This post was reblogged from khronline.
I sent writer/director Garfield Lindsay Miller a few questions a while back that he was kind enough to answer. He is the writer of the movie A Stone’s Throw, (a favorite of mine), and wrote and directed the as yet unreleased movie The Last New Year.
Me: Having done one movie as the writer and another as the writer/director, which do you prefer? Are there advantages to writing a script and giving it to someone else to carry through to completion or do you prefer to have complete control over the story till the end?
GLM: I don’t know that I prefer either one, to be honest. They’re different. When you’re directing you of course have more control and you’re the once creating the world. It’s exciting, but, at the same time, there’s also a lot more pressure to get it right and make it happen on time and under budget. It can be super stressful and that can take away from the enjoyment.
As a pure writer, you’re more free to take your time and enjoy the process. The trick though, is to be able to write and then let go of your expectations — of what you want or think it should be. And that can be hard. Inevitably, things will change to your script, and you have to be okay with that or it can make you crazy.
Me: There are similar themes in both Last New Year and A Stone’s Throw in that each story seems to revolve around personal responsibility: either of people who have taken on the responsibility for the actions of others or of people who need to take responsibility for their own and how it effects others, as well as the theme of environmentalism (to varying degrees in each movie.) Are these personal philosophies that you felt compelled to explore?
GLM: To answer your bigger questions around continued themes in my work, I think some are conscious and others are not. The environment is something that I’m very interested in and concerned about, and so yes, that is a theme that continually shows up in my writing. Right now I’m working on another script, actually two other scripts that are specifically connected to environmental themes.
As for personal responsibility, I don’t know that I can speak to that. It may well be something that’s specific to my work, but if so it’s likely operating on a subconscious level.
Me: In both Last New Year and A Stone’s Throw there was a character by the name of Lia. Although in Last New Year it’s spelled Leah (played by Margaret Evans) and A Stone’s Throw the love interest of Jack’s her name is spelled Lia (As played by Lisa Ray) in the credits, but they sound the same. I was curious if this was a coincidence or perhaps homage to someone?
GLM: I’ve known some great Lia/Leah’s in my life, but I think it’s coincidence. I hadn’t even noticed that until now.
Me: In Last New Year the character of Mo is never interviewed by the detective. She’s also the only one of the “Fools and Bastards” that doesn’t go to the party who was expected to be there. Was that intentional?
GLM: It was always intentional that she wouldn’t appear in the film. I imagine the detective did interview her in the course of his investigation, however, because she didn’t appear in the movie it didn’t seem right in include her in the opening scene.
Me: Do you think Last New Year will ever be available on DVD and is there anything fans could do to help make that happen?
GLM: I don’t know. That’s a good question. I would love to see it on DVD or even on iTunes, etc… There was a push to do that just last year, but things fell apart with issues around music rights, etc. If enough people were to contact the production company, http://www.thenightingalecompany.com then they might put in the effort to release it. Just don’t tell them I sent you ;-)
Me: What was it like working with Kris Holden-Ried?
GLM: Kris is a great actor and a good friend. I love working with him because he invests himself into the project and is an active contributor to the work. He’s not interested in just showing up and reading the lines, he wants to do whatever he can to make it as good as it can be. That’s exciting and challenging in the best possible way. I’d love to work with him again and hope to do so at some point.
Me: What are you working on now, or have coming up?
GLM: There are a couple things in the works, but sadly nothing I can talk about today. Ask me again in a month!
This post was reblogged from xoutsidethebox.
This post was reblogged from khronline.
Getting cabin fever? Want to see something fun? May I suggest, if you are in the area, the Canadian Film Festival on March 20th-23rd. Especially the movie short Best, April a Diamonds to Bullets production. The movie stars Priya Rao, Kristopher Turner, Kris Holden-Ried (listed on their site as Kristopher Holden-Ried) and Shannon Barnett. Directed By Scott McCord, screenplay By Juli Strader & Priya Rao, produced By Priya Rao, Juli Strader, Christine Tyson, Best, April will be screened at the Royal Theater (the very same theater that Sex After Kids screened at in January).
From the official movie facebook page:
“When thirty-something April falls for Matt, a charming British author, she believes she’s found ‘the one’ and envisions a future together. Instantly smitten, she begins a flirtatious yet awkward communication via text message. When Matt first replies, April assumes the adoration is mutual. Except it’s not. Her schoolgirl crush is blinding and April is clueless to the fact that he has no romantic interest in her at all and is merely being polite. In a world where texts are meant to be charming and flirtatious, it’s a hard reality for April when hers are interpreted as uninvited and a little stalker-like. “
“The Canadian Film Fest is a non-profit organization devoted to the celebration, promotion and advancement of Canadian filmmaking talent. By exclusively featuring Canadian films, our goal is to provide filmmakers with valuable showcasing and networking opportunities and to offer the public homegrown productions to view and enjoy.”
Thanks for the heads up @SuzanneMetaxas! :)
EDIT: I have been informed that Kris Holden-Ried provides his voice only in the short film. But what a voice it is.
This post was reblogged from hgpontv.
A film by Jeremy Lalonde.
A film stolen by Jeremy Lalonde’s baby girl.
I was lucky enough to attend a screening of the film Sex After Kids at the Royal House Theater on January 11th along with the film’s director, producer, many of the cast and crew, contributors, and fans. To be fair it was a film friendly audience, but also in the crowd were a few who went in with no investment in the movie at all and from them I found they had the same reaction as did the fans: it was hilarious.
The movie would be categorized as a comedy. But what does that really mean? According to Wikipedia, (the source of all knowledge, right?), a comedy is, “to amuse and elicit laughter from the audience.” Check, check, and check. Then it goes on to list a series of types and Sex After Kids doesn’t exactly fit any of them. It’s a bit of a romantic comedy, but also fits some of the criteria to be considered a “black comedy” except, quite frankly, it’s too sweet and earnest for the way it tackles the ‘taboo’ subjects to fit into that category completely.
It’s a similar to ensemble comedies such as Home for the Holidays, Beautiful Girls, and Something’s Gotta Give but the cast is loosely affiliated yet connected like in such movies as Love, Actually or New Year’s Eve. So I’d like to propose a new category. Since it’s an assembled ensemble comedy I suggest: Assenembled comedy. New phrase! You heard it here first.
Sex After Kids gathers a fantastic cast of six-degree-separated parents as they deal with relations after having kids. In some cases the issues raised are 20 years after the birth of their kids. It’s like a coming of age story for adults about a time in life no one ever seems to talk about. There are so many (too many?) movies about twenty-something brats transitioning from college life into being an actual adult. But what about everyone who has done that, since life doesn’t stop once you give up keggers, settle down, and have a family.
I thought the movie was funny, honest, even if some of the situations were “exaggerated for comedic effect” (thanks Wikipedia!) and ultimately sweet. Amanda Brugel is my new hero. Zoie Palmer and Paul Roger Amos made me cry. And Kris Holden-Ried did that thing where at one point he says a line but turns that line into a whole story. Also, it looked beautiful, the locations felt authentic to each character and not overly staged. And although the movie didn’t get into much detail about each character I still felt that we got a full sense of who everyone was as people.
I wish I could sum up the movie easily, but it’s actually the type of movie that after you see it for days later you and your friends will be talking about various scenes and laughing again as you go through the funniest bits you can recall to the ones you suddenly remember again.
It’ll be playing this weekend at the Santa Barbara Film Fest. If you’re anywhere in the area I strongly suggest you take advantage and see it.