Professional Documents
Culture Documents
Universal Film Magazine Issue 7
Universal Film Magazine Issue 7
59
UNIVERSAL FILM
www.ufmag.org
ISSUE 7 OF 2012
MAUREEN OHARA
LIFE
OF
Pi
TARRANTINO
DJANGO
UNCHAINED
THE
COMPANY
YOU KEEP
P.14
Issue 7 of 2012
About UFM
The Universal Film Magazine is
a free magazine that delivers
passionate and creative coverage
about the global film and festival
communities. The publication
differs from the competition because it is totally free.
It is the mission of the Universal
Film Magazine to uphold our
uncompromising high standards
in professional journalism with
compelling stories that are unbiased and fact-based.
We are committed to the advancement of the industry by
providing the very best in-depth
features and coverage that will
have a positive impact in the
world. We aim to give our readers
motivational and inspirational
stories that embrace the spirit of
independent film and festivals
and give them a voice in the
media.
Universal Film
Magazine
Editor TYRONE D MURPHY
Creative Director DOM MURICU
Proof Editors TODD VOLZ
MICHELLE GOODE
KATE SPATOLA
PAUL PASTOR
Photographer KEVIN A MURPHY
Marketing Director EV JOHNSON
Editor-in-Chief
Tyrone D Murphy
ISSN 2050-1293
Copyright Notice:
All editorial content and graphics on this site are protected by copyright
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of this site content and graphics for any purpose is strictly prohibited.
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DISCLAIMER: Readers should consult with a lawyer before solely relying on
any information contained herein.
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Contents
FEATURED STORIES:
5
9
WHATS IN A TITLE
Richard Morrison has designed the title sequences for the greatest movies of all time
AMMA ASANTES BELLE
Django Unchained
P.7
STREET PREACHERS
17 MANIC
The Manic Street Preachers are a
3D STEREO MEDIA
IN PARIS
27 AA MONSTER
Monster in Paris is a French CGI and 3D ani-
Life of PI
P.25
MARSHALL NEILAN
62 DIRECTOR
A look at the life and body of work of the
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by J.R. Beardsley
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by Dean Wares
Richard says Normally, the running of the front titles is a period during which the audience rustles popcorn, makes small
talk with their neighbours, or simply explores their seat for
long-range comfort.
an initial cold
period
However, a strong main title or sequence can be sufficiently provocative and entertaining to induce the audience to sit down and look and listen as something
is really happening and communicating with them onscreen.
I believe at this moment it is possible to project a symbolic
forecast of what is to come and to create a receptive atmosphere that will enable the movie to begin on a seamless and
higher level of audience participation.
The end of the movie when the credits start is again another
chance to graphically communicate and reintroduce the visual
style, which is unique to each movie. Like a book has a front
and back cover.
Frankenweenie is one of an incredible 15 films we have created
the titles for in the last year alone, including THE COLD LIGHT
OF DAY for Mabrouk El Mechri, Kasper Barfoeds THE NUMBERS
STATION starring John Cusack, Eran Rikliss ZAYTOUN, NOW
IS GOOD for Ol Parker and WELCOME TO THE PUNCH for Eran
Creevy starring James McAvoy and Mark Strong.
Were currently working on an exciting new HBO feature MUHAMMAD ALIS GREATEST FIGHT for Stephen Frears, having already completed an HBO film PHIL SPECTOR BIOPIC starring Al
Pacino for David Mamet earlier in the year. The Ali film is also
the second film we have done for Stephen Frears this year, as
we created the title sequence for the comedy drama LAY THE
FAVORITE starring Bruce Willis.
www.richardmorrison.wordpress.com
www.richard-morrison.co.uk
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Issue 7 of 2012
CME Visual
CME
Film Production
Cinematic Intros & Trailers
CME Visual offer a full film production and post production editing service
SPECIAL RATES
Universal Film
Issue 7 of 2012
Django
Unchained
D
jango Unchained is an upcoming western film written and directed by Quentin Tarantino. The film stars Jamie Foxx,
Christoph Waltz, Leonardo DiCaprio, Kerry
Washington and Samuel L. Jackson. The
film is scheduled to be released on December 25,
2012 in North America. Principal photography
started in California in November 2011, Wyoming
in February 2012,[4] and at the National Historic
Landmark Evergreen Plantation in Wallace, Louisiana, outside of New Orleans in March 2012.
Django Unchained is set in the Deep South,
and follows Django (Foxx), a freed slave who
treks across America with Dr. King Schultz
(Waltz), a bounty hunter. The film is inspired by
the 1966 Sergio Corbuccis spaghetti western
Django, with star Franco Nero having a cameo.
Django (Jamie Foxx) is a slave living in the
Deep South after having been separated
from his wife Broomhilda (Kerry Washington).
When Django is held for a slave auction, Dr.
King Schultz (Christoph Waltz), a German
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COMMITTED TO FILM
Committed is an English-language feature film set on the Mediterranean island of Cyprus.
Its a comedy about a chance meeting between a man trying to escape the pressure of proposing to his girlfriend and a runaway bride. Its a road-trip movie in the spirit of When Harry Met
Sally with a big twist at the end. When government film funds were cut, South African Cypriot
filmmaker Stelana Kliris decided to treat this as an opportunity to be really creative and resourceful. She wrote and designed Committed so that it would cost next to nothing without
losing its artistic or technical integrity. This film will not only tell a good stroy, but it will also
promote the film industry of Cyprus and the country of Cyprus itself. A heartfelt venture worth
supporting.
www.indiegogo.com/committed
ROME FILM
FESTIVAL
he 15th of december 2012 is
the deadline for submitting
to the 12th Edition of the RIFF
(Roma Independent Film Festival) that will take place in Rome
at Nuovo Cinema Aquila in Rome,
from the 4th to the 12th of April
2013.
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PITCH YOUR
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HOLLYWOOD
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Calgary
Student
Film
Festival
In September, we sat down and
thought about how difficult it is
to find other people interested
in film production. There are
teams in Calgary that make movies, sure, but there isnt a wide
reaching community, and especially not of youth. Enter the Calgary Student Film Festival, our
attempt at solving this problem.
The Calgary Student Film Festival is a new event in 2013 created by students for students
which seeks to showcase student talent in high schools,
promote competition between
schools in the arts, and build a
community of young filmmakers. Films no more than seven
minutes in length will be created and submitted by students
in Calgary and surrounding area
representing their schools. The
submission deadline for these
films is April 5th. To work toward
cultivating a talented network
of young filmmakers, these films
will be critiqued by industry experts in a workshop environment
before being screened on May
11th at Cardel Theatre and juried
for awards and prizes. Awards
will be based on a combination
of originality, writing, cinematography, and editing. Finally, a
Peoples Choice award will be
included, as voted on by the audience.
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Universal Film
Issue 7 of 2012
Are you looking for the secret decoder ring owned by all successful
screenwriters? Or at least a map with
a spot marked X? Sit down with Max
Adams.
The Screenwriters Survival Guide
delivers 65 chapters ranging from
Dont Write Batman to What You
Really Get Paid. Other topics include
pitching, the screenwriters uniform,
meetings, the etiquette of getting
read, navigating social media, and
the care and feeding of agents
along with lists of screenwriters
directories and organizations, a
generic release form, examples for
cover pages and query letters, and
other useful resources.
Adamss authority is unmistakable.
After scooping up the prizes at a
number of prestigious screenwriting
contests including the Nicholl
Fellowships in Screenwriting and the
Austin Film Festival, Adams launched
her Hollywood career with a big spec
script sale (Excess Baggage). The
book shines with Adamss streetwise
attitude. She shares her worst
Hollywood memories the cold
calls to producers, the credit arbitrations, and the meetings, meetings,
meetings as well as her victories.
Max Adams has the inside story on
the writers life in Hollywood. Now,
you will too.
http://the-screenwriters-survivalguide.com
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Issue 7 of 2012
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The
Manic Street
Preachers
The Manic Street Preachers are a
Welsh alternative rock band that was
formed in 1986 in Blackwood, South
Wales and consists of James Dean
Bradfield (lead vocals and lead guitar), Nicky Wire (bass guitar and lyrics)
and Sean Moore (drums and percussion). The band is part of the Cardiff
music scene, and were at their most
prominent during the 1990s. They are
colloquially known as The Manics,
or simply, Manics. Originally a quartet, the band became a trio when
primary lyricist and rhythm guitarist
Richey Edwards disappeared on 1
February 1995.
In 1992, the Manics released their
debut studio album, Generation
Terrorists. Their combination of
androgynous glam punk imagery
and critical social lyrics about culture, alienation, boredom and despair soon gained them a loyal
following and cult status. The bands
later albums retained a leftist politicisation and intellectual lyrical style
while adopting a broader alternative
rock sound.
The band
is part of the
Cardiff Music
Scene
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Issue 7 of 2012
wondered what their secret to success was this film will show what set them apart from
the rest; their unbounded motivation and self
propelled zeal to succeed.
Stifled by a stagnant and fruitless music scene
in the UK, Cardiff and Newport the motley
foursome sell their rare indie records to fund
their first Pay to play gig in London. The film
features an honest and frank running commentary from the current trio - they reminisce
charming moments like the picnic in the park
after reaching London too early, the pivotal gig
at The Horse and Groom and also recount how
the late Richie Edwards obliviously played a
fruit-machine as the other band members were
being interviewed ... this timely memento is not
only an exhibition of their vulnerabilities and
their insecurities but also highlights their determination to win over their critics during this
productive era.
We learn about the endless, passionate letters
they wrote about their inspirations and beliefs
to potential labels and promoters. And then,
after months of gigging and self promotion we
see their efforts bloom into fruition as they
grace the cover of NME for the first time, sign
with Heavenly Recordings and release You
Love us and Motown Junk. We then go on to
share their joy and excitement as they reach
the Top 40 for the first time and also have the
pleasure of performing on Top of the Pops.
One of the most likeable things about this
documentary is the drama; The disappointment of failing to crack America, followed by
the shock and surprise of being mobbed by
hundreds of Japanese fans this film invites
you to experience that riotous time and place
in welsh rock folklaw.
After years of hard work the efforts of their
labour are rewarded as they sign to Columbia
and collaborate with producer Steve Brown to
record a collection of singles. Unintentionally,
the recording with Brown lasts up to ten weeks
and in February 1992 they release their timeless masterpiece.
Theres no denying that Generation Terrorists
is the reason why the Manics transcended other
groups during this innovative period and went
on to become one of Wales biggest exports.
Featuring the notable Motorcycle Emptiness
,the thrilling You Love us and also the bonus
track Theme from M*A*S*H (Suicide is Painless).
Beautifully re-packaged and carefully re-mastered, this classic sounds as mind-blowing and
exciting as it did in 1992. Happy Anniversary!!
The double Legacy Edition of Generation
Terrorists featuring the mentioned DVD is out
now.
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by Iesten B Jones
Universal Film
Issue 7 of 2012
UFFO
FOUNDER JOINS
BAFTA COMMITTEE
he founder of UFFO, the Universal Film & Festival Organization, Tyrone D Murphy was voted
onto the BAFTA committee unopposed. The
appointment was announced at the BAFTA
AGM on the 26th november. Murphy is also an
award winning filmmaker and editor of the Universal
Film Magazine.
The Academy has a membership of 6,500 individuals
in the UK and the US and celebrates excellence at its
internationally-renowned, annual BAFTA Awards ceremonies. The Academy is committed to sharing insights
into the crafts of the people who work in film, television and games by staging over 200 public events a
year across the UK and beyond.
This wide-ranging programme of events gives members, the industry and the public at large many opportunities to learn first-hand from the finest practitioners
in the business. BAFTA online, at www.bafta.org
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3D Stereo MEDIA
by Tyrone D Murphy
In addition to the professional and scientific conferences, and a training session for 3D filmmakers and students, 3D Stereo MEDIA also features a 3D Film Festival
and the first 3D co-production Film Market in Europe.
This year, the international reputation of 3D Stereo MEDIA is bearing fruit. Indeed, the International 3D Society (Hollywood, California) chose our event to organize
jointly their European 3D Creative Arts Awards. These
prizes reward the best film and television productions in
3D in Europe, the Middle-East and North Africa.
For the fourth year, the 3D Film Festival will also be held
in the framework of 3D Stereo MEDIA. This year again,
Ben Stassen will be the president of the jury. Over sixty
S-3D movies were submitted to the Film Festival. Twenty
S-3D movies have been nominated in six categories. The
now famous Perrons Crystal will be handed out to the
winners of each category during the Awards Ceremony
on 6 December at 8:30pm (Royal Opera House of Lige).
The 3D Film Mart has been developed for 3D Stereo MEDIA by TWIST and peacefulfish. It is mainly funded by the
regional government of Wallonia, and by the MEDIA Programme of the European Commission (EC) which gives
it wide visibility and a significant notoriety in Europe
and beyond. For this second edition, we have received
3D Stereo MEDIA is now recognized as the most comprehensive event dedicated exclusively to ALL forms of
3D imaging (stereoscopic, holographic, integral...). 3D
Stereo MEDIA aims to encourage interaction between
3D artists, scientists, engineers and businessmen.
Press kit : www.3dstereomedia.eu/press
Contact: Alain Gallez c/o Eventis
+32 (0)4 233 62 97 alain@3dstereomedia.eu
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THE
COMPANY
YOU KEEP
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Issue 7 of 2012
Jim about the arrest. Billy is surprised and disappointed that Jim doesnt want to take Sharons case, and he
conveys this information to Ben when Ben questions
him. Ben pursues Jim and tries to question him, but
Jim tells him to get lost.
Spooked by the investigation, Jim takes his 11-yearold daughter, Isabel (Jackie Evancho), and drives to a
bus station at the Canadian border; there, he buys bus
tickets to Toronto. He tells Isabel that they are taking
a little trip. A neighbor has filed a missing persons
report. Ben tells the FBI about the report and that a
middle-aged man matching Jims description bought
bus tickets to Toronto. Ben has also found out that
Mimi Lurie (Julie Christie), an accomplice in the Michigan bank robbery, was last seen in Canada.
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he Company You Keep is a 2012 political action thriller, produced and directed by Robert
Redford. The script was written by Lem Dobbs
based on the 2003 novel of the same name
by Neil Gordon. Produced by Nicolas Chartier
(Voltage Pictures), Redford and Bill Holderman, the
movie filmed in Vancouver in autumn 2011
Universal Film
Issue 7 of 2012
LIFE OF PI
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Pi takes a curious interest in the animals, especially a Bengal tiger named Richard Parker (after
a clerical error); to teach him the reality of the tigers nature as a carnivore, Pis father forces him
to witness it killing a goat. He is raised Hindu and
vegetarian, but at 12 years old, he is introduced
to Christianity and then Islam, and starts to follow
all three religions (as an adult he states that he is
Catholic-Hindu, and when asked if he is also Jewish, he replies that he lectures in Kabbalah at the
university).
When he is 16 (and experiencing first love), his father decides to close the zoo and move to Canada,
transferring the animals in the zoo in the process.
They book passage for themselves and their animals (to be sold in North America) on a Japanese
freighter named the Tsimtsum. The ship encounters a heavy storm and begins to sink while Pi is
on deck marveling at it. He tries to find his family, but is thrown overboard with a lifeboat, and
watches helplessly as the ship sinks, killing his
family and its crew.
26
ife of Pi is a 2012 American adventure drama film based on Yann Martels 2001 novel
of the same name. Directed by Ang Lee, the
film is based on an adapted screenplay by
David Magee, and stars Suraj Sharma, Irrfan Khan,
Grard Depardieu, Tabu, and Adil Hussain. Visual
effects are by Rhythm & Hues Studios.
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A MONSTER
IN PARIS
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LONDON CRITICS
CIRCLE FILM AWARDS
JOIN WITH MISSING PEOPLE
ANNOUNCE 2013 DATE
Since the first edition in 1980, the London Critics Circle Film
Awards have become an anticipated and respected fixture in
the annual film calendar. The awards are unique in that they
represent the opinions of the UKs leading film critics and are
held in aid of a charity. In recent years guests and award winners have included Daniel Craig, Quentin Tarantino, Cate Blanchett, Michael Caine, Sienna Miller, Martin Scorsese, Vanessa
Redgrave, Emma Thompson, Marion Cotillard, Kate Winslet and
Lord Attenborough.
This years ceremony drew a star-studded red carpet with
guests including Michael Fassbender, Jean Dujardin, Carey
Mulligan, Kenneth Branagh, Olivia Colman and iconic filmmaker Nicolas Roeg, who was presented with the Dilys Powell
Award by Donald Sutherland. Winning films included international hits The Artist and A Separation, both of which went on
to receive further acclaim at the BAFTA and Academy Awards.
British films were also strongly represented with other awardwinners including We Need to Talk About Kevin,Shame, Senna,
Weekend, Tyrannosaur, The Iron Lady and Tinker Tailor Soldier
Spy.
Chairman of The Critics Circle Film Section, Jason Solomons,
comments: I am delighted that we are working with Missing
People to present this years ceremony and raise the profile of
this charity, which does important work on behalf of missing
children and adults and their families.
The London Critics Circle Film Awards stand out from the
crowd they are a part of the awards calendar and conversation
by Tyrone D Murphy
and they also highlight film achievements that may be overlooked by other awards events. And I am also delighted that our
event will be staged at BFI Southbanks legendary venue for a
third year, cementing our awards position at the very heart of
British film culture, heritage and industry.
Chairman of Missing People, John Reiss, adds: We are immensely grateful to the Critics Circle for making us the charity
beneficiary of their prestigious Film Awards, an occasion which
will mark the start of our 20th anniversary. Missing People is
a 24/7 lifeline when someone disappears. We are a lifeline at
2am when a frightened teenager rings from the streets. We are
a lifeline to the family of the elderly father who has not been
seen since he went to the shops. We are a small charity but
punch way above our weight in responding to situations such
as these.
About The Critics Circle
Established in 1913, The Critics Circle is the oldest organisation of its kind in the world, with more than 400 members who
work in the UK media as critics of drama, art and architecture,
music, film and dance. The Film Section has more than 120 voting members working as film critics, journalists and broadcasters, and has presented its awards annually since 1980. www.
criticscircle.org.uk
About Missing People
An estimated 250,000 people go missing each year in the UK.
The youngest of those can face physical and sexual abuse
while 1 in 4 missing adults end up sleeping rough. Missing
People has a team on hand 24 hours a day, providing a confidential free lifeline when someone disappears. The charity
also coordinates a UK wide search network of volunteers, community and media partners. For every 1 donated the charity
delivers 2 of value, enabling the safe reconnection of 1,051
missing people last year. www.missingpeople.org.uk
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Coleen Moore
The contract to Griffiths Triangle-Fine Arts was conditional on passing a film test to ensure that her heterochromia (she had one brown eye, one blue eye) would
not be a distraction in close-up shots. Her eyes passed
the test, so she left for Hollywood with her grandmother
and her mother as chaperones. Moore made her first
credited film appearance in 1917 in The Bad Boy for
Triangle Fine Arts, and for the next few years appeared
in small, supporting roles gradually attracting the attention of the public.
Two great passions of young Moores were dolls and movies; each would play a great role in her later life. She and
The Bad Boy was released on February 18, and featured
her brother began their own stock company, reputedly
Robert Harron, Richard Cummings, Josephine Crowperforming on a stage created from a piano packing
ell, and Mildred Harris. Two months later it was
crate. She admired the faces she saw on the silver
followed by An Old Fashioned Young Man, again
screen and on magazine covers. She had resolved
with Robert Harron. Moores third film was Hands
Coleen
at a young age that she would be not only an acUp! filmed in part in the vicinity of the Seven
starred in
tress, but a star.
Oaks This was her first true western. The films
over 50
scenario was written by Wilfred Lucas from a
movies
Her aunts, who doted on her, indulged her other
story by Al Jennings, the famous outlaw who
great passion and often bought her miniature
had been freed from jail by presidential pardon
furniture on their many trips, with which she furby Theodore Roosevelt in 1907. Monte Blue was in
nished the first of a succession of doll houses. Another
the cast and noticed Moore could not mount her horse,
one of her passions was to get married. She didnt have
though horseback riding was required for the part. Blue
the best luck; Moore was married four times. Her first
gave her a quick lesson essentially consisting of how to
marriage was to John McCormick of First National Stumount the horse and how to hold on for dear life. He
dios. Moores second marriage was to Albert P. Scott;
also suggested she go out and get lessons. In a climactic
this marriage was short. She married Homer Hargrave in
scene she was locked in a closet and was able to scream
1936; he provided funding for her dollhouse. After Harher head off for the camera.
grave died in 1964, Moore took many years to get over
her grief. In 1982 Moore married her final husband, Paul
On May 3, 1917, the Chicago Daily Tribune said: Colleen
Maginot.
Moore contributes some remarkable bits of acting. She
is very sweet as she goes trustingly to her bandit hero,
The family summered in Chicago, where Moore enjoyed
and, O, so pitiful, when finally realizing the character of
baseball and the company of her Aunt Lib (Elizabeth,
the man, she goes into an hysteria of terror, and, shriekwho changed her name to Liberty, Lib for short) and
ing Daddy, Daddy, Daddy! beats futilely on a bolted
Libs husband Walter Howey. Howey was the managing
door, a panic stricken little human animal, who had not
editor of the Chicago Examiner and an important newsknown before that there was aught but kindness in the
paper editor in the publishing empire of William Ranworld. About the time her first six-month contract was
dolph Hearst, and was the inspiration for Walter Burns,
extended an additional six months, she requested and
the fictional Chicago newspaper editor in the play and
received a five weeks release to do a film for Universals
the film The Front Page.
Bluebird division, released under the name The Savage.
This was her fourth film, and she was only needed for
At the time, Chicago was the center of the motion picture
two weeks.
industry in America. Essanay Studios was within walking
distance of the Northwestern L, which ran right
Soon after, the Triangle Company went bust, and while
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Developing
films within the
Film Community
by Kevin Murphy
Filmcontact.com has just announced the launch of
Film Projects, an innovative way to develop films
by harnessing the collective talents of professional
filmmakers to move projects forward as a community.
Lilian Baksalevowicz, the founder of FilmContact.
com, says that this fresh concept is based on the
trend of crowd sourcing and aims to get the film
industry involved to offer their services at a discounted rate that will take new projects to the level where completion finance can be attained from
traditional channels.
Filmmakers can add their film project to the system and specify the crew, equipment and services
they need. In turn members can show their interest
to the project with their offer of a special deal.
Another source of income is product placement,
where the project creator can specify which products in the film can be branded. For example, if a
scene requires a hotel, establishments in the area
of the shoot can invest in turn for brand exposure.
The embedded advertising possibilities are endless, says Lilian. The project creator just has to
look through their script and every product can be
bartered for fees or a film credit.
To view new projects, continue to www.filmcontact.com/projects
This original concept fulfills the need to keep production levels stable in a slowing economy and at
the same time bring new projects to the forefront
with the professional support from the industry.
FilmContact.com has been the industry source for
news and jobs for over eight years and we have
the largest database of professional South African filmmakers to pull the resources together,
says Lilian. We intend to promote the system on
an international scale. We are most excited by the
industrys response in the last couple of days and
look forward to bringing this collaboration as an
innovative way to make films.
To add a new project, just login to www.filmcontact.com and Add my Project for immediate exposure and awareness to the industry.
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REAL LIFE
STORIES OF
STRUGGLE
AND COURAGE
FROM
AROUND
THE WORLD
To Say GoodBye
by Matt Richards
August 2012. I was working on a TV
series in the UK when I received an
excited phone call from my producer and co-writer, Izaskun Arandia,
saying that our animated documentary To Say Goodbye had been accepted into the 2012 San Sebastian
International Film Festival. Whats
more, it was in competition for the
prestigious Serbitzu Award.
This was our first feature-film and
our first Festival entry, so the news
was fantastic, especially for Izaskun
who is from San Sebastian and had
been attending the festival for
20-years as a film fan.
A LIFE ON HOLD
CHILDREN OF
THE JAGUAR
AN INDIGENOUS COMMUNITY IN
THE AMAZON JUNGLE TAKE ON
THE COMBINED MIGHT OF THE
GOVERNMENT AND AN OIL
COMPANY IN ORDER TO SAVE
THEIR WAY OF LIFE AND THE
RAINFOREST THEY LIVE IN.
WATCH AT
BIT.LY/JAGUAR-TRAILER
However, my elation was soon tempered by the fact that the film was
only two-thirds finished and work
on the sound design hadnt even
started. We literally had six weeks
to the Premiere and significantly
less than that to satisfy the Festivals entry demands. While Izaskun
worked tirelessly around the clock
to ensure everyone remained reassured even if she wasnt - I set
about completing the film.
Somehow, we managed to complete
the animation by the end of August
and in early-September I flew to
San Sebastian to work on the sound.
By this stage, Izaskun had managed to get a poster designed and
printed, set up a website and managed to persuade key characters in
our film to attend the Premiere. Not
only that, she had employed a press
team who had arranged interviews,
photocalls and TV appearances for
us during the Festival, and she had
also secured a host of sponsors for
our post-screening party and had
even invited Tommy Lee Jones and
Ewan McGregor!
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MAUREEN OHARA
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SCREEN LEDGEND...
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1945
The Spanish Main (Character Contessa Francesca)
OHara: Pairing me with Paul Henreid, one of my more decorative roles.
1946
Sentimental Journey (Character Julie Beck / Weatherly)
Sentimental Journey was every bit the smash hit that I thought it would be. It was a rip-your-heart-out tearjerker that reduced my
agents and the toughest brass at Fox to mush when they saw it.
1946 - Do You Love Me (Character Katherine Kitten Hilliard)
The musical Do You Love Me? was one of the worst pictures I ever made. Neither Dick Haymes nor Harry James could save it.
1947 - Sinbad the Sailor (Character Shireen)
Playing Shireen, the glamorous adventuress who helps Sinbad (Douglas Fairbanks Jr.) find the hidden treasure of Alexander the
Great. Ridiculous. The picture made a pot of money for RKO action-adventures almost always did.
The Homestretch Leslie Hale
1947 - Miracle on 34th Street (Character Doris Walker)
I have been mother to almost forty children in movies, but I always had a special place in my heart for little Natalie. She always
called me Mamma Maureen and I called her Natasha.
1947 - The Foxes of Harrow (Character Odalie)
Lilli DArceneaux With Rex Harrison and Victor McLaglen at 20th Century-Fox. Harrison and I disliked each other from the
outset. Hollywood might have called him the greatest perfectionist among actors, but I found him to be rude, vulgar, and arrogant.
1948 - Sitting Pretty (Character Tacey King)
With Robert Young... it made a fortune, even winning the Box Office Award for that year.
1949 - A Womans Secret (Character Marian Washburn)
I made no attempt to keep it a secret that I thought the story stank. Dore Schary reminded me that I still had a one-picture-a-year
obligation to RKO..
1949 - The Forbidden Street (Character Adelaide Addie Culver)
Alternative title: Britannia Mews (UK). Shot in London. The only reasons for you to watch this picture today on television are to see
Dana Andrews do a nice job in a dual role, or to watch the fine character actress Sybil Thorndike steal the picture.
1949 - Father was a Fullback (Character Elizabeth Cooper)
OHara: A comedy stinkeroo that got more yawns than laughs.
1949 - Bagdad (Character Princess Marjan)
An escapist adventure and my first picture with Universal. They called these tits and sand pictures. We shot the film on location in
the Alabama Hills of Lone Pine, California.
1950
Comanche Territory (Character Katie Howard)
The film in which I mastered the American bullwhip. By the time the picture was over, I could snap a cigarette out of someones
mouth.
1950 - Tripoli (Character Countess DArneau)
Directed by OHaras second husband, William Houston Price. To be fair, Will did a credible job of directing the picture. He managed to stay sober during the production.
1950 - Rio Grande (Character Mrs. Kathleen Yorke)
The final instalment of John Fords cavalry trilogy, based on three short stories by James Warner Bellah that Ford had read in the
Saturday Evening Post. From our very first scenes together, working with John Wayne was comfortable for me.
1951 - Flame of Araby (Character Princess Tanya)
Cast as a Tunisian princess I wasnt up to making another lousy picture and wanted to save myself for a great performance in The
Quiet Man. But Universal made their intentions known right away: Make the movie or be suspended. I had no choice but to make it.
1952 - At Swords Point
(Character Claire)
The plot of the movie is a little hard to swallow, but it was fun as hell. The sons of the original Musketeers ride to the rescue, with
just one exception. I play Claire, the daughter of Athos. Cornel Wilde was cast as my leading man, (DArtagnan). I trained rigorously
for six weeks with Fred Cavens and his son to perfect my stunt sequences.
1952 - Kangaroo (Character Dell McGuire)
An Irish immigrant, Michael McGuire (Finlay Currie), and his daughter Dell (OHara) are Australian cattle pastoralists who face poverty and death during the drought of 1900. OHara: The director Lewis Milestone rewrote Martin Berkeleys story. He destroyed a
good, straightforward western.
1952 - The Quiet Man(Character Mary Kate Danaher)
OHara: I have often said that The Quiet Man is my personal favourite of all the pictures I have made. It is the one I am most proud
of, and I tend to be very protective of it. I loved Mary Kate Danaher. I loved the hell and fire in her.
1952 - Against All Flags (Character Prudence Spitfire Stevens)
With Errol Flynn. OHara: I respected him professionally and was quite fond of him personally.
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Film
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Issue 7 of 2012
Issue 7 of 2012
A Century of Cinema
Herself
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In 2013, Simon Phillips new directing methods Tool of Directing will be promoted at introductory events
in Scotland, Northern Ireland and Wales as part of a national rollout funded by Creative Skillset, ending in a
week-long, London-based seminar for selected participants from the regional workshops. Simons internationally-acclaimed seminars deliver practical methods that bring new insight and clarity to the complex tasks
of working with actors, writers and cinematographers. Simons ground-breaking techniques give directors
their own unique methodology relating specifically to the directors craft and bring new insight and clarity
to the complex task of directing, guiding participants through the development of emotionally moving storytelling in film. More details on the Guild website in January - www.dggb.org
Universal Film
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A GOOD
DAY TO
DIE HARD
Universal Film
Issue 7 of 2012
PIXOVI
by Cori Blaze
My phone rings. The voice on the other end is Devin Halden himself. Immediately I fear my meeting/interview
will be cancelled, the unfortunate commonality of many
other scheduled meetings with other CEOs/Entrepreneurs- probably a result of me not coming from Variety,
Hollywood Reporter, or some other tech or trade magazine that will be seen by millions of readers. InsteadHalden has just invited me instead to his office-Our
scheduled hour-long meeting has just turned into a
daylong adventure into the creative and business
world of Devin Halden.
Sorry for the change of plans, I just feel experiencing what I do is better than me simply
telling youplus, I have a ton of stuff happening right now---The first words out of Haldens
mouth as I take my seat on the other side of his
desk.
work
I had just read an article about Devin Haldens VOD platform, Pixovi Movie Network. The article highlighted Haldens vision of the future for monetizing VOD as well as
the direct implementation of social networks to assist
in the viral-delivery of content. Intrigued with the concept, and maybe more so with the concepts brainchild, I
began digging deeper into the depths of the internet to
learn more about Devin Haldenwho is he, where did he
come from, what else has he done.I needed to know.
Devin Halden, a 34 year old resident of Minnesota,
graduated from the University of St. Thomas. While at
St. Thomas, he studied advertising, was Captain of the
Rugby team, and worked for a local entrepreneur and
restaurateur. Seems pretty normal to me.so far. Upon
graduating in 2001, Halden was still uncertain what he
wanted to doand where he wanted to do it. On a whim,
Halden decided he would move to Los Angeles and be a
copWHAT! It didnt take long for him to realize his passions obviously pulled him in a different direction, so he
decided to go back to graduate school and pursue a career in advertising.
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of the my favorite steps in the creative process is the birth of a new idea
or concept. It allows me to work with
the many incredibly intelligent and
talented people I surround myself
with everyday.
Halden is a believer in working with
the best to achieve the best. As we
walk around his office, he shows me
concept art for a few of the projects
he is working on. One such project,
currently titled, Flight of the Sky
Shepherd , was written by Halden
and is almost ready to move into
development. It will be an animated
feature film, and based on the plot
and storyline he pitches me, is certainly nothing that has been done
before.
Halden also shows me concept art
for two other feature films, Persecuted, and Crowing Lakes, both Executive Produced by Kevin Sorbo, whom
he has built a valued friendship with
over the years and whom speaks very
highly of. In 2009, Halden started
SolCo Entertainment with one of his
producing partners, Andy Salmen.
Both share a passion for film and have
an eye for story. They are currently
working on a slate of films with another production and finance group
out of New York. Each film is moving
into pre- production and hopefully
ready to shoot if financing falls into
place as expected.
There is no question, finding the
money to develop, produce and deliver the concepts to an audience is
the most daunting.
At this time, Halden takes a phone
call from one of his producing partners in LA. Halden has been working
with Adam Jones and his team on a
high-concept puppet show to be produced as a web series. Halden is one
of the most positive and energetic
people I have ever listened to speak.
From my position, sitting in a chair on
the other side of the desk and listening to only what I can hear from Halden, it appears the call is regarding
issues or a problem. Halden calmly,
yet methodically, talks through the
issue with optimism, not allowing the
others on the other end of the phone
to dwell on a negative issue.
As Halden hangs up I am able to
delve into his process on selecting
projects.
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CHILDREN OF
THE JAGUAR
AN INDIGENOUS COMMUNITY IN
THE AMAZON JUNGLE TAKE ON
THE COMBINED MIGHT OF THE
GOVERNMENT AND AN OIL
COMPANY IN ORDER TO SAVE
THEIR WAY OF LIFE AND THE
RAINFOREST THEY LIVE IN.
WATCH AT
BIT.LY/JAGUAR-TRAILER
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Universal
Film &
Festival
Organization
Best Business Practices for Film Festivals
No 1: Film Festival organizers should operate a
transparent selection process and publish details
of the selection process and the names of the Jury/
selection committee (publication can be after a
festival concludes)
No 2: Film festivals organizers should provide full
contact details for the festival offices including
address and telephone numbers and the names of
the festival directors and or committee
No 3: A Film Festival should publish its legal status
as a company, charity or non-profit (this only applies to a registered entity)
No 4: Film festival organizers should not share filmmakers financial data with any third parties
No 5: Film Festivals should publish a year by year
history of festival winners and films officially selected
No 6: Film festival organizers, committee and or
jury should not show or demonstrate any favouritism to any film submitted to the festival or attempt
to influence other members of the jury or selection
committee
No 7: Film Festivals should declare the number of
films sought and/or invited by the festival organizers to participate in the festival prior to and before
the general call for submissions is sent out
No 8: Film Festivals should provide the names of
the selection committee and/or jury members who
viewed the submitted film screeners to the festival
(this could be after the festival has concluded)
No 9: Film festival organizers should view at least 5
minutes of all submitted films
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BLACKLISTED
THE SAGA CONTINUES
been busy conducting their own damage control. Several moderators have resigned from the Film Festival Organizers forum
for fear of a libel action or backlash from filmmakers. One
has even removed herself from her own festival, and another
was quoted as saying, I have been busy salting away money
in Swiss Bank Accounts. Others have taken steps to profess
innocence and counter any backlash from the filmmaking
community.
Racist and
These incidents were wholeheartedly supIn particular, one of these people is festival organizer,
homophobic
Jeff Ross. Ross runs three film festivals: the SF Indeported by the moderators of the forum, who
content for
pendent Film Festival (SF Indie), the SF Documentary
were themselves film festival organizers. It may
Festival (DocFest) and Another Hole in the Head. Ross
entertainseem very odd to the casual observer that film
was one of the main instigators in the blacklisting, and
ment
festival professionals would dare behave in a way
he revelled in the foray.
that would blacklist a film or group of filmmakers;
however, this little group appeared to believe that they
Prior to this incident, Ross was involved in a number of other
were a law unto themselves, with little or no opposition.
incidents, including a forum thread regarding transparency in
The particular film blacklisted on this occasion was The
Killing Game, an ultra-low budget horror movie from
Canadian filmmaker, Barry Gillis. Apparently, Gillis offended or upset the director of the Edmonton Film Festival, Kerrie Long, who posted a comment that portrayed
him as nut case. A number of festival organizers in the
group then jumped on the bandwagon and supported
Kerrie Longs comments. Their unrepentant actions were
clearly damaging to hard earned reputations.
After reading the comments about blacklisting Barry Gillis film, Tyrone D. Murphy, founder and CEO of the Universal Film and Festival Organization (UFFO), immediately stepped in, trying to bring some sanity to what can
only be described as a baying mob. Murphy and UFFO
were then banned from the forum and subjected to false
allegations and libellous statements from members of
the forum as well as from the forums moderator, Jon
Gann, in an attempt to limit the damage.
Since this incident, some members of the group have
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Jon Gann now faces a very precarious situation, as Gillis film playing
at Ross festival casts serious doubt
on the veracity and validity of Ganns
very dramatic public statement that
Gillis made a credible violent threat,
behaviour so horrific, unprofessional,
and frightening. Also, Ganns support
for Kerrie Longs comments that led to
Gillis blacklisting as well as his appointment of Kerrie Long as a moderator of the forum were major errors in
judgment.
Members of the Film Festival Organizers group on Facebook have demonstrated sheer contempt towards
the filmmaking community. The moderators
allowed
racist/anti-Semitic
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Jeff Ross three festivals, Another Hole in the Head - SF Indie - DOC FEST
Universal Film
Issue 7 of 2012
CHERRY
PICKING
Over the past year we (UFFO) have seen many fraudulent activities
by disreputable film festivals from all over the world. Most of these
festivals recieve 200 to 400 submissions annually and are considered
small in comparison to the bigger film festivals that have 10,000 to
20,000 submissions every year. However, fraudulent activity is not limited to the small film festivals. We were astounded to learn recently from
a respected film festival director in the USA about a major festival in the
US that sets up its entire screening programme with films invited in from
other festivals. Nothing wrong with that, is there? Well, there is with this
festival. After the screening programme is completed in its entirety, only
then does a general call for submissions then go out to the filmmaking
community.
Films that are submitted to this festival are just trashed/binned without
ever being opened. The staff simply look at the tracking number on the
outside of the package, look it up on the computer , verify payment has
been received through the online submission provider and then toss it in
the trash. The submitted films are never opened, never screened, never
looked at.
This story gave us cause for grave concern (where does all this end?) we
began looking into some of the bigger film festivals around the world to
see how they conduct business. From what we have seen, the little guy
has little or no chance competing in the big festivals. Why would you
submit your film to a big festival when there is little or no hope your film
is going to be chosen or selected? Most of the films that are in competition in the bigger festivals have the support of major distributors
and studios with millions in campaign funds. Not only that, most of
the films are invited to take part in the festival are big budget films or
already have distribution in place.
As a filmmaker you can conduct your own due diligence by researching the bigger festivals to which you are thinking about submitting
your film. Look at the numbers, contact the festival and ask them
how many films are invited to take part in their festival. What
percentage of these films wins awards? What percentage of newcomers films are selected or win awards? What percentage of
these films does not have distribution? If the festival refuses to
answer your queries, then we suggest you pass them by.
To try to establish a level playing field we have written an
open letter (opposite) to all the big festivals around the
world asking these important questions. We will be publishing their replies as soon as we receive it, if we ever do!
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TARUS
GEMINI
There hasnt been much excitement, freedom and change with friends, groups, the
internet, astrology, charities, or social
events in the last months but now you will
see things break free and new possibilities
open again. Fresh approaches, people and
situations will arrive, be willing to do the
unusual. New beginnings open up with
romantic or business partners, agents,
attorneys, specialists, or competitors from
the 13th and 2 weeks that follow, seek out
key relationships now. An income matter
or possession reaches a high point by the
28th in celebration, achievement or
endings, whatever you are waiting on
should arrive.
WITTER.COM/ZOEMOON
LIBRA
SCORPIO
Do you feel like shaking things up or
making some changes this month with a
partner, agent, attorney, specialist, client,
competitor, or opponent? Well the stars
are inclined to help you so you can expect
to head off in some new direction with or
without them, depending on your own
personal bent here. Singles may meet
someone quite interesting. New agreements, meetings, talks, writing projects,
short trips, or sibling, neighbor, vehicle, or
electronic opportunities arrive the 13th
and 2 weeks that follow so get out there
and make your move. A career matter, or
something involving a big goal or authority figure peaks by the 28th in celebration
or endings.
SAGITTARIUS
This month brings you a chance to shake
things up or embrace some real excitement or change with lovers, new love
interests, children, or creative ventures. Be
open to different approaches or situations
and trying the unexpected. Your New
Moon comes on the 13th and from here
through the next 2 weeks you get a fresh
personal and physical start to your year
ahead so initiate new looks, take steps
towards that new identity, launch the new
brand, or motivate towards that new body.
A sexual attraction or issue, reproductive
matter, divorce, or high financial interest
peaks by the 28th in celebration, achievements or endings as you wrap things up.
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Get ready for excitement, change or interesting new approaches to come your way
through sexual attractions, divorce or big
financial arenas this month. You may have
felt things were never going to shift but
the stars suggest some fresh air heading
your way and the more original or independent your approach, the better. New
beginnings arrive at home, with moves,
real estate deals, mom, family, roommates,
or security needs from the 13th and 2
weeks that follow so launch your desires
here, now. You reach a high point at a
social affair, with friends, groups, the internet, astrology, charities, or aspirations by
the 28th in celebrations or endings.
FACEBOOK.COM/ZOEMOONASTROLOGY
PISCES
CAPRICORN
AQUARIUS
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MARSHALL NEILAN
by Tyrone D Murphy
lan Dwan, and William Desmond Taylor. At the end of 1916, Neilan was
hired by Mary Pickford Films where
he directed Pickford in several productions including Rebecca of Sunnybrook Farm and The Little Princess
in 1917, plus Stella Maris, Amarilly
of Clothes-Line Alley, MLiss in 1918,
and Daddy-Long-Legs in 1919.
Having all but given up acting, Neilans directing successes led to him
creating his own production company and between 1920 and 1926,
Marshall Neilan Productions made
eleven feature-length films almost
all of which were distributed through
First National Pictures. He received
critical acclaim for directing and
producing such films as Bits of Life
and The Lotus Eater. In 1929, he was
hired by RKO Radio Pictures but had
difficulty adapting to directing the
new talkies.
That year he directed Rudy Vallee
and Marie Dressler in the talking
film, The Vagabond Lover and although Dressler received high praise
for her acting, the film was a commercial and critical failure. Early in
his career Neilan had done as most
others in the pioneering days of film
and helped out in many areas of filmmaking through performing, directing, and writing. A talented screenwriter, in 1927 he wrote the original
story for the Howard Hughes film,
Hells Angels. Initially, he had also
been hired as the films director, back
when it was still a silent, but Hughes
overbearing style forced him to
drop out, and he was replaced a few
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FREE
Exhibits-only Pass
Use code PA01
Natasha Goulden
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