Tag Archives: filmmaker

Welcome To The Cinema of Childhood | Film News

Posted on by

Filmhouse, Edinburgh has announced a UK-wide film season, Cinema of Childhood, curated by filmmaker Mark Cousins and inspired by his latest feature documentary, A STORY OF CHILDREN AND FILM, released in cinemas April 4th (Dogwoof).

boot

The Cinema Of Childhood season will launch April 11th at Filmhouse, BFI Southbank, and other key venues across the UK. The season, which will tour the UK for a year, includes 17 brilliant films from 12 countries, spanning 7 decades. Most have rarely been seen in the UK – some are totally new to UK audiences.

“These are some of the best films you’ve never had a chance to see,” Cousins says. “Films about childhood take us on fantastic voyages. E.T.: THE EXTRA TERRESTRIAL was a magical bike ride across the moon. THE JUNGLE BOOK showed us the bare necessities.  A boy in THE RED BALLOON stole our hearts.  But beyond these mainstream and arthouse classics, there’s a world of great cinema about kids which is hardly known, but just as brilliant.  Welcome to that world.  Jump into it.”

“Fly to the moon on gossamer wings with the little boy in Astrid Henning-Jensen’s PALLE ALONE IN THE WORLD from 1949.  Get close to the flame of life with Renko, in Shinji Somai’s 1993 masterpiece, MOVING.  Body-swerve the bullies in Karel Kachyna’s Czech cinematic wonder, LONG LIVE THE REPUBLIC, from 1965. See LITTLE FUGITIVE, the American film from 1953 which helped inspire the French New Wave. Discover the work of one of the world’s greatest movie-makers,
Mohammad-Ali Talebi from Iran with three of his best films – THE BOOT, BAG OF RICE, and his poetic masterpiece WILLOW AND WIND.” Mohammad-Ali Talebi will visit the UK for the first time in April, as a guest of the British Council to launch the season with Mark Cousins at BFI Southbank, Filmhouse and other venues to be announced.

Most of the titles in the season are featured in Mark’s documentary A STORY OF CHILDREN AND FILM, which premiered at the Cannes Film Festival last year to 5-star reviews, and has since been acclaimed at many other major festivals worldwide, including Edinburgh, Karlovy Vary, Telluride, Toronto, Stockholm and Dubai.

The season opens up a world of wonder for audiences of all ages who are keen to explore beyond Hollywood’s idea of childhood. The films are both specific to their own time and culture, but also universal in their depiction of childhood emotions, hopes and fears. Children everywhere have so much in common – only the worlds they inhabit are different.

Emotionally engaging with audiences from 8 to 80, Cinema of Childhood invites filmgoers to go on a global adventure with Mark, to discover previously unknown movie masterpieces and to see the world anew through young eyes. Uplifting and exhilarating, these are films to brighten your day.

 

The season is managed by Filmhouse, which has licensed the films for a year, and is creating new digital materials where necessary to make the films available to the widest possible range of cinema venues.   Filmhouse has also licensed the VoD rights for many of the titles, enabling audiences to watch these titles at their own convenience from home or on the move via Filmhouse Player.

The project is backed by the BFI’s Programming Development Fund, awarding funds from the National Lottery. The producer of the season is Adam Dawtrey, who also produced (with Mary Bell) A STORY OF CHILDREN AND FILM.
Filmhouse (Edinburgh) and BFI Southbank (London) will programme the entire season from April to June. Other venues already confirmed to host Cinema of Childhood include Queen’s Theatre (Belfast), Chapter Arts Centre (Cardiff), Broadway (Nottingham), Dundee Contemporary Arts, Glasgow Film Theatre, Eden Court Theatre (Inverness), the Roses Theatre (Tewkesbury), Duke of York’s (Brighton), Watershed (Bristol), Cornerhouse (Manchester) and Showroom (Sheffield),along with selected Picturehouse and Curzon cinemas nationwide. Films from the season will also screen at special festival events, including the Glasgow Youth Film Festival screening ofThe White Balloon on 9th February, Zoom International Youth Film Festival and WoW Festival in March, and the Brighton Festival in May.
Further venues will be announced in due course.

In addition there are plans to screen films from Cinema of Childhood in partnership with several organisations concerned with child welfare. These screenings, which will be targeted at a mixed audience of childcare experts and the general public, will explore representations of childhood from a professional perspective, looking at issues from different cultural and global viewpoints.

 

The full list of titles screening in the Cinema of Childhood season are:
• “Willow and Wind” (Bid-o Baad). Iran, Japan, 1999. D. Mohammad-Ali Talebi. 77 mins. A boy breaks a school window, and must mend it himself before he’s allowed back in class.

• “Bag of Rice” (Kiseye Berendje). Iran, Japan, 1998. D. Mohammad-Ali Talebi. 80 mins. A little girl and an old blind lady decide to carry a sack of rice across Tehran.

• “The Boot” (Chakmeh). Iran 1993. D. Mohammad-Ali Talebi. 60 mins. A little girl craves a new pair of red wellies – but then loses one.

• “The Little Girl Who Sold the Sun” (La petite vendeuse de soleil). Senegal, Switzerland, France, Germany 1999. D. Djibril Diop Mambety. 45 min. A feisty crippled girl tries to improve her life by selling newspapers on the streets of Dakar.

• “Hugo and Josephine” (Hugo och Josefin). Sweden, 1967. D. Kjell Grede. 82 mins. The lonely daughter of a rural pastor makes friends with a wild boy who lives in the woods.

• “The King of Masks” (Bian Lian) China, Hong Kong, 1997. D. Wu Tian-Ming. 91 mins. An old illusionist buys a young boy to become his apprentice – but the boy isn’t quite what he seems.

• “The White Balloon” (Badkonake sefid) Iran 1995. D. Jafar Panahi. 85 mins. A stubborn little girl wants a new goldfish, and won’t let anything get in her way.

• “Tomka and his Friends” (Tomka dhe shokët e tij) Albania, 1977. D. Xhanfise Keko. 78 mins. A gang of Albanian boys in WW2 become secret agents for the Resistance when German troops occupy their village.

• “Palle Alone in the World” (Palle alene i verden). Denmark 1949. D. Astrid Henning-Jensen. 25 min. A boy wakes up to find Copenhagen deserted, and it becomes his giant playground.

• “Ten Minutes Older”. (Par desmit minutem vecaks). Latvia 1978. D. Herz Frank. 10 mins. One close-up, 10 minutes long, of a small boy’s face as he watches a thrilling puppet show.

• “Long Live the Republic” (At’ zije republika) Czechoslovakia, 1965. D. Karel Kachyna, 134 mins. A bullied boy tries to survive in a Czech village as the Germans retreat and the Russians advance.

•  “Moving” (Ohikkoshi) Japan, 1993. D. Shinji Sômai. 124 mins. A girl struggles to come to terms with her parents’ divorce.

• “Forbidden Games” (Jeux interdits). France, 1952. D. René Clément. 86 mins. A boy and a girl retreat into a fantasy world to escape the horrors of WW2.

• “Crows” (Wrony). Poland, 1994. D. Dorota KÄdzierzawska. 63 mins. A neglected girl steals a younger girl to become her surrogate mother.

• “Little Fugitive”. USA 1953. Dir Morris Engel, Ray Ashley, Ruth Orkin. 80 mins. A 7-year-old boy runs away to Coney Island when he thinks he’s killed his older brother.

• “Children in the Wind” (Kaze no naka no kodomo) Japan, 1937. D. Hiroshi Shimizu. 88 mins. The idyllic village life of a Japanese boy falls apart when his father is falsely imprisoned.

• “The Unseen” (NespatÅené). Czech Republic, 1997. D. Miroslav Janek. 53 mins. Documentary about Czech blind kids with remarkable talents, including taking photos.

 

Music Profile: Marla Mase Announces Summerstage Appearance

Posted on by

marla maseNYC ARTIST MARLA MASE ANNOUNCES SUMMERSTAGE APPEARANCE

New York rock/crossover artist Marla Mase has confirmed that she and guitarist Tomás Doncker will be bringing her “Speak” show to Summerstage 2013, joining a lineup that includes The Zombies, Django Django, Dead Prez, Lianne la Havas and Rakim. The CD “Speak Deluxe” found Marla touring both China and Europe, being honored by Friends of the UN, and receiving top reviews from publications such as The Huffington Post, who said “her feisty message of peace will perhaps wake up the beast in all of us”.

“Speak” is a multi-media concert and dance piece inspired by the songs of Marla Mase’s acclaimed 2013 album, “Speak Deluxe”. Combining live music, spoken word, dance and visual imagery, Marla has teamed up with choreographer Adrienne Hurd, filmmaker James Jankiewicz, and director/producer Sara Berg (who directed A Brief Night Out, Marla’s rock opera about a women going through a mid-life rock-n-roll crisis in 2012) for one of a kind show. “Speak” presents a powerful portrayal of “the universal woman’s” confinement, sexuality, body image, trauma, oppression and freedom, celebrating the raw reality of the human condition as expressed through the eyes, bodies, and voices of women. Through the expressive movements of a troupe of seven dancers, each of whom has a distinct voice and tale in the mini-stories, the dancers will explore the archetypes that make up the idea of what it means to be a modern woman.

The music, co-written by Marla Mase and Tomás Doncker is an integral part of “Speak” and features elements of Rock-n-Roll with World Beat, Punk, Funk, Electronica, Reggae and Soul and will be performed live at each performance with both Mase and The Tomás Doncker Band.

Marla Mase’s “Speak” performance takes place on June 15th, 2013 in Herbert Von King Park and August 17 at The East River Park. Both performances are free to the public. Event information can be found here.

For more information on Marla Mase, please visit www.marlamase.com and www.speaktheshow.com.

Artist: Marla Mase (backed by Tomás Doncker Band)
Location: New York, New York
Styles: rock (alternative/classic), punk, spoken word, global soul, funk, reggae, experimental
Similar to: Patti Smith, David Byrne, Frank Zappa, Iggy Pop, Ian Dury, GTO’s, Jim Morrison, Henry Rollins
CD: SPEAK DELUXE

Marla Mase is a writer/performer/producer/singer/songwriter from New York City. She writes songs, plays, monologues, short stories, erotica, blogs, and poems. Marla is known for her provocative, raw performance style and intelligent lyrics and is regarded by her peers as being a true musical pioneer of our time. She is backed by the Tomás Doncker Band. Just off her first tour in China where she was invited by the Friends of the UN to perform for UN GLOBAL PEACE DAY in Linzhou City, Marla was given an honorary Messenger of Peace award for her visionary work as a songwriter and performing artist. Her fans span the globe.

Marla is about to release the DELUXE Edition of her album SPEAK (on Feb 28, 2013) which will include the 10 songs on the original 2010 album plus 6 new tracks including Piece of Peace, AnnaRexia (a reggae track featuring
Garrison Hawk from Bill Laswell?s Method of Defiance), and Bill Laswell?s dubmix version of AnnaRexia. AnnaRexia is spearheading the StayImperfect Project or Love Your Butt Campaign, which Marla created to empower women to not only accept but love themselves and their bodies. Proceeds from AnnaRexia as well as emerging artist, Lael Summer?s track, The Good Fight (whose EP Marla co-produced with Doncker) will go towards theprojectheal.org, a non-profit organization founded by two teenage eating disorder survivors, that raises scholarship money for girls whose families cannot afford to send them to treatment.

Mase is currently developing THE SPEAK SHOW, a multi-media concert/performance piece using music (from SPEAK DELUXE), spoken word, dance and visual imagery to explore the themes of confinement, sexuality, body image, trauma, oppression (internal/external) and freedom as a means of celebrating the raw reality of our human condition as expressed through the eyes, bodies, voices of women. It was recently booked for NYC Summerstage 2013.

Her debut album, the rock opera, A Brief Night Out (BNO), tells the story of a woman, having an affair, breaking-down, obsessing on war and re-assessing her life. It is also the soundtrack to a theatrical version of the same story that has been performed in New York City with Broadway Veteran Martin Vidnovic playing all the male roles and also as a one-woman show directed by Sara Berg.

Marla’s play, The Canarsie Line directed by Kathryn Rossetter, ran at The Bank Street Theatre to sold out audiences in 2002. Her play Man/Woman was work-shopped at the Abingdon Theatre in 2004.

Marla has her MA in writing and performance from NYU and is a member of the Phi Beta Kappa Society.

Most importantly Marla is the mother to two beautiful souls.

Members/Instruments:
Marla Mase – Lead Vocals
Tomás Doncker:  guitars, vocals
Josh David :  bass, vocals
James Dellatacoma:  guitars, computer (sounds, etc)
Damon DueWhite:  drums
Alan Grubner:  violin
Heather Powell:  back-up vocals
Manu Koch:  keyboards
Daniel Sadownick:  percussion

Production:
Produced by Tomás Doncker and James Dellatacoma
Engineered by James Dellatacoma of Orange Studios
Mastered by Michael Fossenkemper of Turtletone Studios

The five things filmmakers can learn from Kickstarter by Andrew Harmer

Posted on by

The five things filmmakers can learn from Kickstarter (and visa-versa The five things Kickstarter creators can learn from filmmakers). By a filmmaker in the middle of a campaign!

 

Hello, I’m Andrew Harmer, the writer-director of the Fitzroy. Right up front I want to say we are currently slap bang in the thick end of a Kickstarter campaign.

 

Here’s the elevator pitch for the film.

 

The Fitzroy is a live action black comedy set in an alternative post-apocalyptic 1950’s. The world is covered in a poisons gas and the last place for a traditional seaside holiday is The Fitzroy hotel an abandoned submarine just of Margate.

 

This list isn’t necessarily the five things we have done, but it is the five things we would do (or be prepared for) if we started over again! Kickstarter, like film making is a constant learning curve and this list might well change by the end of the campaign.

 

  1. Tell the most interesting story.

You only really get one shot at a Kickstarter campaign or making a film. Sure you might do another one or another dozen but then a bus might also hit you! So you better make this one count and make it the best it can be.

 

And that means telling the best story you can.

 

A film has to be the very best ‘version’ of that story you can possibly tell. The most interesting, dramatic and honed story possible.  Nobody want’s the B plots to be more interesting than your focus so make sure you are telling the most interesting story.

 

The same goes for a Kickstarter campaign. You need to hook people into your campaign and to do that you need a great story (as well as a great product). And I don’t just mean the story you are selling, I mean the story behind the project. YOUR story. Your struggles, the adventure you have been on to get to this point. Is your idea based on a life altering brush with death? Did you witness a moment of kindness between an old man and his wife on the buss while riding the bus to work? It doesn’t matter what it is, just make sure it’s interesting and told the best way possible.

 

2) Be yourself.

Let your personality shine. I like films where I can ‘see’ the personalities of the filmmakers. I don’t always like those personalities, but I would much prefer to see an idiosyncratic film than a pixel pushing blockbuster with no heart. I truly believe a soul of a film comes from the people who make it. While it is being made it absorbs the personality and characteristics of the director (if they want it to). And I want to see that. Film is a personnel experience a conversation between the viewer and the director.

 

Same goes for Kickstarter, but to an even larger degree. The old adage ‘people invest in people’ is true. You have to put yourself out there. It’s scary but you have to share your passion, fears and hopes. Sure you might end up looking like a fool but if you don’t put yourself out there people will just turn off. But word of warning – don’t try to be something you’re not. If you’re funny be funny but if you are not don’t even try. Cool and hip? That’s fine but if you aren’t don’t force it. People can smell it, and it stinks. No bullshit. Just be yourself and people will engage with you.

 

3) Do it quick.

Okay this is straightforward. Kickstarter is on the web so you don’t have long to tell your story. Minutes, if you are lucky but seconds in reality. So you better make your page accessible, clear and your pitch video SHORT and to the point.

 

Same goes for the film (unless you’re Terrence Malick) edit, edit, edit. Cut the fat and edit that script so it’s tighter than a drum. All through the film and into post production, if it doesn’t move the story on then it goes. Don’t waste people’s time.

 

Word of warning though don’t jump the gun and rush head first in to it. With both Kickstarter and films make sure you are ready, that everything is prepared. And even if you think it is –  it probably isn’t. Do it quick but make sure you are prepared.

 

  1. Know your audience and engage with them.

Kickstarter is social, very social. It is a direct link between creators and their audience and in my humble opinion a very powerful tool. But before you start a campaign you must identify the audience you are targeting. This could be fairly obvious, your family and friends, people with ipods, hardcore gamers, Teddy Ruxpin fans. Whatever your audience you need to identify them, find them and engage with them.

 

Film-makers need to do the same thing. There’s not a one size fits all film. Everyone has different tastes and yes you can try to create a film that appeals to as many people as possible and the mass market. But I prefer films that are aimed at… well… me and my tastes. There is a distinct risk when trying to appeal to everyone that you can water down a story. Be specific and know your audience.

 

  1. Take it seriously and have respect.

Both Kickstarter and filmmaking are, at the end of the day, businesses and you are asking for people’s time and money. That is not to be taken lightly. Sure you are hopefully giving back to them in the form of entertainment or in the case of Kickstarter some sort of reward. When people give you their hard earned money you have a responsibility, a contract to deliver on your promises and work your boney ass off to make sure you do.

 

If I can tell someone has put their heart and soul in to a project or a film it means a lot to me as an audience member and it pays dividends.

 

  1. Be flexible and learn to adapt.

Just like this list! It was meant to be five and we end up with six? It’s not a problem just not what I was expecting when I started writing. It took me by surprise. Your Kickstarter project is an organic beast, it is going to change and develop as the campaign progresses. It is going to throw you some curve balls, stuff you planed will fail and other avenues and opportunities will suddenly appear. You can’t let the setbacks knock you, you just have to keep moving forward and be open to any new possibilities.

 

I can’t think off anything that is more applicable than that to film making! Be flexible and make it work.

 

 

So that’s it, that’s what I have learnt so far, and who knows what is around the corner. Hopefully we can reach our target and make an awesome film. If I heed my own advice, we just might!

 

If you would like to see how we are doing on our campaign please check it out. www.thefitzroy.com/ks any advice or support in spreading the word would be warmly welcomed.

 

 

 

The Raid | Film Review

Posted on by

A few years ago, Welsh filmmaker Gareth Evans admits he was slipping into docile conformity. Having made a few well received shorts and a self financed feature, he was losing his interest in filmmaking and easing into his 9 to 5 job. His supportive wife passed his name forward to producers in Indonesia who were looking for outside filmmakers to make a documentary about martial arts. Fast forward a few years and a trip to Indonesia and he is now the leading force behind one of the most hyped and critically acclaimed action thrillers of recent years and with good cause. Lean, mean and apocalyptically violent, The Raid has come straight out of Asia’s left field to huge acclaim on the festival circuit and is set to be a genuine international crossover hit.

Rama (Iko Uwais) is a rookie SWAT officer in Jakarta who joins an elite team assigned to launch an assault on a crumbling apartment complex ruled over by ruthless drug lord Tama (Ray Sahetapy). No assertions are made about good/bad guy from the off. Rama is introduced bidding farewell to his pregnant wife promising to return, Tama executing kneeling prisoners with a hammer. The team head into the building to take him out of business for good yet things do not go to plan. Tama has rented out the majority of apartments to the cities vilest thugs, junkies and killers and has them dispatched after the team. Outnumbered and outgunned, it’s up to Rama to lead as many of his teammates to safety as possible. This however cannot be achieved without shooting/hitting/stabbing dozens of bad guys in the face…

Taking place almost entirely within the confines of the complex defined by its rotting, yellowish hue the proceedings are astonishingly claustrophobic throughout the 100 minute duration. There is always the constant threat attack from a corner or any one of the dozen flat doors on each floor. Even in its ‘quiet’ moments there is an underlying level of tension that never truly relents. Many scenes feel like a more pumped up version of John Carpenter’s seminal 70’s siege thriller Assault On Precinct 13. From the opening scene we are thrown right into the situation feet running on the ground. It’s a work of sparse immediacy, knowing exactly what it is and getting it done. Needless to say when the chaos starts the events are unremitting; gunfire echoes become deafening, bad guys come like space invaders sometimes literally bursting from walls, ceilings and floors to be swotted away by our heroes. As the action becomes hand to hand combat, the fight scenes flurry past with such violent ferocity and pace that it becomes overwhelming at many points.

Uwais is an astonishing physical presence; punching, kicking, jumping and smashing his way from floor to floor and doing away with constant foes coming at him like waves of video game enemies before facing down the inevitable ‘boss’ battles. He is proficient in the art of silat, Indonesia’s native martial arts and the experience of seeing it for the first time is breathtaking. The visceral joy of watching Uwais in action reminded me of the first time I saw Thai superstar Tony Jaa in Ong-Bak and his brutal kickboxing fighting style. Barely five minutes pass without bones splintering and the audience wincing in unison (especially during an inspired use for a shard of broken lighting fixture…). Uwais moves are perfectly complemented by Evans deft choreography. In an age of whiplash camera moves and frenetic editing that makes things harder and harder to follow, Evans deserves special credit for keeping the action paced yet never to the point where he loses his players movements. His camera races down hallways with characters and in some bravura moments: follows his characters as they drop through holes in the floor and tumbling down a staircase whilst still trading blows with someone.

Whilst revelling in the chaotic glory of what The Raid delivers, you do have to keep in mind that it is treading ground that has been walked on before. Evans has happily admitted his influences in press for the film and his execution is what truly makes it stand out. Yet the clichés of the genre are impossible to ignore and when they begin to tip into melodrama it does regrettably stall the film. Without giving anything away, there is a subplot involving one of Tama’s henchmen (Donny Alamsyah) that upon its revealing does just not ring and does briefly threaten to bring all proceedings to a shuddering halt. It feels almost unfair to try and criticise a film for attempting some form of character development yet here it falls flat and feels forced. In its defence, it may be setting up for the planned sequel and it does lead to the films brutal, brilliant final confrontation with Rama’s right hand man played by Yayan Ruhian, also one of the films fight chorographer, who truly gives Uwais a run for his money. There’s no satisfying pay off for Rama’s subplot itself. There is much dialogue alluding to police corruption and ties between them and the drug lord yet if anything it just fuels stock cliché dialogue between the many fight scenes. The final climactic set-piece can’t help but feel frustratingly ant-climatic.

However these are minor quibbles against a film that knows where its strengths lie and what its audience have come to see. It’s brutal, fast, and hits you like a blast of fresh air in the face. Evans and his team have managed to come out of nowhere and outdo the majority of Western action films of recent years. Of course an English language remake has already been green lit but I severely doubt it can come close to hitting the sheer adrenalin rush of the genuine article. Savour this one while you can, and take a deep breath first.

Jason Croot on Making Films | Frost Interviews

Posted on by

I interviewed Jason Croot for the second time recently. Jason is an incredibly talented film director, writer and actor. He is everything the British film industry needs: a talented, hard-working, pro-active filmmaker who puts himself out there and just does it. I am in a few of Jason’s films, notably Meeting Place and Le Fear, Le Sequel, but I am not biased- honest.

Jason: Hello Frost readers thank you for the interview.
 
How easy was Le Fear to make? Le Fear was a world-wind my directorial debut post production was only 3 weeks. We filmed it in 2 days, and we had a few difficult situations, but when you are making films you have to give everything and think on your feet. It was an improvised feature around a basic script and all in all I was very pleased with the outcome

What is the most important thing you learned?  A reliable crew is vital on a film set, we had a few people who let me down last-minute, but the crew where fantastic

Where did the idea come from? I was walking to the supermarket in Peckham and I thought I’d love to make a film about a film. After I made it I found there were about 30 films that were similar film within films, I’ve watched most of them. Day for Night is my favourite

How do filmmakers make money in this new climate? Great question, I’ve decided to show Le Fear for free currently on vodo.net http://vo.do/lefear.  There are a few distribution deals on the table but I believe vodo will hit 10,000 plus views and that’s what excites me more than anything at present, but to answer your question Netflix, Love Film, Creatspace will make you some income but it really depends how good your film is. My saying is ‘Cream always rises even in cheap coffee’.  

What has the feedback been like? Brilliant, when you send your film to be critiqued, especially when you have a budget of £1550 and this is a feature film you expect to be slammed, but out of 7 reviews we got one poor one, but the guy did give us 4 out of 5 for comedy so that was a good positive.

You obviously enjoyed yourself as you made a sequel, tell us about that; when will it be released? I would love to tell you about the sequel, I want to make Le Fear in to a series and really believe if people watch the first 2 films that dream can become a reality. The sequel is a 100% improvised feature unlike the original. It will be 90 minutes plus feature-length comedy horror, I must say the cast and crew where brilliant and we have 24 hours of footage to edit, I’m really excited about the prospect, no plans for a release yet, my films tend to be world-wind in making but lengthy in post, simply because I believe that method really works, okay give me a million pound budget I might film over 2 weeks, but the edit would take the same time generally 12-18 months after the film wraps, If you rush often your left unhappy so it will be ready when it’s ready. Sorry to be so vague, we will have a trailer out there this year and I have my target on a former number 1 soundtrack if I win the lottery I will definitely have that song in there, if not we will find a good track music and sound is so important in film making

What is next for you? Since moving into film making my acting as been limited but I’m hoping to get back into it. I’m currently looking at finding a new agent, I love directing so will hopefully will be working on some other films soon, I’ve decided not to make anymore of my own films until the four our out there{Le Fear, Demons and Doors, Meeting Place and Le Fear 2} hopefully start making some noise.

What advice do you have for people making their own films? Find a good crew, have your own equipment if possible, and always have a back up, especially with locations, finally sound is just as important as visuals; Finally never panic even if the crap hits the fan.
 
How important is IMDB to you?  I was on a mission for sometime to get into the top 10,000 on there starmeter, I think I hit the dizzy heights of 10, 861 in 2010 but I’m way out at present mainly because I’ve produced some low-budget films which sent my starmeter the opposite way. Generally actors are in the top 10,000 not film makers/actors. Saying that I believe it does hold a lot of weight and fell free to check me out 
 
What is your favourite movie? I don’t really do favourites, so I’d say Night on Earth

Favourite actor? Same again but I’d go with Roberto Benigni

Favourite director? I’m a big Jim Jarmusch fan

Thanks Jason.  Thank you Frost for having me!!!