WATER LILIES (Naissance des pieuvres)

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Great News For Milw Filmmakers – MILWAUKEE FILM ANNOUNCES INAUGURAL SCREENING, CALLS FOR ENTRIES

Hey There in Hipster Blog Land: Read below for the skinny on the next step in the Milwaukee Film Festival world….. begs the question…. what the hell happened? Rumors are swirling, Mark Metcalf is going off with a series of articles on onmilwaukee.com but no matter how you slice it, its a sad collision of art and commerce where the big loser is the filmmaker. Fear not: As usual, film kids will solider on. So for now, let’s focus, rise up and get Milwaukee Film rolling! THE NEED TO KNOW: Fest Date / Loc: Oct 23rd @ Oriental Theater Deadline / Cost: Sept 19th / FREE Who Can Submit: Milwaukee County Residents Prizes: Milwaukee Filmmaker prize package valued at over $10,000, including a camera rental package from North American Camera. from Milwaukee Film PR Office: NEWS RELEASE For More Information: FOR IMMEDIATE RELEASE Marie Maas, 414-390-5500 August 22, 2008 MILWAUKEE FILM ANNOUNCES INAUGURAL SCREENING, ISSUES CALL FOR ENTRIES Local filmmakers invited to participate in October showcase Milwaukee – Milwaukee Film, a newly formed independent organization dedicated to hosting Milwaukee’s premiere film festival, announced today plans for an inaugural screening on October 23, 2008. The Milwaukee Show will be a premiere showcase of diverse locally-made short films at the Oriental Theatre. Films may be submitted by residents of Milwaukee County for consideration at no cost, with select films featured as part of the screening. The top filmmaker will also receive a Milwaukee Filmmaker prize package valued at over $10,000, including a camera rental package from North American Camera. The deadline to submit a short film is Friday, September 19, 2008. This screening is just one of the many year-round screenings and events Milwaukee Film plans to host, supported by the former staff of the Milwaukee International Film Festival and its primary funders. “This is a great opportunity for local filmmakers to showcase their work, and a really engaging way for the community to experience all that our city’s growing film industry has to offer,” said Jonathan Jackson, Artistic Director for Milwaukee Film. “We are excited to kick off our first screening in October by highlighting locally-made films.” For an official submission form or more details, visit the Milwaukee Film group on Facebook or contact Milwaukee Film at (414) 755-1965 or MilwaukeeFilm414@gmail.com. ABOUT MILWAUKEE FILM BOARD OF DIRECTORS: Chris Abele, Milwaukee Film Board Chairman; President & CEO, Argosy Foundation Tina Chang, CEO, SysLogic Alec Fraser, Attorney, Michael Best & Friedrich, LLP Bill Haberman, Attorney, Michael Best & Friedrich, LLP Carmen Haberman, Vice President, Herzfeld Foundation Julia Taylor, President, Greater Milwaukee Committee STAFF: Jonathan Jackson – Artistic Director Jonathan Jackson is the Artistic Director for Milwaukee Film, overseeing the content and programming for the organization’s events. Jackson previously served as the Artistic Director for the Milwaukee International Film Festival, directing film programming from 2003 – 2008. He previously worked as the Program Manager of the UWM Union Theatre and has curated film programs for the Milwaukee Art Museum. Kyle Heller – Operations Director […]

The Wackness

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48 Hour Films Screening in Milw

2 Days to shoot em and 1 Night to show em….. 48 Hour Film Project – click here Milwaukee 48 Hour Film Project Screenings Date: Wednesday, June 25th Time: Group A: 6pm Group B: 8pm Place: Landmark Oriental Theatre, 2230 North Farwell Avenue Tickets: $9 for one screening; $15 for both (on-line service charge not included) Notes: From Friday, June 20, until Tuesday, June 24, advance tickets will be available on-line. If you buy your tickets on-line, they will be available will-call at the theater. There is a small service charge for on-line sales. You may also buy them at the 48 Hour Film Project ticket table at the Oriental Theater. In other words, don’t stand in the main ticket line, go inside to the 48 Hour Film Project ticket table. Please note that tickets sales at the theater will be CASH ONLY. There will be no credit card sales at the door. Ticket sales start half an hour before the show. Milwaukee Teams Group A, Screening Wed., June 25th at 6pm Aurum Design Black Tai Blue Doodle Cross Word Films Foxtrot Hairy Doughnuts GuysHouse Ideogram Films Metals’ New Ethland Clan Chowder Smoking Magpie Group B, Screening Wed., June 25th at 8pm 5PM Productions Anatomically Correct Avant Guardian Dark Pony Productions Mostacolli Films The Moleskin Old Monk Storm 1 Studio Bib Simmons Ted Tate Films

Incredible Hulk Review

Overview of the Underground

So you’re all lock, stocked and two smoking laptops. You just hit the SAVE and RENDER button on your favorite editing program and the world is your painfully hip oyster. Next, you’ll burn a few DVDs and show off your kick ass short film, starring your kick ass friends with your kick ass crew. The jokes kill, the sad stuff makes everyone’s eyes well up and noses hurt at the top. Everyone high fives. The Facebook Wall posts come pouring in. But you’re back at your job on Monday … Now what? You’re in Milwaukee. Silver screens in NY, LA, Paris and Tokyo are thousands of miles away! Sell DVDs outta the back of your Hyundai hoping some producer “digs your style man”? Hit “I’m Feeling Lucky” on Google and start sending your film to production companies around the world? At this point a lot of filmmakers bottleneck and never really move with their short film. But we’re in the Midwest, damn it! Our work ethic will power us through, right? Right! What you need is a Midwest-inspired marketing plan: a hustle better than your flow. Now pull VITAL closer and read the secret to getting you and your film off your Riverwest couch and out into to the masses. Get the F into film festivals! Film festivals are the back door into the film world and simply filling out an application ain’t enough. Here are tips and tricks to getting attention for your kick ass Milwaukee film: BUILD YOUR OWN BRAND Your film needs a look and vibe that will make film festival programmers grab your film off the shelf and check it out. Hit up your graphic design buddy or post an ad on craigslist for someone to make a pro cover, poster, DVD label, business card and press kit. One look = pro. One cool look = I will watch your film for more than 45 seconds. Live out that fantasy and create a cool poster and log line for your film. (A log line is your film skillfully summed up in 20 words or less.) Stack the credits at the bottom. Create a complete finished product and it will lead programmers down the path toward making your art work into a big screen reality. You’ll show you have the full, pro package and are ready to rock. ONLINE Heed this call: both Sundance and Slamdance have online short film festivals that screen at the festival and are eligible for awards. ENTER THESE IMMEDIATELY. Sundance’s info is hidden in sundance.org so have fun with that. You can apply to Slamdance at slamdance.com and click ANARCHY ONLINE FILM FESTIVAL. Get to Park City now … git! SHORT FILM IS YOUR BUSINESS CARD Have a script ready for the feature idea that’s gone from bong smoke to short film to festivals and now beyond. Remember, you’re big time. SEND FESTIVAL PROGRAMMERS PIZZA They say it doesn’t help but it totally does. Drinks and sex work too. But we’re baby […]

Son of Rambow

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Film Festival Skin And Bones

What up Milw? I had a great conversation with a friend at VITAL about the excitement of starting a film festival. Here’s my take on a jumping off point for all you sinners: Film Festival Skin and Bones Sponsorship Aka Marketing and Advertising for those who don’t want to concede to the fact they are selling….. The nerve center of the festival. Trade out lots of festival costs like the 3 biggies: location, projection/sound, and media partners. Important Note: get your location and projection/sound first because you will not have a festival otherwise. Create package with exclusive and non-exclusive levels. Why are you different, demographic reached, year round reach, event only reach, etc Box Office sell tickets for screening. Very easy with one screen venue, tends to get complicated with multi-day, multi screen. Sell tickets to general public, handles lines / sales for passholders, jury, press, filmmakers, etc. Manage Rush Line: tickets sold once passholders are in. If there is an audience award, Box Office distributes, collects and counts ticketed results. Head of Programming and Programmers CAN NOT BE ON JURY. DO NOT CONFUSE THIS. Your festival will be bullshit if you do because programmers can sway what films get in and what films win. Filmmakers sniff this out, spread the word that your festival is shit and you will not get submissions or attendees. Plain and simple. Head of Programming heads up organizing of submissions, creating call for entries documents, sets early and late deadline by postmark only – no late submissions. Another bullshit festival move. Determines definition of short or feature / categories for awards ie: animation, 8mm, vision award, best song, best director, best editor, etc. Organizes programmers on schedule of watching and scoring submissions. Sets dates for all programmers to get together to determine the slate of films in competition. Jury A handful of qualified, high profile film, music, art peeps brought in to view films. Preferably attend festival. Fest must also set up side room for viewing films again to discuss their scoring. No one from the festival should be in room during deliberation. Director of Programming sets time deadline for results to present awards. Events Manager Parties, happenings, happy hours, panels, networking events etc surrounding the festival. Works closely with sponsorship coordinator to determine budgets / what events can be sold to what sponsor. Basic checklist: venue, backline sound, flyers, talent, a beer/wine/liquor/energy drink sponsor…..simple math: free drinks=big turnout=good for sponsors/filmmakers/life of festival. Projection & Projectionists Most overlooked yet most important department. Do not get a college kid to sit by a corporate dvd projector and shit his pants when the bulb blows. If the projection goes, the fest dies and looks bad, sponsors leave and you are done. Also, having a skilled projection department / equipment opens up what screening formats are offered and opens festival entries to potentially higher level of filmmakers shooting on a range of formats. Printing – Festival Program Prints all fest info and ads promised to sponsors. Fest […]

The new film coast?

By Matt LevinePhotos by Jeff Kenney With local film icons as disparate as experimental luminary James Benning and the ubiquitous Mark Borchardt, Milwaukee’s cinematic offerings have always been eclectic and fruitful. But in the last several years, our film scene has seen rapid development — the onset, perhaps, of a new period of national exposure to compare favorably with that of New York or Los Angeles. Sound unlikely? Maybe not after the recent initiation of Senate Bill #563: the Film Wisconsin bill. Signed into law in May of 2006, the bill went into effect on January 1 of this year, granting Wisconsin some of the nation’s most film-friendly tax incentives. Filmmakers may claim an investment tax credit of 25% for Wisconsin-based productions, as well as a 0% tax for all film and television services contracted by out-of-state production companies, a 15% state income tax credit for media businesses that make a capital investment in Wisconsin, and other magnanimous boons. The bill is unofficially named after the non-profit organization that helped usher in its existence — Film Wisconsin, whose efforts are dedicated to sustaining Wisconsin’s film and media industry. Film Wisconsin was created to fill the void left by the Wisconsin Film Office, which, due to budget cuts, was forced to close in July 2005 after 18 years of service. In April of the same year, aware of the Wisconsin Film Office’s impending closure, a task force of filmmakers set out to create Film Wisconsin, touring the state and working closely with its production community. A grassroots effort began to grant competitive statewide tax incentives, an effort that gained surprising speed as its economic payoff became apparent to state legislators. Following the bill’s inauguration, Film Wisconsin has touted our state as the “new affordable, film-friendly third coast.” And why not? The bill’s economic, cultural and artistic returns are so obvious as to be practically inevitable. You’ve probably read about Public Enemies, the new Michael Mann/Johnny Depp film that has committed to shooting on location here in Wisconsin — an arrangement that has Wisconsin’s film industry salivating for the big-budget commerce yet to come. “You’ll see an increase in the number of independent films made in Wisconsin and in the number of commercial films that come here,” says Scott Robbe, head of Film Wisconsin, which is based in downtown Milwaukee in office space shared with Visit Milwaukee and the Milwaukee Cultural Alliance. “The logistics of making movies will be much easier, and you’ll have a much greater synergy with Chicago’s film scene.” Indeed, Robbe speaks with enthusiasm of a partnership with Chain Reaction Studios in Milwaukee and Fletcher Camera in Chicago, the “Midwest contingent” that recently spread the word at the Sundance Film Festival about Wisconsin’s plentiful filmmaking incentives. CLASH OF THE INDIE TITANS The benefits the bill brings to Wisconsin cannot be overstated. There are tangible gains: the direct and indirect sources of revenue, the jobs a new industry will create both on and off sets and soundstages, the profits for […]

Women without borders film festival

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True West

Sam Shepard’s True West is a cleverly dark comedy that would be all too easy to overdo in all the wrong places. A less than shrewd production could miss the finesse of the original script, but the Spiral Theatre, in a tiny space on National Avenue, brings the right immediacy and intimacy to capture Shepard’s somewhat sinister humor with strikingly vivid form. In a testament to its growing prominence in local theatre, Spiral Theatre nearly sold out its 30+ capacity studio theatre on one of the coldest nights of the year. Spiral’s show is impressive, and while not all of the finer points of Shepard’s script are perfectly intact, the company manages to deliver an exceedingly enjoyable trip to the theatre. Len Macki stars as Austin, a struggling screenwriter who is looking after his mother’s place while she is away in Alaska. He’s managed to secure a meeting at her place with an important Hollywood producer (Josh Wetzel) to pitch an idea for a love story. The only problem: his brash older brother (Terry Gavin) is staying with him and threatens to blow Austin’s one chance at getting the producer’s green light. Things begin to unravel when Austin’s brother convinces the producer that it would be a good idea for Austin to write a Western instead. (Okay: Shepard’s plot is a lot better than it sounds in a few sentences. And if it’s not staged correctly, it’s every bit as cheesy as it sounds.) Len Macki, comfortably at the center of the production, holds much of the production together. (He’s not prominent locally, but he’s been active elsewhere, most notably Madison.) He dynamically renders Austin’s emotional development over the course of the play, moving from one intricately realized moment to the next. When Austin loses composure and takes to drinking, his emotional collapse is palpable. When he’s clearly dropping pieces of toast into toasters that aren’t plugged in, it makes sense even, though the illusion isn’t complete. Everything that happens around Austin makes sense, even when the production doesn’t make anything clear, and for that, Macki is truly remarkable. Gavin and Wetzel competently hold up their ends of the play. Gavin plays the seedy older brother with a subtle hint of a greater depth. Wetzel plays a Hollywood producer with a nice-guy charisma you wouldn’t expect from a man in his position. This contrast makes for an interesting performance; Wetzel seems almost guileless in a job one would expect to be played like a politician. Rounding out the cast is Sandra Stark in the role of the mother – again (during the holidays she appeared in Boulevard Theatre‘s production of Indian Blood). Seeing Stark play mother twice in three months would be strange if she weren’t so good at it. She speaks the lines. She doesn’t really need to do much more than that. She’s a natural for this kind of role, and here she’s a clever bookend to the production. Spiral Theatre’s production of True West runs through February […]

Internet killed the video star

Kimberly Miller could be seen as a backward artist in a digital world where YouTube, Metacafe, and Google are the standard mediums of delivery for video art. But due to the omniscient control of the internet viewer, a piece of experimental art or an installation viewed online is kind of safe. It doesn’t help that some of Miller’s pieces incorporate a live element, requiring her to be present. But what is conveyed is so much stronger in person than when someone is home alone, crouched in front of a monitor. While it’s not easy to describe or interpret her work, the viewer always feels something, however ineffable. More questions are raised than answered. If you were having a conversation with Miller she might say “It’s like, you know?” Then you say, “Yeah. It’s all …you know?” This Friday, October 26, at 7 p.m., Kimberly Miller will present selected works on film at Woodland Pattern, where she is hosted and spotlighted by friend and filmmaker Sarah Buccheri. The presentation of selected works and the reception that follows will give the audience a better chance to ask questions and negotiate with Miller regarding her art – which is exactly what she wishes to encourage with her body of work. VS: Is the presentation Friday reflective of what you’re currently working on, or a collective of past and present work? Kimberly Miller: The screening on Friday will show a selection of my video work from the past few years, including a video I made last week. The work represented will be a section of videos and performances-for-the-camera. There will be a live performative element as well, but a bit of a toned-down one. The emphasis will be on the videos. So on a scale of performance from subtle to Vegas-style flashiness: Sequins and glitter? Maybe. Live doves or flying daggers? Probably no. VS: What is your artistic purpose? KM: In my work I’m trying to … grasp certain things, figure them out. What, if any, role can art play beyond cultural production? Does art have the ability to affect change? Is there such a thing as a radically democratic art experience, and if so, what does it look like? Does action determine the actor, is identity determined by what we do, what we say, some combination thereof? I don’t know the answers to these or any other questions, really, but I’m interested in reframing them again and again and attempting to put out some kind of response to the questions. VS: Why did you choose these mediums to convey them? KM: The forms of video and performance are structured within and around language, and for me this is a place where public and private may intersect. Language is public because it is shared; our conception of language is shaped by its use. Yet each of us must come to an individual understanding of language. Language shapes meaning, and may be a place where viewer and artist meet. I try to establish certain parameters […]