NBFC E-news - Thursday, April 2, 2009
Spotlight!
MEMBERSHIP STUFF, MEMBERSHIP STUFF, MEMBERSHIP STUFF
Recent Renewals and New Members for 2009: Ian Miller (Fredericton), Tracey Carney (Riverview), Peter Evanchuck (Ottawa/NB), Richard MacQueen (Saint John), Lex Gigeroff (Gagetown), Ken Neilson (Mt. Pleasant)
Memberships run from Jan-Dec annually for all members and we appreciate members renewing in January/February every year. Please email Cat to renew soon if you have not already.
NEW MEMBERS: Things you can do to get your required volunteer hours in: For new members specifically who need to get their volunteer hours in. Check in with Cat about volunteer work on member shoots coming up and there is cleaning that needs to be done at the Co-op, any help would be appreciated.
Click here to send Cat the volunteer hours you have put in so far as a member of the Film Co-op.
THANK YOU THANK YOU THANK YOU THANK YOU
Thank you to the member who left a coffee and some treats outside the door with Cat's name on it one day. Really appreciate it.
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NEW! COMING SOON!
CREW AND CAST DATABASE FOR FILM CO-OP MEMBERS
Once the new website links are up for this great tool, members in good standing at the NBFC may join the NBFC Crew and Cast Listings site at no charge.
This online crew and cast site will be a place where members can see member's level of expertise and then pick their crew and as well, outside companies and producers can peruse crew and cast resources for their productions.
There will an online form that members can fill out and submit as well as instructions on exactly how to fill out the online form and submit it.
We strongly advise members to not include their mailing address in their submitted info. Only list your name, a business phone number, and/or email. It will appear on the crew/cast site within 10 business days.
NOTE: It's very important that you have actual finished films that can verify your crew and cast roles for accuracy. Any films done by Co-op members; Cat will be able to check through the library or through the director of the specific film typically. As long as films have been screened at one festival or more, the credits are acceptable.
TIP: Remember, producers and other people from outside will be looking at this database to gage people's expertise in specific departments. Nothing looks worse than when a crew person lists that they have 10 different specializations and have done 10 different crew roles, twice! Try to only list 2 to 3 specific crew roles that you have performed at least 3 times on productions as that will show your creative focus and experience level.
Any information that can't be verified will not be accepted for inclusion.
Stay tuned, site should be up by next e-news.
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Training & Development
The New Brunswick Film Co-op proudly presents its 2009 annual workshop program!
This year there are workshop programmes in both Fredericton and Moncton . Check out the new schedules at: http://www.nbfilmcoop.com/activities.htm
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MONCTON - ACTING FOR THE CAMERA
Theory & Hands on
April 4, Saturday, 11am - 5pm
Instructors: Dan Thebeau and Tracey Carney
Moncton Public Library, 644 Main Street, Suite 101, Moncton, New Brunswick -
A/B Room
Fee: $20 For NBFC Members/$30 For Non-Members
Class Limit: 8
The director & actor instructors will select scenes from film scripts, cast, rehearse and tape, the scenes which will then be viewed in the workshop with feedback from the instructors and workshop attendees. The focus is on acting and directing as a collaboration to fulfill the vision of the script. Topics include analyzing the text, the emotional arc of a scene, auditioning actors, importance of rehearsals, camera awareness, rewrites, and reshoots.
INSTRUCTOR'S BIOGRAPHIES
In order to improve his role as a director Danny Thebeau enrolled a student of the Capitol Theatre of Performing Arts during which he gained a new appreciation for Stage and Film acting. Since class began, he has appeared in films such as Forever Lost and A Dark Radius and stage productions of Diaries from the Asylum and Departures and Arrivals.
Tracey Carney is a Notre Dame native and lives in Riverview. Once as a model for Ruth Barnes, she then set her sight on acting. Her very first film performance received a nominated for Best Actress at SWFF 2007. She’s acted in films such as Rebecca’s Grave, The Night is Long, All Revved Up which earned her Best Actress in a Comedy at SWFF 2008 and in Do-Gooders. Tracey also just completed a role in Gia Milani’s “A Dark Radius.” Tracey’s exuberant persona shines through her diversity, charm, quick wit and natural ability to become whomever she desires.
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Contact cat at: info@nbfilmcoop.com to register for all workshops please. Workshops can be paid for through PayPal, snail mail or in person, but check to ensure there are seats left before you pay by snail mail or online please.
NOTE: for those members hoping to use Co-op resources and equipment to shoot their own projects in the future, please remember there are 5 required workshops that you have to take before you can do that (Screenwriting, Directing, Digital Cam and Lighting, Production Management & One Editing Workshop). On top of the required workshops, volunteers hours must be put in and you must be a full member in good standing. Talk to Cat if you have any questions: info@nbfilmcoop.com
If you miss any required workshops or workshops you would like to take, there is also one-on-one training sessions with instructors for a fee that you can arrange with Co-op staff at any time.
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Festivals
Human Rights DocFest (Victoria)
Human Rights DocFest 2009 is now accepting submissions.
DEADLINE: April 15 2009
Info :
www.hrdocfest.com
Green Movie Fest (Winnipeg)
Make old film footage and obsolete video cameras come to life in the Winnipeg Film Group’s first upcycled film program.
DEADLINE: April 15, 2009
Info:
jenniferbisch@gmail.com
Antimatter Film Festival (Victoria)
Antimatter Film Festival seeks imaginative, volatile, entertaining and critical films and videos for it's next edition, in October 9-17, 2009 Victoria. All categories and length accepted.
EARLY DEADLINE: April 17, 2009
FINAL DEADLINE: JUNE 5, 2009
Info:
www.antimatter.ws
Emerging Artists Exhibition! (Vancouver)
InterAccess Electronic Media Arts Centre is now accepting submissions for the 9th Annual Emerging Artists Exhibition!
DEADLINE: April 24, 2009 at 5:00 p.m.
Info:
www.interaccess.org
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BLOOD SHED AT CALGARY UNDERGROUND FILM FESTIVAL
(photo by Jeff Crawford)
If you missed the New Brunswick film BLOOD SHED in Fredericton at Silver Wave last year and more recently in Boston and London last week, it's just been added to the slate of films at the CALGARY UNDERGROUND FILM FESTIVAL, too: April 18, 2009 at 11:30PM, playing with a twisted feature "Grace". Check the details at: Click here
You can also catch BLOOD SHED in Cleveland, Ohio on April 3rd, with more screenings in more cities to be added soon!
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SILVER WAVE FILM FESTIVAL 2009
November 12-15, 2009, Fredericton
(BLAST FROM THE PAST: Film Co-op member & festival venue manager Brian Carty at Tidal Wave 04 (now Silver Wave) - Photo by Glen D. Ross)
The 9th annual Silver Wave Film Festival (SWFF) is now accepting submissions. This year's festival takes place from NOVEMBER 12-15, 2009, in Fredericton, NB.
SWFF is the annual film and video festival presented by the New Brunswick Filmmakers' Co-operative. It has both curated and competitive streams, as well as a solid line-up of social activities and workshops that get the town buzzing.
This year, we are celebrating our 9th year with new programming and again we’ve waived the submission fee for filmmakers submitting so, it promises to be a good year. Save the dates and plan to attend!
Film and video projects that are accepted for screening into the SWFF and created by New Brunswick Filmmakers residing in the province and those filmmakers from away are eligible for the Silver Wave Awards.
The deadline for submissions is Monday, August 3rd, 2009, 5pm Atlantic Standard Time.
Incomplete applications and applications received after this deadline will not be accepted under any circumstances.
The following items must accompany the application:
· Completed Application form, on CD in an MS Word or .rtf type document;
· List of credits from project;
(NB filmmakers who, along with their cast and crew, wish to be considered for the various NB awards must show proof of NB residency for all those involved.)
· 3 DVD pre-screening copies of the finished project for jury consideration for awards; (NOTE: only Mini DV, Beta SP and 35 mm will be screened at the Festival. DVDS will not be accepted)
· Productions stills, in jpeg format at 300dpi resolution, on CD to be used in festival promotional materials;
· Press Kit (if available of past festival/special screenings of film/video);
· Director's Bio and headshot;
· Poster representing the film or documentary (if available);
NOTE: Submissions materials will not be returned to you by the SWFF. Please email: info@nbfilmcoop.com if you have any questions. You will be advised whether or not your submission has been accepted for screening in advance of the festival
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The Arts
FREDERICTON - THEATRE UNB PRESENTS THE KNIGHT OF THE BURNING PESTLE, APR. 1-4
One of theatre's most enduring comic masterpieces will take the stage for a run starting April Fool's Day when Theatre UNB
presents Francis Beaumont's The Knight of the Burning Pestle.
A company of players is about to perform a sober melodrama called The London Merchant when an unruly audience member and his wife stop the show and demand that it be rewritten to suit their tastes, and to star their favorite servant. The couple seat themselves on stage and comment witheringly and hilariously on the action throughout, as the plot of The London Merchant is altered to become The Knight of the Burning Pestle, the story of an earnest but incompetent knight who battles giants, saves damsels in distress and woos princesses, among other knightly callings. The play is jam-packed with action, adventure, music, and
a considerable amount of raunchy humour (the title's winking reference to venereal disease is only one of many off-colour
jokes in the play).
For the production, director Len Falkenstein and his cast of thirteen
UNB drama students have playfully and anachronistically updated the play. For example, the central romantic couple has been reimagined as a tattooed Goth girl and her rock star boyfriend, not to mention what the company has chosen to do with Beaumont's stage direction "A boy danceth and singeth." Suffice to say breakdancing, juggling, wailing guitar solos and some comically epic battles round out the Monty Python-esque comedy of the play. Further making the play a treat for the eyes and ears are wildly colorful costumes, a gorgeous multi-tiered Renaissance theatre set, and original songs and soundscapes
performed by the cast.
the Knight of the Burning Pestle runs Wednesday, April 1
through Saturday April 4, 8 PM nightly at Memorial Hall on the UNB
campus. Tickets ($10 regular, $6 for students) are available at the
door. For more information, phone 447-3078 or email
lfalken@unb.ca
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SAINT JOHN - THE IMMIGRANT EXPERIENCE IN CANADA: KARIBUNI DOCUMENTARY & WORKSHOP
Sat, Apr 4
Montagu Room I & II, Saint John Trade & Convention Centre, One Market Square.
Presented by the Multicultural Association of Saint John Inc. The Immigrant Experience in Canada: Karibuni Documentary Screening & Workshop. Registration is required. Participation is Free!
"Karibuni" is a documentary which recounts the experiences of Franco-African immigrants across Canada's western provinces. Its message is powerful: immigrants encounter many challenges when arriving in Canada, and resident Canadians can do a great deal to make the experiences of newcomers more welcoming and accepting. NAARR (Northern Alberta Alliance on Race Relations) is presenting two (2) facilitated workshops using "Karibuni" as a case study. The workshops will illustrate the challenges many immigrants face when integrating into a new community, including language barriers, cultural differences, and difficulties finding employment.
Workshops are limited to thirty (30) participants per workshop. Morning Workshop #1 Registration: 9 am to 10 am. Workshop: 10 am to 12 noon. Afternoon Workshop #2 Registration: 1 pm to 2 pm. Workshop: 2 pm to 4 pm. To attend and participate please call (506) 632-0096.
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FREDERICTON - MONDAY NIGHT FILM SERIES!
STONE OF DESTINY
April 6, 8pm at Tilley Hall, UNB Campus
Director: Charles Martin Smith
Cast: Charlie Cox, Kate Mara,
Billy Boyd, Robert Carlyle, Brenda Fricker
Run Time: 96 minutes
Country: Canada
Year: 2008
Language: English
Distributor: Alliance Films
Veteran film and television actor Charles Martin Smith has appeared in many of the American cinema’s more memorable achievements, from American Graffiti to The Untouchables.
His television credits are almost too numerous to list; highlights include The Brady Bunch, The Twilight Zone, Northern Exposure, The X-Files and the acclaimed HBO miniseries And the Band Played On. More recently, he began directing; his 1997 comedy Air Bud won numerous awards – including the Golden Reel Award at the Genies – and inspired many sequels.
His next film, The Snow Walker (2003), was a Film Circuit hit
and a multiple-award-winner and moved audiences the world
over with its tale of survival after a plane crash in the tundra. Stone of Destiny, which was the Closing Night Gala film at the 2008 Toronto International Film Festival®, marks Smith’s latest return to the director’s chair. The film recounts the story of Ian Hamilton (Charlie Cox, Casanova, Stardust), a proud Scottish nationalist who secured a prominent place in his country’s history books by bringing the Stone of Destiny back home in the fifties.
Also known as the Stone of Scone, the Stone of Destiny had been used during the crowning of Scottish kings for more than a millennium. Over seven centuries ago, King Edward I of England took the 152 kilogram rock back to England, where it remained until Hamilton made his famous raid and reclaimed it.
Numerous myths surround this stone, which now sits in a high-security museum among swords, jewels, crowns and other
Scottish royal regalia; chief among these lingering questions is whether or not the real stone was actually reclaimed. There is no doubt, however, that Hamilton’s feat struck a deep chord among Scots and provided further evidence that English colonialism was entering its bitter final days. Smith brings a deft hand to this compelling film, in which all the ingredients of a true romantic epic come to life onscreen.
The charismatic Cox is surrounded with a gifted cast, including Kate Mara (Brokeback Mountain), Billy Boyd (The Lord of the Rings), Robert Carlyle (The Full Monty) and Brenda Fricker (My Left Foot), all of whom lend their unique sensibilities to this heart-stirring and triumphant tale.
$7 general admission
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FREDERICTON - Things Inside/Body Atlas by artist Kim Vose Jones, and Intension by the Emerge Artist Collective
The UNB Art Centre in Fredericton is pleased to present two exhibitions: Things Inside/Body Atlas by artist Kim Vose Jones, and Intension by the Emerge Artist Collective.
Both exhibitions run from April 17 until May 15 at the UNB Art Centre. There is an opening on Friday, April 17th at 7 p.m. The UNB Art Centre is open Monday - Friday, from 9 a.m. - 4 p.m. and is located in Memorial Hall at 9 Bailey Drive on the UNB Fredericton campus. Admission is free.
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Biz & Indie Film News
Cinematical Six: Tips for the Indie Filmmaker
by Chris Ullrich
When the realization hits you that what you really want to do is direct, produce or otherwise make independent films, just like your heroes Robert Rodriguez, Gia Milani & Tony Whalen, Kevin Smith and Doug Sutherland, there are many thoughts that may go through your head: "What should I make my film about?", "Where should I shoot my film?", "Who can I get to be in my film?" and my personal favorite "Do I have enough room on my credit cards to pay for all this?" The answer to that last one is probably "no" but heck, don't let that stop you!
These are all valid questions that haunt many an aspiring independent filmmaker, causing more than one sleepless night. Over the years, I've spent some time in the trenches making independent (and not so independent) films. So to help alleviate some of your anxiety and hopefully reduce the number of your sleepless nights, I'm presenting some tips for the independent filmmaker. Hopefully, these seven tips can serve as a guideline to those of you brave enough -- or dumb enough -- to want to make independent films. Actually, being both brave and a little dumb probably doesn't hurt.
Anyway, here we go.
1. Keep it simple – Sure, a film about World War II featuring the invasion of Normandy like Saving Private Ryan or a movie where the climax takes place on top of the Empire State Building like King King or a film with thousand of computer generated soldiers like The Lord of the Rings might seem like exciting projects, and they are -- just not within your budget. When you start thinking about what kind of film to make that will define you as a filmmaker, the most important thing to remember is to keep it simple. Scripts with lots of speaking parts, extras, stunts, locations, or scenes where entire city blocks explode are probably not the films you should be making right out of the gate. Instead, stick to something small and manageable, perhaps a movie about a boy and a girl that takes place in an apartment and a restaurant or an apartment and a coffee shop or an apartment and another apartment. Few actors, few locations, a simple story and that's all. Simple, got it?
For locations, also consider things like where you work, who you know, where they work and most importantly, what you think you can get for free. Also, seek out local film orgs or community theaters in your area as resources for talent to help you make your film. You can also advertise online on the Film Co-op's e-news to find crew, locations or pretty much anything else to help you. Just remember, no matter what you do, keep it simple. Save all the explosions, stunts and special effects for your next movie. I know it might sound boring but a simple film, completed reasonably well, is much better than a complex film that you can't afford to finish.
2. Write a script – As unbelievable as it may sound, many producers and directors of small budget (and big budget) films often just grab a camera and a bunch of actors and go out trying to make the "magic" happen. This is, of course, a huge mistake for one simple reason: You need a plan. And not just you, the rest of your crew, actors and everyone else associated with your film needs a plan too. Your script is that plan. So, chain yourself to your kitchen table or whatever else you need to do to get motivated and bang out a script complete with dialog, description and all the rest of the things that go into it. You might be asking yourself "well, if the big movies don't always have a script when they start why do I need one?" That's a good question and the answer to it is simple: They have money. You don't.
Having a lot of money allows big movies the luxury of having the entire cast and crew sit around all day, at hundreds of thousands of dollars per hour, while the director and DP "wing it" waiting for the light to be "just right." You will not have the money or time to "wing it" so get used to it and get your mind wrapped around the idea of planning ahead. One of the most important things I ever learned on a film set, besides "always make friends with the Teamsters," is plan your work and work your plan. If everyone on your film is working from a plan and marching in the same direction, you chances of success are astronomically improved.
3. Don't be afraid to ask -- This also goes hand-in-hand with "don't be afraid to beg" and "don't be afraid to kiss butt." You'd be surprised how many times during the course of making low-budget films I got something we really needed just by asking for it. People still go all dough-eyed when you start talking to them about making movies. Folks love the movies and the people who make them, so it doesn't hurt to exploit that a little. If you need a particular location, piece of equipment or whatever, just ask for it. Be nice, of course, and tell them you're a struggling filmmaker trying to make his or her first film and that whatever they could do to help would be greatly appreciated. Keep asking and try not to take "no" for an answer.
As a bonus, you can always offer them the all-important "closing credits thank you" where you put their name at the end of your film, along with the thirty or so other people who helped you achieve your vision by giving you free stuff. It works, believe me. People love seeing their names on the big (or small) screen. Even if its only in their own living room after you eventually send them a copy of your film on DVD, it still means a lot to them. So, don't be afraid to ask for something. Filmmaking is infectious and people love to get the fever. Well, most of the time. Sometimes, people will say no so be prepared for that and move on to the next person and start asking again. Eventually, someone will give you what you need. If not, you probably didn't really need whatever it was anyway.
4. Get it in writing -- As much as we all love the thrill of filmmaking and that first flush when the reality sets in that "yes, we are actually gonna make this sucker," you still need to worry about one other important, non-glamorous thing: business. Filmmaking, like or not, is a business. All those people who are your friends now who swear up and down that they're in it for the long haul are probably going to evaporate around hour sixteen of day twelve. Or, worse yet, show up at the last minute demanding their share of the pie when your film does manage to hit it big. Either way, protect yourself and your parent's or uncle's money as best you can.
The best way to protect yourself and everyone else involved is to be a professional and get everything in writing. I'm not necessarily saying that you should hire a lawyer to draw up contracts or anything like that (although, if you do have a brother-in-law who's an attorney, all the better). No, I'm talking about simple agreements that outline who is doing what and what they'll get in return. I know it will be awkward to ask your friends and family to sign something, but trust me, the trouble you take doing this now can save you so much more trouble and hard feeling down the line. Nobody should have a problem signing something they already agreed to verbally and if they do, you might want to consider asking someone else for help.
5. Spend what money you have intelligently – If you have any money at all for your masterpiece there are three things that you should definitely spend it on: A good director of photography (aka DP), a good production sound mixer and food, food, food.
People watching your film are doing just that, watching it. How your film looks goes a long way to influence how people react to it. Think about your favorite films and what comes to mind? Most of the time, I would bet it's the way a scene looked that made it special. For me, it's the flowers falling as the horses charge through them near the climax of Excalibur, or the men running in slow motion on the beach at sunset in Chariots of Fire, or the black-and-white mastery of depth and shadow in Citizen Kane. These scenes, and so many more, serve to show how important the "look" of a film is.
Plus, the trick here is to try to fool people into thinking that you actually know what you are doing and you had more money to make your film than you really did. One of the ways you accomplish this is to make sure your film looks as much like a "real" film as possible. This is also know in the filmmaking world as "production value." This means your film needs to be in focus with good composition, camera work and as decent a lighting job as your DP can manage. So, get a good DP, preferably with his own camera and lighting equipment.
Remember, DP's need films to shoot to build their reel so they can get more and bigger films to shoot. As a person with a film that needs to be shot, you're in a pretty good position to find a DP that's not only good at his or her job but easy to work with. The latter is very important, because who wants to spend sixteen hours a day, six days a week with a talented jerk? There are many talented non-jerks out there who also have cameras and lights. Find them.
Next is sound. Even though film is essentially a visual medium your actors will probably still have dialog so it would be nice if that dialog was recorded well enough to be heard. So, get a decent production sound mixer who preferably has some good microphones and a boom guy to point them in the right direction (at the actors, in case you were wondering). That way, you can use most, if not all, of the sound recorded during the shoot and won't have to do any of that annoying ADR later that you can't really afford. So, be smart. Get good production sound from someone who knows what they are doing. Plus, always remember to get room tone. If you don't know what that is, ask your sound mixer. If he or she doesn't know, get a new sound mixer. But no matter what, get room tone. You'll be glad you did.
Last, but by no means least, is food. This is probably the most important ingredient in any independent low-budget film production. You need to feed people and feed them as well as possible. This doesn't have to be a gourmet meal catered every day, although that would be nice, but it does have to be something. Even if its Subway one day and El Pollo Loco the next, make sure its there every day, on time and most importantly, that there's enough of it to go around. You do not want to run out.
Why is food so important? Well, food has a couple of uses in the independent filmmaking world. One, food is fuel. A hungry crew works slower and complains more -- something you don't want to happen. Feed them and they will probably shut up and work long into the night -- something you do want to happen. Plus, you're probably not paying your crew much, if anything at all, so the food you give them serves as both payment for their hard work and a sign of respect for that work.
Let's face it, they're not going to get as much out of your film if it becomes a huge success as you are, so there's no reason not to treat them as well as you can while they're busting their asses to achieve your "vision." Food and common courtesy will get you a long way. Plus, always try to remember to say "thank you" to the crew and cast after a long, hard day. That little thing does wonders for morale and its a nice thing to do too.
6. Don't forget about post – Everyone loves having the party but nobody ever wants to clean up after. Post-production is the clean-up, and has saved more films than I can count from bad directors, bad acting and bad sound. Sure, shooting your film is fun -- being on set, working with actors and being creative is a great time and a great rush. But just because your masterpiece is in the can doesn't mean you'll be anointed as the next Scorsese or Kubrick until someone can actually see your finished film. So, post production, which includes picture editing, sound editing, sound effects editing, foley, walla, ADR, post sound mix, layback, M&E and a bunch of other stuff, is a part of the process you just can't skip.
Actually, its not a bad idea to think about post even before you start shooting your film. Plus, the more time you can devote to post when the shooting is done, the better your chances of having a good finish for your film. Many post production houses that do this kind of work often have some downtime during and between projects. That's the time when they can be working on your film and often if you ask, that's the time they will work on your film. Why? Because they have all these people on staff already anyway and its better to keep them working on your project than to let them go home or to the beach.
One disadvantage of this method is that you won't get your film done quickly. You'll get it done eventually, but you'll get stuck on the back burner at the post house when paying work comes in so be prepared for that and don't get too impatient. After all, they are doing you a favor and because of it you're getting far better post production work done on your film than you could normally afford.
Hopefully, these tips can help you avoid some of the mistakes I made when I started making films. With a little money, a little talent, a lot of luck, and maybe one or two of these tips, you might just manage to make something that will propel your career into the stratosphere. Have a good shoot.
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INSPIRED SCRIPT PROGRAM DEADLINE EXTENDED
The deadline for submissions for the 2009 Inspired Script Program has been extended until Friday, April 17, 2009 at 5PM. Information regarding program requirements and the application process can be found at http://www.atlanticfilm.com/aff/filmmakersInspired.php . If you could pass this information along to you members that would be greatly appreciated. If you have any questions please do not hesitate to contact me at alysons@atlanticfilm.com
IMPORTANT DATES:
Submission Deadline: 5:00 PM, April 17, 2009
Workshops: May 29 - 31, July 24 - 26, September 18 - 20
Inspired Script Pitch & Match: September 17 - 26 - Session to be scheduled during the 29th Atlantic Film Festival (exact date to be determined)
I look forward to receiving some great outlines!
Alyson Sanders
Inspired Coordinator, Atlantic Film Festival Association
Direct: 902-420-4577
Cell: 902-478-5216
Fax: 902-422-4006
e-mail:
alysons@atlanticfilm.com
Visit
www.atlanticfilm.com
for more details
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Advertise
FREDERICTON - CASTING CALL
There will be an open casting call for a short film entitled "So Long, & Good Night". This calls for male actors aged 16-25. This project is being shot in the Fredericton area in mid June.
SATURDAY, APRIL 4
Fredericton Public Library- Upstairs Assembly Room
12pm-5pm
There will be signs and arrows posted at each casting venue.
If you have any questions or concerns, please email Production Manager Jillian Acreman at jillianacreman@hotmail.com or call (506)260-0492.
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CREW CALL
Open volunteer crew call for a new short film "So Long, & Good Night". Primarily seeking trained Co-op member technical crew, or members interested in learning technical positions on set under trained members. This project will be filming in mid-June. Please contact Production Manager Jillian Acreman at jillianacreman@hotmail.com or at (506)260-0492.
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NOW PLAYING ON NEWS-CAST.COM MOVIES - No cost, no commercial interruptions.
http://events.news-cast.com/events/Movies
Just Added To Our Schedule:
VIRUS - . Directed by Kinji Fukasaku and starring George Kennedy, Edward James Olmos, Olivia Hussey, Glenn Ford, Chuck Connors and Robert Vaughan. A plane crash accidentally unleashes a deadly chemical weapon. Little known genre classic and one of the highest budgeted films ever produced in Japan.
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EMERGING WRITER NEEDS HELP
For 100 years now, Prince Edward Island has been dominated by the beloved stories written by L.M. Montgomery.
Considering the idyllic setting of the island combined with the charm and beauty, I believe its time something else of romantic consequence was created. I have done just that by creating a story that gives a fresh new image of the island while still maintaining its wholesomeness.
As I am new to screenwriting I'm asking a pro to help me. I do need assistance condensing my material and changing it into acceptable screenwriting format.
Help would be appreciated.
Sincerely
Anne Sparling