NBFF Filmmaker's Five with Grant Wheeler

By Kelly Strodl

Today Grant Wheeler, director of The Lone Jackal took a few minutes to answer my questions about his film – The Lone Jackal, screening this year as part of the Action Sports Shorts showcase. The documentary film follows motorcross freerider, Alastair Sayer on his return to his native African homeland after a successful European FMX tour. His journey home is chronicled through heart-felt narration while visiting friends and family and battling the weather to ride once again. The Lone Jackal documents a major turning point in Sayer's life, when he comes full circle, both literally and symbolically, preparing for the next stage of his life where he blazes a new path in his career and seals his legacy as one of Africa's most stylish freeriders.

Q: How did you hear about the Newport Beach Film Festival?

I found the festival on 

Withoutabox.com.

Q: Tell a little about the story of your film and the production of it.

I've been a dedicated fan of motorcycle movies from an early age, and I've collected almost every single title released since Terrafirma 1. And I've seen the progression of dirtbike films over the decades, following in the footsteps of skate and surf movies. As the years progressed these films started becoming more narrative driven and focused on the athletes and their personal stories. I felt that dirtbike movies needed to evolve into that direction, and I needed to evolve my own filmmaking into that direction too. So I rounded up the most volatile and well respected African freerider, the bushcat from Botswana, Alastair Sayer. 

Alastair has a jam packed schedule traveling around Europe doing shows for Masters of Dirt and competing in the Night of the Jumps series, thus we had to plan our shoot for when he returns to South Africa between events. The premise of the film was to depict the rider 'helmet off', getting a deeper perspective of what it takes to live this rock-star lifestyle, yet still with a healthy dose of great riding sequences. Alastair moved into my house for his time back home, and so did most of the production crew. We followed him almost Cinema Verte style from the moment he stepped off the plane till he left again. 

Jakalas, as his fans know him by, was going through a huge personal battle at the time. He was at a turning point in his career, where he either had to progress to the next level, or quit completely. Each time he left home he risked his relationship with close family and friends. Being away from your loved ones for long periods takes its toll on the toughest of characters. Alastair beautifully narrated his journey and the choices he made. After five weeks of shooting, and an all night session in the voice over studio later, we said our goodbyes and he was off on another adventure. Days later he set the new World Record for set-up and was awarded the best African FMX rider. 

Q: Tell a little about yourself and your story in filmmaking.

I grew up racing motorcycles, broke too many bones and had to find something else I could do creatively while healing up. Shooting my buddies ride was always my passion, and still is. After making some dirtbike movies, I completed my studies at film school and now I'm very fortunate to still be making motorcycle movies, its not really a job. Thats why I love it so much.

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

The weather played a big role in the production of this film. We went into production during spring, just as the summer thunderstorms started rolling into Johannesburg. We planned an epic sunset freeride session but day after day we got rained out, and our time with Alastair was also running out. But eventually the bad weather turned into a metaphor for Alastairs personal struggles, so I wrote it into the film. On the second to last day of shooting, we headed out to his favorite freeride spot and the clouds magically parted for us to shoot the most epic sunset sequence. And in his own words, "Every day is a gift, that is why they call it the Present".

Q: What do you do when not making a smash indie film?

I try to ride my motorcycle as much as I can. I've just recently had most of the titanium plates and bolts removed from my body, and hope to be injury free for a while. Other than that I'm currently making Extreme Enduro movies for Throttle Entertainment and traveling the world in search of new stories.

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THE LONE JACKAL screens with two other films as part of the ACTION SPORTS SHORTS SHOWCASE Saturday, April 30 at 11 AM in the Triangle Square Theater 4.

To purchase tickets visit:

http://newportbeach.slated.com/2011/films/thelonejackal_jonathangrantwheeler_newportbeach2011

Watch the trailer for the film here:

Posted via email from Lights, Camera, Film Fest!

NBFF Filmmaker's Five with Alison Mason

By Kelly Strodl

Today we talk with Alison Mason, director and writer of Finding Jenua, a tale of love, loss and finding your place in the world. A drama with mystery that's told in an unconventional way, unraveling like a memory and tying us back together with the simple beauty of human connection.

Edie chain smokes, bites her fingernails, smashes her foot down on the gas pedal – she lives life fast. And as life whirls by her she likes it that way. Jean sits at the kitchen table for hours. She can still smell the Christmas tree, and hear the faint sounds of her husband and child, but they’re gone. The house is empty. She wanders in search of something familiar and finds it when Edie blows into town. Cal works at the local diner and motel. Squirming under his overbearing mother's thumb, Cal dreams of leaving town and making new memories.

When their lives intersect, the past finds them all and forces them to face their truth.

Q: How did you hear about the Newport Beach Film Festival?

Well, the festival has such a great reputation, so that proceeds this story for sure.  But, last year I volunteered at the Feel Good Film Festival in Hollywood and so there I was working the red carpet and of course, a bird poops on my head.  The irony, right?  At a feel good festival.  So, I was laughing about it and so were a bunch of other people around me; two of which happened to be from the Newport Beach Film Festival.  Once I got over my embarrassment, I told them about my film and they told me to submit.  You know, a slew of people told me that getting pooped on by a bird was good luck.  I now believe it.  

Q: Tell a little about the story of your film and the production of it.

I wrote the script over ten years ago while living in North Carolina with my husband, Brian.  We moved into a house that an elderly woman owned and subsequently we had to put all of her belongings into one room of the house so we could move our things in.  We came across her pictures, letters... bits of her life that seemed to be amazing.  I couldn't help but think of her sitting in one room of a nursing home while her memories sat in another, just out of reach -- literally and figuratively -- she had dementia.  Circumstances prevented us from visiting her and our stay there was brief, but the whole experience really affected me and, well, I guess the story was born from that.  And when the first draft of FINDING JENUA was optioned by a Hollywood director, we sold everything we owned and headed West... with big, big dreams and only a few thousand dollars.  

And the roller coaster ride began immediately.  A list stars signed on and then the funding would fall through -- it was the same old Hollywood sob story -- but this one lasted for ten years!  We don't know how to give up and decided it was time to make FINDING JENUA ourselves.  So, a with a few really good friends (Jack, Holly, Ben) and a bank loan, that's what we did.  Our parents co-signed said bank loan, wrote loaner checks and ultimately believed and invested in us, otherwise this wouldn't have been possible.  So armed with our micro-budget, we just kept inching forward (begging a lot and learning as we went) until we were actually filming.  I'll never forget yelling" action" on the first day.  I think I cried.   

Q: Tell a little about yourself and your story in filmmaking.

I was born in Philly and grew up half in a small town in PA and the other half in a small town in North Carolina.  I was raised by my amazing mother who gave me a strong work ethic and always told me that I could do anything.  And she gave me books -- lots and lots of books.  I think that small town, can do attitude and an imagination ignited by reading set my foundation and not only allowed me to dream, but to put stock in those dreams.  It wasn't a cake walk, I worked really hard, usually working two or three jobs while pursuing acting, but I kept my eye on the prize.  And when I met Brian, well, let's just say that two dreamers can be dangerous!  He was a musician and we just fueled each other... we still do.  He believed the most when I didn't and he just never let me give up.  So, after ten years of waiting for someone else to give us permission to make our dreams come true, we green-lit ourselves. My husband produced FINDING JENUA with me, made his acting debut and he even wrote music for the trailer, not to mention craft services, production accounting, etc.  It took us another two years to actually finish the film, but we did!  And now we're paying a mortgage on our movie while living in a one bedroom apartment.  Who says independent filmmaking isn't glamorous?!?!   But, we're incredibly grateful that FINDING JENUA is really starting to get noticed and that all of our hard work is starting to pay off!!  Honestly, we couldn't be happier! 

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Gayle James and Leigh Rose.  Wow.  These two women astounded me. They really did.  I had known Leigh for about five years and she had followed along on the FINDING JENUA roller coaster ride, hearing about stars who were attached to play "her part," as she used to put it.  I secretly dreamed of directing it and she... well, it was no secret that she wanted to play Jean, but for years we both just watched the project as it seemed to have a life of its own.  I'll never forget calling her and telling her that we were making the film and that I wanted her to audition with Gayle.  Leigh has the greatest laugh and just kept saying "fabulous."  And I have to say that the audition was magical.  In fact, they're the only two that I audidioned for the roles.  I knew right away.  Okay well, if I'm honest, when I met Gayle she was blonde and I struggled to see the Edie in her.  But, there was something about her that I couldn't shake, and if you know Gayle, you know what I'm talking about, she's infectious, but the polar opposite of Edie.  So, I called her back.  And she really brought it.  The part was hers.  Then I asked her to dye her hair, bite her fingernails off and live in her car.  And she did.  She was so open and honest... it broke my heart (in the very best way).  And as for Leigh.... there really are no words for that kind of talent.  They're both pros and now part of our family.

And that goes for Jordan Mantell and Christine Kellogg-Darrin, too.  I can't tell you how amazing it was to work with them.  When they met at the audition, they hugged like they had known each other forever.  Incredible, those two.  The scene they did with the file rocked our little crew... we all needed to hug afterwards.  And I can't forget Brian Mason, who got the part because our reader didn't show up.   He read opposite Jordan and their chemistry was ridiculous.  I figured well, it's one less mouth to feed on the set!  In all seriousness, they are all extremely talented and generous and brave and I really couldn't be more proud of them and their work.  I have to say that one of the greatest gifts of my life was to see the characters that I created so long ago come to life through Gayle, Leigh, Jordan, Christine and Brian.  How do you thank someone for that?        

Q: What do you do when not making a smash indie film?

I'm a screenwriter and I teach an advanced acting class at AFI for the SAG Conservatory. I also do private acting coaching/workshops. I also produce films, edit and sell blood and plasma when necessary. Kidding.  It hasn't come to that yet thanks to Brian's day job.  He's my hero.   

FINDING JENUA screens Sunday, May 1, at 5:30 PM at the Triangle Square Theater 2.

To watch the trailer and buy tickets follow the link below:

http://newportbeach.slated.com/2011/films/findingjenua_alisonmason_newportbeach2011

Posted via email from Lights, Camera, Film Fest!

NBFF Filmmaker's Five with Curt Wallin

By Kelly Strodl

Today we talk with Curt Wallin, director of Boys of Bonneville: Racing on a Ribbon of Salt. The documentary tells the story of unsung hero, David Abbott Jenkins, who set out to single-handedly break every existing land speed record on his beloved Bonneville Salt Flats, in Utah.

With an unshakable faith and integrity, Jenkins set out to break every existing land speed record and then establish several endurance records of his own. In remarkable vintage footage shot on the Bonneville Salt Flats, Ab can be seen piloting his own car in 24-hour endurance runs through vintage newsreels, photos, interviews and letters. Although suffering exhaustion, hallucinations, and injury, he never left the cockpit. His 24-hour records remain unchallenged. Seventy years later, the legacy lives on through his son, Marv, and his car - the now reconstructed 12-cylinder, 4800-pound “Meteor III.”

Q:  How did you hear about the Newport Beach Film Festival?

I heard about the Newport Beach Film Festival a few years back, when a short film called “Courage and Stupidity” won the Audience Award at NBFF.  I was the Assistant Director for the film.

Q: Tell a little about the story of your film and the production of it.

The film tells the story of Ab Jenkins, the first man with the idea to use the Bonneville Salt Flats as a location for endurance land speed racing.  After more than two decades of dreaming, Ab worked himself into position – seized his chance -  and as a result  broke all endurance land speed records and set the standard for this type of racing throughout the 1930’s and 40’s.  With the help of one of the world’s greatest automotive engineers,  Augie Duesenberg, he created the Mormon Meteor III race car, which remains one of the most iconic racing vehicles ever built.  Ab also attracted international racers to the salt flats thru his own tireless PR efforts, opening this unique speed venue for all the world to come and conquer.  

Originally, we were commissioned by the Price Museum of Speed in Salt Lake City, Utah, to produce a simple 20-minute account of the restoration of the Mormon Meteor’s original 1924 12-cylinder airplane engine.  While meeting with Marv Jenkins, Ab’s elderly, surviving son at his house in St. George, Utah, we found thousands of feet of archival motion pictures of Ab’s exploits from the 30’s and 40’s.  This seemed to be unique footage that had not seen the light of day for decades.  Intrigued, we arranged to have the film transferred and preserved - and the idea for “Boys of Bonneville” evolved around this copious mass of amazingly shot footage. 

Q: Tell a little about yourself and your story in filmmaking.

I’ve been a director of photography for 15 years, and have been fortunate to learn about the craft by being around some truly great filmmakers as I worked on projects, ranging from wildlife documentaries to crazy TV series.  Through personal connections, I learned about this project and was brought on board early on.  It has truly been a dream project, being able to shoot, direct and after nearly 4 years produce this film that combines amazing history, phenomenal footage - both archival and modern - and a story that captures the emotions and the imagination of everyone, not just people interested in cars and racing.

Q: Your take on the performances of the lead actors, (set backs, triumphs, impressions, good surprises, etc.)

Our narrator Patrick Dempsey, the voice of Ab Jenkins, had to step out of the standard third person historical documentary narration and bring Ab to life as a living, breathing character.  He was extremely enthusiastic, hardworking, and did a fantastic job.  Patrick is an auto racer himself (his team took third at this year’s 24 Hours of Daytona race!) so he really got the story, and what Ab must have been going thru more than 75 years ago. 

It was also an untold pleasure to sit amongst Jay Leno’s stellar collection of world-class cars and “talk shop.”  His knowledge of cars and automotive history is deep.  He was very, very gracious. 

 Q: What do you do when not making a smash indie film? 

I work on other people’s smash indie films.  

BOYS OF BONNEVILLE screens Wednesday, May 4, at 6 PM at the Triangle Square Theater 7.

Buy tickets here:

http://newportbeachfilmfest.tix.com/Event.asp?Event=355266

Or watch the trailer on YouTube, here:

Posted via email from Lights, Camera, Film Fest!