“Bridgerton” star Phoebe Dynevor and “Aftersun” writer-director Charlotte Wells are among the emerging talents recognized at the British Independent Film Awards’ (BIFA) New Talent categories.
Dynevor has been longlisted in the Breakthrough Performance category for Sky film “The Colour Room” and Wells twice, in the Debut Director and Debut Screenwriter categories.
In all, 28 fiction and 14 documentary features have been longlisted, including in a new category for BIFA’s 25th year, Best Debut Director – Feature Documentary. Eleven first-time fiction feature directors, 16 first-time documentary feature directors, 14 first-time writers, 20 breakthrough producers and 15 new performers have been recognized by BIFA voters for their achievements.
BIFA’s Springboard scheme will provide a tailored program of continuing professional development, with seven of this year’s longlisted filmmakers joining the cohort of 30 filmmakers on the Film4 supported initiative.
The final five nominations in each category will be announced on Nov. 4 and winners will be revealed at the...
Dynevor has been longlisted in the Breakthrough Performance category for Sky film “The Colour Room” and Wells twice, in the Debut Director and Debut Screenwriter categories.
In all, 28 fiction and 14 documentary features have been longlisted, including in a new category for BIFA’s 25th year, Best Debut Director – Feature Documentary. Eleven first-time fiction feature directors, 16 first-time documentary feature directors, 14 first-time writers, 20 breakthrough producers and 15 new performers have been recognized by BIFA voters for their achievements.
BIFA’s Springboard scheme will provide a tailored program of continuing professional development, with seven of this year’s longlisted filmmakers joining the cohort of 30 filmmakers on the Film4 supported initiative.
The final five nominations in each category will be announced on Nov. 4 and winners will be revealed at the...
- 10/24/2022
- by Naman Ramachandran
- Variety Film + TV
The final five nominations in each category will be announced November 4.
Georgia Oakley’s Blue Jean, Charlotte Wells’ Aftersun and Jono McLeod’s My Old School and are among the titles that have made the new talent longlists for the 2022 British Independent Film Awards (Bifas), with 28 fiction and 14 documentary features longlisted.
Blue Jean has taken the most nominated spots with five – the Douglas Hickox Award for best debut director, as well as best debut screenwriter for Oakley, best breakthrough performance for Lucy Halliday and Screen Star of Tomorrow 2022 Rosy McEwen and best breakthrough producer for Hélène Sifre.
Scroll down for...
Georgia Oakley’s Blue Jean, Charlotte Wells’ Aftersun and Jono McLeod’s My Old School and are among the titles that have made the new talent longlists for the 2022 British Independent Film Awards (Bifas), with 28 fiction and 14 documentary features longlisted.
Blue Jean has taken the most nominated spots with five – the Douglas Hickox Award for best debut director, as well as best debut screenwriter for Oakley, best breakthrough performance for Lucy Halliday and Screen Star of Tomorrow 2022 Rosy McEwen and best breakthrough producer for Hélène Sifre.
Scroll down for...
- 10/24/2022
- by Mona Tabbara
- ScreenDaily
The official poster for writer/director Peter Strickland’s new film, Flux Gourmet, has just been released, and you can check it out below! The film will be released on in select theaters and On Demand on June 24, 2022.
In the film, a sonic collective who can’t decide on a name takes up a residency at an institute devoted to culinary and alimentary performance. The members Elle di Elle, Billy Rubin and Lamina Propria are caught up in their own power struggles, only their dysfunctional dynamic is furthermore exacerbated when they have to answer to the institute’s head, Jan Stevens. With the various rivalries unfolding, Stones, the Institute’s “dossierge” has to privately endure increasingly fraught stomach problems whilst documenting the collective’s activities.
Upon hearing of Stones’s visits to the gastroenterologist, Dr. Glock, Elle coerces him into her performances in a desperate bid for authenticity. The reluctant...
In the film, a sonic collective who can’t decide on a name takes up a residency at an institute devoted to culinary and alimentary performance. The members Elle di Elle, Billy Rubin and Lamina Propria are caught up in their own power struggles, only their dysfunctional dynamic is furthermore exacerbated when they have to answer to the institute’s head, Jan Stevens. With the various rivalries unfolding, Stones, the Institute’s “dossierge” has to privately endure increasingly fraught stomach problems whilst documenting the collective’s activities.
Upon hearing of Stones’s visits to the gastroenterologist, Dr. Glock, Elle coerces him into her performances in a desperate bid for authenticity. The reluctant...
- 6/7/2022
- by Editor
- CinemaNerdz
From In Fabric and Berberian Sound Studio director / writer Peter Strickland, Flux Gourmet is headed to theaters and digital / VOD on June 24th and we have a look at the first trailer!
"A sonic collective who can’t decide on a name takes up a residency at an institute devoted to culinary and alimentary performance. The members Elle di Elle, Billy Rubin and Lamina Propria are caught up in their own power struggles, only their dysfunctional dynamic is furthermore exacerbated when they have to answer to the institute’s head, Jan Stevens. With the various rivalries unfolding, Stones, the Institute’s ‘dossierge’ has to privately endure increasingly fraught stomach problems whilst documenting the collective’s activities.
Upon hearing of Stones's visits to the gastroenterologist, Dr Glock, Elle coerces him into her performances in a desperate bid for authenticity. The reluctant Stones puts up with the collective’s plans to use...
"A sonic collective who can’t decide on a name takes up a residency at an institute devoted to culinary and alimentary performance. The members Elle di Elle, Billy Rubin and Lamina Propria are caught up in their own power struggles, only their dysfunctional dynamic is furthermore exacerbated when they have to answer to the institute’s head, Jan Stevens. With the various rivalries unfolding, Stones, the Institute’s ‘dossierge’ has to privately endure increasingly fraught stomach problems whilst documenting the collective’s activities.
Upon hearing of Stones's visits to the gastroenterologist, Dr Glock, Elle coerces him into her performances in a desperate bid for authenticity. The reluctant Stones puts up with the collective’s plans to use...
- 4/25/2022
- by Jonathan James
- DailyDead
Further deals include Australia, Benelux, Greece, and Iceland.
UK sales outfit Bankside Films has sold Peter Strickland’s Flux Gourmet to Curzon for a theatrical release in the UK, along with a slew of other key territory deals.
Curzon plans to release the title in the UK later in 2022. As previously announced IFC Midnight have North American rights, with a June 24 release date now set.
Deals have also closed with Arcadia for Australia, FilmFreak for Benelux, Cinobo for Greece and Nonstop Entertainment for Scandinavia and Iceland.
Flux Gourmet had its world premiere at the Berlin International Film Festival in February and stars Asa Butterfield,...
UK sales outfit Bankside Films has sold Peter Strickland’s Flux Gourmet to Curzon for a theatrical release in the UK, along with a slew of other key territory deals.
Curzon plans to release the title in the UK later in 2022. As previously announced IFC Midnight have North American rights, with a June 24 release date now set.
Deals have also closed with Arcadia for Australia, FilmFreak for Benelux, Cinobo for Greece and Nonstop Entertainment for Scandinavia and Iceland.
Flux Gourmet had its world premiere at the Berlin International Film Festival in February and stars Asa Butterfield,...
- 3/17/2022
- by Mona Tabbara
- ScreenDaily
British auteur Peter Strickland is back with his fifth feature, “Flux Gourmet,” and it is as striking and uncompromising as his previous body of work, which includes “In Fabric” (2018), “The Duke of Burgundy” (2014), “Berberian Sound Studio” (2012) and “Katalin Varga” (2009). “Flux Gourmet” world premieres at the Berlin Film Festival’s Encounters strand on Feb. 11.
The film follows a sonic collective trio with rocky interpersonal dynamics, who take up residency at an institute devoted to culinary and alimentary performance and have to answer to the institute’s head, who has her own opinions about their work. Their chronicler, meanwhile, is dealing with stomach problems.
“Flux Gourmet” began life as Strickland was completing “In Fabric” when a producer offered him the opportunity of making anything he wanted, provided the budget was under £1 million ($1.3 million). “When I showed them the script, they ran a mile,” Strickland told Variety. “They said, ‘Do whatever you want,...
The film follows a sonic collective trio with rocky interpersonal dynamics, who take up residency at an institute devoted to culinary and alimentary performance and have to answer to the institute’s head, who has her own opinions about their work. Their chronicler, meanwhile, is dealing with stomach problems.
“Flux Gourmet” began life as Strickland was completing “In Fabric” when a producer offered him the opportunity of making anything he wanted, provided the budget was under £1 million ($1.3 million). “When I showed them the script, they ran a mile,” Strickland told Variety. “They said, ‘Do whatever you want,...
- 2/11/2022
- by Naman Ramachandran
- Variety Film + TV
Paralympics
U.K. broadcaster Channel 4 has revealed a disabled presenting team for the Beijing 2022 Paralympic Winter Games, who will present on the ground in China. Award-winning presenter Ade Adepitan will front the daily highlights show, with former rugby player Ed Jackson and Paralympic champion triathlete Lauren Steadman presenting the “Breakfast Show.” Recently retired Paralympic swimmer Ellie Robinson will be joined by British racing car driver Billy Monger as on-screen reporters and former sit-kier Sean Rose as pundit. Tokyo 2020 presenter Arthur Williams will lead overnight sports coverage.
Over 80 hours of the games will be on Channel 4 live from Beijing and will also stream on the broadcaster’s streaming on YouTube platform.
Channel 4’s director of programs Ian Katz said: “Channel 4 is incredibly proud to announce a stellar presenting team and — in a first for any broadcaster around the world — an entire presenting team who are disabled. This is testament to...
U.K. broadcaster Channel 4 has revealed a disabled presenting team for the Beijing 2022 Paralympic Winter Games, who will present on the ground in China. Award-winning presenter Ade Adepitan will front the daily highlights show, with former rugby player Ed Jackson and Paralympic champion triathlete Lauren Steadman presenting the “Breakfast Show.” Recently retired Paralympic swimmer Ellie Robinson will be joined by British racing car driver Billy Monger as on-screen reporters and former sit-kier Sean Rose as pundit. Tokyo 2020 presenter Arthur Williams will lead overnight sports coverage.
Over 80 hours of the games will be on Channel 4 live from Beijing and will also stream on the broadcaster’s streaming on YouTube platform.
Channel 4’s director of programs Ian Katz said: “Channel 4 is incredibly proud to announce a stellar presenting team and — in a first for any broadcaster around the world — an entire presenting team who are disabled. This is testament to...
- 2/7/2022
- by Naman Ramachandran
- Variety Film + TV
Academy voters need to bring an open mind and a box of tissues for the heart-wrenching and moving “Swan Song.” Spearheaded by two-time Oscar winner Mahershala Ali and Oscar nominee Naomie Harris, it’s difficult to find more pure and deliberate performances from two of today’s most revered actors. If this late-bloomer in the awards season can make enough noise and get enough butts in screening seats, a worthy play for several categories could be on the horizon. In addition, this seems like the first film that feels authentically identifiable to Apple Original Films, which will bode well for its awards brand moving forward. However, its most significant hurdle may be awards groups confusing it with the other “Swan Song” that opened over the summer.
“Swan Song” takes place in the near future where family man Cameron Turner (Ali) is diagnosed with a terminal illness. To shield his family from grief,...
“Swan Song” takes place in the near future where family man Cameron Turner (Ali) is diagnosed with a terminal illness. To shield his family from grief,...
- 11/13/2021
- by Clayton Davis
- Variety Film + TV
“Flux Gourmet,” the new film from Peter Strickland, will be released by IFC Films in North America. The movie, which is backed by IFC Films, Bankside Films, and Head Gear/Metrol Technology, quietly wrapped production. The cast, which has not previously been announced, includes Asa Butterfield of “Sex Education” fame and “Game of Thrones” star Gwendoline Christie.
“Flux Gourmet” reunites IFC Films with Strickland — the indie studio previously collaborated with the auteur on his English-language debut “Berberian Sound System” and his follow-up feature “The Duke of Burgundy.” A24 released his most recent film 2018’s “In Fabric.”
IFC Films will release “Flux Gourmet” in 2022. The film is set at an institute devoted to culinary and alimentary performance, a collective finds themselves embroiled in power struggles, artistic vendettas and gastrointestinal disorders.
“‘Flux Gourmet’ came about through a personal frustration with how alimentary disorders or food allergies have been comically portrayed in some films,...
“Flux Gourmet” reunites IFC Films with Strickland — the indie studio previously collaborated with the auteur on his English-language debut “Berberian Sound System” and his follow-up feature “The Duke of Burgundy.” A24 released his most recent film 2018’s “In Fabric.”
IFC Films will release “Flux Gourmet” in 2022. The film is set at an institute devoted to culinary and alimentary performance, a collective finds themselves embroiled in power struggles, artistic vendettas and gastrointestinal disorders.
“‘Flux Gourmet’ came about through a personal frustration with how alimentary disorders or food allergies have been comically portrayed in some films,...
- 7/8/2021
- by Brent Lang
- Variety Film + TV
Past participants have included ‘Son Of Saul’, ‘The Death Of Cinema and My Father Too’ and ‘Beginning’.
The Jerusalem Sam Spiegel International Film Lab (Jsfl) has unveiled the 12 projects selected for its 9th edition, which is running online for now due to the Covid-19 pandemic.
Founded in 2011 under the auspices of the Jerusalem Sam Spiegel Film School (Jsfs), the lab traditionally selects six international and six Israeli projects.
The lab usually combines residential workshops and remote support but this year most of the programme is expected to take place online.
The first writing session will take place in December, followed...
The Jerusalem Sam Spiegel International Film Lab (Jsfl) has unveiled the 12 projects selected for its 9th edition, which is running online for now due to the Covid-19 pandemic.
Founded in 2011 under the auspices of the Jerusalem Sam Spiegel Film School (Jsfs), the lab traditionally selects six international and six Israeli projects.
The lab usually combines residential workshops and remote support but this year most of the programme is expected to take place online.
The first writing session will take place in December, followed...
- 11/16/2020
- by Melanie Goodfellow
- ScreenDaily
Past participants have included ‘Son Of Saul’, ‘The Death Of Cinema and My Father Too’ and ‘Beginning’.
The Jerusalem Sam Spiegel International Film Lab (Jsfl) has unveiled the 12 projects selected for its 9th edition, which is running online for now due to the Covid-19 pandemic.
Founded in 2011 under the auspices of the Jerusalem Sam Spiegel Film School (Jsfs), the lab traditionally selects six international and six Israeli projects.
The lab usually combines residential workshops and remote support but this year most of the programme is expected to take place online.
Participants include UK director Claire Oakley with English Animals, her...
The Jerusalem Sam Spiegel International Film Lab (Jsfl) has unveiled the 12 projects selected for its 9th edition, which is running online for now due to the Covid-19 pandemic.
Founded in 2011 under the auspices of the Jerusalem Sam Spiegel Film School (Jsfs), the lab traditionally selects six international and six Israeli projects.
The lab usually combines residential workshops and remote support but this year most of the programme is expected to take place online.
Participants include UK director Claire Oakley with English Animals, her...
- 11/16/2020
- by Melanie Goodfellow
- ScreenDaily
Serena Armitage won an Oscar for her 2016 short ‘Stutterer’.
UK producer Serena Armitage, whose credits include the 2016 Oscar-winning short Stutterer, is nearing completion on her first feature project Look The Other Way And Run.
The dystopian thriller is the directorial debut of David Luke Rees and is produced through Armitage’s Red Breast Productions. It stars Chloe Pirrie, who also appeared in Stutterer, with Jonas Armstrong and Ken Nwosu.
It tells the story of two survivors in a dystopian society living in a remote country house who decide to give shelter to a newcomer.
Further producers on the feature are...
UK producer Serena Armitage, whose credits include the 2016 Oscar-winning short Stutterer, is nearing completion on her first feature project Look The Other Way And Run.
The dystopian thriller is the directorial debut of David Luke Rees and is produced through Armitage’s Red Breast Productions. It stars Chloe Pirrie, who also appeared in Stutterer, with Jonas Armstrong and Ken Nwosu.
It tells the story of two survivors in a dystopian society living in a remote country house who decide to give shelter to a newcomer.
Further producers on the feature are...
- 4/4/2019
- by Tom Grater
- ScreenDaily
Twenty-two emerging producers to receive up to £2.2m; almost 500 applicants.Scroll Down For Recipients
The BFI has announced the recipients of its 2016-18 Vision Awards, comprising 22 investments in up-and-coming UK producers.
The awards, generally spread over two years, are designed to enable producers to build and develop their companies, slates and creative relationships.
The BFI had intended to give 20 awards but increased that allocation to 22 in response to the number of strong applications it received. Almost 500 companies applied for the awards, which are backed by a total commitment from the BFI of £2.2m of National Lottery funding.
Fifteen of the awards are to women producers or partnerships, while eight of the companies are based outside of London, located in Belfast, Cardiff, Glasgow, Hull, Leeds, Manchester, Sheffield and York.
In a bid to foster sustainability, the third iteration of the Vision Awards will include an allowance to cover a producer’s fees and overheads of up to half...
The BFI has announced the recipients of its 2016-18 Vision Awards, comprising 22 investments in up-and-coming UK producers.
The awards, generally spread over two years, are designed to enable producers to build and develop their companies, slates and creative relationships.
The BFI had intended to give 20 awards but increased that allocation to 22 in response to the number of strong applications it received. Almost 500 companies applied for the awards, which are backed by a total commitment from the BFI of £2.2m of National Lottery funding.
Fifteen of the awards are to women producers or partnerships, while eight of the companies are based outside of London, located in Belfast, Cardiff, Glasgow, Hull, Leeds, Manchester, Sheffield and York.
In a bid to foster sustainability, the third iteration of the Vision Awards will include an allowance to cover a producer’s fees and overheads of up to half...
- 8/24/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Another awards season came to a close on Sunday night when the annual Academy Awards were held in Hollywood from the Dolby Theatre. With many of the categories and ultimate winners anyone’s guess up until the end, there were many highlights from the big night. From the red carpet to the performances, check out our look at the best moments from the 88th Oscars.
George Miller and Margaret Sixel.
1. Big winner of the 88th Oscars was George Miller’s Mad Max: Fury Road. The film received the most wins with six, including Best Editing, Best Production Design, Best Hair and Makeup, Best Costume Design, Best Sound Mixing and Best Sound Editing. Oh What A Lovely Day!
Mark Rylance poses backstage with the Oscar®
2. The shock of the night was Sylvester Stallone’s Oscar loss for Creed. While all the precursor awards pointed to a win for the Rocky actor,...
George Miller and Margaret Sixel.
1. Big winner of the 88th Oscars was George Miller’s Mad Max: Fury Road. The film received the most wins with six, including Best Editing, Best Production Design, Best Hair and Makeup, Best Costume Design, Best Sound Mixing and Best Sound Editing. Oh What A Lovely Day!
Mark Rylance poses backstage with the Oscar®
2. The shock of the night was Sylvester Stallone’s Oscar loss for Creed. While all the precursor awards pointed to a win for the Rocky actor,...
- 2/29/2016
- by Movie Geeks
- WeAreMovieGeeks.com
Welcome to the 88th Academy Awards from the Dolby Theater in Hollywood, where the film industry’s best and whitest gather for the annual celebration of motion picture achievements. It’s been a tight race this year, with several contests still too close to call.
The Revenant is the favourite to win best picture heading into the ceremony, with 12 nominations, however don’t be surprised if Mad Max: Fury Road, The Big Short, or Spotlight spring a surprise.
The backdrop to this evening’s proceedings – along with the foreground and everything above it, below it, to the left and to the right of it – has been dominated by the #OscarsSoWhite outrage, which erupted back in January when, for the second year in a row, all 20 acting nominees were white.
The ensuing maelstrom triggered jerky knees in the Academy, which has moved to alter its composition and the way it does business going forward.
Time will tell. Meanwhile...
The Revenant is the favourite to win best picture heading into the ceremony, with 12 nominations, however don’t be surprised if Mad Max: Fury Road, The Big Short, or Spotlight spring a surprise.
The backdrop to this evening’s proceedings – along with the foreground and everything above it, below it, to the left and to the right of it – has been dominated by the #OscarsSoWhite outrage, which erupted back in January when, for the second year in a row, all 20 acting nominees were white.
The ensuing maelstrom triggered jerky knees in the Academy, which has moved to alter its composition and the way it does business going forward.
Time will tell. Meanwhile...
- 2/28/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
On Tuesday evening, The Academy kicked off Oscar Week. In the final days leading up to Oscar Sunday, movie fans will be offered throughout the week a up-close look with a series of public programs celebrating this year’s nominees in the Animated Feature Film, Documentary Feature, Documentary Short Subject, Foreign Language Film, Makeup and Hairstyling, and Animated and Live Action Short Film categories.
Hosted by Jennifer Yuh Nelson, Oscar Nominated for Kung Fu Panda 2, and director of Kung Fu Panda 3, the evening spotlighted the Animated Short Film and Live Action Short Film categories.
The “Oscar Week: Shorts” event, held at the Samuel Goldwyn Theater in Beverly Hills, featured a screening of all 10 nominated shorts in their entirety, as well as discussions with all of the nominated filmmakers.
On the heels of breaking box office records for this year’s Oscar nominated short films in theaters across the country,...
Hosted by Jennifer Yuh Nelson, Oscar Nominated for Kung Fu Panda 2, and director of Kung Fu Panda 3, the evening spotlighted the Animated Short Film and Live Action Short Film categories.
The “Oscar Week: Shorts” event, held at the Samuel Goldwyn Theater in Beverly Hills, featured a screening of all 10 nominated shorts in their entirety, as well as discussions with all of the nominated filmmakers.
On the heels of breaking box office records for this year’s Oscar nominated short films in theaters across the country,...
- 2/25/2016
- by Michelle McCue
- WeAreMovieGeeks.com
Set against the backdrop of war or the rigor of religious parameters, several of the Academy Award-nominated shorts this year aim to dissect larger ideas within their limited scope. Yet, one of the five selected works, Benjamin Cleary’s “Stutterer,” is a character study that centers its attention on a regular individual and how his idiosyncratic struggles shape his interpersonal interactions. Cleary’s film is a intimate portrait of a young man eager to express a myriad of ideas and complex emotions, but who is unable to do so by a speech impediment that traps him in his own thoughts. Through evocative voiceover, expertly executed sound design, and a delightful musical score that’s hard to ignore, Greenwood (Matthew Needham), the protagonist, comes alive on the screen, insecurities an all, in a way that goes beyond mere words.
“Stutterer” is Cleary’s first short film and it proudly represents the independent filmmaking spirit. Its production was a true labor of love that had only a couple thousand dollars to bring it all together and relied on the filmmaker and his team’s willingness to go to great lengths to bring it to fruition. An Oscar nomination for a film like this exemplifies that sometimes passion for the craft and an intimate, character-driven premise are the right weapons to stand out and reach unimaginable recognition.
We had the pleasure to chat with Cleary about his fascination with communication, renting out his apartment to finish the film, and what the Oscar nomination changes in his career.
Carlos Aguilar: The film is centered around Greenwood, this peculiar young man who finds it challenging to communicate verbally, how was this character born and why did you find his situation so captivating?
Benjamin Cleary: One day I was online and I came across this guy who was talking about his own stutter. He’d kind of gotten to the point where he was able to speak to people face to face relatively fine, but when he got the phone he just found it very difficult to communicate. I think he was talking about how hard it was because it was just his voice and he didn’t have anyone there to make eye contact with. It was a real barrier for him. That image just really struck a chord with me. It stayed with me and I started thinking about what it would be like for someone in this world dealing with that sort of disadvantage in terms of communication. That was really were the character was born from. A friend of mind growing up had a bad stutter when we were younger and I also started thinking about that. I remember that was very difficult for him. It’s hard enough growing up and navigate life as a boy and then into your teens without having this additional thing, so I supposed it was something that was personally close to me as well. These two things combined.
CA: Tell me about the idea of Greenwood's internal voice. We hear his thoughts and get to know him that way, but he can translate them into spoken words and that alienates from mainstream society.
Benjamin Cleary: I can’t remember exactly at what point that came into play but I think that was one of the things that really interested me as I started developing the idea because in reality I think that’s exactly how it can be. Someone who has this stutter finds it hard to get the words out, but the words are there. They are completely there. I just really wanted to try, in someone way, to represent that on film and the voiceover seemed like the best way to show the disparity between his inner and outer existences. On the inside he is this quite wonderful, charismatic, witty, and intelligent person. On the outside he is shies away from actually speaking to anyone. For me that was one of the things that really hooked me into the idea and kept me really interested going for it. Hopefully it represents what it actually would be like in someway. I can’t speak from personal experience, but in a lot of the research I did that was something people talked about.
CA: He also has an online voice, which is humorous and sarcastic. Online he can be truly himself without fear.
Benjamin Cleary: Totally, and I’m fascinated with how we communicate online. It’s something that’s relatively new to us, and it's still very much developing and it really interests me. Early on in the development of the character it occurred to me that maybe he would have an online relationship whereby he was completely fluent. Both the way he talks and the way Ellie responds to him are very quick. They don't take much time to respond. There is a real fluency and a real quick conversational nature to them online, that was something that I was keen to get across. This is were Greenwood feels comfortable to express himself with her. Tying this in with social media or online communication was an interesting thing to explore.
CA: The ending caught by surprise. Greenwood has trouble communicating, yet he is putting so much effort into learning a new skill that will allow him not to feel lonely. Where did the idea for this subtle twist come from? It definitely emphasizes the theme of communication.
Benjamin Cleary: When you set up a twist I guess you want it to feel organic and not to feel contrived. That’s hard to do and a lot of it comes down to the writing of it first and then the editing of it. You got to make sure that in the edit you put in these little clues or these little things that are going to feed into the end. You have to do it as subtly as you can, but it’s a fine line. I think some people have definitely said, “Oh I saw that coming,” but hopefully most people don’t see it coming. It’s hard to say where that came from but it just felt right and it was something I got in my head very early on. I think that, in general, the scripts that I really stay with are ones where the ending has come quite early on in the writing process. It’s like, “Ok, I know how I can end this. How do I get there?” rather than writing it and seeing where it goes. That ending was something I had quite early on in the process.
CA: He also makes quick observations, or "snap judgements" as he calls them, about people he sees on the street, would you say that the fact that he can’t communicate verbally as easily as most people makes this observations sharper?
Benjamin Cleary: Totally and I think it ties in with how quick he is online with his communication. I think he is on a “snap judgment” 1200 and something and this point. He’s become a seasoned pro at it. For me it’s showing that quickness of mind, but there is a sadness to it as well. He sees these people and he makes these, either funny or touching, observations, but in reality he's never going to go up to them to say these to them. That was something quite emotional for me. I think it’s something a lot of us can in some way empathize with.
CA: Sound, particularly near ending, is a key element in the film and how we learn about Greenwood's internal state. Was sound and the the atmosphere is creates something that was part of the story early on?
Benjamin Cleary: Definitely. That was all in the script. I come from a sound background. I did sound engineering and music technology for a few years prior to getting into film. I really think about the audio very much so in the script. The idea of that rising cacophony towards the end was something that I was really excited about, but also nervous about how we were going to pull it off. Luckily we had a really good guy, Gustaf Jackson, who did our sound mix for us. He and I just got it all together. Matthew Needham, the actor, was amazing when we brought him into the studio. I got him to read a huge page of stuff I’ve written, I stitched it all together in the edit, then Gustaf help me make it all feel slightly seamless. Audio was a massive consideration from very early on. I’m really please with how it worked for the film.
CA: Tell me about working with Matthew Needham, there are two parts to his performance, the one we see on screen and the one hear as voiceover. He definitely carries the film single-handedly.
Benjamin Cleary: Yes that was an interesting one because he is playing two parts in a sense. Within a couple of minutes of meeting Matthew Needham I just thought, “Yes, this guy’s got it.” He was talking about the script with real insight and passion. He really liked it and he really got it. He was a pleasure to work with. For me, he is the film and I think he gives a really touching performance. Then going into the post and having to do the voiceover, I think it was incredible how he was able to represent a completely different side to the character, I personally think, very effectively. That was a lot of fun actually, having the stuff we did on set and then in post having to come with this other feeling for the performance. I think he did a great job.
CA: Tell me the trials and tribulations of making "Stutterer." I've read that you really sacrifice comfort and financial stability in order to make it a reality.
Benjamin Cleary: Obviously the budget was really low and it was self-funded. When it got to the point that we just needed a little bit more money to finish I subletted my room in my flat for a couple of months. I was able to do that thanks to the great generosity of a big group of friend who would let me couch surf in different houses. When a bed would come up they’d me on the phone, “Hey we are going to be away for a few days, come over and stay.” It was great and we used that money that I would have used to pay rent for the film instead. All the people that helped out were just amazing. It was a really nice team effort in that way.
CA: You really have to believe in the idea and its potential in order to be willing to sleep on a different couch every night in order to finish the project.
Benjamin Cleary: [Laughs] Yes, but let me tell you, there were some days at 6 in the morning sitting in the studio that I just thought, “What am I doing? Should I just stop and not go any further?” But something kept us going and the people around me were amazing, my producers Serena Armitage and Shan Christopher Ogilvie, Michael Paleodimos our Dp, and Nico Casal the musical composer. Those people kept me going and kept me believing in the film in those dark moments. Luckily it all worked out in the end.
CA: Do you have any plans to turn "Stutterer" into a feature-length project? It seems that's a common occurrence now, for a filmmaker to adapt his short into a larger version of the story.
Benjamin Cleary: Yes that seems to be quite a common thing happening these days, but “Stutterer” was always its own story. I got a feature in development that’s linked to it thematically. I’m fascinated by the theme of communication and I’ve got a film that’s linked in that sense but not specifically to any of the elements in the short film. I think “Stutterer” is just going to stay as is it, but thematically I’ll be exploring similar things.
CA: The Oscar nomination is already a major achievement in your career. How does this change things for you as a filmmaker going forward?
Benjamin Cleary: We are all still in mild shock. We never thought the film was going to get anywhere near here. It’s quite lovely and quite amazing, and a great tribute to all of the people who worked on it and did such a good job. In terms of what it changes, hopefully it’s going to open some doors. It’s my first film, so I’m really starting out my career and I hope that this is going to be a good springboard. I’m already meeting some really great people and hopefully it’s going to be great for everyone who was involved in the film.
You can watch "Stutterer" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Live Action playing in theaters across the country now.
“Stutterer” is Cleary’s first short film and it proudly represents the independent filmmaking spirit. Its production was a true labor of love that had only a couple thousand dollars to bring it all together and relied on the filmmaker and his team’s willingness to go to great lengths to bring it to fruition. An Oscar nomination for a film like this exemplifies that sometimes passion for the craft and an intimate, character-driven premise are the right weapons to stand out and reach unimaginable recognition.
We had the pleasure to chat with Cleary about his fascination with communication, renting out his apartment to finish the film, and what the Oscar nomination changes in his career.
Carlos Aguilar: The film is centered around Greenwood, this peculiar young man who finds it challenging to communicate verbally, how was this character born and why did you find his situation so captivating?
Benjamin Cleary: One day I was online and I came across this guy who was talking about his own stutter. He’d kind of gotten to the point where he was able to speak to people face to face relatively fine, but when he got the phone he just found it very difficult to communicate. I think he was talking about how hard it was because it was just his voice and he didn’t have anyone there to make eye contact with. It was a real barrier for him. That image just really struck a chord with me. It stayed with me and I started thinking about what it would be like for someone in this world dealing with that sort of disadvantage in terms of communication. That was really were the character was born from. A friend of mind growing up had a bad stutter when we were younger and I also started thinking about that. I remember that was very difficult for him. It’s hard enough growing up and navigate life as a boy and then into your teens without having this additional thing, so I supposed it was something that was personally close to me as well. These two things combined.
CA: Tell me about the idea of Greenwood's internal voice. We hear his thoughts and get to know him that way, but he can translate them into spoken words and that alienates from mainstream society.
Benjamin Cleary: I can’t remember exactly at what point that came into play but I think that was one of the things that really interested me as I started developing the idea because in reality I think that’s exactly how it can be. Someone who has this stutter finds it hard to get the words out, but the words are there. They are completely there. I just really wanted to try, in someone way, to represent that on film and the voiceover seemed like the best way to show the disparity between his inner and outer existences. On the inside he is this quite wonderful, charismatic, witty, and intelligent person. On the outside he is shies away from actually speaking to anyone. For me that was one of the things that really hooked me into the idea and kept me really interested going for it. Hopefully it represents what it actually would be like in someway. I can’t speak from personal experience, but in a lot of the research I did that was something people talked about.
CA: He also has an online voice, which is humorous and sarcastic. Online he can be truly himself without fear.
Benjamin Cleary: Totally, and I’m fascinated with how we communicate online. It’s something that’s relatively new to us, and it's still very much developing and it really interests me. Early on in the development of the character it occurred to me that maybe he would have an online relationship whereby he was completely fluent. Both the way he talks and the way Ellie responds to him are very quick. They don't take much time to respond. There is a real fluency and a real quick conversational nature to them online, that was something that I was keen to get across. This is were Greenwood feels comfortable to express himself with her. Tying this in with social media or online communication was an interesting thing to explore.
CA: The ending caught by surprise. Greenwood has trouble communicating, yet he is putting so much effort into learning a new skill that will allow him not to feel lonely. Where did the idea for this subtle twist come from? It definitely emphasizes the theme of communication.
Benjamin Cleary: When you set up a twist I guess you want it to feel organic and not to feel contrived. That’s hard to do and a lot of it comes down to the writing of it first and then the editing of it. You got to make sure that in the edit you put in these little clues or these little things that are going to feed into the end. You have to do it as subtly as you can, but it’s a fine line. I think some people have definitely said, “Oh I saw that coming,” but hopefully most people don’t see it coming. It’s hard to say where that came from but it just felt right and it was something I got in my head very early on. I think that, in general, the scripts that I really stay with are ones where the ending has come quite early on in the writing process. It’s like, “Ok, I know how I can end this. How do I get there?” rather than writing it and seeing where it goes. That ending was something I had quite early on in the process.
CA: He also makes quick observations, or "snap judgements" as he calls them, about people he sees on the street, would you say that the fact that he can’t communicate verbally as easily as most people makes this observations sharper?
Benjamin Cleary: Totally and I think it ties in with how quick he is online with his communication. I think he is on a “snap judgment” 1200 and something and this point. He’s become a seasoned pro at it. For me it’s showing that quickness of mind, but there is a sadness to it as well. He sees these people and he makes these, either funny or touching, observations, but in reality he's never going to go up to them to say these to them. That was something quite emotional for me. I think it’s something a lot of us can in some way empathize with.
CA: Sound, particularly near ending, is a key element in the film and how we learn about Greenwood's internal state. Was sound and the the atmosphere is creates something that was part of the story early on?
Benjamin Cleary: Definitely. That was all in the script. I come from a sound background. I did sound engineering and music technology for a few years prior to getting into film. I really think about the audio very much so in the script. The idea of that rising cacophony towards the end was something that I was really excited about, but also nervous about how we were going to pull it off. Luckily we had a really good guy, Gustaf Jackson, who did our sound mix for us. He and I just got it all together. Matthew Needham, the actor, was amazing when we brought him into the studio. I got him to read a huge page of stuff I’ve written, I stitched it all together in the edit, then Gustaf help me make it all feel slightly seamless. Audio was a massive consideration from very early on. I’m really please with how it worked for the film.
CA: Tell me about working with Matthew Needham, there are two parts to his performance, the one we see on screen and the one hear as voiceover. He definitely carries the film single-handedly.
Benjamin Cleary: Yes that was an interesting one because he is playing two parts in a sense. Within a couple of minutes of meeting Matthew Needham I just thought, “Yes, this guy’s got it.” He was talking about the script with real insight and passion. He really liked it and he really got it. He was a pleasure to work with. For me, he is the film and I think he gives a really touching performance. Then going into the post and having to do the voiceover, I think it was incredible how he was able to represent a completely different side to the character, I personally think, very effectively. That was a lot of fun actually, having the stuff we did on set and then in post having to come with this other feeling for the performance. I think he did a great job.
CA: Tell me the trials and tribulations of making "Stutterer." I've read that you really sacrifice comfort and financial stability in order to make it a reality.
Benjamin Cleary: Obviously the budget was really low and it was self-funded. When it got to the point that we just needed a little bit more money to finish I subletted my room in my flat for a couple of months. I was able to do that thanks to the great generosity of a big group of friend who would let me couch surf in different houses. When a bed would come up they’d me on the phone, “Hey we are going to be away for a few days, come over and stay.” It was great and we used that money that I would have used to pay rent for the film instead. All the people that helped out were just amazing. It was a really nice team effort in that way.
CA: You really have to believe in the idea and its potential in order to be willing to sleep on a different couch every night in order to finish the project.
Benjamin Cleary: [Laughs] Yes, but let me tell you, there were some days at 6 in the morning sitting in the studio that I just thought, “What am I doing? Should I just stop and not go any further?” But something kept us going and the people around me were amazing, my producers Serena Armitage and Shan Christopher Ogilvie, Michael Paleodimos our Dp, and Nico Casal the musical composer. Those people kept me going and kept me believing in the film in those dark moments. Luckily it all worked out in the end.
CA: Do you have any plans to turn "Stutterer" into a feature-length project? It seems that's a common occurrence now, for a filmmaker to adapt his short into a larger version of the story.
Benjamin Cleary: Yes that seems to be quite a common thing happening these days, but “Stutterer” was always its own story. I got a feature in development that’s linked to it thematically. I’m fascinated by the theme of communication and I’ve got a film that’s linked in that sense but not specifically to any of the elements in the short film. I think “Stutterer” is just going to stay as is it, but thematically I’ll be exploring similar things.
CA: The Oscar nomination is already a major achievement in your career. How does this change things for you as a filmmaker going forward?
Benjamin Cleary: We are all still in mild shock. We never thought the film was going to get anywhere near here. It’s quite lovely and quite amazing, and a great tribute to all of the people who worked on it and did such a good job. In terms of what it changes, hopefully it’s going to open some doors. It’s my first film, so I’m really starting out my career and I hope that this is going to be a good springboard. I’m already meeting some really great people and hopefully it’s going to be great for everyone who was involved in the film.
You can watch "Stutterer" as part of Shorts HD's theatrical release of the 2016 Oscar Nominated Short Films - Live Action playing in theaters across the country now.
- 2/25/2016
- by Carlos Aguilar
- Sydney's Buzz
The 88th Annual Academy Awards are just around the corner on Sunday evening, so once again, it’s time to lay down my predictions for who has the best chance of winning in each of the 24 categories, along with a bit of analysis as to why they appear to be the frontrunners. As usual, I’ll start from the smallest categories and work my way up, so let’s get started:
Best Animated Short Film
“Bear Story” Gabriel Osorio and Pato Escala
“Prologue” Richard Williams and Imogen Sutton
“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
“We Can’t Live without Cosmos” Konstantin Bronzit
“World of Tomorrow” Don Hertzfeldt
Best Live Action Short Film
“Ave Maria” Basil Khalil and Eric Dupont
“Day One” Henry Hughes
“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
“Shok” Jamie Donoughue
“Stutterer” Benjamin Cleary and Serena Armitage
Best Documentary Short Subject
“Body Team 12...
Best Animated Short Film
“Bear Story” Gabriel Osorio and Pato Escala
“Prologue” Richard Williams and Imogen Sutton
“Sanjay’s Super Team” Sanjay Patel and Nicole Grindle
“We Can’t Live without Cosmos” Konstantin Bronzit
“World of Tomorrow” Don Hertzfeldt
Best Live Action Short Film
“Ave Maria” Basil Khalil and Eric Dupont
“Day One” Henry Hughes
“Everything Will Be Okay (Alles Wird Gut)” Patrick Vollrath
“Shok” Jamie Donoughue
“Stutterer” Benjamin Cleary and Serena Armitage
Best Documentary Short Subject
“Body Team 12...
- 2/24/2016
- by Jeff Beck
- We Got This Covered
More than 150 Oscar nominees came together at noon on Monday at the Beverly Hilton as the Academy of Motion Picture Arts and Sciences honored this year’s Oscar contenders at its annual Nominees Luncheon.
From Left to Right:
Seated: Adam Benzine, Paul Massey, Michael Standish, Chris Jenkins, Randy Thom, Jason Smith, Josh Cooley, Maryann Brandon, Richard Williams, Patrick Vollrath, Ed Lachman, Mary Parent, David Acord, Anders Langland, Henry Hughes, Kristie Macosko Krieger, Tom Yellin
First Row: Rosa Tran, Jacqueline West, Ed Guiney, Evgeny Afineevsky, Matthew Shumway, Amy Hobby, Jonas Rivera, Gregg Rudloff, Signe Byrge Sorensen, Love Larson, Jennifer Jason Leigh, Courtney Marsh, Nomi Talisman, Mark Ruffalo, Diane Warren, Paco Delgado, Bryan Cranston, Jistin Wilkes, Blye Pagon Faust, Roger Guyett, Basil Khalil, Drew Kunin, Sian Grigg, Andrea Berloff,
Second Row:Adam Stockhausen, Tom McArdle, Keith Redmon, Damian Martin, Ale Abreu, Matthew Heineman, Matt Damon, Bernhard Henrich, Cameron Waldbauer, Alan Robert Murray,...
From Left to Right:
Seated: Adam Benzine, Paul Massey, Michael Standish, Chris Jenkins, Randy Thom, Jason Smith, Josh Cooley, Maryann Brandon, Richard Williams, Patrick Vollrath, Ed Lachman, Mary Parent, David Acord, Anders Langland, Henry Hughes, Kristie Macosko Krieger, Tom Yellin
First Row: Rosa Tran, Jacqueline West, Ed Guiney, Evgeny Afineevsky, Matthew Shumway, Amy Hobby, Jonas Rivera, Gregg Rudloff, Signe Byrge Sorensen, Love Larson, Jennifer Jason Leigh, Courtney Marsh, Nomi Talisman, Mark Ruffalo, Diane Warren, Paco Delgado, Bryan Cranston, Jistin Wilkes, Blye Pagon Faust, Roger Guyett, Basil Khalil, Drew Kunin, Sian Grigg, Andrea Berloff,
Second Row:Adam Stockhausen, Tom McArdle, Keith Redmon, Damian Martin, Ale Abreu, Matthew Heineman, Matt Damon, Bernhard Henrich, Cameron Waldbauer, Alan Robert Murray,...
- 2/9/2016
- by Michelle McCue
- WeAreMovieGeeks.com
ShortsHD, the Only Short Film Channel (www.shorts.tv), working with Magnolia Pictures, will open “The Oscar Nominated Short Films 2016” on over 400 screens across the United States, Canada, Europe and Latin America on Friday January 29, 2016. “The Oscar Nominated Short Films 2016” will showcase the Live Action, Animation and Documentary short film nominees compilation as three separate theatrical events.
This marks the 11th year of the Oscar nominated short films theatrical experience and is the only opportunity for audiences to watch the nominated short films prior to the 88th Academy Awards ceremony on Sunday, February 28, 2016.
In 2015, the Oscar Nominated Short Films earned over $2.4 million worldwide, nearly doubling from just a few years prior. One of the most diverse categories in Academy consideration, this year’s Oscar® Nominated Short Films feature with projects originating from United States, France, Germany, Palestine, United Kingdom, Kosovo, Austria, Chile, Russia, Liberia, Pakistan, Vietnam, and Canada.
“Films...
This marks the 11th year of the Oscar nominated short films theatrical experience and is the only opportunity for audiences to watch the nominated short films prior to the 88th Academy Awards ceremony on Sunday, February 28, 2016.
In 2015, the Oscar Nominated Short Films earned over $2.4 million worldwide, nearly doubling from just a few years prior. One of the most diverse categories in Academy consideration, this year’s Oscar® Nominated Short Films feature with projects originating from United States, France, Germany, Palestine, United Kingdom, Kosovo, Austria, Chile, Russia, Liberia, Pakistan, Vietnam, and Canada.
“Films...
- 1/20/2016
- by Michelle McCue
- WeAreMovieGeeks.com
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