You are currently browsing all entries tagged with 'sxsw'

Why I’m Distributing My Latest Film on Kickstarter

  • April 12, 2012 1:16 pm

DAVE

Tucson, Arizona native Dave Boyle made his feature debut in 2006 with Big Dreams Little Tokyo.  He followed up with White on Rice, which was released in theaters in 2009.  In 2010, he began a multi-film collaboration with musician Goh Nakamura.  The first two films in the series, Surrogate Valentine and Daylight Savings premiered at the 2011 and 2012 SXSW film festivals respectively.  

Franchise.

It’s a word you usually associate with faceless corporations. In the movie world, a “franchise” is a cash cow: Twilight, Iron Man, and budding franchise The Hunger Games all come to mind.

But what about sequels that aren’t made as a blatant cash grab? What if the creative team just felt like they had a really great thing going, and that the story wasn’t over?

Film Festival Dispatch: SXSW Edition

  • March 20, 2012 2:40 pm

Sorry, I have been backlogged on festival blogging. I’m currently in Hong Kong attending the Filmart and HKIFF (more on that later), so back-to-back-to-back film festivals have definitely taken a toll on me. But, this is what I do, and to be in the now when it comes to indie films, you have to attend the South By Southwest Film Festival (SXSW), and this recent edition was another solid year of eclectic films, lots of Texas BBQ, and of course, tons and tons of film and interactive panels.

‘Sunset Stories’ Stories: When Micro-Budgets Attack!

  • March 19, 2012 1:38 am

After our initial screening/world premiere of SUNSET STORIES at SXSW, the nerves had gone away and I was able to enjoy the following screenings and Q&A’s. I was glad to see that the audiences were understanding and enjoying the film at both the narrative level and the larger concepts we were playing with – especially in terms of the diversity in casting. People were not really used to these images and representations and found the experience unique.

This past week, the San Francisco International Asian American Film Festival also took place. There were many great films there but two in particular, I AM A GHOST by H.P. Mendoza and YES, WE’RE OPEN by Richard Wong, are great examples of amazing micro-budget filmmaking. Both are true Asian American films, but take it a step further with their use of genre and content. I AM A GHOST is a horror film while YES, WE’RE OPEN is a daring romantic comedy with two AA leads! As I’ve blogged before, these are the ways micro-budget must be used to help elevate Asian American films to the foreground. And again, this is the case of AA filmmakers taking matters into their own hands and telling their own stories without compromise.

‘Sunset Stories’ Stories: The End of a Journey

  • March 12, 2012 10:08 pm

So I decided, as a gift to myself, that I would take a relaxing journey to Austin for SUNSET STORIES’ world premiere screening at SXSW 2012. I thought it would be a great way to unwind and reflect on the journey of the film, not to mention take in the beauty of the southwest. Plus, it was a straight shot for the most part through the 10E. Simple. Easy breezy. Until I got stuck on the side of the road for over six hours in the rain…anyway, like any film journey this seemed fated. It was long, hard, grueling, but my goal at the end was worth all of it. After being rescued, I soldiered on to Austin, well in time for the screening that night.

The rest was a BLUR. A bunch of our team and our two leads, Sung Kang and Monique Curnen, made it out for the screening that night at the Alamo Ritz, an amazing theater that served food while you watched the film. That may be annoying for some, but I thought it was comforting and completely reflected the spirit of the festival. If you ever make it there, try the fried pickles! The screening went well – I was told it did. I kept coming in and out of the theater, to check in but couldn’t stand to watch the film with an audience just yet. From the places I did catch, the audience laughed and were engaged. Our Q&A was fun and entertaining. For some reason, Sung Kang managed to talk about his fabulous hair and I had an experience that brought the BETTER LUCK TOMORROW screening from a decade ago back to full circle – but I’ll leave that for another blog entry.

‘Sunset Stories’ Stories: Why Micro-Budget Films are so Damn Important & Everyone Should Make One

  • March 8, 2012 3:44 pm

Ernesto’s back to write about his new film SUNSET STORIES, which will have its World Premiere at SXSW on Saturday. The film’s executive produced by our own Justin Lin (with Sung Kang starring) and the first feature to go out under our YOMYOMF Films banner. Ernesto will be sharing his journey with the film on a regular basis. 

From my previous and only entry, I had this grand plan of blogging on the experience of making micro-budget films, going into detail using my first feature SUNSET STORIES as an example and chronicling our long journey up to our premiere – then the realities of micro-budget reared its ugly head and set in.

In a matter of about two weeks we had to finish the picture edit, re-write, re-record and edit in the voice over, prepare titles and title animation, have a new score composed, color correct the picture, edit the music sound, sound mix and finally playback to our screening tape. This doesn’t even mention the publicity and promotions materials and logistics of making the festival screening happen. I won’t bore you with those details. In all, it was a Herculean task, to say the least, especially with what little budget we had left.

Again, we were scrambling, begging, pleading and promising our first born to anyone that would help us. And as of yesterday, everything is finished. It was probably one of the hardest things I’ve experienced in my whole life, and the only thing running in my head, over and over again: I WILL NEVER EVER DO THIS SHIT AGAIN.

ON THE OFFENSIVE: Film Festival Edition

  • March 8, 2012 12:01 am

We’re just days away from the world premiere of Sunset Stories, the feature length YOMYOMF Films debut from co-director Ernesto Foronda (writer/producer Better Luck Tomorrow) and starring Offender Sung Kang, at the South by Southwest Festival (screening info here). So it’s fitting that this week’s podcast features Offenders Justin Lin, Anderson Le, Jimmy Tsai (and occasional appearances by Philip Chung) talking about the latest at the Sundance and Berlin Film Festivals as well as the festival world in general and how it has changed in the last decade.

Click here to check it out.

‘Sunset Stories’ Stories: The Beginning

  • February 1, 2012 1:02 pm

Please welcome Ernesto to our YOMYOMF family. Actually as writer/producer on BETTER LUCK TOMORROW, Ernesto’s been a part of the fam for a long time, but he joins us in an official capacity to blog about his new film SUNSET STORIES, which will have its just-announced World Premiere at SXSW in March and is executive produced by our own Justin Lin (with Sung Kang starring) and the first feature to go out under our YOMYOMF Films banner. Ernesto will be sharing his journey with the film on a regular basis.

It took a lot of convincing for me to write this journal about the making of SUNSET STORIES (formerly COOLER), a micro-budget film shot nearly one and a half years ago. People who know me, know first hand how quiet, insular and private I am, and writing something like this amounts to pulling teeth – with a very, very rusty pair of pliers. Slowly. One at a time. With the molars breaking to pieces and you have to dig them out of blood soaked gumflesh…okay, you get the picture, it’s painful. Well, I finally gave in, so here goes.

With this journal, I’m going to trace the making of SUNSET STORIES and follow our journey to our World Premiere screening at SXSW in March. It’s been a long hard road, with a lot of twists, turns and dead-ends – seriously, as I write this, we’re still scrambling to finish and STILL begging for favors because of our limited budget – but fighting ‘til the end. If you’re reading this, odds are you too are thinking about making a film. I write this for you. Maybe you can avoid the many pitfalls we suffered through or maybe I’ll convince you to go back to grad school for industrial design, trade school for nursing and x-ray tech, or, of course, culinary school. Trust me, I’ve got a drawer full of half finished applications at home. But like many of you, I’m a glutton for punishment and no matter how hard I try to convince myself otherwise, film and writing is where my heart is.

The Art of the Title

  • March 16, 2011 10:39 am

I love this! South By Southwest (SXSW), which is happening right now, held a Title Design Competition, to showcase the art behind movie and TV title sequences. As for the title design competition at SXSW, the winner was the titles from BLUE VALENTINE. You can check out this amazing work and an interview with the sequence designers over here.

Inspired by this, the website Art of the Title, whipped up a cool video showcasing a brief history of movie (and some TV) titles. It’s quite something and really shows that sometimes a movie can live or die with a great title splash, especially in setting the mood and expectation of  2 hour rollercoaster ride. Lots of Alfred Hitchcock titles in there, designed by the legendary Saul Bass. Offender Phil has written about his favorite title sequence, which is the French New Wave classic, THE UMBRELLAS OF CHERBOURG.

Getting the Meat Sweats at SXSW

  • March 16, 2010 5:28 pm

I attended South By Southwest this past weekend and was so jazzed at the convergence of innovation and new ideas at the interactive and film conferences. Some of the quick highlights:

- Opening Night film was KICK-ASS and it was, well, kick ass! One of the best comic book movies ever and totally no-holds barred. Chloe Moretz as HIT GIRL is a starmaking performance. The countless fanboys in attendance vowed to save themselves until the 11-year old turns legal.

- Other highlights were COLD WEATHER, a mumblecore detective story, BEIJING TAXI about three laborers living in China leading up to the Beijing Olympics, and A SERBIAN FILM, one of the most fucked up midnight movies I have ever seen. Catchphrase from that film, “newborn porn.” Yeah.