Universal Film Magazine - Issue 8 - www.ufmag.biz

Issue 8 - 2013About UFMThe Universal Film Magazine isa free magazine that deliverspassionate and creative coverageabout the global film and festivalcommunities. The publicationdiffers from the competition becauseit is totally free.Universal FilmMagazineIt is the mission of the UniversalFilm Magazine to uphold ouruncompromising high standardsin professional journalism withcompelling stories that are unbiasedand fact-based.We are committed to the advancementof the industry byproviding the very best in-depthfeatures and coverage that willhave a positive impact in theworld. We aim to give our readersmotivational and inspirationalstories that embrace the spirit ofindependent film and festivalsand give them a voice in themedia.Editor-in-ChiefTyrone D MurphyEditorCreative DirectorProof EditorsPhotographerMarketing DirectorContributorsTYRONE D MURPHYDOM MURICUTODD VOLZMICHELLE GOODEKATE SPATOLAPAUL PASTORPAUL WOODSLANNAH SAWYER-DIGGINSKEVIN A MURPHYEV JOHNSONVALERIA BANDINOROY BENSONDEREK WINNERLINDA ARONSONDAVID O RUSSELLCHRISTINE WILLIAMSCHRISTOPHER TEMPLETONJON PHILIPSLISA REZNIKLetters & E MailsPlease ContributePlease send in your letters and stories editor@ufmag.orgQuestions and feedback:Universal film MagazineEmail: info@ufmag.orgOnline: www.ufmag.orgCopyright Notice:All editorial content and graphics on this site are protected by copyrightand international treaties and may not be copied without the express permissionof Universal Film Magazine, which reserves all rights. Re-use of anyof this site content and graphics for any purpose is strictly prohibited.All third party trademarks. product names and company names in the magazineare the property of their respective owners and or advertisers.DISCLAIMER: Readers should consult with a lawyer before solely relying onany information contained herein.1www.ufmag.org

ContentsFEATURED STORIES:451117192123252733354345OSCAR NOMINATIONSNominations for the 85th AcademyAwards® were announcedOSCAR NOMINATION LISTComplete list of nominations for the 85thAcademy AwardsKON TIKIOscar Nominated “Kon Tiiki” Best Foreign languagefilm of the yearDJANGO UNCHAINEDNominated best motion picture of the yearand original screenplayTHE HiSTORY OF THE OSCARSThe Oscar awards, from humble beginnings toone of the biggest ceremonies in the WorldLES MISERABLESNominated best motion picture of the year andAnne Hathaway for Actress in supporting roleMICHAEL HANEKE - AMOURNominated best motion picture of the yearand original screenplayTHE IMPOSSIBLENaomi Watts nominated for best performanceof an actress in a leading roleFLIGHTDenzel Washington nominated for best performanceof an actor in a leading roleINTERVIEW WITH RAMON AGIRRE - AMOURValeria Bandino interviews the star of Amourabout his role in the filmTARANTINO GOES APEThe interview with the UK Channel 4 whenTarantino states “I’m no Monkey”FILM FESTIVALS - HISTORYA look at the history of film festivals and somenotable festivals all over the worldSIMON PHILLIPS - TOOLS OF DIRECTINGAn introduction to the “Tools Of Directing”given by Simon PhillipsRobert Deniro P.7Steven Spielberg P.9Sally Field P.15Daniel Day-Lewis P.16www.ufmag.org2

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Universal FilmIssue 8 - 2013ACADEMYAWARDNOMINATIONSThe Academy of Motion Picture Artsand Sciences is the world’s preeminentmovie-related organization,with a membership of more than6,000 of the most accomplished menand women working in cinema. In additionto the annual AcademyAwards in which the members vote toselect the nominees and winners—the Academy presents a diverse yearroundslate of public programs, exhibitionsand events; provides financialsupport to a wide range of othermovie-related organizations and endeavors;acts as a neutral advocate inthe advancement of motion picturetechnology; and, through its MargaretHerrick Library and Academy FilmArchive, collects, preserves, restoresand provides access to movies anditems related to their history. Throughthese and other activities the Academyserves students, historians, theentertainment industry and peopleeverywhere who love movies.Nominations for the 85th AcademyAwards® were announced today(Thursday, January 10) by this year’sOscar host, Seth MacFarlane, and actressEmma Stone.MacFarlane and Stone announced thenominees at a 5:38 a.m. PT live newsconference attended by more than400 international media representatives.For a complete list of nominees,visit the official Academy Awardswebsite, www.oscar.com.Official screenings of all motion pictureswith one or more nominationswill begin for members on Saturday,January 19, at the Academy’s SamuelGoldwyn Theater. Screenings will alsobe held at the Academy’s LinwoodDunn Theater in Hollywood and inLondon, New York and the San FranciscoBay Area.www.ufmag.org4

Universal FilmIssue 8 - 2013SILVER LININGSPLAYBOOKROBERT DENIROBEST PERFORMANCE OF AN ACTORIN A LEADING ROLE7www.ufmag.org

Universal FilmIssue 8 - 2013Robert De Niro born August 17, 1943) is an American actor,director and producer. His first major film roles were in Bangthe Drum Slowly and Mean Streets, both in 1973. In 1974,he played the young Vito Corleone in The Godfather Part IIfor which he won the Academy Award for Best SupportingActor.Academy AwardWon: Best Supporting Actor, The Godfather Part II (1974)Nominated: Best Actor, Taxi Driver (1976)Nominated: Best Actor, The Deer Hunter (1978)Won: Best Actor, Raging Bull (1980)Nominated: Best Actor, Awakenings (1990)Nominated: Best Actor, Cape Fear (1991)Nominated: Best Supporting Actor, Silver Linings Playbook(2012)BAFTA AwardNominated: Best Newcomer, The Godfather Part II (1976)Nominated: Best Actor, Taxi Driver (1977)Nominated: Best Actor, The Deer Hunter (1979)Nominated: Best Actor, Raging Bull (1980)Nominated: Best Actor, The King of Comedy (1984)www.ufmag.org8

Universal FilmIssue 8 - 2013SPIELBERGACHIEVEMENT IN DIRECTING FOR LINCOLN9www.ufmag.org

Universal FilmIssue 8 - 2013Steven Spielberg was born December 18, 1946, in Cincinnati, Ohio. An amateur filmmaker as a child,Spielberg went on to become the enormously successful Academy Award-winner2013 Nominated Oscar Best Achievement in Directing for: Lincoln (2012).2013 Best Motion Picture of the Year for: Lincoln (2012).2012 Nominated Oscar Best Motion Picture of the Year for: War Horse (2011)2007 Nominated Oscar Best Motion Picture of the Year for: Letters from Iwo Jima (2006).2006 Nominated Oscar Best Achievement in Directing for: Munich (2005).2006 Best Motion Picture of the Yearfor: Munich (2005).1999 Won Oscar Best Director for: Saving Private Ryan (1998).1999 Nominated Oscar Best Picture for: Saving Private Ryan (1998).1994 Won Oscar Best Director for: Schindler’s List (1993).1994 Best Picture for: Schindler’s List (1993).1987 Won Irving G. Thalberg Memorial Award1986 Nominated Oscar Best Picture for: The Color Purple (1985).1983 Nominated Oscar Best Director for: E.T. the Extra-Terrestrial (1982).1983 Best Picture for: E.T. the Extra-Terrestrial (1982).1982 Nominated Oscar Best Director for: Raiders of the Lost Ark (1981).1978 Nominated Oscar Best Director for: Close Encounters of the Third Kind (1977).www.ufmag.org10

Universal FilmIssue 8 - 2013KON TIKIBEST FOREIGN LANGUAGE FILM OF THE YEAR11www.ufmag.org

Universal FilmIssue 8 - 2013Directors:Joachim Rønning, Espen SandbergThe story of legendary explorer Thor Heyerdal’s epic 4,300 miles crossing of thePacific on a balsa wood raft in 1947, in an effort prove it was possible for SouthAmericans to settle in Polynesia in pre-Columbian times.Director: Espen Sandberg2012 Kon-Tiki2008 Max Manus: Man of War2006 Bandidas1997 Dag 1 (short)Director Joachim Rønning2012 Kon-Tiki2008 Max Manus: Man of War2007 Kubisten (short)2006 Bandidas1997 Dag 1 (short)www.ufmag.org12

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Universal FilmIssue 8 - 2013LINCOLNSALLY FIELDBEST PERFORMANCE OF AN ACTRESSIN A SUPPORTING ROLESally Margaret Field was born in 1946 in Pasadena, California to actress Margaret Field and salesmanRichard Dryden Field. Her parents divorced in 1950 and her mother remarried stuntman Jock Mahoney,and they had a daughter, Princess O’Mahoney. She also has a brother, Richard Field. Sally attended BirminghamHigh School in Van Nuys, California.2013 Nominated Oscar Best Performance by an Actress in a Supporting Role for: Lincoln (2012)1985 Won Oscar Best Actress in a Leading Role for: Places in the Heart (1984).1980 Won Oscar Best Actress in a Leading Role for: Norma Rae (1979).15www.ufmag.org

Universal FilmIssue 8 - 2013BEST MOTION PICTURE OF THE YEARDANIEL DAY LEWISBEST PERFORMANCE OF AN ACTORIN A LEADING ROLEDaniel Michael Blake Day-Lewis was born in London, England, the second child of Cecil Day-Lewis(aka Nicholas Blake) (Poet Laureate of England) and his second wife, Jill Balcon. His maternal grandfatherwas Sir Michael Balcon, an important figure in the history of British cinema, head of the famousEaling Studios. His older sister, Tamasin Day-Lewis, is a documentary filmmaker. Daniel was educatedat Sevenoaks School in Kent, which he despised, and the more progressive Bedales in Petersfield, whichhe adored. He studied acting at the Bristol Old Vic School. Daniel made his film debut in Sunday BloodySunday (1971), but then acted on stage with the Bristol Old Vic and Royal Shakespeare Companiesand did not appear on screen again until 1982, when he landed his first adult role, a bit part in Gandhi(1982).2013 Nominated Oscar Best Performance by an Actor in a Leading Role for: Lincoln (2012).2008 Won Oscar Best Performance by an Actor in a Leading Role for: There Will Be Blood2003 Nominated Oscar Best Actor in a Leading Role for: Gangs of New York (2002).1994 Nominated Oscar Best Actor in a Leading Role for: In the Name of the Father (1993).1990 Won Oscar Best Actor in a Leading Role for: My Left Foot (1989).www.ufmag.org16

Universal FilmIssue 8 - 2013DJANGOBEST MOTION PICTURE OF THE YEARORIGINAL SCREENPLAY17www.ufmag.org

Universal FilmIssue 8 - 2013In January of 1992, Reservoir Dogs (1992) appeared atthe Sundance Film Festival, by first-time writer-directorQuentin Tarantino. The film garnered critical acclaimand the director became a legend immediately. Twoyears later, he followed up Dogs success with Pulp Fiction(1994) which premiered at the Cannes film festival,winning the coveted Palme D’Or Award. At the 1995Academy Awards, it was nominated for the best picture,best director and best original screenplay. Tarantinoand writing partner Roger Avary came away with theaward only for best original screenplay. In 1995, Tarantinodirected one fourth of the anthology Four Rooms(1995) with friends and fellow auteurs Alexandre Rockwell,Robert Rodriguez and Allison Anders. The filmopened on December 25th in the United States to veryweak reviews. Tarantino’s next film was From Dusk TillDawn (1996), a vampire/crime story which he wroteand co-starred with George Clooney. The film did fairlywell theatrically.2013 Nominated Oscar Best Screenplay Django Unchained(2012).2010 Nominated Oscar Best Achievement in Directingfor: Inglourious Basterds (2009).2010 Nominated Best Writing, Original Screenplay for:Inglourious Basterds (2009).1995 Won Oscar Best Screenplay Pulp Fiction (1994).1995 Nominated Oscar Best Director for: Pulp Fiction(1994www.ufmag.org18

Universal FilmIssue 8 - 2013THE OSCARSby Tyrone D MurphyA BIT OF HISTORY!31st Academy Awards Presentations,Pantages Theater, Hollywood, 1959Publication:Los Angeles TimesHeadquarters buildingAcademy of Motion Picture Arts and Sciences...The Academy Awards, informally known as The Oscars,are a set of awards given annually for excellenceof cinematic achievements. The Oscar statuetteis officially named the Academy Award ofMerit and is one of nine types of Academy Awards.Organized and overseen by the Academy of Motion PictureArts and Sciences (AMPAS),the awards are given eachyear at a formal ceremony. The AMPAS was originallyconceived by Metro-Goldwyn-Mayer studio executiveLouis B. Mayer as a professional honorary organizationto help improve the film industry’s image andhelp mediate labor disputes. The awards themselveswere later initiated by the Academy as awards “of meritfor distinctive achievement” in the industry.The awards were first given in 1929 at a ceremony createdfor the awards, at the Hotel Roosevelt in Hollywood. Over theyears that the award has been given, the categories presentedhave changed; currently Oscars are given in more than adozen categories, and include films of various types. As oneof the most prominent award ceremonies in the world, theAcademy Awards ceremony is televised live in more than 100countries annually. It is also the oldest award ceremony inthe media; its equivalents, the Grammy Awards (for music),the Emmy Awards (for television), and the Tony Awards (fortheater), are modeled after the Academy Awards.The first awards were presented on May 16, 1929, at a privatebrunch at the Hollywood Roosevelt Hotel with an audience ofabout 270 people. The post Academy Awards party was heldat the Mayfair Hotel. The cost of guest tickets for that night’sceremony was $5. Fifteen statuettes were awarded, honoringartists, directors and other personalities of the filmmakingindustry of the time for their works during the 1927–1928period.Winners had been announced three months earlier; however,that was changed in the second ceremony of the Academy“AMPASFormation wasin May 11,1927Awards in 1930. Since then and during the first decade, theresults were given to newspapers for publication at 11 pm onthe night of the awards. This method was used until the LosAngeles Times announced the winners before the ceremonybegan; as a result, the Academy has since 1941 used a sealedenvelope to reveal the name of the winners.For the first six ceremonies, the eligibility periodspanned two calendar years. For example, the 2ndAcademy Awards presented on April 3, 1930, recognizedfilms that were released between August 1,1928 and July 31, 1929. Starting with the 7th AcademyAwards, held in 1935, the period of eligibility becamethe full previous calendar year from January 1 toDecember 31.The first Best Actor awarded was Emil Jannings, for his performancesin The Last Command and The Way of All Flesh. Hehad to return to Europe before the ceremony, so the Academyagreed to give him the prize earlier; this made him the firstAcademy Award winner in history. The honored professionalswere awarded for all the work done in a certain categoryfor the qualifying period; for example, Jannings received theaward for two movies in which he starred during that period.Since the fourth ceremony, the system changed, and professionalswere honored for a specific performance in a singlefilm. As of the 83rd Academy Awards ceremony held in 2011,a total of 2,809 Oscars have been given for 1,853 awards. Atotal of 302 actors have won Oscars in competitive acting categoriesor have been awarded Honorary or Juvenile Awards.The 1939 film Beau Geste is the only movie that features asmany as four Academy Award winners for Best Actor in aLeading Role (Gary Cooper, Ray Milland, Susan Hayward,Broderick Crawford) prior to any of the actors receiving theBest Actor Award.At the 29th ceremony, held on March 27, 1957, the Best For-19www.ufmag.org

eign Language Film category wasintroduced. Until then, foreign-languagefilms were honored with theSpecial Achievement Award.Made of gold-plated britannium on ablack metal base, it is 13.5 in (34 cm)tall, weighs 8.5 lb (3.85 kg) and depictsa knight rendered in Art Deco styleholding a crusader’s sword standingon a reel of film with five spokes.The five spokes each represent theoriginal branches of the Academy: Actors,Writers, Directors, Producers, andTechnicians.In 1928, MGM’s art director CedricGibbons, one of the original Academymembers, supervised the design ofthe award trophy by printing the designon a scroll. In need of a modelfor his statuette, Gibbons was introducedby his future wife Dolores delRío to Mexican film director and actorEmilio “El Indio” Fernández. Reluctantat first, Fernández was finally convincedto pose nude to create whattoday is known as the “Oscar”. Then,sculptor George Stanley (who also didthe Muse Fountain at the HollywoodBowl) sculpted Gibbons’s design inclay and Sachin Smith cast the statuettein 92.5 percent tin and 7.5 percentcopper and then gold-plated it.The original Oscar mold was cast in1928 at the C.W. Shumway & SonsFoundry in Batavia, Illinois, which alsocontributed to casting the molds forthe Vince Lombardi Trophy and EmmyAwards statuettes.In support of the American effortin World War II, the statuettes weremade of plaster and were traded infor gold ones after the war had ended.The root of the name Oscar is contested.One biography of Bette Davisclaims that she named the Oscar afterher first husband, band leader HarmonOscar Nelson; one of the earliestmentions in print of the term Oscardates back to a Time magazine articleabout the 1934 6th Academy Awards.Walt Disney is also quoted as thankingthe Academy for his Oscar as earlyas 1932. Another claimed origin is thatthe Academy’s Executive Secretary,Margaret Herrick, first saw the awardin 1931 and made reference to the sta-tette’s reminding her of her “Uncle Oscar”(a nickname for her cousin OscarPierce).Since 1950, the statuettes have beenlegally encumbered by the requirementthat neither winners nor theirheirs may sell the statuettes withoutfirst offering to sell them back to theAcademy for US$1. If a winner refusesto agree to this stipulation, then theAcademy keeps the statuette.Academy membership is divided intodifferent branches, with each representinga different discipline in filmproduction. Actors constitute thelargest voting bloc, numbering1,311 members 22% of the Academy’scomposition. Votes havebeen certified by the auditingfirm PricewaterhouseCoopers(and its predecessor Price Waterhouse)for the past 73 annualawards ceremonies.ACADEMY AWARDAll AMPAS members must be invitedto join by the Board of Governors, onbehalf of Academy Branch ExecutiveCommittees. Membership eligibilitymay be achieved by a competitivenomination or a member may submita name based on other significantcontribution to the field of motionpictures.New membership proposals are consideredannually. The Academy doesnot publicly disclose its membership,although as recently as 2007 press releaseshave announced the names ofthose who have been invited to join.The 2007 release also stated that ithas just under 6,000 voting members.While the membership had beengrowing.In May 2011, the Academy sent aletter advising its 6,000 or so votingmembers that an online system forOscar voting will be implemented in2013Universal FilmIssue 8 - 2013VENUEIn 1929, the firstAcademy Awardswere presented at abanquet dinner at theHollywood Roosevelt Hotel.From 1930–1943, the ceremonyalternated between twovenues: the Ambassador Hotelon Wilshire Boulevard and theBiltmore Hotel in downtown LosAngeles.Grauman’s Chinese Theater in Hollywoodthen hosted the awards from1944 to 1946, followed by the ShrineAuditorium in Los Angeles from 1947 to1948. The 21st Academy Awards in 1949were held at the Academy Award Theaterat what was the Academy’s headquartersin Hollywood.From 1950 to 1960, the awards werepresented at Hollywood’s PantagesTheatre. With the advent of television,the 1953–1957 awards took placesimultaneously in Hollywood andNew York first at the NBC InternationalTheatre (1953) and then at theNBC Century Theatre (1954–1957),after which the ceremony tookplace solely in Los Angeles. TheOscars moved to the SantaMonica Civic Auditorium inSanta Monica, California in1961. By 1969, the Academydecided to movethe ceremonies backto Los Angeles,AMPAS was originally conceived byMetro-Goldwyn-Mayer studio executiveLouis B. Mayer. He is generallycited as the creator of the “starsystem” within Metro-Goldwyn-Mayer (MGM) in its golden years.www.ufmag.org20

Universal FilmIssue 8 -- 2013LES MISERABLESBEST MOTION PICTURE OF THE YEAR21www.ufmag.org

Universal FilmIssue 8 - 2013AMOURMICHAEL HANEKEACHIEVEMENT IN DIRECTINGBEST MOTION PICTURE OF THE YEARORIGINAL SCREENPLAY23www.ufmag.org

Universal FilmIssue 8 - 2013Michael Haneke (born 23 March 1942) is an Austrian filmmaker and screenwriter best known for hisbleak and disturbing style. His films often document problems and failures in modern society. Hanekehas worked in television‚ theatre and cinema. He is also known for raising social issues in his work. Besidesworking as a filmmaker he also teaches directing at the Filmacademy Vienna.At the 2009 Cannes Film Festival, his film The White Ribbon won the Palme d’Or for best film, and atthe 67th Golden Globe Awards the film won the Golden Globe Award for Best Foreign Language Film.In 2012, his film Amour premiered and competed at the 2012 Cannes Film Festival. The film would goon to win the Palme d’Or, making it his second win of the prestigious award in three years and puttinghim in an elite club of only seven with the likes of Francis Ford Coppola. The film has also received fiveAcademy Award nominations, including Best Picture, Best Director and Best Actress in a Leading Rolefor Emmanuelle Riva. Haneke has made films in French, German and in English.2013 Nominated Oscar Best Achievement in Directing for: Amour (2012).2013 Best Writing, Screenplay Written Directly for the Screen for: Amour (2012).www.ufmag.org24

Universal FilmIssue 8 - 2013THEIMPOSSIBLE25www.ufmag.org

Universal FilmIssue 8 - 2013NAOMI WATTSBEST PERFORMANCE OF AN ACTRESSIN A LEADING ROLENaomi Ellen Watts (born 28 September 1968)[1] is a British-Australian actress who began her careerin Australian television, where she appeared in series such as Hey Dad..! (1990), Brides of Christ(1991), E Street (1991) and Home and Away (1991). Her film debut was the 1986 drama For LoveAlone.Watts gained critical acclaim following her work in David Lynch’s 2001 psychological thriller MulhollandDrive, starring alongside Justin Theroux and Laura Harring. The next year, she received publicrecognition for her participation in the box office hit horror film The Ring. In 2004, she receivednominations for the Academy Award for Best Actress as well as for the Screen Actors Guild Award forOutstanding Performance by a Female Actor in a Leading Role for her portrayal of Cristina Peck inAlejandro González Iñárritu’s 2003 drama 21 Grams, alongside Sean Penn. Other film roles includethe 2005 remake of King Kong, the 2007 thriller Eastern Promises, and the 2009 thriller The International.In 2010, Watts portrayed Valerie Plame Wilson, opposite Sean Penn as Joe Wilson, in FairGame. Since then, she starred in the 2012 drama film The Impossible, for which she received a secondnomination for the Academy Award for Best Actress.2013 Nominated Oscar Best Performance by an Actress in a Leading Role for: The Impossible2004 Nominated Oscar Best Actress in a Leading Role for: 21 Grams (2003).www.ufmag.org26

Universal FilmFLIGHTDENZEL WASHINGTONBEST PERFORMANCE OF AN ACTORIN A LEADING ROLE27www.ufmag.org

Universal FilmIssue 8 - 2013Denzel Washington was born in December 28,1954 in Mount Vernon, New York. He was the middlechild of the 3 children of a Pentecostal minister father and a beautician mother. After graduatingfrom high school, Denzel enrolled at Fordham University intent on a career in journalism. However, hecaught the acting bug while appearing in student drama productions and, upon graduation, he movedto San Francisco and enrolled at the American Conservatory Theater. He left A.C.T. after only one yearto seek work as an actor. With his acting versatility and powerful sexual presence, he had no difficultyfinding work in numerous television productions. He made his first big screen appearance in CarbonCopy (1981) with George Segal. Through the 1980s, he worked in both movies and television and waschosen for the plum role of “Dr. Chandler” in NBC’s hit medical series “St. Elsewhere” (1982), a rolethat he would play for 6 years. In 1989, his film career began to take precedence when he won the Oscarfor Best Supporting Actor for his portrayal of “Tripp”, the runaway slave in Edward Zwick’s powerfulhistorical masterpiece Glory (1989).2013 Nominated Oscar Best Performance by an Actor in a Leading Role for: Flight (2012/I).2002 Won Oscar Best Actor in a Leading Role for: Training Day (2001).www.ufmag.org28

Universal FilmIssue 8 - 2013LIFE OF PIBEST MOTION PICTURE OF THE YEAR29www.ufmag.org

Universal FilmIssue 8 - 2013A young man who survives a disaster at sea is hurtled into an epic journey of adventure and discovery.While cast away, he forms an unexpected connection with another survivor ... a fearsomeBengal tiger.Director: Ang Lee2013 Nominated Oscar Best Achievement in Directing for: Life of Pi (2012).2013 Best Motion Picture of the Year for: Life of Pi (2012).2006 Won Oscar Best Achievement in Directing for: Brokeback Mountain (2005).2001 Nominated Oscar Best Director for: Crouching Tiger, Hidden Dragon (2000).2001 Best Picture for: Crouching Tiger, Hidden Dragon (2000).www.ufmag.org30

Universal FilmIssue 8 - 2013KIMJEEWOONLOVE IS ALLYOU NEEDby Jon PhilipsKim Jee Woon, the South Korean auteur, is about to exporthis creative vision to the West with his release of‘The Last Stand’ scheduled for January 2013. it will bethe directors much anticipated debut entry into theworld of Hollywood cinema.What do we know? Currently, very little... The Guv’norof Cali’ (arguably one of Schwarzneggers most brilliantmethod acting pieces) reprises his action hero status asan elderly sheriff of a small somnambulistic suburbantown on the state border, where he and the rest of thelocal law enforcement become the last line of defencewhen a violent fugitive and his entourage begin theirhigh paced journey towards the sanctuary of Mexico...What can you expect? Wild speculation... Jee Woon hasslowly built quite a reputation for himself, a critically acclaimeddirector and winner of multiple film festivals, hismovies playfully engage with many genres, from psychologicalhorror to comedy. One of his last ‘action’ filmsshared another very simple plot-line. A Bittersweet Lifecentred around an enforcer, who innocuously disobeyshis crime-lord boss and is disproportionately punishedfor his minor transgression which puts into motion theprotagonists quest for revenge and, more importantly,reason. Scratch Below the surface of this action packed,sometimes brutally violent, saga sandwiched betweentwo Zen proverbs and what you’ll find is actually a cautionarytale, deftly woven with visual irony, warning usto be very careful about the images we choose to identifywith. A point made with devastating effect as thecredits roll. Can we expect these kind of philosophicalmusings and original narrative techniques to underpinThe Last Stand or will this just be another prototypicalhollywood action-er?Scwarzneggers presence may be enough to disconcertsome but there’s no doubt that his return to the screenafter almost a decade away from playing a main role iscertainly going to pull in an audience and may alonebe enough to make it a commercial success. There’salso the almost ubiquitous presence of Johnny ‘Jackass’Knoxville throughout the trailer to further increaseones trepidation... Will Jee-Woon be able to maintainhis trademark artistic integrity in the western moviemaking complex? A luxury that he has previously enjoyedin his homeland with the only exception beinghis controversial ‘I saw the Devil’ which was met withthe wrath of Koreas censorship board. In describing thesubsequent re-edit of the movie, Jee-Woon explainedit was like “eating sushi without wasabi” hopefully the‘the last stand’ won’t leave an unpleasant taste in onesmouth like eating wasabi without sushi...STARRING PIERCE BROSNAN, TRINE DYRHOLMDIRECTED BY ACADEMY AWARD® WINNERSUSANNE BIERTo open at UK cinemas on 19 April 2013 ////LOVE IS ALL YOU NEED is a warm, funny, heartfelt meditationon the birth pangs of starting a new life. Set at a picture-perfectsummer wedding in Sorrento, the film stars Pierce Brosnan asPhilip, a lonely, middle-aged English widower and estrangedsingle father living in Denmark, and Trine Dyrholm as Ida, a Danishhairdresser recuperating from chemotherapy, who has justlearned that her husband is leaving her for a woman half his agefrom his accounts department. The fates of these two bruisedsouls intertwine as they embark for Italy to attend the weddingof his son, Patrick, to her daughter, Astrid. The bumpy path towardsthe union of their children, and the clashes and faux pas oftheir wedding guests, force Philip and Ida to reevaluate all theirnotions of family, love and happiness.Filmed on beautiful locations in Italy and Denmark, LOVE IS ALLYOU NEED is an uplifting tale of love, loss, absurdity and humourthat will leave only the hardest heart untouched. It is a film aboutthe simple yet profound pains and joys of moving on - and forward- with your life.LOVE IS ALL YOU NEED reunites the Academy Award® and GoldenGlobe® winning team of director Susanne Bier and writer AndersThomas Jensen for the fifth time, following Open Hearts (2002),Brothers (2004), Academy Award® nominee After the Wedding(2007) and Golden Globe® and Academy Award® winner In A BetterWorld (2010).UK cinema release date: April 19Certificate: tbcRunning time: 112 mins31www.ufmag.org

Universal FilmIssue 8 - 2013SCAM LETTERSOF THE MONTHEACH MONTH WE WILL BE PUBLISHING A SELECTION OFTHE BEST SCAM LETTER EVERYONE GETS SENTFrom: Engr.Michael AndersonProcurement DepartmentNational Petroleum Agency SATel: +27 110 710528Email:michaelandersonclaimoffice23@gmail.comDear Sir,Having been delighted with your profile which I got from your country’s business/residentsdirectory, I’m hereby extending a business proposition handshaketo you. My name is Engr.Michael Anderson, a national of the Republic ofSouth Africa attached to the procurement department of the National PetroleumAgency SA (NPA-SA). This is a government owned institution which managesthe Petroleum & Mineral Resources of the Republic of South Africa. Our companyissues oil lifting license allocations to companies and individuals seeking to actas our sales agents to assist us market our products to the buyers. We in returnpay commissions to the license owner based on the quantity of the product soldto the end buyers. The work of the license operator/owner is to locate the buyersour products and negotiate a buy/sale transaction on behalf of the NPA-SA. Thelicense operator earns a $4.00 commission on each barrel of crude oil/productsold to the buyer as commissions.I’m proposing that we secure a license allocation in your name/company namefrom the NPA-SA; while I use my insider connections to locate the buyers of theproducts (SINCE YOU MIGHT NOT KNOW THE BUYERS) and ensure that your allocatedproduct is successfully sold to the buyers. The commissions from the saleswill be paid to you being the license owner and thereafter shared between us50:50 as equity partners.Kindly take note of the following points:(1) The NPA-SA issues license allocations with a monthly allocation of 500,000(Five Hundred Thousand) barrels of the NPA-SA product to each approved licenseoperator. This implies that a total quantity of 500,000 barrels of the productwill be allocated to you for sale monthly once we successfully secure a licensein your name/company name. Going by the $4.00 per barrel commission rate,we will be earning a gross monthly commission of US$2 million dollars monthlyafter the successful sale of your allocated product.Dear God’s elect,I am Miss Doris Godwin; I am 20years old, the only daughter ofMr. C Godwin. It’s my pleasure tocontact you for a business venture;I have (7,500,000)) whichmy late Father Mr.C. Godwin aCoffee/Cocoa merchant depositedfor me in commercial bankbefore He was assassinated byunknown persons in the politicalcrises in our country.I have decided to invest thismoney in your country or anywheresafe enough outside thiscountry for security purposes.The people that assassinated mylate Father are now in plan to killme to take away everything thatbelongs to my late Father. Areaof investment, Telecommunication,International School,Five star hotels, Real Estate,Charity organization,If you can be of assistance tome I will be pleased to offer toyou 15% of the total sum while5% will be for miscellaneous expensesincurred duringthe transaction.Waiting for your Urgent Responds.Kind regardsMiss. Doris Godwin(2) As a staff of NPA-SA, I’m not officially allowed to operate/own a license allocationunder the same company. I’m not also allowed to engage in any out-of-officeprofit oriented sales deal under our organization. This best explains why I seekfor a partner who will be the face of our partnership (owner of the oil license)while I work from the underground to facilitate the operations in our favor.Feel free to ask questions for clarification should need be and do get back to meat your earliest convenience.Yours Sincerely,Engr.Michael AndersonProcurement DepartmentNational Petroleum Agency SAwww.ufmag.org32

Universal FilmIssue 8 - 2013Interview with “Ramon Agirre” star of AMOURby Valeria BandinoWhat brought you into acting?I was studying Architecture but I had to interrupt my studiesto finish the military service. Before going back to Studies,I decided to spend a little time in Paris. The plan it wasto stay there just a few weeks but I ended up staying 1 yearduring which I did many things, including study mime andtheatre. In that moment I started thinking seriously in thepossibility of being an actor. And when I returned to SanSebastian, I started to be an actor, until today.How did you get cast into the movie “Amour”?Michael Haneke was looking for an actor to play the roleof the Concierge in the elegant building where lived thecouple protagonist of “Amour”.I went for both castings in Madrid and Lisbon.I had sent him the recording of a part of the script whichwe were given for the audition. In the end, after a personalinterview with Haneke, I was chosen for the role.What you didn’t like in your role?Nothing. I would have preferred if the Concierge role werethe lead role of the movie but I think that Haneke did wellin telling the story of Georges, the 80 years old musicianplayed by Jaen-Louis Trintignant... and what you liked on your role?Once I had been confirmed for playing this role, all was easyand the rehearsing very pleasant. And since the movie hasbeen out, we have received many awards: the Palme d’ Oroin Cannes, the award Fipresci in the San Sebastian Film Festival,the award of the Cine Europeo…Your view of Michael Haneke?Although his movie is very particular and goes into the darkside of the human being, Michael Haneke is a very friendlyperson which treats actors very well and has a great senseof humour.What are you working on at the moment?I’m working in a tv series in the Basque country, a comedy,and there is also a cinematographic project with a Frenchdirector which last movie impressed me positively but ofcourse I cannot tell you more now as although I’m not particularsuperstitious, I prefer not to disclose it.Which roles do you prefer to play?I like the surprising characters, those that go in a directionopposite to what the audience expects. And I like directorswhich take risks.Which advise would you give to someone that is starting acareer in acting?I’m not the best person to give advises. I suppose everybodylearns from its own experience. Of course mistakeswill come too but I’d say, take every role as if it was a bigrole, a big opportunity. Even short roles bring big jobs. Thecinema it’s full of examples of what I’m saying.I like the surprising characters, those that go in a directionopposite to what the audience expects. And I like directorswhich take risks.Which advise would you give to someone that is starting acareer in acting?I’m not the best person to give advises. I suppose everybodylearns from its own experience. Of course mistakeswill come too but I’d say, take every role as if it was a bigrole, a big opportunity. Even short roles bring big jobs. Thecinema it’s full of examples of what I’m saying.33www.ufmag.org

Universal FilmIssue 8 - 2013RELEASED AT SELECT CINEMAS ON8 FEBRUARY AND ON DVD AND DIG-ITAL DOWNLOAD ON 11 FEBRUARY2013Inject some celebrity into your life andtake a magnified look at our public obsessionwith celebrity culture as ANTIVI-RAL is released at select cinemas on 8February and on DVD and digital downloadfrom 11 February 2013.ANTIVIRAL marks the directorial debutof Brandon Cronenberg, son of legendaryfilmmaker David Cronenberg andfeatures two hot rising stars in CalebLandry Jones (X-Men: First Class, Contraband),and Sarah Gadon (Cosmopolis,A Dangerous Method) alongside veteranof the screen, Malcolm McDowell(A Clockwork Orange, The Artist).Having received positive reactionsat Cannes, Toronto International andthe London Film Festivals, ANTIVIRALhas steadily been infecting the mindsof ‘Bodyshock’ fans. Prepare to beshocked by one of the most eye-openingand thought provoking films of theyear. Syd March (Landry Jones) is anemployee at The Lucas Clinic – a companythat sells injections of live virusesharvested from sick celebrities to fanswho wish to fulfil their obsessive desirefor real intimacy with their idols. As wellas working for them, Syd also supplementshis income by smuggling virusesout of the clinic in his own body in orderto sell them on the black market. Constantlyill and losing his edge, Syd becomescareless and infects himself withan unusual virus carried by superstarHannah Geist (Gadon).When the newsbreaks that Hannah has died, Syd realisesthat the virus running rampant in hissystem will soon kill him too. Hallucinatingand struggling to remain in control,Syd must race to solve the mystery surroundingHannah’s death if he has anyhopes to avoid suffering the same fate.As a first year film student BrandonCronenberg developed a serious caseof the flu. The illness proved to be theperfect Petri dish for the incubation ofANTIVIRAL. “During a feverish dream, Ibecame obsessed with the physicalityof illness, by the fact that what was infectingmy body and my cells had comefrom someone else,” the director recalls.“It’s a weirdly intimate connection. I beganto understand how someone likean ardent fan, might see this kind ofconnection to the object of their fascinationas desirable. The intimacy of thatlink seemed like a good platform to explorecelebrity obsession”.JaipurInternationalFilmFestivalJanuary 9, 2013: Best films of theworld, Producers, Directors, Actors,Story writers and new comers.You’ll find all of them under oneroof in the 5th Jaipur InternationalFilm Festival, soon to be held inthe pink City of Jaipur. The festivalwhich has made an identity of itselfin the country as well as abroad isbeing organized in Jaipur from 30thJanuary to 03rd February, 2013.Life Time Achievement AwardActress Sharmila Tagore, who hascreated an honourable space forherself through her extra ordinaryacting talent, is being honouredthis year with JIFF’s Third Life TimeAchievement Award. Her best filmswould also be screened during theFestival. Previously Actress AshaParekh and Actress Jaya Bachchanhave been honoured with JIFF’s Lifetime Achievement Awards.Several noted film personalitiesfrom India like actress Sharmila-Tagore, Actor Prem Chopra, DirectorGautam Ghose, Actress Dia Mirza,Documentary film maker AnandPatwardhan and several othersfrom abroad will be in Jaipur to participatein the Festival.The New logo of JIFF and a posterwere unveiled in a press conference.www.ufmag.org34

Universal FilmIssue ISSUE 8 - 82013- 2013TARANTINOGOES APEQuentin Tarantino has refused to answer a question about why his films are soviolent, telling an interviewer for the UK Channel 4 News: “I’m shutting your buttdown.” You can’t make me dance to your tune. I’m not a monkey.”While the debate about the link between film violence and real-life atrocities ragesin America, the man behind violent classics from Reservoir Dogs to IngloriousBasterds said: “I have explained this many times in the last 20 years.“I just refuse to repeat myself over and over again because you want me to for you andyour show. And your ratings.”Here (courtesy of Channel 4) is the transcript in full:Krishnan Guru-Murthy: Let me ask you about violence. You said, you know, everyoneknows you make violent movies, you like violent movies. Why do you like making violentmovies?Quentin Tarantino: Erm… I don’t know. It’s like asking Judd Apatow: “Why do you like makingcomedies?”KGM: You just get a kick out of it? Or you just enjoy it? Or…QT: It’s… It’s… It’s a… I think… I think it’s good cinema. I consider it good cinema. Youknow, it’s… You sit there in a movie theatre when these cathartic, violent scenes happen…I’m talking about the cathartic violence scenes...Then there’s the cathartic violence of Django paying back blood for blood.KGM: Is that why you think people like watching violent movies – people who are notviolent people or twisted people in any way, but why it’s OK to go into a movie and enjoythe violence?QT: Yeah, well, it’s a movie. It’s a fantasy. It’s a fantasy – it’s not real life. It’s a fantasy. You goand you watch. You know, you watch a kung-fu movie and one guy takes on 100 peoplein a restaurant. That’s fun!M: But why are you so sure that there’s no link between enjoying movie violence andenjoying real violence?QT: I don’t… I’m going to tell you why I’m so sure? Don’t ask me a question like that –I’m not biting. I refuse your question.KGM: Why?QT: Because I refuse your question. I’m not your slave and you’re not my master.You can’t make me dance to your tune. I’m not a monkey.KGM: I can’t make you answer anything. I’m asking you interesting questions.QT: And I’m saying… and I’m saying I refuse.KGM: OK. I was just asking you why. That’s fine. But you see, Jamie Foxx hassaid: “We can’t turn our back and say that violence in films, that anythingthat we do…QT: Then you should talk to Jamie Foxx about that. And I think he’s actuallyhere, so you can!KGM: I’d love to, but, I mean, you know… It’s interesting that you havea different view, and I’m just trying to explore that.QT: And I don’t want to! ‘Cause I’m here to sell my movie. This is acommercial for the movie – make no mistake.“I’m not a MKGM: So you don’t want to talk about anything serious?35www.ufmag.org

Universal FilmISSUE Issue8 - 8 2013 - 2013QT: I don’t want to talk about what you want to talk about. I don’t want to talk about theimplications of violence. I haven’t wanted… because… The reason I don’t want to talkabout it: because I’ve said everything I have to say about it. If anyone cares what I haveto say about it, they can Google me and they can look for 20 years what I have to say.But I haven’t changed my opinion one iota.KGM: No, but you haven’t fleshed it out.QT: It’s not my job to flesh it out.KGM: No, it’s my job to try and ask you to.QT: And I’m shutting your butt down!KGM: That’s entirely your… that’s entirely your right.QT: This is a commercial for my movie.KGM: No, but it’s my job to try and explore some serious themes as well.QT: Well, I… I invite you to explore some serious themes, but not thingsthat I haven’t already been on the record for talking about.KGM: Well, violence is such a big part of all of your movies, and it’s, youknow, it’s an enjoyable part of your movies for so many people.And that’s why I’m talking about this, because, as you know, it’s a verysensitive time at the moment. I mean, the vice-president is talking topeople in the movie industry today about violence in response to…QT: And you know where I stand on it.KGM: Which is that there’s no relationship.QT: Yes.KGM: But you haven’t said why you think there’s no relationship.QT: It’s none of your damn business what I think about that!KGM: Well, it’s my job to ask you why you think that because…QT: And I’m saying no! And I’m shutting you down.KGM: But you have a responsibility as a filmmaker, surely, to explain alittle bit about…QT: No, I don’t have any responsibility to you to explain anything I don’twant to.KGM: Not to me but to your viewers, to your fans. You know, to peoplewho care about what it is that you’re doing.QT: They know, they know where I’m coming from. And I have explainedit. And I have explained even what you’re talking about. I’m just not givingit to you.KGM: Why?QT: Because I don’t want to because I’ve done it already.I have explained this many times in the last 20 years. I just refuse to repeatmyself over and over again because you want me to for you and your show.And your ratings.KGM: Well, no, it’s not about our ratings. It’s…onkey”QT: No, no, it is. It’s about you want me to say it for you, for your show – this show,right here, right now.KGM: Well, look, this is a news programme, it’s not a film programme, so we exploreserious themes. That’s the difference.QT: Exactly. But you want me to do what I’ve already done before and I am refusing.KGM: Fine. That’s your right.www.ufmag.org36

Universal FilmIssue 8 - 2013REAL MEN RECORD LIVEWhen Film and Television Were Oneby CHRISTOPHER TEMPLETONCan you imagine shooting a film live? ...That you are placed in the position of making afeature that you painstakingly develop, but onlyas one-off experience? A film that is transmittedand not effectively recorded? Imagine further,a production that is to be viewed by a single,scheduled audience. A production that after all the effortsof its authors is then lemming-like thrown intoa metaphysical void, never to be seen again, existingas a kind of kinetic excitement in the memoriesof its first and only audience?The ‘Golden Age of Television’ (1950s -1960) wasat the same time a golden age for film. Risks takenby early television dramatists were recouped as successesby the more established film producers. Takingnewly minted creative concepts and producing new filmcoinage.when filmand televisionwere onegive a fizz in the brain. Every offering had to delight in away that the previous offering had delighted, but moreso. It was expected. The only way was up.This imperative stretched the minds of the writers superhumanly.It hyper-concentrated the minds of the actorswho had to deliver the drama live. The danger thatthe idea of a live offering implies is only matchedby the unimaginable creative rewards that camefrom embracing it. The experience, for writers andactors who had the confidence to work in thisway, was often described autobiographically, asa career highpoint. They knew that the gods hada special place for those who take such risks and succeed.The gods reward all earthly bravery as the fullestexpression of the human experience. After all, it makes forthe best kind of entertainment.The dawn of US television in the early 1950s. A primordialmoment when the potential for every kind of creature waspossible. Where if you were a writer, you became masterof your own universe. You could write anything. Play withtime, mix genres, invent new characters, new fictions,new unimagined dramatic scenarios. As experimentalas you could get without the police coming to knock onyour front door. Your only guiding remit? To create a miseen scène fascinating enough, to keep an audience longenough, to maybe buy a washing machine at the end ofthe show .Early American television drama was driven by volume.Crudely put, entertainment produced on an industriallevel. Programmes shot out of the blocks at speed, withenough of them to prove that the new fangled TV mediumwas working and that these magical ‘wires and lightsin a box would keep you coming back for more. We’renot talking about formulaic dramas here with establishedcharacters and dilemmas. Every feature offering had toThanks to the kinescope process some of these early, livedramatic productions were salvaged. They have lived toolong in the cinematic shadow, waiting to be brought outof the moonlight as a contributing parent to the modernfilm experience. To understand the power of this declaration,indulge me a little by watching, back to back, the liveStudio One version of ‘Twelve Angry Men’ (1954) and thecross-fertilized version of the film of the same name, producedin 1957. See how Sidney Lumet, the director of filmversion goes out of his way to recreate the visual grammarof the original by Franklin Shaffner, where the urgency ofthe performances generate a ‘nowness’ and a new kind of‘visual reality’. Some of the power is of course lost in themigration, but it’s still clearly there to be enjoyed. Here,the producers of the film have analyzed the live versiongranularly and in an attempt to find patterns, have triedto distil the visual reality from it. Effectively mining a creativeseam.For the actors, the live Studio One experience made men37www.ufmag.org

Universal FilmIssue 8 - 2013out of boys. The list of actors who passed throughthe live, one-off drama experience into cinematicglory, is astonishing: Yul Brenner (‘Flowers from aStranger’, 1949), Charlton Heston (‘Smoke’, 1949),Eva Marie Saint (‘June Moon’, 1949), Jack Lemmon(‘June Moon’ 1949), Grace Kelley (‘The RockinghamTea Set’, 1950), Anne Bancroft (‘Torrents of Spring’,1950), Burgess Meredith (‘The Horses Mouth’,1950) to name just a few (to see the full list of earlyStudio One actors see: http://uk.imdb.com/title/tt0040051/epcast).But the weight of this proposition to produce consistentlystriking and original work that could beperformed live for a non-recording camera, fell onthe shoulders of the writers. In the main, they tookadvantage of the moment to wipe the Vaseline offthe lens to present gritty, ‘slice of life’ dramas thatin their execution, existed as new creative forms.William Templeton was a regular Studio One writeralong with a legion of other notable writers likeFranklin Shaffner and Worthington Miner. GoreVidal too contributed significantly to the live mediumand wrote retrospectively that the period wasundoubtedly: “…the age of the dramatist”.As the medium grew grew, Producers like DesiArnaz went out of their way to tackle the classics,many of which were then immediately cross-wiredinto film features, often (like ‘Twelve Angry Men’)taking the animus of the original with it. WilliamTempleton’s adaptation of George Orwell’s dystopiannovel ‘1984’ proved the impossible: that youcould take a great novel, reproduce it with respectand engineer it’s essential qualities into a one hourlive performance. In this way, the live Studio Oneversion, produced in 1953 with Eddie Albert in thetitle role as Winston Smith, gave its heart and soulto the film version produced in 1956 with EdmondO’Brien in the title role. It was at this point in time,that both the television and film medium had in effect,become one.There is no doubt that Studio One Playhouse wasthe well-spring for a newly inspired American Movieindustry and helped to re-ignite its powerhousepresence globally. The distinctive hallmarks of thelive drama experience are stamped across featurefilms produced throughout the 1950s and 1960s.Maybe it was because it was live and disposableto the heavens that filmmakers went out of theirway to salvage even the smallest fraction of the liveexperience. It was second generation content, butthen again, the original had shone so brightly...Play On Film FestivalPlay On Film Festival, “The First Film Festival For Gamers!” wasstarted in 2013 by, “Festival Director” Joseph Hardin and, “FestivalProducer” Wes Wilson. Play On Film Festival is planned as a newfeature for the, “6th Annual Play On Con”. Play On Con is a four day,“Family Friendly” event which will be held at the 4-H Hotel & ConferenceCenter in Birmingham, Alabama and will host a numberof gaming events.Festival Director, Joseph Hardin, is an Atlanta based filmmakerand effects artist as well as the, “Festival Director” for Play On FilmFestival’s, “sister” festival, “HorrorQuest Film Festival”. HorrorQuestis the only 100% free horror film festival in the world and is heldeach year at the Cinefest Film Theatre in Atlanta Georgia.Festival Producer, Wes Wilson, is the, “Programing Director” forPlay On Con, a member of the DeadWorkersParty, a popluar, “Let’sPlay” and gaming channel on YouTube as well as a co-host on,“The Shaft”, “World of Wow” and “Control Point” Podcasts.As part of it’s line up Play On Film Festival plan to screen, “Gamingand Machinima” style videos in the following categories, “Let’sPlay”, “Let’s Build”, “Game Reviews”, “Retro Gaming Videos”, “GamingThemed Videos”, “Gaming Tutorials”, “Themed Animation” andothers.Leaning towards open world and building games like Minecraftand Terraria. Play On Film Festival hopes to inspire creativity bygiving gamers of all ages a place to show off their work. Submittedvideos will be judged and selected by a group of popularYouTube Personalities and Let’s Players. Films and videos will bejudged and prizes and awards will be giving out accordingly.As well as gaming videos, Play On Film Festival is also seekingFeatures and Shorts by Independent Filmmakers. While much ofPlay On Film Festival will be geared towards gaming, Play On FilmFestival will be accepting submission in the following categories,“Horror”, “Sci-FI”, “Fantasy”, “Comdey”, “Animation” and Documentaries(especially those dealing with gaming or, “nerd” culture).As well as the Film Festival, Play On Con will feature a number ofparties and events including gaming tournaments, video and custommap making classes and guest speakers and panels.For more information on Play On Film Festival please visitwww.playonfilmfestival.com.The creative goldmine that was live televisionhas served the film industry well to this day. Afterwatching Daniel Day Lewis in Spielberg’s ‘Lincoln’,you may want to reach back and watch the 1952Studio One version with an impossibly young, JimmyDean. And it won’t surprise you then to revealthat the bud of a drama titled, ‘Mary Poppins’ wasfirst originally produced in 1950 as a live, StudioOne Westinghouse production.www.ufmag.org38

Universal FilmIssue 8 - 2013‘Shooting CommencesTHE HOOLIGANFACTORY’London, 14 January, 2013 … Shooting hascommenced in London on football hooliganspoof THE HOOLIGAN FACTORY. NickNevern directs and has co-written the filmwith Michael Lindley, with Jason Maza takingthe lead role and producing alongsideAltitude Film Entertainment.British rising stars Tom Burke (soon to beseen in ONLY GOD FORGIVES and THE IN-VISIBLE WOMAN) and Josef Altin (“Game ofThrones”, EASTERN PROMISES) star alongsideMaza with a host of high-profile cameoappearances also confirmed including: LeoGregory (GREEN STREET), Tony Denham(THE FOOTBALL FACTORY), Dexter Fletcher(WILD BILL, LOCK, STOCK AND TWO SMOK-ING BARRELS), and famous reformed footballhooligan Cass Pennant.Danny (Jason Maza) wants somethingmore. Expelled from school and living in hisgrandfather’s flat, he longs to live up to theimage of his estranged father Danny Senior.Meanwhile legendary football hooliganBex (Nick Nevern) is about to be releasedfrom prison and is on a quest of his own,one of vengeance against his nemesis andrival firm leader Yeti. But when Danny andBex’s paths cross they embark on a journeyas old as hooliganism itself.Nevern has previously written, directed andstarred in TERRY, which he produced withMaza; he has also appeared in cult Britishfilms including THE SWEENEY and G.B.H.Maza’s acting credits include ANUVAHOODand SHIFTY with previous production creditsincluding DEMONS NEVER DIE and THEKNOT. For THE HOOLIGAN FACTORY theyare joined by several previous collaboratorsincluding Director Of Photography AliAssad (RISE OF THE FOOTSOLDIER) and ProductionDesigner Paul Burns (THE FOOT-BALL FACTORY). The Costume Designer isLisa Mitton (MY BROTHER THE DEVIL) andLewis Albrow (FAST GIRLS) is Editor.Derek Winner’s reviewof “Les MisérablesIn this brilliantly produced, visuallystunning, astonishinglylavish movie of the incrediblylong-running stage hit, a hugelyimpressive Hugh Jackman singshis big Aussie heart out as a saintlyFrench sinner, Jean Valjean, jailedfor donkey’s years after nicking aloaf of bread. Finally out of thathellhole on parole, he breaks hisdeal and starts a comfy new lifeas a rich factory owner, but someone’safter him and won’t stop tillhe’s back in jail.This is Jackman’s show, no doubtabout it, and he way outclassesa rather dull, one-note RussellCrowe both on the singing andacting fronts. Though, to be fair,stuck in a much less showy role,Russ gets on with it efficiently andis impressively grim as god-fearingJavert, the obsessed, doggedcopper forever on Jackman’s case.Not specially well cast thoughworking her little butt off, a worryinglyskinny, grungy Anne Hathawayalso stars as Jackman’s factoryworker Fantine, whose daughterCosette (a sweet-looking, tunefulAmanda Seyfried) he agrees tolook after as his own.Did I say this is a musical, well actuallyan opera, with only a handfulof spoken words throughout?It works brilliantly in the theatre ofcourse, but this is tricky to pull offon screen, and yet Tom Hooper,the director of The King’s Speech,manages it very nicely. They couldhave thought of providing somedialogue to break up the singingon screen. That would have providedsome much needed relieffrom the relentless singing andmade a much more enjoyablemovie, bit of course it would alsohave betrayed the purity of the visionof the stage show.The one really mega-hit tune, IDreamed a Dream, will have thewhole audience singing along -if we’re unlucky! - and it certainlyprovides Anne Hathaway’s bigmoment - and how she milks it!Much better is posh Brit actor EddieRedmayne, who pumps up thevolume on a regulation juvenilelead part with some sterling actingand surprises everybody withhis lovely singing voice as Marius,the boy who falls for Cosette.Meanwhile, Helena Bonham Carterand Sasha Baron Cohen try toraise some silly laughs as a greedymarried couple. Slack though thisis, it’s welcome comedy relief, forotherwise this is generally relentlesslydownbeat stuff. I thoughtmusicals were supposed to befun, but here it’s almost suicidallydepressing as the whole swatheof grim deaths afflicts almost theentire cast. Les Mis isn’t called TheGlums for nothing, that’s for sure.You’ll love this movie or hate it.With Oscar nominations for BestFilm, Jackman and Hathaway, plusnine Bafta nominations, I guess alot of people are going to love it.Producing are Jason Maza and for Altitude,Will Clarke (THIS IS ENGLAND, ATTACK THEBLOCK), Andy Mayson (LET ME IN) and MikeRunagall (LAST PASSENGER). The Fyzz Facilityis co-financing the project. Think BigProductions and Marshall Leviten (Gingerand Rosa) are co-producing partners. NickNevern and Michael Lindley will be executiveproducers.39www.ufmag.org

Universal FilmDerek Winner’s review of “Flight”CheerfulWeather ForThe WeddingReview by Derek WinnerIssue 8 - 2013Denzel Washington’s a brilliant pilot,but a drug and booze-obsessed messupas a human being. Hung over andsleep-deprived, he arrives in a terriblestate for a passenger flight, chucksthree vodka miniatures in his OJ, andjoins his shocked co-pilot and smallcrew of stewardesses in the captain’sseat and takes off. Soon the flight’s indire danger, but Denzel turns the aircraftupside down and lands it in a field,saving almost all lives as only he could.But then the investigation into theplane’s malfunction starts to find himout and uncover the truth. Still, his oldairline pal Bruce Greenwood and a slicklawyer (Don Cheadle) might be able tokeep him out of jail...The first 45 minutes of this movie’s abit of a blast, with the crash brilliantlystaged, with a horrific realism that onlya Hollywood big budget can achieve.But then things get bogged down inendless, samey conversations and themovie only finally picks up again as thelegal inquiry starts at the climax. Thissimple, straightforward story is told atfar, far too long-winded a rate. Wholescenes and characters could be profitablycut out and a 138-minute runningtime easily cut to an effective 100 mins.Keeping the movie in the air, Denzelis generally very good, and especiallyexcellent at the sweaty hand-wringing,but he’s not at all convincing as adrunk or a drug-taker. It’s always hardto accept this actor as a bad, or desperatelyflawed guy, maybe just becausehe’s played so many heroes, but alsobecause he isn’t that good at it. JohnGoodman jollies the movie up enormouslyas Denzel’s drug provider, gettinga lot of laughs, while Greenwoodand Cheadle’s earnest, concerned turnshelp him out nicely too, but Nadine Velasquezis stuck in a thankless role asDenzel’s love interest, a fellow druggiewhom he befriends, a role that simplystops suddenly and seems pointlesslytacked on.This is an honourable, interesting, intelligentfilm, but Robert Zemeckis makesa real dull job of the direction and, as afrequent flier, I felt I’d prefer not to seethe highlight plane crash at all, thankyou very much. A case of too much realismbut despite all its words not enoughto say, the movie never soars or blowsyou away as it’s clearly supposed to. DWIt’s England one winter day betweenthe wars and a lovely, poshyoung woman is about to be married-- but something or rathersomebody from her past is goingto get in the way in this Downtonstyleromantic comedy drama. FelicityJones plays Dolly Thatcham,who’s sitting upstairs in a right oldstate at her comfortably-off family’scountry house. Downstairs with therest of the amusingly oddball family,her rich, handsome but boringfiancé Owen (James Norton) andher ex-lover Joseph (Luke Treadaway)are getting more and moresteamed up, while her constantlypained-looking mother Mrs Thatcham(Elizabeth McGovern) finallylooks ready to burst a boiler as itturns out Joseph’s old flame is stillburning bright for Dolly. This is fine,cosy old-style entertainment, warm,humorous and gentle but with justthe smallest touch of edge.With a very nice little script towork on, the actors are more orless perfect. Wholly credible asex-lovers and inhabitants of along-lost world, Jones and Treadawayreally capture the old style ofspeaking and feeling, McGovernis deliciously overwrought and EllieKendrick is strong in support asDolly’s younger sister Kitty. FenellaWoolgar and Mackenzie Crook raisesolid laughs as a bickering marriedcouple whose young son is lettingoff stink bombs, Barbara Flynn’s abit of a hoot as a silly but sexy oldauntie and Joanna Hole is funny asan old maid.This is a minor, low-budget Brit effortdirected and co-written byDonald Rice (son of Tim), but, withthe settings, costumes, score andphotography so lovingly achieved,it’s surprisingly classy and evenmemorable. Fans of wedding filmsand stories of English eccentricswon’t feel short changed. There’seven a little hint of Brief Encounterabout it as Treadaway manages hisfinal speech beautifully.www.ufmag.org40

Universal Film Issue 8 - 2013FILM SPRING OPENA NEW GAMEby Kevin MurphyCALL FOR PROJECTS IN A COMPETITION FOR A FEATURE FILM PREVISDo you have an idea for a feature fiction film? Ascript that you wrote was rejected? Make a previsualization(Previs), shoot a draft version ofyour future film. The best project will have a possibilityto be professionally produced in a neweconomic model of film production.The New Year 2013 Film Spring Open* dedicates tothe implementation of a future-oriented model offilm production. Our objective is to facilitate the careerof talented filmmakers, by giving them a chanceto professionally produce their feature fiction films.The first element of significant changes in the systemof film production is a new form of project selection.Together with our partners we are announcing a competition“Film Spring Open Previs” for the best feature film project. Insteadof scripts we would like to encourage you to send us aprevisualisation (Previs) meaning a draft of your future film.Why PREVIS? - There are hundreds of competitions for scriptsall over the world as well as organizations that choose thebest texts. Great number of scripts and decreasing productionpossibilities that we face today, not only in Poland butalso in Europe, make it even more difficult to pass the selectionof various groups that choose future projects. As a resultmany valuable texts are being rejected. In addition, the onesthat are rewarded are usually the texts of famous artists.Instead of scripts the authors can send a previsualization oftheir future projects. Using consumer cameras, in any location(not necessarily the ones from your script i.e. shootinga scene set in a café in Paris can in fact be made in an apartmentin Warsaw), engaging actors from acting/film schools ornon-professional actors (family and friends) to make a draft ofthe future professional project, the so-called Previs.“SławomirIdziak, with 40years ofexperience”The project is supported by the following partners that willjoin the members of the Jury:Polish Film Institute, Polish Filmmakers Association, NationalAudiovisual Institute, Krakow Film Commission, Media DeskPoland, Film Agency TVP (Polish Public Television Broadcaster),Orange Polska, CD Projekt (cdp.pl), Platige Image,and Katowice Film School (WRiTV) – the KrzysztofKieślowski Faculty of Radio and Television at Universityof Silesia.The Jury will keep in mind that they are not judging acompleted film but only a draft and will decide whichone will be professionally produced in the new economicmodel of film production.Dates: the deadline for submission is March 31st.Award: The best project will have the possibility to be professionallyproduced in the new model of film production. Theshooting is aimed to start at Film Spring Open-Air (filmmakingworkshops) in May 2013.More information can be found on Film Spring Open portalat: http://www.filmspringopen.eu/previs.html*Film Spring Open has been organizing interactive filmmakingworkshops focused on the future cinema for 8 years now.In times of the dynamic technological changes in audiovisualindustry our goal is to provide further and continuous trainingof professionals and talented filmmakers.Film Spring Open is owned and managed by Sławomir Idziak,a cinematographer with 40 years of professional experienceboth as a filmmakers and lecturer in many Europeanfilm schools. He created a great place not only for discussionabout the future of audiovisual industry but for making filmprojects using new technologies based on practical tests ofnewest equipment and software, hands-on workshops andlectures of outstanding professionals.41www.ufmag.org

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Universal FilmIssue 8 - 2013FILM FESTIVALS A BIT OF HISTORY!A film festival is an organised, extended presentation of films in one or more movietheaters or screening venues - From Wikipedia.Probablythe best-known and most noteworthyfilm festival in the world is the Cannes Film Festival.Other important and prestigious film festivalsinclude that held in Berlin and Venice (oldest filmfestival).The first major film festival was held in Venice in 1932;the other major and oldest film festivals of the worldare: Cannes Film Festival (1946), Festival del film Locarno(1946), Karlovy Vary International Film Festival(1946), Edinburgh International Film Festival (1947),Melbourne International Film Festival (1951), BerlinInternational Film Festival (1951) and Toronto InternationalFilm Festival (1976).The Edinburgh International Film Festival in the UK was establishedin 1947 and is the longest continually running filmfestival in the world. The first North American high film festivalwas the Columbus International Film & Video Festival, alsoknown as The Chris Awards, held in 1953. According to theFilm Arts Foundation in San Francisco, “The Chris Awards (is)one of the most prestigious documentary, educational, businessand informational competitions in the U.S; (it is) the oldestof its kind in North America and celebrating its 54th year.”It was followed four years later by the San Francisco InternationalFilm Festival held in March 1957 whose emphasis wason feature-length dramatic films. The festival played a majorrole in introducing foreign films to American audiences.Among the films shown in its founding year were Akira Kurosawa’sThrone of Blood and Satyajit Ray’s Pather Panchali.Today there are thousands of film festivals around the world,ranging from high profile festivals such as Sundance Film Festivaland Slamdance Film Festival (Park City, UT) to horror festivalssuch as Terror Film Festival, Philadelphia, PADigital feature film distribution began in 2005, along with theThe first majorfilm festivalwas held inVenice in1932arrival of the world’s first online film festival, the GreenCineOnline Film Festival, sponsored by DivX.Most film festivals require filmmakers to pay an entry feeto have their works considered for screening. This is especiallycommonplace among larger film festivals, such as theCannes Film Festival, Toronto International Film Festival,Sundance Film Festival, South by Southwest and evensmaller “boutique” festivals such as the Miami InternationalFilm Festival and the British Urban Film Festivalin London.However, not all film festivals require an entry fee. RotterdamFilm Festival and Mumbai Film Festival (www.mumbaifilmfest.com) in India, for example, does not chargean entry fee to submit work. There are also many smaller filmfestivals in the United States, such as the Stony Brook FilmFestival in Long Island, New York, the Northwest Filmmakers’Festival, or the Sicilian Film Festival in Miami, Florida, whichdo not charge entry fees; however, acceptance of films is usuallymore limited, and such film festivals do not necessarilyattract big names in their audiences like Sundance and Telluridedo.In some cases, such as the Portland International Film Festival,there is an entry fee, but it is waived for filmmakers withina certain region, such as the Northwestern United States.The three most prestigious film festivals are commonly regardedto be that of Cannes, Berlin and Venice; these festivalsare sometimes called the “Big Three.” Polish director KrzysztofKieślowski’s The Three Colors Trilogy were each made forthese festivals, with Blue for Venice, White for Berlin, and Redfor Cannes.The Toronto International Film Festival is North America’smost popular festival. Time wrote it had “grown from its placeas the most influential fall film festival to the most influen-43www.ufmag.org

Universal FilmIssue 8 - 2013tial film festival, period.” Seattle InternationalFilm Festival is credited as beingthe largest film festival in the USA, regularlyshowing over 400 films in a monthacross the city. The Sundance Film Festival,Tribeca Film Festival, Austin FilmFestival, New York Film Festival, MontrealWorld Film Festival, and Vancouver InternationalFilm Festival are also majorfestivals in North America.Competitive feature film: The festivalsin Berlin, Cairo, Cannes, Goa, KarlovyVary, Locarno, Mar del Plata, Montreal,Moscow, San Sebastián, Shanghai, Tokyo,Venice, and Warsaw are accreditedby the International Federation of FilmProducers Associations (FIAPF) in thecategory of competitive feature films.In the US, Telluride Film Festival,Sundance Film Festival, Austin FilmFestival, Austin’s South by Southwest,New York City’s Tribeca Film Festivaland Slamdance Film Festival are allconsidered significant festivals for independentfilm. The Zero Film Festival issignificant as the first and only festivalexclusive to self-financed filmmakers.North American: The San Francisco InternationalFilm Festival, started in 1957,is the oldest continuously running filmfestival in the Americas. It highlightscurrent trends in international filmmakingand video production with an emphasison work that has not yet securedU.S. distribution.The Toronto International Film Festival,begun in 1976, Toronto’s Hot Docs is theleading North American documentaryfilm festival. Toronto also has the largestamount of film festivals in the world,ranging from cultural, independent,and historic films.The largest festival, in terms of the numberof features shown, is the Seattle InternationalFilm Festival, screening 270features, and approximately 150 shortfilms.The Sundance film festival is a majorfestival for independent film. The VailFilm Festival in Vail, Colorado, is one ofthe “Top 10 destination film festivalsin the world” (MovieMaker magazine),screens over 90 films, features mostlynew filmmakers.For short film enthusiasts and cinemaprofessionals, Sagunenay InternationalShort film Festival (REGARD sur le courtmétrage au Saguenay, in French) is nowa “must-go event” (Francois Levesque,Le Devoir). The Slamdance Film Festivalis self-governed “by filmmakers for filmmakers”.Latin American significance: The CartagenaFilm Festival, founded by Victor Nietoin 1960, is the oldest film festival inLatin America. The Festival de Gramado(or Gramado Film Festival) Gramado,Brazil along with the Guadalajara InternationalFilm Festival in Guadalajara,Mexico are considered to be the mostimportant film festivals of Latin America.It was first held in 1973, awardingLatin American films.The Huelva Ibero-American Film Festivalhas been held since 1975 in that Spanishcity. While the Expresión en CortoInternational Film Festival is the largestcompetitive film festival in Mexico, specializingin emerging talents, and is heldeach year during the last week of July inthe two colonial cities of San Miguel deAllende and Guanajuato.Oaxaca Film Fest Rapidly emerging asone of the most important of SouthernMexico’s. Among Spanish speakingcountries the Dominican InternationalFilm Festival is held annually in PuertoPlata, DR, the Valdivia International FilmFestival is held annually in the city ofValdivia.Most notable amongst the Asian FilmFestivals are the Annual Mumbai FilmFestival in India, with its 200,000 USDcash prize (www.mumbaifilmfest.com),Osian’s-Cinefan Film Festival, which wasrecently expanded to include Arab Cinemaas well, and the Hong Kong InternationalFilm Festival (HKIFF) and BusanInternational Film Festival (BIFF).Significant African festivals based onthe continent include the biannualPanafrican Film and Television Festivalof Ouagadougou FESPACO in BurkinaFaso, the annual Durban InternationalFilm Festival which has grown in importancefor industry with the addition ofa co-production forum and Talent Campus.44

Universal FilmIssue 8 -- 2013THE TOOLS OF DIRECTINGThe tools of Directing Introductory Seminar will be delivered inScotland, Wales and Northern Ireland in 2013 by the DirectorsGuild of Great Britain and sponsored by Creative Skillset. This willbe followed by a Bursary Scheme for attendees of these seminarsthat will bring the most talented applicants to London in June forThe Tools of Directing Master Workshop - a full week’s training inthe Tools of Directing Actors, Casting, Script Development andDirecting Camera. All events are at greatly reduced costs thanksto Creative Skillset and venue sponsors.Saturday 9th March (1-5pm) - Sherman Theatre CardiffSaturday 6th April (1-5pm) - Queens Film Theatre (QFT), BelfastSaturday 13th April (1-5pm) - Scottish Storytelling Centre, EdinburghSaturday 27th April (1-5pm) - Mitchell Theatre, GlasgowIntroducing Simon Phillips’ Tools of Directing”There are also two London Tools of Directing Weekend Masterclassesscheduled: Friday-Sunday 22-24 March - Tools of DirectingCameraFriday-Sunday 31 May - 2 June - Tools of Directing ActorsI’ve been a script writer in film, TV and stage for manyyears, latterly also a script consultant. I’ve watcheddirectors of all kinds work on my scripts and had theusual fun of playing an extra. So I thought I knew whatI’d get when I went to Simon Phillips’ Introduction to the Toolsof Directing on a chilly Sunday in London last November.with the actor laying on the tissue of gender, class, race, psyche,neurosis, personal history and the rest.It’s surprisingly easy to think you’re writing Dr Tim’s journeyfrom co-dependency to independence when your storylineis actually just a sequence of medical crises with Tim inexplicablychanging at the end.I went because I might have to direct an experimentalshort film I’ve written. I thought I’d get technical stuffabout camera angles and actors hitting their marks.Instead, I got an introduction to a quite extraordinarymethod of working with actors to create a specificemotional road map of the script and give them a wayto strip characters back not just to the bones but even further,to their raw responses, so they can genuinely build up acharacter from the inside, cliché-free.There’s not room to describe the whole Tools of Directingmasterclass here. I’ll just address this core direction technique.In a nutshell, you take the actor through the scriptmoment by moment identifying each sensory change thecharacter experiences and to which it must physically react.The result is that the actor doesn’t create a stereotype– Jodie, the hard-bitten journalist or Tim, the idealistic doctor- a role your actor takes from memory banks, dusts down andputs on like a coat, something which will always be external,second-hand, an act.Instead, identifying these ‘change points’ makes the actor ignoretrappings like gender, class, job, marital status and thelike to identify only the character’s raw sensory responses.The effect is to create something akin to an anonymous brainscan, the character’s central nervous system if you like, a sequenceof responses, reflexes, visceral and elemental. The actorcan then build on this raw sensory experience from theinside out to create the individual identity of the characterfree of cliché - in the same way that those forensic sculptorsbuild up a vividly original human face from a broken skull,“SimonPhillips is anexpert in hisfield”The joy for the writer is that all of this is based in thescript. Whatever changes the script goes through, thefilm is tethered to what you originally wrote. Writingwise,it reminds you that character IS what characterDOES and that your storylines must provide the visiblechange points that take the characters on the arcyou want them to travel.From this core idea of stripping back to raw sensory experience,Simon proceeds to a whole range of other directiontools. I haven’t covered the half of it. The bottom line is,whether you’re a writer, producer or director, the Tools of Directingis very useful stuff indeed. Go!Biographical infoLinda Aronson is widely regarded as the world expert on nonlinearand ensemble script structure.The Tools of Directing Seminar will be delivered in four citiesacross the UK by the Directors Guild of Great Britain in 2013.This will be followed by a Bursary Scheme that brings themost talented applicants to London for The Tools of DirectingMaster Workshop - A full week’s training in the Tools ofDirecting Actors, Casting, Script Development and DirectingCamera. See the website at www.toolsofdirecting.comFull details and booking for all these events atwww.dggb.org/training.php.Also see: www.toolsofdirecting.com45www.ufmag.org

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Universal FilmIssue 8 - 2013Film Directors andtheir trademarksby Cristine Williams49www.ufmag.org

Universal FilmIssue 8 - 2013Those are the famous words spoken by whoI believe is the most important person on amovie set. A director is judged by their creativetalent and ability to run a production.They have to have complete control “on thefloor”, as they have many responsibilities: working closelywith the cast and crew and making many importantdecisions.One of the features I always associate with a film directoris their trademarks. What you associate with them andtheir films, the connection. It could be anything from:the tone of the film, frequent use of the same actors, reoccurringthemes, narrative layout, camera angles andshots. There are so many film directors out there whohave their own style and trademarks but I’ve managedto pick 5 who I believe have had a big influence on upand coming film directors.Park Chan-Wook was born 23/8/63 in Seoul, South Korea.He is also a screenwriter, producer and film critic. Heis one of the most acclaimed and popular filmmakers inhis home country. He is mostly known for his “VengeanceTrilogy” consisting of Sympathy for Mr Vengeance(2002), Oldboy (2003) and Sympathy for Lady Vengeance(2005). Despite the extreme violence in his films, Park ishighly regarded as one of the most popular film directorsin South Korea. Park decided to become a filmmakerafter seeing the film vertigo. He list William Shakespeare,Alfred Hitchcock, Roman Polanski, among others, as biginfluences on his career. Quentin Tarantino is an avowedfan of Park’s.Park’s trademarks include themes of revenge. His filmsare about the utter futility of vengeance and how itwreaks havoc on the lives of everyone involved. Parklikes to tell big stories through small, artificially createdworlds. His films are often noted for their immaculateframing and often brutal subject matter. Park openlyuses sex, as well as using the same actors in many of hisfilms.Zhang Yimou was born 14/11/51 in Xi’an, capital ofShaanxi province, China. He is also a producer, writer,actor and former cinematographer and photographer.Zhang is counted amongst the “Fifth Generation” ofChinese filmmakers (an artistic re-emergence in China,after the end of the Cultural Revolution). Some Zhang’ssuccessful films include: Red Sorghum (1987), Ju Dou(1989), Raise the Red Lantern (1991), Hero (2002), Houseof Flying Daggers (2004) and Curse of the Golden Flower(2006). He is often described as “a genius with cameraand choreography”. Zhang faced difficulties in his earlylife and some of his trademarks include showing the resilienceof Chinese people in the face of hardship andadversity. He often explores the dark side of life in smallChinese rural communities. He has a neorealist habit ofemploying non-professional actors and location shooting.Most of his films begin with the title displayed in Chinesecalligraphy style and his films are particularly noted fortheir rich use of colour.Another trademark is working with the actress Gong Li.She was considered his “muse” and was his leading ladyin 8 of his films. They had a romantic, as well as a professionalrelationship. This ended during production ofShanghai Triad (1995). They would not work togetheragain until Curse of the Golden Flower (2006).Martin Scorsese was born 17/11/42 in Little Italy, NewYork City. He is also a screenwriter, producer, actor andfilm historian. He is of Sicilian decent and was raised in adevoutly catholic environment. Scorsese’s films addressthemes of Italian American identity, Roman Catholicconcepts of guilt and redemption, machismo, moderncrime, macho posturing, bloody violence, violence asculturally endemic and sub-cultural divisions down ethwww.ufmag.org50

Universal FilmIssue 8 - 2013nic lines. Scorsese is hailed as 1 of the mostsignificant and influential directors of alltime. His most successful films include: MeanStreets (1973), Taxi Driver (1976), Raging Bull(1980), Goodfellas (1990), The Aviator (2004),The Departed (2006) and Hugo (2011). Healso directed Michael Jackson’s music videoBad (1987). Scorsese is influenced by: FrenchNew Wave, Satyajit Ray, Ingmar Bergman,Michelangelo Antonioni, Alfred Hitchcock,amongst others.His trademarks include: using New York Cityas the main setting in his films. Some of hisfilms are based on true stories. He has a quickcameo in his films or contributes his voicewithout showing his face on screen. Charactershave a choice of worshipping organisedreligion or organised crime. His lead charactersare often morally ambiguous, prone toviolence, and/or want to be accepted in societyor a society and aren’t infrequently sociopaths.In most of his films the main characteroften falls in love and has a wife, andoften has a turning point between the maincharacter and the wife. His blonde leadingladies are usually seen through the eyes ofthe protagonist as angelic and ethereal. Theywear white in their 1st scene and are photographedin slow motion.He sometimes highlights characters in ascene with an iris. Often the supporting actorwill betray the protagonist. Guilt is a prominenttheme in many of his films, as is the roleof Catholicism in creating and dealing withguilt. More recently, his films have featuredcorrupt authority figures. His doesn’t shyaway from unflinching, graphic and realisticviolence. Scorsese often casts the same actorsin his films, most notably his close friendRobert De Niro. More recently, Scorsese hasfound a new “muse” with Leonardo DiCaprio.The song “Gimme Shelter” by the RollingStones is used in many Scorsese films. Heuses diagdic music (source of music is visibleon screen) and his movies are “cut” tothe music. He begins his films with segmentstaken from the middle or end of the story. Heuses slow motion technique, freeze framing,virtuoso steadicam shots, slow motion flashbulbsand accented camera/flash/shuttersounds.The use of MOS sequences set to popularmusic or voice over, often involving aggressivecamera movement and/or rapid editing.He often uses long tracking shots. This is anotoriously difficult shot to perfect and he isoften dubbed “king of the tracking shot”.Quentin Tarantino was born 27/3/63 in Knoxville,Tennessee, USA. He is also a screenwriter,producer, cinematographer and actor.He is of Italian, Irish and Cherokee decent.His most successful films include: ReservoirDogs (1992), Pulp Fiction (1994), JackieBrown (1997), Kill Bill Vol 1 and Vol 2 (2003/4)and Inglorious Bastards (2009). His moviesare generally characterized by stylistic influencesfrom grindhouse, kung fu, spaghettiwesterns, wuxia, Jidaigeki, manga and Italianhorror. Despite his films featuring criminals,drugs and violence, in reality he deteststhose elements. Music plays an importantpart of his style. He would listen to music andcreate scenes that correlated to the music.There is an astute, bold use of music and hissoundtracks have the Spanish classical guitar.Tarantino was inspired to get into moviesby paying close attention to the typesof films people liked to rent. He was quotedsaying “When people ask me if I went to filmschool I tell them, no, I went to films”.He cites Alfred Hitchcock, Martin Scorsese,Brian de Palma, Sergio Leone, amongst othersas influences. Tarantino frequently collaborateswith his friend and fellow directorRobert Rodriguez. He directed a car scene inRodriguez’s Sin City (2005) and was creditedas “Special Guest Director”. Tarantino uses hisHollywood power to give smaller and foreignfilms more attention than they might havereceived otherwise. The films are usually labelled“Presented by Quentin Tarantino” or“Quentin Tarantino Presents”. Iron Monkey(2001) and Hero (2004) were massive successesin America because of his labelling.His many trademarks include: references tohis home state Tennessee and setting hisfilms in LA. He often makes a directors cameoin his films and he crates fictional brands ofobjects due to his dislike of product placement.All his female characters are portrayed asstrong, capable, powerful and independentwomen. This is a reference to his motherwho raised him alone. He often has a femalecharacter who wears a black and white trousersuit. Although he likes to deny it, he hasa major foot fetish. All his characters havetheir feet shown on camera at least once andhis characters often use the phrase “bingo”.Tarantino regularly uses the same actors andis known for giving comebacks to “forgotten”actors and/or cult actors by giving themimportant roles in his movies. His lead charactersusually drive General Motors vehicles,particularly Chevrolet and Cadillac and hisfilms usually have a shot from inside a cartrunk.He likes his actors to speak in their nativelanguages or the language of where thecharacter originates from. He always has aDutch element in his films and uses aliases orcodenames in nearly all his films. His charactersoften utilize sharp, bladed Melee weaponssuch as the samurai sword. All his filmsfeature scenes in a restaurant. Briefcases andsuitcases play an important role in his films.Quentin makes references to cult moviesand TV and his characters often discuss theirfavourite films or shows while carrying outtheir activities. All his movies use the MexicanStandoff and feature a scene in which 3or more characters are pointing guns at eachother at the same time.Although there is a tone of extreme violencein his films, much of which is suggested offscreen,it’s played for laughs as much as forshocks. A recurring hallmark in all his moviesis that there is a different sense of humourwhich gets the audience to laugh at thingsthat aren’t funny. His many visual trademarksinclude: 1 long, unbroken take where a characteris followed around somewhere, widelyimitated quick cuts of characters hands performingactions in extreme close-up, longclose-up of a person’s face while someoneelse speaks off-screen, frames characterswith doorways and shows them openingand closing doors and minor character dialogueis off-screen.Incidental dialogue is pushed centre stage.A character would coolly talk through anintense situation, either delaying the occurrenceof violence or avoiding it throughresolution. Tarantino prefers to start most ofhis films with a scene before the main titlesare shown and interject scenes with introductionof a characters background or titlesto tell the audience of a new portion of thestory.As can be immediately seen, novelistic narrativetechniques bear a strong influenceon his distinct style. It’s an unconventionalstorytelling device using retrospect, nonlinearor chapter format. They are fractured,chronologically reshuffled narratives. Generallyall his movies are about trust, mostly betweenan older experienced character and ayounger character. The betrayal of which, isthe worst thing 1 can do to the other.Sir Alfred Hitchcock, KBE was born 13/8/1899in Leytonstone, England and died 29/4/1980.He is also a producer. He described his childhoodas being very lonely and sheltered, asituation compounded by his obesity. Overa career spanning more than ½ century,Hitchcock fashioned for himself a distinctiveand recognisable directorial style. Hepioneered many techniques in suspense andpsychological thriller genres. He was knownas “Master of Suspense”. His films also borrowmany themes from psychoanalysis and featurestrong sexual undertones. His most famousand successful films include: The ManWho Knew too Much (1934), The 39 Steps(1935), Suspicion (1941), Spellbound (1945),Notorious (1946), Dial M for Murder (1954),Rear Window (1954), To Catch a Thief (1955),Vertigo (1958), North by Northwest (1959),Psycho (1960), The Birds (1963) and Marnie(1964).Many of his films have twist endings andthrilling plots of depictions of violence, murder,crime and the extremely complex psychologicalexaminations of the characters.His real skill was making silly, often implausiblestories engaging and compulsive. Hitchcockis often regarded as the greatest Britishdirector ever and a cultural icon. He did morethan any director to shape modern cinema,which would be utterly different withouthim. His innovations and vision have influencedmany directors, producers and actors.His influence helped start a trend for directorsto control artistic aspects of their movieswithout answering to the producer.51www.ufmag.org

Universal FilmIssue 8 - 2013Encounters 2013 CALL FOR ENTRIESby Chris O Dell BSCEncounters Short Film and Animation Festival...Encounters Short Film and Animation Festival, theleading UK showcase of short film and animation, isnow accepting entries for its 19th edition. 2013 willsee the festival settling into its new September slot(from 17 – 22) at Bristol’s harbourside and across thecity. Expectations for this year’s event are high, with the organisershoping to build on a record audience of over11,000 attracted in 2012. Last year 1,889 film submissionswere received from 79 countries (notably, 85%of the films were European), confirming the festival’sstrong international profile and reputation. 188 shortfilms and animations were selected in competitionacross the main festival strands Brief Encounters (liveaction) and Animated Encounters (animation).The festival is an important UK gateway for upcoming talent,giving selected filmmakers the chance to qualify for a wholehost of major awards nominations - the Academy Awards®,the BAFTAs, the European Film Awards and the Cartoon d’Or.2012 Encounters alumni are already making a mark, withTimothy Reckart’s animated short Head Over Heels (an NFTSgraduation project) up for an Oscar® and Irish animator EamonnO’Neill BAFTA nominated for I’m Fine Thanks (RoyalCollege of Art).The Animated Encounters jury also selected Reckart’s animationas the festival’s nomination for the Cartoon d’Or. Encountersis celebrating awards season from 10 - 24 Februarywith its Nominated Shorts Season, a series of showcases ofthe live-action and animated short films nominated for the2012/2013 Oscars® and European Film Awards. The festivalis proud to bring the stars of tomorrow to Watershed inpartnership with Shorts International and the European FilmAcademy. Managing Director Liz Harkman said, “2012 was achallenging year for the festival, but we’ve been delightedby positive reactions to the new September dates from delegatesand audiences, and are brimming with new ideas forour 19th edition. Sadly several key short film festivals have“Encounterscall forentries2013”had to close their doors recently - Worldwide Shorts Festivalin Canada and the London based Rushes Soho Shorts. Bothwere long-term partners of Encounters, and their work in thelandscape of short film support will be greatly missed. We feelthat now more than ever it’s crucial to continue working hardon showcasing, celebrating and inspiring short filmmakers.”The call for entries is now open, and has two separatedeadlines.Films completed in 2012 must be entered by 29March, whereas 2013 productions have until 3 June.Films of any genre with a maximum duration of 30minutes, completed after January 2012, are eligible.For the second year running, submissions are madethrough the Reelport website, which will host the EncountersDigital Viewing Library, making all films available online fordelegates. Watershed’s 90-second film competition DepicT!,which is part of the festival, will close its call for entries on 8July. Full submission guidelines, awards and online submissionat www.encounters-festival.org.Encounters Short Film and Animation Festival EncountersShort Film and Animation Festival is the umbrella festival forAnimated Encounters and Brief Encounters which togetherpresents one of the world’s best-known showcases and meetingpoints for new and established international short andanimated film talent.Encounters is the longest running competitive short film andanimation festival in the UK. Encounters seeks to promote theimportance of short film as a means to develop and progressthe next generation of creative talent. The 19th edition willbe held in Bristol, UK, from 17th to 22nd September 2013. Encountersis a qualifying UK festival for the Oscars®, BAFTAs,European Film Awards and Cartoon d’Or.For more details log on to: www.encounters-festival.org.ukorg.uk - Festival Office: +44 (0) 117 929 918853www.ufmag.org

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Universal FilmIssue 8 - 2013SILVER LININGS PLAYBOOKWinner – People’s Choice AwardToronto International Film FestivalLifedoesn’t always go according to plan…Pat Solitano(Bradley Cooper) has lost everything — his house, hisjob, and his wife. He now finds himself living back with hismother (Jacki Weaver) and father (Robert DeNiro) afterspending eight months in a state institution on a plea bargain.Pat is determined to rebuild his life, remain positive andreunite with his wife, despite the challenging circumstancesof their separation. When Pat meets Tiffany (Jennifer Lawrence),a mysterious girl with problems of her own, thingsget complicated. Tiffany offers to help Pat reconnect with hiswife, but only if he’ll do something very important for her inreturn. As their deal plays out, an unexpected bond beginsto form between them, and silver linings appear in both oftheir lives.The Weinstein Company presents Silver Linings Playbook, afamily drama, comedy and love story based on the bestsellingnovel by Matthew Quick, written and directed by DavidO. Russell (The Fighter, Flirting with Disaster). Starring BradleyCooper (Hangover; Limitless), Jennifer Lawrence (The HungerGames, X-Men First Class), Robert De Niro (Limitless, MeetThe Parents), Jackie Weaver (Animal Kingdom), Anupam Kher(Bend It Like Beckam), and Chris Tucker (Rush Hour, JackieBrown). Rounding out the cast are Julia Stiles, John Ortiz,Shea Whigham, and Dash Mihok. Masanobu Takayanagi is thedirector of photography, Judy Becker is the production designer.Mark Bridges is the costume designer, and Jay Cassidyand Crispin Struthers are the editors. Silver Linings Playbook isproduced by Donna Gigliotti, Bruce Cohen and Jonathan Gordon.Bob Weinstein, Harvey Weinstein, George Para, MichelleRaimo and Bradley Cooper are the Executive Producers. Thefilm is set for release in late 2012.DIRECTOR’S STATEMENTI was shown the book by Sidney Pollack who had acquiredit with Harvey Weinstein. This was before THE FIGHTER. AlthoughSILVER LININGS was fiction, it was likewise filled withvery intense authentic people in a very specific local worldthe author knew well: emotional homes, people under greatpressure, surprising drama, and unintended comedy. I amvery drawn to these worlds, I find them fascinating. A certainplace, a certain time, certain foods, certain rituals, unlike anythingelse, yet all the emotions and yearnings for love and respectand livelihood are deeply universal. I found that BradleyCooper had, as we spoke, so much of the perceptive directness,fierceness, and vulnerability the Pat Solatano characterhas; and he was very hungry to play an intense unexpectedcharacter for him, which is the best timing for a director.Jennifer Lawrence and I had not met, but she knocked meout on her Skyped audition, and Harvey’s “Oh my God” uponviewing expressed his complete agreement. I love romanceas much as I love authentic neighborhood worlds; the chemistryof Bradley and Jennifer was palpably combustible as thetwo very particular people, a gift. In another gift, I was fortunateto find Mr. De Niro with his own strong desire to beauthentic in an emotional role of the kind we had discussedover the years that had personal ties for both of us as fathers.The rest of the neighborhood family constellated around theremarkable Jacki Weaver, Chris Tucker, Anupam Kher, JohnOrtiz, Julia Stiles, Shea Whigham, Paulie Herman, and DashMihok. At the end of the day I love to peer into the lives ofthese people trying to overcome what they face, often themselves,in their own particular house on their own particularblock, in ways that are heartbreaking and unbearable beforesomehow they pull through. For now.-David O. Russell57www.ufmag.org

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Universal FilmIssue 8 - 2013UniversalFilm &FestivalOrganizationUFFO “ promoting bestbusiness practices” forfilm festivals”Since the launch ofUFFO on the 1stMaureen O’HaraJuly 2011 and theorganization’s bestbusiness practicesfor film festivals it has beenadopted by over 170 internationalfilm festivals andhas gathered strong supportfrom organizations all overthe worldTHE BLACKLISTThe Good, the Bad and the UglyLIBRAThis is fascinating expose book that spills the beans on thescammers and the conmen operating dubious festivals allover the world that arescamming filmmakers, sponsors,governmental organizations, the BFI and the Academy.Some of the Subjects addressed in the book are:How some festivals operate and barter and bargain filmmakersfilms in a marketplace that is strictly forbidden forfilm makers.The unfair practice by many festivals of cherry-picking filmswhile portraying a fair and transparent selection and judgingprocess.The blacklisting of film-makers by some festivals, which is apractice that can destroy the careers of the entire cast andcrew of a film, distributors and funders.Festival groups where film-makers are not at all welcomeand do they share in any of the income generated by theirown filmsOthers topics include, film festival business model, the submissionand judging process, sponsors, grannts and runninga ransparent festival.This is a must read for any filmmaker and festival director.Keep an eye out for this one!“Every once in a whilethere is something thatstands out and compelsus to notice it; I think thatis what struck me mostabout UFFO when it wasfirst brought to my attention.I am so tremendouslyhonoured and proudto be the President ofsuch an international organisationthat promotesethics in an industry Ilove so much”.With stories being publishedon almost a daily basis aboutfraudlent film festivals somethinghad to be done to protectfilmmakers from fraudand to assure that honest festivalorganizers’ hard-earnedreputations were protected.At this stage it was just anideal. Sometime later I attendedan international FilmFestival in the UK.I discovered that the festivalorganizer and his partner,a film director, had a film inTyrone D Murphy is the founderand CEO of UFFO, he was responsiblefor creating and implementing“best business practices”.Through his hard work it hasbeen adopted by over 170 internationalfilm festivals around theWorld.He is an award winning filmproducer and director, a festivaldirector and now dedicated histime to benefit the filmmakingand film festival communitiesthrough UFFO.Tyrone Power JR, is the Chairmanof the UFFO committeeUSA. He is an acclaimed actor inhis own right and follows in thefootsteps of his famous fatherTyrone Power Senior.“The promotion of ethics andstandards is a noble and worthwhilegoal in any walk of life. To beable to help do so in an industry Ilove and admire is truly a gift andan honour. I am proud to be a partof the UFFO organization whichfosters and promotes the dedicated,passionate work of filmmakersand film festivals around theworld.” Tyrone Power.59www.ufmag.org

Universal FilmIssue 8 - 2013UFFO “Best Business Practices”adopted by 185 InternationalFilm FestivalsBest Business Practice forFilm Festivalscompetition in their own festival.Nothing illegal aboutthat; a number of festival organizersregularly promotetheir own and even theirfriends’ films.The screening programmewas set up with their own filmtaking prime position in thewhole lineup. In addition thefilm was nominated in 7 ofthe 10 categories. Althoughthe film was slated by manyof the UK critics it managedto win an award in every category.Almost 400 other filmmakerswho submitted theirfilms to this festival paid $50for the privilege of their filmbeing chucked in the trash.What was very apparentwas that there needed to besomething in place to stopthis from happening. Therewas no code of practiceanywhere in the world thatwas fair to both filmmakersand film festival organizers.We wrote a very basic set ofbest business practices andpublished it on the socialnetworking sites LinkedInand Facebook to judge thereaction. The response fromboth communities was phenomenal.We were inundatedwith e-mail from all cornersof the globe, telling us horrorstories, and why the code ofpractice is needed.The whole idea behind acode of practice was to improvethe relationship betweenindustry professionalsand acknowledg theimportance of enhancedcooperation between filmmakersand film festivals. Itled to a heated debate overmany months by festival directorsand filmmakers. Bothcommunities had very strongopinions about what shouldand should not be included.On the one hand the major-ity of festival directors run legitimateoperations, providea great service and want toplay fair; on the other handthe filmmaking communityhad a gut full of the fraudulentactivity that was takingtheir hard-earned dollars. Thefew bad apples in the barrelwere blighting the entire filmindustry.The UFFO best business practiceshas ten simple guidingprinciples. The successfulimplementation of this codewas largely dependent onits acceptance by the filmfestival and filmmaking communityas a whole. It is completelyvoluntary and hashelped define the obligationsand responsibilities that filmfestival organizers have towardsthe filmmaking communityIt has a pragmatic approachto implementation that isbased on rational and transparentworking methods.It promotes good businesspractices and assists in thedevelopment of relationshipsbetween film festival organisersand the filmmaking community.The Universal Filmand Festival Organizationwas later formed to monitorthe database of accreditedfilm festivals. Membershipto UFFO is completely freeand is open to all creativeindividuals, filmmakers andfilm festivals. It is completelyvoluntary and easy to implement,in addition it’s also ablueprint for filmmakers inNo 1: Film Festival organizers shouldoperate a transparent selection processand publish details of the selection processand the names of the Jury/selectioncommittee (publication can be after afestival concludes)No 2: Film festivals organizers shouldprovide full contact details for the festivaloffices including address and telephonenumbers and the names of thefestival directors and or committeeNo 3: A Film Festival should publish itslegal status as a company, charity ornon-profit (this only applies to a registeredentity)No 4: Film festival organizers should notshare filmmakers’ financial data with anythird partiesNo 5: Film Festivals should publish a yearby year history of festival winners andfilms officially selectedNo 6: Film festival organizers, committeeand or jury should not show ordemonstrate any favouritism to any filmsubmitted to the festival or attempt toinfluence other members of the jury orselection committeeNo 7: Film Festivals should declare thenumber of films sought and/or invitedby the festival organizers to participatein the festival prior to and before thegeneral call for submissions is sent outNo 8: Film Festivals should provide thenames of the selection committee and/or jury members who viewed the submittedfilm screeners to the festival (thiscould be after the festival has concluded)No 9: Film festival organizers should viewat least 5 minutes of all submitted filmsNo 10: All Festival organizers shoulddeclare any conflict of interest that mayarise from any film submitted to or invitedto participate in the festivalwww.ufmag.org60

Universal FilmIssue 8 - 2013Normski Anderson61TYRONE D MURPHY, PAOLA BERTA, JON DEVOwww.ufmag.org

Universal FilmIssue 8 - 2013The great content shift — the demand for content anytime,anywhere — has set in motion a kaleidoscope of infinite consumptionoptions with unlimited business models. But only if you shift focus andwork with the right players. Broader-casting ® professionals are leadingthe evolution by collaborating across screens and delivery platforms,embracing the opportunities created by today’s disruptors, likeadvertisers, techno-savvy visionaries and, increasingly, just aboutanyone with an online channel and a following.FREEExhibits-only PassUse code PA01NAB Show ® , the world’s largest media and entertainment event, isthe place to leverage shifting players as part of your paradigm forsuccess. Here you’ll discover game-changing strategies and emergingtechnologies designed to address today’s — and tomorrow’sexpectations. Turn shift in your favor and evolve in a marketplacethat moves forward with or without you. Register now!CONFERENCES April 14–19, 2012 EXHIBITS April 16–19Las Vegas Convention Center, Las Vegas, Nevada USAwww.nabshow.comNatasha Gouldenwww.ufmag.org62