John Stimpson, writer, producer, director, editor and more seen everywhere now.
We just never know what subject or story John Stimpson will be taking up next. He crosses genres from the dark to the light with engaging stories that he makes right here in Massachusetts. Currently he is one of our most prolific filmmakers pushing out movies about once a year. Movies that get picked up and that get seen.
GHOST LIGHT, John Stimpson’s haunted comedy about a misfit Shakespearean troupe who unleashes the notorious curse of Macbeth, premiered at the LA Film Festival September 22nd. The film is repped by CAA and the filmmakers have high hopes for a good sale coming out of the premiere.
Written and produced by Stimpson and veteran producer, Geoffrey Taylor under the Worcester based H9 Films shingle, the film was shot last fall in Groton and Concord. “It’s a Massachusetts film through and through,” said Stimpson. The story takes place in the Berkshires, and had a crew entirely based out of New England. Key collaborators included Director of Photography Terrence
Hayes, Production Designer Chad Detwiller, Costume Designer Joanna Murphy, UPM Luke Ramsey and composer Ed Grenga.
The film stars Roger Bart (THE PRODUCERS, A SERIES OF UNFORTUNATE EVENTS), Tom Riley (Da Vinci’s Demons, Dark Heart), Shannyn Sossamon (SLEEPY HOLLOW, A KNIGHT’S TALE), Danielle Campbell (THE
ORIGINALS, FAMOUS IN LOVE), Scott Adsit (30 Rock, BIG HERO 6), Carol Kan (UNBREAKABLE KIMMY SCHMIDT, TAXI), and Cary Elwes (THE PRINCESS BRIDE, ROBIN HOOD MEN IN TIGHTS). GHOST LIGHT is the first film Elwes and Carol Kane have appeared in together since THE PRINCESS BRIDE.
The film also stars several local actors including, Caroline Portu, Alex Portenko, Liliane Klein, Zele Avradopoulos, Ken Cheeseman, Maureen Keiller and Mary Callanan. Julie Arvedon Knowlton of Slate Casting handled the local casting.
GHOST LIGHT centers around the crazy superstitions of the theatre,” said Stimpson. When a disgruntled understudy (Tom Riley) throws caution to the wind and deliberately utters the forbidden name of the “Scottish Play” on stage the curse of the Bard’s witches begins to reveal itself and the production falls further and further into chaos. “We may have been tempting fate ourselves,” Stimpson explains. “Carol Kane was very concerned that we were in fact saying the name of the play repeatedly during our shooting. I convinced her that our set was actually a converted barn and not a theatre which made us immune to the curse.” Kane plays, Madeline Styne the troupe’s Grande Dame. “She is an absolute treasure and a comic genius. What a joy she was to work with,” commented Stimpson.
Roger Bart and Stimpson go way back. They sang in a bar on Martha’s Vineyard together when they were in college. Bart won a Tony award for his portrayal of Snoopy in “You’re a Good Man Charlie Brown” and is
also known for singing the role of Hercules in the 1997 Disney fi lm. “I reached out to Roger first. I thought he’d be wonderful in the role of Henry Asquith, the long suffering director of Shakespeare on Wheels,” said Stimpson. “I knew back in the 80’s at the Seafood Shanty in Edgartown that Roger had something special. It’s been so fun to follow his career from afar and now to finally have the chance to work together.”
Stimpson and co-writer and producer GeoffTaylor began the process of bringing GHOST LIGHT to the screen over two years ago. Talking about projects at a Red Sox game, Stimpson pitched the idea for GHOST LIGHT to Taylor and the partnership was launched. Taylor who produced many projects with Paul Mazursky including DOWN AND OUT IN BEVERLY HILLS and MOSCOW ON THE HUDSON, moved back from Los Angeles to Concord, MA to raise his family in 2011.
Post production on the film was all done locally as well. Stimpson cut the film in his Worcester office, special effects (of which there are many) were done by Sandbox VFX in Pittsfield, Chris Anderson mixed at The Outpost at WGBH and Rob Bessette color timed the fi lm at Finish. “What a great
collaboration it was,” says Stimpson. “And a great example of a local project born and bred here in Massachusetts and made possible by the Mass Film Tax Credit.”
Congratulations to John and the GHOST LIGHT team (cast and crew) for the film’s acceptance at the LA Film Festival. And, just added before we go to press at the Woodstock Film Festivals where tickets are
Now we’ll be waiting to fi nd out what will John Stimpson, a valued and treasured Massachusetts filmmaker, be producing next.
Our cover story this month looks at how Dennis Serpone became an executive producer for the film SWEENEY KILLING SWEENEY and how that experience caused the film bug to bite. He discovered it took his whole life to discover what he does best. And that’s working with productions to raise money for them.
I hope you enjoy reading about his journey and how meeting certain people who served as stepping stones over a substantial period of time created this new opportunity. He discovered a lot of things about himself and he loved meeting the actors and comedians in SKS movie.
Now he is looking for more opportunities to exercise his new found skills. Our cover photo was captured by Carolyn Ross Photography in the picturesque lobby of The Charles Hotel in Harvard
Square. The cover design is by IMAGINE’s Design Editor Monique Walton.
Q&A with Matt Leslie, writer of the Sundance film, SUMMER OF 84
By Carl Hansen
Carl Hansen (CH): WHERE ARE YOU FROM ORIGINALLY AND HOW LONG HAVE YOU LIVED IN LOS ANGELES?
Matt Leslie (ML): I’m originally from Ipswich, MA, and I’ve lived in LA since 2004 (with the exception of a two year move to NYC). I actually came out west following a girl — my then Fiancée (now wife) got a job in LA so that was that.
CH: WHAT ATTRACTED YOU TO THE CRAFT OF WRITING AND WHAT KEEPS YOU WRITING?
ML: Back in middle school and high school, my teachers would always tell me I was a strong writer, but I didn’t take it seriously because I had no idea what I wanted to do with my life. In college, I got my BS in Communications with a focus in Advertising, which was a degree that was super broad and allowed me to use my writing ability in the future professionally. Somehow. But that “somehow” eluded me. Then, as I mentioned, I fortuitously wound up in LA and there was the movie business. Something that always seemed so far away and impossible to be a part of was suddenly a possibility. As a movie lover, I started reading every book on screenwriting craft I could find. Then I started writing scripts, and here we are…
As for what keeps me writing, there are two things:
1) I love writing movies. It’s a blast and I’ll do it ’til the day I die if I can. And…
2) My writing partner. His name is Stephen J. Smith and we hold each other accountable. Which is rarely necessary, but on the off chance I’m not feeling it (or vice versa), that ticking clock keeps us writing, pushing each other to be productive.
Steve’s a ridiculously prolific writer. While we were writing scripts years ago, little did I know he was also writing what would become a 500+ page novel called THE SABRAEL CONFESSION. Guy’s a G!
CH: WHAT MOVIES/TV SHOWS/CONTENT INSPIRE YOU? WHAT GENRES DO YOU PREFER WRITING?
ML: This is a tough question because what inspires me evolves constantly. I do have that list of classic flicks I grew up with that I love and could watch all day every day (e.g. THE GOONIES, THE BURBS, GROUNDHOG DAY, THE SHINING, THE THING, THE OMEN, and on and on and on…), but when it comes to new movies that inspire me, it’s all over the place. I haven’t been watching as much TV as I’d like because I’ve been writing so much, but a goal I have for 2018 is to make more time for it.
As for what I love writing, it’s less about genre and more about concept. If you tell me a logline and my mind explodes with plot and character, I’m in. That said, many high concept ideas come from the thriller/horror space and that’s the sandbox we’re playing in these days. We’ve had some success there, we’re having a blast and it’s creating momentum. Maybe one day down the line we’ll branch out and dabble in other genres, but for now, that’s where we are.
CH: HOW LONG HAVE YOU AND YOUR WRITING PARTNER, STEPHEN J. SMITH, BEEN WORKING TOGETHER, HOW DID YOU MEET, AND WHAT MAKES THE PARTNERSHIP SUCCESSFUL? HOW MANY SCRIPTS HAVE YOU WORKED ON TOGETHER?
ML: I met Steve at a tiny writers group in Silverlake about 10 years ago. We were the consistent members in a revolving door of writers and we grew to recognize each other as being more insightful, imaginative and dedicated than the others in the group. Then we wound up bumping into each other at a couple other writing events, like the Screenwriting Expo in LA (is that still a thing?) and the two year Writers Bootcamp program in Santa Monica.
Shortly after that, the 2008 WGA strike and economic collapse happened and the freelance copywriting gigs Steve had been working at the studios dried up. He had to move back to where he’s from in Wisconsin for a copywriting gig he landed at Kohl’s Department Stores’ corporate office. Oddly enough, that’s when we decided to try writing together…
Steve found this now-defunct screenwriting competition called “The Script-a-thon.” The idea was to write a feature length script in thirty days and see if your script wins the competition. Way we saw it, it put our feet to the fire so we had to produce something, plus we’d see if we work well together. Long story short, we wrote a high concept comedy script called ABANDON SHIP! And we won the grand prize. Granted, it was no Nichol Fellowship but there were over one thousand entries so we felt pretty emboldened. Plus, we had a blast. That was seven years ago now. Since then, we’ve written eight feature screenplays, one TV pilot and countless treatments/pitches.
If I had to pinpoint why we have a successful dynamic, I’d say it’s because we both have zero ego when it comes to ideas. The best idea always wins with us, regardless of who comes up with it.
CH: WHAT’S YOUR PROCESS FOR WRITING WITH A PARTNER? (IS ONE OF YOU IN FRONT OF THE KEYBOARD OR DO YOU TAKE TURNS WITH DRAFTS, ETC.?)
ML: Because Steve’s in Wisconsin and I’m in LA, we’ve become pros at collaborating remotely. We break screenplays into 12 sequences — Act 1 is 3 sequences, Act 2 is 6 and Act 3 is 3, each sequence running somewhere between 8 and 12 pages. So we’ll hop on marathon phone calls during the outlining process, nailing down every beat throughout all 12 sequences, because when you’re collaborating with someone, you have to have your roadmap fully fleshed out or when you each write your respective sequences, they won’t match up when you combine them. We use Google Docs to outline because it allows real-time collaboration. Then, once our 12-sequence outline is done (which is usually 20-30 pages long and often includes some dialogue), we’ll go off and write our assigned sequences. On the first pass, I always take the odd sequences and Steve takes the evens. Then, once we’re done writing the 6 sequences we’re each responsible for, we switch — I rewrite his sequences and he rewrites mine. At that point, it’s back to marathon calls, walking through the entire script, talking out problems, fine-tuning dialogue, narrative prose, etc.
Also, we use an awesome screenwriting app called Writer Duet, because unlike Final Draft it allows real-time collaboration like Google Docs, but in screenplay format. It’s a super robust program with everything you need from first draft all the way through production. We used it for all revisions on our film SUMMER OF ’84 and it worked flawlessly. Also, their customer service is unreal. The dude who created the app is the one who responds to you and he is on the ball. Couldn’t recommend it highly enough. And no I wasn’t paid for this plug 😉
CH: WHERE DID THE IDEA FOR “SUMMER OF ’84” COME FROM? ANY REAL WORLD STORIES OF NIGHTMARE (OR SERIAL KILLER) NEIGHBORS?
ML: I grew up on this sleepy, suburban dead-end street in Ipswich, MA and I had some…… “Interesting” neighbors for sure, though nothing and no one scary or dangerous. Just more weird and mysterious. I’d walk up the same street every day after the school bus dropped me off, and there were certain people who lived on the street I’d always see. But then there were certain people who I don’t think I ever saw and my mind would explode with theories about those people. Who were these people? What did they do with their lives that I never saw them? Were they in the CIA? Were they serial killers? Like I said, sleepy town. Ha.
That said, back in like 1986, there were a string of home robberies that occurred on our street that really sent a chill through the community. No joke, that was when people started locking their doors. Crazy to me there was a time people didn’t lock their doors, but I guess the ’80s marked the end of that era in the ‘burbs. At least, it did in my neighborhood…
The characters in SUMMER OF ’84 are really an amalgamation of various friends, neighbors and events Steve and I experienced growing up, but I suspect our experience is what most kids experience living in suburbia. It’s a little boring, a little provincial, but every once in a while, something insane happens that snaps you back to the reality that bad things can happen there too. That’s basically the idea SUMMER OF ’84 taps into.
CH: HOW LONG DID IT TAKE YOU TO WRITE AND HOW MANY DRAFTS DID IT GO THROUGH BEFORE IT WAS PUT INTO PRODUCTION?
ML: SUMMER OF ’84 took us like three months to write, from idea through finished draft. When Gunpowder & Sky (the studio that financed the film) came on board, we did one rewrite to tighten the script and heighten some of the moments in the first half of Act 2 so that the momentum didn’t lag. They were great notes that got us from a 112 page script with pretty good pacing to a 104 page script that flew. But that was it, one rewrite.
Once we were in pre-production and production, we had to continue to adjust certain things due to locations changing and certain elements not clearing legal. For example, we had a kid wearing an Atari shirt in the draft that was green lit, but during pre-production, Atari said we couldn’t use their logo so it had to change. At the time, we were pretty devastated, but Van Toffler, the founder and CEO of Gunpowder & Sky, was previously the MTV Chief, so he worked his magic and scored us the MTV logo. Talk about a baller move. Sick. Love that guy.
Another example, this time of a location change, was that we had a setpiece at a roller rink. Only thing is, there are no roller rinks still in operation in Vancouver, BC where we shot. So that sequence had to change to a bowling alley and necessarily had to be overhauled because of it. Stuff like that…
CH: WHAT WAS IT LIKE BEING A WRITER AND ALSO A PRODUCER ON THE PROJECT? WAS THERE EVER AN INSTANCE WHERE SOMETHING IN THE SCRIPT WASN’T ABLE TO BE DONE DUE TO PRODUCTION CONCERNS OR SOMETHING THAT HAD TO CHANGE FROM WHAT WAS INITIALLY WRITTEN?
Being a writer-producer was awesome. Because had I just been the writer, I wouldn’t have been on set. So often in Hollywood, when it comes to features, the screenwriter isn’t involved once that final draft is handed in. But I wanted that experience. In TV right now, writers are the gods of the worlds they create and are empowered by networks accordingly. And look, TV is having a Renaissance. Film could be having a similar boom if writers were more empowered, but I digress…
To get that producer credit, I had to earn it. After writing the script, I attached the directors, a trio called Roadkill Superstar (RKSS). Since they’re Canadian, I thought it’d be attractive to potential financiers if I also attached a production services company in Canada that could not only crew us up, but also help us take advantage of Canadian tax incentives. I found a great company called Brightlight Pictures in Vancouver and they hopped on board. At that point, we needed a financier. My manager Jeff Portnoy at Bellevue Entertainment got me a meeting with Cody Zwieg at Supergravity Films, and while Cody loved the package, they couldn’t finance us at the budget we were looking for, so it didn’t go anywhere at the time. A few months later, I bumped into Cody at an industry holiday mixer and he informed me that Supergravity was being acquired by Gunpowder & Sky, a company that could finance our film at the budget we wanted, and that he wanted to help me get it done. By May of 2016, we had a green light.
As one of two producers on set (the other being Jameson Parker at Brightlight Pictures), I learned a ton. Every day on set is a massive learning experience because filmmaking is basically highly organized chaos. You’re thrown into the fire and you just figure stuff out because you have to. Our budget was honestly the exact right amount for this film, but it was still really tight on all of our 23 days of shooting. There were many times we wanted to get a certain shot and couldn’t afford it, or wished we had just a few more hours in a location but couldn’t afford it. Thankfully we had an awesome cast and crew and a supportive studio in Gunpowder & Sky, so we were able to overcome everything thrown at us and make a film I’m extremely proud of.
CH: HOW CLOSE IS THE FINISHED FILM TO THE SCRIPT THAT WAS WRITTEN?
ML: It’s really almost exact. There are a few improvised lines from our actors, but all in all, what you read is what you see. Again, during pre-production and production, some things had to change due to location changes and constraints and clearance issues, but none of that hurt the DNA of the film. We’d occasionally have to change dialogue on the fly if we all felt something wasn’t landing, but again, it was rare. And our directors and their talented DP Jean Philippe Bernier, translated the script to the screen beautifully.
CH: WHERE WERE YOU WHEN YOU HEARD THAT “SUMMER OF ’84” WAS ACCEPTED INTO SUNDANCE (I ASSUME IT WAS ON NOVEMBER 29TH)? WHAT WAS THAT MOMENT LIKE FOR YOU?
ML: Yup, November 29th. I was on my couch writing emails when I got an email from Cody Zwieg at Gunpowder & Sky. At first, because it wasn’t a phone call, when I saw the subject line “Sundance,” my heart sank and I assumed it was a rejection email. Nope… Turns out Cody just couldn’t call so he forwarded the email as soon as he could so we’d all see that we got in. Crazy. Still doesn’t feel real. The film premiered at the Library Theater in Park City at midnight on January 22, 2018 to a packed house. It was a surreal moment that I’ll never forget.
CH: WHAT’S NEXT?
ML: We have a feature script called THE HARROWING at a company called Cinelou (THE COMEDIAN, MR. CHURCH, and CAKE). It’s a supernatural thriller in the vein of ROSEMARY’S BABY but with a big plot twist at the end that’s gonna seriously shock audiences. In a good way. Can’t wait for that one to be on the big screen. Fingers crossed that gets green lit in 2018/19.
Beyond that, Steve and I have a lot of irons on the fire. We’re currently out with a TV pilot we’re hoping finds a home, and we have a feature that we’re gonna be writing on spec starting soon. We’re also attached to write a sci-fi-suspense digital series for Skybound (THE WALKING DEAD) that’s an offshoot of a really awesome videogame called OXENFREE (if you’re a gamer and you haven’t played it yet, you should). Plus we’re up for a number of other projects that we hope to come aboard. Again, fingers crossed… which is something I find myself saying alot these days.
CH: LOOKING BACK, WHAT ADVICE WOULD YOU GIVE YOURSELF AT THE OUTSET OF YOUR WRITING CAREER/WHAT ADVICE WOULD YOU GIVE TO A WRITER STARTING OUT?
ML: My biggest advice to writers is get into the entertainment industry. Be a PA on a movie set, be an assistant to a director or a producer (which is what I did — I worked for two producers as an assistant and then as a development exec and it opened lots of doors for me) and meet people in the business. Like everything in life, it’s all about who you know. There’s no place that’s MORE true than in Hollywood.
If I didn’t work in the business, I wouldn’t have met the directors of SUMMER OF ’84, which means that film wouldn’t have been made. Period. Because they were a big piece of the package that excited Gunpowder & Sky. These days, you usually need more than just a script, and I don’t know how you can manage that without relationships in the business.
For my first few years writing, having never been in the business at that point, I naively thought I’d write a script that wins a screenwriting competition, get representation that way, and be on the path to raking in serious dough as a screenwriter. Yeah, no. The odds of those stars aligning are beyond small. You’ve gotta get out here and MAKE it happen. Otherwise, I don’t care how talented you are, the odds are way stacked against you.
It’s a harsh reality to face when you live elsewhere while working a day job to get by and this is your dream. But it’s the truth.
CH: WHAT WAS THE RECEPTION OF THE FILM LIKE AT SUNDANCE AND SINCE? WHAT WAS THE EXPERIENCE LIKE OF HAVING A FILM IN THE FESTIVAL?
The film was warmly received at Sundance, which was really awesome for Steve and me. Everyone who works at Sundance, from the Programmers all the way down the line, were amazing, helpful, encouraging, and really just everything you could hope for.
There weren’t many film sales right out of the gate at this year’s Sundance, and we were no exception. Netflix and Amazon not buying left a pretty big void, but Gunpowder & Sky believed in our film, so they’re distributing the film themselves. We feel super fortunate to have them as partners in this process.
At the end of the day, all you want is for people to enjoy your movie and have fun for two hours, and it seems like we’re succeeding in that regard. Audience reaction on Twitter, etc. has been almost exclusively positive, which is really heartening.
CH: WHEN DOES “SUMMER OF ’84” COME OUT AND HOW CAN WE SEE IT?
The film comes out in select theaters on August 10th, and then it’ll be on VOD on August 24th. I have to say, it’s been pretty awesome to see the countless messages on Twitter, Facebook and Instagram from fans asking when they’ll finally be able to see it. The wait is almost over, and we cannot wait for the world to finally see SUMMER OF 84.
Beverly native Carl Hansen has written for IMAGINE since its inception. He is our reporter at large and he is an award-winning filmmaker and Emmy-winning producer who has been involved in various capacities with many successful unscripted and variety series. He won a Sports Emmy award for his involvement in “100,000 Cameras: Ohio State at Michigan” (Fox Sports) and was previously nominated for “89 Blocks” (FOX Sports). As a Co-Executive Producer he was nominated for a Primetime Emmy for “Shark Tank” (ABC). He was Supervising Producer on the critically-lauded and award-winning docu-series “Boston Med” (ABC News) where he was instrumental in coverage of the 2nd partial-face transplant in the U.S. and which led to many people signing up as organ donors for the first time. He is currently the director of production for Fox Sports Films. His credits are too numerous to mention.
Originally from Beverly, Massachusetts, Carl is a graduate of Beverly High School and Ithaca College. He currently resides in Los Angeles with his wife and son.
The rapture of the crowds who will be streaming into film festivals all over New England is captured in this superb photo of a sea of faces loving what they are seeing. Our cover shot is of a Nantucket Film Festival event at the ever famous ‘Sconset Casino on the westerly side of the Nantucket Island.
Our cover is meant to inspire and to remind you that you need to plan well as this is a big year for fi lm festivals in New England. New England has a summer of them, many of them previewed in this edition. I hope you enjoy our previews and hot picks. Each festival has a unique personality and special character. For a diff erent perspective, try out volunteering to work at a festival. Every festival needs genuinely interested volunteers.
Festivals work year around looking for the fi lms that will be just right for their character, finding those films that you may otherwise not have a chance to see. Often a festival will give you an opportunity to see films before they are released and that can be exciting. Many of New England’s film festivals have special guests you will want to meet and mingle with. Read about them here.
All our festivals are a good place to do just that.
So it’s time, badges are being picked up. Lights will be dimmed as cinematic stories of every genre unspool to delight all of us.
Our cover photo is courtesy of the Nantucket Film Festival. Our Cover Design is by IMAGINE Design Editor Monique Walton.
The Award-Winning LIYANA Opens #RoxFilm20 on Thursday, June 21 -Executive-produced by Thandie Newton
(HBO’s Westworld, MISSION IMPOSSIBLE II, and Crash)
A Boy. A Girl. A Dream: Love on Election Night Closes #RoxFilm20 on Sunday, June 30 at Fenway – The romantic drama premiered in the NEXT category at the 2018 Sundance Film Festival
The critically acclaimed film LIYANA, that’s part animated fable, part observational documentary, officially kicked off the 20th anniversary of the Roxbury International Film Festival on Thursday, June 21 at 7:00pm at the Museum of Fine Arts in Boston. Sakheni Dlamini, the film’s producer and
a graduate of Simmons College, was in attendance for a post-screening Q&A.
Directed and produced by husband-and wife team, Aaron and Amanda Kopp, LIYANA tells the story of how five orphaned Swazi children turn their past trauma into creative fuel for an original collective
fairytale, in which they send a young girl on a dangerous quest to save the day. The film is beautifully illustrated by Nigerian born art director Shofela Coker, teacher and co-founder of Coker Co-op, a collective that creates comics, sculptures, and digital media, and was awarded the Grand Jury Award for Best Documentary at the LA Film Festival and the Jury Award for Artistic Bravery at the Durban International Film Festival in South Africa.
A BOY. A GIRL. A DREAM: LOVE ON ELECTION NIGHT closes out RoxFilm on Sunday, June 30 at 6:30 p.m. at State Street Pavilion at Fenway. The contemporary love story stars Omari Hardwick (Power on
Starz) and Meagan Good (Think Like a Man, Star, Code Black) who meet on the night of the 2016 presidential election, fall in love, and challenge one another to pursue their broken dreams. Directed by Qasim Basir, the film also stars Jay Ellis from HBO’s Insecure and was executive produced by Good and Hardwick. Tickets can be purchased at https://m.bpt.me/event/3482771
Featured at this year’s RoxFilm is LOVE JACKED, a sophisticated small town romantic comedy centered around Maya, a headstrong 28-year-old with artistic ambitions and her father Ed, who wants a dutiful daughter to run the family store. Ed is shocked when Maya, asserting her independence, decides to travel to Africa for inspiration and returns with a fiancé who is not quite what he seems. The film stars Amber Stevens-West, Shamier Anderson, Keith David, Mike Epps, Demetrius Grosse, Lyriq Bent, Marla Gibbs, Angela Gibbs, and Nicole Lyn and is directed by Alfons Adetuyi.
The Roxbury International Film Festival (June 20-30) is a competitive festival that awards certificates in the categories of Audience Favorite, Narrative Film, Documentary Film, Narrative Short, Documentary Short, Youth, Emerging Filmmaker, with a special award named after award-winning filmmaker Henry Hampton.
On Wednesday, June 20, RoxFilm and the Museum of Fine Arts presented a free “sunset cinema” screening of BLACK PANTHER in celebration of Juneteenth. The screening was held at 8:30 p.m., on the Huntington Avenue lawn (weather permitting), with live music, lawn games, and art-making activities beginning at 7:00 p.m.
For aspiring filmmakers and producers, the festival is hosting the free event, “From Martin to MIT: A Conversation with Topper Carew” on Sunday, June 24 (Location/Time: TBA).
The intimate film gathering Dinner and a Movie returned on Monday, June 25 at the Haley House Bakery Café with Reelblack founder Mike D. discussing his new project Black Film Now, as well as the importance of supporting African American films and their directors.
In celebration of its 30th anniversary, RoxFilm and Young Black Professionals bring a throwback screening of COMING TO AMERICA to Hibernian Hall on Tuesday, June 26 at 7:30 p.m.
Sponsored by Onyx Spectrum Technology, Massport, Boston Red Sox, SAG/AFTRA, Blue Cross Blue Shield, and Leah S. Randolph of HALO Productions, Black Star Enterprises, and more. The Festival will also feature Q&A with filmmakers, events and filmmaker hangouts.
Under the direction of Lisa Simmons, the Roxbury International Film Festival (RoxFilm) supports media makers of color and others who have an interest in creating and developing new and diverse images of people of color in film, video and performing arts. The festival collaborates with many arts institutions and organizations whose mission it is to promote and support independent artists and contribute to the creative economy of the Commonwealth.
Ben Stiller and Mike Birbiglia to Co-host 2018 Screenwriters Tribute; Adam Driver and Garrett Hedlund to Present
June 20 – 25, Island of Nantucket
Over the past twenty two years on the beautiful Island of Nantucket, the Nantucket Film Festival
(NFF) has mixed highly anticipated awards contenders with the fi lms of talented emerging and
established filmmakers. NFF has brought together the film industry’s most recognized screenwriters
and storytellers, including Tom McCarthy, Oliver Stone, Steve Martin, Judd Apatow, Tom McCarthy,
Beau Willimon, Kathryn Bigelow, Sarah Silverman, Alexander Payne, David O. Russell, Diane Keaton,
Robert Towne, Glenn Close, and Aaron Sorkin. NFF has also produced the All-Star Comedy
Roundtable Presented by Ben Stiller, and the insightful conversation series In Their Shoes With…®,
which has included Robin Wright and Beau Willimon with Chris Matthews, Tom McCarthy with
Bobby Cannavale, Molly Shannon with Michael Ian Black, and Bradley Whitford with Chris Matthews.
NFF’s star-studded six days of non-stop, jam packed special jewel in its crown is the Screenwriters Tribute held on Saturday, June 23, 2018. It’s the ticket not to be missed.
Actor, writer, director and producer Ben Stiller (THE MEYEROWITZ STORIES (NEW AND SELECTED), TROPIC THUNDER, MEET THE PARENTS) and actor/comedian Mike Birbiglia (DON’T THINK TWICE, TRAINWRECK) will
Actor Adam Driver (STAR WARS: THE LAST JEDI, Jim Jarmusch’s PATERSON, Spike Lee’s BLACKKKLANSMAN) will present the Screenwriters Tribute Award to Oscar®-nominated writer/director Noah Baumbach. Driver has appeared in Baumbach’s THE MEYEROWITZ STORIES (NEW AND SELECTED), WHILE WE’RE YOUNG and FRANCES HA, and recently completed shooting Baumbach’s latest feature opposite Scarlett Johansson.
Actor Garrett Hedlund (MUDBOUND, BILLY LYNN’S LONG HALFTIME WALK) will present Andrew Heckler with the New Voices in Screenwriting Award. Hedlund stars alongside Forest Whitaker and Andrea
Riseborough in Heckler’s Sundance Audience Award-winner BURDEN, which will screen at the Festival.
There’s always great anticipations of the opening night fi lm selection. For the 2018 festival it’s Sony Pictures Classics’ BOUNDARIES, written and directed by Shana Feste. The film tells the story of single mom Laura (Vera Farmiga) who is forced to drive her estranged, pot-dealing father Jack (Christopher Plummer) from Seattle to LA after he is kicked out of a retirement home. The comedy also stars Bobby Cannavale, Peter Fonda, Christopher Lloyd, and Kristen Schaal.
CNN Films’ LOVE, GILDA, directed by Lisa D’Apolito will close the festival. The documentary reveals the personal side of iconic comedian Gilda Radner through rare personal recordings and journal entries.
Morgan Neville’s (2018 NFF Honoree) WON’T YOU BE MY NEIGHBOR? will screen as the festival’s centerpiece film. The documentary depicts the life and legacy of the late Fred Rogers, the beloved host of the popular children’s television series Mister Rogers’ Neighborhood, and a longtime Nantucket resident.
For the ninth year in a row, NFF will screen a Disney• Pixar film on opening day. This year the
studio will showcase the anticipated animated feature INCREDIBLES 2, with Craig T. Nelson, Holly Hunter, Sarah Vowell, Samuel L. Jackson, John Ratzenberger, and director Brad Bird reprising their characters from the first film.
Returning programs at this year’s Festival include In Their Shoes…®, a conversation between MSNBC’s Chris Matthews and Noah Baumbach, Adam Driver, and Ben Stiller; as well as the daily Morning Coffee With…®, a daily kick-off discussion between attending writers, directors, and new host Tom Cavanagh (The Flash, Ed).
Also returning is Women Behind the Words, sponsored by Lifetime, which had its inaugural event in 2015, focused on gender inequality in the entertainment industry. Following a year of new conversations and developments in the wake of #MeToo and the Time’s Up movements, NPR’s Ask Me Another host Ophira Eisenberg will moderate a conversation to discuss what comes next. Guests include actresses Jeanne
Tripplehorn (Big Love, WE ONLY KNOW SO MUCH) and Alysia Reiner (Orange Is the New Black, EGG), television writer/producer Sera Gamble (Lifetime’s upcoming You, The Magicians), and actress, director, and producer Miranda Bailey (SWISS ARMY MAN, YOU CAN CHOOSE YOUR FAMILY).
Additional film programming announced as part of the 2018 Festival includes a special screening
of documentary feature BALLET NOW, directed by Steven Cantor, and executive produced by Paul G. Allen’s Vulcan Productions and actress Elisabeth Moss, on the fi nal day of the Festival, Monday, June 25. Cantor will also be present for a post-screening conversation.
This intimate documentary provides a candid behind-the-scenes look at the world of ballet, following New York City Ballet’s Prima Ballerina Tiler Peck, the first woman to curate the Music Center’s famed BalletNOW, as she attempts a fresh new approach by merging the worlds of ballet, tap, and hip-hop together through a groundbreaking one-of-a-kind performance. Throughout the film, as Tiler faces the demands of an incredibly challenging production, she is driven to show young people the beauty,
possibilities and freedom of dance and expression. Executive Producer, Paul G. Allen has always had a passion and commitment for the classical arts, and hopes that showcasing the ballet world and the arts as a whole will continue to inspire and engage younger audiences, while affecting enthusiasts.
Also revealed were six Short Film Programs, including Miguel Alvarez’s ATLANTIC CITY featuring Raúl Castillo, Ross Kauffman’s BOY BOY GIRL GIRL featuring Katie Holmes, Pete Lee’s DON’T BE A HERO featuring Missy Pyle, and Tom Cavanagh’s TOM AND GRANT featuring Cavanagh and Grant Gustin, his costar
from The Flash; as well as a new program putting the spotlight on some of the year’s most-honored shorts.
The Short Film groupings and descriptions will lead you to want to see each of them; COMEDY, REMIXED: Humorous stories showcasing comedy in all its shades; EVERYTHING IS GONNA BE ALRIGHT:
In these narrative shorts, when things are going wrong, you can wait for the tide to turn or fix it yourself; IT’S ALL TRUE: Nonfiction stories – animated, interviewing, reminiscing, probing, reporting, observing, and illuminating; KIDS SHORTS: Live-action and animated stories for children ages four and up; LIFE CHAPTERS: Two true stories of women asserting their rights during the Sexual Revolution and terminally-ill patients claiming their power in their last days; and SHORTS OF THE YEAR: A collection of official selections and jury winners from the best film festivals around the world. Pre-game your
Oscar Shorts selections here.
Finally, the third edition of Enter the Story: Virtual Reality Experiences has been unveiled, including MY AFRICA, narrated by Academy Award winner Lupita Nyong’o; TAKE EVERY WAVE: LAIRD IN VR featuring Laird Hamilton; and immersive titles straight from the VR arcades at SXSW and Tribeca: DINNER PARTY, FIRE ESCAPE, and MY JOURNEY
The Nantucket Film Festival was founded by brother and sister team Jonathan and Jill Burkhart in 1996 to promote the cultural awareness and appreciation of the fine art of screenwriting in the world of cinema. Since then, NFF has become one of the premier destination film festivals in the world. Visitors come from all over the world to experience the preview screenings, unique signature programs, and stand out hospitality on a magical island rich with history, a friendly atmosphere, and beautiful sandy beaches. In addition to screening over one hundred fi lms across six days, NFF presents the Screenwriters Tribute, In Their Shoes…®, our daily Morning Coffee With…®, and other Signature Programs.
The 23rd Annual Nantucket Film Festival runs from June 20-25, 2018. Festival passes and ticket packages are currently on sale now on the NFF’s website (www.nantucketfilmfestival.org).
Come for the party, Stay for the best networking in New England!
Please join Carol Patton and IMAGINE for a trip down memory lane…. Tuesday, May 15, 2018 * 6:30 – 9:30pm
$20 per person in advance (click the button above to rsvp and pay)
Brookline’s Best Burger Bar
195 Washington Street, Brookline, MA 02445
(right next to the Green Line T-Stop Brookline Village)
Sliders for Everyone!
Come Meet and Say Hello to
Special Guest Film Guru David Kleiler
who wrote Establishing Shot for IMAGINE Magazine in our early days! David has helped hundreds of filmmakers and still consults and shares his vast knowledge and favorite films under the banner of Local Sightings.
Jeff Rosica is the new CEO and President of Avid Technology. He brings with him extensive experience in sales and marketing with a knowledge of technology application. Mr. Rosica has additional background in operations and in the mergers and acquisitions fields. He has over thirty years of experience
in his industry and holds four patents as well as an Academy Award for Technical Achievement for Camera.
Jeff speaks with passion about Avid and its future. “It’s an amazing company, a New England Company that Bill Warner started back in 1987. The footprint that we have is not just for the creatives in Hollywood, but for the industry as a whole.” Avid provides collaborative solutions for the entire production team whether it be film, television or music production. Jeff affirms, “Avid is a unique technology firm. We obviously have a lot of tools that we use to help the creative community with their storytelling and what they are trying to do.”
Avid will shine in Las Vegas at Avid Connect, a function of the Avid Customer Association (ACA) that precedes NAB). He calls it the NAB primer. In five years, the ACA has grown to over 25,000 participants who provide feedback on how the technology Avid provides can work for them in the future. They vote and Avid listens.