Sundance season has kicked off 2012 for the independent film world but CinemATL is looking ahead with a local production that will be making noise in the near future.

Questions

Michelle Rivera-Huckaby

 What made you want to make this film?

I’ve wanted to write a screenplay for a while and officially said it out loud in April 2009, a couple of months after my youngest was born. I had been a single mother for 10 years, got married and had another baby. Became super domesticated and felt like I was forgetting my dreams which I hear many mothers/wives can relate to. So I started planning time to write a screenplay and outlined tons of ideas until the one that hit closest to home stood out to me.

 How long have you been planning to make this project?

I first started planning about 12 years ago but was overwhelmed with 2 jobs, raising twins with only my mom’s help so I put it aside and put my family first.  In April of 2009, I made the decision to make a go at it but it wasn’t until late Aug./Sept. of 2009 that I really started a timeline and working with someone to hold me accountable so from that time until we actually shot it – I’d say a couple of months shy of 2 years of actual planning. 

 You reached out to many mentors during this process, how did that impact the project?

In so many ways – from length it should be (short or feature), to financing, hiring the right crew, direct it or be in it, when it was shot as it was originally planned to be shot early 2011 as opposed to late July of 2011. 

What are you plans for Encuentrate?

To do the 2012 film festival circuit and win in our category at an Oscar qualifying festival and also be an inspiration to people. I’m a woman who grew up in Brooklyn, NY with all the odds against her and everyone was quick to remind me of that when I was pregnant with twins at 19 (sophmore in college) and all I ever heard even after having the twins was how I wouldn’t get anywhere and I look back and can only count my blessings.  I want to inspire my children and set an example that there is nothing they can’t do. I want to inspire young people who don’t feel they are entitled to be great. I want to inspire single mothers who are so overwhelmed that they just want to give up. I want to inspire wives/mothers who have dreams but think they can’t purse them because they give everything they have to their household.  I can only hope that Encuentrate will be the beginning and allow me to share with and inspire others.

What was the most challenging aspect of making the film?

There were a lot of challenges but I think the biggest one was funding the project. We created an indiegogo campaign and raised some funds but not even close to what we needed and even going to family and friends was difficult because you got to see who really believed in you but it also made me stop and ask myself do I believe in this that much and without hesitation we plowed forward.

Do you have plans for any new projects? 

Yes, currently working on a few things: a feature which I hope to have in pre-production by the Fall of this year, a comedy series and a drama.

Jessica Imoto Harney

Tell me a little bit about your production company Captain Crazy. What projects other than Encuentrate have you been involved with?

In 2011 we also helped produce “Altered”, a horror film by Kely McClung, shot primarily in Chicago , IL and the infamous Gary , IN (a location all filmmakers should use). We worked on Dave Quay’s “Night on the Lam”, a handful of Atlanta artist’s music videos, Sam Carter’s “Good Grief Suicide Hotline”, and an assortment of other Atlanta based productions.  We definitely stay busy helping friends and peers in the community create their projects in any aspect possible because we love doing it…no matter what. Viva Indie Filmmaking!!

Michelle’s go-getter personality and work ethic! Michelle contacted me looking for a Director of Photography, but through discussion we realized I would ultimately take a larger role in the production of “Encúentrate” and actually co-produce the film. So I brought in the Crazy crew, with limits, and we collaborated with a fun lil’ crew imported from Puerto Rico to help create Michelle’s vision. It was an awesome experience… AND I learned lots of Spanish! Ultimately working with Michelle Rivera-Huckaby has been one of the best decisions of 2011, and we’re already starting to conspire her next project together.

What’s your take on the film scene in Atlanta ?

We’re… growing. In a productive way. It’s exciting to see so many people collaborating to share stories and entertainment. Because of the nature of our community, so many of us can actually call each other ‘filmmakers’ instead of ‘a singular union created role’… and I think that’s awesome advantage we have here in Atlanta . Ultimately, I have high hopes for our future, AND with the growth of the Atlanta Film Festival, we’re really making huge steps in having everyone take us seriously as a community and as an industry of professionals. 

What do you have on tap in terms of future projects?

In 2012 we’ll be focusing a lot of our energy on doobious.org, our interactive magazine that shares stories of Atlanta filmmakers, musicians, and artists of all mediums. Doobious.org is lead by my awesome brother Ace and Captain Crazy TV helps out with creating visual content for all our articles. As a non-profit organization, we strive to help spread word of the Atlanta scene and inspire our readers to get out there and experience their lives to the fullest. We’re like cyber hippies minus the petruli.

To learn more about the film, please visit the film’s website here: http://encuentratethefilm.com/blog/

Congratulations! - Photo by Blake Tyers

Atlanta has some excellent Film Collectives.  Obviously, Film Collectives are nothing new, they’ve been around for years and in many places but in Atlanta they occupy a special place in the independent film scene. We’ve had a relatively recent history of success stories that came from film collectives from Atlanta .

The thing with collectives is that it often seems hard to maintain a high level of commitment and energy to keep them going. From famous collectives like Zoetrope to Atlanta’s own Pop Films, film collectives often energize a group of filmmakers to achieve more together than they can working separately. Fake Wood Wallpaper is a collective that has been working together for a few years on Atlanta ’s film scene. With shorts like The Adventure which screened in film festivals such as Rotterdam International Film Festival among others as well as their cult-favorite feature Blood Car they displayed a unique style and commitment to quality productions.

I recently was able to visit the set of their latest feature film, Congratulations!, and got to talk with Writer/Director Mike Brune and Producer Alex Orr about Fake Wood Wallpaper and their latest film.

Mike Brune:

In Fake Wood Wallpaper’s first feature film Blood Car you play the lead role. Now you’re taking the reigns as a director, what’s the biggest difference being behind the camera this time?

The biggest difference is that I have much more influence over the film as a whole – how it looks, feels, sounds, etc.  I was able to collaborate with every department and build and shape the film from scratch.  Even though I was the lead actor in Blood Car, I didn’t have much creative control over the project as a whole.  If your character is being urinated on in a movie, you’re probably not in charge of what’s going on.  That’s the general rule of thumb I believe.  But bear in mind I’m working with many of the same people involved in Blood Car: Alex Orr, Tony Holley, Adam Pinney and Chris Campbell.  So even though I’m in the director’s seat this go round, the same creative voices (plus many wonderful new ones) are present.

What is Congratulations! all about?

It’s Fake Wood Wallpaper’s second feature film!  It’s an absurdist crime thriller comedy.  We have several clever pitches we’ve used to describe it, too.  Antonioni meets Airplane! Michael Haneke does The Naked Gun.  Animal House without the jokes.  I’m not sure which, if any, properly describes the movie, but they’re fun to throw around.  The story is about a boy, Paul Ryan Gray, who goes missing in his own house and the search that is taken up by veteran Detective Dan Skok of the Missing Persons Bureau.  In order to solve the case, Det. Skok and his team move into the house to search for the boy, slowing becoming part of the Gray family’s life as they search for their missing son.  That’s a good start.

Fake Wood Wallpaper is a talented collective, but you’ve all moved into many other avenues, is it hard to collaborate now that you all have established careers for yourselves?

Not at all.  With FWW, our first priority has always been to make movies together as a collective and we come together for that purpose.  We are great friends and still hang out together like we did in college.  We’ve all grown into various positions in the film/media industry and established careers which we like, but the reason we pursued this line of work in the first place was to make movies.  Because we love the cinema.

Mike Brune (L) Alex Orr (R) - Photo by Blake Tyers

What were some of the difficulties you faced directing Congratulations?

I feel like I’m singing an old song by saying this but the answer to this is simple:  Time and money.  We didn’t have enough of either, but I guess most filmmakers never have enough of those two things.  That being said, I tried to never think in those terms.  Something DP Nestor Almendros once said after doing La Collectioneuse with Eric Rohmer has always been seared in my memory.  ”With no limitations, there is no style.”  I think filmmakers should live that.  With La Collectioneuse, they couldn’t light their actors properly in the bright sunlight for the outdoor scenes so they just staged all these scenes in the shade.  Critics later remarked on the beauty of it.  I just paraphrased the hell out of that story, but you can read the whole thing in Nestor’s book, which is amazing.

What’s next for you? Fake Wood Wallpaper?

Fireworks City is next for me. It’s a feature film we’re planning for next year that I wrote and will direct. We also have another FWW feature slated to shoot this fall. It’s even more micro-budget than Congratulations! Two in one year? You are correct.

How did your work with Fake Wood Wallpaper earlier in your career help to inform what you’re doing now?

I learned two key things from working with the guys in FWW early on: collaboration and risk. My improve comedy training also constantly reinforces these ideas. Five Heads are better than one. If I’m ever lost writing a script or editing a scene or composing a shot, they can pick me up and show me the way. If one of my ideas is nutty, they will tell me it’s nutty, but they will always tell me to try it. They will never tell me I can’t try something. Collaboration and risk. We are great collaborators and we are not afraid to try something different. Our logo is an old picture of the Lumiere brothers, the first filmmakers. I don’t want to start a historical debate here because I know people made movies before them, but I treat them as the first filmmakers. Anyway, they embody cinema and making movies to us. Obviously, we’re not making the first movies, but we try to channel that sense of adventure and excitement and magic.

Alex Orr:

You directed the last Fake Wood Wallpaper feature Blood Car, what inspired you to decide to come back and produce this feature?

I just want to make movies with my friends. If I’m producing or holding the boom or whatever- you’re still making movies with your friends. That’s what is really important to me.

You managed to raise financing through crowd sourcing, how did that come about and what were the challenges?

I think the challenges of fundraising are being too proud to beg, which we are not. We got on the internet and begged for money and got to our goal. It was amazing.  I think the only way to go about it is to be relentless. I don’t give NPR money until they have beaten it into my head so many times and then I hear the pledge is ending. You really have to go too too far with crowd sourcing for it to work. So we made a video a day and bombarded people. We called them out by name and demanded money, had a couple live web-a-thons and an improv show fundraiser. We hit it hard and we made our goals. You just need the attitude that you’re making a movie …not IF you get some crowd funding and IF you can get this….you’re making it with or without someone’s help- and then it seems people want to help.

Do lessons learned from your previous feature help you approach this current one? Do you have a different approach or similar to the one you employed with Blood Car?

Congratulations! - Photo by Blake Tyers

You learn a lot making a movie and you take that to the next movie. It’s always that way. On Blood Car we came up with the idea and just kept moving until the movie was made. It’s not the best way to make a film- but that’s what we did. Wrote fast, then prepped and shot and never stopped. We had a very different approach with this movie, but I don’t know how to put my finger on exactly what that is. We really focused on getting the prefect cast together- which I think we did. The cast was amazing. The best way to describe the difference is that Blood Car was like a feral animal on a leash- it was wild. Congratulations! was well trained. It wasn’t this crazy-eyed insane animal that’s only plan was to move forward. It knew what it was doing. Maybe that makes no sense…but it’s how I see the difference.

What is your next project? Will you continue producing or do you plan to go back to directing?

I’m sure I’ll direct something again, but I’m not chomping at the bit to do it. I serve a movie better producing. If I direct something I need to do animals attack or silly comedy. I don’t have the patience for anything serious- I have never finished a game of chess. It’s too boring to me, too calculated- it can’t hold my attention. I feel that directing serious films and chess are both for grown ups. I’m not there as a director. Hopefully we will finish my dream movie, Pelican- it’s about a giant pelican tearing the hell out of a beach community. I would direct that. I’ll always produce. I can’t stop from doing it.  If someone in the same room as me talks about an idea I like- I start pushing to read a script. I can’t help it. I start thinking about how we can make it.

For more information about Congratulations! go to the website for the film here: http://www.congratsmovie.com/

For some, this equation reinforces their belief that the film is a transparent spook; they can see right through it. It has no factual evidence for its absurd claims, and those who confess to find meaning in it have only witnessed an imaginary projection within their own mind.

For others, they will encounter a ghost; it will be beautiful and haunting. And, even if they don’t like what it says, it will speak to them. Their experience with the film will be impossible to fully communicate to others, but the spell has been cast.

General Orders director Robert Persons won’t deny he’s trying to cast a spell, but he’s not quick to confirm what it is exactly. In our conversation he stressed the importance of mystery in General Orders. His devotion to the film’s mystery was evident by the caution he took when speaking of it. At one point I – somewhat rudely – snickered at his fear that the film could be spoiled by talking about it too much. If you couldn’t guess, it is not a film that relies heavily upon plot points, but after viewing the film I knew exactly what he meant.

Of course, mystery surrounds Persons as well. He grew up in the middle of Georgia, but never said exactly where. He’s not a filmmaker that has moved up through the production ranks or put in his time networking within a film community. He’s not a young film school graduate who writes a screenplay every 3 months and always has one in his back pocket. Nor is there a film collective who claims him as a member. He literally has appeared to us, seemingly from out of nowhere, film in hand. (In a poetic accident, my recording of our 199 minute conversation was not saved. Some details have been missed.

The spell Persons has cast is old and dead. That does not mean irrelevant or useless, it means the film speaks to us as a force from the past. Half of us were not alive to remember life before the Interstate was built. Many of us have never known someone who knew someone who was alive during the Civil War. Certainly it is difficult for any of us to imagine a time when Georgia was stretched all the way to the Mississippi, or when Native Americans traced the hoofprints of deer. Yet, these are the apparitions that come to us. They arrive in the form of a maps, skulls, sculpture or red die. They warn us about the things to come, and show us signs we don’t quite understand. General Orders is a spirit, left behind in this world, unable to rest until these matters are resolved:

What should the new map look like? Which totem will watch over us?

Persons admits that some parts of General Orders are still a mystery to him. Some of the sequences are literally filmed accounts of dreams he stole to waking life. It is a film about his home, and while knowing more about him does not clarify the film, it does provide a map on how to approach it. Persons came at filmmaking in the same way filmmaking came to us: at the intersection of all other art forms. His background in painting, music, and especially poetry met when he discovered Virginia-Highland’s “Movies Worth Seeing” video rental store. At this junction he lived off of a steady diet of transcendental cinema, devouring Herzog, Tarkovsky, Bresson, and Haneke (to name a few). So strong was the influence of these films that once the near 40 year old began work on General Orders, he no longer wanted to watch any movies until it was complete. Now, 11 years later, he admits, “I like these Apatow movies. I would watch those.”

It is safe to point out – without any fear of spoilage – that General Orders No. 9 bears no resemblance to The 40 Year Old Virgin. However, I believe Persons is as skilled at creating dense, psycho-geographical, visually stunning film poems as Apatow is at creating crude-but-smart, character driven, adult comedies. Still, there is more to be desired in Persons work. General Orders proves without a doubt that he has no trouble establishing tone, and he understands how to pace a film (a tip of the hat to producer/editor Phil Walker and composer Chris Hoke). No one can dispute the awards the film has received for cinematography. But even Persons surmised that he wants to make films that connect deeper with audiences than General Orders.

For my part, I felt that General Orders sometimes creates mystery by narrowly avoiding questions, thereby leaving some claims unsupported. But as we have learned from science and art, we are no danger running out of mysteries, and mystery is born out of discovery. I’m not willing to say here specifically what moments of the film felt unexplored, but I will say that the passages that concern the city felt intentionally naive. Perhaps that’s a product of the narrator’s anger, poetic license, my relationship to Atlanta or maybe the point is lost on me, but I have a feeling that anyone who has affection for city life will feel their affinity is under attack.

Still, I remain floored by his command over the material, his continuity of thought, the surprises along the way, the fear I felt during the city passages, and the beauty of Georgia that is invisible from I-75 to Tampa. It is a film that is in all ways refreshing. Fortunately it has been labeled a documentary because it reshapes our expectations of the form, and unfortunately because many will only see that it is not aligned with existing expectations. However, this subversion must continue.

During that awkward part of any interview where you have to ask “what’s next?,” Mr. Persons shared with me his excitement that he’s “been starting to get ideas lately.” This simple confession was very encouraging. I look forward to seeing more of his work, but I hope I don’t have to wait another 11 years. Until then, I will see General Orders No. 9 at least several more times to see if the mystery will unravel.

I hear, that if you visit the old Cinefest Film Theater on the Georgia State campus this Friday and Saturday at 7pm you might see a ghost. (Full schedule of possible sightings below.)

SCHEDULE
Friday 8/12 5:30 pm, 7:00 pm – Q&A AFTERWARDS
Saturday 8/13 3:30 pm, 5:30 pm, 7:00 pm – LIVE MUSIC / Q&A
Sunday 8/14 3:30 pm, 5:30 pm
Monday through Friday 8/15-8/19 5:30pm, 7:00pm
Saturday 8/20 3:30pm, 5:30pm, 7:00pm
Sunday 8/21 3:30pm, 5:30pm, 7:00pm

Most people know Curtis Jackson as 50 Cent, a hugely successful rapper with Platinum albums and a humdinger of a survival story that tops even the most hardcore gangsta Rap peers. Yes, he was shot 9 times and got stronger.

What people may not know is how serious Curtis Jackson is at becoming a thespian. Sure, every rapper ACTS, we see them all the time in movie and television. However, most don’t take as much of their budding careers into their own hands the way Jackson does.

In his latest film, 50 Cent transforms his famously buff physique into a frail cancer patient. Losing 60 pounds for the role, photos shocked many when they were released depicting the emaciated Jackson . Such dedication to a role has often been lauded in the past, DeNiro’s famous weight gain for Raging Bull; Christian Bale’s shedding of rough 60 lbs for The Machinist. However, when it came to 50 Cent, there’s always some skepticism to be found. He can’t simply take his work as an actor seriously it seems. He must be pulling a stunt for publicity. It seems like a dangerous way to court publicity for someone who arguably doesn’t need it.

Atlanta filmgoers were able to judge for themselves as the movie in question, Things Fall Apart screened at the Atlanta Film Festival this year. Produced by 50 Cent’s production company Cheetah Vision along with Hannibal Pictures, the film is directed by Mario Van Peeples (New Jack City) and stars Jackson, Ray Liotta, Lynn Whitfield as well a Van Peeples. The story follows a promising college football player who’s struck with tragic circumstances at the height of his collegiate career.

I was able to discuss the movie as well as other topics with Hannibal Pictures who produced the film with Cheetah Vision Films.

Questions

What drew you in particular to this project?

The screenplay was a very touching and powerful script with a challenging role for Curtis. We had recently worked with him and producers Randall Emmett and George Furla on Gun and were looking to collaborate on a new project. Mario Van Peebles is a director and actor whose work we admire, and we knew that he would be able to pull off an emotional and compelling film. Still, it is not exactly our bread and butter; we specialize in selling action thrillers, and if there were any reservations about Things Fall Apart, they derived from the movie falling outside of our particular area of success. When we saw the completed film we knew we had made the right decision to come onboard. We saw the weight that Curtis lost, but that only superficially captures his dedication to the role and to the story. Seeing the film that Mario crafted, the performances – everyone in the movie is on their A game. Lynn Whitfield, Ray Liotta, Tracey Heggins, Cedric Sanders – it was like everyone fed off of Curtis and Mario’s dedication and vision for the film.

Were there any concerns about Curtis “50 Cent” Jackson playing the lead in this film which is a departure from the roles he’s taken on in many of his previous movies?

Never. And if there were, Curtis would have erased them, anyway. He’s that confident and that driven, with a tireless and infectious work ethic. Curtis wrote it, produced it, stars in it and largely financed it.

Hannibal Pictures is known for it’s ability to make foreign sales, yet Urban films are said to be a hard sell. Was there an element that set this movie apart from most Urban films?

Yes, the movie takes place in an urban setting but the setting of a film doesn’t qualify as the film’s genre classification. If the themes are universal, then a movie will translate to wide audience, but – fairly or not — the “Urban” film label seems designed as a signal to “mainstream” audiences that the movie does not relate to them – it’s a niche term. Things Fall Apart is not a niche movie. It’s a movie about humanity, bravery, honorability and integrity, about a man who, through horrific circumstances, comes to realize that he has not always been the best person he could be and through the dramatic physical transformation will learn and decide to make people around him shine and fulfill their life. Another genre restriction that some have tried to apply to the film is “Sports movie,” when in fact the sport of football functions solely as a metaphor for a personal dream – something that anyone can relate to. The film is a crowd-pleasing inspirational, emotional journey. I think what sets it apart from most films in general is the Curtis’ determination but it goes much deeper than that. When you take Curtis’ character, Deon, out of context, he’s not a great guy. He’s selfish, driven only by his own agenda, and pretty blind to the ways his behavior affects those around him. On the page, this was much more obvious, and it struck me that there was a chance Deon could come across as unlikeable. I thought it was cool that Curtis would write and want to play such a flawed character. One of the things that keeps Deon from being unlikeable is an understated vulnerability – even in the early “top of the world” scenes. But the ultimate reason the movie and the character arc works is because of Mario Van Peebles’ excellent direction. The story is told strictly from Deon’s point of view, a brilliant decision that allows the audience to learn about Deon’s flaws as he discovers them, at the lowest points of his life. Mario’s direction inspires empathy for Deon and reinforces his ultimate redemption.

What other projects does Hannibal Pictures have in release or coming soon?

US distributor Anchor Bay will be releasing The Big Bang theatrically in New York and Los Angeles on May 13. The stylistic thriller stars Antonio Banderas as a private eye whose search for a missing woman lands him in hot water with a trio of tough LAPD homicide detectives, played by Thomas Kretschmann, William Fichtner, and Delroy Lindo. It’s a wild, roller-coaster of a movie with great supporting performances from Sam Elliott, Sienna Guillory, Autumn Reeser, and Snoop Dogg – to name a few. We’re very excited about the release and believe it’s Antonio Banderas’ best performance in years. Casino Jack, starring Kevin Spacey in a Golden Globe nominated performance as Jack Abramoff, was just released on DVD by Fox and Hannibal new brand Classics will release Touchback starring Kurt Russell and Brian Presley and Set Up with Bruce Willis, Curtis Jackson and Ryan Philippe. Additionally, we’re always developing new projects such as Sleight of Hand, USS Indianapolis: Men of Courage, Escobar, Amityville: The Legacy 3D, and Red Squad with great stories and talent while continuing to please audiences all over the World and build our catalogue.

More information on Things Fall Apart and other Hannibal Pictures films can be found at www.hannibalpictures.com

Doug E. Fresh, The Fat Boys and Biz Markie are early names you can associate with being a Human Beat Box. The art of creating drum beats and imitating musical instruments using only the human voice and body, Beatboxing, has been an integral part of Hip Hop since the early 80s.

The Atlanta Film Festival brings a documentary Beatboxing – The Fifth Element of Hip-Hop that documents the history and evolution of Beatboxing. It has become a multilingual, diverse and technically complex form of expression that almost four decades later continues to cross musical genres and influence artists around the globe.

Director Klaus Schneyder, a schoolteacher from Germany , felt “The art of making drum beats with the mouth has largely been neglected by writers and researchers when it comes to Hip-Hop history.” He initially wanted to write a book about the art form but after several research trips were filmed he decided to make a documentary on the subject and put the book on hold for the moment.

The result is a film featuring artists from around the globe who all have perfected there own brand of Beatboxing and advanced the art form to this day.

In Atlanta , we have an artist who has not only honed his own brand of Human Beat Box but has made a name for himself as the No. 1 Hip-Hop show host in America . I’m referring to Dres Tha Beatnik, of course, and he has agreed to make a special introduction for the film since the director will not be on hand for this screening. You won’t want to miss Dres or the movie.

I had a chance to speak with Dres Tha Beatnik about Beatboxing and other topics.

Questions for DRES THA BEATNIK:

How did you begin performing the Human Beat Box?

I actually began Beatboxing at age 14. I did it initially just to keep the Freestyle Cypher going and I could keep a consistent beat going longer. So it stuck.

Do you think the art of Beatboxing will rise to its former prominence or remain in the background?

I do believe that the Art of Human Beatboxing is still relevant in Hip Hop Culture just not here in the U.S. other Countries have embraced the Art form and have also pushed the envelope with regards to the Art form. Here in America we need to do better… There are Competitions that go on here in the States that help American Beatboxers & Vocal Percussionists get better at their craft. Also, you have to keep in mind that in Pop Culture the Human Beatbox has never really left the Sonic Landscape. Justin Timberlake, Timbaland & The King Of Pop have all intertwined Human Beatboxing into their Stage Shows and Recorded material so that’s proof to me that it’s still here and will never die. It’s not a Sideshow sort of thing and to imply would be doing the Art form a disservice. I believe that it becomes that mostly because it’s not an Easy thing to do well. It takes a Whole lot of Practice.

You are also a celebrated Hip-Hop Host, how important is that role in the workings of the music community?

I believe that the Role of a Host/Master of Ceremonies is a very important one when it comes to the Live Production aspect of the Music Business. But it’s also a thankless Job at times. It’s the one Position that’s Crucial to transforming a Concert/Party/Event from Ok or Good to Memorable, if done correctly. But it’s the last position to be filled, it becomes an afterthought at times and that’s quite honestly a shame. I’ve seen Great Hosts turn a Den of Lions into a Flock of Sheep with just a couple of well placed words and some Eye Contact, I feel as if we are Modern Day Magicians, if you will. And I’m proud to say that I AM NOT JUST A HOST but I am the #1 Live Concert Host in the Country (Shameless Plug) LOL!!

What other projects are you currently involved with?

Well, currently I am a National Spokesperson for the “Greater Than Aids: Deciding Moments Campaign”. I created the Soundtrack for the National Radio PSA’s and I also travel the Country educating & creating awareness of the Virus & Disease and how it affects the African American community. Also, I’ve taken on My First Acting Role in a Film called STEP OFF produced by Reel One Entertainment and Available on DVD from Lionsgate Films. My Character is called Mighty Mouth and He is the Host of The Iron Chef Beatmaker’s Battle . I’m very Proud of my work in it. I’m a Weekly resident at the Legendary MJQ Concourse in Atlanta for a Weekly Party called FANTASTIC FRIDAYS alongside DJ Lord, DJ Fudge, The Grand Emperial DJ Majestik and DJ Skooter. I’m also Co-Owner of a Company called 470 Media LLC w/ My Partner Eric Barnes and we’re currently working on a Concert Series called The HOMECOMING where we bring Arena/Stadium Level Musical Talent into Intimate Venues for Ultra Exclusive Live Performances. And I’ll be returning to The People’s Republic of China this Summer where I’ll be not only taking a Club Residency but I will also be fulfilling my Duties as U.S .Cultural Liaison going to Chinese International & Little (Elementary) Schools conducting Human Beatboxing Clinics, as well as, going to Chinese Universities conducting Lectures on American Hip Hop Culture & it’s Global Responsibility.

Thank You for taking the time to sit down and talk to me. I appreciate It, Your Readership, Publication & You. Always remember to #FOLLOWTHEHAT!!

Beatboxing – The Fifth Element of Hip-Hop screens Thursday night 5/5 at 9:45pm at the Landmark Theater.

For more information about Beatboxing – The Fifth Element of Hip-Hop you can visit the movie’s website www.beatboxdocumentary.com

For more information about Dres Tha Beatnik, you may visit the following links:

http://www.facebook.com/pages/DRES-tha-BEATnik/60270883448

http://www.twitter.com/dresthabeatnik

http://dresthabeatnik.ning.com

Everybody loves puppets, or so it seems. Whether they live on Sesame Street and teach kids the alphabet or make prank phone calls or entertain at marquee shows in Las Vegas , it seems that puppets can do little wrong.

That idea is put to the test in Sam Carter’s short film Shadow Puppets. It deals with a neighborhood that may or may not be invaded by fluffy puppets.

The movie follows Stan, a self proclaimed ‘fluff-o-phobe’, who must live out his worst nightmare when a group of puppets move into the house across the street.

Questions

How do you come up with this story?

My writing partner (Evan Fowler) and I heard that the Center for Puppetry Arts was accepting submissions for Xperimental Puppetry Theater and knew that we wanted to be involved. We started bouncing ideas back and forth, and began focusing on how comfortable everyone in the Muppet world is with talking frogs and pigs running around. The natural progression from that was “What about the guy who’s suspicious of puppets and assumes their innocence is just an act?” The entire story and script were written in a few hours over a pitcher of beer.

How were you able to incorporate puppets into your film?

As I mentioned before, the film was made in association with the Center for Puppetry Arts XPT, which is a yearly showcase of puppet shows and films geared towards a more mature audience. I approached Raymond Carr, a local puppeteer and filmmaker to help produce the movie and through him I linked up with my puppet builder Beau “Sloppy Possum” Brown. I’ve always been interested in puppetry. In fact, the first film I can remember seeing in a theater and inspiring me to make films was Jim Henson’s “Labyrinth”. I’m very thankful to live in a city that has such a large puppetry community.

What was the biggest challenge in making this movie?

The challenge is trying to hide a 6’2″ puppeteer in almost every shot of the film. Make no mistake, the puppets are the stars and have A LOT of screen time in this movie. And, regardless of how carefully I plan my shot list, inevitably when you’ve got lighting, a dolly track, and four puppeteers in a twisted pile on the floor, you’re gonna run into some complications. Thankfully, my cinematographer (Darrell Hazelrig) and I have a good working chemistry and can make changes on the spot that will still work in the editing room.

Had you worked in the puppetry arts prior to this project?

I interned at Angela Beasley’s Puppet People in Savannah during college and worked on a few stop motion films, but this was my first attempt at a live action puppet project. Of course, since “Shadow Puppets” my production group (The New Puppet Order) has shot two more films and are planning another for this summer.

After the festival, what is on the Horizon for the film or yourself?

At this point, “Shadow Puppets” has been to more fests and gotten more attention than I ever expected. I’ve entered it into another five or six fests, but I’m so proud to be involved with the Atlanta Film Festival that if this is its last show, I couldn’t be happier. As for me, I’m currently working on my first feature film, a very dark comedy called “Good Grief Suicide Hotline”. We hope to shoot it this December. In the meantime, I’m sure there will be more puppet films and weirdness to keep me busy.

Shadow Puppets screens as part of the Other Worlds Shorts Program at the Atlanta Film Festival May 2 at 9:45pm and again May 3 at 1:30pm at the Landmark Theater in Midtown.

Anthony McHie’s short film LAUGH. takes place in a familiar cinematic world these days. A post-Apocalyptic Zombie world. However, he tells the story of a human survivor unlike many we’ve seen in the genre.

From a script by Olufemi Sowemimo, McHie tells the story of a young comedian who is trapped with only a camera at his disposal. What he does with that camera in this situation makes up how the story is told.

I talked with Director Anthony McHie about LAUGH.
Questions

How do you get involved with this film?

Olufemi Sowemimo (the writer of LAUGH.) sent me the script and asked if I was interested in making it.  I was drawn to the challenge of working with a single actor and a single camera with no cuts.  This was a thoroughly challenging piece on many levels.

How many films have you directed? Have they all been short films?

I’ve directed 14 films.  They’ve all been shorts or pilots.  At this point, I’ve committed to stop shooting my shorts and start developing a feature to direct.

What challenges did you face in this production?

I avoid reshoots as much as possible but I forced a reshoot on this project because I was unhappy with what we originally captured.

Is this your first film at the Atlanta Film Festival?

This is the first film that I’ve submitted to the Atlanta Film Fest and am thoroughly humbled that it was selected. This is the first film that I’ve submitted to the Atlanta Film Fest and am thoroughly humbled that it was selected.

What’s next?

Since I’m paying back the favors I’ve accumulated through the course of making all the films I have, there are several projects that I’m committed to. One very exciting venture is a series called Victim which we’re pushing through the concept phase.  I’m also developing a script that will serve as my first feature.

LAUGH. screens as part of the Other Worlds Shorts Program at the Atlanta Film Festival May 2 at 9:45pm and again May 3 at 1:30pm at the Landmark Theater in Midtown.

By Paul Sbrizzi

Snow On Tha Bluff is a raw and vivid, hybrid documentary / narrative film that cuts through the hype and mythology to deliver a clear-eyed, uncensored look at gangsta life—and death—in the inner city. Director/writer Damon Russell teams up with co-writer and lead actor Curtis Snow, a charismatic, self-described dope dealer and robbery boy, to tell a story based on Snow’s actual experiences in the Bluff, the violent, poverty-stricken neighborhood of Atlanta . Far from bleak, it’s by turns funny, scary, warm and thoughtful, and Snow carries it with megawatts of star power.

It opens with naïve outsiders getting robbed—a multi-culti group of hip college kids who think they know how to navigate the Bluff to score drugs (and this frames a basic conceit of the film: for people who think they know the hood, here’s a strong dose of reality). Curtis talks his way into their car, robs them, and uses their camera to tell his story.

We’re instantly brought into the thick of the subculture: the careful planning and execution of a violent raid on rival dealers unfolds, the dialogue spoken in the rich cadence of the local dialect—Russell and Snow are committed to showing this world’s genuine texture and rhythms rather than streamlining it in any way. Next thing it’s morning and there’s been a murder (real cops, real cop cars, and the aftermath of a real crime are cleverly used here and throughout the film). “Like I say it just a regular day in the hood, know rah mean,” says Curtis, “back to your regularly scheduled program.”

A trip to grandma’s house brings Curtis a stern warning: “It’s nothing in the streets but trouble, and death,” she says, “there’s just one step between you and death: you never know when you’re makin’ that last step.” Cut to Curtis out on the porch with a liquor bottle, laughing: “That shit’s scary!”

He quickly puts grandma out of mind. A dope party, another armed robbery, and a surreal fight between two women in the back seat of an old car (one of them literally rips the other one’s pants off and then looks with concern at the state of her fingernail) are juxtaposed with Curtis’ cuddly visits to see his baby mama and his son, baby Curtis, who live in an incongruously quiet and tidy condo complex on the other side of town. “I had to make that move there,” confides Curtis, “let them folks know, know rah mean, hey hey hey I love my baby, I love her, everything good.”

In his asides we see his mind constantly plotting, strategizing offense and defense, always in the fight. The narrative follows an increasingly violent series of attacks and reprisals between Curtis and White Hat, his stealthy nemesis. In one chilling scene, Curtis, freshly out of prison, talks to his crew about going after White Hat’s family: “My heart gone right now. I got a heart but it’s gone.”

The film’s underlying theme is the reality of survival. “Well drugs kill now, but at the same time, shit, they also help you out, they pay your rent if you ain’t got no job,” says Curtis. When his baby mama talks to him about making money the right way, he drawls back “Ain’t no right or no wrong way—there’s the need way.” And there’s little hope that any of this will change: one of the film’s most intense and evocative images is baby Curtis repeatedly smacking his daddy’s plate of crack cocaine baggies with a Mylar “thank you” balloon, as Curtis reminisces about watching his uncle fill baggies when he was a child himself.

Still, you sense that stealing and selling dope, for Curtis, is also a bit of a compulsion. “When you need something, or you got to have something,” he grins, “only one way you gonna get it right then and there.”

The look of the film is appropriately gritty, the use of night vision adding to the intensity of the robberies, and the rough, hand-held footage of the chaotic night scenes contrasting nicely with the sober, reflective mood of daytime. Russell incorporates surprising elements like a playground peek-a-boo with baby Curtis, bringing a warmth and sense of space to the film. The non-actors are uniformly excellent, vivid as characters and utterly natural on camera.

The feat of combining staged and documentary footage is accomplished with great success, because the intention isn’t to moralize or sensationalize, but to accurately portray the lifestyle. Snow On Tha Bluff is in its own way an important movie—it’s the act of taking the camera back, and creating an authentic, uncensored self-portrait of a man and his community.

Paul Sbrizzi is a film writer for Hammer to Nail, and a features programmer for the Slamdance Film Festival.

Ryan Prows’ bio describes him, among other things, as a conspiracy theorist which brings us to his film .22 that won the 2005 Atlanta leg of the 48 Hour Film Project. The fact that his film capably took on a JFK-like assassination story also lends credence to his bio’s claim.

Questions

How do you like the AFI program?

 The AFI has been instrumental in my growth as a filmmaker.  Just having the dedicated two years to practice and hone craft has been incredible.  The people I’ve formed life-long collaborations with and the guidance and instruction I’ve gotten, and just in the way I approach storytelling differently now, has really been the greatest benefits to coming out here.  The experience has certainly informed me and my work.

What were some of your own personal highlights during your time as part of the Atlanta film community?

I love the support and sense of community and culture that the South in general and Atlanta in particular has given me.  I love that you can shoot pretty much wherever you want if you just ask for it, that I could always bum some equipment or time to create something.  People are extremely generous in Atlanta , which helped me tremendously as a kid coming up in the filmmaking community.  People really will just pitch in to help support your dreams and vision when you’re some punk kid with ideas and no money.  I’ve always been grateful that folks helped me get my start.  

Obviously the mentality is different in LA, which works in some respects, but I can’t tell you how many times I’ve said “back home we could do this, no problem”.  

Atlanta really supports and fosters its own, and as soon as I get a budget I’ve got to come back and shoot there.  If for nothing more than to get some barbeque!  Holy lord, I miss BBQ.

Tell us a little about your thesis project. 

We’re doing a short film on Narcocorridos, Mexican folk music concerning cartels and drug deals and murder and mayhem and all of that.  The word translates to “Drug Ballads”.  So they’re these polka-styled songs with accordions and tubas and whatnot, and they’re talking about someone having a shootout with the police.

The film is set in an Arizona border town, and is about a desperately sick Sheriff’s deputy who robs a drug shipment hoping to find enough money to get better and get out of the area.  It’s all couched in the framework of one of these narcocorridos.  It’s insane.  I’m really into motivated abstract and absurd stuff, which makes a kind of sense when you watch it over some nonsense art thing that’s just there for the sake of being weird, and this world and this story has that in spades.  Grounded in reality, a current social issue, and a culture/class clashing, the film touches on themes I’ve been interested in for a long time.

How can someone help you make it happen? 

Number one is that we’re still raising money for the thesis film.  We need donations to reach our goal, and you can go to www.narcocorridofilm.com to learn more about the project and the team, and to contribute.  We’re also hoping to continue spreading the word through facebook and twitter and whatnot, and we’re constantly updating with reference materials and production work.  So like and follow to stay updated on the film and to get a behind-the-scenes glimpse of the world we’re exploring and the process and work going into it.  

facebook: Narcocorrido – An AFI Thesis Film

twitter: @ateamwinfilm

After this project, what is next for you? 

Several of my team from the thesis film are working with me on my first feature film “Natural Law”.  We’ve been prepping for a bit now, writing the script and scouting locations and gather reference material.  The film’s set in Wisconsin in the dead of winter, so it’s going to be cold and difficult and beautiful.  We’re shooting this coming winter.  I went a month or so ago to scout around, and landed in Madison , and got to go photograph and march in the protests.  Come up off them collective-bargaining rights, yo!

Working on the script for the feature version of Narcocorrido as well.  I’m so in love with this world and want to talk about the border issue in a fresh way.  So that script will be ready to go by the time this thesis film is making the festival rounds.