Triskele Press: Issue 1

Dancing
With Jane
Austen
Page. 21
Who is
Jordan
Inconstant?
Page. 39
For The Cause
Page. 25
The World of Jane
Page. 19
Loving The
Community
Page. 49
Nerd
Civil War
Page. 7
Our
Community
Page. 13
The Brilliance of
Author Fair
Page. 23
TRISKELEPRESS.COM • FEBRUARY 2016

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TRISKELEPRESS.COM • FEBRUARY 2016

TRISKELEPRESS.COM • FEBRUARY 2016
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Triskele
Press
Chief Editor
Stefanie Warner
Executive Editor
Eugene Cordell
Publisher
Eugene Cordell
Art Director
Nina Reyes
Chairman & CEO
Stefanie Warner
President
Stefanie Warner
Staff Editors
Andrew Avak, Sophia Wang
Designer
Sally Duong
Vice President
Danny Gonzales
Staff Writers
Andrew Avak, Radhiya Shah
Media Manager
Diana Keeler
Corp. Secretary-Treasurer
Eugene Cordell
Photographers
Elysia Funtiveros, Daniel Irvin, Kyle
Niitsuma, Jeffrey Clark
How to Reach Triskele Press:
Events:
For the latest updates and news on Triskele Press events,
follow us on facebook.com/triskelepress
Visit: triskelepress.com
Email:
info@triskelepress.com
Call:
818.925.0322
All calls are hosted by Azure Lorica Foundation
Write to Triskele Press:
10756 Redmont Ave. Los Angeles, CA 91042
Letters to the Editor:
e.cordell@azure-lorica.org
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TRISKELEPRESS.COM • FEBRUARY 2016

Table
of
Contents
05
Press Media
23
The Brilliance of Author Fair
07
Nerd Civil War
25
For the Cause
10
Editor’s Note
29
The Importance of Indie
11
Donors & Partners
39
Who is Jordan Inconstant?
13
Our Community
43
Winners of the Fan Film Awards
19
The World of Jane
46
FanFilm Program & Details
21
Dancing with Jane Austen
49
Loving the Community
50
Azure Lorica Sucess Stories
23
3 43
05
TRISKELEPRESS.COM • FEBRUARY 2016
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Triskele
Press Media
Magazine
The Nerd Civil War
Confessions by Eugene Cordell, hosting all three
Nerd Civil War Panels in both Ninja-Con 2014 and
2015, and at BentCon 2014.
Our Community
History of the relationship between the Azure Lorica
Foundation and Ninja-Con.
Blog
triskelepress.com
News and reviews of the independent entertainment
industry, and societies.
ninja-con.com
Annual anime convention, and other programs hosted
in certain west coast comic conventions.
Introducing Jane Austen
The most famous authoress and the “Janeites” behind
the society we know today.
fanfilmawards.com
Annual film and screenplay festival information.
Dancing With Jane Austen
Jane Austen Society hosts a panel about Waterloo and
the Richmond Ball.
azure-lorica.org
Business updates and official press releases from the
Azure Lorica Foundation.
Who Is Jordan Inconstant?
Feature Interview with the winner of the FanFilm
Awards 2015, for Best Film: Pirates of the Caribean:
The Edge of Oblivion.
driftplume.com
Theatrical Ensemble producing radioplays.
nocturnalnotes.com
Radioplays by Drift Plume. Romantic-Comedy Radioplays
of the year 2007.
Loving The Community
Danny Gonzales unveils the lifestyle of being a
founder of the infamous Ninja-Con.
fatependulum.com
Radioplays by Drift Plume. Supernatural-Thriller
Radioplays on demons.
tumblr.com/triskelepress
Brief and beautiful, Triskele
Press publishes sneak peeks,
press releases, and countdowns
to all the programs under the
Azure Lorica Foundation
facebook.com/azurelorica/events
All events hosted by every
program under the Azure Lorica
Foundation can be found here:
Ninja-Con, FanFilm Awards, and
deadlines for submissions in art,
film, and literature.
twitter.com/driftplume
The collected blog posts of
every radioplay episode can be
found in one network. Follow
and stay up to date.
facebook.com/ninjacon
The official events committee of the Azure Lorica Foundation, updating you on the newest festival, party, and gatherings for patrons,
volunteers, and fans alike.
TRISKELEPRESS.COM • FEBRUARY 2016
5 © 2016 Azure Lorica. All Rights Reserved.

FanFilm Awards 2016 Nominee:
Best Actor
TRISKELEPRESS.COM • FEBRUARY 2016
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Nerd
Civil War
7
I
It
has been almost two years since the
premiere of the Nerd Civil War at Ninja-Con
2014. The panel room was empty, the speakers
were nowhere to be found, and the new
program seemed to be a flop. Ten minutes in,
friends and some attendees filled a few seats.
I nearly lost hope, and devised an idea to have
a small circle to discuss the issue of “Fake
Gamer Girls”.
Right before the circle was complete,
the guests arrived, and with them, a flood of
people raring to speak their minds. We welcomed
cosplayers Celeste Orchid, Dust Bunny,
and two members of the Chocolate Covered
Cosplayers (C3), Ginger and Ashphord. These
ladies comprised of different ethnicities and
backgrounds, revealing an unspoken world of
hurt that no one had ever heard of in conventions.
As a subculture, many “con-goers” found
it disrespecting to seem aggressive against their
aggressors, in public view – perhaps, in humiliation
or low self-esteem. Simply, no one fights
back. But our guest cosplayers encouraged
otherwise.
Ashphord, the strongest voice among
the four, expressed her personal issues on
racism and sexism in the community. As an
African-American female, playing videogames
and cosplaying at comic and anime conventions,
she protests that the role of a female
has nothing to do with the limitation of their
representation in the community. Her color is
obstructed from practicing the same craft others
in popular ethnic groups represented in the
conventions were not due to her lack of skill or
inability to produce perfection. No! It is by the
stigma of being labeled as an invalid by bullies,
and the silence that many won’t stand up for
the equality the community deserves. Fear consumes
them, as the majority of the community
naturally believes that they are outcasts in normal
society, as is that case. But that act disables
everyone from expressing themselves freely in
an environment made to be outside of the norm.
A complete oxymoron of the niche community
the Cons were built upon.
Cynically, a mother would regard her
argument as hypocritical, as much of Chocolate
Covered Cosplayers’ work is them in skinrevealing
outfits, and very much seductive in
nature. One would obviously conclude that their
photos and media representation encourages a
demeaning status for women, as sexual objects.
But the contrary is preached. Ginger and Ashphord
are not the only ones who confirmed the
popular misconception. Though the photos are
made for a sexually empowered representation, it
is not for the sake of self-demeaning, according
to Celeste Orchid: an Asian-American Cosplayer,
Gamer, and Actress. It’s entertainment, not politics.
We, as a society, are entertained by violence
and racist jabs everyday, but it is not to be taken
extremely. As a woman, she explains that though
people say that women have an equal playing
field in the industry, reality holds nothing back
to reveal that the concept is a lie. We all play the
game, and we all have disadvantages. There are
no promises as to how successful we’ll be without
using what weapons we have to fend for our
own. She explains this with a confession in how
she flirts with male gamers to gain advantages in
experience points and seeking aid from “white
knights” – a term meaning gamers with a hero
syndrome towards female gamers.
Xander, a former player in the show
King of Nerds, joined us abruptly, as a special
appearance, to confirm this reality. Disadvantages
extend even with homophobia in the gaming
community, as the infamous “Gaymer” expresses
his complex in losing camaraderie over sexual
orientation. His testament opened a huge bridge
TRISKELEPRESS.COM • FEBRUARY 2016
for our audience to come out of their own closets.
Some veterans are of the age-old discrimination,
and some fresh to the world of LGBT.
From lesbians to transsexuals, people from
all walks of life within the room confessed
their concerns over this exact issue. They have
been used to hiding out of fear and a so-called
“respect” for their conservative friends and
relatives; holding back their identity, as if they
were something to be ashamed of.
The discussion exploded, with attendees
standing wall-to-wall, participating in
the Nerd Civil War. It took a full hour to cover
the full spectrum of the panel’s vast topic to
a near close. Ultimately, we all resolved the
one factor of the bullying culture that we all
suffered from: standing up as a group against
bullies. If we allow a bully to convince us that
we shouldn’t stand up for that one victim, then
it is our fault that the victim remains a victim.
The cowardice is our making, not just the
bully’s. Our time ended well before we could
have had a cool down from the discussion.
The attendees were left empowered, restless,
and even enraged. All in all, the program was
a complete success. How could this be a bad
thing? At least now, people have acknowledged
where the problems stem from, and that we are
not going to be taking it sitting down anymore.
Because now, we’ll be fighting back – no longer
alone, but as a society. No more Mr. Nice
Guy.
II convention of Spring, I awaited for another
Passing by through Summer, after
Ninja-Con’s great success as the last anime
event where the Nerd Civil War can hit harder
and accurately: BentCon. This convention was
and still is made specifically for the LGBT
community to enjoy their comics, novels, films,

and all hobbies under the geek interest. Bear in
mind that I am not active in the LGBT scene,
nor have I been bullied for years, lest you consider
clients as a source of personal infliction.
My job has managed my social pressures into
equilibrium, so the consequence of inequality
hasn’t bothered me since high school. To
reflect, I am 1.5 generation Filipino, my skin
is brown, and I grew up in the 1990’s in North
Hollywood. Mind you, though I am a straight,
Christian, and am legal in my status here in
the United States, I was designated to be associated
with gang members due to my color
alone. Fighting was a fact of life for me. To be
bullied was to be caught as a tool for dealers in
the streets of LA. I had choices to make, and a
life to live.
As rough as that sounds, it did not at
all prepare me for the type of animal the LGBT
community was. My train of thought was to
gain support from a group that was politically
outside of the conservative system of California.
Racism dissipated when I grew older and
left for college. The rat game was left with the
rats, extending what depravity they demanded
to keep as their identity in the “hood”. But
to be gay, to be bisexual, and isolated from a
normal lifestyle, this in itself does not leave
when one reaches college, or when a career
is secured. Gay men and women are hindered
in our society, as a nation, from adopting,
property ownership, and experiencing the most
sacred of honored traditions: marriage. Compared
to dealers and thugs, facing a convention
filled with them was probably the scariest ordeal
I had to face. At least, in the ghetto, even
if your parents didn’t love you, the church will.
Here, at BentCon, the idea of their world was
lonelier than I could even imagine. Or is it?
Checking the program, I naturally
was not the only anti-bully campaign that
day. However, my strategy was to encourage
discussion. No guest speakers, no sensitive
speeches, just dive right into the attendees’
issues of interest. Joining me was Stefanie
Warner, CEO of the Azure Lorica Foundation.
With her, we presented the same questions and
topics from the original Ninja-Con panel. Their
reaction was nothing like we expected. They
blamed the victim first, and crushed the argument
of the self-embodied bully. One attendee
spoke out, saying, “She asked for it!” Another
mentioned that the only person to blame is
oneself, and others supported with steadfast
contempt against this challenge of acting as a
society, and to “grow some balls.”
I couldn’t believe what I was hearing.
Stunned, for not only did their conviction
blasted aggression, but within myself, I
couldn’t disagree more. They were right. Why
aren’t we standing by our pride and fighting
against this self-hate? No one contributes to
this problem more than us, as self-appointed
victims.
I suddenly felt accustomed to their
stance. If I agreed that my skin and status in life
was the end for me, I would not be engaged to
my fiancé, I would not reach outside the valley
for a better occupation and lifestyle. I did not
want to be confined to be just Brown. Waking up
to this skin was not my full identity; I am more
than that. And they know that this is a reality that
everyone has to face. There is no bully.
Explaining our original stance, to
close the panel discussion in full circle, Stefanie
and I mentioned that our Foundation produces
Ninja-Con annually. This changed the playing
field altogether, as their qualm directed us to use
our influence to help improve this argument at a
larger scale. “Why don’t you make this your mis-
III
sion,” one of the attendee’s asked, challenging us
with contempt. If the problem devastates society,
why face the individual? Why not the institution?
It is, after all, what’s forcing everyone into the
corners they deem victimization.
My heart had to hold its breath. There
was a contradiction to the resolve. According to
this suggestion,there is a bully, in fact, there’s a
man: the Man. The Man that controlled my fate
as a minority, the same Man that held the keys
from kids in the ghettos from real education, real
freedom, real careers that could fix all of our
problems. He was the conspiracy that I believed
was fib. Yet, here He was: The Man was us. Stefanie
and I had access to His institution, the same
institution that pressures young girls to believe
that a man will fix all their problems, giving birth
will suffice as a fix to a failed aspiration, career,
or education. It was what made the ghetto a hell,
and it was haunting me, as they pronounced the
Nerd Civil War as a force for social change.
My knees finally shook. My integrity
as a carbon-based compound was ready to fall.
After years of rebelling against this system, I was
compelled to improve it. I am no politician, nor
was our organization made to lobby in politics.
We are entertainers, theatre folk, but entrepreneurs
that know how to market, and market with
style. I felt more like an Alan Watts than a Martin
Luther – doors weren’t made to have nailed
posts that only the priests could read. Doors are
made to open upon the toils of isolation and to
avoid suffocation. The Nerd Civil can make a
fashion campaign look fabulous, if this is what
it demands, but it is a position of leadership that
will tax everyone for constant feedback and a lot
of work. And I didn’t know if the organization
was ready for this kind of responsibility.
The panel ended. We shook hands with
our participating attendees. Thank you all. And
then Stefanie and I returned to the real world
once more.
We got in the car and drove back
home. While taking Glenoaks from the valley
back to the hills, I looked at her, and her hand
holding mine. Here she was: a mixed girl of both
TRISKELEPRESS.COM • FEBRUARY 2016
Nerd Civil War will be returning to Ninja-Con 2016. For more information, visit: triskelepress.com.
eastern and western descent, plus size, and
going against the odds between jobs that have
mistreated her as a woman, and student loans
up to her neck. How did she make it through? I,
myself, have had my glass ceilings, but she has
social crabs pulling her in a bucket. We’ve had
our havens at masquerades and conventions
too, but when it’s time to go back to the grind;
the bashing repeats, we find ourselves having
bouts with demons before we rest for the next
day. I, as a man, can at least be expected to
fight, but her, as a woman, she’ll be mocked
for being too strong, and taken advantage of if
she’s too weak. The world can be a cruel beast.
In the months after, Ninja-Con had
solidified its first committee. Their task: to
protect members through bylaws and policies.
This first step allows us to later build a Human
Resource department that adheres to state laws
and solidify the conduct of our representatives,
staff, and volunteers.
At the same time, another program
under Azure Lorica Foundation went through
a re-branding: Triskele Press. Once a blog,
reposting media reviews from several users, it
is now an eMagazine that secures the promotion
of our community’s interests as a cultural
lifestyle.
Both of these brands are working
hand in hand to promote the interests of this
community. Lead by Vice President, Danny
Gonzales, and myself, the Nerd Civil War panel
was revived with a new topic for Ninja-Con
2015: facing demons.
With the return of Xander and Dust
Bunny, along with new guests: Lily Lovely
and Chise-chan, we opened the discussion for
the next generation of geeks. Much of it was
managing to clarify Christians in their actual
stance against the Westboro Baptist Church’s
aggressive protests at comic conventions, and
cosplaying as an artistic expression beyond the
scrutiny of the few. The panel’s attendees and
speakers exchanged hugs and affirmed their
camaraderie as a community – delivering an
exchange of understanding.
As one person, I can only attest to
my own experiences and past. Who knows
what pressures others are going through now?
Technology changes the way we interact, and
it changes us quite swiftly – today’s body
shaming may change into tomorrow’s baby
shaming, the transgender groups might divide
into denominations of societies, and the sexual
harassment problems might become family
related issues. The pain may never go away, but
no one has to face it alone. Not anymore. Nerd
Civil War is open for discussion for everyone.
And we’ll be waiting for you when you are
ready.
8

FanFilm Awards 2016 Nominee:
Best Actor and Screenplay
9
TRISKELEPRESS.COM • FEBRUARY 2016

Editor’s Note
I notice that my year goes by through seasons rather than
months. At Azure Lorica, we seem to have some sort of happening:
our organization’s birthday at the end of each beginning of the year,
roaring in with new ideas and proposals in the Board meetings, the
Titan called Ninja-Con in the end of Spring, followed by gatherings
and new productions into the Summer and Fall. Every one of these
things always take me back a little, and I think to myself “Is this really
happening?”
We have just finished setting up our first annual mark of
the FanFilm Awards, where we’re meeting some of the most amazing
talented individuals. I can’t write this without a smile on my face,
knowing that not only had I made new friends, but I’m seeing the arts
in action, unfolding right before my eyes -- there is a stage to showcase
just a handful of the thousands of artist looking for a place to share and
learn. There’s a bit of whimsy when they gather - the flow of ideas and
the strike of inspiration pour out, and impact a person, regardless of an
individual’s state of life. It’s an exhilarating feeling, more so, because
you can see it in the faces of others around you. This is how we begin
to build the foundations of a community, and it’s through these types of
events that the strength of independent arts breathes life.
We’ve taken the concept of our events a step further by creating
this magazine. This will be the first of hopefully many to come.
Here we have a collective of talented individuals that have volunteered
there time, to document all the happenings that Azure Lorica has to
offer. Consider this as a show-and-tell of the progress that we are
making, and the headway that we hope to continue in the arts community.
As our first issue, it is so fitting to showcase the progress that the
Fan Film Awards has made in a humble year. From independent film
reviews, to interviews of the past winning filmmakers. This is the first
time that Azure Lorica has spread it’s skills of gathering and communicating
with artists beyond the United States.
With eager and endearing pleasure, I present to you the first
issue of Triskele Press magazine. Thank you for your continuing support!
We hope to see you as the seasons change!
-Stefanie Warner,
Chief Editor
TRISKELEPRESS.COM • FEBRUARY 2016
10

Donors &
Partners
We thank the following Donors for their great contribution to the Azure Lorica Foundation.
2015
Danny Gonzalez | Pedro Ortiz
In-Kind: Chado Tea Room | Tea Rose Garden | Google For Nonprofit | GoDaddy
2014
Danny Gonzalez | Pedro Ortiz
In-Kind: Reuben Langdon | GoDaddy
2013
Danny Gonzales | Lea Willoya | Kim Williams | Carlos Estrada | Pedro Ortiz
In-Kind: U.S. Department of Transportation (Jonathan Klein) | Reuben Langdon
2012
Stefanie Warner | Lily Bauer | Lauren Bauer | Eugene Cordell
In-Kind: The Walt Disney Company (Marialyce Pederson) | Glendale Public Library (Patricia Zeider) |Revolution Prep (Kate Staben) | Law Offices
of Joseph F. Hart (Joseph Hart) | Google For NonProfit | OneLegacy
2011
Jennifer Manaog | Stefanie Warner
In-Kind: ICF International (Leslie Nardoni) | Corin Hooper
2010
Mrs. Teresa Del Rosario† | Corazon Docena | Stefanie Warner | June Del Rosario | Eugene Cordell
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TRISKELEPRESS.COM • FEBRUARY 2016

FanFilm Awards 2016 Nominee:
Best Director and Actress
TRISKELEPRESS.COM • FEBRUARY 2016
12

Our Community:
The Story Behind Azure Lorica
Once upon a time, there was a
Cosplay group wanting to raise funds for
their next convention. The idea was small, but
the production grew in scale, as venue rent
cheapened during each finding. The first was
a community hall - large, though limited in capacity
and operations, the second was a theatre
- small, but all the doors opened for multiple
days’ rent, and capacity, and installations and
more. The group discussed the endeavor, and
threw their all for a grand opportunity! Suddenly,
conventions seemed petty in comparison
to a career in the arts, and so their company
ventured anew.
Today, they call themselves the
Azure Lorica Foundation (ALF). The nonprofit
organization provides community programs to
promote the arts through blogs, a theatrical
ensemble, and festivals. Its service to the
community has come out of pocket from
its Board and Leaders, and spent more than
earned in every production - aiming to impact
the community with their time and
collaborative efforts.
Beginning with Ninja-Con, founded by
Vice President, Danny Gonzales, the indie anime
conversation has made phenomenal progress in
showcasing independent artists, choreographers,
and celebrities giving back to the community
for the annual exhibition - delivering new Patrons
to support young artists, and exposing families
and people of all ages to the arts culture of Los
Angeles, California.
The idea arose between productions.
In 2012, Danny, was producing his own comedy
shows called Big Laughs In Little Tokyo, in
Downtown LA. At the time, we were just called
Azure Lorica, and we (mainly consisting of
Eugene Cordell, Stefanie Warner, and Jennifer
Manaog) were producing Plays in Pasadena
and North Hollywood. Both productions were
becoming stale, as not only did social media
make it difficult for live performance to grow
with frequent pics and tweets of spoilers, but
so did the financial mentality of society during
the aftermath of the first few years of the recession
in 2008. People spent, but people wanted
to spend where it counted. The golden hand
that answered our prayers came from none
other than Danny. He came to us with the idea
of a convention, and we were stunned, scared,
in disbelief… “Sure, why not?” Stefanie
mentioned. None of us had any better ideas at
the time, so an audacious one was better than
nothing!
There were doubts, of course. We’ve
all returned from a good time at the “Cons”,
and some of us even learned the pattern so well
that we predicted how bad it could get if and
when we attended at certain times. There came
13
TRISKELEPRESS.COM • FEBRUARY 2016

a point when we all became bored of the Cons, and the pressure of
friends were the only motivation we had left to buy a ticket to anything
- it got old.
We explored our market, reviewed our experiences, and had
to rethink of why a convention would be a better idea than a theatre
production. In theatre, we at least knew the unlucky peaks of the stage,
and predict it. Stefanie directed, and Eugene and Jennifer produced
and managed tech for several Plays in both Pasadena and Noho; Danny
had done all three jobs in his comedy shows; both, managing cast and
patrons, have been fine.
But the idea of “just fine” was enough to kill the soul.
Perhaps it was the artist within that demanded the challenge? But an
entrepreneur’s dream sprouted leaves when someone said, “this is
impossible.” There were moments when we could cry over the stubborn
cynicism of the public. He said, she said, they said - beloved or
strangers, they all had a misunderstanding over what was going on.
There was no building yet, but it felt almost as though everyone had a
hammer ready to demolish any foundation we were ready to call home.
This was the sign that proved to us that we were doing something right.
Call it jealousy or fear, but when there is an opposition to something we
never thought was important, it becomes important. And so we fought
for it.
Three years in, coming to a fourth, Ninja-Con returns to the
Little Tokyo Arts District, in Downtown Los Angeles, with this same
motto every event: “For the fans, by the fans, from a fan.” This has
brought immense criticisms from others that consider themselves our
competitors, and we don’t flinch. Mostly because we think they’re silly,
but mainly because we have been there before - we were the attendees
that paid for disappointing shows, we were the press that were treated
badly, we were the panelists that were overshadowed by commercial
exploitations, and we were hurt - why would we want that to continue
in our turf? Why not come to grips that a celebrity will attend even if
we weren’t about selling DVDs? Why start a hentai panel, when an
equal rights panel would help us listen to our community better? Can’t
TRISKELEPRESS.COM • FEBRUARY 2016
14

kids enjoy an animation feature with their grandparents anymore?
Geeks have been around for decades, it was high time we gave them the
community that represented them.
Getting technical though, we have currently found a kink,
and perhaps an old ripple, in the system. As an anime convention, we
know that this is something that can stay pure for only so long. Much
like SciFi and alien conventions, we could die as a fad someday. And
that some day can come tomorrow. So, to step up, we have been planning,
and we are listening. Ninja-Con is growing, and it might even
change like comic conventions no longer being about comic books,
but the brands that stemmed from them. Who knows? Dreadpunk just
became popular, and so did Seapunk - are we to turn away what the
fans and indie artists will turn them into? Whether a fashion, a lifestyle,
or just a hobby, Ninja-Con will make it happen.
Ninja-Con is only the beginning. Working behind the curtain,
The Azure Lorica Foundation has taken steps to insure its future productions
to serve your needs. Producing panels and stand up shows at other
conventions, we made the alternative programs people, like us, wanted.
Danny and his Ninja-Con committee make people laugh through Last
Comic Standing - allowing talents to express their common trifles through
comic relief; while Eugene and his Triskele Press committee - the publishing
press department of ALF - present Nerd Civil War. His program
consists of one main issue: to discuss social issues in the nerd community.
It’s more dramatic, in comparison to the comedic side of the organization,
but it is a very effective program to get nerds to open up, either as the self
trained victim or the skeptical bully. Neither programs rival each other,
In fact, committees have been made to solidify this. Protecting
our volunteers and members, we’ve made it a mission to collaborate
and understand the growing societies of the old and new
subcultures living under the wing of Los Angeles County. We’ve met
Lolitas, the Jane Austen Society, Fairefolk, and many more. It seems,
they hide in tea shops, camp areas, and college classrooms. They invite
their own celebrities, non-household faces who make their world better.
Even without the Cons, their fandom lives on privately, as a collective.
Perhaps, they’re better off there - we’re sure than no Bronte Society
member would like to share a stage with a Janite, or vice versa. Or we
could be wrong. The challenge is how.
Whatever the future may bring, we, us, our community won’t
go unheard. This has become the basis of the Azure Lorica Foundation.
As much as we love the traditions of our favorite theatrical industries,
we have a new generation that is moving faster than the internet.
Live Streamers have become international gaming champions, film
celebrities have Vine channels, and Radio Plays have bred a new audience.
We’ve accommodated for the Manga Readers, the Metalheads,
and Bronies, we see no reason why we cannot extend the invitation
further.
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TRISKELEPRESS.COM • FEBRUARY 2016

ather compliment the other to encompass
the purpose of understanding the community as
a whole.
When the company began, we served
just suburban families. The act was fun, as we
presented Plays after Plays after Plays in North
Hollywood. But there did come a point when
the audience demanded to be heard, and their
involvement had to come before your own
desire to produce our favorite shows. The conundrum
led further into how suburbans were
returning to the city for the same shows every
week, and how we were not ready to move to
suburbia to make their patronage easier. We
soon succumbed to the reality that we were
not connecting with parents at all, nor were the
parents staying any younger. To be frank, we
were too geek for their taste, and this formula
did not make it easy for either side to win over
this business we called theatre. The stubbornness
of both led to a failure in the system.
People may not know what they
want all the time, but it is important to test
their reaction to new ideas. In theatre, this
would be a long year’s worth process of
changing the ending and directing the lines to
sound sympathetic, perhaps with a change of
gender role, perhaps a change in costume and
timeline - who knows? It can be anything, and
it was slow. We grew very tired of it, especially
when World of Warcraft had instant gratifications
that had no consequences in having a pic
shared all over facebook.
On the other hand, the shift to festi-
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vals came with amazing perks. When traditions became stale, innovations
sparked inspirations. By inviting artists with new mediums, new ideas, and
new audiences, we were able to provide a real cultural experience. Exposing
kids to stunt artists in videogames, musicians for animation, and artists
from published novels. The arts had never died, it just could not sustain
itself without collaboration. The industry cannot support itself anymore.
Game developers need film makers, choreographers need composers - the
list goes on! It’s a whole world of fresh opportunity. You just need to find a
way to get it out there.
And that is where we come in. “There” is the Azure Lorica Foundation,
and “it” can have our venue, our press releases, our festivals - it is
there for you. After Ninja-Con, we’ve had the Skullgirls Fan Expo, Fate
Pendulum’s Theatrical Readings, Fighters United, etc. All of these events
brought to life an array of entertainment, from DJs, Actors, to Gamers to
enjoy. We’ve thrown barrages of events within a year, and we are not afraid
of throwing more.
As a charity organization, it is our pride to offer free admission at
certain hours in our events for the public to enjoy. As a nonprofit company,
we are more than willing to spend for you, our deserving community, the
festivals and artistic outlet we all need. And as the people behind all of this,
we thank you for allowing us to build something so beautiful together.
Without you, our foundation would’ve never have grown in service. Our
humble beginnings, in 2010, as a small NoHo theatre company, has now
bloomed into festivals for the new generation of today. We are happy to
give you the stage, the chance to meet your celebrities, and the culture
where our community can grow. The Azure Lorica Foundation is here
for you.
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FanFilm Awards 2016 Nominee:
Best Animation and Director
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The
World
of
Jane
By: Andrew Avakyan November 19, 2015
“The person, be it
gentleman or lady, who has
not pleasure in a good novel,
must be intolerably stupid.”
—Jane Austen
Who can discuss satire and witty humor without uttering the
name Jane Austen? Jane Austen has intrigued the minds of millions and
has become a household name to readers, since the eighteenth and nineteenth
centuries. Through her clever narrative and loveable characters, she
has introduced readers to the charming and quaint lifestyles of the English
social class. Characters such as the Dashwood sisters (Sense and Sensibility)
and Emma Woodhouse (Emma) have acquainted readers to some of the
liveliest protagonists that English fiction has produced since the time of
her presence in the literary spectrum. With a knack for portraying peoples’
socioeconomic status vividly, Jane Austen takes readers into the depths of
the middle and upper social classes that the general public had not seen in
such a particular fashion, and adds a little satire to arouse readers’ curiosity.
Her depiction of established, English men and women and the lives
of the wealthy challenges the social conventions that remain prevalent
till this day. She also developed plots in a satirical manner to comically
emphasize gender hierarchy and show how the notion of marriage, as a
means for women to solidify social and economic strength, is ridiculous.
With masterful works such as Mansfield Park, Sense and Sensibility, and
Pride and Prejudice, Jane Austen has been a force to be reckoned with in
the world of fiction.
Born on December 16, 1775, in Hampshire, England, Jane
began writing epistolary novels at an early age, but quickly abandoned the
letterform writing to develop her own personal style. As a child growing
up in a large family—she was the sixth
sibling, with six brothers and one sister—Jane had a flare for writing down
domestic activities observed on a day-to-day basis. She learned about the
workings of social structures through witnessing her own family prosper
by such gentrified ranks. Her parents George and Cassandra ascended
from the position of land ownership to a family business in wool manufacturing.
As a result, this rise in the social ladder, along with getting
acquainted with other well-off gentry families, gave Jane the inspiration
to narrate the socioeconomic changes that helped in developing her
fictional characters.
Although Jane’s work was known and published during her
time, her global fame skyrocketed during the late nineteenth century;
which is where the gradual progression of fan clubs dedicated to Jane
became a public ceremony, and the term Janeite first achieved notoriety
by George Saintsbury in an 1894 introduction to one of Jane’s novel
publications. This led to the revival of Jane’s work, grabbing the attention
of fans, book enthusiasts, and your average social trend follower.
Now, a Jane Austen society exists in almost every continent, some of
which include the Jane Austen Society of North America (JASNA), The
Republic of Pemberly, and of course the Jane Austen Fan Club—their
online forum is under the webpage fanpop. Like the Janeites, the
magnitude of fan clubs has become a major theme in book culture, and
its impact remains evident through other fan-based cultures following
Harry Potter, Game of Thrones, Hunger Games, and sharing identical
textual beliefs that the Janeites uphold. The Janeite phenomenon, or
Janeitism, can be compared with today’s Trekkers and Star Wars fans as
well, arguing how Jane’s work was one of the first to build a literarybased
cultural group of its kind.
With the advancement of technology in the twenty-first century,
book publication quickly shifted its course in medium, continuing
to delight fans through media, graphic novels, and parodies of classical
literature. Today, Jane Austen fans have developed an enticing new
19
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Editor: Andrew Avak
theme that revives classical tales and puts a touch of the new into its motif. An
example of this is Pride and Prejudice and Zombies by Seth Grahame-Smith, of
how the traditional literary work is brought forth from the world of convention
and is resuscitated to fit in to the zombie-infatuated world we live in today. It’s
a form of Renaissance, but with that World War Z edge to it. With technology
and the demographical range of book readers constantly changing, one may
wonder whether fans will venture into interactive, three-dimensional (3D), or
other modes of entertainment to tickle their fancy with Jane Austen’s work.
Andrew Avak is writer, editor, and proofreader,
working out of Los Angeles, California. During his adolescence,
he enjoyed reading the twentieth century classics written
by Hemingway, Saroyan, Steinbeck, but as he grew into
adulthood, he began reading English literature from Chaucer,
Shakespeare, and Milton, all the way to Orwell, Maugham,
and Joyce. In September of 2015, he published his debut
novella Eyedentify and is currently working on a variation of
short stories. During his adolescence, he enjoyed reading the
twentieth century classics written by Hemingway, Saroyan,
Steinbeck, but as he grew into adulthood, he began reading
English literature from Chaucer, Shakespeare, and Milton,
all the way to Orwell, Maugham, and Joyce. In September
of 2015, he published his debut novella Eyedentify and is
currently working on a variation of short stories. He currently
lives in Glendale, with his wife Alina.
It is difficult to turn a page in a romantic novel or watch a romantic
comedy without seeing a character from Jane Austen’s pages come to life.
Whether it is a book enthusiast who loves literature of the Romantic period,
fans of parody novels, or lovers of English wit, Jane appeals to the likes of
many and her presence in the literary world continues to engage eager minds.
Her artistic prose has paved the way for that delightful touch of romantic fiction
that we see over and over again in film and media. Films such as Becoming
Jane, directed by Julian Jarrold and novels like Shannon Hale’s Austenland
(now a major motion picture) continue to praise and demonstrate how influential
Jane’s overzealous form of sensibility has been. It is no surprise how the
queen of romance plays a part in the world of fiction and media till this day.
For more information, please visit janeausten.org, where you will
learn more about her biography, see destinations where her work lives on, and
download online readings of her collective work.
TRISKELEPRESS.COM • FEBRUARY 2016
20

Dancing with...
By: Foxstreet September 28, 2015
Everyone knows of the story, and bookstores never
stop selling the 19th century masterpiece. The fans have seen
the movies, and know the lines by heart. But not everyone
knows the world behind Jane Austen’s captivating story. Far
from the romance of marriage, social politics, and Collin Firth’s
version of Mr. Darcy, the time of Pride and Prejudice was
merely a fantasy, to escape the grim reality of Jane Austen.
On September 26, 2015, the Jane Austen Society
transported us to June 15, 1815: the night of the Duchess
of Richmond’s Ball. Famously known from Byron’s Childe
Harold’s Pilgrimage and Thackeray’s Vanity Fair, two experts
in the time of the event were invited to give an unforgettable
lecture for the Society’s members: Peter Graham, an English
professor at Virginia Polytechnic Institute and State University
in Blacksburg, Virginia (also known as Virginia Tech), and Fritz
Bronner, actor, producer, and director of The War Horse & Military
Heritage Foundation. Needless to say, it was an amazing
treat for Bibliophiles, Historians, and Janeites (devoted fans of
Jane Austen).
Graham’s lecture covered the history of the Grand
Ball. He presented the fashion and dances that captivated the
culture of the time, reciting excerpts from Byron and Austen,
and favorably, the Duke of Wellington. From his notes, he
shares the importance of Balls of the time, coinciding with the
Napoleonic War. It was impressive as to how diversions and
espionage improved the party scene, as much of the luster for
more elaborate parties came due to the timing of vulnerability.
Battle strategies were very well dissected throughout the day,
especially much after, with Bronner’s Greys and Glory, representing
the Royal Scots Greys: A group reenacting the capture
of Napoleon’s personal gold eagle that sat atop a flag for victory
during the day-long battle.
Waterloo was the key term to know in this event, as
the Ball and battle supplied us with several inspiring paintings,
capturing history too close for comfort; relieving us with less
imagination that one would expect. Through Grays and Glory,
Bronner’s Foundation aids in not only education through historical
reenactments, but providing healthcare for horses. Due to the
energy for the care taking of Equine Kind horses, they take only
the best riders for the reenactment battle scenes, a majority of
who were women.
It is crucial to know that the female role had much to
do about everything in Austen’s stories, and our reality feeds us
with no less than such influential prowess to boot—in the ballroom
or out in the battlefield. The Jane Austen Society is an epic
group of Literatis that know their stuff. Loving to learn and easy
to associate, this meeting felt more like a conference of history
makers, gathered to review their findings, and their endeavors
to improve our culture’s future through preservation. Romance
isn’t dead. You just haven’t met the right society yet.
“It is a truth universally acknowledged,
that a single man in possession
of a good fortune, must be in
want of a wife.”
— Jane Austen, Pride and
Prejudice
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For more information about the Jane Austen Society, visit: jasnasw.org.

Jane Austen
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22

The
Brillance Author
of Fair
By: Foxstreet October 10, 2015
As I was looking for parking for the infamous Art Night in
Pasadena, I stumbled upon the Author Fair. Hosted in the grand Pasadena
Central Library, the Author Fair took over every wing, room and floor,
and theatre that the historic property had to offer.
Larry Venderveen has performed his theatrical monologue
rendition about F. Scott Fitzgerald’s biography at the Pasadena Central
Library for a few years. His personal contact with the Fitzgeralds’s living
relatives has revered his work as a powerful redemption for the legacy of
both Zelda and F. Scott Fitzgerald.
This opened doors to something that the general pubic had
never seen. It allowed people to explore every corner with a friendly face
and sit with their newly published books to explore. Small Press and
Self-Publishers extended an open hand to welcome each potential patron
to read their covers and pages, and even signatures—pronouncing their
pride and honor as Authors, Coauthors, Publishers, and the unexpected—
of activists, filmmakers, and musicians.
Swimming between the bustling crowd, I found myself floating
from table to table (whichever was open), starting up discussions with
writers about their books. I was enamored by a sea of booths, and the
temptation was too much to handle—reaching the next aisle was all I
could’ve asked for, once I learned the Author’s/Publisher’s name. Not to
say that the intrigue in them was far from my interest, as their enthusiasm
reflected what adventure could have been between their novels’ tantalizing
pages. I wish I could’ve taken a peek, but the night was too young,
and I hadn’t even reached the second floor, third floor, or the theatre and
outdoor cafe serenade.
Dan McLaughlin is a local Pasadena Librarian, whose written
works on the history of Pasadena, reveals the drastic cultural changes of
its rich heritage, spanning from the popular to its most unpopular progressions.
By the end of the night, I must say, I had learned almost all of
the vendors’ names. Although I was too distracted to speak to the public,
I was happy to learn that children were very much apart of this fraction
of Art Night. The city was filled with music and open doors, raining with
fresh faces, bringing life to the Old Town, Playhouse District and the colleges
year-round. But I must admit that, out of all the festivities, the Author
Fair was my favorite. Publishers and authors showed off their merit
and cause, allowing readers to find their work where most commercial
bookstores would not. Their superior quality to Target’s million copies
of the book Kardashian Konfidential was a breath of fresh air. Amazon
couldn’t provide this kind of presentation on good days, and the intimacy
to comfort most loyal readers on the bad ones.
Author Fair is one of a kind and a real introduction to the world
of the Bibliophile. Meet the writers behind the books, the soul between
the chapters, and the adventure through their pages. Support the Pasadena
Central Library for more events like this. Author Fair happens twice a
year and is free to the public. For more information visit: cityofpasadena.
net/library.
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For
The
Cause
The Azure Lorica Foundation will be six years old by January
26, 2016, and it is still growing. Just when the organization believed that
it was enough when they produced Ninja-Con, in 2013, its Ninja-Con
Committee fortified the future of the festival, as no longer a one-man production,
by 2015. From a Board, to the new Committee, and the returning
Volunteers, the nonprofit thought more years would be needed to expand
as far as it has. For now, Azure Lorica seems solid. What else was there
to build, with an annual convention, and a willing operations team?
Between the years of forming the Committee, much of the vision
for the Azure Lorica Foundation was redirected back to its original
mission: to produce the arts for the public. This began the reconstruction
of the old Azure Lorica ensemble. But there was a minor detail that made
us worry. Times have changed. When live shows were novelty and a
ticket meant the world in the early milennia, a YouTube video nowadays
is enough to procure your future in today’s industry. If we were to return
as an ensemble, we had to either get into stand up comedy and musicals
or go home! We needed to think. And think fast.
As a nonprofit corporation producing festivals, we thought
about how to match that grandeur on stage. Naturally, we needed to
be extravagant, but if it didn’t need us to spend as much, why we’d be
in a better position! YouTube was saturated and filled with mainstream
selections. As much as we could benefit in being part of a ready-made
community, we needed something as traditional but as innovated as theatre.
As ironic as it sounds, this is where we turned to podcasting.
The production was well seasoned, and we were able to produce
a few episodes in a matter of weeks. The honeymoon stage of the
production was great, but soon the press releases need to be published,
and then that needed attention. This was the birth of Drift Plume and
Triskele Press. While Drift Plume produced radio plays - downloadable
episodes for our listeners, Triskele Press would publish press releases and
write content for the blog. The job wasn’t so hard, until the scales became
serious.
For one, Triskele Press had to build up their team - from
bloggers, to now an emagazine publishing group - producing not only
online content of photography, videos, and stories of “500 words or
less”, but now a refined version of what looks like a Quarterly Journal.
To improve, our photographer needed to be an advertisement team, our
bloggers be Editors, and our artists now designers. The idea was fantastic,
who wouldn’t want this kind of upgrade? But the toils in between
the reconstruction is fraught with peril, especially when the deadline is in
four months.
Secondly, Drift Plume is taking human resources by the reigns,
and making policies and operation improvements for it’s ensemble.
There’s no need to build a squad when the challenge is in the mind. Discipline
is like fire, the challenge is not to snuff the blaze, but to channel
the light. With proper practices, the Ensemble can act as the society and
culture of the new Ninja-Con.
One might think that this is ridiculous. That a philosophy
practiced is just a promise meant to be broken. This is just politics, and
it won’t take long to break in the heat of battle. What good is it going to
do?
The deal in this business is not build promises. It is to be a testament.
When radio began as an industry, it created a new home culture.
When movies began, it made a new city culture. We are no different. If
a company does not prepare for such changes, then they are a disservice
to their community. One may not realize this, but this is common, and a
Ninja-Con announced it was going for a two day show.
If anyone knows how production works in festivals and conventions,
then you’d see how this was a feat. Ninja-Con is Azure Lorica
Foundation’s largest project. It’s an animal that could take over your life,
if you’re not careful. Much like taming a cat, you had to learn from experience
in how to feed it, how it loves you back, and what benefits it has
for everyone that meets you…and Ninja-Con. Being a two day venture,
the cat has become a tiger. And unlike a small pet with sharp claws and a
mischievous nature, this beast can break your neck with it’s teeth.
Progress has sacrifices necessary to fulfill it’s promises, and
we had to pull harder with a press release this big. Drift Plume excels
in singing, making costumes, and building stages and trains and castles.
Triskele Press can write and market, and make your dimes look like platinum!
And working with Ninja-Con, the emerald city for geeks, the work
ahead of us was not going to be easy.
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TRISKELEPRESS.COM • FEBRUARY 2016

practice that builds any community. Romantics, after all, did not populate
as idealists without a small society to grow with.
In doing this, the we are expecting something bigger in the
future. Something great, something beautiful, and if we’re right, this
something can be for everyone to share. For now, we will be building the
foundation. We invite what challenges may come. It’s already made
a stronger community for us, and because of them, nothing can stop us.
The Arts are important, and it is the cause we stand by as a charity, as a
community, as the Azure Lorica Foundation.
Photo: Cosplayers at Ninja-Con 2015
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The Importance of
By: Andrew Avak November 25, 2015
Indie
Sometimes less is more, especially
when it relates to independent films. Over the
last three decades, we’ve seen a massive rise in
films being produced with a flare for cognitive
aesthetics, rather than the vanity of Hollywood
glamour. The subjective term for independent
or indie films is when the production is completed
at a low budget or has not been financed
by a major blockbuster enterprise. Examples
of such production empires are Paramount or
Warner Brothers. However, films can also be
distinguished as an indie film based on the
level of thought and artistry depicted by the
film crew and how influential the film’s message
is conveyed to the audience. By definition,
independent films focus on substance
and style and the intent in which the artist’s
personal vision is illustrated onto the screen. In
2014, we witnessed a conglomeration of films
like The Imitation Game, Boyhood, Whiplash,
and many others, where the scale of innovative
brilliance was uncanny thanks to their high
budget, but more importantly, the thematic intent
signified in the film. One of most euphoric
films that year, Birdman, not only won Best
Picture (along with Best Director, Best Original
Screenplay, and Best Cinematography), but
also exemplified the superfluous manner of
cinema in which independent films embody.
Cinematic marvels can come from
all facets of entertainment, and the big blockbusters
are no longer the only films that carry
a large financial support to allure moviegoers.
People have different definitions of a good
film. There are some movie fans that enjoy
seeing CGI, and there are those who get a thrill
out of watching and hearing loud explosions,
while others go see a film for the purpose
of witnessing something bigger (metaphorically
speaking). If you’re like me, you go to
the theaters to see a film with rich dialogue,
artistic cinematography, phenomenal acting,
and a poignant musical score to accompany
the work. Sure, a little action here and there
would be nice, but only if it appropriates itself
with the theme or plot. Nothing is worse than
to witness an extraordinary action scene, or
a moment of overzealous emotion, splurging
onto the screen without a thematic purpose.
Luckily, films like Birdman appealed to indie
film fans for its drama, comedy, but also to its
methodical action and a dash of fiction for the
fans who enjoy suspending their disbelief for a
few hours.
You never know until you see it
My first experience with an independent
film was at the age of fourteen—as I bought
a VHS copy from a long forgotten music and
film store named Warehouse—when I watched
Quentin Tarantino’s Reservoir Dogs. That video
tape has long vanished, but I still remember the
title in crimson letters standing out, four sketched
men in suits in the lower foreground, and a
fragmented picture in the top of two extended
arms, with weapons defensively pointed at each
other. The film had a $1.2 million budget, which
is small even for the 90’s, but it had a great cast,
which included Harvey Keitel, Steve Buscemi,
Tim Roth, and several other favorites. It was the
first time that I watched a film and distinguished
one of the fundamental traits of an effective indie
film, and that was dialogue and camera angles.
It would be downright naïve to simply describe
indie with two basic elements, however, for the
sake of emphasis I’d like to add that that was
what allured me to the film. It had great music—
Grateful Dead’s “Stuck in the Middle” playing in
the background while Michael Madsen proceeds
to amputate an officer’s ear—and the wonderful
direction of Tarantino capturing unique scenes
and executing with meticulous detail, that may
have been missed by a less skillful director. Right
in the beginning scenes, we see an example of
raw dialogue that defines indie films, where we
get a three-and-a-half minute take of Mr. Pink
(Steve Buscemi) engaged in a socio-economic
discussion with the rest of the gentlemen sitting
around a table, on what constitutes the waitress
from earning a tip if the service was unsatisfactory.
Congruent to the subject of dialogue, the
debate between Mr. Pink and the remaining crew
over the etiquette of tipping and the justification
of leaving nothing for the waitress was portrayed
as though the audience was in the scene, sitting
right beside the actors in a heated discussion.
Tarantino’s touch of the unexpected, ambiguous
dialogue—not knowing where and which way
the plot’s angle dictates—introduced an impeccable
mode of direction that has made the film a
classic within indie circles.
The importance of an indie film does
not always have to be great, in order to leave an
impression. Often a great film emerges onto the
screen that is merely appreciated for its merits
in a certain area of expertise (e.g. acting,
direction, cinematography). However, when
all areas of film are handled with mastery and
great detail, regardless of size of the budget, it
leaves the mark that compels the audience to
ponder the universal message of the film strives
to achieve, leaving those in wonder, even as
the ending credits have begun and the film has
finished.
Sadly, that is not the case with most
films and their method of admittance to the big
screen. So many great films with a potential
to become a cult classic get turned down due
to budget issues or lack of funding. However,
this is an exciting time because indie film fans
are beginning to see more films get released
frequently, in comparison to former generations.
Every year, a fresh new film gets released
that aims to ponder the metaphysics, challenge
social issues, or address political upheaval
without being turned down due to greedy notions
of profit, or for fear of financing the next
box office disaster.
There is hope for all indie cinemas
Who says that indie simply revolves
around films? To the remaining lot that succumbs
to the fate of denial by major production
companies, streaming sites such as Netflix
and Amazon Prime have become their saviors,
taking the leftover scripts under their wings
and preserving the essence of films that may,
perhaps, demonstrate a successful prospect.
A few years ago, Netflix began purchasing
scripts that were stored away and forgotten. But
Netflix acquired the rights and brought to life
works that have won numerous Emmy Awards
including House of Cards, Orange is the New
Black, and Narcos, the drama series that has
been receiving promising reviews for an Emmy
in theforthcoming year. By the same rights,
Amazon Prime acquired Transparent (winner of
5 Emmys), paving the way for production companies
to reevaluate their method of production
approval. With so many noteworthy films and
shows, rich with dialogue and direction, Netflix,
Amazon Prime, and other global enterprises
are now taking the time to review soon-to-be
films and mini-series compilations.
After realizing its potential, Netflix
has now begun their own production, where
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they accept scripts directly (as opposed to buying
them from third parties), and produce independent
films with the rights of their agency. A
Netflix original that has been catching the eye
of viewers this year is Beasts of No Nation,
a drama about the civil war and turmoil in
Africa, and how a orphaned youth (Abraham
Attah) is trained by a vicious warlord, played
by Idris Elba, to recruit the young child into
his group of guerilla fighters. With an “A”
level actor like Idris Elba, who’s starred in
such films as Mandela: Long Walk to Freedom
and Pacific Rim, the film has produced a great
cast, a sound production, and a recipe for
socio-political appeal (due to current social
and economic issues in Africa). Beasts of No
Nation is one the first Netflix originals that has
executed a stronghold film receiving immediate
praise by critics, and has gotten the attention of
the Academy, perhaps, clinching in for a nomination
and a chance to become the first streamed
motion picture that has never hit theaters to
receive an Oscar. Some independent films have
even gone so far as to be acquired and transformed
into a series or mini-series, preserving
its cinematic elements; without being dismissed
and terminated because it cannot be made into a
major motion picture. Today, Netflix encourages
films to be delivered to its enterprise directly,
rather than being sent to Paramount, Disney, etc.
To screenplay writers, this prospect may seem
more feasible due to its longevity, of how a series
has the advantage of airing for multiple seasons
and playing in production for years, where a film
appears in the box-office for a shorter period of
time.
Whether is it on the big screen or
in the comfort of your home, the impact of an
indie film is far more grand than the digital effects
behind a blockbuster production. As long
as the key elements of an indie film are there,
you no longer have to have a multi-billion
dollar production company to finance a film.
The content and fabric of the material is what
makes a film stand out from other competitive
movies. Check out indiewire.com to learn more
about indie movies, television, and independent
filmmaking.
Pirates of the Caribbean to The Edge of
Oblivion
July 3, 2015
By: Reyaan Shah
In Jordan Inconstant’s short film “Pirates of the Caribbean to The Edge
of Oblivion”, central character Jack Sparrow has a tough time accepting that he has
been fired as captain of his ship and crew. In fact, Sparrow is completely surprised
when the character of Barbossa fires him and announces that he will be the one to
take his position. After hearing this unfortunate news, Sparrow flees and spends his
time getting drunk alone and trying to figure out how to leave the island. However,
he soon encounters two pirates that look oddly identical to himself. He gets into a
fight with one of them and then becomes the leader of the remaining pirates. After,
he orders his pirates around and tries to strike up a deal with a lady he believes
shares a common interest with him. While there are many possibilities, the most
reasonable would be that he is planning his revenge against Barbossa.
Aside from such an interesting and unique plot, the film is amazing for
many reasons including the breathtaking scenery. Inconstant does a fantastic job
of including beautiful ocean and sky views. Also, there is great use of lighting and
angles to highlight important and noteworthy scenes. Additionally, the costumes are
extremely appropriate for all characters and their personalities. However, the costumes
are not what define the characters at all. In fact, the characters all do a spectacular
job in the way they act and commit to their roles. Specifically, it amazed me
how the actors were able to stay in character throughout the intense fighting scenes
where their every moves and expressions were captured. Their acting enhances the
overall quality of the short film and makes it much more enjoyable to watch.
The brevity of this film is both beneficial and consequential. For one,
the fact that the film is only around nine minutes long is beneficial to the viewer
because they get to see something that is concise and to the point. Additionally, the
short length of the film helps the viewer stay entertained and eager to watch. However,
the downfall to the time is that there is less room for detail. Also, the viewer
can potentially be left feeling upset because of their desire to see more. Nonetheless,
this film could be two hours or two minutes but it will leave you anxious to
see what happens next. Jordan Inconstant did an amazing job with his short film
“Pirates of the Caribbean to The Edge of Oblivion”.
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99 Homes
October 17, 2015
Runtime: 1 hr 52 min
The hardest part of making political commentary in a narrative
film is being subtle about it. Having one’s opinion on display in a
dramatic film and making sure that it doesn’t come off as preachy or
overt from any angle is incredibly important and equally difficult to pull
off.
For the most part however, Ramin Bahrani’s new film “99
Homes” does an effective job of keeping its message about the housing
crisis and capitalism as a whole in a strictly “show not say” manner. Still
an independent director, this film additionally sports quite the cast of
mainstream actors compared to much of his previous work.
“You are to vacate these premises today.”
And that is exactly the sentiment the film begins with. Rick
Carver is a real estate shark simply doing his job, going from house to
house to deliver sad news to sad families: their houses belong to the
bank now. The interesting part, however, is that Carver feels little for the
news others might dread delivering. Shortly after evicting a young man
named Dennis, as well as his mother, Carver decides to hire Dennis to
clean out recently foreclosed properties with him- the point at which the
seedy underbelly of the government’s involvement in the housing crisis
gradually reveals itself.
This exposure would mean little if not portrayed in an honest
and informative manner, and director Ramin Bahrani for the most part
succeeds in this regard. Bahrani does an excellent job of putting on
display the government’s shady tactics (such as, using Dennis to clean
out appliances, so the government pays to replace them), as opposed to
merely referencing them. This film’s issue doesn’t quite lie with how
subtle Bahrani is with his commentary, but rather how the film has a
slight tendency to lose its message in the midst of needless thriller clichés
towards the film’s end. It is understandable for a film this informative
to not have very much meat on its plot bone, but it is still certainly
unfortunate that the film’s message has to suffer as a result.
Thankfully, the performances more than make up for this
drawback. Andrew Garfield gives quite the surprising performance as
Dennis Nash, proving once more, that losing his accent is nowhere near
a problem for him. Michael Shannon provided quite the impressive
performance as a cavalier, self-interested, and arguably sociopathic Rick
Carver- the polar opposite of Garfield’s character. While these two actors
are for the most part the film’s only legs to stand on, they are more
than sturdy enough to last.
The sick feeling left in most every viewer’s stomach will likely
be the best indication of this film’s success. “99 Homes” ultimately
does a great job of showing what is wrong with the government’s role of
seizure in the housing crisis instead of simply telling.
Forev
August 4, 2015
Runtime: 1 hr 28 min
[8/10]
[6/10]
One thing most people can likely agree on is that the romantic
comedy genre needs a bit of a refresher. Thankfully, it seems as though
the independent crowd has actually taken to the genre’s reinvention,
whether through the addition of a far more original style and presentation,
or perhaps just with the application of that good ol’ indie quirk.
The latter is certainly more the case with Molly Green and
James Leffler’s Forev. The film, somewhere between road trip comedy
and love story, presents the series of unexpected events that can occur
when a simple joke between two neighbors about getting married
becomes a full on reality. Despite a script that can read quite bare and
stretch quite thin, our three main actors (plus some very welcome
supporters) do well to make the whole experience relatively enjoyable
nonetheless.
“You guys are idiots.”
Simplicity and focus is certainly the name of the game in
Forev. It is certainly admirable that the film chooses not to deviate from
its central plot in a genre that constantly suffers from uninteresting and
forced subplots. This being said, there is unfortunately not very much
meat on this film’s only bone. Thankfully the film’s neighbors-turnedlovebirds
(played by Noël Wells and Matt Mider) outdo themselves,
almost always, pushing the script to the point of “awkwardly hilarious”
instead of “hilariously awkward”.
Despite what this film lacks in substance, Molly Green and
James Leffler’s directorial efforts certainly pay off in the way of cinematography.
Forev strangely succeeds in creating a very immersive atmosphere,
most notably during the many roadside and desert scenes where
lighting proves to be no issue. In addition, the film’s very focused shots
and seamless transitioning from fixed to moving camera placement give
the whole package a very squeaky clean feel.
It’d be cruel not to mention the quirky supporting characters
that join our main crew of three on their journey, one very subtle way in
which Forev will certainly please its audience. From the endlessly weird
AAA mechanic (played by Timmy L’Heureux) to the bearded nomad
(played by Chuck McCarthy), the supporting cast at work here does well
to provide a multitude of memorable moments in an otherwise relatively
sparse script. And that’s not all. If you remember internet sensation
Kelly, Liam Kyle Sullivan makes a very subtle voice-over cameo here.
It’s a shame more than anything that this film’s rare focus for
a romantic comedy works to its detriment. There are several moments
in which Forev proves to be something quite special. Thankfully, the
film’s cast of hilarious and talented actors are able to power through the
script to yield an overall pretty enjoyable time.
Grandma
October 12, 2015
Runtime: 1 hr 18 min
[9/10]
There is no denying that all athletes will begin losing their
skills and all singers will begin losing their voices with age. It’s nothing
to be too upset about as it’s purely natural and moreover their legacies
are bound to live on. This said, a film will come around every now
and then that proves that similar simply cannot be said for an actor or
actress.
Such is the case with “Grandma” pretty undeniable proof
that an actress not only retains her acting prowess with age, but only
continues to grow in her acting ability. With a relatively simple road-trip
narrative that allows for a colorful cast of characters along the way, Lily
Tomlin is able to prove her worth right alongside the younger actors that
won’t be replacing her anytime soon.
“You need to be able to say ‘screw you’ sometimes.”
Quite the activist in her heyday, Elle Reid is now an older
woman who is still recovering from the loss of her longtime partner to
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cancer less than two years ago. When her teenage granddaughter Sage
stumbles to her door pregnant and needing money for an abortion however,
the the film quickly turns from sad and withdrawn to a weird and
unlikely charming road-trip to collect the much needed 600 dollars. It’s
a film that cares quite a bit about not really caring, illustrating that
the way to get things done is only by telling it like it is.
Through this trip, the two encounter faces old and new that come together
to create quite the variegated array of characters and personalities.
This array consists of a trans-gendered tattoo artist played by Laverne
Cox, a coffee shop owner played by Elizabeth Pena, and lastly Sage’s
unruly boyfriend who refuses to admit that the baby is his (resulting
in quite the whooping from her Grandma). The cast and each of their
introductions into the film are all executed incredibly naturally, illustrating
that there are several ways in which a director can still make this
narrative format feel fresh.
Young actress, Julia Garner certainly does a fine job in her role as the
misguided Sage, but the spotlight undeniably lies on Lily Tomlin and
everyone knows it. Her first lead role in 27 years, Tomlin’s return to
center stage is as entertaining as it is earned. There is also quite a bit to
be said about the chemistry between these two actresses, resulting in an
interestingly charming and hilarious final product despite the intense
amount of grit underlying in the narrative.
“Grandma” is a simple movie that doesn’t quite reinvent the wheel. This
said, it is an endlessly cute display of a very unlikely bond resulting
from pretty dire circumstances. The precision in which characters are
introduced and pulled off by their respective actors is enough to justify
the wheel being left alone this time around.
cancer less than two years ago. When her teenage granddaughter Sage
stumbles to her door pregnant and needing money for an abortion however,
the the film quickly turns from sad and withdrawn to a weird and
unlikely charming road-trip to collect the much needed 600 dollars. It’s
a film that cares quite a bit about not really caring, illustrating that
the way to get things done is only by telling it like it is.
Through this trip, the two encounter faces old and new that
come together to create quite the variegated array of characters and
personalities. This array consists of a trans-gendered tattoo artist played
by Laverne Cox, a coffee shop owner played by Elizabeth Pena,
Hungry Hearts
Cotober 11, 2015
Runtime: 1 hr 49 min
[7/10]
Psychological thrillers might be the most effective genre of
film when it comes to stories and questions plaguing the viewer’s head
for days after viewing. One must however be a little cautious, as this
effect can be easily watered down if a director isn’t careful enough and
their psychological thriller slips ever so slightly into the horror genre.
Such is somewhat the case with “Hungry Hearts”. It is a film
that begins light and cheeky with two lovebirds, one from a foreign
country, of course, accidentally meeting in an embarrassing situation and
soon after falling in love, tying the knot, and having a child. Soon after
however, the film slowly creeps into more sinister territory and gives
into its inner darkness come its second half.
“My wife doesn’t really trust doctors.”
And this distrust is important to note as it provides this film
with its main conflict. Upon our lovebirds, Mina and Jude, discovering
that Mina is with child, Jude is ecstatic that she can marry him and that
she no longer needs to move back to Italy for work. However, it is only
upon handling Mina’s pregnancy and ultimately raising her child that the
two begin to encounter their biggest issues. There are thousands of ways,
many of them published, to properly raise a child, but Mina’s sworn
method of avoiding medicine and placing the child on a vegan diet in
pursuit of absolute purity is certainly not one of them.
The concept of such an obsession tearing two parents apart
is certainly one director, Saverio Costanzo, tries to be very careful
with, and this is to some avail. The manner in which Mina’s character
is portrayed is far more paranoid and delusional, as opposed to overtly
psychotic, which is refreshing. This said, the aforementioned tendency
for films like this to slip into horror mode definitely kicks in towards the
film’s end, carried out for one example by unsettling wide angle fish-eye
shots over the child, representative of Mina’s point of view. Choices like
these (of which there are several more) paint her character as demonic
and evil, whereas every other aspect of the film does well to avoid this
cliché.
The excellent performances of Alba Rohrwacher and
Adam Driver make it all the more heartbreaking that directorial
choices like the previous example are prevalent in the film’s intense
second half. For all the film’s cinematography might do however to
paint Mina and Jude as “psycho” versus “innocent straight man”, the
Rohrwacher and Driver are very much able to hold their own and make
their performances feel as genuine as possible.
Just because this film falls victim to becoming more horror
than psychological thriller towards the end, credit is deserved in that it
doesn’t turn into any sort of fright fest. “Hungry Hearts” remains stellar
in concept and pretty great for the most part in execution.
In Lieu of Flowers
Cotober 11, 2015
Runtime: 1 hr 30 min [6/10]
When it comes to comedy, simplicity can sometimes be the
key to a hilarious bit or joke. Romance on the other hand isn’t always so
easy to accomplish in a simple manner, as complications are bound to
ensue. Who even knows what could happen when you try to accomplish
both at the same time in the simplest way possible?
Thanks to “In Lieu of Flowers”, that question can pretty much
perfectly be answered. The film is a pretty straightforward love story
between two people who have lost and how they help each other heal.
There isn’t an ounce of thematic complexity in sight here. What this film
may be proof of however is that there doesn’t really need to be.
“I think I’m okay.”
Eric and Rachel are two attractive adults who meet at a support
group for people who have lost. While Rachel is trying to recover
from the death of her husband, Eric is struggling with his own loss: a
loss of love rather than of life. It’s a false equivalence that thankfully
does not go unacknowledged in the film, and actually makes for quite a
bit of conflict for the characters and possible discussion for the viewer.
But bear in mind, this would be solely discussion and far from analysis,
as there is little deviation from the film’s linear plot into anything more
complex.
A directorial debut for William Savage, the shot composure
and scope of the film are executed surprisingly well. Savage also
however was responsible for the film’s script, and the result is dialogue
that stretches as thin as it possibly can to cover what seems like as many
awkward silences as there are lines. If awkward was the direction this
film is going in, that is by no means an inherently negative decision.
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This said, it would be hard to deny that this effect is less by choice and
more by consequence of a malnourished script.
Despite the little that these actors are given in the way of
dialogue, they are still however able to pull through with some pretty
convincing performances. Most of this is a result of the feeling of loss
which can very adequately be conveyed without dialogue, a circumstance
used quite well by our main two actors Spencer Grammer and
Josh Pence. The supporting cast can also be commended for their
impressive comedic timings, especially Melissa Rauch who plays a
character entirely different but equally as endearing as her character on
The Big Bang Theory.
Simplicity does at times prove to be a cruel mistress at certain
segments of “In Lieu of Flowers”. That said, this is definitely a film
that wraps itself up in a pretty satisfying package come its conclusion,
displaying as best as it can that the decision to stay on the stripped down
side was merited.
Indie Game: The Movie
Cotober 12, 2015
Runtime: 1 hr 43 min
[9/10]
The best documentaries are the ones that make the viewer
want to do something. The film doesn’t necessarily have to be persuasive
to any real degree. It doesn’t even need to offer the viewer any
efforts he or she can participate in. All the film needs to do is convince
the viewer that doing nothing simply won’t do.
In the case of “Indie Game: The Movie”, it isn’t particularly
clear what the correct action to take is for the audience. The film puts on
display the extreme stress and physical and mental exertion of independent
game developers. Is the solution to buy more indie games? Is the
solution to fight the larger studios? One could argue that the mark of a
good documentary is its ability to spark such questions.
“This is my identity.”
“Indie Game: The Movie” follows the development cycles of
two independent games and additionally offers a third indie developer’s
reflection on his own development cycle. All of the stories involve intense
stress and fear that the release will not be successful. Perhaps this
film’s greatest narrative strength however is its ability to illustrate the
very personal territory in which much of the games’ elements originate.
It is particularly heartbreaking to listen to developer Edward McMullen
explaining how his cute and innocent game Aether actually stems from a
deep loneliness felt throughout his childhood.
The most impressive thing about this documentary is the
amount of risk involved. Much of the film consists of interviews with
the developers and their fears that several years of work will have been
for nothing if their games do not succeed. It is very important to note
however that these interviews were conducted in real time, and there
was certainly a possibility that the games would flop. When the games
finally release towards the end of the film to critical success, it is not a
byproduct of the film in any way as the film only premiered following
the release of each game.
Another important aspect that a documentary must keep in
check is its tone. Since documentaries are grounded mostly in fact, statistics,
and non-fiction narrative, it is often not very difficult for the film
to lack a certain warmth. In the case of “Indie Game: The Movie”, the
film only occasionally becomes cold and strictly factual, almost entirely
during Jonathan Blow’s reflections on the development of his own indie
game “Braid”. These segments are still certainly very entertaining and
informative, but unfortunately not quite with the extremely genuine tone
of the other two stories.
This is regardless a very small price to pay for a film that strikes a terrific
balance of informative and emotional. The stress and emotional
torture that these independent developers go through is quite difficult
to imagine, but there is certainly something to be said for a film
that is able to humanize such an unusual topic and make its audience
feel the need to act, however that may be.
It Follows
Cotober 19 2015
Runtime: 1 hr 47 min
[9/10]
The independent film community is here to save the horror
genre and several films as of recent have been proof. It’s incredibly
pleasing to see neat and original ideas being presented in wake of the
“found footage” style craze that doesn’t seem to want to end any time
soon.
The original idea on display in “It Follows” might sound a
bit out there at first, but there is a lot of neat metaphorical weight to the
concept. “It” is a figure that walks slowly towards its victim. It never
runs, but it never ceases walking either. If it catches its victim before he
or she passes “It” onto another person, its victim is dead. While that’s all
fine and simple, the way in which “It” is passed from victim to victim is
the heavier and more interesting aspect of this film.
“You don’t believe me do you?”
Jay is an attractive teenage girl who unfortunately falls prey
to “It”. This occurs through her having intercourse with her boyfriend
in the back of his car, thus passing the curse onto her. At this point it is
clear that “It” is sexually transmitted, an interesting metaphor for similarly
transmitted diseases. The only difference is that Jay has one real to
end her curse: to sleep with someone else and pass the curse onto them.
Aside from this terrific core concept, the film shines a bright spotlight
on the main cast of suburban teenagers, providing the terrifying horror
film with the charm of lockers and passing periods.
As terrific and terrifying the concept of this film is, perhaps
the aspect of the film more eye catching is the film’s terrific shot composure
and cinematography. “It” is a slow-moving stalker and this film as a
result adapts to be a slow-moving piece. Jump scares and cheap frills are
traded for slow-moving cameras and shots big enough to allow the audience
to gradually notice “It” in the distance as opposed to the film cuing
the audience through audio or any sort of editing, making for an all the
more terrifying experience.
And quite impressive this cast is. Maika Monroe does a
terrific job as the ordinary girl running for her life as death creeps every
towards her. Another interesting surprise for this film however is the
unexpected complexity of two of Jay’s friends played by Olivia Luccardi
and Keir Gilchrist. While Luccardi’s character is a nerdy best friend who
is a joy to watch, Keir’s character in particular has had a crush on Jay
since childhood- and knowing the rules of “It”, he has decent enough
reason to step up to the plate and play along.
The rules are a somewhat less consistent than they might
ought to be however, and “It Follows” as a result will definitely leave its
audiences scratching their heads for a little bit. This said, it takes no time
to forget all the specifics and just marvel at how impressive the indie
communities attempts to redefine the horror genre are.
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La Belle et la Bête
July 29, 2015
Runtime: 1 hr 36 min [8/10]
In Jordan Inconstant’s film “La Belle et la Bête” or “Beauty
and the Beast”, the life of a young prince takes an unexpected turn after
an encounter with an old beggar woman. A beggar woman asks the
prince for shelter but he refuses because of her unattractive appearance.
This decision propels the beggar woman to cast the prince into a beast
who can only return to his original form when he learns to love. The
beast is given the perfect opportunity to reverse the curse when he meets
a woman named Belle who stumbles upon his castle while looking for
her father who has gone missing. However, things take an interesting
turn when Belle finds that her father has been taken prisoner by the
beast. Belle decides to stay in the place of her father in return for his
freedom, but is not excited for her life as prisoner. For those who have
never seen “Beauty and the Beast”, the ending is not something you
want to miss!
While the plot captivates the audience and leaves them on the
edge of their seats, the film is notable for many additional reasons. The
actors display strong performances through their use of emotion and
intensity throughout the entirety of the film. The strong acting performances
can be seen anywhere from the accents of the paintings to the
spookiness of the beggar woman to the impatient tantrums thrown by
the beast! Additionally, Inconstant embellishes the film with the use of
different types of lighting, music, and angles. In fact, there was use of
many different angles during the wolf scene in order to convey a dramatic
and worried feeling. Also, the film includes music with different
tones to underscore the importance of a scene which can be seen through
the prince’s transformation. Other special effects such as pixie dust and
bright lighting can be seen at the dramatic ending of the film.
This film qualifies as an accurate representation of the original
“Beauty and the Beast” Disney movie. While Inconstant uses talking
paintings instead of talking candles, wardrobes, and clocks, the film
follows uses the plot of the original story. However, Inconstant does
an incredible job of giving the film a unique and personal touch unlike
anything people have seen before. Between the spectacular acting and
special effects this film is not something you want to miss. Overall,
Inconstant’s version of “Beauty and the Beast” will leave you satisfied
and entertained!
The Babadook
October 10, 2015
Runtime: 1 hr 33 min [7/10]
In an age of dime-a-dozen “found footage” horror movies
clogging the mainstream, it’s understandable to have given up hope for
the genre. This said, the past year or two has seen the indie film community
coming the a genre’s rescue yet again, this time with some really
innovative ideas for horror.
Jennifer Kent’s “The Babadook” is a great example of the
genre dropping most of the horror-film elements one might be conditioned
into thinking are vital to the genre. Despite this however, the
simple Australian indie flick proves that a lack of gore and jump scares
can still make for a good- if not great- horror film.
“You can’t get rid of the Babadook.”
The horror in this film takes an interesting approach, preying
less on the viewer’s obvious fears and more on the viewer’s nostalgia.
“The Babadook” depicts a mother, Amelia, on the brink of collapse at-
tempting to raise her impossible son, Robbie. Upon discovering a book
containing the character of “The Babadook” in the basement one night,
Amelia decides to read it to her son. Unfortunately however, Robbie
begins to see the character all around the house and at school, the two
both begin to lose their minds.
Details in this film’s approach to horror make it all the more
surprising that this is Jennifer Kent’s directorial debut. A great example
is the terrifying demon who his rarely seen, an aspect of the film that is
often sloppily executed in such films as the most recent Insidious and
Sinister entries. A shortcoming however in her approach is her characters
and their occasional lack of rational motivations. Without spoiling, there
are many decisions made by the two primary characters that could not
possibly spell out a positive outcome, and it can become frustrating to
constantly see Amelia or Robbie walking into danger seemingly without
a clue.
As for these two, the roles of Amelia and Robbie are acted
quite exceptionally by Essie Davis and Noah Wiseman. While Essie
Davis is consistently impressive and Noah Wiseman is certainly better
than the average child actor, but their chemistry with one another is
where the two actors really shine. There is something about a character
slowly losing his or her mind that allows an actor to show their
versatility, and these two are certainly no exception.
While certainly not perfect, it’s hard to think of a film in
2014 with as many scares as this directorial debut. “The Babadook”
as well as other films like “It Follows” have been on fire in the last two
years, and if the horror genre needs saving, indie flicks like these are
probably gonna be the ones to do it.
The Kid with a Bike
October 13 2015
Runtime: 1 hr 27 min [8/10]
One can argue that a film lives or dies by the performance of
its child actor. While this is definitely not always the case, the argument
becomes a lot more valid when the child is playing the film’s primary
character. It’s pretty easy to assume little of a child’s ability to play a
dynamic and ever-growing character, but that may just make it all the
more impressive when they succeed in the venture.
Such is absolutely the case with “The Kid with a Bike”, the
moving story of a young boy who’s father wants nothing to do with
him, and the ordinary hairdresser who decides to take him in and provide
him with the necessary care. It’s a film where its child actor gets to
shine free of any discernible stigma holding him back.
“I can’t look after him.”
Cyril is a boy who it doesn’t seem like anyone really wants to
deal with. Dropped in a boy’s home by his father who promises to come
back for him when he’s “ready”, it’s no real surprise that he lashes out
and isn’t always on his best. Pedaling around the city and always getting
into some sort of trouble, an owner of a local parlor named Samantha
sees his need of direction and decides to take him in. Faced with Cyril’s
sheer unruliness as well as her unfortunate knowledge that his father
doesn’t want anything to do with him, Samantha illustrates the level of
strength and endurance needed that can stem from a simple good deed.
What sets this film apart however from any other film with a
similar theme is that there is absolutely no sap in sight here. The film
has no music apart from one short orchestral piece that plays at the beginning
and end of each of the film’s three acts as a means of transition.
While this allows for a much more realistic atmosphere to be created, the
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film can often come off as cold and distant as a result. This is not usually
an issue, although there are certainly moments of the film that pack an
emotional punch but feel a little bit off for their lack of any real warmth.
This same lack of warmth is found in the performance of
Cecile de France as Samantha, although in this case it’s for the better.
The French actress plays her character in a way that is far from motherly
and unconditionally forgiving- because the young business owner that
Samantha is would have no real reason to be. The same can be said of
the 11 year-old Thomas Doret who gives one of the most impressive
performances of any child actor in quite a while. He can be at times
painful to watch for how difficult and unappreciative he is, but all the
discomfort really proves is how good of a job he is doing.
“The Kid with a Bike” is an interesting piece as a result of
this. With an act-format more like that of a stage play, the film is less of
a full-fledged production and far more a medium to display the incredible
acting talents of these two actors. This said, simplicity certainly
pays of in this regard.
The King of Kong
October 18 2015
Runtime: 1 hr 19 min [7/10]
Competitive gaming can easily make for the most entertaining
subject for a documentary, especially when a world record is involved.
This said, it is important that such a documentary is able to overcome
an existing stigma against video games in order to appeal to the widest
audience possible.
Whether or not “The King of Kong” succeeds in that regard
really depends on who you ask. For the film’s intended audience, the
surprisingly dramatic story of a man who dared challenge the Donkey
Kong high score of world record holder and hot sauce tycoon Billy
Mitchell is definitely one that hits hard. For anyone else however, it’s a
little bit more up in the air.
“I gotta try losing sometime.”
The story here isn’t at all complicated. Billy Mitchell is the
best Donkey Kong player in the world- and perhaps nobody knows
this as much as he does. Steven Wiebe on the other hand is a middle
school science teacher with a Donkey Kong machine in his garage. The
contrast between “rockstar” and “everyman” is certainly present with
these two individuals despite never being overtly stated. While Wiebe
desperately yearns to challenge and defeat Billy Mitchell at his turf,
the narrative and structure of this film brings far more emotion to the
surface.
This emotion is simply that of a man who has been down on
his luck for the vast majority of his adult life. The innocuous Steven
Wiebe is still determined to prove his worth by training in his garage
to work his way up to the top, despite the many hoops he has to jump
through along the way due to his lowly “everyman” status. Billy Mitchell
on the other hand is portrayed hilariously as the unsubtle villain of
the film. Stoic and cavalier as ever, Mitchell is a man who refuses to
lose and thinks little of any Steven Wiebe sob story thrown his way.
Perhaps this film’s most amusing success is the simple fact that it is
impossible to tell whether or not Billy Mitchell is playing a character of
any discernible irony.
And all of these positives reign very true for a member of this
film’s target audience: people who occasionally play games but have
little interest of knowledge of competitive gaming. For those however
who subscribe to the belief that video games are entirely a waste of time,
“The King of Kong” in all its underdog sentiment will likely not change
any minds. Similar can be said of viewers who are more actively involved
in modern competitive gaming- although this audience will likely
instead find the arcade culture and number-score competition somewhat
antiquated for its far more modern tastes.
If “The King of Kong” had a slightly better idea of how to
overcome existing stigmas regarding video games, it would have a
very easy time resonating with any viewer. This said, the film succeeds
overwhelmingly in its attempt to bring to the surface incredibly relatable
sentiments of inadequacy and determination against all odds.
The Young Kieslowski
August 3, 2015
Runtime: 1 hr 34 min [8/10]
Due in part to the recent explosion of John Green novels and
their respective film adaptations, quirky young adult films for the mainstream
have been on the rise in recent years. One could argue that perhaps
a solid character study may be easier to pull of when the characters
themselves are of a younger age. Regardless, it comes as no real surprise
that directors of the independent persuasion might see an advantage to
taking part in this trend.
Kerem Sanga’s The Young Kieslowski is no real exception.
The film chronicles two college students and each of their vastly different
actions and coping mechanisms while in the midst of an accidental
pregnancy. It is certainly not a plot that breaks any real new ground,
and actually finds itself a little bit on the blander side of the young
adult trend at its brief description. However, through clever choices and
resoundingly comical and original characters, The Young Kieslowski
quickly becomes something special- infinitely greater than its plot
description may imply.
“What do you think is gonna happen to us?”
Endlessly quirky and incredibly relevant, the film’s screenplay
reads somewhere between a satirical news article and an Urban
Outfitters coffee table book. Sanga’s hilarious and mostly unpretentious
two lead characters (played by Ryan Malgarini and Haley Lu Richardson)
drive the seemingly predictable plot forward with an incredibly
satisfying spontaneity. What should be an audience member’s disinterest
in such a dime-a-dozen subject matter is instead an incredibly real
will for both characters to find happiness in the situation, whether or not
in each other.
Unlike Kerem Sanga’s previous film, the $4,000 black and
white thriller Trigger Finger, The Young Kieslowski is riding on a significantly
higher budget with resoundingly apparent results. On display
here is not only a full color film, but one that is meticulously crafted and
beautifully arranged. At times Sanga’s direction gets a little bit to his
head, such as the very awkward black and white monologue that breaks
the tension of a dinner table conversation towards the middle of the film.
On a more technical level, one of the film’s early shots is a prolonged
walking shot in which the microphone sits stationary while the characters
on the other hand draw forward, resulting in a small but very real
removal from the film’s atmosphere. While Sanga still has a little further
to go in the way of art direction and cinematography, he has struck an
incredible improvement with this film.
In addition to the film’s two lead teenagers in trouble, The
Young Kieslowski is supported by the wonderful talents of Joshua Malina
and Melora Walters, the latter having quite the track record. These
two supporting actors provide particularly heartbreaking performances
as parents trying to be as supportive as possible in the midst of their own
35
TRISKELEPRESS.COM • FEBRUARY 2016

dealings with terminal lung cancer. This subplot rarely forced, and in
fact does very well to provide the film with a slightly darker tone that
sets it apart from other young adult films.
It is very easy to call The Young Kieslowski “just another
young adult movie” or even “just another accidental pregnancy comedy”,
and there would certainly be truth to those statements. This being
said, in the grand scheme of young adult cinema, there are hardly many
films anywhere near as genuine in their message and unpretentious in
their dialogue.
Tig
October 10, 2015
Runtime: 1 hr 35 min [8/10]
A combination of “funny” and “tragic” has never been very
easy to strike in a film, usually leading to fans of one side disappointed.
One could argue that a documentary has the greatest ability to strike this
balance. After all, the best example of comedy and tragedy wrapped up
as one can be found only in reality itself.
And “Tig” may very well be the best example of translating
that concept to film. Rarely cheesy or emotionally manipulative, the
documentary chronicles the series of unfortunate events in comedienne
Tig Notaro’s life, all leading up to one of the most acclaimed comedy
sets of all time. It’s unimaginable tragedy that results in similarly unimaginable
comedy.
“Good evening, hello. I have cancer.”
It’s important to note that the description above is only representative
of this film’s first half- and what a first half it is. Notaro is first
diagnosed with a bacterial illness after collapsing on set. Only a week
later however, her mother is killed in a tragic accident. It only takes a
few more months however before the final tragedy hits: her diagnosis of
stage 2 breast cancer. But “Tig” is not a movie about cruel nature of life,
but rather how incredibly resilient a human being can be.
And resilient Tig Notaro is. Only a few days later, the comedienne
steps out on stage and begins her set with the simple quote above.
Her set continues into a collection of stories- funny and sad- that pushes
the limits of how much humor can be found in the situations most would
rather shove under the rug. It was a set that, as the film depicts exceptionally,
had the crowd in tears and several other comedians in awe of
her achievement.
The film certainly has downtime however, and the second
half is where most of it can be found. It would be unfair to not admit
that the segments of Tig’s “crush” on a co-star of hers aren’t quite as
exciting and engaging as those regarding her comedy or her cancer. This
said, it takes reaching the end of this film to realize that there is a time
and a place for the serious stuff, and for “Tig” to put the comedienne’s
emotional and romantic life on display shows that she is just as human
as the rest of us, despite being a superhero in every other way.
But for how much the second half’s content exposes Notaro’s
sensitive side, many of these segments are still undeniably pockets of
stasis that could have flowed better. Regardless, “Tig” is an absolute
must for those who love to see an individual get back on their feet when
it seems most impossible.
Two Days, One Night
October 14, 2015
Runtime: 1 hr 35 min [9/10]
There is something to be said about a film that can thrill its
audiences without the prevalence of an action-packed narrative. “Argo”
is a great example of a mainstream film that had viewers on the edge of
their seats despite a gunshot at no point ever even being fired.
“Two Days, One Night” however takes this idea further into
that extreme. Nothing about this film is overtly thriller-like. A woman
who has recently been laid off needs to convince the majority of her coworkers
to vote to keep her on the job in lieu of a staff-wide bonus- and
she only has two days and one night to do it.
“Put yourself in my shoes.”
And despite nothing painting this film as thriller-like on the surface, the
film is still bound to receive the edge-of-seat reaction that any other action-packed
thriller might. Sandra is faced with an incredible challenge
in convincing her co-workers that her continuing to have a salary to
support her family is anywhere near more important than all of their bills
effectively paid for an entire year. It’s a treacherous task with a ticking
clock, which fits the bill of a thriller quite nicely.
It is important to note however that the use of the word thriller is only
in regards to the edge-of-seat feeling the audience is bound to have with
this film. The film moves in a very similar manner to the Dardenne
brothers’ previous film “The Kid with a Bike”, albeit significantly more
dynamic. This is very fortunate as merging the simplicity of that film
with a more dynamic and snappy pacing is quite the winning combination.
One could however almost argue that every winning aspect of this film
is put to shame by the moving performance of Oscar-winner Marion Cotillard.
The terrific actress is able to play her role in such a manner that
the viewer will not just sympathize with her in her worst moments,
but will rather feel her pain in an almost surreal way. It could be that
the fear of being laid of resonates with the general public, but whatever
the reason, Cotillard does a fine job of bringing such a situation to life.
Despite the film moving in some odd directions towards the film’s
conclusion, “Two Days, One Night” is quite the thrilling feat. With a
variegated cast of co-workers and a great performance by Sandra’s supportive
husband, this is a film that gives its all and rarely ever fails.
Editor: Reyaan Shah
Reyaan (Rey) Shah is a high school senior in Coppell, Texas.
Although primarily planning to study Mathematics in college, Rey
is passionate about writing about music and film of the independent
and mainstream persuasion alike, having written numerous
independent film reviews for Triskele Press. In his spare time, he
leads a team of young aspiring journalists in writing indie music
news and album reviews for his website Popchata.com, a venture
he plans to pursue further into his higher education alongside his
mathematics studies.
TRISKELEPRESS.COM • FEBRUARY 2016
36

anFilm Awards 2016 Nominee:
est Film and Cinematography
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TRISKELEPRESS.COM • FEBRUARY 2016

FanFilm Awards 2016 Nominee:
Best Actress, Animation, Cinematography
and Fan Representation
TRISKELEPRESS.COM • FEBRUARY 2016
38

Who
Jordan
is
Inconstant?
For a fan, making fan films is one of the most immersive
experiences one can do. We find ourselves in the atmosphere of original
films, and it’s an incredible opportunity. Furthermore, the advantage of
fan films is visibility. They get a loyal audience from the original work.
Therefore, this causes many thousands of views on the net. Thus, one can
enjoy this pub to show his original projects thereafter.
How is the creative process for you, as an Actor, Director, Writer, and Producer?
Pour un fan, réaliser un fanfilm est l’une des expériences les
plus immersives que l’on peut faire. On se retrouve dans l’ambiance des
films originaux, c’est une chance incroyable. Par ailleurs, l’avantage des
fanfims est la visibilité. Ils touchent un public déjà fidélisé par l’œuvre
originale. Par conséquent, cela entraine plusieurs milliers de vues sur le
net. On peut ainsi profiter de cette pub pour montrer ses projets originaux
par la suite.
In the films of the saga «Pirates of the Caribbean», we come
back very often about the past of Jack Sparrow, be it about the mutiny
generated by Barbossa or how Jack escaped the island. I thought that the
public would like to see that, just like me. There really matter to make
a prequel . In addition the short format lent itself well. I wrote the story
according to the means that I had that it remains credible. Forget the
waterfalls, boat ... The fact fighting to regain a blockbuster without the
means of Hollywood studios is very informative and interesting. I was
inspired by the film “ Cast Away,” Robert Zemeckis or Tom Hanks is
seen alone on an island. The challenge for this fanfilm was to make the
movie interesting even though there is only one character : Jack .What is
an independent filmmaker’s life like? What inspires you to make more?
Au cours des films de la saga “Pirates des Caraïbes”, on revient
très souvent sur le passé de Jack Sparrow, que ce soit à propos de la
mutinerie générée par Barbossa ou la façon dont Jack s’est échappé de
l’ile. Je me suis dit que le public aimerait voir cela, tout comme moi. Il
y avait vraiment matière à faire un préquel. De plus le format « court
métrage » s’y prêtait bien. J’ai écrit l’histoire en fonction des moyens
que je disposais pour que celle-ci reste crédible. Oubliez les cascades, les
combats de bateaux... Le fait de reprendre un blockbuster sans avoir les
moyens des studios Hollywoodiens est très instructif et intéressant. Je me
suis inspiré du film « seul au monde » de Robert Zemeckis, ou l’on voit
Tom Hanks seul sur une ile. Le challenge pour ce fanfilm était de rendre
le film intéressant malgré qu’il n’y a qu’un seul personnage : Jack.
What is an independent film maker’s life like? What inspires you to make more?
As an independent filmmaker, I do not realize that short films.
To save my life I ‘m also an editor and freelance cameraman. Therefore
I work on various productions (videos, makings of, corporate videos
etc ...). I invested what I earn in my projects, involving some personal
sacrifices...I like the kind of film, when there is a universe, like those of
Tim Burton. Through my various short films , I try to go from one gender
to another , fantasy, sci-fi, adventure etc ... In fanfilms we take an existing
universe by attaching it as much as possible , but when the film is
original must be invented. Creating a universe is really exciting. I attach
great importance to the makeup and costumes, which promote to create
own incongruous characters in these genres but are their strength.
Were you always doing film? When did this passion begin?
En tant que cinéaste indépendant, je ne réalise pas que des
courts métrages. Pour gagner ma vie je suis aussi monteur et cadreur
freelance. De ce fait je travaille sur divers productions (clips, makings
of, vidéos institutionnelles etc...). J’investis ce que je gagne dans mes
projets, ce qui implique quelques sacrifices personnels...J’aime les films
de genre, lorsqu’il y a un univers, comme ceux de Tim Burton. A travers
mes différents courts métrages, j’essaie de passer d’un genre à l’autre,
fantastique, sci-fi, aventure etc... Dans les fanfilms on reprend un univers
déjà existant en s’y attachant le plus possible, mais lorsque le film est
original il faut l’inventer. Créer un univers est vraiment passionnant.
J’attache beaucoup d’importance aux maquillages et aux costumes, qui
favorisent à créer des personnages incongrus propre à ces genres mais
qui font leurs force.
Currently my new short film “ YO SOY PEDRO “ circulates
festival. Meanwhile, I just finished shooting a fanfilm of Star Wars, it
should come out late 2015 , together with the episode in September I
also prepare a short original film, a story of superheroes that we should
turn this autumn. I have a passion for cinema from an early age. Telling a
story through images and with a point of view is something very interesting.
Later I followed studies at ESRA in Paris (School of Audiovisual
Production). Thanks to this I was able to improve myself technically,
essential thing to make films.
Actuellement mon nouveau court métrage « YO SOY PEDRO
» circule en festival. Parallèlement, je viens de terminer le tournage
d’un fanfilm de Star Wars, il devrait sortir fin 2015, en même temps que
l’épisode sept. Je prépare aussi un court métrage original, une histoire
de superhéros que l’on devrait tourner cet automne. J’ai la passion du cinéma
depuis mon plus jeune âge. Le fait de raconter une histoire à travers
des images et avec un point de vue est quelque chose de très intéressant.
Par la suite J’ai suivie des études à l’ESRA à Paris (Ecole Supérieure de
Réalisation Audiovisuelle). Grace a cela j’ai pu me perfectionner au point
de vue technique, chose essentielle pour réaliser des films.
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TRISKELEPRESS.COM • FEBRUARY 2016
40

From the mutiny of Bootstrap Bill, to the joke of gathering turtles, Pirates of the Caribbean: Edge of Oblivion had details only fans
recognized. How much of a Pirates of the Caribbean fan are you?
I think it is important to put some nods to the saga, for true fans
and to link the short film to the original film. I’m a big fan of “ Pirates
of the Caribbean “ and more generally cinema. I have a little geek side,
I have several movie costumes and accessories (eg Spiderman , Batman,
Darth Vader etc ...). I love cosplay and to get under the skin of these
characters like Jack Sparrow is very exciting. To embark on a fanfilm ,
I think we really love the original movie and think the expectations of
fans.
Je pense qu’il est important de mettre quelques clins d’œil à la
saga, pour les vrais fans et pour lier le court métrage au film original. Je
suis un grand fan de « Pirates des Caraïbes » et de cinéma plus généralement.
J’ai un petit côté geek, je possède plusieurs accessoires et costumes
de cinéma (par exemple : Spiderman, Batman, Darth Vader etc...). J’aime
le cosplay et pouvoir rentrer dans la peau de ces personnages comme
Jack Sparrow est très excitant. Pour se lancer dans un fanfilm, je pense
qu’il faut vraiment aimer le film d’origine et penser aux attentes des fans.
How was playing as Captain Jack Sparrow? Do you think you played the role better, in comparison to the original?
The work that realized Johnny Depp to embody Jack Sparrow
is inimitable and really stunning. He’s an actor I greatly admire. Let’s
say the suit helps to get into the character’s skin. In addition, the various
elements that comprise it (wig, mustache, makeup, etc. ) favor the resemblance.
I think we should avoid over-hitting . The character Jack made a
lot of facial expressions and gestures in different films, but there are also
many passages where it is placed. My short film I preferred to choose
this option. Being alone on an island and having lost everything, Jack
must be, I think , a little less hectic .
Le travail qu’a réalisé Johnny Depp pour incarner Jack Sparrow
est inimitable et vraiment bluffant. C’est un acteur que j’admire
beaucoup. Disons que le costume aide à se mettre dans la peau du
personnage. En plus, les différents éléments qui le composent (perruque,
moustaches, maquillage, etc.) favorisent la ressemblance. Je pense qu’il
faut éviter de sur-jouer. Le personnage Jack fait beaucoup de mimiques et
de gestes dans les différents films mais il y a aussi plusieurs passages où
il est plus posé. Dans mon court métrage j’ai préféré choisir cette option.
Etant seul sur une île et ayant tout perdu, Jack doit être, je pense, un peu
moins agité.
How was working with a live Parrot?
One might think that the parrot is cute ... Think again ! An AC
clamp parrot ... very strong! There were 3 in total, each specialized for
action. This has been a very rewarding experience to witness the work of
the trainer and his animals. I keep very good memories.
Were the ship and island real? How much of the movie is CGI?
The ship mutiny sequence early in the film is a true three-masted
“ L’Etoile du Roy”. We shot the sequence in Saint Malo , in Brittany
in France . For desert island, we left the Seychelles on the island of “
Denis Island “ to find the idyllic scenery of the original saga. Turn on
an island can quickly be binding, wear the costume heat was very hard.
Similarly to transport material in the tropical forest ...
On pourrait croire que le perroquet est mignon... Detrompez
vous! Un perroquet ca pince...très fort ! Il y en avait 3 au total, chacun
spécialisé pour une action. Cela a été une expérience très enrichissante
d’assister au travail du dresseur et de ses animaux. J’en garde un très bon
souvenir.
Le navire pour la séquence de mutinerie au début du film est
un véritable trois mats : « L’étoile du Roy ». Nous avons tourné cette
séquence à Saint Malo, en Bretagne en France. Pour l’ile déserte, nous
sommes partis aux Seychelles sur l’ile de « Denis Island », afin de retrouver
les décors idylliques de la saga originale. Tourner sur une ile peut
vite être contraignant, porter le costume par la chaleur était très dur. De
même pour transporter le matériel en pleine forêt tropicale...
Do you find making Short Films fulfilling? Do you have any words of encouragement for film makers aspiring to reach your level of art?
If I were to encourage young filmmakers, I will tell them to
never get discouraged and continue to believe in their dreams. We must
have confidence in yourself and the project to motivate his team. Making
a film is a very complicated job that requires will and determination, to
complete his project is already something great.
Si je devais encourager de jeunes cinéastes, je leur dirai de ne jamais se
décourager et de continuer de croire à leurs rêves. Il faut avoir confiance
en soi et en son projet pour motiver son équipe. Réaliser un film est un
travail très compliqué qui demande de la volonté et de la détermination,
pouvoir terminer son projet est déjà quelque chose de formidable.
Where can we find more of your work?
You can find my other shorts and track their festival selections
on my website: http://jordaninconstant.com/
or my Youtube : https://www.youtube.com/TirakLine
Vous pouvez retrouver mes autres courts métrages et suivre
leurs sélections en festival sur mon site : http://jordan-inconstant.com/ ou
mon Youtube : https://www.youtube.com/TirakLine
How much of your movie has special effects?
41
There are many plans with special effects in the film. Filming
scenes with the parrot and sword fighting were shot in “ Le Touquet “ in
France. So that there is no connection problem, it had to make matepainttings
mate to add palm trees. Similarly for sequences where there is more
Jack Sparrow , we used the technique of “ overlap in the image .” This
requires preparation and discipline on the set for the effect to work.
TRISKELEPRESS.COM • FEBRUARY 2016
Il y a de nombreux plans avec des effets spéciaux dans le film.
Le tournage des scènes avec le perroquet et du combat à l’épée ont été
tournés au « Touquet » en France. Pour qu’il n’y ai pas de problème de
raccord, il a fallu faire des mate painttings pour rajouter des palmiers. De
même pour les séquences où il y a plusieurs Jack Sparrow, nous avons
utilisé la technique de « recoupe dans l’image ». Cela demande de la
préparation et de la rigueur sur le tournage pour que l’effet fonctionne.

How does creating Short Films satisfy you? Why not Featured/Longer Films?
For the story I had to tell I think the length of the film is
good. Moreover, the film is more longer and it requires a large budget ...
Between filming and post-production , it took me two years of work to
make this short film. With a longer movie would have been more complicated
with the risk of not completing it.
Pour l’histoire que j’avais à raconter je pense que la durée
du film est bien. De plus, plus le film est long et plus cela demande un
budget conséquent... Entre le tournage et la post-prod, il m’a fallu deux
ans de travail pour réaliser ce court métrage. Avec un film plus long cela
aurait été plus compliqué au risque de ne pas le terminer.
TRISKELEPRESS.COM • FEBRUARY 2016
42

Winners
of the Fan Film
2015
Awards
Best Actress and Cinematography: Awaken
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Best Film, Director, & Actor: Pirates
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44

Best Screenplay: La Cosecha
Best Animation: Star Trek Bats
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TRISKELEPRESS.COM • FEBRUARY 2016

and Details
Fan Film
Program
TIME FILM/SCRIPT CONTENT
11:00 AM Si Lunchai, & The Beach Boys Children
11:30 AM The Cold Heart Children
12:00 PM Aquaman In “The Cast Of The
Angler” [see info]
TRISKELEPRESS.COM • FEBRUARY 2016
Children
12:45 PM Final Fantasy: Seek Revenge Children
1:15 PM Force-Full Imagination Children
1:45 PM Star Wars: A Toy Story [see info] Teens
2:15 PM Knights Of The Old Republic: Legacy Of The
Force [see info]
2:45 PM Star Wars Legends: Legacy Of The Force [see
info]
Teens
Teens
3:30 PM El Bosque Negro Teens
4:15 PM The Shadow Teens
4:45 PM Horla, Elemental, Moustache From The
Moon
Teens
5:00 PM The Detectives Of Noir Town Teens
5:30 PM Knight Rider: Game Of Pretend Teens
6:45 PM Halloween: The Rebirth Of Michael [see info] Adults
7:15 PM American Horror Story: Unto Us A Child
Is Born
Adults
7:30 PM Crow Prophecy Teens
7:45 PM What is Crime Without Crime Alley [Batman]
Teens
8:00 PM South Park: The Melentock Pickle Teens
8:15 PM Star Wars: Scum and Villainy Teens
8:30 PM Star Wars: The Redemption of Skywalker Teens
9:00 PM AWARD CEREMONY
ALL
Hosted by Bonnie Gordon & Xander Jeanneret
Special performance by Library Bards!
46

General Information
General Information and History
History
The FanFilm Awards is a film and screenplay festival and
award ceremony, produced by Azure Lorica Foundation. FanFilm Awards
2016 is its first anniversary from the original FanFilm Awards, premiered
at NinjaCon 2015.
The festival hosts both a local and online film festival. The
online festival are published via blog at fanfilmawards.com, under the
category of “online film fest”. The local festival is premiering at the LA
Artcore Brewery Annex, an art studio within The Brewery Art
Colony the largest lived in and working art colony in the world: 660 S.
Avenue 21, Los Angeles, CA 90031
FanFilm Awards is founded by Eugene Cordell, Cofounder of
Azure Lorica Foundation, a nonprofit 501c3 charity organization for the
arts, and Triskele Press, a publishing press
program under Azure Lorica Foundation.
For more info, visit: azurelorica.org
The concept was brought into the Board of Director’s attention,
when a few articles about fanfilms were published in triskelepress.com.
The niche was still young, and the filmcommunity was growing within
the comic convention scene. When CEO, Stefanie Warner, proposed that
a live program for a fanfilm competition should be held in NinjaCon
2015, Eugene Cordell produced results that were not anticipated. Filmmakers
from around the world submitted countless entrees, and the program
was too small to contain their demand. This lead to further planning
for a returning program to premiere as its own festival.
The original prize was a full year’s worth of free marketing
assistance from Triskele Press. This year, the other Committees of Azure
Lorica are providing the following: NinjaCon’s Committee with Street
Team Promos, Drift Plume with Local Live Script Readings, Triskele
Press with eMagazine Advertising. All of which link back to
fanfilmawards.com .
Film & Screenplay Festival, and Award Ceremony
Film & Screenplay Festival
February 27, 2016 | 11am-8pm
We will be opening the doors by 10:30am. The Festival is open
to the public by admission. Industry and Press Members may bring a different
guest with their complimentary pass included in their Membership.
A welcome speech will be made by 11am, and the first screening will
begin right after. Q&A will begin right after each screening and reading.
Please visit us for details of each program:fanfilmawards.com/program .
Photography and Videography is permitted only during Q&A session and
Live Reading performances. RECORDING FILM SCREENINGS ARE
PROHIBITED.
Each screenings and readings are set as separate sessions under
a General Admission pass. After each session, attendees with General
Admission passes will be required to exit the screening room. This will
give us time to prep for the next session. Patron’s Admission allows attendees
to stay for the entire event (11am11pm).
Award Ceremony
February 27, 2016 | 8pm-11pm
Award Ceremony will be hosted by Bonnie Gordon and Xander
Jeaneret. Hosts will be announcing winners of the FanFilm Awards,
distributing the awards, and giving the stage to the award winners to give
their speech. After the ceremony, we will host a small party, until our
closing announcement.
Judges
Stefanie Warner
Theatre Director, Scriptwriter, Freelance Graphic Designer,
Campaign Manager, and founder of Drift Plume – the official Ensemble
Committee of the Azure Lorica Foundation. Stefanie grew up in the
world of classic manga and comics, such as DC, Marvel, and Viz, and is
a great aficionado of English literature and Modern Art. A graduate of the
Art Institute, she is a brand developer for several companies in industries
of film, books, and education.
Danny Gonzales
Festival and Convention Producer, Stand Up Comedian, and
founder of NinjaCon – the official Production Committee of the Azure
Lorica Foundation. Danny is strongly connected within the comic convention
scene. Growing up with anime and videogames, his intrigue for
the current subcultures and industry celebrities allow him to connect
agencies and talents easily through any live productions he produces or
hosts.
Eugene Cordell
Theatre Producer, Web Developer, Publisher, and founder of
Triskele Press – the official Publishing Committee of the Azure Lorica
Foundation. Eugene is an avid believer in making dreams come true.
From the groundup, his hobbies are building businesses and
nonprofits from simple ideas to legal monoliths.
Diana Keeler
Producer, Editor, and Educator, Diana is the Manager of Digital
Production at Occidental College. With a passion for media arts, she has
given back to the community and its future generation as a teacher and a
versatile artist producer in film and festivals alike.
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TRISKELEPRESS.COM • FEBRUARY 2016

Prizes
Street Team
The NinjaCon Committee is a strong marketing force, travelling
from one comic convention to the next. Their Committee divides
into teams of two, gravitating to two events at once, each month. In
support of the FanFilm Awards, they will be promoting the winning films
through their booths. From flyers to bookmarks, sharing films have
never been so inviting.
Live Readings
eMagazine Publishing
The Triskele Press Committee strategically implements content
for the winners of the FanFilm Awards, through online media. When
looking for one’s work, it’s never easy to be established when no one
talks about it. Luckily, Triskele Press has a network of blogs
and bloggers ready and willing to build up the filmmakers’ piece. Once
the posts have been published online, and the social networks have
shared the articles, a eMagazine is published to allow schools, libraries,
and professional media cite the filmmakers’ and screenwriters’ interviews,
reviews, and articles in the publishing market.
The Drift Plume Committee are an intense theatre ensemble,
attracting crowds to their stage. In support of the FanFilm Awards, their
Committee will be taking the winning script of this year’s festival, and
premiere live readings at the Pasadena Central Library. They will be
inviting producers and agents, and the general public for these live
readings of the full script, followed by a Q&A. It is a traditional method
for professional collaborations that has never gone out of fashion.
Lock/Jaw
Lock/Jaw is the Los Angeles based nerd punk foursome full of pent up
nitro energy that’s earnest, loud, in your face, fun. They have released
two EP’s and are currently under the indie label Entelodon records. They
include: Nate Filichia guitar/lead vocals, Memo Hernandez lead
guitar, Michael Huezo bass and Henry Huezo drums. You can find their
music at: lockjaw69.bandcamp.com
Xander Jeanneret
Xander Jeanneret is an actor, voiceover artist, and reality personality
living in Hollywood, CA. He was a fan favorite finalist on the
hit TBS show, King of the Nerds (Season 2), and returned to host behind
the scenes segemnts of Season 3. Xander also provided the voice of the
“Announcer” on the hit indie fighting game, Divekick, the English voice
for the main character of “Shogo” in the live action Japanese movie
“The Final Judgement”, the old man “Delani” in the anime “The Mystic
Laws”, and for “Zampa” in the MMORPG “DragonNest.” You can catch
Xander performing at comic and pop culture conventions across the
country with his band partner Bonnie Gordon (ABC’s The Quest) as the
nerdy parody band The Library Bards! (Follow @LibraryBards on all
social media)
Bonnie Gordon
Although recently seen on many different screen projects and
web series, Bonnie is most recognized for her time on ABC’s inventively
Guest of Honor
fun fantasy/reality show, The Quest (now streaming on Netflix!) If her
face doesn’t seem familiar to you, then perhaps her voice will… From
video games to anime, some of her voiceover credits include Street
Fighter V (Rainbow Mika), Ikki Tousen (Soujin); Akiba’s Trip (PS3);
Guided Fate Paradox PS3 (Frunetti/Misery); Demon Gaze for PSVita
(Comit, Chronos, and Pluto). Bonnie’s most recent project includes her
best friend, Xander Jeanneret, from TBS’s King of the Nerds! Together
they’ve created The Library Bards – a nerd parody bandthat takes top 40
hits and transforms them into nerdy, geektastic tunes. Her future plans
include living off of cheese plates and world domination.
Library Bards
‘Library Bards’ are an edgy nerd humor parody band. Both
original songs and covers encapsulate the spirit of the modern nerd,
while embracing comedy andshamelessness.
For more information and watch Library Bards music videos, please
visit: librarybards.com
TRISKELEPRESS.COM • FEBRUARY 2016
48

Loving the
Community
By: Danny Gonzales
“For I know the plans I have for
you,” declares the Lord, “plans to prosper you
and not to harm you, plans to give you hope
and a future.” Jeremiah 29:11
Growing up in a Christian household
has always got me thinking of what and
why was I made for. For numerous years, I
have been hiding behind corporate cubicles
and using my voice in call centers instead of
the presences of a stage. I speak as if i knew
what i wanted to do as a kid. I would always
try to tell myself to be a photographer, a game
designer, information technology or even join
the military. None of that stick to me like bees
to honey. I feel more myself as a producer or
performer. I have been juggling my talents and
living a so called “normal” life for the last 6
years. Let me tell you. It’s been a crazy rollercoaster.
Most people ask me “How can you
manage to attend to events and have a social
life with all the things you do?” My time to
dedicate for social life is really easy to be honest.
I take advantage of all the events i attend
to and use that time to network. Supporting an
event that someone is running and meeting the
people that are there is like knocking 2 birds
with 1 stone. Not that I’m a very abusive to
animals but I’m sure you understand. My one
of many rules that I apply to myself is “an extra
mile for a smile”. I always do my best to attend
many events, meet with new and old friends
while still managing the events that I operate. I
could easily say enjoy the event and hope a lot
of people will make it. I feel that it’s important
for a physical presence is needed in order for
the community to know that you exist. Community
participation is very important as a
performer and producer. One of my comedian
friend, Caitlin Macatee, called me out on her
comedy set performance during 2015 Anime
California in Anaheim, CA. She caught me hugging
girls and bro hugging guys that I know and
she yells out “Dude!” What the hell Danny! You
know everyone. That’s like the 9th person you
just hugged in the last few minutes.” Like I said,
I take the time to say hi to everyone i know. It
makes me happy to the smiles on their faces like
a forty-niner finding a good piece of gold in the
mines.
My schedule is usually open during the
weekdays. Weekends however is a whole different
world. Southern California is known to be the
center hub for events, conventions and festivals
happening at every weekend. Aside from that, i
get invited to meet-up and random get togethers.
I usually create a calendar that helps me plan
out my weekends and i also rely on the facebook
event page. About 80% of the time i am on
facebook double checking on event pages since i
have so many things on my plate. I volunteer at
church as a head PC tech and as a youth leader
for a ministry called God’s Army. For some
events i do rely on the support of my crew to go
in my place since the events i get invited is usually
on a first come first serve bases. I do try my
best to make it at every events that i can. When I
do go to an event that is being run by the person
i know, I make it a habit to find them, shake their
hand and tell them “What a great show! Keep it
up!” Just a few worlds of gratitude is what fuels
a producer to keep going. Sometimes constructive
criticism is need but only at the right place
and at the right time.
Would it be easy for me to clone
myself? Of course not. Have you seen the movie
“Multiplicity”? On a serious note though, the
life of a producer maker and an event supporter
enthusiast works as a double edge sword. Great
side is meeting very talented people and networking
with new people that share the same
ambition and spirit. The downside of that is that
it take a small toll when it comes with finance,
health and alone time. A lot of hours driving to
different areas can cause a lot of wear and tear
on your only source of transportation. Its really
hard on me since i live in Anaheim and commuting
to Los Angeles is a bit far. People are
tell me to move to LA already. Is in the works,
it’s just a matter of time. Health wise is really
important. Eating out a lot and not taking in the
right amount of nurturance can make your body
a bit sluggish. Bad eating habits can affect you
as a performer and won’t allow you to perform
at your best. I have had bad comedy sets when
i don’t eat right and i have seen it in my videos.
Being able to regroup alone is also important
so you as a producer stay true to what you want
to do and not to be mislead by others. Need to
seek your inner desires and clear your mind
for your end goal. Another tip that has helped
me allot is seeking spiritual help from the
Lord. As i mentioned earlier, I did grow up in
a Christian household and I thank God for the
strength and willpower to do what i can and
keep my conscious clear to help others. I really
rely on him since i manage what i do on the
weekends and on top of my 40 hr work week. I
guess one of the minor obstacles that i have not
yet overcome is love. It would be nice to have
someone to aid me like my board (Eugene and
Stefanie). God will provide the right one in the
near future. While I’m still in the present, got to
work toward the future.
49
TRISKELEPRESS.COM • FEBRUARY 2016

Azure Lorica
Sucess Stories
Founded January 26, 2010
North Hollywood | May 6, 2010
Theatrical World Premiere of
Journey Seekers: A Steampunk Adventure,
by Eugene Cordell and Stefanie Warner
North Hollywood | Aug. 14, 2012
World Premiere of Press Program, covering
Feel Good Film Festival
Pasadena | Sep. 25, 2012
Theatrical Local Premiere of
Captain Clay, by Lauren Bauer
Downtown Los Angeles | Jun. 4, 2013
Exposition World Premiere of
Ninja-Con, by Danny Gonzales
Downtown Los Angeles | Jun. 5, 2014
Exposition Returning Premiere of
Ninja-Con, by Danny Gonzales
Glendale | Oct. 19, 2014
Online World Premiere of
Triskele Press, by Eugene Cordell
Pasadena | Dec. 9, 2011
Theatrical World Premiere of
Fate Pendulum: Project Italy,
by Eugene Cordell and Stefanie Warner
North Hollywood | Apr. 6, 2012
Theatrical World Premiere of
Captain Clay, by Lauren Bauer
Feb. 20, 2013 | Downtown Los Angeles
First Fiscal Sponsored Production:
Big Laughs In Little Tokyo, by Danny Gonzales
Nov. 16, 2013 | Long Beach
Exposition Local Premiere of
Ninja-Con: Skullgirls FanExpo,
by Danny Gonzales
September 5, 2014 | Long Beach
Theatrical Local Premiere of
Fate Pendulum: Project Italy,
by Eugene Cordell and Stefanie Warner
August 5, 2015 | Long Beach
Online World Premiere of
Nocturnal Notes Radioplay,
by Stefanie Warner
Downtown Los Angeles | Jun. 6, 2015
Exposition Returning Premiere of
Ninja-Con, by Danny Gonzales
Today, February 2016
TRISKELEPRESS.COM • FEBRUARY 2016
50

Art by Nina Reyes
Submissions Now Open. Send Your Fanscripts and Fanfilms to fanfilmawards.com!
TRISKELEPRESS.COM • FEBRUARY 2016