Posted by Fetch
Thu, 20 Sep 2007 02:44:00 GMT
Featured on Crackle
To the great fans of Holly Malone. Just a few hours after posting on the new site, Crackle.com – we were chosen as the Spotlight show for the Sexy Channel. Crackle breaks down their programming through channels, and Holly falls into Sexy. Philip will be so proud.
The InBetweens of Holly Malone
Not only is Crackle different because the production value of their shows is much higher, but what’s exciting to us is their passion for filmmakers. Turns out they’ll finance future seasons of web based series. What’s better than that? With a bigger budget, we can ensure better adventures for Holly and her friends, so check them out, and keep watching The In-Betweens of Holly Malone!
Credits for the episode: Holly – Jessica Arinella, Dimitri – Matt Rashid, Directed by – Jeff Lycett, Written by Philip Kain
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Posted by Fetch
Tue, 06 Jun 2006 16:21:00 GMT
Visiting the South of France in May is the trip of a life time, but to be able to travel to the Cannes Film Festival with your own film is truly a wild ride. Matthew Tritt, Jessica Arinella, Matthew Rashid and I reunited on the French Riviera to celebrate the success of What are the Odds? We’ve been all over the country with the film, but the International success was worth the jet lag. Sadly Chris Borg and Justin Spitzer weren’t able to attend due to their schedules. (stay tuned for updates on Justin, as he’s busy writing the latest season of The Office in Los Angeles.)
All the films we saw, won’t make it to the United States for several months. It’s always a thrill to see something before anyone else has the opportunity. We saw Babel by Alejandro González Iñárritu, Marie-Antoinette by Sofia Coppola, Bug by William Friedkin, and Red Road produced by Lars Van Trier and directed by Andrea Arnold.
One of our favorites was the latest triumph from Pedro Almadovar - Volver. We predict that you’ll hear a lot about Penelope Cruz at Oscar time. It was a very moving film about mothers and daughters that made us laugh, cry and want more. I, for one, have never seen a male actor capture women with such accuracy.
Shortbus by John Cameron Mitchell was the unanimous favorite. Not only was it fantastic, but it’s a true tribute to the city of New York and made us all homesick. The film starts with an animated arial view of Manhattan and Brooklyn like What are the Odds? Was John Cameron Mitchell chanelling the folks at Asterisk when he settled on his titles?
I cannot leave our Cannes memories without mentioning the strangest most intense film I have ever seen. Hungarian director, György Pálfi, brought his sophmore effort, Taxadermia, to the festival. It involved a fire breathing penis, sex with animals, flesh eating cats, projectile vomitting and a man removing his organs while still alive. On top of all this excitement, the production design and cinematography were wonderful. I can’t say that I enjoyed it, but it was great seeing something that would never been produced in America. I truly hope this makes it state-side because if you aren’t squeemish, and have a desire to see some truly original filmmaking, be sure to check it out.
the two Matts leaving Taxadermia
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Posted by Fetch
Sat, 03 Jun 2006 01:05:00 GMT
Cannes is the granddaddy of all film festivals, and it’s easy to get caught up in the excitement of everything. People long to fall under the alluring promise of walking the red-carpet. What they don’t tell you is how insane people become in order to obtain a ticket to a premiere at the Palais. The crowds start to collect outside the theater hours before the screening in order to glimpse a star. In French tradition, they push without any sense of order and expect you to move or be bull-dozed. If you do gain admittance, seeing a film in the Lumiere Theater is an amazing experience. The plush velvet seat cushions are the most comfortable seats in movie theater history, and the kind folks at the festival translate the film into multiple languages for worldwide viewing pleasure. Since these films will most likely get distribution in the United States, getting trampled just to enter this famous theater isn’t for the weary. It’s a little overwhelming, but it’s Cannes.
One of the more exciting opportunities of The Cannes Film Festival is stumbling into a screening without any prior knowledge of what you are about to see. With our badges, we were allowed access to all screenings outside of the Lumiere Theater. We were able to see all of the films entered in Un Certain Regard and the Directors’ Fortnight (Quinzaine des Réalisateurs).
Certain Regard has become the largest category of the festival, and it screens films that are innovative in one way or another; films are entered by first time filmmakers, or seasoned filmmakers taking risks in their careers. Think Richard Linklater’s A Skanner Darkly, Rodrigo Garcia’s Things You Can Tell Just By Looking At Her, or Pedro Almodóvar’s All About My Mother. Directors’ Fortnight, created by the French Director’s Guild in 1969, is another division of the festival. The included films highlight new directors in world cinema and directors who are still little-known in the West or in international festivals. In 1999, Sofia Coppola premiered her first film The Virgin Suicides at Directors’ Fortnight. This years highlights included: Jean Claude Brisseau’s The Exterminating Angels, M. Blash’s Lying, Ray Lawrence’s Jindabyne and William Friedken’s Bug. How William Friedkin was included in this category is still a mystery to me.
We were able to see some pretty amazing films months before their US release. And the best part - we breezed past the lines.
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Posted by Fetch
Tue, 30 May 2006 16:46:00 GMT
Arriving at the Cannes Film Festival induces sensory overload. There are people everywhere and they all have a mission: to meet as many people as possible and to see the hottest thing.
This time around attending the festival was very different for me. The first time I went to Cannes was in 1999, and I worked as an intern with the American Pavilion. If you’ve never heard of The American Pavilion, you can think of it like the Olympic Village. It’s a place to check your email, eat american food and converse in english. It’s a small taste of home. In 1999, I was a receptionist, and I was able to get a first hand look at the workings of the festival. It allowed the magnitude of the fest to come down to size, and I decided that I would return to Cannes with a film of my own.
This year I had the opportunity to attend with our film What are the Odds? We were selected to be part of the Short Film Corner, a sidebar at the festival. Started in 2004, The Short Film Corner is a continuous showing of the best that international short films have to offer. You log into a computer and you are allowed to watch which ever short you would like to see throughout the entire day. As we found upon our arrival, people can sit at these stations for hours on end. Some days we had to wait interminably to gain access. We got great feedback on our film. As usual, it stood out against the other dark and intense shorts. Seems that most people making shorts these days like to include sex, violence and drug use.
One of the best parts of the festival was being able to attend with my director, Matthew Tritt. Due to his schedule, he wasn’t able to attend the pervious festivals that have screened What are the Odds? I guess if you’re going to attend any one film festival, Cannes is the one to experience.
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Posted by Fetch
Tue, 20 Dec 2005 18:59:00 GMT
There’s all this buzz about the full-length film you are developing with On the Leesh, can you give me a sneak peek as to what its about?
It’s a quirky love-story about a geography teacher who’s never been
anywhere, and the book he’s writing about the town where he lives. It’s the
story of a man breaking free of the past and finally moving towards his
future. It’s about coming to terms with who you are, and where you are. And
it’s funny.
How did this idea come about, was there a eureka moment?
Alicia, Jess and I were discussing locations and I had an image of a man
being left alone in the middle of the desert. It made me think: what happens
at the moment when you have to face who you really are?
What is your writing process like (do you write every day, at a desk, in cafes)?
I write pretty much every day. I usually write at home at my desk, because I
get easily distracted in public places.
How did you first hook up with On the Leesh? Was it when you wrote Greed for Sin?
Yes. I had been referred to On The Leesh by a mutual friend, and they
happened to be starting the “Sin” project. Good timing.
As the writer, what do you envision as the best possible outcome of
this full-lengh film project?
Hopefully we will make a funny, intelligent and moving film that everyone
will love and then we’ll get to make more and more!
http://ontheleesh.com/img/blog/daria.jpg
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