IN MOTION (backup) V.3 - USC School of Cinematic Arts - University ...

More documents

Recommendations

Info

Backseat Bingo Ahead of the Filmmaking Curve By Jacqueline Angiuli When Ruth moved into Sid’s apartment complex, the 82-year-old widower found love. And his granddaughter, Liz Blazer, M.F.A. ’03, found the inspiration to create her acclaimed animated documentary, Backseat Bingo, which premiered at the School of Cinema-Television’s annual First Look Film Festival in the fall of 2004. Sid, deeply despondent after losing his wife of 60 years, was “instantly transformed” by his love affair with Ruth, said Liz. “Hair grew out of the top of his head for the first time in a half century,” she recalls. “My grandfather giggled, danced, and wrote love letters.” Seniors talk about love and intimacy in the animated documentary Backseat Bingo Liz was struck by how the vitality of Sid and Ruth’s relationship seemed to stand in stark contrast to most assumptions about older people and romance, so she set out to make a film that would explore the intimate lives of senior citizens. “I asked around for months, searching for a group of passionate seniors who were willing to talk about sex,” said Liz. “I finally found Robert, a 93-year-old composer who introduced me to his clique of fabulous friends. They were excited about being interviewed and quite candid, knowing that the final film would be animated.” Liz, the sole animator, director, and producer of Backseat Bingo, chose to make a documentary featuring animated characters, knowing it would help audiences shed their preconceptions about aging and focus on the actual message about companionship and the universality of romantic longing. “I wanted to show these folks in the most wise, vital, and compassionate way that I could — literally, animated,” she explained. The completed project — a “cut-out film” that was created by scanning watercolor drawings, fabrics, and printed textures and using Photoshop and After Effects for assembly and animation — earned Liz not only a master’s degree from the School’s Division of Animation and Digital Arts, but also an avalanche of accolades from across the country and around the globe. Film-festival audiences from California to Croatia have embraced this insightful, imaginative five-minute masterpiece, and Animation Magazine, the HBO Sith’s Digital Dazzle It was “déjà vu all over again” when a capacity crowd filled Frank Sinatra Hall in the Norris Theatre Complex on May 15 to enjoy prerelease screenings of Star Wars: Episode III — Revenge of the Sith, courtesy of Lucasfilm Ltd. and 20th Century Fox. Ben Burtt ’75, Academy Award nominee and longtime George Lucas collaborator, discusses his role as a film editor and sound designer on Star Wars: Episode III — Revenge of the Sith 14 | in motion summer 2005 As Dean Elizabeth Daley noted, “A smaller collection of guests assembled at the very same venue back in 1977 to watch a special screening of the first Star Wars movie, so we are very honored that George [Lucas] agreed to let us screen the finale to this landmark series here as well.” Thanks to the digital file server provided by Avica Technology and the digital projector already donated to the School and installed in Norris Theatre/Sinatra Hall by corporate partner Christie’s, guests saw Episode III the way George Lucas wanted it to be seen — completely digitally. And the USC audience cherished every magical moment. Alumni, faculty, students, and friends greeted the first notes of John Williams’s score with eager applause, cheered for their Jedi heroes during the spectacular battle scenes, and offered a thundering ovation as the credits rolled. Comedy Arts Festival, and the International Documentary Association are just a few of the many organizations that awarded Backseat Bingo their highest honors. The enthusiastic response probably shouldn’t come as too much of a surprise. More than 20 percent of the U.S. population will be 65 years or older by 2030, and the first baby boomers will reach the age of 60 in 2006. This means that an unprecedented number of Americans are trying to understand the evolving role of older persons in society — just as Liz Blazer sensed when she saw Ruth and Sid’s relationship beginning to unfold. But Liz emphasized that it was the education she received at the USC School of Cinema-Television that enabled her to turn her artistic instincts into film reality. “What excited me most about the program initially was that USC offered the opportunity to study animation within the context of the film school, instead of as a segregated animation department in an art school,” she noted. “The School of Cinema-Television is exceptional because of its philosophical commitment to teaching not only the technical tools of the trade, but also critical thinking and — most important — the art of storytelling.” The success of Backseat Bingo has encouraged Liz to continue to explore the intersection of the animation and documentary genres. She is currently working on a short — Fitting Room Confidential is the working title — that will address the issues surrounding female self-image by illustrating the “humorous, compassionate, often silly, and sometimes painful interactions” that occur in the hidden worlds of the dressing rooms of discount clothing stores. “Liz Blazer is a wonderful spirit and a true humanitarian,” said Kathy Smith, chair of the Division of Animation and Digital Arts. “Her work is imbued with a sensitivity and maturity that comes from having elderly parents and a sincere interest in the fragility of life and the transience of existence,” Smith observed, adding, “She never fails to find some sense of emotion or humor in even the smallest moment.” Another highlight of the afternoon was an appearance by alumnus Ben Burtt ’75, the sound designer on all of the Star Wars and Indiana Jones films and picture editor on Episodes I, II, and III. Burtt joined the festivities to participate in a question-and-answer session with Associate Professor Norman Hollyn, head of the School’s editing track. Burtt talked about the care taken by the filmmakers to connect the threads between all the Star Wars films in the final installment, adding that “they are very enjoyable threads to follow.” Recounting his experiences working on Episode III, Burtt said that there was “a tremendous amount of … experimentation going on in the editing room.” The prolific Burtt — he also created the voice of E.T. — went on to encourage aspiring filmmakers to get a broad education but also to “become an expert in several things so you have a developed point of view.”
USC Is in the “Flow” at Sundance ’05 By Justin Wilson, M.F.A. ’98 Braving streets choked with snow banks and throngs of festival-goers, more than 200 alumni, students, faculty, and friends joined the School of Cinema-Television’s annual cocktail party at Café Terigo to celebrate the 20-plus USC-affiliated projects that were presented at this year’s Michael Phillips, senior production designer at Avid Sundance and Slamdance film festivals. Technology, Nelson Cragg, M.F.A.’03, and Dean Daley at the School of Cinema-Television's annual The January event — sponsored by Avid, Sundance reception Moviefone, and Stella Artois — drew a record crowd, all of whom were buzzing about the award-winning fiction features Hustle & Flow (produced by John Singleton, B.A. ’90) and Brick (written and directed by Rian Johnson, B.A. ’96), as well as the documentary The Fall of Fujimori (directed by alumna Ellen Perry). As in years past, short films proved an excellent way for current students like Ari Sandel (writer-director of the musical West Bank Story) and Michael Hoy (producer of the Slamdance entry Lower East Side Stories) to participate in the Park City festivities. Sandel summed up his experience as a first-time filmmaker by saying, “The difference between going to Sundance and showing a film at Sundance is that going as an observer is more fun, but showing a film is more exciting. That’s because the chaos and crazy schedules combined with all of the constant networking takes its toll, but when you are presenting a film the stakes are higher. The experience was a real success for me and the film.” David Greenspan, M.F.A. ’01, director of the new feature comedy Mall Cop, is a Park City veteran, having participated in Slamdance four years ago as the writer-director of the Palme d’Or–winning short Beancake. “I ran into a number of other USC alumni and students at Slamdance,” said Greenspan, describing the collegial environment at Park City. “I met Kori Bunds, a current 546 director, whose 508 was in Slamdance. We shared USC war stories and bonded. I did feel like part of the family.” Hoy seconded this notion, saying, “In a funny way, Park City started to feel like a home away from home. The Trojan presence at Sundance and Slamdance, Alumni Ravi Malhotra, Ashley Jordan, Kim whether students or alumni, filmmakers or supporters, Ray, and Donovan Eberling at Sundance ’05 was so strong and it really solidified for me why I go to USC. There are so many students and alumni from ’SC who have a determination to make an impact on the world and so many of them are actually doing it. It really made the film world feel even smaller than it already does. It’s just really great when you can mention something like 290 or 310, and people actually know what you’re talking about! Adds Kim Ray, M.F.A. ’04, co-writer of West Bank Story, “Sundance is what you make of it, whether you’re a participant or have something in the festival … It’s fun to be there with a group of USC people because you’re never at a loss for what to do at any hour of the day.” The USC cocktail party was particularly enjoyable, she said, because “You’re in a room filled with people who not only have things they worked on in the festival but are also working on new projects. It’s really exciting.” AOL Annoucement America Online, the world’s leading interactive services company, and the USC School of Cinema-Television recently joined forces, launching an initiative that will take online content and entertainment to exhilarating new heights in the coming years. Steven Yee (general manager of AOL Movies), alumnus Jon Turteltaub, and Larry Auerbach at the April First Look Festival The partnership got off to a picture-perfect start this April when Moviefone, a division of AOL, helped underwrite the School’s First Look Film Festival and hosted the festival’s opening-night celebration. Moviefone will continue to support First Look — and furnish new platforms for showcasing student work — as part of a multifaceted AOL- USC agreement. Stay tuned for more details about this exciting partnership! Mixing with Moore T housands flooded McCarthy Quad last October for an outdoor screening — featuring exclusive unreleased footage — of Michael Moore’s Palme d’Or–winning documentary Fahrenheit 9/11. Hosted by the School of Cinema–Television and the USC Program Board, this unique event drew students from across campus, who stood shoulder-to-shoulder to watch the now-legendary film and lob questions at its controversial creator, Michael Moore. The university-wide screening and question-and-answer session were preceded by a reception attended by the Academy Award–winning filmmaker and a small group of faculty and students. Hanks Gets Real I n February, the inimitable Tom Hanks took the podium in Frank Sinatra Hall — much to the delight of the capacity crowd of students who had gathered there to hear their idol share his perspectives on the role and impact of non–fiction filmmaking. Hanks showed clips from such esteemed film and television projects as Band of Brothers, Saving Private Ryan, Apollo 13, and Ken Burns’ The Civil War, and reflected that the most enduring films all have “the three Es” — they entertain, enlighten, and educate. A lively questionand-answer session, moderated by Associate Dean of Academic Affairs Michael Renov and Professor Mark Harris, concluded this remarkable twohour program. WB Hosts Students When Josh Schwartz, creator of the smash-hit television series The O.C., and Bruce Rosenblum, executive vice president of Warner Bros. Television Group, hosted a lunch for 18 cinema-television students on the WB lot in March, club sandwiches weren’t the only things on the menu. Students relished the opportunity to learn about the realities of a television career firsthand from two of the giants in the business. The luncheon was the second in a successful new quarterly series organized by Rosenblum and designed to connect students interested in careers in television with successful alumni in the field. Rosenblum and film and television impresario John Wells, M.F.A. ’82, hosted the inaugural luncheon event in January. summer 2005 in motion | 15
Page 1 and 2: L OF MA ISION SCHOOL OF CINEMA TELE
Page 3 and 4: “The Stark Program not only has p
Page 5 and 6: y inviting him to speak at USC’s
Page 7 and 8: Faculty Focus Priya Jaikumar by Jac
Page 9 and 10: mation for a variety of media Micha
Page 11 and 12: Declaration of Independence (contin
Page 13: When you first started Lost, did yo

IN MOTION (backup) V.3 - USC School of Cinematic Arts - University ...

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?