Barney lives with his father, Walter, in a littler suburban house. He tries to live a normal life eventhough Barney is different: His sense of gravity is inverted.
Archive for June, 2012
Posted by You+Dallas | June 26th, 2012 at 5:42 pm
The website, Short of the Week, presents The External World, a fine short film reviewed by Andrew Allen. His review is presented below in its entirety. Please go to shortoftheweek to view more of their work.
“It’s rare for us to mention a filmmaker twice on our site, but even more rare for us to twice crown one’s work as Short of the Week. In fact, I’m sure we’ve never done it. We tend to be drawn toward the new and exciting, a feat most short filmmakers are lucky to pull off once. But all of that ends today with David OReilly’s opus, The External World. His previous short, Please Say Something, is one of our Top 10 Short Films of 2010, so after The External World found success at the Venice Film Festival, Ottawa Int’l Film Festival, and Sundance, David keenly posted the film online.
I referred to the film as an opus, and perhaps I can explain why the analog is suitable.The External World is both grand in scale—17 minutes long—and, much like a musical opus, is composed of a set of separate compositions that run together. Each composition represents a new setting and new characters in a funny yet often bleak set of circumstances. (not unlike Don Hertzfeldt). In one scene, a box of tissue screams each time a crying girl yanks a tissue from its box. In another, a patient stays at a “Nothing Is Wrong” hospital. These aren’t so much as stories as they are a glimpse into David’s unbounded imagination—a darkly comedic world where irony is called out in titles. But unlike Hertzfeldt, David has managed to hit a deeper emotional chord with his twisted comedy—one that hints at an underlying darkness in our world.
Posted by You+Dallas | June 25th, 2012 at 5:08 pm
The excerpts below taken from the review of award winning short film on the Sundance Channel.
EXTRANJERO, shot over just two days, gives the viewer a unique and unusual take on immigration as it follows a refugee trying to run from his past as well as the confusion in his own mind. Lumb, 32, from north London, and Campbell, 31, also from north London, met as flat mates six years ago and submitted the short film after friends encouraged them to.
Launched in November 2011, the Short Film Competition, a collaborative effort with the Royal Borough of Greenwich and Ravensbourne, invited UK-based filmmakers to enter original pieces between three and five minutes in length around the theme ‘Story of Our Time.’ In addition to EXTRANJERO, finalists for the competition were: BONSAI, by Ben Williams; TWO DOORS DOWN, by Scott Ward; THE STORY OF OUR TIME, by Sam Gould; and THIS FILM WAS SHOT ON DIGITAL, by Ian Waldron Mantgani.
Lumb said: “EXTRANJERO is quite an experimental film. We wanted to comment on people you don’t really know about, and EXTRANJERO was the result. Winning the competition is a dream for both us. As film geeks it’s amazing to be associated with Sundance.”
Trevor Groth, Director of Programming for the Sundance Film Festival, said: “The jury was struck by the high level of craft and ingenuity in the submissions. Filmmakers embraced the theme ‘Story of Our Time’ and created wonderfully diverse and entertaining films. Ultimately the jury selected EXTRANJERO for its commanding cinematic storytelling and arresting visuals that offer an alternate perspective on an imperative global issue.”
Chris Roberts, Leader of Greenwich Council added: “We are delighted to support Sundance London, and this competition will help showcase our local filmmakers to the world. The Royal Borough of Greenwich has a wealth of locations that includes everything from industrial warehouses, the largest expanse of parkland in London, historic buildings and a wealth of riverfront locations. The rich diversity of locations makes Royal Greenwich an ideal backdrop to film and have attracted productions as diverse as CHILDREN OF MEN and PIRATES OF THE CARIBBEAN.”
Posted by You+Dallas | June 23rd, 2012 at 5:00 pm
DIRECTORS NOTES by Mischa Rozema and sourced directly from Vimeo.
This project started out as a collaboration between myself and Si Scott. Right from the start, we decided that it should be the darkest thing we could make. I think it just felt natural to the both of us; if we had to nail the future, it would not be a nice place.
This idea evolved into a clash of times. Inspired by an idea from the late Arthur C. Clarke. He wrote about different historical civilizations meeting in a single point in time. So what happens when civilizations meet? The ‘weaker’ one gets eaten by the ‘stronger’. You only have to look at history to see the destructive power of civilizations.
So the main underlying idea is: what would happen if the future lands on our doorstep today? Let’s take mankind, add perhaps 100 years and then let them show up on our doorstep today. The future would pretty much devour the present. Probably in a matter of, let’s say, 7 days… So that’s what we’re looking at. But every ending also means a new beginning, hence Year Zero.
Posted by You+Dallas | June 20th, 2012 at 5:35 pm
Genevieve Okupniak works as the department chair for Digital Filmmaking at the Art Institute of New York City. Her belief is that shorts are the foundation for long form storytelling. Genevieve wrote the review for Short of the Week that is presented below, and we thought this excellent review and the short film would be worth presenting. The film was adapted from a theatrical monologue presented here. View this film first and then read Genevieve’s review, and then view Bat Eyes.
“Short films often follow the structure of a poem or joke. Both forms of writing are entertaining in their own right and are easily adaptable for the smaller confines of shorts. Director Damion Power has transformed an original monologue, written by Jessica Bellamy, into an innocent story about a man who discovers the beauty of the W.B Yeats’ poem, When You Are Old. Bat Eyes is a visual metaphor to accompany the structure and elegance of the protagonist’s cherished poem.
The film begins with Adam, a 24 year old man, receiving his first eye exam. During the exam, Adam has a series of flashbacks about a girl named Jenny reading When You Are Old in high school. Adam taunts Jenny because she is practically blind. Jenny stands in front of her english class, exposing her love for this poem. Adam’s ignorance uses the opportunity to taunt Jenny’s feelings. After school, Jenny guides Adam back to her home. Adam and Jenny then share a moment of innocent affection for each other. Several years later, 24 year old Adam is able to reflect and appreciate Jenny’s adoration.
Eyesight is used throughout the narrative. The eye exam provokes Adam to reflect on his past. Thick glasses lead Adam to make comments. Jenny’s lack of vision allows her to appreciate pleasures that are not seen. Yeats poem illustrates a man who looking back on his life. Blindness is the metaphor for the main character’s maturity from youth to adulthood.
Bat Eyes could be understood as an illustration of Yeats poem. The literal embodiment for the memory of youth. It could also be read as a poetic moment of reflection on innocent love in adolescence. The poem is just a support. The film can also be appreciated as an interesting backstory for a man going blind. The audience is looking into a moment in his timeline where he begins to accept his condition and see the beauty in it. Success here lies in the film’s ability to create a sense of emotion using universal concepts of time and love. Poetry integrates with character. Characters form a story that melts cynicism in the hardest of hearts.
The process in which Bat Eyes was produced is worth noting. Bellamy created a monologue, Little Love, for Fresh Ink’s Voices Project. Fresh Ink is the development program for emerging playwrights from the Australian Theatre for Young People (ATYP). ATYP has an annual monologue writing program, The Voices Project, presenting new work from young writers on stage and online. The monologue was re-written to be produced as this short; a surprisingly lovely, and yes, poetic look at nostalgia, innocence and regret. A moving ode to youth, from the youths of the ATYP.”
Posted by You+Dallas | June 18th, 2012 at 5:31 pm
From Vimeo, ”Ilona is a nine-year-old girl who lives in the wilderness with her mother and father. Food is running low, and when a mysterious fox starts killing their livestock, she has no choice but to track down the strange creature in order to ensure the survival of her family. Awards and Nominations: • Student Academy Awards (Nominee Animation) • Annie Awards (Nominee Best Short Subject) • ASIFA-East Awards (Excellence in Design) • College Television Awards (2nd Place Animation, Geena Davis Award for Focus on Gender Equality) • Palm Springs International ShortFest (Official Selection) http://www.girlandthefox.com”
Ivan Kander from www.shortoftheweek.com wrote an excellent review of The Girl and the Fox”. He said, “One of the many reasons I love animation as a medium is its universality. There’s something about the art of motion through pictures that compels creators to tell stories solely with visuals, absent of dialogue or other cultural limitations. Play. Watch. Enjoy. Language not required. Sure, there are a multitude of exceptions, but for many animators—especially those behind short films—the medium becomes a celebration of speaking with one’s pictures. Story through action, emotion through motion. So is the case with Base14’s The Girl and the Fox, a lyrical, dialogue-free fairy tale that is as easily accessible as it is deep.
At its core, the film is about survival. When a mysterious fox starts killing her family’s livestock, a young girl sets out to track and kill the nefarious creature. What results is a series of encounters that turns the very notion of survival on its head—an examination of how one’s enemy can quickly become one’s savior. This is visual storytelling at it’s finest—a powerful and symbolic journey without a single word uttered. The film’s painterly style is a stunning, glorious patchwork of textured brushstrokes. Each background matte would be a worthy addition to a great picture book, a technique that evokes David Hellman’s environment work from the hit video game, Braid. The characters are depicted in a deceptively simple contourless style, featuring organic shapes absent of harsh lines. This creates an interesting contrast between the smooth shapes and the austere wilderness that the characters inhabit.
Director Tyler J. Kupferer’s workflow was quite unique. He pre-visualized character movements with 3D programs and then used the resulting renders as reference to accurately reproduce the motion using hand drawn techniques. The final output was then put together in a compositing program. The result is effortlessly unique—a film with an obvious 2D aesthetic but with an underlying computer generated feel. Like the character design, the animation is equally fluid. The very way the fox moves is magical—each motion elegant and purposeful, spry but not skittish. A great amount of emotion is conveyed through close-ups of the characters’ faces—quite an achievement considering they are rendered with only simple, organic shapes defined by subtle dimensional shading.
The film has been deservedly recognized on the festival and awards circuit, officially selected for a multitude of fests and even nominated for a Student Academy Award. I’m hoping that the film’s success gives Kupferer, a recent graduate from the Savannah College of Art and Design and now living and working in LA, the chance to keep telling and spinning gorgeous, compelling tales with images. His talents are on display next in another SCAD project titled, Rain Dance, this time in a producing role. The film retains much of the creative talent from this film, and will be one we keep our eyes peeled for!”
Posted by You+Dallas | June 16th, 2012 at 8:56 am
Great visuals and worthy of the time. This excerpt was taken from Vimeo.
“Engines are on, the machinery starts. Join us as we twist and turn to contemplate reality through a different glass.
The Opening Titles for OFFF Pescara & Webfest 2012 were created in a true Physalia spirit, striving to find new ways to move a camera in reality with a control only possible in CG. This time around, we created our biggest rig ever- a multi-sized orbital crane half human-powered, half computer controlled. The different sizes of our rig allowed us to engage in a multi-dimensional trip- from the macro shots taken inside the Lightbox, to the highest flights in the woods.
The Titles were shot in stopmotion with an infrared camera hacked by ourselves- more than 10.000 raw infrared images compose them. The final film has no CG imagery and was shot entirely in stop motion.”
Music: Fernando Dominguez
Special thanks to: Alex Farriol, Alex Trochut, Jacinto Barquin, Javo, Marc Ambros & all of Pamplona 89.
Posted by You+Dallas | June 14th, 2012 at 2:52 pm
We do not normally showcase thrillers, opting more for romantic works. We depart from our usual practice to present Slash-In-The-Box, a fine short horror film by Nick Everhart. His work is intelligent, brilliantly shot, with a well-selected music score. Most importantly, we learned that Nick Everhart shot this film in one day completed post production in a week and spent a total of $2000. Remarkable.
The following excerpts come from various reviews, most notably horror news.net.
“An attractive couple purchases an antique Jack-in-the-Box, they didn’t expect “it” to have a purpose. Sometimes old things are better left unfound, as in this case, this “particular” toy appears to be a threshold into evil.
The toy sits quietly on the kitchen table where it was left, while in the darkness things begin to change. A few curious noises, a toy that can wind itself, and a slice of supernatural events to bring it all home. As the husband is awoken to the sounds of thumping, a near miss accident pulls the viewers ever closer that things are just not right.
He approaches the old box that sits solemnly in the kitchen…that is until his attention is overtaken by the box’s true intentions.
Soon after, the wife awakes to investigate. Suspense is again heightened by the usage of clever horror staples that are brought into this short time span. She didn’t expect what she finds.”
Here’s what people are saying about Slash-In-The-Box:
“4 1/2 Stars. ” -Film Threat
“Slash-in-the-box is everything you expect only better.” -Creepercast.com
“A great and sharp horror film…” – Cinema-Crazed.com
“A tremendous piece of work.” -Blind Mouse Entertainment
“Extremely clever and really makes every minute count. [Slash-In-The-Box] deserves some major attention.” -MediaMikes.com
“Very badass, interesting, evil, cool, and fun.” -Gruesome Hertzogg (horror podcast)
“Horror Short Pick of the Week” -TrobysTalesofTerror.com
“In addition to the incredible cinematography, camera movement, and the lighting, this one also gives you one hell of a trick!” -ScariestMoviesOnline.com
“It contains everything a horror movie needs…” -MortalGore.com
“Very slick and very clever, this neat little jumper is oodling with festival potential.” -This Horror Is Your Face Blog
“As a horror fan, you should not miss this…” -ElGore.com
“It’s almost like writer/director Nick Everhart is slamming his fist down on the table with a smirk here to prove he knows how to construct a classic slasher with an absurd killer.” -FilmSchoolRejects.com
Official Selection – 2012 AMC Theatres Kansas City FilmFest
Official Selection – Chicago’s 2012 Indie Horror Film Festival
Official Selection – 2012 Tri-Cities International Fantastic Film Festival
Nominated for Best Editing – 2011 London Super Shorts International Film Festival
Finalist (selected by Eli Roth) – 2011 Universal Studios Halloween Horror Nights Short Film Contest
Starring – Elizabeth Masucci and Tyler Hollinger
Produced by Nick Everhart, Laura J. Hill, Leigh Scott, Eliza Swenson
Production Coordinator – Travis Somerville
Wardrobe – Regina Amato
Makeup – Krystal Phillips
Director of Photography – Leigh Scott
1st Assistant Camera – Josh Therriault
Gaffer – Ross Neugeboren
Key Grip – Bob Blankemeier
Production Assistant – Catherine Chiocchi
Set Photographer – Drew Amato
Visual Effects and Poster Art by Laura J. Hill