i concluded my last day at the Intensive with their voices unifying in the same sentiment: they have a good feeling the film will be made.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Through the Sundance Intensive, I have a clear idea of what is my next step, and that is to apply another layer of shading to my portrait of Patricia Highsmith. I’m anxious to keep the momentum going, and then take it out to talent. I’m going to realize this film.
Jimmy Mosqueda
Project: "Valedictorian"
Jimmy Mosqueda is a lifelong California resident, the son of two Mexican migrant workers, and a graduate of Stanford University. From an early age he showed a fondness for writing, starting his first journal at the age of five, which developed into a passion for writing short stories, poetry and eventually screenplays. While attending Stanford on a full scholarship, Mosqueda saw how social class and race influenced the experiences of his fellow students, which made him realize just how much the American educational system is intimately tied to those pillars. The intersection of race, class, and education remains an ongoing theme in his works. Today, Mosqueda lives in Los Angeles and writes full-time. His screenplays have placed in numerous contests, including as a finalist in the Austin Film Festival, Script Pipeline and TrackingB competitions, and as a semifinalist in the Nicholl Fellowship. He’s represented by Angelina Chen and Brooklyn Weaver of Energy Entertainment, and is actively developing projects for film and television.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Valedictorian" is dark teen comedy in the vein of "Election" and "Heathers." It’s about an ambitious teenage girl who do anything to be crowned valedictorian of her high school, including a little bit of murder. So, you know, just like real high school! I started writing this project about three years ago. It was inspired by my own school experiences, where everyone on the Honors track was super competitive and had their sights set on the Ivy League. Readers respond positively to the comedy and the heightened world of the script, which is great, but one thing I felt got buried underneath the multitude of drafts is the emotional core of the main character. So during the Intensive my main goal was to rediscover who she was and, building out from that, the reason why I wanted to tell this story in the first place.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing I learned from the workshop with Joan Tewkesbury is that creative development is not about brainstorming characters or story points. All of us have unique, personal experiences and emotions that can form the building blocks of a story. You really have to look inward and tap that raw data, or else run the risk of your story ringing hollow. A lot of artists understand this intuitively, I believe, but Joan’s workshop laid it out in such clear and simple terms. For my next draft of "Valedictorian," I’m going to use these techniques as a stress test, but in all honesty I want to go back and revisit every project I ever worked on using this approach now.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
My advisors were the bee’s knees, if I can be so blunt. My first session was with Scott Neustadter, who along with his writing partner has written a lot of films with teen lead characters. He very clearly understood what the script was, and gave very specific, actionable notes on how to improve what’s already there. I love how he was able to cut through and really get at the core issues of script, which were mostly the same issues I had going in. Scott is killing the screenwriting game right now. His insights were invaluable.
My second session was with Kyle Patrick Alvarez. We spent a lot of time talking about the main character, her motivation, her relationships, and how she “earns” the big moments/twists in the script. We also spent some time talking bigger picture about the industry and how to build a career in Hollywood, which was very much appreciated. Additionally, it was great getting the perspective of another Latino in the industry.
Both men were truly gracious with their time. I left both sessions feeling inspired!
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
After stepping off Cloud 9, it’s back to the computer and working on a new draft of "Valedictorian." In addition, I will also be tackling a new draft of the pilot version. It’s the same world and characters, but with a different engine that is geared towards episodic narrative. Many of the notes I got from Scott and Kyle apply to the pilot version as well, so it’s like getting two for the price of one!
Finally, I just want to thank everyone involved with putting together the Intensive: Ilyse McKimmie, Michelle Satter, Anne Lai, Shira Rockowitz and everyone at the Sundance Institute who made this possible. I am forever grateful for the experience.
Lotfy Nathan
Project: Untitled Bouazizi Project
Lotfy Nathan’s first film, the documentary "12 O’Clock Boys," played over 50 film festivals worldwide, including SXSW, Sundance Next Fest, Lincoln Center, Viennale, Hot Docs, London, and Copenhagen in 2013. It was ranked 7 in the BFI list of top 20 documentaries of 2013, and garnered Nathan an HBO Emerging Artist award. "12 O’Clock Boys" was subsequently picked up by Oscilloscope for a North American release in theaters, acquired by Showtime for television, and was optioned for a fiction remake by Will Smith’s Overbrook Entertainment. Nathan is a 2015 grantee of the Creative Capital Foundation, a resident filmmaker at the Cinereach Foundation, and a previous awardee of the Garrett Scott development grant, the Peter Reed Foundation, the Grainger Marburg travel grant, and an Ifp fellowship.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
The film is about Mohamed Bouazizi, the young Tunisian fruit vendor whose act of self-immolation sparked the Arab spring. It’s a love story, apolitical (as the subject of our protagonist was); about a young man’s steady undoing, and his final bittersweet act of defiance. The film will be shot on location, with cast selected locally besides the principles, and filmed with an immersive approach.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
We were encouraged to draw from very specific personal experiences, prompted by Joan It was incredible to learn these tools, which enable you to tap into vast resources from your own life that you can then apply to the writing- and so vividly. I think the writing exercises with Joan actually stirred a very unusual dream for me that night.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were very motivating. I left with pages of notes on my writing, tangible pieces of smart advice that will help inform the next draft.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Before getting back to work on the script I plan to do some other writing on the characters.
While fostering talent is what Sundance Institute does best, they are one of the institutions that most diligently reinforces their commitment to provide opportunities for new voices that represent an eclectic array of backgrounds and experiences. In order to cast their net of support even wider, the institute offers numerous exciting programs beyond those that are already well-known in the filmmaking community. As part of Sundance Institute's Diversity Initiative, the Screenwriters Intensive is an invaluable resource that focuses on stories outside of the homogenous fare.
The program is a 1 1/2 day workshop for writers whose work has been encountered by the institute as part of their outreach for the Labs and which they find especially promising. The writers of 10 projects take part in a program whose elements include a hands-on writing workshop led by creative advisor Joan Tewkesbury (“Nashville”), a screening of a recent Sundance film followed by a candid conversation with the filmmaker, a reception with Sundance staff and the extended Sundance community, and one-on-one meetings with two creative advisors to get feedback on their script. With the Intensive, the Sundance Institute aims to present participants with creative tools that they can take back to their own work, provide a space for dialogue and information sharing about the creative process of making a film (and all of the joys and challenges therein), and foster community among storytellers and an ongoing connection with Sundance.
The screening this year was Andrew Ahn's "Spa Night," which premiered at the Sundance Film Festival back in January and has now been picked up for U.S distribution by Strand Releasing. Centered on the conflicted son of a Korean immigrant couple in Los Angeles, Ahn's subtle yet poignant narrative deals with issues of identity both sexual and cultural. For the second day of the workshop, the fellows had one-on-one meetings with celebrated figures in independent cinema: Miranda July, Jennifer Salt, Deena Goldstone, Patricia Cardoso, Pete Sollett, Dana Stevens, Tanya Hamilton, Ligiah Villalobos, Scott Neustadter, and Kyle Patrick Alvarez
The Screenwriters Intensive fellows come from uniquely different backgrounds, and their projects bring original stories that are sure to showcase new and inventive perspectives on the world. Get to know them and their stories as they are on their way to giving us a great batch of new independent films.
The application for the 2017 January Screenwriters Lab is currently open with a deadline of May 3. Applicants for the Screenwriters Lab are also considered for the Screenwriters Intensive, Sundance Institute Asian American Fellowship, and the Sundance Institute Feature Film Program Latino Fellowship, as eligibility allows. To learn more about the Sundance Institute's programs visit Here.
Khalik Allah
Project: "Kareem"
Khalik Allah is a self taught filmmaker and photographer. His work has been described as visceral, hauntingly beautiful, penetrative and profoundly personal. Photography and filmmaking are two overlapping circles that form a venn diagram in Allah’s mind; the area where they overlap is the space he inhabits as an artist. Allah’s cinematic vignettes document hardscrabble life at the corner of 125th Street and Lexington Avenue in Harlem (New York City), most recently in his award-winning documentary Field Niggas, which screened at festivals worldwide.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
My project is in an incredibly early stage. I'm basically taking the last four years of my life as a photographer on 125th and Lex and adapting it into a fiction narrative.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing was the mutual inspiration we gave each other. The lab advisors helped us dig deeper into ourselves. Their faith in us was tremendous. I took away a new lease on my future.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I met with Miranda July on day two of the lab. Wow she was incredible. She read my entire script and gave me many productive notes. I was impressed that she gave me so much time. Plenty of useful information I can implement.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I must keep writing.
Zia Anger
Project: "Despues De"
Zia Anger is a filmmaker and music video director. Her most recent short, "My Last Film," premiered at the 53rd New York Film Festival. In 2015, her short "I Remember Nothing" had its world premiere at New Directors/New Films and its international premiere at Festival del film Locarno. Other screenings include: AFI Fest, Denver Film Festival, Maryland Film Festival, Ann Arbor Film Festival, Basilica Soundscape, Intuit: The Center for Intuitive and Outsider Art, and Vienna Independent Shorts. She has made music videos for various independent artists, including Angel Olsen, Julianna Barwick, and Jenny Hval, the latter of whom she also tours with, projecting live video and participating as a performer. Her music videos have been featured in various online publications including: Pitchfork, the Guardian, and NPR. In 2015, Anger was included in Filmmaker Magazine's "25 New Faces of Independent Film" issue. She was a 2015 fellow in film/video from the New York Foundation for the Arts. In 2008, she was the recipient of the Panavision New Filmmaker Grant for her short film "Lover Boy." She holds a BA/Bs from Ithaca College and a Mfa from The School of the Arts Institute of Chicago.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Despues De" is about a missing white woman, a mother and daughter who try to find her, and the days leading up to her disappearance on a sorority vacation. It dissects the very particular mythological figures created by our tabloid crazed culture, white women's obsessions with themselves and each other, and the people and places who are alienated in their wake. I would say the project is creatively at the point where it's similar to someone in their late twenties, when you think "wow I know a lot, but fuck there is so much more and I'm open to that," as opposed to "I just turned 21 and I literally know it all." Artistically it calls for a certain amount of precision where high and low brow filmmaking techniques kind of collapse on to each other and end up smooching.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Joan seems to have figured out a really simple way to help even the most stubborn of (non) writers reenter their work at a time when it might seem impossible. What's cool is that once you do it it's really easy to do again. I'm thinking that having this point of access will be crucial to the continued creative development of the piece, beyond writing and moving in to those difficult creative moments onset, in the editing room, all those places you normally forget everything you've already figured out.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
Immediately it's exciting to sit the the same room with someone who speaks the same alien language as you but who has had the experience deal with people who don't. I think it was Bergman or someone who talked about how inadequate a script can be, considering it's just this middle step. I find myself so disillusioned with this middle step and constantly questioning what exactly it's supposed to function as. It's a good exercise to talk through what is important and what should be more developed and also where you can cut the fat.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Probably keep learning.
Chris Benson
Project: "Death of Innocence"
Christopher Benson, a journalist and lawyer, is an associate professor of Journalism and African American Studies at the University of Illinois at Urbana-Champaign. He has worked as a city hall reporter in Chicago for Wbmx-fm, as Washington Editor for Ebony magazine, and as a speechwriter for Washington, D.C. politicians, including former Congressman Harold Washington and Eeoc Chair Clarence Thomas. He also has written for Chicago, Savoy, Jet, and The Crisis magazines, and has contributed to the Washington Post, the Chicago Tribune, and the Chicago Sun-Times. Most recently, he has written commentary on justice, race and media for the Chicago Reporter and the Huffington Post. His Chicago Reporter series on the wrongful murder conviction of Anthony Dansberry contributed to Dansberry’s release from prison (after serving 23 years) and earned Benson a Peter Lisagor Award for exemplary journalism. Benson also was a co-writer and associate producer of the Wttw Channel 11 documentary "Paper Trail: 100 Years of the Chicago Defender," and was named on two of the documentary’s three regional Emmy Awards, as well as another Lisagor Award. Benson is co-author with Mamie Till-Mobley of "Death of Innocence: The Story of the Hate Crime That Changed America," the account of the 1955 lynching of Mrs. Till-Mobley’s son, Emmett Till, and the winner of the 2003 Robert F. Kennedy Book Award Special Recognition. The feature adaptation of the book will be executive produced by Chaz Ebert and Shatterglass Films
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
Our project is titled "Death of Innocence" and it is the screen adaptation of a book I co-authored with the late Mamie Till-Mobley about the life and tragic death of her son, Emmett Till. Through this project that focuses on the brutal 1955 lynching of a 14 year-old kid, we want to help people make connections between the violent enforcement of racial segregation and the shooting deaths of young African American males by people who still are getting away with it in our contemporary moment. We also want to show how one person—in this case, Mamie Till-Mobley—can make a difference in the struggle for social and legal justice in America. This clearly is a challenge we still face and we need to learn lessons from some of the unsung heroes of the Civil Rights Movement. That is what we are trying to show with this picture.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
One of the many things I have taken away from the first day of the Sundance Screenwriters Lab is that I have to take ownership of the characters who populate this story—even this story based on true events and real people. As a professional journalist, I have spent years trying to keep a distance from the issues I write about and the people who humanize those stories, who breathe life into them. Despite cynical public opinion, journalists do go after the truth. In screenwriting, we are going after the essential truth. What is the meaning of everything that appears on the screen? So, even in stories based on real events, we are not simply cataloguing a series of facts in a sequence of scenes. We are supposed to find the story that rises from all those facts. The essential truth. The true meaning. That will affect my screenwriting for some time beyond the successful completion of this project.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
I have to say that the coordinators of the Sundance Lab experience clearly put a lot of care and thought into developing a perfect match of advisors and fellows. The second day discussions with my advisors was phenomenal. As with the Sundance organizers, they had read the script very carefully and approached my sessions with a devotion to maintaining the integrity of the story, and helping fulfill the purpose we had set out to accomplish. It was amazing to listen to the comments that reflected a deep appreciation of the characters, the story and even the potential impact of this piece. I was especially struck by the connection my advisors felt with the main character, Mamie Till-Mobley, and the advice I was given to develop her and her motivation to a level that will result in quite a powerful rendering. I can't wait to get started on the notes.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
My plan is to work with the notes I was given to consider ways to perfect the script. My advisors have indicated an interest in staying in touch on this, so that ongoing conversation will be great. The first step I am taking after the Sundance Lab is to engage in discussions with the other producers on our project to ensure that we all on the same page. Next will be to coordinate with the collaborators on the script to talk about the ideas that have emerged from the lab experience. Finally, I will begin to interpret it all on the page, and I am eager to see where the story takes me.
Shakti Bhagchandani
Project: "Purdah"
Shakti Bhagchandani is a screenwriter/director born and raised in the United Arab Emirates. She grew up in Dubai, in a melting pot of religion and culture, and cultivated her writing abilities with the help of her mother. She travelled to London to pursue a BA in English Literature at King's College London and while there she was awarded the prestigious Jelf Medal for her contributions to art and charity. While pursuing her undergraduate degree, she interned at the Vineyard Theatre in New York, the Gate Theatre and National Theatre Studio in London, and the Antenna Theatre in San Francisco. She directed a number of student and semi professional plays, including "Fanny & Faggot" by Jack Thorne and "Pornography" by Simon Stephens. After graduation she moved to New York to pursue an Mfa in Screenwriting & Directing at Columbia University. She is currently in her thesis years, specializing in Screenwriting under advisor Trey Ellis. While at Columbia, she has worked on a number of shorts, and as a writer her last short "Khargosh" screened at Palm Springs International ShortFest and won the Satyajit Ray Award at the London Indian Film Festival. Her first feature screenplay, "Bidoun", was shortlisted for the Sundance Screenwriter's Lab 2015, and her current feature project "Purdah" has been selected for the Sundance Screenwriter's Intensive Lab in La. She recently wrapped production on her short "LostFound" that she wrote and directed, and is currently in preproduction for her next short "Tunisian Jasmine" which is set in the UAE.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular. .
'Purdah' is a coming of age drama that follows a 16-year-old British Pakistani girl as she grapples with her burgeoning womanhood and her precarious sexuality in a world built on segregation and coercion. The project is currently in development.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The first day of the lab included one of the most invigorating writing workshops I've ever been a part of. Joan is a miracle worker! She guided us through a haze of snowploughs, dream sequences and inner monologues, and by the end of it I had somehow come up with about 20 new scene ideas. Characters I had neglected before were suddenly infused with new life and the possibilities for the story feels limitless. Andrew's film and the discussion afterwards was intensely inspiring and the perfect way to round off the day - he helped us believe that the future of our projects is entirely real and attainable.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?.
Patricia and Dana are wonderful! It was amazing to sit across from these incredible, passionate women - they were nurturing, encouraging and boundlessly generous with their advice. They talked about their own trajectories and experiences. They motivated me to dig deeper, to fine tune every detail, and to have faith in myself and the project. They came at my script from completely different angles, offering story notes, a ton of production thoughts, and advice on how to move forward with not only the script, but also my career.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Revise, revise, revise. And then revise again. The lab helped me see how much potential this story has and how much work it still needs. There is so much left to unearth and I'm excited to get started.
Reinaldo Marcus Green
Project: "Monsters and Men"
New York native Reinaldo Marcus Green is a writer, director, and producer. He is currently a thesis student at Nyu Tisch Graduate Film School and writing his first feature narrative, "Monsters and Men." Most recently, he was named one of Filmmaker Magazine’s 25 New Faces of Independent Film (2015). His latest short film "Stop," which he wrote, produced, and directed, premiered as an official selection at the Sundance Film Festival in January 2015. His previous short film, "Stone Cars," shot on a micro-budget in South Africa, had its international premiere as an official Cinéfondation selection at the Festival de Cannes 2014.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
At its core, "Monsters and Men" is a story about perspective.
The film consists of three interlocking stories, each told through the point-of-view of three protagonists -- Manny, a street hustler, Stacey, a female police officer, and Zyric, a high school athlete.
When Manny captures an illegal act of police violence on his cellphone, he unwittingly sets off a series of events that will alter the course of each of their lives...
"Monsters and Men's" three chapters connect narratively and thematically, painting a portrait of modern-day Brooklyn -- a community caught in the crosswinds of crime, police corruption, and social instability.
We’re in the final stage of development, planning to shoot this summer 2016 in Brooklyn, New York. We hope to cast the net wide and far in order to provide opportunities for new undiscovered talent, and new exciting voices. The ideal cast would be a mix of professional and non-professional actors. New York is full of immense diverse talent we can’t wait to work with.
As a filmmaker, my goal is to tell powerful, urgently-needed and authentic stories. I see a unique opportunity to challenge the status quo of independent cinema, to craft entertaining stories with heart and meaning - films which possess social relevance, emotional complexity and thematic resonance.
Ultimately, its my hope to create a highly-compelling narrative feature, entertaining to watch, but one which will add to the social conversation about law enforcement, violence, and justice in America. We want to share that experience with audiences in other places in the world, by giving rise to growing communities who are often marginalized and whose stories are rarely seen in film.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
First and foremost, I felt very lucky to be a part of such an amazingly talented group of filmmakers, with a broad range of diverse projects, across all genres. It was fascinating to see where my script fits in the larger spectrum, and what I realized is that each and every story at the lab was an outlier. Each writer had a singular voice, a unique take on genre, character, story, and structure.
The Lesson: “Come in from the side.”
During Day One at the lab, I felt I threw out any preconceived notions I had about my own script. It allowed me to digress and deconstruct without internally combusting. Joan Tewkesbury, a true master at her craft, went right to the core of who we were as human beings, ultimately going right into the core of who and what our scripts were all about, and what they have the potential to become. I think fear is something that holds most people back, the same fear that the world was once flat and we would sail off the edge. Joan refocused my center of gravity and provided me with tools to “access” that inner child, be playful and to keep digging.
Character is at the core of who we are and what makes us human. The digger we deep, the more we reveal about ourselves. I believe in that if I continue the excavation process, with delicate precision, and a gentle curiosity, it will serve me well in all my writing. I can’t be afraid to find out who I am underneath the surface, although sometime we bury things for a reason — because we don’t want to go there — there’s pain hidden in various forms. In writing, there’s a seemingly impenetrable darkness and then there’s light.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The opportunity to sit down with Peter Sollett and Tanya Hamilton was truly a special treat for me. Not only did are they both masters of their craft and highly-regarded writers and directors within their own right, I had been a big fan of their work before meeting them. Peter’s short film "Five Feet High and Rising," which he later turned into a feature, "Raising Victor Vargas" are two works that I admire deeply, and they have been a source for inspiration since the genius of the project.
Both Peter and Tanya are so sharp and so astute, it makes for brilliant analysis and conversation.
They have a slightly different approach to story, but essentially meet somewhere in the middle; Character. With both advisors, we really stepped back from the script — taking a birds eye view of what the film really means to me and how and what the best way to achieve telling it would be moving forward. We talked a lot about character, world, and theme.
Tanya and Peter both offered many ideas for “problem solving” — helping me hone in on areas in the script that could be refined and strengthened. It’s evident in their own work how much they care about the craft — both offering truly thoughtful insight and perspective into how each scene could advance the story. We discussed ways to deepen characters and how to build a compelling and complex world without compromising my voice, or the story I want to tell.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I think the simplest answer is to just keep writing. There’s still a ton of information to digest from the lab but the key is to not get bogged down in semantics, to move beyond the fear and paralysis that we create for ourselves. It’s time to problem solve, lock myself in a room and just write. More coffee please.
Jessie Kahnweiler
Project: "Meet My Rapist"
Jessie Kahnweiler has been featured in The New York Times, CNN, TMZ, People, The Hollywood Reporter, New York Magazine, Mashable, Buzzfeed, Elle, The Daily Beast, Jezebel, Indiewire, La Weekly, The Huffington Post, and The Independent. At the University of Redlands, Kahnweiler quickly began ditching class in order to make documentaries. For her thesis film, Little America, she hitchhiked across the country to explore the world of America’s truck drivers. After getting dumped, she wrote and co-directed the comedic short "Baby Love," co-starring alongside "Anchorman’s" David Koechner. Kahnweiler was selected for the 6 Points Artist Fellowship which inspired her comedic web series entitled "Dude, Where’s my Chutzpah?" Her short "Meet my Rapist," a dark comedy about running into her rapist at the Farmers’ Market, inspired her live show "The Rape Girl." Kahnweiler confronted her own white privilege in her viral hit "Jessie Gets Arrested." Her latest project, for which she serves as writer, director, and stars, is "The Skinny," a dark comedic series based on her 10 year relationship with bulimia. It premiered at the 2016 Sundance Film Festival and is produced by Refinery29 and Jill Soloway’s Wifey.tv Kahnweiler lives in La with her plants.
Describe your project briefly and at what stage in the creative process it is.
Include details about your artistic vision for this project in particular. My project is called "Meet My Rapist" and it is loosely based on a short film I made of the same name a few years ago. After the short had it's 15 minutes online I was moving on to other projects but I felt this gnawing at my gut. I tried to ignore it, popped some advil, and went to yoga but that gnawing just wouldn't stop. That annoying painful gnawing was the beginnings of this script. I've been working on the script on and off for about a year. I'm at the stage where I need to take out most of the flippant jokes and get to the real meat of the matter - the heart, the pain. I need to live and cry this story out. Because the project is so personal it is easy for me to get lost in it. Sometimes I forget where I end and my characters begin. So being at the Sundance lab is great timing. I feel totes blessed.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
That I can't hide behind my jokes. After writing in a feeling state all day our amazing teaching Joan looked at me and was like "Your movie is a song and you gotta hit the bass notes." I was like Mic Drop. I love the challenge of making something that is a comedy based in the tragedy of human reality. That is my north star for this movie. I'm not sure if I will get there but that's where I'll be heading.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was incredible to take a deep dive into the script with women who so deeply understand screenwriting from the inside out. The feedback was never like "do it My way" it was more about ripping open the guts of the script and getting to that deeper level. Okay this happens but Why? Screenwriting can be so daunting like "I need write the perfect thing so I can get an agent so I can get hired etc. " and the process can be so lonely and daunting . But in both my sessions we just talked about human behavior and what makes people tick and it reminded me that filmmaking is magic and I'm really lucky to be here. Also a woman, it was inspiring to meet with other women who are living my dream. Who are feeling for a living. In both my sessions I laughed, cried, and go to ask as many questions I wanted it. It was basically my ideal Tinder date.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I'm going to keep working on drafts of the script, keep sharing it with people I trust, keep begging Sundance to let me come over and eat bagels, keep pitching it to anyone who will listen, keep crying, keep feeling, keep making my movie.
Allison Lee
Project: "Jawbone"
Born in Washington, D.C. and raised in Los Angeles, Allison Lee studied English Language and Literature at the University of Chicago. She received her Mfa in Film and Television Production from the University of Southern California’s School of Cinematic Arts. Upon graduation, she worked in development and production at DreamWorks and NBCUniversal. Lee has received grants from the Media Action Network and the Academy of Motion Pictures, Arts and Sciences. She was also named a Project Involve fellow, and her short The Grizzly was produced by Film Independent. In 2015, she was one of five screenwriters who received a residency through the inaugural Hedgebrook Screenwriters Lab, where she was mentored by Jenny Bicks and Jane Anderson.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Jawbone" is about a Korean woman who undergoes drastic plastic surgery as a means to achieve what she and her peers view as success. After she gives birth to a daughter who looks nothing like her, her life begins to unravel and she’s forced to confront her past.
I am currently grappling with rewrites while meeting with potential producers and crew.
I see "Jawbone" as a hybrid of Korean cinema and American independent film. Korean movies relish the tension in tightly wound familial and social relationships. I think my personal connection to this fabric helps me discern and explore where the similarities and differences to American culture begin and end. I also think the best American independent films underscore the universality of specific personal stories, and I aspire to follow in this tradition.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
I felt transformed by the sessions with Joan Tewkesbury. She pushed us to bare our souls and delve into our histories to deliver stories that were truthful and specific. My biggest fear about "Jawbone" is that a few extreme events in the plot would read as absurdist melodrama. Relating these events back to some of my own crises helped me re-center the emotional truth of my characters and their journeys.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
It was crucial to work with filmmakers who knew the Sundance aesthetic and had weathered the challenges before us. I knew the script needed improvement but had a hazy vision of what it required. Tanya Hamilton’s notes were both encouraging and precise about galvanizing and concretizing the protagonist’s journey. Patricia Cardoso, with her directorial and producerial expertise, reminded me that my artistic flights of fancy should still be grounded in reality and be economical and pragmatic. The breadth of their approaches made me feel like I was getting the best of all worlds.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
I am hustling on a rewrite ready to be seen by producers and representatives. Ultimately, I want to direct "Jawbone," and I am also working on a short film version.
Eliza Lee
Project: "A Beautiful Lie"
Educated in Canada and the Czech Republic, Eliza Lee began in Asia as a Dp trainee before returning to her first passion: screenwriting. She takes great pride in world building for her complex women characters. Lee’s feature, Maybe Tomorrow, about rock legend Chrissie Hynde of The Pretenders, is being produced by Michelle Sy ("Finding Neverland") and Sophia Chang (former artist manager for Wu Tang Clan), with Academy Award nominee Steph Green ("Run & Jump") attached to direct. Lee’s screenplay, "A Beautiful Lie," about crime novelist Patricia Highsmith, was honored at the 2015 Athena Film Festival, and was also selected for the 2015 Outfest Screenwriting Lab. In addition, she was a Cape 2015 Film & Television Fellow and was mentored by various executives from Sony, Paramount, and Fox, among others. Lee has several features and television projects in development. She is the 2016 Sundance Institute Asian American Fellow.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
When Strangers on the Train was published in 1950 and with the anticipation for it to be turned into a film by Alfred Hitchcock, Patricia Highsmith was catapulted into the literary spotlight. Here she thought was her opportunity to break free of the crime genre and finally write her Great American novel. Except, it was at the height of McCarthy’s witch hunt, and her Great American novel would become the iconic lesbian tale, The Price of Salt. In the book, Patricia defiantly gave her lesbian main characters a happy ending together, but faced with the real threat of being blacklisted, she is forced to publish it under a pseudonym. This decision would send her down a path of alcoholism, promiscuity and loneliness as she realized she would not have the happy ending she wrote.
With this story, I knew it had to come from the seminal moment in her life. And for me, it is when she braved writing The Price of Salt at a time where being who you are and believing in what you do can land you in jail, exile or financial ruin. She had to deny her nature, and coupled with a growing rage it would breed the infamous “monster” that would come to define her in her later years.
While her male peers have enjoyed forgiving, pedestal descriptors like "troubled", "complex" or the genius "l'enfant terrible", Highsmith was shown no such generosity.
On top of that, I am struck how often pictures of her old age are published displaying her alcohol and anger ravaged face. We made that. Juxtapose those with photos of Highsmith at 21, so full of hope, vitality and ready for all the wonders of love, and it is clear - she was born this way. "A Beautiful Lie" is about a woman’s quest for love when it was a crime.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
Specifically, I learned I hide behind fiction or through my characters and not have to admit the narrative comes from a personal place. Through an incredibly safe and nurturing environment on the first day, Joan Tewksbury led us through a series of spontaneous and revelatory writing exercises that at first seemed random, but without time to allow the self-censor to kick in, the writing showcased how many more complex layers we can apply to our characters through our uninhibited sharing of our personal experiences. As a result, because the stories come from us, they are inherently going to be personal. It was like sleight of hand for the imagination.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were there to help us tell the story we want to tell. And the one-on-one sessions were focused solely on the writing, and was intended to be a dialogue. It was humbling to learn the tremendous amount of time they took to burrow deep into our scripts. I was thoroughly empowered by what these writers offered me, and excited that I could challenge such seasoned pros with my perspective and approach to telling a story. Ligiah Villalobos dared me to linger longer in emotional scenes and to take my pursuit for emotional truths for my character even further. While Scott Neustadter and I discussed much about memories as structure, he also pushed me to defy a note i have received that my character is “unlikable” and to allow her to have even more anti-hero moments. i concluded my last day at the Intensive with their voices unifying in the same sentiment: they have a good feeling the film will be made.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Through the Sundance Intensive, I have a clear idea of what is my next step, and that is to apply another layer of shading to my portrait of Patricia Highsmith. I’m anxious to keep the momentum going, and then take it out to talent. I’m going to realize this film.
Jimmy Mosqueda
Project: "Valedictorian"
Jimmy Mosqueda is a lifelong California resident, the son of two Mexican migrant workers, and a graduate of Stanford University. From an early age he showed a fondness for writing, starting his first journal at the age of five, which developed into a passion for writing short stories, poetry and eventually screenplays. While attending Stanford on a full scholarship, Mosqueda saw how social class and race influenced the experiences of his fellow students, which made him realize just how much the American educational system is intimately tied to those pillars. The intersection of race, class, and education remains an ongoing theme in his works. Today, Mosqueda lives in Los Angeles and writes full-time. His screenplays have placed in numerous contests, including as a finalist in the Austin Film Festival, Script Pipeline and TrackingB competitions, and as a semifinalist in the Nicholl Fellowship. He’s represented by Angelina Chen and Brooklyn Weaver of Energy Entertainment, and is actively developing projects for film and television.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
"Valedictorian" is dark teen comedy in the vein of "Election" and "Heathers." It’s about an ambitious teenage girl who do anything to be crowned valedictorian of her high school, including a little bit of murder. So, you know, just like real high school! I started writing this project about three years ago. It was inspired by my own school experiences, where everyone on the Honors track was super competitive and had their sights set on the Ivy League. Readers respond positively to the comedy and the heightened world of the script, which is great, but one thing I felt got buried underneath the multitude of drafts is the emotional core of the main character. So during the Intensive my main goal was to rediscover who she was and, building out from that, the reason why I wanted to tell this story in the first place.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
The most important thing I learned from the workshop with Joan Tewkesbury is that creative development is not about brainstorming characters or story points. All of us have unique, personal experiences and emotions that can form the building blocks of a story. You really have to look inward and tap that raw data, or else run the risk of your story ringing hollow. A lot of artists understand this intuitively, I believe, but Joan’s workshop laid it out in such clear and simple terms. For my next draft of "Valedictorian," I’m going to use these techniques as a stress test, but in all honesty I want to go back and revisit every project I ever worked on using this approach now.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
My advisors were the bee’s knees, if I can be so blunt. My first session was with Scott Neustadter, who along with his writing partner has written a lot of films with teen lead characters. He very clearly understood what the script was, and gave very specific, actionable notes on how to improve what’s already there. I love how he was able to cut through and really get at the core issues of script, which were mostly the same issues I had going in. Scott is killing the screenwriting game right now. His insights were invaluable.
My second session was with Kyle Patrick Alvarez. We spent a lot of time talking about the main character, her motivation, her relationships, and how she “earns” the big moments/twists in the script. We also spent some time talking bigger picture about the industry and how to build a career in Hollywood, which was very much appreciated. Additionally, it was great getting the perspective of another Latino in the industry.
Both men were truly gracious with their time. I left both sessions feeling inspired!
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
After stepping off Cloud 9, it’s back to the computer and working on a new draft of "Valedictorian." In addition, I will also be tackling a new draft of the pilot version. It’s the same world and characters, but with a different engine that is geared towards episodic narrative. Many of the notes I got from Scott and Kyle apply to the pilot version as well, so it’s like getting two for the price of one!
Finally, I just want to thank everyone involved with putting together the Intensive: Ilyse McKimmie, Michelle Satter, Anne Lai, Shira Rockowitz and everyone at the Sundance Institute who made this possible. I am forever grateful for the experience.
Lotfy Nathan
Project: Untitled Bouazizi Project
Lotfy Nathan’s first film, the documentary "12 O’Clock Boys," played over 50 film festivals worldwide, including SXSW, Sundance Next Fest, Lincoln Center, Viennale, Hot Docs, London, and Copenhagen in 2013. It was ranked 7 in the BFI list of top 20 documentaries of 2013, and garnered Nathan an HBO Emerging Artist award. "12 O’Clock Boys" was subsequently picked up by Oscilloscope for a North American release in theaters, acquired by Showtime for television, and was optioned for a fiction remake by Will Smith’s Overbrook Entertainment. Nathan is a 2015 grantee of the Creative Capital Foundation, a resident filmmaker at the Cinereach Foundation, and a previous awardee of the Garrett Scott development grant, the Peter Reed Foundation, the Grainger Marburg travel grant, and an Ifp fellowship.
Describe your project briefly and at what stage in the creative process it is. Include details about your artistic vision for this project in particular.
The film is about Mohamed Bouazizi, the young Tunisian fruit vendor whose act of self-immolation sparked the Arab spring. It’s a love story, apolitical (as the subject of our protagonist was); about a young man’s steady undoing, and his final bittersweet act of defiance. The film will be shot on location, with cast selected locally besides the principles, and filmed with an immersive approach.
Briefly tell us about the most important or rewarding lesson you took from the first day of the Screenwriters Intensive Lab. How will this impact the future development of your project?
We were encouraged to draw from very specific personal experiences, prompted by Joan It was incredible to learn these tools, which enable you to tap into vast resources from your own life that you can then apply to the writing- and so vividly. I think the writing exercises with Joan actually stirred a very unusual dream for me that night.
Tell me about your experience during day two and your interaction with the advisors. How important was it for you to get feedback from a professional in the field that has gone through some of the same creative challenges as you?
The advisors were very motivating. I left with pages of notes on my writing, tangible pieces of smart advice that will help inform the next draft.
Now that you've gone through this learning experience, what are some of the next steps you will be taking as you continue to develop your project?
Before getting back to work on the script I plan to do some other writing on the characters.
- 3/28/2016
- by Carlos Aguilar
- Sydney's Buzz
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The Five Deadly Venoms is a martial arts classic, that comes with one of the best opening sequences we've seen...
You don't need to do much more than whisper "I had five pupils..." to send shivers up the spines of most martial arts fans. It's a line that kicks off one of the most dazzling opening sequences in the history of cinema, as the dying Master of the Poison Clan explains to his sixth and final pupil that there were five more before him, each trained in a unique fighting style.
The Five Deadly Venoms wear masks that hide their identity and represent their particular style. There's the Centipede, the Snake, the Scorpion, the Lizard and the Toad, and the ways in which they fight draw from each animal's characteristics. As the Master explains, Centipede and Snake know one another's identity, as do Lizard and Toad. None of the others know Scorpion.
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The Five Deadly Venoms is a martial arts classic, that comes with one of the best opening sequences we've seen...
You don't need to do much more than whisper "I had five pupils..." to send shivers up the spines of most martial arts fans. It's a line that kicks off one of the most dazzling opening sequences in the history of cinema, as the dying Master of the Poison Clan explains to his sixth and final pupil that there were five more before him, each trained in a unique fighting style.
The Five Deadly Venoms wear masks that hide their identity and represent their particular style. There's the Centipede, the Snake, the Scorpion, the Lizard and the Toad, and the ways in which they fight draw from each animal's characteristics. As the Master explains, Centipede and Snake know one another's identity, as do Lizard and Toad. None of the others know Scorpion.
- 2/5/2016
- by simonbrew
- Den of Geek
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The Five Deadly Venoms is a martial arts classic, that comes with one of the best opening sequences we've seen...
You don't need to do much more than whisper "I had five pupils..." to send shivers up the spines of most martial arts fans. It's a line that kicks off one of the most dazzling opening sequences in the history of cinema, as the dying Master of the Poison Clan explains to his sixth and final pupil that there were five more before him, each trained in a unique fighting style.
The Five Deadly Venoms wear masks that hide their identity and represent their particular style. There's the Centipede, the Snake, the Scorpion, the Lizard and the Toad, and the ways in which they fight draw from each animal's characteristics. As the Master explains, Centipede and Snake know one another's identity, as do Lizard and Toad. None of the others know Scorpion.
google+
The Five Deadly Venoms is a martial arts classic, that comes with one of the best opening sequences we've seen...
You don't need to do much more than whisper "I had five pupils..." to send shivers up the spines of most martial arts fans. It's a line that kicks off one of the most dazzling opening sequences in the history of cinema, as the dying Master of the Poison Clan explains to his sixth and final pupil that there were five more before him, each trained in a unique fighting style.
The Five Deadly Venoms wear masks that hide their identity and represent their particular style. There's the Centipede, the Snake, the Scorpion, the Lizard and the Toad, and the ways in which they fight draw from each animal's characteristics. As the Master explains, Centipede and Snake know one another's identity, as do Lizard and Toad. None of the others know Scorpion.
- 2/5/2016
- by simonbrew
- Den of Geek
It’s confirmed; Disclosure and Rudimental’s very own festival Wild Life will return in 2016, kicking off across two days over the summer. The event began as a show series in 2014 with several successful dates in key cities like Miami and Vegas, before being elevated to full blown festival status last year thanks to the UK duo with help from Rudimental.
2016’s edition of Wild Life is set to take place at Brighton City Airport, spanning June 11 and 12. No details have been released yet regarding the lineup, but if last year’s eclectic roster (which included the likes of Wu Tang Clan, Seth Troxler, Gorgon City and more) is any indication, festival goers can expect some choice performers to make the cut.
Following up on a successful end of the year album release that saw the duo’s sophomore LP Caracal come to fruition, 2016 is set to be a big year for Disclosure,...
2016’s edition of Wild Life is set to take place at Brighton City Airport, spanning June 11 and 12. No details have been released yet regarding the lineup, but if last year’s eclectic roster (which included the likes of Wu Tang Clan, Seth Troxler, Gorgon City and more) is any indication, festival goers can expect some choice performers to make the cut.
Following up on a successful end of the year album release that saw the duo’s sophomore LP Caracal come to fruition, 2016 is set to be a big year for Disclosure,...
- 1/19/2016
- by Connor Jones
- We Got This Covered
Electronic mastermind Bassnectar is making Edm history as he unveils his very own camping festival, appropriately titled Basscenter 2016.
Bassnectar himself will serve as headliner for both evenings of the two day festival, while the rest of the lineup delivers a roster of top tier performers and DJs. Wu Tang Clan, Flux Pavilion, Porter Robinson, AlunaGeorge, Flying Lotus and Lupe Fiasco all make top billing, with supporting acts such as G Jones, Thriftworks, Dabin, and Minnesota all making the cut as well.
Full early bird passes will run as low as $130, with regular prices at $140 for fan club members, while VIP tickets are available for $180. The most expensive ticket package will be available for $475 for festival goers with a taste for the finer things.
Basscenter will see its inaugural event kick off July 29-30 at Colorado’s Commerce City. Tickets will go on sale tomorrow at 10am Mst, and considering the...
Bassnectar himself will serve as headliner for both evenings of the two day festival, while the rest of the lineup delivers a roster of top tier performers and DJs. Wu Tang Clan, Flux Pavilion, Porter Robinson, AlunaGeorge, Flying Lotus and Lupe Fiasco all make top billing, with supporting acts such as G Jones, Thriftworks, Dabin, and Minnesota all making the cut as well.
Full early bird passes will run as low as $130, with regular prices at $140 for fan club members, while VIP tickets are available for $180. The most expensive ticket package will be available for $475 for festival goers with a taste for the finer things.
Basscenter will see its inaugural event kick off July 29-30 at Colorado’s Commerce City. Tickets will go on sale tomorrow at 10am Mst, and considering the...
- 1/12/2016
- by Connor Jones
- We Got This Covered
Narrated wonderfully by Tracey Morgan, the Nsfw opening scene from R rated Christmas themed comedy The Night Before has come our way, via MTV, and if you were on the fence about watching Seth Rogen, Joseph Gordon Levitt, and Anthony Mackie mess shit up on Christmas Eve, this should completely sell you on it. It sets up the main beats of the story nicely, and the humour is pitched beautifully, from Morgan trying to make the rhyming scheme of his version of the poem The Night Before Christmas work at all costs to the the little details like Levitt’s Wu Tang Clan christmas jumper. Check it out below. Released: 25th November (U.S.)/ 11th December (Irl/U.K.)...
- 11/17/2015
- by [email protected] (Tom White)
- www.themoviebit.com
Universal Home Entertainment is releasing “Trainwreck,” starring Amy Schumer in a major role.
Schumer stars as a commitment-phobic journalist, who has a hard-partying personal life until it was all turned upside down when she meets Mr. Might-Be-Right. Since she was a little girl, Amy had been taught that monogamy isn’t realistic. Now a magazine writer, Amy lives by that credo, enjoying an inhibited life free from stifling, boring romantic commitment. But when she finds herself starting to fall for the subject of a new article she’s writing, a charming and successful sports doctor—Amy starts to wonder if other grown-ups, including this guy who really seems to like her, might be onto something.
The film also stars Bill Hader, LeBron James, Tilda Swinton, Brie Larson, Colin Quinn, Vanessa Bayer and John Cena.
Here are some features on the upcoming Blu-ray and DVD:
Blu-raytm And DVD Bonus Features
· Unrated...
Schumer stars as a commitment-phobic journalist, who has a hard-partying personal life until it was all turned upside down when she meets Mr. Might-Be-Right. Since she was a little girl, Amy had been taught that monogamy isn’t realistic. Now a magazine writer, Amy lives by that credo, enjoying an inhibited life free from stifling, boring romantic commitment. But when she finds herself starting to fall for the subject of a new article she’s writing, a charming and successful sports doctor—Amy starts to wonder if other grown-ups, including this guy who really seems to like her, might be onto something.
The film also stars Bill Hader, LeBron James, Tilda Swinton, Brie Larson, Colin Quinn, Vanessa Bayer and John Cena.
Here are some features on the upcoming Blu-ray and DVD:
Blu-raytm And DVD Bonus Features
· Unrated...
- 11/10/2015
- by Gig Patta
- LRMonline.com
This week on The Walking Dead, Carol turns into a one-woman army and Jessie butchers a man in front of her son with a pair of scissors. There’s a lot to discuss this week including Enid’s backstory, the mysterious Wolves, Morgan’s philosophy and Dr. Denise Cloyd, played by Merrit Wever. Joining us this week to discuss “Jss” directed by Jennifer Lynch is PopOptiq contributor Randy Dankievitch.
Playlist
Roky Erickson – “I Walk With A Zombie”
Wu Tang Clan and George Clinto – “Wolves”
Support our site / podcast:
Give us a rating on Itunes! It would be greatly appreciated and it helps us reach a wider audience.
Listen to the mp3 version on iTunes via The Televerse
Like us on Facebook
Follow Kate on Twitter
Follow Rick on Twitter
The post The Walking Dead Podcast Episode 71: “Jss” appeared first on PopOptiq.
Playlist
Roky Erickson – “I Walk With A Zombie”
Wu Tang Clan and George Clinto – “Wolves”
Support our site / podcast:
Give us a rating on Itunes! It would be greatly appreciated and it helps us reach a wider audience.
Listen to the mp3 version on iTunes via The Televerse
Like us on Facebook
Follow Kate on Twitter
Follow Rick on Twitter
The post The Walking Dead Podcast Episode 71: “Jss” appeared first on PopOptiq.
- 10/19/2015
- by Ricky Fernandes
- SoundOnSight
CB4
Directed by Tamra Davis
Written by Nelson George, Robert LoCash and Chris Rock
1993, USA
Back in 1993, two low-budget mockumentary-style comedies based on Gangsta Rap were released. The better of the two is Rusty Cundieff’s Canadian indie gem Fear of a Black Hat, chronicling the rise and fall of Nwh, a not particularly talented but always controversial hip-hop group. The second was CB4, about the rise to fame of Mc Gusto, Stab Master Arson, and Dead Mike, members of the rap group Cell Block 4. The similarities between the two are uncanny, so much so that one would think someone got their greedy hands on the other script and decided to shamefully steal the idea.
Written by music critic Nelson George and Saturday Night Live’s Chris Rock (who also plays the lead role of Albert, a k a Mc Gusto), this spoof on gangsta rap targets controversial rap groups (specifically N.W.A.) and deliberately provocative,...
Directed by Tamra Davis
Written by Nelson George, Robert LoCash and Chris Rock
1993, USA
Back in 1993, two low-budget mockumentary-style comedies based on Gangsta Rap were released. The better of the two is Rusty Cundieff’s Canadian indie gem Fear of a Black Hat, chronicling the rise and fall of Nwh, a not particularly talented but always controversial hip-hop group. The second was CB4, about the rise to fame of Mc Gusto, Stab Master Arson, and Dead Mike, members of the rap group Cell Block 4. The similarities between the two are uncanny, so much so that one would think someone got their greedy hands on the other script and decided to shamefully steal the idea.
Written by music critic Nelson George and Saturday Night Live’s Chris Rock (who also plays the lead role of Albert, a k a Mc Gusto), this spoof on gangsta rap targets controversial rap groups (specifically N.W.A.) and deliberately provocative,...
- 8/17/2015
- by Ricky
- SoundOnSight
Action Bronson has apologized to Ghostface Killah for calling him out on live television after the Wu Tang Clan rapper threatened to set his beard on fire. Action Bronson Calls Out Ghostface Killah On SportsNation Bronson has long been compared to Ghostface by fans and critics alike, and the relative newcomer has usually taken the […]
The post Action Bronson Apologizes To Ghostface Killah After Wu Tang Clan Rapper Threatened To Set His Beard On Fire appeared first on uInterview.
The post Action Bronson Apologizes To Ghostface Killah After Wu Tang Clan Rapper Threatened To Set His Beard On Fire appeared first on uInterview.
- 7/21/2015
- by Olivia Truffaut-Wong
- Uinterview
The marketing team behind the new stoner comedy American Ultra might have picked the smartest way to spread their seed at San Diego Comic-Con… by offering members of the medical marijuana community a highly valuable product. Earlier today, the website www.theamericanultraprogram.net started circulating. From your mobile device, people were asked for their drivers license or state ID number and photo, along with their medical marijuana information (for verification). Once verified, a field agent contacts you and delivers a glass jar, rolling papers, a lighter, and a sample of their own special brand of premium kush. If you don’t have a medical marijuana card, don’t bother trying. You will fail.
Below, you can see what was delivered when I tried it out for myself… for science, of course! The goods come in a sealed envelope that says American Ultra on it. Inside, everything is branded with the same American flag,...
Below, you can see what was delivered when I tried it out for myself… for science, of course! The goods come in a sealed envelope that says American Ultra on it. Inside, everything is branded with the same American flag,...
- 7/11/2015
- by Melissa Howland
- WeAreMovieGeeks.com
Comic-Con International 2015 begins today and to kick things off, Lionsgate has released a new custom Comic-Con poster for their upcoming comedy, American Ultra.
Award-winning artist Jim Evans (aka T.A.Z.), the designer behind hundreds of gig & movie posters including those for The Beastie Boys, The Wu Tang Clan, Rage Against The Machine, Pearl Jam, Teenage Mutant Ninja Turtles and the Saw franchise, crafted the badass print featuring Jesse Eisenberg & Kristen Stewart.
American Ultra is a fast-paced action comedy about Mike (Jesse Eisenberg), a seemingly hapless and unmotivated stoner whose small-town life with his live-in girlfriend, Phoebe (Kristen Stewart), is suddenly turned upside down.
Unbeknownst to him, Mike is actually a highly trained, lethal sleeper agent. In the blink of an eye, as his secret past comes back to haunt him, Mike is thrust into the middle of a deadly government operation and is forced to summon his inner action-hero in order to survive.
Award-winning artist Jim Evans (aka T.A.Z.), the designer behind hundreds of gig & movie posters including those for The Beastie Boys, The Wu Tang Clan, Rage Against The Machine, Pearl Jam, Teenage Mutant Ninja Turtles and the Saw franchise, crafted the badass print featuring Jesse Eisenberg & Kristen Stewart.
American Ultra is a fast-paced action comedy about Mike (Jesse Eisenberg), a seemingly hapless and unmotivated stoner whose small-town life with his live-in girlfriend, Phoebe (Kristen Stewart), is suddenly turned upside down.
Unbeknownst to him, Mike is actually a highly trained, lethal sleeper agent. In the blink of an eye, as his secret past comes back to haunt him, Mike is thrust into the middle of a deadly government operation and is forced to summon his inner action-hero in order to survive.
- 7/9/2015
- by Michelle McCue
- WeAreMovieGeeks.com
While Dr. Teeth, frontman to the Muppet ensemble The Electric Mayhem, may share some dental predilections with late Wu Tang Clan eccentric Ol' Dirty Bastard, their musical outputs have traditionally been fairly different. That ends today with the release of a Mylo the Cat YouTube assemblage blending Dr. Teeth with Odb's timeless work on 1995's "Shimmy Shimmy Ya." It's only 78 seconds and it follows in the footsteps of Mylo's Muppet mashups of "So What'cha Want," "Hip Hop Hooray" and "The Humpty Dance," which all also clocked in at under 1:40, the perfect amount of time to retain amusement without overstaying its welcome. Check it out:...
- 6/8/2015
- by Daniel Fienberg
- Hitfix
Could a ruling involving Iron Man, a rapper from the Wu Tang Clan and a music composer working in television for decades be the ticket for Hollywood's next great appellate showdown? On Monday, a New York federal judge granted summary judgment to defendant Sony Music over Jack Urbont's claims that Ghostface Killah sampled the "Iron Man Theme" on two tracks of the rapper's second album, Supreme Clientele. In ruling in Sony's favor, U.S. District Court judge Naomi Reice Buchwald examined how Marvel's Stan Lee set up Urbont to create music for the 1960s television show The Marvel Super Heroes.
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- 4/21/2015
- by Eriq Gardner
- The Hollywood Reporter - Movie News
Comedy documentary, featuring Tom Hanks among others, premiered at Sundance.
Kaleidoscope Film Distribution (Kfd) has acquired Sundance documentary Misery Loves Comedy for UK release. The film asks more than 50 comedians “Do you really have to be miserable to be funny?”.
Directed by Kevin Pollak and featuring Tom Hanks, Matthew Perry, Jon Favreau, Jimmy Fallon, Judd Apatow, Lisa Kudrow, Kevin Smith and more, it aims to provide a first-hand insight into just what makes a comedy mind tick.
Misery Loves Comedy was previously acquired for the Us by Tribeca Film, and will preview at MipTV before screening at Cannes, alongside Kfd’s other new documentary acquisitions, All American High Revisited and Hustlers Convention.
All American High Revisited goes back to 1984 when director Keva Rosenfeld spent 12 months documenting a foreign exchange student’s journey through her senior high school year.
The result was cult documentary All American High. ‘Revisited’ tracks down its stars 30 years later.
Hustlers Convention is the...
Kaleidoscope Film Distribution (Kfd) has acquired Sundance documentary Misery Loves Comedy for UK release. The film asks more than 50 comedians “Do you really have to be miserable to be funny?”.
Directed by Kevin Pollak and featuring Tom Hanks, Matthew Perry, Jon Favreau, Jimmy Fallon, Judd Apatow, Lisa Kudrow, Kevin Smith and more, it aims to provide a first-hand insight into just what makes a comedy mind tick.
Misery Loves Comedy was previously acquired for the Us by Tribeca Film, and will preview at MipTV before screening at Cannes, alongside Kfd’s other new documentary acquisitions, All American High Revisited and Hustlers Convention.
All American High Revisited goes back to 1984 when director Keva Rosenfeld spent 12 months documenting a foreign exchange student’s journey through her senior high school year.
The result was cult documentary All American High. ‘Revisited’ tracks down its stars 30 years later.
Hustlers Convention is the...
- 4/1/2015
- by [email protected] (Michael Rosser)
- ScreenDaily
On October 10th, one of our very favorite movies of the year expands nationwide, to about 500 screens, after building considerable word-of-mouth and sterling reviews. That movie is "The Guest." And instead of being a stuffy art house movie, which follows a similar rollout (and achieves comparable buzz), "The Guest" is a down-and-dirty genre movie and probably the most fun 100 minutes you'll have in a theater all year.
The movie, from the creators of "You're Next" (writer Simon Barrett and director Adam Wingard), stars Dan Stevens from "Downton Abbey" as David, a war veteran who returns to the home of his fallen brother-in-arms. Presenting himself to the family, he says that he is there to just keep an eye on them and maybe stay until he gets back on his feet. But it turns out that David's intentions are much more malevolent, and what starts out as a tableau of suburban...
The movie, from the creators of "You're Next" (writer Simon Barrett and director Adam Wingard), stars Dan Stevens from "Downton Abbey" as David, a war veteran who returns to the home of his fallen brother-in-arms. Presenting himself to the family, he says that he is there to just keep an eye on them and maybe stay until he gets back on his feet. But it turns out that David's intentions are much more malevolent, and what starts out as a tableau of suburban...
- 9/30/2014
- by Drew Taylor
- Moviefone
To celebrate the release of Warrior King 2 – the triumphant, breathtaking and action-packed return of modern martial arts star Tony Jaa in the high-octane sequel to the hugely successful “Warrior King” out on DVD 1st September 2014 – we have a copy to giveaway!
Directed by Pratcha Pinkaew, co-creator of Ong-Bak and Warrior King, and featuring an all-star cast including Wu Tang Clan’s RZA and JeeJa Yanin, this is a must-watch for those who love their punches fast and their kicks even faster. An adrenaline-fuelled spectacle for fans of The Raid!
Order your copy today on Amazon: http://amzn.to/1BhiQoS
To win Warrior King 2 on DVD, just answer the following question:
Warrior King star Tony Jaa also appeared in which movie? Was it:
a) Rumble in the Bronx
b) Ip Man
c) Ong Bak
Email your answer to [email protected], making sure to include your name and address.
Directed by Pratcha Pinkaew, co-creator of Ong-Bak and Warrior King, and featuring an all-star cast including Wu Tang Clan’s RZA and JeeJa Yanin, this is a must-watch for those who love their punches fast and their kicks even faster. An adrenaline-fuelled spectacle for fans of The Raid!
Order your copy today on Amazon: http://amzn.to/1BhiQoS
To win Warrior King 2 on DVD, just answer the following question:
Warrior King star Tony Jaa also appeared in which movie? Was it:
a) Rumble in the Bronx
b) Ip Man
c) Ong Bak
Email your answer to [email protected], making sure to include your name and address.
- 8/15/2014
- by Phil Wheat
- Nerdly
Five Deadly Venoms
Written by Chang Cheh
Directed by Chang Cheh
Hong Kong, 1978
Despite what great films have been reviewed in the column, few have, thus far, been privileged with a gift that may be only measured with time: contemporary cultural relevancy. By contemporary cultural relevancy it is meant that a given film continues to permeate the cultural landscape of the times, regardless of decade, whether it be to the timelessness of the story, its unforgettable nature, and its influence on various media in the following years. Chang Che’s most famous film, often deemed a ‘cult classic’, is Five Deadly Venoms, a picture that has been referenced countless times in other movies, television and music. Anybody remotely familiar with rap’s Wu Tang Clan knows the group has a particular fixation with said film. In fact, it would be a safe bet to say that among any Wu Tang Clan fans,...
Written by Chang Cheh
Directed by Chang Cheh
Hong Kong, 1978
Despite what great films have been reviewed in the column, few have, thus far, been privileged with a gift that may be only measured with time: contemporary cultural relevancy. By contemporary cultural relevancy it is meant that a given film continues to permeate the cultural landscape of the times, regardless of decade, whether it be to the timelessness of the story, its unforgettable nature, and its influence on various media in the following years. Chang Che’s most famous film, often deemed a ‘cult classic’, is Five Deadly Venoms, a picture that has been referenced countless times in other movies, television and music. Anybody remotely familiar with rap’s Wu Tang Clan knows the group has a particular fixation with said film. In fact, it would be a safe bet to say that among any Wu Tang Clan fans,...
- 2/24/2013
- by Edgar Chaput
- SoundOnSight
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