Clare Richardson talks with Associate Director Linda DeLibero about the International Cinematographers' Film Festival in Macedonia

"Moleque" an interview with Diana Peralta, Film & Media Studies student featured at the MidAtlantic Black Film Festival by Carlos Valdes-Lora

Sondheim finalists presents a collage of ideas by Tim Smith
Faculty member Karen Yasinsky is a finalist

FMS Facutly Screening: Works and Works in Progress by Carlos Valdes-Lora

Sundance Film Festival: The Scoop on Scoring Tickets by Clare Richardson

Hopkins Film Students Read for the 4th Annual Baltimore Screenwriters Competition by Christen Cromwell

Prof. Matt Porterfield talks movie-making in B'more by Alex Neville

Film Boot Camp by Alexandra Byer

Filmmakers Talk Art, Passion and Undying Love by Alexandra Byer

When one thinks of the places where major film festivals are held, Macedonia probably isn’t one that comes to mind. But that’s exactly where our very own Linda DeLibero went for four days to speak about documentary filmmaking at the International Cinematographers’ Film Festival “Manaki Brothers.” Celebrating its 30th year, the festival was held from September 26th to October 3rd and shows documentaries, short films, and features from all over the world. Additionally, the festival hosts seminars, round table discussions, and script workshops. Here are some of Linda’s experiences (both film and non-film related) during her time there:

CLARE RICHARDSON: First of all, how were you invited to speak at the festival?

LINDA DELIBERO: I was invited last February by people I know in the American Embassy in the cultural attaché. They were organizing this festival on the Western so they asked me to speak then. Unfortunately I couldn’t go, and they generously invited me to speak at the Film Festival in September instead. It’s a festival they hold every year in honor of these brothers who are sort of the “Lumiéres of Macedonia,” as well as cinematographers today.

CR: Macedonia doesn’t seem like the easiest place to get to. I’m sure getting there was quite an experience.

LDL: It literally took me two days to get there. I went from Baltimore to Philadelphia (and I have to say that in the time I left Baltimore to Philly I could’ve driven back and forth from Baltimore to Philly three times!). From Philly I flew to Amsterdam, then to Zagreb and finally to Scopia. And then the guy who runs the national cinémathèque picked me up in Scopia and we drove another three hours to Bitola. I left my house on noon on Friday and I got to Bitola on midnight Saturday. And of course my luggage was lost in Scopia, so it was quite an experience!

CR: Talk about traveling nightmare. When you finally got there, what specifically did you speak about?

LDL: I introduced Man on Wire and gave three different lectures. The most interesting one was in Tetova in the Albanian territory at the state university. I lectured on new trends in documentary films and I showed some of Waltz with Bashir, and they were so excited by the look of it from the clips. I did two lectures in the American quarter of Bitola, which is an embassy sponsored film “cultural center” where people can watch American films, read books and magazines in English, hear lectures. I also showed clips from The Fog of War there too.

CR: Sounds like you were quite busy! Were you able to see any film while you were there?

LDL: Not as many as I wanted to! I saw a Peruvian/Spanish film called The Milk of Sorrow that I really enjoyed, and I saw a few other documentaries too. They kept me so busy and there were films going on constantly and I was away lecturing a lot of the time.

CR: Who were the kinds of people you met at the festival?

LDL: I met playwrights, writers, filmmakers, documentarians, and people who were sponsoring funding for local Macedonian films. They’re always trying to scrape up money to make films because they have such a long history of filmmaking. Everyone is really tying to promote filmmaking and raise money. It’s just really tough; you think it’s rough here and then you go over there and you realize they’re really facing huge odds. It was really interesting to talk to people enthusiastic for more film, more film talk, more anything; they really were a lot of fun to speak to. They were just anxious to have the chance and opportunity to hear and see about new movies.

CR: From your experience, what is the Macedonian film industry like?

LDL: We’re so lucky that we have all this stuff that we can take for granted. Macedonia’s a country that’s really quite poor, and it’s brand new, only in existence for ten years or something, and they’re just itching to see films and dying to make films but they just don’t have the money. They do have a state apparatus that supports filmmaking and they only have enough money for about one production a year there. They’re very anxious to see new stuff, old stuff, they don’t care. Film in their culture is a precious commodity, very important stuff.

CR: Did you get a sense of how they view the American film industry at all?

LDL: I think they think everything’s so much easier over here. The general consensus on American culture is “you guys have a lot of money, why don’t you give us some?” You would have people asking, “Maybe you Americans can fund our stuff?” And of course our filmmakers are struggling too. There’s a lot of misunderstanding. Compared to their position it is a lot easier for American filmmakers to get things made, but they really have no idea how much the economy has crashed.

CR: What about how American culture is viewed there?

LDL: I think they love all things American. They listen to American music, they watch American movies, and they know American celebrities. They embrace any sort of American culture even though they’re very behind. What was surprising was how little they knew about our economic situation. I was talking to a journalist who was driving with us, and she had no idea that American print journalism is in dire, dire trouble. I told her that newspapers were closing, and she said “well big newspapers won’t close,” and of course they are. This has been a huge meltdown over here, lots of people have lost their jobs and homes and a lot of people who haven’t been affected are still affected because people aren’t spending money like they used to. Money for films has dried up, money for any kind of cultural arts has dried up. They just see us as this land of endless cash flow and a place where things can get done. Compared to them yes, that’s kind of true but you know, it’s the kind of place where things can’t get done or won’t get done. There’s a lot of corruption, and they’re still struggling with the basic concept of democracy and they’re not even that certain things are going to go all that well.

CR: So what was the town where the festival was held like?

LDL: Bitola, where the festival was held, is a small town and its very festive with a lot of big long pedestrian walkways lines with shops and cafes. Everybody is out from morning until late at night just promenading up and down and everybody’s looking at everyone else! You have the theatre and the festival right there and it’s just like this big party and a way for everyone from all over the world to get together.

CR: How was your experience with Macedonia as a country?

LDL: In those four days I was in Macedonia they literally drove me around half the country! The country’s basically a circle, and I went around half the circle. There was one day where we went to Scopia so I could see the cinémathèque and then we went to Tetova and then we went to Ohrid, which is a resort town on this really beautiful lake in the mountains, and then we went back to Bitola. The country is, as it was described to me, like one big archeological dig because Roman ruins are everywhere, so it’s just layers and layers of history that’s just being dug up. There’s really old churches built on top of Roman temples, and of course Greek ruins too. It’s a crossroads between north and south and east and west, an unusual mix of cultures. There are Islamic, Slavic, and Greek influences that mix in the food, architecture, local music, and film too. So it was really interesting place. And I’d definitely go back!

For more information on the International Cinematographers’ Film Festival “Manaki Brothers,” check out http://www.manaki.com.mk/index.html

"Moleque" an interview with Diana Peralta

Written by Carlos Valdes-Lora

Every once and a while a Hopkins film major submits their work to festivals for consideration. Not as often as we'd like to see, but sometimes. Diana Peralta, a talented, budding filmmaker studying at the university, submitted her stunning short form Intermediate Production project to the MidAtlantic Black Film Festival, and it was accepted. I recently sat down with Diana to discuss her short film, "Moleque", her experience submitting to festivals, and what inspires and motivates her as a rising young artist.

Hopkins CinemAddicts: What's your name, year, and major?
Diana Peralta: I'm Diana Peralta, I'm a junior in the Film and Media Studies Program.

HCA: Tell us about your film
DP: My Film is called "Moleque", which in Brazilian Portugese means a "brat kid". It's how you would refer to a street kid, basically. It's someone who messes around a lot, like a Dennis the Menace.

HCA: Did your main character come from any personal experience you had with kids?
DP: Acutally, it did come from personal experience. I'm from the Dominican Republic, so I go there all the time to visit my family, and so one day we were driving on the North Shore and we stopped at this gas station. There were a lot of homeless kids who were just trying to find any way on the street to make money so a lot of them shine shoes there or sell things on the street.
Also, I had spent the summer in Brazil and I had seen a lot of homeless children and it really struck me. I wanted to talk about that. In the Dominican Republic there were these two kids in front of the gas station shining shoes and they started getting into a physical fight because one kid accused the other of stealing his space. My dad felt bad so he took off his shoes and gave each kid one to shine. They were instantly happy. It was one of those moments that has stuck with me since.

HCA: Throw some more facts.
DP: I shot it on 16mm black and white; it's six minutes and fourteen seconds exactly. Basically it's about a kid who wakes up under a tunnel where he sleeps, and it's just another day of shining shoes on the street. He seems frustrated because he can't manage to get any clients, so he breaks his shoe kit. It's set to this really great soundtrack from this movie called Black Orpheus. I had just heard it this summer so that music was very special to me.

HCA: What struck me about the film was the attitude of the frame -- the way you present the narrative through the subjective lens of a very young person. What was it like putting yourself in the shoes of a child?
DP: It ws pretty interesting. Physically putting myself in the situation was kind of difficult for shooting. I did a lot of shots that were close to the ground because I wanted to get that kind of perspective. That dolly shot representing his perspective of looking at the sky was really interesting to get because I had to basically sit on the floor. Putting myself into that mindset, of a child, was not too difficult because I'm kind of like a kid myself...and I'm around a lot of kids, I really love kids, so just talking to them gets me in that mindset.

HCA: Is this your first short film?
DP: Yes. I shot something for introduction to film production, but that was me playing around and experimenting. Nothing like this.

HCA: In terms of submitting to festivals -- what did you hear about the process at first?
DP: At first I was worried about submitting the film, because it depends on the copyrighted music, and I was afraid that I was going to get in trouble for not having rights. I talked to my film professor, and he suggested that I not worry about it since it's a student film competition. I decided just to go ahead with it. I thought it was just important to get the film out there so that people see it.

HCA: Talk a little bit about the festival.
DP: It's called the Mid Atlantic Black Film Festiva. The basic requirements for submission are: either the director or the main actor is black (or both), or that your film talks about African-American experience. "Moleque" covered all of that. It was held in North Folk Virginia, which is close to Virginia Beach, about five hours away from here. My film was screened on September 19th at Hampton University.

HCA: Did you attend? How was the experience?
DP: Yeah. My parents drove from New York City to Baltimore to pick me up and then we drove down to North Folk, and I thought it was going to be a lot closer. My parents ended up driving twelve hours basically to get to Virginia for me. I was very thankful for that.

HCA: What's your relationship now to the film projected? Has it become its own thing?
DP: I have seen it so many times that I'm at that stage where I just keep seeing the mistakes that I made. I think I have to give myself several months before watching it again, and it's good because I'm distracted by my other projects right now. I was really busy and stressed during production -- the camera kept failing and I was having all sorts of problems -- and I couldn't think about art direction and wardrobe as much. I just told my actor to come dressed in worn-out clothes. Everything he wore had a brand on it; his sweater had a huge logo on it, same with his shoes. If I could go back I would change that because now it really bothers me.
Also, I made the shoebox myself, it was a fun experience, but I didn't realize that the contrast on black and white would make it look new. If I could go back I would make it look older. But I love watching it on the big screen. It looks so much better.

HCA: What was it like giving your main actor direction?
DP: He's never acted before in his life. He's amazing. He just took it and just went with it. He found acting difficult. Having to act frustrated was hard for him because he didn't want to seem fake or anything, I was really happy that he was thinking about those things. He had to walk all the way from Exeter to Charles Village by himself for the shoot, so he was already in a frustrated mindset.

HCA: What's in the wings? What kind of subject matter is inspiring you today?
DP: I get a lot of inspiration from experiences. Right now I'm hoping to experience more things: travel, talk to new people, meet new people, things like that -- try to find something new. That's how I get inspired.

You can watch Diana Peralta's short film "Moleque" online at: http://www.vimeo.com/6748422

FMS Faculty Screening: Works & Works in Progress

Written by Carlos Valdes-Lora

On April 16, the Film & Media Studies Program hosted a screening of Works & Works in Progress by the program's four faculty filmmakers. The audience in attendance was a mix of both university students and the general local public, and a reception after the showcase brought the evening to an agreeable close.

Filmmaker John Mann opened the screening with an excerpt from a documentary entitled, Shelter, which concerns the experiences of homeless men living in shelters in Kansas and North Carolina. Shot in only six weeks, the film is structured around of a series of sit-down interviews. In one interview a man speaks about having participated in a study where he was paid to allow for his heart to be stopped and revived. In another, a man confesses that while anchored to his socio-economic status he feels little self-worth. Mann joked that the most critical responses to the documentary centered around the fact that it "provided no viable solution to homelessness," although that was hardly his intent. Afterward he screened an excerpt from Locust Point, which represents a departure from the traditional documentary form. Comprised of exquisitely composed reenactments over narrated journal entries and personal letters, the film portrays experiences of immigrants living in the Baltimore neighborhood during the early 1900s. Lastly Mann presented his most recent -- and what he suspects to be his last -- documentary, Running to Keep from Falling. As a reaction to the notion of the hyper real ever present in modern life, the film clearly delineates the trajectory Mann's directorial career has followed. Over static shots of descending elevators, ascending escalators, and passing trains, a series of automated phone messages and voicemail entries are assembled -among other things- as dialogue exchanges and statements addressed to the viewer. The content of these messages either clashes with or recontextualizes the associated image, and the coupling demands active spectatorship to arrive at meaning with respect to the whole.

Writer/director and photographer Matthew Porterfield, who teaches screenwriting and film production, presented test footage of actors and location studies for his next film, slated to begin production this summer. Entitled, Metal Gods, Porterfield’s second feature is best described as, "exploitation meets the art house genre." Set in southeast Baltimore during the reign of metal music, the period piece explores a week in the lives of Sean and his older brother, Trevor, as they are forced to rectify a conflict disturbing their social sphere. The filmmaker has been casting since November of last year, and has thus far held over 400 open auditions. What has resulted from months of work is an eclectic cast of largely non-professional actors. While Porterfield normally skipped to the best segments of each audition screened, he insisted on playing one video all the way through. In it, an audition with a young non-professional prospect on his front porch is cut short by a phone call from the kid's mother. From behind the camera we hear Porterfield on a cell phone as he struggles to quell the concerns of a woman having an understandably hard time with a stranger videotaping her son. The accidental material makes the audition a short in and of itself. Afterward he screened test footage of a few location studies, including an abandoned paintball field and a pipeline on the side of the road that seemed to recede infinitely. Porterfield has managed to generate positive interest in Metal Gods well before its production.

Animator and videographer Karen Yasinsky teaches both animation and visual language courses at the university. Yasinsky first screened a stop motion animation short entitled, I Choose Darkness, which adapts its subject matter from Robert Bresson's Au Hasard Balthazar. Yasinsky combines fluid animation, emotive and expressive lighting design, and a rich and engaging soundtrack of carefully foleyed effects to both evoke and echo the sense of filmic realism characteristic of the Bresson feature. Yasinsky has also created a live action animation short that derives its subject from the opening of Jean Vigo's L'Atalante. While her works are often adapted from live active feature films, the filmmaker frequently takes the narrative in different directions, establishing similarities while subverting expectation for the astute viewer familiar with its source material. The adjustments and modifications always service the medium and acknowledge that the practice of adaptation has its own set of complexities. Since she prefers to steer clear of spoken word, gesticulation is a high priority. She noted that the subjects of her animations express themselves through different modes of rubbing, or physical interaction. Once accustomed to this unique gestural vocabulary the result is affective. Yasinsky humorously admits she finds comfort in the work she does and the discipline it entails because it aligns naturally with her tendency to stay indoors and willfully removed from social settings. She says the work ethic associated with both stop motion and line drawn animation conforms to her obsessive personality as well as her sensitivity to detail. Yasinsky's acclaimed shorts will also be featured at the upcoming Maryland film festival this year.

The most recent addition to the Hopkins Film program faculty is Douglas Sadler, who co-teaches narrative production, a course offered to both MICA and JHU students. Sadler presented three distinct works that mark a clear transformation in both aesthetic and thematic preoccupations. Demonstrating directorial range, Sadler began by presenting an excerpt from a student film depicting a charged dream-state experience. The second excerpt screened was from a Samuel Beckett teleplay of Ey, Joe?. Influenced by the Dogme95 movement, Sadler's next excerpt from a digital feature entitled, Riders, illustrated the extent to which a shoe-string budget, a small crew, limited technical means can deliver a gratifying cinematic experience. The fourth, a mainstream narrative feature film entitled, Swimmers, which garnered a number of festival awards during its run. The most mesmerizing of the set was the clip of Joe, in which the subject is depicted in one take listening to a voice addressing him off screen. The take is uninterrupted and eight minutes long. Abiding by the strict stage direction presented in the original script, the subject was not permitted to blink for the entirety of the take.

A wine and cheese reception provided the ideal setting for students and locals to exchange a few words with these active and award-winning contemporary filmmakers. We look forward to similar showcases in the future as faculty members continue to develop their bodies of work.

SUNDANCE FILM FESTIVAL: The Scoop on Scoring Tickets

Written by Clare Richardson

Ever wanted to go to Sundance during Intersession but were afraid there was no way you’d get in? The untold story is that getting tickets to see films at the annual Sundance Film Festival in Park City, Utah, is not as difficult as urban legend has it.    Procuring tickets to what turns out to be the “hit” of the Festival is virtually impossible.  Not because tickets aren’t available to almost every film, but because the “hit” of the Festival doesn’t emerge until after the Festival is over, and during the Festival the rumor mill of the “hot” films is so over-wrought that every film has its enthusiasts.  The beauty of the Sundance Film Festival is that none of the films have been seen by an audience before, so it’s just a crap shoot.  My experience has been that some of the “hottest” films have been the biggest duds and films I walked into cold with no expectations have changed my life.  So the bottom line is to just go to the festival and don’t worry about what you are going to see, grab some tickets and enjoy yourself. 

 The ten day Festival is split into two five day segments: package A and package B.  Packages of ticket offerings are put on sale 3-4 months before the Festival and before any of the films have been announced.  Because demand outpaces supply a lottery system determines which pre-registered potential buyers get to purchase a ticket package.  Online signups for the ticket packages must be completed usually no later than September.  This is by far the most difficult way to get tickets, but it doesn’t hurt to try.

A little known fact is that a certain percentage of tickets are reserved for Utah residents.  In fact, last year approximately 14,000 tickets were sold to Utah residents.  Those tickets are put on sale a few days in advance of the package tickets to the general public.  So if you have relatives or friends that are Utah residents, then cozy up to them for the first choice of tickets.

If you don’t have a Utah connection, don’t despair, just pack your bags and head to Park City anyway.  There are more than 30,000 tickets sold to non-Utah residents in ticket packages and as individual tickets.  The Sundance Film Festival prides itself on being the most egalitarian film festival in the world, and it really is.  Most festivals cater to the film industry bigwigs and sponsors.  Not Sundance.   Robert Redford designed it as a festival for emerging filmmakers to show their work to film lovers who make the trek to Park City.  The parade of self promoting celebrities, parties and swag that swarm around the Festival has changed the perception of the Festival over the years, but the Festival organization has remained true to its roots in making tickets available to those who show up.  A small percentage of tickets for each film showing are held back for “rush” sales starting ten minutes before the screening .   A determined person who is willing to get there early and stand in enough lines will be able to see some films for the $10 face value of a ticket.  A bonus you will get, even if you don’t get into the movie, is that standing in a rush line is the best place to meet some of the most interesting people at the Festival.

Another trick is working the ticket holder line trolling for an “extra” ticket.  Because of the complex ticket package buying process many attendees end up with an odd ticket here or there.   Some try to sell a ticket outside the show, but most give them away to an earnest hopeful.   That’s what I do whenever I have an extra ticket because I believe in sharing the experience and don’t believe in scalping.

Last, and inevitably, there are scalpers at the biggest venues.    They must be somewhat discreet as the Festival discourages scalping and will have security chase them away.

So there you have it-the skinny on how to get tickets and see some movies at the Sundance Film Festival.   If you don’t have the advance planning gene or the pocketbook to buy a package, then don’t let that be a deterrent, just show up and work the system.   Get tickets to whatever films you can and let fate, or destiny, or the film gods have their way with you and just enjoy the experience along with the rest of the audience.     And if you really are going just to see the celebrities, get some swag, and sneak into some parties, then shame on you for missing the opportunity to see some really great films.

Whatever you decide to do, it all begins at www.sundance.org. 

NOTE: If you’re interested in traveling to the festival in January, 2010, contact Linda DeLibero. If there’s enough interest, the program can apply for special student discounts.

Hopkins Film Students Read for the 4th Annual Baltimore Screenwriters Competition

Written by Christen Cromwell

For the fourth year Johns Hopkins films students, under the supervision of Film and Media Studies Senior Lecturer, Lucy Bucknell, wrote script coverage for the Baltimore Screenwriters Competition. The annual contest is sponsored by the Baltimore Office for Promotion & the Arts, and final judges this year are Grant Curtis, Nina Noble, and Richard Walter.  Morgan State University film students also serve as first readers for the material. The coverage, comprising script synopsis and analysis, serves as part of the judging process and is then returned to the contestants.  This is what the Hopkins’ coverage writers for this year had to say about their experiences with the competition:

Christopher McMullen: “It's interesting reading scripts you know people worked on for a while.  I read two, one being pretty awful and the other being pretty exciting.  I tried to be constructive in my comments, even if it was tough.  One script was well written and a fun read; I was flipping through the pages as fast as I could.  It's hard to criticize a script like that, but I came up with a few things.  Overall it was a fun experience, and I definitely learned about my own writing.  What people want to read, what's gonna make them put your script down, what's gonna keep them locked in, things like that.”

Alexandra Byer: “I was really excited to judge and thought it would be an interesting experience, which it definitely was. But it made me realize how truly hard it is to write a good, compelling screenplay. I read two screenplays and while their basic concepts were good, they were, for the most part, poorly executed. Bad execution ranged from not having a coherent plot line to simply bad writing. But as I was writing some negative comments, I felt bad because it really does take a lot of different elements to write a good story.  As someone who is interested in writing, this was a valuable experience because I got to read screenplays that still needed to be developed. It's one thing to read the screenplay of say Good Will Hunting, but I think I got a lot more out of reading these amateur screenplays.”

Carlos Valdes-Lora: “Providing coverage for the Baltimore Screenwriting Competition was as helpful for me as it was for the competition. As an aspiring filmmaker, I've learned what makes for compelling and engaging content and have come to understand what it takes to properly construct a story intended for the screen. Moreover it's an absolute pleasure to contribute in any way to the growing local film community, and the Baltimore Screenwriting Competition provided the ideal program to accomplish just that.”

Pierce Delahunt: “I had really good scripts and I was inspired seeing examples of really good amateur screenwriting. It was really interesting reading movies in general; one of the scripts I read would make a great new college kid hit, and the other could be a dramatic blockbuster and if I ever get to see them on the screen. Not only am I going to think I helped that movie come alive with my commentary, but also just seeing a movie in its initial stages. There is a lot of emphasis on the final product in general, but the journey is where the drama is. That is what movies are about, after all, some kind of journey.”

Christen Cromwell: “Having written a screenplay before, I understand the challenges that come along with making an intriguing visual story in three acts. It’s so much harder than it looks, and the fact that these writers submit something is a good sign that the film community here is growing. This competition is so important, because sometimes it takes a stranger’s unbiased opinion to help a screenwriter make a distinction between what is going to make their film something we’ve all seen made a hundred times before, and something that an audience will want to watch a hundred times.”

FILM BOOT CAMP

Written by Alexandra Byer

They break you down to build you up.  This relatively familiar tagline is usually associated with military boot camps, but for three days throughout the weekend of January 23rd, the phrase corresponded to film.  About twenty-five Hopkins students (including one graduate student) participated in Nehst Studio’s Film Boot Camp.  Most of these undergraduates were film majors or minors, hoping to gain some insight into the film industry from the workshop’s director and Hollywood producer, financier, and distributor, Larry Meistrich, and his fiancée Antonia Ellis, a producer of Sex and the City.  Students not only learned a valuable amount of information that comes from years of actually being in the industry, but also were able to pitch one of their own movie or TV series ideas to Meistrich.  If Meistrich liked an idea enough, he said he would later contact that student to talk about producing their film or show.

Meistrich is Hopkins alumnus who graduated in 1989 with a Bachelor of Arts degree in the Writing Seminars program.  Meistrich also played for the JHU football team and was a member of the Alpha Delta Phi fraternity.  Introduced to film while in Baltimore, Meistrich was an extra in John Water’s film Cry Baby (1990) that starred Johnny Depp.  Post graduation, Meistrich decided to follow the same path that he explained almost all producers have to.  He did grunt work as a Production Assistant, worked his way up to Assistant Director, got lucky, and eventually climbed the film industry’s ladder to become an extremely successful producer, with over eighty accredited films. 

But those who watch shows like Entourage may have been surprised by Meistrich.  Not in personality, but in appearance.  Showing up Friday evening for the first workshop of the boot camp, Meistrich was not wearing a jazzy suit or even slacks and a sweater.  Instead, he donned a Hopkins hat, a baggy tee shirt, light blue jeans, and sneakers.  But his personality, though startling, wasn’t startling.  He was brash and arrogant.  He made it crystal clear that he cares about his money and making money, and will do everything in his power to make sure that happens.  But underneath all his swearing and his “no bullsh-t” attitude, it was also apparent that he is a caring person.  Or as Meistrich put it, “I’m a d---. Just not that big of a d---.”  The fact that he offered the workshop, which is usually designed for adults, to his alma mater at a reduced price (the camp is typically $395, but Hopkins students could sign up for $150), exemplifies this.  Meistrich clearly believes in Hopkins students and wanted to give them a chance to further their knowledge. 

The boot camp started with the facts.  The film industry is an “industry of precision,” explained Meistrich.  To be in it, one can’t be sensitive or let his or her feelings get hurt; one has to be tough.  Looking around the classroom in Maryland Hall, Meistrich pointed out that the people present had already separated themselves from the masses by showing up and wanting to learn.  But that wasn’t enough.  “You need skill.”  This doesn’t just mean the ability to write well or make good films (though that is still crucial); one needs to know how to market him or herself.  And that is what Meistrich taught.  Starting with how to pitch a film or television series idea to a producer to how to distribute one’s film internationally once it’s made, Hopkins students got a real inside look into what it takes to not only make it in film, but what it takes to make a successful film. 

Much of what students learned this past weekend was about themselves.  “Never ever apologize,” “take the criticism, swallow it,” “[there are] no f---ing excuses.”  These were among some of many of Meistrich’s mantras that he drilled into the participant’s heads.  He made it explicit that a filmmaker or writer’s mindset is the crucial jumping off point.  Without a clear head and unshakeable personality, there is not only no way to get into the industry, but there is also no place for such people.  Meistrich believes to be in the industry, “[You] must have a level of arrogance….Have a f---ing attitude,” but don’t be conceited or egomaniacal, and never apologize for thinking you belong.  Meistrich also compelled students to realize that going into film is a life decision, not simply a professional one.  “If you want to do this for a living, you have to do it for a living.  It’s not a job; it’s a life style.  It’s not a nine to five gig,” explained Meistrich.  

With that said, Meistrich went into how to get into the business.  He clarified that there are “two entry points: work as crew or cut a check.”  Either work your way up the ranks from crew or have the money to pay your way in.  Since most follow the former entry point, Meistrich stressed that the best way to do this is to intern and get as much practice with film as possible.  Students at Hopkins have free access to thousands and thousands of dollars worth of film and editing equipment that Meistrich said they should be using every single day because after graduation it costs much more to use.  Along those lines, students should be shooting short films every day.  To Meistrich, shorts are “calling cards,” they can help launch one’s career if done well enough.  This practice will help tremendously in the long run.  “The only way to feel like you belong is to have the experience to back up your confidence,” said Meistrich. “Work everyday until you are incredibly good at your craft.”

Though Meistrich seemed to break down a lot of students’ morale in telling the truth about the industry, he reminded them that, “You have Hopkins on your f---ing resume.  Don’t be afraid to use any advantage you can find for yourself….Use the pedigree you paid for.”  Meistrich warned that Hollywood has cut itself off from younger, new, fresh artists, but not to worry because the Internet has revolutionized film.  The big money is now in web series and on the Internet, explained Meistrich.  There are great, new opportunities there that many people have not yet realized, and eventually the Internet will destroy network TV. 

After being instructed on how to successfully pitch an idea, every student pretty much flawlessly pitched a story to Meistrich.  Though he didn’t give any hints to whether or not he would pick up any of the Hopkins students’ ideas, Meistrich seemed pleased with their overall performance.  The participants can only wait and hope that they get a call from him, and if not, they had a phenomenal opportunity to practice pitching that most people never get.

If anybody wants to go into the film and entertainment industry, it seems best to follow Meistrich’s advice.  Never apologize, be a bit arrogant, and come prepared. 

FILMMAKERS TALK ART, PASSION AND UNDYING LOVE
Written by Alexandra Byer
Photographs by Britni Crocker
Originally published in the Johns Hopkins Newsletter, Nov. 20, 2008.

Last Friday night, Hopkins students, faculty and the Baltimore public filed into Hodson Hall for a special screening of the acclaimed documentary Chris & Don: A Love Story.

Though the exclusive screening, sponsored by the Film & Media Studies Program, was significant on its own, a question-and-answer session followed the film with not only the filmmakers but also one the documentary's central subjects - Don Bachardy.

The public was given the opportunity to ask filmmakers Tina Mascara and Guido Santi as well as Bachardy their questions, but Hopkins film students were given

the rare opportunity to have an intimate workshop with the trio on Saturday morning.

Mascara and Santi's Chris & Don: A Love Story follows the passionate, defiant 34-year-long relationship between the distinguished writer Christopher Isherwood and his lover, Don Bachardy. Isherwood, the prolific British author best known for The Berlin Stories (which became the musical Cabaret), was 48 when he met the 18 year-old Bachardy on a beach in Santa Monica. In the film, Bachardy recalls Isherwood as, "so friendly; he had such a charming smile and sparkling eyes. Eyes that had such energy, eyes that ate you up." And though Isherwood had a fling with Bachardy's brother prior, Bachardy and Isherwood soon fell in love.

During the 90-minute film, their love is portrayed so tangibly that the inevitable and known death of Isherwood is still heartrending. An agglomeration of home videos, old photographs, excerpts from Isherwood's diaries and Bachardy's commentary, the documentary is an in-depth look into the couple's life. Since Isherwood was a prominent person in Hollywood's social scene, the two were often seen with celebrities such as Tennessee Williams, Truman Capote, Igor Stravinsky, Anthony Perkins and Leslie Caron. Anecdotes surrounding Isherwood and Bachardy's interactions with these people and interviews with those icons who are still alive add dynamism to the documentary. But even within their seemingly perfect, happy relationship, the documentary captures many of their hardships as well, especially in the face of adversity.

Even for the relatively progressive group of friends they were in, being a gay couple in the 1960s and '70s was a hardship on its own. Even Isherwood's close friend, psychologist Evelyn Hooker who focused on homosexual relations, believed that the 30-year difference between the two men was extremely unhealthy. But Isherwood and Bachardy paid no attention to such prejudice and continued to live together blissfully. Nothing could shake their steadfast relationship. Even when famous actors (that were at one time Bachardy's idols), like Joseph Cotton, commented on his sexuality, Bachardy had the strength to ignore such judgments. This partnership was that of undeniable love and loyalty.

They were so much a part of each other that Bachardy, who was still developing as a man, began to take on many of Isherwood's characteristics, even adopting a British accent though he is from Southern California. Being somewhat in the shadow of Isherwood was another struggle he encountered, but eventually Bachardy began to make a name for himself, becoming more than simply Isherwood's boyfriend. Bachardy eventually went to art school and became a portrait artist, painting hundreds of portraits of Isherwood and many other celebrities. In archived footage, Isherwood raves about how proud he was of Bachardy, how happy he was to see him succeed. And many of Bachardy's portraits are shown throughout the film. It is this type of footage that truly exemplified their relationship.

Other relics of their romance were the letters and cartoons written to one another that included their secret characters, “Kitty” and “Dobbin,” which respectively reflected Bachardy and Isherwood. These small drawings were made into short animated sequences that portrayed their love in yet another way - the way the couple privately viewed themselves. Though the film faced a problem of being overly immersed with solely Isherwood, Bachardy or just their work, it overcomes such troubles by intertwining each of their stories evenly. Bachardy's remarks are equally balanced by Michael York's reading of Isherwood's diaries.

Chris & Don is a beautiful tale of the love that Hollywood tries to imitate in many of its narrative films. But instead of making it up, Mascara and Santi resurrect a relationship, showing it in its true form. Chris & Don is a reminder that true unyielding love does exist, against all inequality, change and even death.

After the film's presentation, Bachardy, Mascara and Santi took to the front of the lecture hall to answer questions. They were immediately met with a standing ovation. The experience of seeing the filmmakers in the flesh was remarkable, and it seemed as though Bachardy simply walked off the screen that he had been projected on only moments before. The audience was given the opportunity to ask questions, many of which were directed to Bachardy. He was asked about his artwork, his role in the documentary's production and his relationship with Isherwood. Members of Baltimore's GLBT community who were in attendance applauded Mascara and Santi for making a film that so beautifully depicts a homosexual relationship.

"I am so grateful to all of you for bringing this beautiful story to film. There is so little celebration of gay love in our society, and I truly appreciate it," one woman commented. Another asked Bachardy what his thoughts on the gay marriage controversy in California are. To this, Bachardy replied vehemently: "Of course we should have the right to marry each other if we want to. On what possible firm basis can we be denied? It's sheer bigotry. And also, it's un-American . . . What possible valid reason against it can there be?" He also commented, though, that if it were available to him and Isherwood at the time, they would never have gotten married because what really mattered was "our devotion to each other; no one else had to sanction it."

Bachardy spoke about what Isherwood's death meant to him and what that moment was like. He commented that though it was one of the hardest times for him, he had made up his mind at 18 that he would always take care of Isherwood, and so that's what he did. Bachardy spoke even further about his never-ending love for Isherwood and when asked if he had any other great loves, he simply laughed and responded that none had been so great. Though Bachardy was primarily the topic of interest during the question-and-answer section, the next morning, about a dozen film majors had the chance to meet with the trio again, this time engaging Mascara and Santi in most of the conversation.

In a casual environment over danishes and coffee, Hopkins students asked Santi and Mascara about their experiences in filmmaking. Most of the questions pertained to the actual production of Chris & Don: how they filmed it, how they raised money for it and what the hardest and most rewarding parts were. The filmmakers delved into the construction of the documentary, explaining how they tied together the different media, the editing and even just the sheer luck they had in having the opportunity to make the film.

Santi and Mascara spoke about their own backgrounds in film as well. Santi grew up in Italy, worked on many short films and later graduated from the University of Southern California with a Master's degree in Film Production. Mascara, from West Virginia, attended the film program at Los Angeles City College. Her background was in photography, but applying her love of film, she channeled that knowledge into making films.

After telling their own stories, the filmmakers were curious about the students interests and goals. Each student had the opportunity to share his or her pursuits and hopes for the future. Santi told them that finding their passion is the most important part, because though one can focus on success, if one is not passionate, then it doesn't matter: "It's not about success, it's about personal expression ... Success comes if you hit the right spot."

Mascara added that she realized through working on this documentary with Bachardy that "having that vocation, finding that thing in life that is something you love to do, and whether the success comes or not, it's a reason to wake up in the morning." They explained that the whole process of life and film is learning, that they too are still learning about themselves and their art forms. But the filmmakers stressed that everyone has the capability to go out and film whatever they want and learn from that because, especially today, so much technology is readily available.

The events throughout the weekend surrounding Chris & Don were exciting for everyone involved. Students were given an amazing opportunity from which they were able to not only see an incredible film but also gain insight on it from the direct source itself. And even many Baltimoreans were able to be part of this once in a lifetime occasion.

Though the production of film was important to the workshop, the idea of finding one's own path was really the underlying message. Finding one's passion, whether it is filmmaking, painting or writing, is one of the most important parts of life, and this was emphasized by Santi, Mascara and Bachardy equally. As Santi said, "Once you find your own vocation, you will be on the highway, you will be there."

 © The Johns Hopkins University. All rights reserved.