Interview with 17 year-old Filmmaker Misha Vertkin

Filmmaker Misha Vertkin

How long have you been into Film?

I've always loved the medium of film, it's fascinated me since I was about 10; however, I've only been into filmmaking for about 6 months. Vera City was my first venture into filmmaking.

Which filmmakers have inspired you?

All the filmmakers who stop at nothing to achieve their visual dream; and anybody who has a unique vision and take on the world. Robert Rodriguez especially inspired me, as whenever I hit a low I always thought: “he can do it, what makes me any different?”. Quentin Tarantino's writing has always been mind-blowing to me; and has helped me craft my own style of script writing; and the way in which he has built himself up is just incredible. Also, recently, I've been researching filmmakers on You Tube, and came across an amazing guy called Matt Brown: his style is incredible, and just seeing what he can achieve with a cheap £100 handicam is utterly inspiring.

You shot your first feature film at age 16, how does this happen? What was the inspiration? Did you ever doubt whether you would be able to finish this project?

Well, I wrote the script during my GCSE's, which was probably a bad idea; I often forgot that I had exams the next day! So, I finished the script, and was quite pleased with it; and contemplated sending it to the BBC writer's room, to try and get it produced professionally. However, in the end I thought, that as it was my first script it was unlikely to get through. So, I decided to produce it myself; I'd never made a film before in my life, so I thought it would be a good opportunity to teach myself, as I would learn gradually throughout the entire process.
I began to research heavily into equipment, and what I'd need; I then borrowed some money from my mum and bought everything I needed. Basic equipment, but I wasn't looking to make a blockbuster! I then decided to shoot in the summer, but as I was going away, I only had a timeframe of a month to shoot in. I planned meticulously, and thought it would be simple, and easily do-able! I scouted out friends who could act, and friends who couldn't and began to shoot. During all of this I was moving out of home (I moved twice during the shoot!), it rained 70% of the time (60% of the scenes were outdoors!) and one of my leads got kicked out of home half way during the shoot: there were so many challenges, that I won't go into too much detail! But I had about four mental breakdowns, and decided that I wasn't going to continue about five times; somehow, though, I finished everything in the month: I had 20 hours worth of footage and no idea how to edit. So, I began to learn.

I also started college, was in a couple of plays, and making more films; so, it took a lot longer to learn than I thought! I'm sorry I've written an essay! My inspiration was my motivation, and vision; I felt this message needed to be shown. I also wanted to show people,that you can do whatever the hell you want; as long as you have that sheer tenacity and sticking power.

Tell us about Vera City. What is it about? Who acts in it? What role did you play in making it? Who does this film appeal to? What audience are you going after?

Vera City explores the boundaries we set up in our lives, which hinder our movement and freedom. It's about encouraging a positive outlook in life, and establishing our values. This is all told through the eyes of a 15 year old girl, and her surreal journey through her own mental development. I don't want to give too much away about the story, as it's the shock, of seeing it for the first time; which drives the message home. However, I can say that it begins as a very ordinary story; following a girl, as she lives her teenage life, but it's how she begins to interpret things which eventually leads to this her world, being rocked a certain number of revelations; and looks at how she copes, and develops with all these new aspects in her life. On top of this, it's also a story of friendship; rebellion; drugs; violence; and a neurotic mother!

One major reason that I felt it necessary to produce this film, was that being part of this young generation, I felt that something needed to be done about the self-obsessive attitudes of young people in the urban world. It's about not taking life for granted, and seeing everything in it's true colours.

My role was, to put it simply: everything. I did absolutely everything production wise: I'm the writer, director, cinematographer, editor, grip, producer, etc! I also, act in it as well; I shaved my head entirely specifically for the role! No-one else wanted to do it for some reason, so I had to take it upon myself..

Acting is my other passion, so I knew a whole load of people who would be interested; however, during the shoot, a few people didn't turn up: which meant some very quick phone calls, and eventually finding stand-ins who'd never acted in their life! However, my main roles, were filled by brilliant actors; and they made this project possible. I also enlisted the help of my drama teacher, and mum: as I felt adults added a little credibility to the work!

This film appeals to everyone and anyone, as I think it's rare to meet someone who doesn't need a little boost in their life. A little film, to encourage them to see the beautiful things in life; not the shite!

However, mainly, my audience will be the 14-25 year olds: as I had to build a negative world for the story to work, therefore, there is a bit of swearing, drugs, and violence (a bit meaning quite a lot!). However, do not take this to mean it's not an intelligent film: I despise, unintelligent films; which only use sex, drugs and violence to sell their product; it's a ridiculous method, and whoever delves in it should be removed from society.

Tell us a little about your production. How much time did you spend in Pre-Production, Production, Post-Production?

Well, I planned everything precisely, as I didn't think I'd be able to cope otherwise. I planned every shot: about 1800 altogether (the finished film has quite a lot more!); I made about 10 different rehearsal schedules; I even contacted smarties about using their name in the film (they declined, but oh well!); I contacted a whole host of famous bands, hardly any of them replied and only one said yes! But planning, and writing the script took about a month. As I was the only crew, I bundled all my equipment into a big hold all, which I then carried around to every location (it weighed a ton!); the actors would then only learn the line that they were to say in the shot, as they hadn't had time to learn their lines! And due to the tight timeframe, I only ever really did one take for each shot. I would set up the mic, plug in the headphones and check all the levels; I would then set up my shot, direct my actors; make sure everything was ok, and shout “Go!”. Relying on myself, meant I got everything done extraordinarily fast; and all the actors were absolute stars. Post-production was a bit laborious; as I went through a lot during the process, and I felt my confidence dropping when I first started. However, it was so satisfying to see a finished scene that it always motivated me to go onto the next: I would often stay up till the early hours to try and finish another scene. It became an obsession, which I didn't really have time for!

What was the craziest that happened while making this movie?

Well, so many things happened that I eventually lost count; I resigned myself to just expecting the worst, and just getting on with it. My lead got kicked out of home half way during the month, so, we had to sort out a place for her to live; and deal with everything else; and then still carry on filming. She insisted, despite me saying otherwise! I moved out of home and stayed in one place for two weeks and then moved again, as the contract ran out! Another person, dyed their hair half way through the shoot, so her hair changes colour randomly in different scenes! We took a door to a graveyard, a ladder to a field in the middle of know where, broke into a historic castle: and the list goes on, and on!

What did you shoot on? How did you go about financing the film?

I spent a huge amount of time researching the camera, and didn't really have any money! However, I managed to secure 3CCD Panasonic MiniDv camera off ebay; the GS400. Brilliant camera, which shoots at 25fps, and is small enough to carry easily, and bulky enough to handle smoothly. It was perfect! The mic turned out to be my biggest problem, as I bought a Rode videomic, and then realised I'd be filming in huge number of outdoor locations; and didn't have enough money for a windshield! This made the outdoor shoots frustratingly long, as we would begin to roll when a huge gust of wind would come and ruin the sound; it once took 42 takes to do one shot! I did everything on a budget of nothing, I bought the equipment through borrowing money; but everything else, was paid for through the enthusiasm of my cast, and perseverance. My lead roll travelled in on the bus everyday! A brilliant actress, and a bloody lifesaver. When shooting in certain locations, such as friends houses, I would crash on a sofa; so, I could prepare early the next morning. It was a crazy month.

What has been the biggest challenge you have faced in completing your first feature film?

Becoming demotivated, and beating myself up about how it's not turning out the way I imagined. But then I'd experiment, learn more, and it becomes my vision. It's just those low times that I have trouble with.
Many filmmakers will live their whole lives and never make a feature. You finished your first at age 17. How do you feel about that?

I feel great that I've done it, and can't wait to make my next one, but I don't see why anybody else couldn't do it! The age doesn't matter, I've met people aged 13 more mature than people nearing their 40's; it's just about your how you live your life. I just love the feeling you get when you create something, it's like nothing else I've experienced and I want to keep on feeling that; until the day I die.

What are some of the important lessons you learned in the making of Vera City?

Film as much footage as you can, take your time with every shot, and make sure everything is perfect before you shoot; DIRECT your actors, realise the vision in your head, don't just let it go because you're under pressure; and see the film as a whole, not as separate scenes, this will help you connect everything together in post!



What are your plans for distribution? Is this a film you are looking to sell? Are you submitting to Film Festivals? Where will we be able to see the film?

I began to publicise my work at first, by the only way I knew how, at the time: by going to parties and telling everyone there! I then began to research it, and look into distribution; and contacted the local Picturehouse and Pheonix: who are both very interested in screening the finished film. I'm also going to get the local press involved, as they're always looking to promote young people. I then looked into duplication, and may eventually work with my cousin to create a website to sell DVD's. However, I' going to start by creating a shop on 'create a space', as then I won't have to worry about any inventory! I don't know whether I will submit the film to festivals just yet, as I still have so much to learn, most independent feature films are made by people with years of experience, and a budget, I have neither! I do want people to see this though, as it's an interesting story, and message; and also, it's interesting to see my learning curve as you progress through the film! I'll definitely send you a link, when I've sorted everything out.

What are your goals for this film?

To have it screened, and to make a profit, which will pay for any debts and contribute towards my next feature: which I should be shooting next summer.

Will you share Vera City with your Mom?

My mum was in it! She plays a neurotic mother, which she found incredibly fun. She's a drama teacher, so was excellent and definitely inspired everyone else on set.

What's next for you? Are you going to film school? Do you have plans to make more films?

Well, it all depends on my results; I hope to go university, to study drama; and then to do a post-grad course at Bristol Old Vic. However, during all this I'm going to be incessantly making as many films as I can; I've got four more finished scripts, and am working on a whole lot more. I'm not really a fan of going to film school, as I learn much faster via teaching myself, and I don't believe you can be taught the act of filmmaking. It all just comes with experience. You can be taught how to use a camera, of course; but you have develop your own style of story telling, and I believe I can do that while doing everything else in my life. So, I have a whole range of possibilities! I always have a main plan, and then branch my way off it; and if it doesn't work out, I just go back to the main plan: and it seems to be working so far!

What do you have to say to any filmmaker out there who has yet to make their first feature film?

Just keep going, and never stop. If you get kicked down, just get back up; dust yourself off, and keep going. Research as much as you can, and ultimately experiment! Write a script that you truly believe in, and as cliché as it sounds, just believe that you're capable of doing it.

Fancast celebrates Black History Month

February is Black History Month and Fancast.com is celebrating by recognizing some of the amazing cinematic contributions that have been made by African-Americans.

Check out Fancast as they highlight some of the best talents of the sliver screen with a special selection of cinema including titles of yesterday and today such as “They Call Me Mr. Tibbs,” “AKA Cassius Clay,” and “Hoop Dreams.”

You can view the complete list of titles here: http://www.fancast.com/movies

Sand Creek Massacre Film Underscored

“Dance With Life Magazine Underscores Sand Creek Massacre Film”

February 5, 2009 - Centennial, CO - "Dance With Life Magazine", an e-zine that highlights people who have joined the dance with life, highlighted the Sand Creek Massacre and award-winning writer/filmmaker/consultant, Donald L. Vasicek's award-winning documentary short, "The Sand Creek Massacre". Tomaca Govan, publisher, says, "It is with great sadness that we post this video. The Sand Creek Massacre was just one incident from the centuries-long genocide of the native peoples in America. And, it continues to this day. We commend Don Vasicek for his work in accurately documenting this historical event and for his work to bring attention to the atrocities that have and continue to face this entire race of people in America."

Vasicek says, "Ms. Govan and "Dance With Life Magazine" have joined our journey to inform, to educate, and to create awareness for America's indigenous people. It is with deep gratitude that I thank them."

Govan, singer, songwriter, entertainer and host to several Internet e-zines including "Dance With Life Magazine", with a production company and music label, says, "We highlight people who have joined the dance with life. They are living and growing. They respect and appreciate the impact their lives have on others. And, there's somewhat of an understanding of their purpose. We are all vehicles and conduits for something greater than ourselves."

Vasicek added, "There are those who have confronted me about 'dragging down' the Cheyenne and Arapaho people by focusing on what happened to them at Sand Creek. The profundity of perceiving ourselves as vehicles, conduits, or as I say, channels, to help each other out, helps strengthen the link all of us have to each other, a collective consciousness that powers our world. Sit and interview Cheyenne and Arapaho people, go with them to their activities. You will discover that giving them a channel with which to tell their stories is giving them an outlet for the heartbreak they continue to experience over what happened to their ancestors at Sand Creek. After one on camera interview, I gave a Cheyenne man a bag of tobacco and a serape, something the Chief told me I should do, as an expression of gratitude. The man was over six feet tall. He word a white Stetson. He had a booming voice. He folded the serape and placed it on the floor in front of my feet. He sat the tobacco on the serape. He got down on his knees facing me. He began bowing and singing in Cheyenne. The fine point of this is that he was grateful for the opportunity to relieve himself of his grief by giving us his truth. How do you feel if you are able to tell someone about your grief? This, to me, is helping Cheyenne and Arapaho move forward because it is giving them an opportunity to tell their truth about genocide, a first hand account of genocide, something that they have held back for nearly 145 years. If that's dragging them down, then so be it. I see the light in each Cheyenne and Arapaho person I have interviewed. That is solace enough for me."

"Dance With Life" Magazine is at http://dancewithlifemagazine.com, Ms. Govan at http://TGovan.com.

Contact:

Donald L. Vasicek Olympus Films+, LLC "Commitment to Professionalism" Writing/Filmmaking/Consulting
http://www.donvasicek.com
dvasicek@earthlink.net 303-903-2103

Filmmaker David Branin writes about Jamin Winans 'Ink'

Where do I even begin? I hope you follow along because Jamin Winan’s, Ink, is one of the most inspiring films I have seen and I am excited to share my thoughts about it with you.

As I begin to write this, please note that I am not a Film Critic. I am just a Film Fan as well as a Filmmaker. I am a growing storyteller also, so please allow me set up the story which will help me convey my full thoughts to you.

Back in 2005 I came across Jamin’s short film Spin. I can’t remember exactly how I came across it but I thought it was one of the more creative and just plain cool shorts I have seen. I wanted to know more about the film and the filmmaker so I contacted Jamin and ended up doing an interview with him through my Film Synergy blog (Interview with Filmmaker Jamin Winans)

I thought it was a great interview and I liked Jamin’s style of filmmaking so I continued to monitor his work. Now this will probably get me in trouble, but I believe it is important for me to mention. As I have studied films in the indie world, I got around to seeing Jamin’s first feature film, 11:59. Though that movie does finish strong, I came away feeling let down. It’s not anything I am going to dwell on here. Yet there may be others out there who may read this who have seen 11:59 and may not be willing to give Ink a chance and I am here to let you know that would be a big mistake.

Most recently, Jamin emailed me the trailer to his second feature film, Ink and I was amazed. Want to see why? Click here Ink Official Movie Trailer HD

Of course I had to follow up with a second interview via Film Synergy. Interview with 'Ink' Filmmaker Jamin Winans


For the full article, please visit Jamin Winan's Ink is one of the most inspiring films I have seen...

Interview Series - Night Before the Wedding - Actor John Keating

Actor John Keating on the set of Night Before the Wedding

Tell us one thing about yourself that no one really knows?

I am a pretty open guy with those people I know and care about. But when it comes to something that no one knows about I draw a blank. I am pretty much a what-you-see-is-what-you-get kinda guy.

How did you get your start in film?

My very first film role was the home movies that I shot with my Mom and Dad and my two brothers and three sisters. I was probably nine or ten and the films were shot on an old 8 mm silent film camera. They were pretty cheesy but my family indulged me and we had a lot of fun. Looking back on it they were corny, but cute 'cause we were all little kids.

I did two films while in college for the Kansas Dept. of Transportation. In the first film I played a drunk driver whose friend convinces him to let him (the friend) drive home. In the second film I played the supporting role of a mutual friend who is killed in an automobile accident. We filmed the aftermath of the accident in the automobile that we wrecked for the movie. It was very creepy being in a wrecked car playing dead when the accident was all for show. There was just kind of a weird “vibe” to being in that car. Hard to explain.

Have you worked with any name actors or directors?

I worked on an episode of Mind of Mencia for Comedy Central in 2006. The celebrity was Carlos Mencia. Although I did not spend much time with him, I had a blast doing the show and he was kind enough to introduce himself to the guest cast during rehearsal. Actually, the most time that I spent with him was during the shooting of the episode in front of the camera. But that was a fun day because I was "livin' the dream."

How did you get involved in “Night Before the Wedding”?

I work with the writer/director and several of the actors in the film and David wrote the film for us. I really felt honored when he asked me to be a part of the project.

What is your role in this project?

I play William Shay, reluctant honoree of a wild bachelor party. He unwittingly becomes entangled in a situation that he did not plan on and never imagined could ever happen.

What were your thoughts when you first read the script?

I knew that this role would be the most challenging of my career thus far and I was not mistaken. Playing this character took me to places that I do not visit within myself too often and challenged me to bring parts of myself to the role that I have never brought to any other character that I have played in theatre or film. I had to dig deep and really connect in a way that I had never done before.

Actor John Keating discusses an upcoming scene with Actor Gregor Collns. Director David Branin looks on.

What attracted you to working on this film?

I loved the idea of working with people that I know, love and respect. Also knowing that I would have input and an impact on the script was very attractive as well. This film truly was a collaborative effort.

What was the most challenging thing you had to face with this project?

As I mentioned in the earlier question, I had to bring a vulnerability and depth to this character that I was unaccustomed to bringing to other characters that I played. I really worked hard to try and bring to the project the vision that David Branin had and I really wanted to prove to him that he had made the right choice in casting me in this project. I hope that I succeeded.

What did you love most about being involved with this production?

The other cast and crew members. The challenge of the role was bitter and sweet. The sweetness comes from the range of emotion that I was challenged to convey. If I discuss the bitter too much I might tip my hand as to the contents of the film. And we wouldn’t want that.

I loved the fact that, like my episode of Mind of Mencia, I was "livin' the dream" each and every day of the project. I would get to the set early and excited to go and even though the days were long and the character challenging, I was doing what I loved with the people I loved.

Is this a film for women to see?

As long as they are over 18. I think that they will enjoy a peak into a side of life that they may not possibly ever experience. Besides, there are some handsome guys in this flick (and I do not include myself in the above category). And there are some terrific actors and actresses working their tails off.

Will you share this film with your Mom?

Most likely. My mom has always been supportive of my decisions and always seems to appreciate the projects that I have been involved in.

What does this film have that you will not find in a big Studio release?

This film has true camaraderie amongst the cast. The heart that is placed into this film is not easy to find in a big studio release. The way the film is tailored for each cast member shows an attention to detail on the part of the writer/director that is not found in larger films. A lotta love and effort at true story telling. No punches pulled, no holds barred.

What makes this a ‘must see’ movie?

The moral questions raised by the film challenge the audience to reflect on their own values and decisions that they make in everyday life and how they affect those around them. This movie will make an impact on you and in film, especially independent film, that is hard to come by.

To my fellow filmmakers and artists, I would like to pass on this article, “Hope For The Future: Filmmaker and Exhibitor Collaboration” which was written by Ted Hope and published on indieWIRE. It is followed by commentary from Four-Eyed Monsters Filmmaker Arin Crumley. This is an article I have already read twice and will probably read a few more times.

http://www.indiewire.com/article/ted_hope_hope_for_the_future_filmmaker_and_exhibitor_collaboration/

Ted Hope also writes a tremendously informative blog that is worth subscribing to entitled Truly Free Film

Vasicek Links President Obama to Native Americans

"Award-Winning Writer/Filmmaker Donald L. Vasicek Lauds President Obama''"

January 23, 2009 - Centennial, CO - Award-winning writer/filmmaker, Donald L. Vasicek says, "For the first time since I beganvoting for United States presidents, the first being John F. Kennedy, I have heard a U. S. President regularly mention Native Americans when he talks about United States minority people"

Vasicek, writer, director, and producer of the award-winning "The Sand Creek Massacre" and present writer, director, and producer of "Ghosts of Sand Creek", a feature documentary film, has been an advocate of Native American rights for several years. He is a board member of the American Indian Genocide Museum in Houston.

Vasicek added, "President Obama's sensitivity for community is even more evident when he mentions Native Americans, a race virtually ignored by former U. S. Presidents. I commend
President Obama for his perception and insight. Many native reservations in the United States are like Third World countries, or, is it "developing nations" these days? Development on U. S. native reservations I have visited amounts to others continuing their centuries long assault on native land for its resources. I am giving my total support to President Obama's efforts to help dissolve Native American anonymity in America and bring them to the forefront for change so that they will be looked upon as America's heritage, America's roots, and America's proud people. Anything less is and will globally be an abomination."

Contact:

Donald L. Vasicek
Olympus Films+, LLC
http://www.donvasicek.com
dvasicek@earthlink.net
303-903-2103

Interview with 'Ink' Filmmaker Jamin Winans

On this awe-inspiring inauguration day where many of us feel a new hope, I am proud to unveil this new interview with a filmmaker that I admire, an artist who is passionate about his craft, and one who raises the bar for all of us in the world of independent cinema.

Jamin Winans has just completed his second feature film, Ink, a Sci-Fi/Fantasy Action Thriller about the people who come out at night and give us dreams and nightmares. It is the allegorical story of good and evil and those trapped in between. No matter how safe you feel, evil may find you. But no matter how far you've fallen, redemption is possible. (To really understand what this all means, the Must See Movie Trailer is Below)

Ink premieres January 23rd, 29th, and 30th at the Santa Barbara International Film Festival. It is one of a handful of films in competition. For screening information, please click here, Ink Showtimes

Filmmaker Jamin Winans on the set of Ink

Tell us one thing about yourself that no one really knows?

I really wanted to be a ventriloquist for most of my childhood, but I found filmmaking was a lot more versatile. No joke, I collected 5 or 6 very sophisticated ventriloquist dolls and got pretty good at it. Retired around 10 or 11 years old…okay, it was last week.

Are there any books you consider invaluable to your process as a writer and director?

Reading books and interviews of other filmmakers in general has been really helpful psychologically. They remind you that everyone struggles and that you’re not alone. My all time favorite is of course Rebel Without A Crew by Robert Rodriguez. It’s just a reminder that anything’s possible.

What area of filmmaking do you feel filmmakers often overlook? Something that comes back to bite you in the ass if you aren't careful?

From a technical standpoint, sound is often overlooked, but yet extremely important. I would argue that good sound is almost more important than a good picture. For some reason we’re a lot more annoyed when something isn’t audibly clear or strong. Yet new filmmakers almost always underestimate this.

But from a thematic standpoint, story is really overlooked. A film can be phenomenal from a technical standpoint, but if the story just isn’t strong, it’s all for nothing.

There is the creative side of film and there is the business side of film. From developing the idea, to final cut of the film, to getting people to be interested in your project and having them pay to see it, which has been the toughest phase for you?

Sadly, it’s all very hard. I think production itself is probably the hardest on me because of the ticking clock and overwhelming pressure. There’s a constant sense that any one mistake will ruin your film, which is sometimes true. Once the film is in the can, it’s definitely easier to relax, but I can’t say I never feel a real sense of contentment.

Often times in the independent movie world, we see a filmmaker make his first feature film, then we never hear from him again. What is your reaction to that?

More power to them. Filmmaking is a horrible endevour with varying degrees of pain and humiliation. The glamorous perception of filmmaking is nothing like reality, especially indie filmmaking. It requires unreal perseverance and huge sacrifices. I think a lot of filmmakers just realize they would rather actually live life than go through that process again. If I didn’t feel so compelled to keep going no matter what the cost, I would easily walk away and do something else.

Congratulations on completing your second feature film. What were some of the lessons you learned in making your first feature film that you carried over into the making of your second feature?

Thanks! I’m sure there were a lot of bits of wisdom I took from the 11:59 (my first feature) filmmaking process, but the most I learned was in the distribution process. Going through distribution, you realize how shady the industry really is. There’s countless bloodsuckers out there just waiting to take advantage of new filmmakers who are desperate for distribution. There are producer reps who will take advantage of you and there are distributors who will never pay you. I’ve found that shady distributors are almost the norm. Filmmakers have to talk to each other and check references on anyone they deal with. That’s the only way to avoid being screwed no matter how big and successful the film.

The-Storytellers - Eme-Ikwuakor, Jeremy Make, Jennifer Batter, and Shelby Malone

Taking a moment to reflect on both of your professional features, which of the two was harder to make, the first or the second? Why?

Ink, the second film, was definitely the hardest. We shot 11:59 in about 30-35 days, but Ink was 83 days. My feeling going in was that it would be so nice to have all that extra time to really shoot what I wanted, but it turns out Ink was so logistically complicated, it still didn’t feel like enough time. And shooting that long with such a small budget becomes a test of sheer will to just keep going. I was dying after day three and I realized I still had 3 months to go. Some of the crew started falling apart and people were getting pissed. It was hard physically, mentally, but most of all emotionally.

Was it easier to raise money for "Ink" with your proven track record of quality films and a successful feature already in the books?

It was easier. 11:59 helped a lot, and to my surprise our short, Spin helped a lot as well. We met a lot of people and made a lot of good friends on the path of those two films. A few of those people really supported us on Ink from the get go. It was still a task, but we weren’t looking for too much money, which certainly makes it easier.

How did you go about financing Ink?

We wrote a business plan and really thought through the film’s marketable attributes. We talked to our friends and contacts we had made from the other films and about half a year later, we had enough money to go.

The most important thing we did was set a date and commit to shooting the film no matter what. If we couldn’t get any money, we would shoot the film with a camera, no lighting and no crew. As it turned out, we did get a little money, and that just made the film a little easier. But committing to do it no matter was the key. When people know something is going to happen with or without their help, they’re more confident about getting involved.

Quinn Hunchar as Emma, Jessica Duffy as Liev, and Ink-travel to The Collector

With "11:59" you said it was tough on you because it didn't fit into one genre. It had a bit of everything. Looks like "Ink" is a clear cut Sci-Fi/Action/Thriller. Was this a conscious decision?

Ink is actually a hybrid of genres too, but it’s a lot more marketable than 11:59. It has a lot of action and suspense, but there’s also a deeper dramatic story at the root.

Ink was already in the works before 11:59 was out, so it didn’t really influence the decisions I made regarding story and genre. Regardless, I’m happy it is what it is because it’s already been an easier path than 11:59 on the festival and distribution route.

How long did you work on the script to Ink? What was the process like? What was the germinating seed? What was it about this story that drove you to make this film?

The story of Ink was in my head for years. It was all based on a creature I was convinced I saw in my bedroom when I was about four years old. After completing 11:59 I knew I wanted to tackle a more extravagant fantasy film, but I wanted to approach it in a grittier and more authentic manner than anything I had seen in regards to fantasy/sci-fi. I started with the memory of the creature in my bedroom and branched off into an idea of people who give us dreams and nightmares while we sleep. Thematically I was really interested in the idea of redemption and that became the core in which the story was built around.

I outlined the story heavily over the course of about a year. Ink has a very complicated structure and an unformulated build, which is always risky. So during the outlining and early drafts I focused more on structure than anything else. I probably went through six or seven drafts of the script before I really had the characters fleshed out. My wife and producer, Kiowa Winans and the lead actor, Chris Kelly, were really helpful with feedback and suggestions as I moved through the drafts.

Not only did you Write and Direct Ink, you also serve as Composer and Editor. Which of these is the most fun for you? Which is the toughest?

I would say both are the most enjoyable parts of the filmmaking process. Editing is really rewarding because you’re seeing the story and all the hard work coming together. Composing is probably the most fun because it’s something I don’t take very seriously. I never set out to be a composer and I’ve accepted I’m sort of a hack, so I haven’t ruined the process by trying to be perfect at it.

"The-Incubi" from Jamin Winan's Ink

What was the most challenging thing you had to face with this project?

The fear that I was somehow making something totally ridiculous and didn’t know it. It wasn’t until the last leg of the edit that I felt entirely confident with what we had created. We took a lot of risks and when you do that, you can bomb really hard.

What did you love most about being involved with this production?

It was a real team effort with my wife. We struggled a lot, but we struggled together which turned out to be a great thing.



You have released a kick ass HD Trailer for Ink, but what we really want to know, is the full length film better than the trailer?

I appreciate you saying so. It’s tough to compare a trailer to a film. One is an advertisement and one is a story. So the question really is, “Does the trailer represent the film accurately?” I would say it’s about 80 percent accurate. The feedback I’ve heard on the trailer is that it’s reading more horror/scary than I would like. The film does have it’s very dark elements, but it’s a dark modern fantasy, not a horror movie.

Personally, the film plays a lot stronger for me than the trailer because it’s much more complex, emotional, and rich. The trailer shows just a fraction of what the story actually is. But it will be up to the viewer to decide.

What are you hoping audiences take away from this film?

I hope they walk away thinking about the power of humility.

What are your goals for Ink?

I would love to make our investors money back and I would love for the right people to see the film. Beyond that, I’m happy with anything.

Will you share this film with your Mom?

Absolutely. There’s a lot of bad language in the film, but she forgives me for that.

What does this film have that you will not find in a big Studio release?

A story you won’t be able to predict the ending to in the first 20 minutes.

What makes this a 'must see' movie?

It’s totally unique, it’s moving, and it offers perspective on your dreams and the possibility of unseen influences in our lives. Well, that and there’s some guy with a huge nose running up an invisible staircase.

For the very latest on Jamin Winans, Ink, and Double Edge Films, please visit www.doubleedgefilms.com

You can also visit Jamin's brand new blog where he chronicles his journey www.doubleedgefilms.blogspot.com

kART Across America Movie Trailer

On May 20, 2008, Jeremy Make and Andy Raney left California on a golf kart for a 108-day adventure around the country. After gathering hundreds of interviews with artists, they found America ... and so much more. Here is their movie trailer which they have just released.

New Interview with Filmmaker Jamin Winans coming Tuesday!

Subject says it all.

Very excited with this upcoming interview we will be posting on Tuesday. To become familiar with Jamin and his work, visit http://www.doubleedgefilms.com/

LONG SHORTS/SHORT SHORTS

An entertaining night of films & videos: Erika Yeomans, Ilya Chaiken, Andrea Staka & Meredith Drum.
GALAPAGOS ART SPACE
Wednesday, February 4th, 2009 8 pm Tickets $10.00
Tel: 718.222.8500 |16 main street | brooklyn

Featuring: Juliana Francis-Kelly, Holly Ramos, Kristin DiSpaltro,Casey Spooner, Michael Abbott Jr, Jenny Bass, Cosmo Pfeil, Mot Filipowski, Ben Greenman, Tom Gorman, Julie Strong, Vesna Stanojevic and Nebojsa Glogovac......

Erika Yeomans pairs a night of her films with some of her favorite female directors. The program showcases engaging experimental narratives and compelling, edgy narrative work. The shorts are alternately funny, dark, melodramatic, absurd, poetic and personal.

Program Line up & Running time approx 88 minutes
Erika Yeomans

Chubby Buddy (Home Movie, Super 8, 13 minutes 2003). Meet Francis Howard, who gives up a career and a marriage to act upon some peculiar impulses.

Boo (Horror, HD, 4 minutes 2008). A suspenseful Halloween tale about a young man who gets roped in by a cat lady.

Grand Gorge: No God But Me (Melodrama/Western HD, 12 minutes 2008). A Pastiche of western clichés; where white men seek redemption and revenge in a cyclical fashion.

Fragments of Death Comes for Britney Spears! the Musical (Musical, HD, 8 mins, 2008). Based on McSweeney & New Yorker contributor Ben Greenman's "ripped from the tabloid headline" newsicals.

Bunny Boy (Music Video, Beta, 5 mins, 1995). A woman becomes a glittered man to the tune of 10-CC's I'm not in Love.

Meredith Drum

The Double (DV, 9 minutes 2008) is a quest story. The searcher is traveling through an undefined area, between city and wilderness, the landscape of the outsider.


Andrea Staka

Hotel Belgrade (35mm 13 min,1998) A couple makes love in a hotel. She lives in Switzerland, he in Belgrade. What has been destroyed by war will be resurrected in this hotel room.

Daleko (9 minutes, 2000). A young Yugoslavian woman trying to cope with her new Americanlife as bombs destroy her former homeland.

Ilya Chaiken

The 100 Lovers of Jesus Reynolds, 6 mins, 2004

A glimpse into the sexual misadventures of a woman named Jesus, as she reminisces about her many encounters and the day she almost missed the Coney Island Mermaid Parade.

Blackout, 8 minutes, 2004. Two strangers wake up in bed together on the morning after the Big Blackout of 2003. Through the sporadic flashes of memory that infiltrate their hangovers, they manage to piece together the events of the historic previous day.

FILMMAKERS BIOS

Erika Yeomans,Program Curator/Filmmaker. Over the years, Yeomans has created an extensive body of work in theater, mixed media and film. Formerly the Artistic Director of the experimental group DOORIKA (Chicago and New York), she has focused on video and filmmaking since 1999. Her work has screened at film festivals and art institutions around the world, including: London's ICA, Lincoln Center's New York Video Festival, LA Freewaves, Berlin's Transmediale, Santa Barbara Contemporary Arts Forum, Silver Lake Film Festival, Amsterdam's Stedelijk Museum, Cinematek at the Danish Film Institute and New York's Anthology Film Archives. In 2006, she was awarded a New York State Media Arts Grant for her debut feature film POSE DOWN (90 mins, Super 16, 2007). In 2008,Yeomans completed 3 new video projects that continue to explore different film genres: Fragmentsfrom Death Comes for Britney Spears the Musical! (Musical, HD, 8 minutes, 2008), Boo! (Horror, HD 4
minutes, 2008) and Grand Gorge: No God But Me (Western, HD, 12, 2008). She lives in New York City. For info www.therestofyournaturallifeproductions.com

Ilya Chaiken's second feature film LIBERTY KID, received critical raves, has been broadcast on HBO and was released in November 2008 by Kino Films. Chaiken's acclaimed debut feature MARGARITA HAPPY HOUR premiered at the Sundance Film Festival in 2001 and proceeded to many others before receiving distribution from Wellspring. She returned to Sundance in 2004 with the comedic short "The 100 Lovers of Jesus Reynolds." She studied filmmaking at SUNY Purchase and lives in Brooklyn. Chaiken is preparing to direct her third feature, AMERICAN ANGELS and will launch a webisode series in the Spring of 2009: 'The Unloveables'. www.libertykidmovie.com.

Andrea Staka was born in 1973 in Lucerne. She has received numerous awards for "Hotel Belgrad" and "Yugodivas", as well as Swiss Film Prize nominations. 2006 Awarded Golden Leopard in Locarno for her debut feature "Das Fräulein". 2007 Awarded Swiss Film Prize, Best Screenplay for "Fraulein". She lives in Zürich. In 2007, Variety picked Ms. Staka as part of their TEN TO WATCH list for Fraulein.

Meredith Drum creates experimental fiction and nonfiction video as well as journalistic short form. Her experimental work has screened at Anthology Film Archives, Participant Inc., Monkey Town and Ocularis. Her journalistic work has screened at Fales Library and Archive at NYU and has been published on the New York Times Tmagazine Online and Good Magazine Online. She is also a creative writer, with poems and stories published by Ploughshares, Pierogi Press and Insurance Magazine.

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SAVE THE DATE!
Long Shorts/Short Shorts
An evening of films & videos by Erika Yeomans, Ilya Chaiken, Andrea Staka & Meredith Drum
Galapagos Art Space February 4th 2009

Interview Series - Night Before the Wedding - Actor James Anthony McQuillan

Actor James Anthony McQuillan on the set of Night Before the Wedding

Tell us one thing about yourself that no one really knows?

One thing no one knows about me is that I sleep on the right side of the bed.

How did you get your start in film?

I was a Sophomore in College when a third year NYU grad student saw me in a production the "Playboy of the Western World" and asked me if I would play a protagonist in one of his thesis films for acclaimed director Spike Lee.

How did you get involved in “Night Before the Wedding”?

It was a clear day in downtown Los Angeles when fabled writer/director David Branin informed me about a film he wanted to bring to fruition. This took place in the bowels of the Shrine auditorium during the 2007 Emmy's. 8 months later we had a full length feature film to sink our teeth into.

What is your role in this project?

I play the role of Corey Sullivan. He works in high finance and is married but with no kids and none on the horizon. He is a wonderful spirited gentleman who cares deeply about his friends and living life to the fullest. Corey is used to high pressure situations and finds himself in a morality battle that he may or may not win. Overall Corey enjoys his partying and thrives in positions that most people would crumble in.

I also handled the props for the film. There’s only one prop I couldn’t acquire, that being a plastic ass. One would think living in a town where pornography trumps all in terms of money and shear production that finding a plastic ass would be as easy as finding someone who works in porn. I was about 7 or 8 smut stores in on Hollywood Boulevard when I discovered this was a challenge. I usually do not frequent these places and all I can say is that there are some interesting people out there and they hang in the porn shops. Unreal.

What were your thoughts when you first read the script?

I was excited because the script contained all the elements of many past great films. Comedy, Drama, and a conclusion that will throw you for a loop. At first I thought it would be a difficult shooting schedule because of all the characters and it all takes place in large part in one room. You have to be doing some captivating stuff to keep the attention of the viewer. The more I read the script the more I felt this was going to be a minor issue due to how well it was written.

What attracted you to working on this film?

I have seen David's previous work "Shoot-Out" and "Honey I'm Home". I enjoyed both projects and felt as though Dave was on his way to big things in the film industry. Of course I wanted a chance to work with him and when he approached me about the 10-15 page script for a short to be shot in a weekend I jumped at the chance. A few days later that plan was scrapped because Dave's brain oozed 45 more pages and then another 45 that spawned a feature. Also, Dave was open to suggestions on flow and plot line not only for the entire plot but we also had a little say in how our characters panned out. I had been itching to get a feature done and this was my chance and I am glad it happened.

What was the most challenging thing you had to face with this project?

With so many characters in one room you have to be aware of how you fit in when you are not the focus of the shot. Keeping Corey true and as real as possible when acting in the background. It is easy to fade off and say I'm not the focus of this shot but you are just as important as anyone else in the shot. Working with so many different personalities was initially a concern but when I arrived on set the energy was electric and everyone had the same look in their eyes and that was a wave of relief. That and the heat. Must have been 125 degrees, maybe more in the garage scenes.

Ali-Reza Nusrat looks down on Actor James Anthony McQuillan
and Actress La'Rin Lane rehearsing a scene.

What did you love most about being involved with this production?

The fact that I was there from the infant stage of the project and saw it through to the end. Watching what Dave created unfold in front of me was both educational as well as exciting.

Is this a film for women to see?

Of course! There are so many characters to follow and women kind of want to know what really happens when their groom to be is going to his Stag party. I am not saying everyone gets down like these guys did but it gives you a great template as to what happens. There are great stories going on and women will be able to find redeeming qualities in this film.

Will you share this film with your Mom?

Considering my Mother had a Screening of "The Big Lebowski" at a convent, I would gladly sit down with her and watch this.

What does this film have that you will not find in a big Studio release?

A reasonability and a realness that allows you to let go of life's dilemmas and delve into the lives of these characters. I think anyone can identify with someone or something in this film.

What makes this a ‘must see’ movie?

The fact that this is the first feature for a lot of the actors so we all brought our A game to make this an interesting film. This is also as close as you can get to being at a bachelor party without attending one. "Night Before the Wedding" should be made available to all colleges and universities around the world as a survival guide to getting through the Stag party.

Films for January & February 2009

La Peña Cultural Center, 3105 Shattuck Ave. in Berkeley.

510-849-2568 - www.lapena.org

Films for January & February 2009

Celebration of the 50th anniversary of the Cuban Revolution. Saturday and Sunday, January 3 & 4. 2009. Saturday, Jan. 3: Filmmaker Saul Landau summarizes 50 years of revolution, highlighted by his film clips of Fidel and Cuba from the 60s to the present. Local Cuba activists will have tables with Cuban literature, art and crafts and will take part in a Q&A panel; mayors of local sister cities will give messages of greetings, and more. Evening will conclude with Cuban music and dancing, featuring DJ Emiliano Echeverria. 7:30pm $10

Sunday, Jan. 4 Celebrate the 50th anniversary with taiko drums and a Shisa lion. Bay Area Japanese American group Tsukimi Kai challenges the blockade of Cuba. Their film, Under the Same Moon, chronicles their cultural exchange and interviews in the Japanese Cuban community. The evocative award-winning film, Man of Two Havanas (dir. Vivien Lesnik Weisman) will also be screened. Local groups will take part with tables and discussion. 7pm $8. No one turned away

Wednesday, Jan. 7
Last Chance for Eden. A documentary by The Color of Fear director Lee Mun Wah, about nine men and women who examine the impact of racism and sexism in their lives, relationships, workplace and communities. 7:30pm $5.

Wednesday, Jan. 28
The Twoness of Oneness. A companion video by Andrea Young from the latest book of epigram by the same title written by Thomas Farber. 7:30pm $10. No one turned away for lack of funds.

Thursday, Feb. 5
Verbobala Spoken Video & special guests. Hailing from Mexico City and Tucson, Verbobala combines Spanglish spoken word and multiple live video projections to create what national newspaper La Reforma calls "a poetry written without letters." Special Bay-Area guests will also perform. 8pm. $10 gen. $8 students w/ID

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Interview Series - Night Before the Wedding - Actor Christopher Guckenberger

Actor Christpher Guckenberger on the set
of Night Before the Wedding

Tell us one thing about yourself that no one really knows?

I spent 3 years in a Military School.

How did you get your start in film?

I was living in Florida, still trying to figure some meaning in my life, and took an acting class to kill some time. Everything in my life about my future that was foggy became crystal clear, and I knew I could do nothing else for a career.

Have you worked with any celebrity actors or directors? Elaborate.

Any director that gives me an opportunity to work with him or her, is a celebrity in my eyes. As for celebrity actors, none currently, but worked with some who I believe will be celebrity’s before it's all said and done.

How did you get involved in “Night Before the Wedding”?

I know the director David Branin and we had talked about doing something for many years, and when he got some funding for a script he had written, he was gracious enough to bring me on board.

What is your role in this project?

I play Adam Finkle in the film, and to me Adam is everything but normal. A guy who is nice to a fault and tries everything and everywhere to fit in, the more he tries, the more distant from normalcy he goes.

What were your thoughts when you first read the script?

I personally thought that there was a lot going on with sub-plots, and a lot of truth that goes on before people get married. That doesn't mean it's always bad, but in a way, you have to come to reason with your past before being able to move forward with marriage.

What attracted you to working on this film?

First the obvious, the story, then the character, I love characters that are complex, that people can't quite figure out. I feel that in me, and I love to bring understanding to roles such as "The Finkle." Sorry, that’s just my little pet name for the character.

What was the most challenging thing you had to face with this project?

I love the character, and I felt compelled to make him and everything he represents come to life. Adam gets rejected quite a bit in the script. I didn’t want him to feel like a victim. I wanted to somehow get the audience to empathize with him and hope that he can turn his circumstances around.

Actor Daniel Sol looks on as Actor Christopher Guckenberger
prepares for his next scene.

What did you love most about being involved with this production?

Working with friends who I respect not only as actors and directors, but as people. Nobody knows exactly how far you will go in this business, so you really have to enjoy the moments that you get to create and be in the presence of people that make you shine.

Is this a film for women to see?

This is a film for women to see if they want to see the truth of what a guy may be thinking of doing or doing. It resonates the change of life from a kid to an adult to responsibility.

Will you share this film with your Mom?

No. My step-mom probably won't understand this or may even disagree with it. It will open up a whole can of worms that I do not want to deal with.

What does this film have that you will not find in a Big Studio release?

Truth, it is a simple story brought to life by characters interacting and growing with each other. Big Studio's are blessed with great opportunities for special effects, but at times I feel the audience is watching the special effects, and not the story.

What makes this a ‘must see’ movie?

It's a must see story for the reason it may change the way you think about the affects of growing up and friends around you, and of course, what really happens the night before the wedding.

SCION ANNOUNCES THE 2009 EASY 10 FILMMAKER SERIES

Scion Partners With 10 Trend-Setting Media Outlets To Present Emerging Talent

2009 Easy 10 Filmmaker Series Premieres In New York On Jan. 22, 2009 And Los Angeles On Feb. 3, 2009.

IRVINE, Calif. — December 16, 2008 — Scion today announced the screening schedule and line-up for the Easy 10 Filmmaker Series. For 2009, Scion has partnered with 10 tastemaking media outlets, from Giant Robot to XLR8R, to select emerging filmmakers to create fresh and relevant cinema. The 10 films will premiere in New York and Los Angeles.

“This year’s program includes 10 short films that feature icons, characters and topics often unseen in modern cinema,” said Jeri Yoshizu, Scion sales promotions manager. “Scion has partnered with select outlets to ensure that each film represents a cultural undercurrent of our time, whether it’s a documentary, animation, drama or work of fiction.”

Founded by Scion in 2007, the Easy 10 Filmmaker Series supports burgeoning filmmaking talent by providing a modest budget and numerous platforms to screen and distribute their creative work. Each filmmaker will be featured in the bicoastal Scion Easy 10 premieres and the Scion Easy 10 Compilation DVD, in addition to receiving individualized promotional materials and paid travel to two film festivals of their choice.

Easy 10 Filmmaker Series Premiere dates and locations:

· New York, NY - Jan. 22, 8:30 p.m. – 12:00 a.m.
Tribeca Cinemas at 54 Varick St.

· Los Angeles, CA – Feb. 3, 8:30 p.m. – 12:00 a.m.
Landmark Theater at 10850 W. Pico Blvd.

The 2009 Scion Easy 10 Filmmaker Series line-up:

AllHipHop.Com presents BDK

From growing up in New York, leading the Golden Era of hip-hop, and his lasting influence in urban culture, legendary Big Daddy Kane talks about his life in the rap game in BDK, a film directed by Anthony Marshall (co-founder of MTV’s “Lyricist Lounge”).

Frank151 presents More Is L.E.S.

From the Lower East Side, Max Perlich’s More Is L.E.S. follows a young man as he comes of age in the historic immigrant, working class neighborhood. Perlich, a filmmaker and actor, has appeared in Gummo, Blow, and Ferris Bueller’s Day Off.

Giant Robot presents The Dwelling

Baltimore native and graduate of the USC School of Cinematic Arts, Sheldon Candis presents an intimate portrait of the rarely documented realities of Tokyo’s homeless population. The Dwelling follows one man who has built a resourceful, imaginative, and functional home within the Japanese high-tech metropolis.

Juxtapoz presents Spare Paint

In a film directed by Alexander Tarrant and Shaun Roberts, San Francisco artists David Choong Lee and Brian Barncelo offer their talents to two homeless men they meet during rush hour. As they paint brilliant and vibrant cardboard signs for their new friends William and Joe, the former home-restoration specialist and Vietnam vet share their stories of life on the street.

RE:UP presents Boxed

A cardboard box is passed around as seven world-class directors and animators come together for an “exquisite corpse” project; where one artist ends, another begins. The two-minute short features the talents of Labour, EVAQ, Miguel Vega, Claire Carre, Akjak, and Destroy Rock Music.

Theme Magazine presents 2 Makes 1

Kenji Hirata, a New York-based painter from Nagasaki, Japan, plays with layers of color and motion to depict the core human acts of love, betrayal, inspiration and redemption. An original member of the Barnstormers art collective, Hirata’s minimal stop-motion film is guided by the Buddhist belief that emptiness is everything eternal.

Traunt/Daily Swarm present The Rock

Director Joey Garfield, known for his urban culture feature films and imaginative music videos for innovative acts like RJD2, The Count and Sinden, and Aesop Rock, presents the whimsical journey of a rock traveling through music’s past, present and future. As forward-thinking minds of the industry discuss musical history, the rock presents the hard and soft sides of the business.

VBS/Vice Magazine present Searching For Montauk

Two renowned filmmakers, Meredith Danluck and Jake Burghart, go on an unlikely exploration for the perfect wave. From the snowy streets of Manhattan to the desolate winter beaches of Long Island, Jake’s backyard adventure leads viewers through a surfer’s paradise.

Wax Poetics Magazine presents East Of Underground

David Hollander, an LA-born filmmaker, DJ, and record collector, tells the story of a U.S. Army funk band that came together to record an LP of soul covers at the height of the Vietnam War. Encapsulating hope in a time of military quagmire, the band’s guitarist recalls the history behind the recording and the significance of funk music during wartime.

XLR8R presents The Bus

Filmmaker Ryan Junell follows John Benson and his friends as they travel from coast to coast in a police street command unit that has been converted into a mobile performance space. Running on veggie-oil and solar power, the vibrant crew of nomads turns heads and melts minds across the U.S.A.

For more information on the films, filmmakers, and premieres, visit www.scion.com/easy10.

About Scion

Scion, from Toyota Motor Sales (TMS), U.S.A., Inc., was developed with a new generation of youthful buyers in mind. Scion's mission is to provide distinctive products, the opportunity to personalize, and an innovative, consumer-driven process at the retail level. The Scion brand features three groundbreaking models. The xD is an urban subcompact five-door, featuring a muscular stance and accentuated wheel flares. The xB, an urban utility vehicle, combines remarkable interior space with iconic styling. And the tC sports coupe surprises the buyer with the convenience of a hatchback and the luxury of a standard all-glass panorama moonroof, complementing the usual wide array of features on all Scions. For more information, visit www.scion.com.

About mBF

malbon Brothers Farms (mBF) is a multi-media creative branding and marketing collective focusing on the art of Nuance Marketing. mBF organically cultivates brands and connects their products to a particular network of people by effectively identifying and utilizing societal cues and cultural nuances to establish brand relevance and authenticity; thus creating a more original and salient brand communication or marketing platform. mBF creates customized marketing campaigns, branded strategies, designs, events and experiences that connect brands to their core consumer. mBF’s headquarters are in the heart of New York City with satellite offices in Los Angeles, Atlanta, Tokyo, Paris, and London. For more information, visit www.malbonfarms.com

# # #

Jamin Winans and Double Edge Films Releases Official "INK" Movie Trailer

Hi everyone,

We're very excited to announce that our new feature film "Ink" is finally complete and we have a trailer for you to see at:



http://www.youtube.com/watch?v=ZBGeErufQdY&fmt=22

We've been working on this film for two years, and yes, you will be the first to see the trailer. We hope you enjoy it and if you're feeling generous, please pass it along to friends.

Many of you helped us make this film and we want to say thanks again for all your support, especially to those who gave us your time.

We also have a new site for "Ink" at http://www.doubleedgefilms.com/ . So once you've watched the trailer on YouTube, come learn more about the film.

Thanks again for watching the trailer and helping us to get word out.

We'll keep you updated as we get closer to the release.

Jamin and The Double Edge Films crew

Interview Series - Night Before the Wedding - Actor Kevin Deen

Actor Kevin Deen on the set of Night Before the Wedding

Tell us one thing about yourself that no one really knows?

I used to be a stripper.

How did you get your start in film?

One of my substitute teachers in high school said that she did extra work. I told her that I wanted to do it too. She told me to look in the yellow pages for talent agencies. I did. I signed with 11 agencies and started working.

How did you get involved in “Night Before the Wedding”?

My friend wrote the part for me and gave me the role.

What is your role in this project?

I play Norm Satyanaraya. Norm is an innocent, simple guy who tries his best to be moral and do the right thing. He can also be a little frugal with money. Norm does not have a lot of experience with the opposite sex. Ironically, his extreme respect for women sometimes turns them off.

What attracted you to working on this film?

The director is a good friend of mine and I've been in several of his past projects. Based on that, it was hard to turn down the part. I was also excited to work with the rest of the cast because I knew most of them and liked them all. I fell in love with the character of Norm. When reading the script, many ideas came to mind as to what I wanted to do with the role. I also have complete trust in how David Branin writes for me. He has a knack for bringing out my best performances.

What was the most challenging thing you had to face with this project?

It was very challenging running away from the set fast enough when I had to fart in order to protect the cast and crew from inhaling my toxic gases.

Actor Kevin Deen poses in a photo with Actress La'Rin Lane

What did you love most about being involved with this production?

I loved getting lost in the character of Norm.

Is this a film for women to see?

Some might enjoy it but I think this film is primarily geared for men.

Will you share this film with your Mom?

I still haven't decided. I think I will definitely tell my parents about it with a warning regarding its contents. If they're okay with that then I just might.

What does this film have that you will not find in a big Studio release?

I've never seen a man do a strip tease for a porn star in a Studio Picture.

What makes this a ‘must see’ movie?

This is a must see movie because it tells a great story and has a good message. Along the way you will also enjoy a lot of laughs.

Interview Series - Night Before the Wedding's Producer/Actor Gregor Collins

Producer/Actor Gregor Collins on the set of Night Before the Wedding

Tell us one thing about yourself that no one really knows?

I used to be a really bad seed. Your average high schooler might TP a house here and there, maybe egg some cars, but I took it to levels I’m not proud of. I actually ended up in jail for doing something really stupid. But you can’t get to the top of a mountain without reaching the rock bottom of a valley, so I’m glad (and so is my mother, God bless her) I got it out of my system early. Not to say I haven’t hit rock bottom many times in other ways after that, and plan on doing it many times more before I leave this earth.

How did you get your start in film?

I majored in Media Production at Florida State, and I moved out to Los Angeles to be a television producer. After a few years of financial abundance yet creative deprivation, I stumbled into an acting class, did David Mamet’s “Sexual Perversity in Chicago”, was convinced I’d bombed, but the teacher insisted I had natural talent and to stick with it. The encouragement was all I needed to get serious. Stage is close to my heart but I soon realized film was where I ultimately belonged.

Have you worked with any name actors or directors? Elaborate.

I had the honor of working with Steven Soderbergh on “Ocean’s 13”. My scene with Brad Pitt was cut from the film, but I had 12 days with a guy I consider one of the most versatile directors of our time. He’s got everything in his head. He’s like this quiet genius. One day during lunch we had a nice, normal conversation, and I’ll never forget the joke he told me: How do you get 20 Canadians out of a pool? Hey, guys? Can you please get out of the pool?

How did you get involved in “Night Before the Wedding”?

David Branin and I share a day-job together. I barely knew him when one day he approached me and told me he had a role he thought I could sink my teeth into. Eight months later, here we are.

What is your role in this project?

I’m a producer, as well as one of the main characters. I play a guy named Bronco. His past is dark, his present, mysterious, his future, ambiguous. He has this persistent melancholy that no one can figure out, including him. He refuses to face his faults. But he is intensely loyal, has a big heart, and deep down is crying for help from someone.

What were your thoughts when you first read the script?

The first time I read the script I thought it had the potential of being ‘Blair Witch meets a bachelor party.’ David and I initially discussed this, and we figured we’d get real life porn stars and people might think it really happened. That soon got squashed, and we were pleased it took on a tone we hadn’t really planned on it taking.

What attracted you to working on this film?

Two things: Being offered a role, and working with a director I considered to be interesting, talented, and professional.

Actor John Keating, Director David Branin, and Actor Gregor Collins collaborate

What was the most challenging thing you had to face with this project?

The most challenging thing for me was to produce, as well as be a major character in the film. As it got close to shooting, I was fearful I wouldn’t be able to pull my weight. But David and Rose Coleman, the other producer, really stepped up and helped us finish it and be proud of it.

What did you love most about being involved with this production?

Seeing my first film from start to finish. I was on set one day, and I excitedly turned to David and I was like, “This is why we’re here!”

Is this a film for women to see?

I’d say the first half of the film is for guys, and the second half is for women, give or take a (racy) scene or two.

Will you share this film with your Mom?

The first TV show I worked on as a producer was ‘Blind Date.’ I sent her the first episode I was involved in, with a proud note that read, ‘Hey, Mom, this is what I’ve been up to!” She called me a week later and told me she didn’t know I was working for a pornographic organization. So I figure if she reacted like that to a fairly tame show, I’m definitely going to try my hardest not to have her see this film.

What does this film have that you will not find in a big Studio release?

Those subtle moments with friends we take for granted… the main character is thrown into a situation we can all relate to… a real-life porn star.

What makes this a ‘must see’ movie?

None of what you see feels recycled. It has an original tone. The entire film takes place in one house the whole time. Within this house we are flies on a wall to what really goes on at a bachelor party. And there are tender moments in the last half that should hit home with a lot of people.

Film Synergy to Launch Interview Series with “Night Before the Wedding” Cast and Crew

Film Synergy is announcing today that it is launching an exciting new Interview Series with various members from the Cast of Crew of the upcoming indie feature film, Night Before the Wedding. This is part of Film Synergy’s initiative to provide top notch content in regards to Independent Filmmaking.


The premise of Night Before the Wedding is one that takes you inside a modern bachelor party. It’s not one of those over the top raunchy comedies. Not to say that the film doesn’t have a wild side.

Here’s the logline: “Before straight-laced William Shay weds his soul mate, he must get through one last wild night with his best buddies…but the party quickly turns serious when he finds himself alone with a real life porn star.”

From L-R - Actors Gregor Collins, John Keating, James Anthony McQuillan, Chad Davis, Frantz Durand, Zane Patterson, and Kevin Deen (on table) prepare for a scene in Night Before the Wedding.

The film was shot primarily in one location, a two-story house in North Hills, CA. It is an ensemble piece that features 17 actors and actresses, including a platinum selling rapper and an adult film star. The film is now in Post-Production and is expected to reach public audiences in 2009.