Issue 006 - Nice 2016 by Film Fest International

DEDICATED TO THE BUSINESS OF FILM

FILM: THE MAGAZINE /MAY 2016

WELCOME TO THE INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA NICE 2016.

FILM: THE MAGAZINE /NICE/MAY 2016

WELCOME TO THE INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA NICE 2016. Dear Filmmaker, Firstly, sincere congratulations to all filmmakers and scriptwriters who entered their latest project into our Nice Festival! Itâ&#x20AC;&#x2122;s hard to believe but, this is the 10th year of my Festival Group, celebrating films from around the world, great independent films, supported by a dream of mine from many years ago and to create a magazine to run alongside the Festival. And of course, we now have Film the Magazine also supporting filmmakers at all of the festivals and beyond which in-itself has become a runaway success! With the Magazine and the film and scripts working together we are proud that globally we are giving awareness to some incredible Independent movies. So once again we are delighted to be here in Nice, what a great place to do business and make great contacts whether old or new and on that note, we are honoured and fortuitous as a Festival group to have the support of industry professionals, Neil McEwan, Ray Davies, Paul Eyres and Brad Blaine who have been such strong supporters of our Festivals. With new friends that I hope will further support your films over the years, we are also pleased to announce that Shaun Emery and Darren Vickery from Entertainment Vision Sound Insurance Brokers Ltd will also be joining us in Nice to offer expert advice on insurance for your film or television project. Also, please remember the professional network that Paul and Ray host, this is where you can receive first class advice outside of our Festival week, direct to Paul and Ray. This is an unrivalled opportunity to have answers to your questions from skilled professionals. Carl Tooney Publisher publishing@filmthemagazine.com Steve Grossmith Director of Marketing and Editor steve@filmthemagazine.com Shems Ghali Contributing Assistant Editor info@filmthemagazine.com Stephen Mina Graphic Designer/Illustrator stephen@filmthemagazine.com Dan Hickford Sponsorship & Marketing dan@filmfestinternational.com

My team are on hand to be of service whilst you are with us and I hope you enjoy your time and possibly join us in my other Festivals, in Madrid, Berlin, Milan and London. Good Luck! Carl Tooney President Nice International Film Festival

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Writer/Director/Producer: Bulent Gunduz BULENT GUNDUZ, the Filmmaker behind Kurdistan-Kurdistan, gives FTM a fascinating account of the story and background to his latest film that is in competition.

SYNOPSIS Set during the1990’s at a time when the Kurdish language was banned in Turkey, Kurdistan-Kurdistan tells the story of Delil Dilanar, a famous Kurdish singer, who had to flee his Kurdish village in Turkey (Northern Kurdistan) to escape from persecution simply because he had sung Kurdish songs at a wedding. Twenty years later, at his concert in New York City, he announces that he has decided to return to his home country. When Delil finally returns to his birthplace, his family and hundreds of his fans welcome him and despite the overwhelming joy of being united with those that he left behind, he cannot escape the feeling of loneliness and alienation. During his twenty years of exile, Delil’s beloved grandmother had passed away, his nieces and nephews who were only a few years old when he fled have grown into their twenties, whilst at the same time he was meeting others for the very first time. Delil overcomes his unexpected feeling of alienation when his family surprises him by inviting his music master, Egîdê Cimo, from Yerevan, Armenia to join them. After his arrival in the Serhat, which is Delil’s birthplace and a region in Kurdistan, Master Cimo then passes on his secret to his successor, Delil. During a stroll in Serhat Region’s plateaus, meadows and rivers which have always been a source of inspiration for Dengbejs (in Kurdish tradition this is those who have

After Master Cimo shares his secret, Delil begins to celebrate by sharing his beautiful songs, those songs that have always intertwined the reality of his country, Kurdistan and Kurdish people’s struggles, lost childhood, forced migration, and the longing for freedom. Kurdistan Kurdistan - On the film and the “cinema of reality”. In this film, the actors or rather the real characters play themselves and thus embody themselves. The radio used during filming is the same one that uncle Delil used in the 1990’s to listen to Radio Yerevan. In fact, everything was done so as to give the appearance of reality to the film. The twenty years that a mother spent waiting for the return of her child needed to be emphasized as was an incredible scene in which the mother gives her son a bath when he is forty, as if with the cleaning and the washing she wanted to free herself of the weight of those twenty years of waiting. This bath will give him a “balm” to the heart, to the point that after the shooting she would not know how to thank us. When we are talking about the “Dengbej” the area that comes to mind is the Serhat, the Kurdistan region encompassing Bingol, Mus, Erzurum, Van and Agri. We will never forget those long winter evenings spent listening to all of those Kurdish stories wondering what comes next: “Is it that the hero will survive, he will find his way or has he found his beloved”? So many issues for which we would eagerly await answers.

As you can imagine these stories had so much more influence on us than the TV series of today. They told us so much more in a literary and artistic way. Unfortunately, although this influence is very strong, it could not prevent the arrival and growth of television that has managed to penetrate every village and so influence our culture. The story we tell here is not intended to be based entirely on “Dengbej”, it aims to show how after more than twenty years of exile a Kurdish artist can and will rediscover his sense of belonging to the homeland that is deeply rooted in all of us; it is part of our consciousness. Thus one can explain how Delil returning to his native village and meeting his mentor there - Egide Cimo managed to overcome the isolation in which he was plunged during his exile. Nothing was the same again in this village; it is only the presence of his teacher that will allow this “Dengbej” to revive the culture that he had missed so much. Of course, it was inevitable that this films multi-faceted cultural story would eventually find a political reference, since our main character simply considers all suffered pain, exile and repression are only the result of one single thing: being a people without a state.

Run Time 98 Mins

FILM: THE MAGAZINE /NICE/MAY 2016

IMAGES FEATURED ON THIS PAGE WERE TAKEN DURING THE PRODUCTION OF THE KURDISTAN-KURDISTAN.

KURDISTAN KURDISTAN

mastered a rich and complex musical style of Dengbej in which the vocalist enacts multiple roles: a storyteller, musician, historian and linguist simultaneously). Master Cimo tells Delil that this will be his last trip to Serhat Region and that he wants to pursue the sound of a legendary voice with Delil, which he had last heard seventy years ago by Evdalê Zeynikê, one of the greatest masters of Dengbej.

Director: Pavan Kaul Producer: Kaveeta Oberoi Kaul

From its first screening in the Del Oro Theatre, California last May The Answer has been nominated for a plethora of awards including ‘Rising Star Award’ at the 2016 Canada International Film Festival and being nominated for ‘Best Feature Film’ at the Independent Days Film Festival in Germany. This Indian film transforms a true story into a captivating journey, using both debut and experienced actors, including BAFTA nominee Victor Banerjee, to tell the tale of Donald J. Walters, a disciple of a yoga master on a voyage for spiritual truth. The location of the action progresses from the character’s hometown in Romania to America where the story unfolds and Paramhansa Yogananda is introduced, the yoga guru who guides the disciple through his spiritual journey. Set in the mid 20th century Walters’ hunt for ‘the answer’ reinforces the message that one should never give up. Director of the film Pavan Kaul was no stranger to the film industry growing up, his father was a writer/director and his uncle was famous Hindi actor Raaj Kumar. As an 11 year old Kaul was a huge fan of comic books, he would visualise scenes that he was reading and let them fixate his imagination, soon realising that he was spending more time framing the scene in his mind and losing focus on the story in front of him; this was a defining moment for Pavan, his ability to reproduce events was a key factor in his wish to become a director. Clearly a creative individual, Kaul went on to study the arts at university in Mumbai, before securing his first job as an assistant director, working his way up to create adverts and TV serials, which would go on to win RAPA awards for ‘Best Serial’ and ‘Best Thriller’. Alongside this he has also directed a New York Times ‘Critics Pick’ with his 2003 film ‘Ssshhhh’ and has developed a keen following in the build up to ‘The Answer’. However the path to success was not smooth for Pavan, his family didn’t support his initial ventures into filmmaking and instead pushed him to pursue a safer career in music; this was until his father changed his mind and told Pavan to do whatever job would make him happiest, leading him into his first assistant director’s job. Pavan tells us he ‘never saw [himself] as anything else but a film maker’ and despite often getting de-motivated, due to lack of opportunities when he was getting started, has no regrets about choosing a career path he has such a passion for. In this interview we spoke to Pavan along-side the producer Kaveeta Oberoi Kaul, to get the lowdown on The Answer and to find out what it was like to create this film.

FILM: THE MAGAZINE /NICE/MAY 2016

Pavan: At the start of pre production for the film there was already a director in place, she began to lose confidence and eventually resigned, then Kaveeta proposed me to the writer Swami Kriyananda . Once I’d met him it was a life-changing meeting, I’d never met a person like him it was amazing- from then on there was never a question of ever turning back. There was no consideration of money; I just took on the project because I connected with Swami in such a tremendous manner, which had never happened to me before. In short I was just transformed by the experience of meeting him.

THE IMAGES ON THIS PAGE ARE STILLS FROM THE FILM “THE ANSWER”.

THE ANSWER

HOW DID YOU BECOME INVOLVED IN THIS STORY?

Kaveeta: The scriptwriter (Swami Kriyananda) showed me the script a few years ago and I thought that this was a film that needed to be made; I felt that this was a message and voice that needed to be heard. I was very influenced by his way of life and his teachings and his books. I was very happy that he gave me the film to produce and he wanted only me to do it, I felt blessed. It was a difficult project to handle but I think at the end of everything there was always a rainbow, which is shown in the film. When I became producer Swami asked me to bring in another director so I suggested Pavan and introduced them to each other. It was very important that Swami felt comfortable with the director, but he told me that I trust you and whoever you bring to me will be the person for the film and Pavan has done a great job. I think he has grown through the making of this film, I think all of us who were selected for this film were called upon as we needed to grow within ourselves.

HOW REWARDING WAS THIS PROJECT? Pavan: This film has changed me; I’ve only ever worked in India in my own country. In India of course the director and producer and HOD’s are treated with a lot more respect than they are in the west- you have to prove yourself to them each day. The main life changing experience for me on The Answer was the fact I was making the film for this man. The whole thing changed me in a way I know that I will never be the same man again. The kind of compassion I have realised in myself, it was always there I supposed but we always discover things as we mature and as we grow up. I will bring in these other values such as love, compassion into films; I’ve been transformed more as a person. It’s on a philosophical level that I have seen my maximum change and growth because of making The Answer.

Kaveeta: It was very rewarding in a lot of ways because it doesn’t just become a journey of making a film it becomes a journey into your inner self, you kind of extend your boundaries, explore your boundaries and you get to know yourself better- especially in ways that you are challenged. Being an Indian producer and to be shooting all over the world with a foreign crew is no mean task, it was very difficult but it was a formidable job.

I was completely the “gopher” on the set and I was there every single the day; I followed the movie completely from pre production, during the shooting to post production. No job is too menial or too small, I saw to it that I left no stone unturned in contributing, not just as a producer but as a crew member. It’s a very rewarding experience but a very personal project. For me this was not just a film that I was making, it was my mission – It became something that I felt I was interested to do by the higher forces, I had to give it my best.

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HOW PUNISHING IS THE CASTING PROCESS AND HOW DO YOU SPOT THAT ‘SPARK’? Pavan: First of all I’d say that everyone is different, when I’m casting I prefer not to give a brief to the actor as long as he has got the sides and has been told what the scene is. But he can perform anything from his past experience or read anything that he likes because I have more interest in what he has to offer me; this is when they can show you what their true nature is and where their heart lies. Then I decide if that fits into the character that I am fitting him for or if he could fit into other parts, sometimes I can tell before the person has even opened their mouth, by how they walk and by their body language - sometimes you can just look at them and know that they are right. That’s how we got Leonidas Gulaptis, we called him back two or three times just because we wanted to be sure as it was a big responsibility to cast a central part with a total newcomer. Sometimes of course you can be wrong, in the case of the mother Miriam Harris, I felt that she was very pretty and she performed well but she was too young and the other actress who we had narrowed down on backed off at the last minute so we settled for Miriam, I was apprehensive about if she would look old enough but she pulled it off very well, everyone was very happy with her performance.

FILM: THE MAGAZINE /NICE/MAY 2016

WHAT WAS THE MOST POSITIVE THING YOU’VE TAKEN FROM THIS FILM? Kaveeta: Not a single person in the casting has been done without my approval; we cast for every role small or big. We were very keen on getting everybody right, it was difficult but at the end of it I wouldn’t change a single person, I think that if your cast is good then half your battle is won. Personally the most important casting was for Leonidas Gulaptis and Victor Banerjee who played Paramhansa Yogananda. Victors casting was so magical because he’s an international star, I didn’t know that he was going to be interested in a film like ours but I just wrote to him out of the blue as I could see him perfectly for Victor. I expected to get no response but within 12 hours I got a reply saying he’d be happy to be in the film and would love to play Paramhansa. In various times in the movie we put pictures of Paramhansa behind Victor and nobody flinched, nobody said this man can’t be Paramhansa. I would think that Victor made a great Paramhansa; this is going to be his role of a lifetime - he will be remembered for ages for this role that he has portrayed.

Pavan: This is a difficult question for me, I’m still nervous when I go to the set every morning. Despite all these anxieties that you take to the set everyday or take home with you, filmmaking is such a joy to me and every project that I have ever done I have enjoyed thoroughly. I was blessed to have worked with Victor Banerjee, a BAFTA nominated actor. He was such an obedient actor and never questioned anything that I told him to do. In the first place, as a director I’m not the person who is heavy handed I don’t like to tell everybody exactly what to do, as I like to see what they have to offer and then guide them but I never had any difficulties with him. However the most positive part of this project was the transformation experience that I had with the material that I was dealing with in The Answer; I mean it has enriched my life and has brought me further onto the spiritual path. Kaveeta: This film has touched the core of every professional working in the film; some people didn’t take money, some people cried, it was such a moving experience. Everybody felt that this film was something beyond a business deal or a job- this was Gods pulling. That is the amazing part of the journey of this film; it has changed so many lives, its magical really.

WERE THERE ANY PROBLEMS WHILST CREATING THIS FILM? Pavan: I don’t believe that any film is made without having its share of problems and troubles; filmmaking is not an easy task because it’s a collaborating art. You’re handling so many different personalities and so many different people who have their own baggage so directing is not just about being a creative person it’s about managing people and drawing the best out of them. Trouble just happens but it’s often no one’s fault. Budget is also always an issue; money is never enough especially in filmmaking. HOW MUCH OF WHAT YOU SAW FROM THE SCRIPT IS HOW YOU IMAGINED IT TO BE? Kaveeta: Almost 100 percent, sometimes these things are very intuitive. When I got the script three years ago for the first time, the moment I read it a certain vision passed in front of my eyes. When we finally began making the film whatever we couldn’t achieve in shooting we achieved in post-production, it had to convey the story of a saint yet not be too pretentious. I set aside quite a large amount of budget for the postproduction because I anticipated that we might be needing it for this film for things such as special effects. I think the end result has been more than satisfying. WHAT DO YOU THINK AUDIENCES ARE LOOKING FOR IN A FILM?

OVERALL WHAT WOULD YOU SAY IS CHALLENGING ABOUT YOUR ROLE?

Pavan: I think they are looking for a good story, by story I don’t mean literally but filmmaking story-telling, you read a book, you watch a movie, watch television, whatever you do you’re looking at a story. Basically a sharing of an experience so I think that’s what they are looking for, a good story always works. Not everything is about the script, there are times when a script is just a starting point but the whole experience of a film can be amazing.

Pavan: I am the person who prefers to go with the flow and improvise, to work on instinct and be open to so many wonderful things that may happen at the last minute; I don’t shut myself off with one vision of how it’s going to be because that’s limiting yourself. If you’re not ready to think on your feet and improvise as a filmmaker you’re going to suffer.

HAS IT CHANGED THE WAY YOU’D APPROACH FILMS NOW? Kaveeta: Absolutely, I would think that you realise for one that you think you’re in control but you’re not. When you are in control or you think you’re in control you handle things differently, but when you think that you’re just a willing tool of something greater and larger than yourself I think your whole perspective towards things changes, it eases things out a lot. I think anything in life that we do with this perspective brings in the other element, which we cannot see, which is the element that eases the whole situation and puts it in perspective. I really want to make meaningful films now, to do something that touches the heart and souls of people, that leaves an imprint behind in the universe that even if you only change one person’s life it’s worth it, that’s how I want to see my life from now on.

Kaveeta: Initially it would be to get the finance, because obviously financing is never an easy job. At various stages you come across many challenges, or you may meet a crew that is likeminded and shares your passion, shares your vision. Then of course is to get a proper distribution of marketing and recognition, very little recognition is given to the producer. The other thing would be exhibitions; I really think films of our kind need better exhibitions. We have made this film for the big screen for example in the last scene every book title has been created digitally; it was a lot of work. I would be very disappointed if I am not able to get the kind of release that I imagined we would!

www.movietheanswer.com Run Time 108 Mins FILM: THE MAGAZINE /NICE/MAY 2016

Director/Editor: Felice Leeds

Felice Leeds began work on Unforgotten, The Story of Paul Pender thinking the movie was going to be about a boxer known for his brain as much as his mitts, overcoming broken hands to become World Middleweight Champion. While investigating Paul’s heroic journey, Leeds discovered something unexpected about Paul; something very relevant to young athletes today.

On a break while interviewing his family, Leeds found out that Paul had been diagnosed with Alzheimer’s before he died. Paul’s wife, Rose, had donated his brain to medical research, asking that his identity be kept anonymous. Rose agreed to let Leeds interview Dr. Ann McKee, who performed the brain study.

SPIRIT OF THE BULL Written, Produced & Directed By Edwin E. Brochin

Spirit of the Bull is an important film for the country of Mexico and for all Spanish Fighting Bull enthusiasts. If people will spend so much time and money watching them being fought in arenas or running with them in the streets of Pamplona Spain, They will surely flock to Bull Mountain In the state of Nuevo Leon Mexico to see them in all their majesty. They have become the Aurochs of their ancestry! The Spirit Of the Bull Feature film came to life while I was on assignment in the heart of Mexico’s Interior conducting a wildlife survey at the “El Cerrito” Ranch. I was commissioned by one of the owners to visit the ranch to give an evaluation of the herd numbers and health status of its native whitetail deer species. This is a typical service I provide for many clients throughout Indiana, Texas and Mexico so I was expecting just another day at the office. However, all along my client had been harbouring a secret and only to be discovered once I had arrived at the ranch. The owners chanced that once they had me physically on their ranch the story and legend of “El Toron” would rattle the very core of my creative intuition, and they were right!

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Talking with Leeds afterwards, Rose realized that Paul Pender’s story had the potential to create positive change for athletes who would follow in his footsteps. She agreed to have Paul’s full story be told.

unforgotten@coolearthproductions.com Run Time 63 Mins

IMAGES TAKEN FROM THE DOCUMENTARY: “UNFORGOTTEN: THE STORY OF PAUL PENDER”.

THE STORY OF PAUL PENDER

Unforgotten weaves Paul’s life story with the nostalgia and controversy of the Golden Era of US boxing in the 1940’s and 1950’s. The story is told by fellow boxers who knew him, incorporating archival footage, family photographs, and stories from sports writers and historians. The result is a portrait of a boxer and his times that will have a lasting impact on generations of athletes to come.

What had unfolded over the next excruciating 3 years of production was an amazing story of the Spanish Fighting Bull’s triumphant return to the wild. This coupled with the history of the Spanish Civil war and mining operations that had taken place at the El Cerrito Ranch since its acquisition were the key elements that once refined have become cast into pure cinematic gold.

www.eddiebrochinproductions.com Run Time 70 Mins

THIS SECTION FEAURES STILLS TAKEN FROM THE FILM “SPIRIT OF THE BULL”.

UNFORGOTTEN:

What came out of that interview was a revelation. On camera, Dr. McKee reveals that Paul did not have Alzheimer’s at all. In fact, Pender suffered from a case of CTE so severe that she continues to use Paul’s brain study as the “Index Case” for the disease. Dr. McKee is one of the leading authorities on the disease. She has performed hundreds of studies, been published numerous times, and testified to Congress about the dangers of contact sports on the developing brain.

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OTA BENGA Director: Niyi Coker Jr. & Jean Bodon Producer: Jean Bodon

In their eyes, here was Darwin’s theory of evolution in substance. A hundred years after this event, we can look back now and ponder how it came to be that in the United States a human being was actually housed with primates. Several argued then, as some would today that such an action has nothing to do with race.

www.otabengathedocumentaryfilm.com Run Time 55 Mins

THIS SECTION FEAURES IMAGES TAKEN FROM THE FILM “OTA BENGA”.

In 1904 a man was removed from Africa and brought to the Saint Louis Missouri for display at the Worlds Fair as evidence of an inferior species. At the end of the Worlds Fair he ended up at the New York City Bronx zoo housed with primates and displayed again with Monkeys as the “missing link” between human and apes.

BIRTHDAY Director: Alex McCall

A supernatural thriller about an insomniac young woman who wants to stop frightening nightmares recurring every birthday.

It celebrates the enduring, classic chillers from old, and harnesses Freudian concepts – conscious and unconscious knowledge - and applies this to both the audience’s journey and the heroine’s. The story is steeped in symbolism, from childhood fears of the dark, adult fears of insanity and loneliness and male emotions about birth, with links to mysterious hieroglyphs and demonic figures from the ancient Egyptian ‘Book of the Dead’ ALEX McCALL - Biography In his twenty-five years’ experience with the BBC and subsequently as an independent producer/director, Alex has either directed, produced (or both) over ninety films for the UK network on BBC1 and ITV – with many distributed throughout the United States and Europe. He has also worked independently for high-profile corporate

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clients. Nominated for 2 BAFTA Awards, Alex’s extensive experience also includes music and arts television series such as The South Bank Show – Dame Britain (“Hardly puts a frame wrong” – Daily Telegraph) Liza Minnelli at the Royal Albert Hall for Carlton Television and Edward and Mrs Simpson: Going, Going, Gone for Allied Stars and BBC1, Searching for Amy and Test Tube Dads (Inside Story, BBC1 1998, A&E USA). Other corporate and broadcast productions include Putting on the Ritz for Allied Stars, The Biggest Wheel in the World about the British Airways London Eye for BBC2, The Harrods Story and Children of the Sewers for the ITV Network. He has recently completed the feature film version of ‘The Boy David’. In 2007 was co-producer/sequences Director on “Seeking Klimt” for the

BBC’s “Imagine” series with Alan Yentob (the story of a 90-year-old lady’s legal battle through the US Supreme Court against the Republic of Austria for the return of six Gustav Klimt paintings stolen by the Nazis during WW2). This story has since been re-told as a Feature Film ‘Woman in Gold’. Alex has experience of film and video production in many war zones throughout the world, with street children and young adults in South America, in hospitals and institutions in the UK and abroad such as orphanages and mental health establishments where sensitivity is paramount and on the production of video productions and quarterly management reports for high profile clients such as Harrods, P&O and British Airways. Run Time 85 Mins

THIS SECTION FEAURES STILLS TAKEN FROM THE FILM “BIRTHDAY”.

‘Birthday’ is a film about twisted motherly love from beyond the grave.

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THOMAS CHAPIN NIGHT BIRD SONG Director/Producer/Writer/Editor Stephanie J. Castillo Co-Producer/Co-Writer Noel “Sonny” Izon

The title of the film speaks to its subject ---a little known jazz great who had a meteoric rise in New York City and Europe in the 80’s and 90’s but was struck down in 1998 after a year-long battle with leukaemia. Thomas Chapin left too soon at the age of just 40. The essence of this film is to bring him and his powerful music to light, before time itself erodes his indelible mark on music and jazz. NIGHT BIRD SONG alludes to the poetic nature of Thomas’s sound and the filmmakers’ attempt to capture that essence in the telling of this story. EMMY Award-winning filmmaker Stephanie J. Castillo chose the title for several important reasons. For those who knew Thomas’s music, NIGHT BIRD SONG, composed with his bassist and collaborator Mario Pavone, is the seminal piece that mesmerized an audience of thousands at the 1995 Newport Jazz Festival. It was there that the Thomas Chapin Trio was introduced on that stage for the first (and tragically, only) time. And it was there that the trio electrified the crowd transporting them on a magical journey where time stopped and the air was perfumed with the sweetness of a nightingale’s song.

The song also reminded Castillo of a tale Chapin told of being on a midnight walk and hearing a bird singing. He stood there for a half an hour under a lamp post and just listened ---the bird improvising its tune, never repeating itself, creating fresh patterns of song that night. Chapin, says Castillo, was to her that night bird — making music at night in clubs and from small black boxes to huge venues, and yes, never repeating himself as he created, explored and continually expanded the boundaries of his music making. As for the film’s subtitle, “The Incandescent Life of a Jazz Great,” Castillo and Izon struggled to come up with the perfect words for this as well. Slowly the words revealed themselves. Izon felt incandescent was the fitting word to express Chapin’s essence --- his luminous spirituality, his kind and gentle effect on others, his lightness of being.

In recent screenings for the press, VIPS, supporters and the public — both fans and those new to Thomas Chapin, the title of the film and the subtitle rang true. Comments and reactions by those who have viewed it pronounce the film as: “inspiring”...”a masterpiece”...”a coup and tour de force”... “a must see.” And words like “masterful”, “beautiful” and “breathtaking” were an affirmation for the filmmakers’ four-year journey to create their film. Perhaps, Thomas Chapin’s and the film’s raison d’etre is best expressed with a quote from Walter Pater, the British essayist: To burn always with this hard gem-like flame, to maintain this ecstasy, this is success in life. By this standard, Chapin was a success many times over. Though his life was cut short, he packed so much into his four decades of existence that even now new material is still being produced and young generations of musicians are discovering him. The filmmakers hope that this film will bring Thomas Chapin’s incandescence and ecstasy to generations of new audiences around the world for many years to come.

www.thomaschapinflm.com Run Time 150 Mins

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ALL PHOTOGRAPHS ARE PROVIDED COURTESY OF AKASHA, INC., THOMAS CHAPIN’S LEGACY NONPROFIT.

Filmmakers Castillo and Izon devoted much time to choosing a title for their 6th film collaboration. They intuitively knew that if they chose well, the title would provide them with a north star in their filmic journey. It would lead them to their destination. It was a wise gamble.

Screenplay written

by Colin Stewart based on the novel

“Power Play” by F. Ethan Repp.

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A bright spot in a troubled world!

a TOM UHL film

ZYDECO BREAKFAST

Ota Benga

THE DOCUMENTARY FILM FILM: THE MAGAZINE /NICE/MAY 2016

a Screenplay By Alan Redpath

THE KEYS Composed & Co-Directed by Joe Hoster

Five years ago a young man met an exballerina during the last month of his North American adventure. Little did he know, it was the start of a love story, which would change him, forever. Unfortunately, this romance was short lived as they both traveled back to their homes, 10,000 miles apart. As he mourned, he felt the depths of his soul darkening beyond recovery. He felt as though he had lost a part of himself forever. What was he to do with his life now? Oliver Goldsmith says: “Our greatest glory consists not in never falling, but in rising every-time we fall” Despite this, he wasn’t alone. His family and friends gave him the strength to carry on, and look forward. They became a pillar on which he could lean. Only one more thing made him feel better; made not of blood and bones, but wood and strings; The piano - when he played, he felt uplifted, his heart beating a little faster, tears running down his cheeks. He felt alive. Instrumental to his recovery, the piano became a companion. He bought one score, actually two, started to play the first but never touched the second. Interpreting was not what he liked. He wanted to create beauty out of thin air & imagination. He realized he was destined to be a composer. Joe Hoster was born. Thomas Jefferson says: “Honesty is the first chapter in the book of wisdom” Dear young lady,

FEATURING IMAGES FROM THE FILM “THE KEYS/LAS CLAVES”.

An open letter to share my sincere gratefulness. The instant I met you, you changed the course of my life. We bonded, We made love, we laughed, we argued, we cried, we fell out. It wasn’t easy, but it was worth it. You brought music to a whole different level. Unleashing something I had always felt, but never found. A gift that today I feel must be shared. Albert Einstein says: “Your imagination is your preview of life’s coming attractions” I am here today to thank you; Thank you for opening up a heart which had been closed for too long. Thank you for giving me the impulse which today allows me to see what I’m aiming for. Thank you for the present. We fell & grew apart, although you helped me grow; but wait, what is it we call a Muse?

Many questions remain unanswered, but one thing’s for sure, this piece is inspired by our story.

Once he graduated, then two years full of enriching experiences in the finance industry built his confidence.

With love, Joe Hoster 19th of January 2015

Thereafter, he simply listened to his heart and embraced a new challenge. A telling choice.

BIOGRAPHY The Helvets’ serenity, a Phoenician nose, Germanic rigor, the ardor of Vikings coupled with Armenian dexterity. This is Joe Hoster’s background. First came the business studies, a bumpy ride, to say the least. The climax? His journey to Montreal, which triggered something special. What? A beautiful love story prematurely ended upon his return. And? This is when the piano struck back, after 10 years silenced. It quickly became his favorite tool to express those strong emotions, which some nights overwhelmed him.

“Today I compose, I write, I perform, I stage, I absorb the richness which surrounds us to create . What’s greater than living one’s dreams without an ounce of regret!” Beautiful musical stories, touching human encounters as well as a heartfelt sincerity, await. press@joehoster.com Run Time 10 Mins FILM: THE MAGAZINE /NICE/MAY 2016

Here, Shomshuklla, the talented Filmmaker behind “Tiktok Tiktok” tells FTM how she came to make her latest film.

Tiktok Tiktok is a psychological, surreal, erotic film. When I wrote the script, I was clear that the story would be told in a manner that is very different from how erotic cinema is visualized. The film is about a restaurateur and a journalist who meet for an interview and the romance that brews. I chose to create visuals and storytelling unique to my style, which is quite abstract and grips the audience’s attention.

Tiktok Tiktok was a great journey because of my team and actors – Uditvanu Das, Mia Maelzar and Sohini Mukherjee Roy. All of them have been collaborating with me since the days of my theatre group Kali Theatre. It was great to be able to complete the film in the way I dreamt it. This is my first English language feature film, and so after three films, holds a very special place for me.

www.stagelines.blogspot.com Run Time 73 Mins

POWER PLAY

Introducing the screenplay Power Play nominated at the Nice International Film Maker Festival for Best Unproduced Script. A cancerous political suspense cocktail, based upon deceit, revenge and envy. Our young, handsome mayoral aspirant, Collier Winthrop, is recruited by a crusty old political boss, Al Caso, to upset the statusquo. He soon is faced with opposition from within and without. 1970’s. Before, House of Cards, there was Power Play. Screenplay written by Colin Stewart, based on the novel, “Power Play” by F. Ethan Repp. “I wrote the book Power Play in 1978, following a failed run for the US Congress at the age of 33. Full of remaining adrenalin and loss of all consuming activity, I spent the next 4 months writing. Once finished I really didn’t know what to do with it. The popular Mayor of NYC, John Lindsay, a good friend, passed it around to a few publishers, who were complimentary but passed. The work needed editing. I put the typed book away forever. Two years ago, I told my grandson about the book.

FILM: THE MAGAZINE /NICE/MAY 2016

He wanted to read it. (Pause) The manuscript was buried somewhere in the garage and I didn’t really know what shape it was in anyway. I rescued the work and began to read. I had forgotten the story but realized, hey this is good stuff. It is real. First Edition Design publishing immediately wanted to publish and claimed that they could scan the typewritten work to Word. We published in 2014, 36 years after being written. Amazon has 12 million books. It is impossible to get noticed. I decided to turn the work into a screenplay. Through the Internet I found a screenwriter anxious to transform my book into the desired format, about 6 months ago. Today it is nominated at the Nice International Film Festival. Young handsome, charming, ollier Winthrop, heir to Winthrop Manufacturing is enticed by a crusty old political boss, Al Caso to run for Mayor of the City. The scheme is to utilize the reputation of a prominent family to split the opposition party vote majority. But there is a threat of losing some of his own party base through the disappointment of not being anointed themselves. Caso is running a risk and it could be his head if he is not successful. In this story, they talk, up front and personal”. - F. Ethan Repp.

THIS SECTION FEATURES PHOTOGRAPHY FROM THE FILM “TIKTOK TIKTOK”.

Filmmaker: Shomshuklla

FEATURING A PHOTOGRAPH OF ”F. ETHAN REPP”.

TIKTOK TIKTOK

The use of the clock, as a symbol to show the ebb and flow of time is an important character in the film. Props, which I use to enhance my stories, are also used in a very interesting manner not simply aiding the actors but becoming integral by themselves. Poetry too finds a place within the threads of the story as the romance unravels.

THE FILM INDUSTRY NETWORK IS PROUD TO BE PART OF ‘THE INTERNATIONAL FILMMAKER FESTIVAL OF WORLD CINEMA NICE 2016.’ NICE INTERNATIONAL FILMMAKER FESTIVAL, May 2016 - Sees the French launch of The Film Industry Network (TFIN) with membership and advisory services to film makers who wish to seek film advice with regards to film structure, production set up, finance, world sales and distribution. Co-founded by Ray Davies and partner Paul Eyres along with a group of advisors from various areas of film and television expertise, TFIN continues to provide a unique support service that is currently non-existent outside a handful of exclusive producer representatives worldwide.

“IT’S NOT WHAT YOU KNOW – IT’S WHO YOU KNOW THAT MATTERS” TFIN exists because we have a strong proven working knowledge of this intricate and complicated industry - ‘we know how it works’ and ‘we know how to work it to help clients succeed’ - says Ray Davies of TFIN. TFIN are extremely proud to have available to members access to an extensive list of additional dedicated services and resources essential to satisfy the various and often complicated steps required for any project to reach fruition. These in-house services and ‘Go-To’ relationships built by our team over many decades complete the necessary stages of process and development ordinarily outside the scope of knowledge and certainly beyond normal access of anyone without extensive experience and contacts. We have extensive in-house skills and experience and solid ‘Go-To’ associate agreements in place with leading global resources specifically to ensure we cover every base with total confidence to help members achieve whatever the requirement. Our members can contact us at any stage of a project regarding all or any of ‘the next steps’ as we can advise and support you at every level so you know what to expect and ensure you are fully briefed and covered. Membership costs just $149 annually and can be tailored to bespoke need providing privileged access to film industry mentors with the knowledge, experience (and industry connections) to guide you from the pitfalls and costly mistakes that can spoil or terminally damage what could have been the greatest opportunity.

‘TFIN’ 2016 AND BEYOND! TFIN are looking to open new doors to support client’s needs and in 2016 we will expand on the team, bringing our next service into play. To expand connection further we are looking to appoint relationship managers in Europe and North America rolling out strategies to support TFIN Social networking, Film making, Producers, Directors, Script Writers, Entrepreneurs with new and exciting distribution market strategies. Our fabulous relationship with ‘FFI’ has taken a new step and we would welcome contact from servicing, commercial finance or insurance groups with interest in supporting the next generation of talent in film making. We want to thank everyone that made us feel part of their journey, ‘YES’ we give advice but for us knowledge shared is a huge part of what makes ‘TFIN’ a success. It was not developed to gather aimless members, it was specifically created to drive careers! ‘TFIN’ BREAKING BARRIERS! Take advantage of the 15 minute pitch in ‘The Producers Lounge!’ Finished Product or In Development? Let TFIN FFI’s client liaison team know your needs and reserve a place! This could be the pitch that changes your career path! ‘TFIN’ HELPS YOU TO HELP PROJECTS YOU HAVE AN INTEREST IN, WANT TO KNOW MORE? We believe that paying forward is worth rewarding, refer two friends to TFIN that can really benefit from our support and get your / renewal membership absolutely FREE, complete with access to our showcase to distributors.

“I’m extremely proud to continue this unique service at Nice 2016 Int’l Film Festival” - Ray Davies

Do you have: • a commercially viable

finished film seeking route

to market?

• a script you feel could be

the next big box office

success? • a TV project you feel coul

be the next franchise

success?

Do you need: • help with planning or maybe

just help with a pitch pack?

‘Congratulations! You’ve made it this far, now take the first big step!

For information on how we can help drive and grow a route to market for Producers / Members, email the team: ‘We don’t promise miracles and not every project of course will become an overnight success, but we do promise to look diligently at every project we receive and to give our members genuine and honest feedback, advice and support.‘ For further information please visit our website: www.thefilmindustrynetwork.com Attending the 2016 Nice Film Festival: ray@thefilmindustrynetwork.com paul@thefilmindustrynetwork.com

WARP WINDING “Warp Winding is the incredible story of the men and women who can discover their own diseases, weaknesses and inner complex issues. The epic story of people who were determined to rid themselves of their tough lives based on corrupt customs and traditions and like a brave hero, were able to fight against the wicked devil inside their own turbulent souls”. - Ahmad Seyedkeshmiri

This intriguing documentary is a compelling story of addiction in modern day Iran and is made up of a series of interviews with addicts (and ex addicts) and those who treat and are affected by this difficult subject matter. For most Europeans and International audiences, what this opens up is a very interesting snapshot of a serious story that although we may be familiar with, is shown from a point of view from a region that until very recently was hidden from most of us.

• Documentary feature film: ” Beloved Hand” – 2005 • Short Documentary: “Single Horn”2008 ( Candidate for best production of “Ava Film Festival”–Tehran-2010) • Short narrative: “Siyah Tare bisu” ( An ominous Tar ) -2011 (”Cyprus international film festival”-Special Mention Award for screenplay on a first short film-2011 & “Independent Days doc/2012” – Germany-selected for “Colourful world” section & IranianAmerican film festival Seattle-USA 2014-Nominated for best short movie • Full Length documentary: “Magnificent Nothing”-2011 (- Special Jury Mention award in documentary competition from the “Golden Apricot International film festival-Armenia-2011” & Best portrait documentary award of “Cinema Verite documentary international film festival”-Iran 2011 Nominated for the Best Foreign Language Documentary film at the Nice - International Film Festival 2016 kolbehdigital@yahoo.com afsaneh.heidari@gmail.com Run Time 54 Mins

SHORT FILM:X Writer/Director: Jesper Skoubølling

A struggling actor must fight his agony to find the answer in his identity before he loses it.

Some call it guerilla or rock’n’roll filmmaking, I would call this project Guerilla-Funky-Rock’N’Roll-Style! X (lead role) is my good friend from Vienna, Austria. He was visiting me in Copenhagen, Denmark for a month. One night we were talking over a couple of beers, X told me many stories from his acting career. I became extremely inspired and said enthusiastically that we should shoot a short film during the rest of his stay. I grabbed my computer and went to my bedroom. I came out 3 hours later with the full script and he read it and loved it but then asked me if that would be possible to shoot. I quickly made some calls…

Next day we had a meeting with my production crew and in under a week, we had casted the talent and had reading rehearsals and stunt coordination. However, finding the film-crew, props, film gear and location scouting was not an easy task since we had NO BUDGET! The shooting took place over a single weekend and there was no chance to postpone or shoot anything on other dates. That weekend was set and right before the first day of shooting, we were still short on sound and cast. We managed to sort everything literally out of the blue during shooting. We then shot day and night on that first Friday, then a couple of scenes on the Saturday, to finish everything Sunday so shooting 24 hours straight. We wrapped Monday morning on the beach during an unexpectedly beautiful sunrise. Editing and post-production was amazing and looking back on the whole ambitious project, it was a “mission impossible” and I still wonder how we ever pulled it off! However, I can say that it takes more than good energy and confidence. It takes a strong team effort. Cast and crew is so important and I feel so blessed working with talented lovely people from the infant beginning to the sweet ending all in the line of filmmaking. Run Time 21 Mins

FILM: THE MAGAZINE /NICE/MAY 2016

PHOTOGRAPHY BY TOR JØRGENSEN

Director: Ahmad Seyedkeshmiri Producer: Afsaneh Heidari

THE IMAGES IN THIS SECTION ARE TAKEN FROM THE FILM “WARP WINDING”.

The talented Iranian director - Ahmad Seyedkeshmiri, has directed both documentaries and works of fiction over a number of years that include the following:

FILM: THE MAGAZINE /NICE/MAY 2016

TIME

FILM TITLE

SUN 8

ROOM 1

10:00

Paddy Mullins - The great Stayer

10:54

TIME

FILM TITLE

19:04

Road Duster

105 minutes

52 minutes

20:55

Delka - Stand Up Tall or Fall

108 minutes

Un Condor

80 minutes

MON 9

ROOM 1