Jennifer's film, Pressure Cooker, will be screening at The Little as part of our Spotlight on Black History Month Series.
Here's a bit about the film:
Three seniors at Philadelphia's Frankford High School find an unlikely champion in the kitchen of Wilma Stephenson. A legend in the school system, Mrs. Stephenson's hilariously blunt boot-camp method of teaching Culinary Arts is validated by years of scholarship success. Against the backdrop of the row homes of working-class Philadelphia, she has helped countless students reach the top culinary schools in the country. And under her fierce direction, the usual distractions of high school are swept aside as Erica, Dudley and Fatoumata prepare to achieve beyond what anyone else expects from them.
And now for Jennifer's interview:
1. Jennifer, how did you first hear about Wilma Stephenson?
In 2005-2006, I researched several public high school culinary programs in NYC for a possible documentary, and kept hearing about Wilma Stephenson from teachers who had met her, as well from personnel at the Careers through Culinary Arts Program (C-CAP), which runs the scholarship competition in the film, and was founded by my father, Richard Grausman. I finally went down to Frankford to meet her in June 2006. We had a three hour conversation and I knew right away from her passion and charisma that she was a character. It was clear how much she loved her students and that there was something special going on in her kitchen classroom.
2. What was it like to record the class and kids over time?
It was really wonderful to be able to film the kids throughout the whole year - we were able to watch them grow and change immensely. But filming in the kitchen was definitely a challenge. It's a tight space, with challenging sound issues, and we always had to be careful to stay out of the way - especially Mrs. Stephenson's way - since nothing was more important to her than teaching her students.
Spending so much time in the classroom was also valuable in that it made us a part of the class. This led to the naturalism and candid behavior of Wilma and the kids when we were around, which became a true strength of the film and allowed us to use primarily verite footage.
3. Tell us about your upcoming trip to Sundance?
I am going to Sundance for the premiere of a fiction feature film that I co-produced, 3 BACKYARDS. It was written and directed by Eric Mendelsohn and stars Edie Falco, Elias Koteas, Embeth Davidtz, Rachel Resheff, Kathryn Erbe and Danai Gurira.
4. What's the biggest thing you learned from the kids?
The kids were incredibly inspiring. They handled the stress of the competition, school, jobs and family issues with grace, maturity and a sense of humor.
5. Tell us about the Take Part campaign.
Participant Media executive produced the film and they run a social action campaign associated with PRESSURE COOKER. If you go to the website: http://www.takepart.com/pressurecooker you can learn more about C-CAP and donate to their efforts, as well as sign a petition to support the the Perkins Act, learn about ACTE - the Association of Career and Technical Education and support such programs in your own community.
6. How have you approached your participation in film festivals?
Mark and I were lucky to get to travel with the film to many film festivals all over the US and abroad. It was great to see the film with different audiences, do Q&As after screenings and especially participate in educational screenings with middle, high school, and college or culinary students.
Our very first screening was a special screening at the Los Angeles Film Festival for 1200 public high school students. They loved the film and we were lucky to have Wilma, Erica, Fatoumata and Dudley with us for the Q&A. The LA students treated them all like rock stars - asking for autographs - and also asking Mrs. Stephenson if she would move to LA and teach them! Many students said they could relate to PRESSURE COOKER because it told their story - and not many films do. It was an incredible experience.
Showing posts with label Indie Filmmaker. Show all posts
Showing posts with label Indie Filmmaker. Show all posts
Monday, January 25, 2010
Monday, January 11, 2010
Indie Filmmaker Interview-Zoje Stage
Zoje, tell us about your background in filmmaking and screenwriting.
I am primarily a self-taught writer and filmmaker - although I did take a screenwriting class and a couple of Super-8 filmmaking classes at Pittsburgh Filmmakers in the late 80's. I knew as a teenager that I wanted to be a filmmaker - it was an art form that seemed to encompass all of my creative interests. However, my path has been very circuitous, which has allowed me to pick up a diverse set of skills along the way. I've been a very disciplined writer for a long time, and my method and style has evolved in a very intuitive way. Also, I have a deep background in theatre. Theatre was accessible in a way that filmmaking opportunities often weren't (especially before digital video became ubiquitous) - so via theatre I had the chance to work in a collaborative environment, get my writing up on its feet, and experience the art of "live production" both behind the scenes and on stage. (The one area where I am trained is as an actor.) All of these things have contributed to my ability to be an effective storyteller as a filmmaker. Once I got my own DV equipment I had a chance to experiment and refine my skills, and learning to edit was a vital step in understanding the complete process of filmmaking = preproduction (writing), production (directing), post-production (editing).
What's it like trying to attach creatives to a script in production?
I am glad this is not my main responsibility! But seriously, this is where an experienced producer can make a big difference. I'm in the process of getting my award-winning script "The Machine Who Loved" into production, and after more than a year of false starts former-Rochesterian Richard Bosner has come on board as producer. Rick lives and works in California and is very experienced . I've said for a long time that the key person on any set is the Production Manager, because that's the person who knows everything about the logistics of getting a film made, and that's Rick's background - and in the last two years he's produced two other feature films. He has developed relationships with people in many different areas of the business and we're drawing on his contacts to attract our initial key people. A project like this builds incrementally, and given the enthusiasm that people have shown for the script we anticipate being able to put together a great, professional crew and cast. Getting people attached, especially to a low-budget film, is a matter of having a project that people get excited about and believe in - and this script has dynamic roles for actors so, in addition to Rick's contacts, we know we'll be able to attract great talent.
What's your take on the filmmaking community here in Rochester?
On the one hand it seems obvious that Rochester has a very active indie filmmaking community, since it is the home of Eastman Kodak. But on the other hand, when non-artists ask me what the filmmaking community here is like they seem shocked when I say that it is thriving - so obviously there is not great awareness about what's going on. Not to kiss your ass or anything, but I think to have a blog like this affiliated with the Little Theatre is a great idea, because the people here who love and support independent film might not be aware that there are a ton of filmmakers here, dashing around with their cameras, cooped up in their rooms editing, and screening their stuff around the country - and locally at Emerging Filmmakers and other fests. To a lot of people, a "film" is a multi-million dollar extravaganza - but long before any filmmaker is allowed to helm something with that big of a budget, she makes what she can with almost no money, honing her skills until she gets a bigger opportunity. There are a lot of people here working toward that bigger opportunity.
What is it like having a screenplay staged compared to what it would be like watching a film?
After winning the 2009 Screenplay Live! screenwriting competition, I had the opportunity to direct my script "The Machine Who Loved" as a staged reading for the High Falls Films Festival (now the 360/365 George Eastman House Film Festival). The short answer to your question is a staged reading bears absolutely no resemblance to a film. I was well aware of this while I was directing the reading, and my singular goal was to keep the audience engaged: in a film, you are surrounded by dynamic moving images; at a reading, you see actors sitting on a stage, reading from a script for ninety minutes. And all the descriptive stuff - what should be imagery - is read aloud by a narrator. It's a pretty boring proposition. As part of my work with the actors I continually found myself explaining how their intention might be rendered on film in one simple close-up, whereas on the stage you need to create something broader that a live audience can see, while still trying to maintain realism and naturalism. It was a really great experience getting the script on its feet, and the audience enjoyed it - it's a chance for them to appreciate a movie's unheralded origins: the screenplay. But ultimately, a screenplay fulfills its purpose only when it becomes a film.
What's the most difficult part of being an indie filmmaker? The most rewarding?
Many years ago I spent a couple of months in Los Angeles and when people found out I wanted to be an independent filmmaker they looked at me with pity and asked "Why?" Their idea of success in filmmaking had everything to do with money and power. My only vision for success is as an independent filmmaker, because at heart I am a person who thinks too much, dreams too much, feels too much, and likes to make stuff. I think it's fine that there's an avenue of cinema that's just about entertainment, but the body of work I hope to make has more to say.
At some level, the difference between a studio film and an independent film begins to blur, because the films are seeking the same exposure and distribution opportunities. Let's face it, whether you make a feature for $1 million or $100 million, your goal is for people to see it. Things get difficult for someone shopping around an indie project when their work is perceived as being not commercial enough - for whatever reasons. The real challenge is to get the exposure opportunities, because I fervently believe that humans are moved by things in a similar way - whether they are laughing, crying, hiding in fright, or cheering on a protagonist. I think smaller budget films tend to actually be better at connecting human beings with other human beings, precisely because there are fewer whistles-and-bells. But in a world where big studio films can make $200 million dollars, people don't appreciate that the profit margin for a smaller film can be just as great. So in part, being an independent filmmaker is a battle of perceptions. I think the ultimate reward is being able to say "I did it my way" - because of course artistically, I'm not functioning as part of a corporate committee.
Zoje's Contact Info.:
zstage@masterbuilderfilms.com
www.masterbuilderfilms.com
I am primarily a self-taught writer and filmmaker - although I did take a screenwriting class and a couple of Super-8 filmmaking classes at Pittsburgh Filmmakers in the late 80's. I knew as a teenager that I wanted to be a filmmaker - it was an art form that seemed to encompass all of my creative interests. However, my path has been very circuitous, which has allowed me to pick up a diverse set of skills along the way. I've been a very disciplined writer for a long time, and my method and style has evolved in a very intuitive way. Also, I have a deep background in theatre. Theatre was accessible in a way that filmmaking opportunities often weren't (especially before digital video became ubiquitous) - so via theatre I had the chance to work in a collaborative environment, get my writing up on its feet, and experience the art of "live production" both behind the scenes and on stage. (The one area where I am trained is as an actor.) All of these things have contributed to my ability to be an effective storyteller as a filmmaker. Once I got my own DV equipment I had a chance to experiment and refine my skills, and learning to edit was a vital step in understanding the complete process of filmmaking = preproduction (writing), production (directing), post-production (editing).
What's it like trying to attach creatives to a script in production?
I am glad this is not my main responsibility! But seriously, this is where an experienced producer can make a big difference. I'm in the process of getting my award-winning script "The Machine Who Loved" into production, and after more than a year of false starts former-Rochesterian Richard Bosner has come on board as producer. Rick lives and works in California and is very experienced . I've said for a long time that the key person on any set is the Production Manager, because that's the person who knows everything about the logistics of getting a film made, and that's Rick's background - and in the last two years he's produced two other feature films. He has developed relationships with people in many different areas of the business and we're drawing on his contacts to attract our initial key people. A project like this builds incrementally, and given the enthusiasm that people have shown for the script we anticipate being able to put together a great, professional crew and cast. Getting people attached, especially to a low-budget film, is a matter of having a project that people get excited about and believe in - and this script has dynamic roles for actors so, in addition to Rick's contacts, we know we'll be able to attract great talent.
What's your take on the filmmaking community here in Rochester?
On the one hand it seems obvious that Rochester has a very active indie filmmaking community, since it is the home of Eastman Kodak. But on the other hand, when non-artists ask me what the filmmaking community here is like they seem shocked when I say that it is thriving - so obviously there is not great awareness about what's going on. Not to kiss your ass or anything, but I think to have a blog like this affiliated with the Little Theatre is a great idea, because the people here who love and support independent film might not be aware that there are a ton of filmmakers here, dashing around with their cameras, cooped up in their rooms editing, and screening their stuff around the country - and locally at Emerging Filmmakers and other fests. To a lot of people, a "film" is a multi-million dollar extravaganza - but long before any filmmaker is allowed to helm something with that big of a budget, she makes what she can with almost no money, honing her skills until she gets a bigger opportunity. There are a lot of people here working toward that bigger opportunity.
What is it like having a screenplay staged compared to what it would be like watching a film?
After winning the 2009 Screenplay Live! screenwriting competition, I had the opportunity to direct my script "The Machine Who Loved" as a staged reading for the High Falls Films Festival (now the 360/365 George Eastman House Film Festival). The short answer to your question is a staged reading bears absolutely no resemblance to a film. I was well aware of this while I was directing the reading, and my singular goal was to keep the audience engaged: in a film, you are surrounded by dynamic moving images; at a reading, you see actors sitting on a stage, reading from a script for ninety minutes. And all the descriptive stuff - what should be imagery - is read aloud by a narrator. It's a pretty boring proposition. As part of my work with the actors I continually found myself explaining how their intention might be rendered on film in one simple close-up, whereas on the stage you need to create something broader that a live audience can see, while still trying to maintain realism and naturalism. It was a really great experience getting the script on its feet, and the audience enjoyed it - it's a chance for them to appreciate a movie's unheralded origins: the screenplay. But ultimately, a screenplay fulfills its purpose only when it becomes a film.
What's the most difficult part of being an indie filmmaker? The most rewarding?
Many years ago I spent a couple of months in Los Angeles and when people found out I wanted to be an independent filmmaker they looked at me with pity and asked "Why?" Their idea of success in filmmaking had everything to do with money and power. My only vision for success is as an independent filmmaker, because at heart I am a person who thinks too much, dreams too much, feels too much, and likes to make stuff. I think it's fine that there's an avenue of cinema that's just about entertainment, but the body of work I hope to make has more to say.
At some level, the difference between a studio film and an independent film begins to blur, because the films are seeking the same exposure and distribution opportunities. Let's face it, whether you make a feature for $1 million or $100 million, your goal is for people to see it. Things get difficult for someone shopping around an indie project when their work is perceived as being not commercial enough - for whatever reasons. The real challenge is to get the exposure opportunities, because I fervently believe that humans are moved by things in a similar way - whether they are laughing, crying, hiding in fright, or cheering on a protagonist. I think smaller budget films tend to actually be better at connecting human beings with other human beings, precisely because there are fewer whistles-and-bells. But in a world where big studio films can make $200 million dollars, people don't appreciate that the profit margin for a smaller film can be just as great. So in part, being an independent filmmaker is a battle of perceptions. I think the ultimate reward is being able to say "I did it my way" - because of course artistically, I'm not functioning as part of a corporate committee.
Zoje's Contact Info.:
zstage@masterbuilderfilms.com
www.masterbuilderfilms.com
Wednesday, January 6, 2010
Indie Filmmaker Interview, Scott Coblio
Scott, tell us about your background in filmmaking.
After college, around 1990, I bought a VHS movie camera--they cost about $1,000 then, so not many people had them. I started making what I called "Media Whore Movies"--basically short funny films starring me and my friends. Sometimes they would be parodies of popular movies that were out at the time. A lot of them were pure nonsense. I was very into Dadaism or absurdism then. I thought a movie with no plot and one joke played out incessantly was a hilarious idea. But there was really no place to show them. We use to sell compilations of them at Godiva's (vintage clothing shop on Monroe Ave) and I think we sold one at the Pyramid Art Auction one year. But it was not a really serious film making endeavor, it was more just a way to keep my creative juices flowing, and a fun way to spend weekends!
There was also no youtube then. All we had was Cable Access, which nobody wanted to watch or be seen on. Now everyone's a film maker. It's not quite so novel as it was then. The technology is cheap and kids are growing up with iMovie or whatever on their computer and it's nothing for them to make a movie just for fun. There's no heavy financial investment or technology to learn any more, which in a way is bad, because it means that you might have to weed through a lot of stuff to get to a movie that was made by someone with a serious interest in film making. The flipside, I guess, is that you can reach a much broader audience now. If my youtube video gets 6,000 hits for example, that probably beats the number of people who saw our Media Whore movies by quite a bit.
Eventually the group of friends I had been making movies with kind of dissipated and moved away to different places, and I got some work making training and instructional videos for banks and other businesses for extra money. It wasn't creative but at least I learned video editing technology, since the Media Whore stuff was all edited "in-camera". You just had to shoot them in order and rewind and re-film a take if something went wrong. So I was learning the ropes.
I got much more into my music and photography at this point. I found that I only loved film making when I had people around me that were fun to make movies with. It was really about the collaboration for me. I also found that I'm basically a storyteller who can work in different mediums. Some stories are film ideas, some are songs, and some are photographs. And it's okay to bop back and forth and tell stories in different mediums. It's just that collaboration is more important to some mediums than others. So I put film on the back burner until I was with people that made me want to make movies again.
In 1997, I moved from Rochester to L.A. and got a job as a video editor, which got me back into film, and I started to make little videos again. Then I decided to bite the bullet and make a "real" movie, and started my first feature "Murderess" in 2004 and finished in 2007. It was a historical murder mystery based on a true story that happened in 1931, and I shot it on mini DV, although I tried to give it a film-look to match the feel of a 1930's or 40's film noir. I very much wanted it to look NOT like a contemporary film.
What is it like trying to get films on the festival circuit?
"Murderess" eventually went on to win something--"Best Animated Feature" in the 2008 DIY (Do It Yourself) festival in Los Angeles, which was funny because it's really not an animated film. It's a live-action film using marionettes. But I'll take what I can get! Jack Garner (columnist for the Democrat & Chronicle) called my movie "by far the weirdest entry" when it showed in the ImageOut Festival at the Little and that amused me.
What's your take on the filmmaking community here in Rochester?
Any upcoming projects?
What's the most difficult part of being an indie filmmaker? The most rewarding?
However, this also accounts for the most rewarding aspect. You really have to have a good story to make an arresting film with no budget. So you can't rely on bells and whistles--there has to be a good story--and there has to be heart--or it won't work.
I keep saying that now that everyone can make movies and everyone can afford the bells and whistles, the most radical thing anyone's going to be able to do is just tell a good, simple story. Maybe the technological boom--by creating so many filmmakers-- will ultimately signal a return to basic storytelling. The criteria will be, not who can make the fanciest movie, but who can tell the best story; which would be a good thing.
Thanks for sharing your insight, Scott! If you enjoyed our inaugural filmmaker interview, let us know. It's our goal to provide insight into all parts of the filmmaking process here on our blog!
You can reach Scott at:
Scott Coblio
7718 W. Norton Avenue, Apt. 18
W. Hollywood, CA 90046
323-252-6512 cell
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