Onámuh, 22min,. Mexico
Directed by Miguel Ángel Vives Ponzanelli
Onámuh, a humanoid marked by past abuses, searches for resources to survive. Árret, a deity of the earth, helps him and takes him to her lair, where Onámuh finds the energy he needed. However, his need turns into an addiction, leading him to abuse Árret and make her his prisoner. As the environment rapidly deteriorates, Onámuh must make a fatal decision due to his accumulated guilt.

https://www.instagram.com/pm.a.v/

Get to know the filmmaker:

What motivated you to make this film?

Philosophically, I’ve always loved the ideas Nietzsche had around nature and the way Humans perceive it in terms of an ego out of proportions. We humans tend to try and trap nature in our supposed “reason” but, in that futile attempt, we unleash a destructive force that tries to compensate the shameful fact that we understand almost nothing in the greater scheme of the natural universe. I wanted to portray that struggle with visual metaphors, symbols and allegories.

This brings me to the social part of the motivation to do the film. I’m mexican and, inside my country, we have deep problems concerning the destruction and exploitation of the natural environment. So, I saw an opportunity to try and create awareness of the problem that affects Mexico but also the entire planet as well. A good film can change perspectives and put people into action. Hopefully, this short film generates a bit of that in the audiences that watch it.

What were your initial reactions when watching the audience talking about your film in the feedback video?

I cried. Really, I did. I felt like the film directors that inspired me to do films. My sole purpose has always been to give audiences something worth watching you know? Good quality, good script, performances and attention to detail! The feedback video gave me validation to do more without compromising.

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EP. 1435: Filmmaker Miguel Ángel Vives Ponzanelli (Onámuh)

Matthew Toffolo

Watch the best scene reading: https://www.youtube.com/watch?v=KD7-GJD_6EU

The untold true story of Phil Leonetti, the youngest underboss in mafia history, and how he brought down the mob. Set in one of the most brutal eras of the Philadelphia Crime Family, young Phil Leonetti rose through the ranks to become second-in-command to his uncle, Nicodemo “Little Nicky” Scarfo, and eventually turned government witness. His cooperation turned convictions against his own family, John Gotti, Vincent Gigante, and countless others. The downfall of La Cosa Nostra as it was began with Phil Leonetti.

Get to know the writer:

What is your screenplay about?

Philadelphia Crime Family in the 1980s (I’ll expand on this)

What genres does your screenplay fall under?

Crime/Thriller

Why should this screenplay be made into a movie?

It has not been done before, in any capacity, and there is an audience for this kind of work. It’s an untapped story with incredible potential

How would you describe this script in two words?

Untold and engrossing

What movie have you seen the most times in your life?

The Godfather

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EP: 1425: Screenwriter Matthew Clark (MADE IN PHILADELPHIA)

Matthew Toffolo

RISING TIDES, 103min,. USA
Directed by Charlie Spickler
Rising Tides is the story of how climate change is affecting the fishing communities on the East Coast, the Coral in the Keys and the domino effect it has on the various regions. We are looking at the Science of Climate change and the politics of what is and what is not being done in Congress.

http://www.risingtidesfilm.com/

Get to know the filmmaker:

What motivated you to make this film?

I read an article in the New York Times about the Peconic Bay Scallops dying before they could be harvested. I grew up out on Long Island, so this became personal for me. That led me to looking at the Blue Crabs down in Maryland and the bleaching coral down in Miami and the Keys and next thing you know, – Climate Change doc.

What were your initial reactions when watching the audience talking about your film in the feedback video?

I was overwhelmed. Especially some of the comments that were made that literally mimicked my reasons for making the film, I wanted this film to be accessible and understandable for people with no experience with climate change and or the science of global warming. I wanted to present this information in a way that was understandable, Based on the comments I think I succeeded in doing that.

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EP. 1409: Filmmaker Charlie Spickler (RISING TIDES)

Matthew Toffolo

GROCERY SHOPPING, 38min., USA
Directed by Harry Roseman
I am at the grocery store three to five times a week. It has become a ritual, picking out the items, going over the shopping list, interacting with the same people year after year. It seems to me, an important aspect of my and many other people’s lives. Something utterly familiar. Though filmed it becomes somewhat mysterious, seen anew, to be rethought about.

Harry Roseman is a sculptor, photographer, draftsman, practitioner of web based works, and professor of art at Vassar College where he currently chairs the Department of Art. In addition to having had many solo exhibitions, Roseman has produced a number of major commissioned public sculptures.

For more info, go to his Wikipedia page: https://en.wikipedia.org/wiki/Harry_Roseman

https://www.instagram.com/harryroseman/

Get to know the filmmaker:

What motivated you to make this film?

My work takes many forms. An aspect of some of my work in photography, installation, and film centers on my interactions with people in my community as I go about doing errands. I had done some shorter film focused on checking out at the register with my purchases. These interactions are important to me because of the frequent interactions I have with the same people over months and years. They are specific kinds of relationships, These exchanges have an aspect of friendship, though bracketed by the relatively brief interchanges but enlarged by time and repetition. This film stems from those interactions, but also a way of showing a frequent and mundane activity as being worthy and possibly interesting as art. Possibly giving the viewer a new take on their own regular day to day activities, In addition I found aspects of the visual possibilities rather beautiful, as still lives, such as piles of fruits and vegetables. The added addition of bits of conversation that either I had with people or overheard was also interesting to me.

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EP. 1397 - Filmmaker Harry Roseman (GROCERY SHOPPING)

Matthew Toffolo

BEYOND THE RIVER is an amazing experimental film made at the Savannah College of Art and Design.

Conversation with the creators of the film Wen-Chun Cheng & Hsu-Jen Huang on the process making this film and designing all of the umbrellas.

Film also showing on the WILDsound TV app next month. You can sign up for the 7 day free trial at www.wildsound.ca (available on your streaming services and APPS). There is a DAILY film festival to watch, plus a selection of award winning films on the platform. Then it’s only $3.99 per month.

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April 20, 2022 - Director Wen-Chun Cheng & Creator Hsu-Jen Huang (BEYOND THE RIVER)

Matthew Toffolo

Grab your mallets and get ready to Break into Three as Matthew and Kierston discuss the beauty and complexity behind third act twists, why they work and they made audiences feel so wonderful! 

#28 thrid act twists

Matthew Toffolo, Kierston Drier, WILDsound Festival

Welcome to The Film Podcast by WILDsound. WILDsound is a Film Festival, running Audience Feedback Filming sessions in Toronto, L.A, and Montreal, as well as running monthly writing competitions in Screenplays, Features, Spec Scrips, Novels, Poetry and many more. 

On today's Episode, we meet our hosts Matthew Toffolo and Kierston Drier as they break down what exactly a "walk and talk" shot is in film and television- as well as how and why they are used. 

 

#1 Walk And Talk shots The Film Podcast

Matthew Toffolo, Kierston Drier, WILDSound Festival

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SHOW NOTES 

DEFINITION: specifically in regards to film and television, a walk and talk shot is a story device, a narrative technique employed, often by the director to propel action and movement into a scene that would otherwise by dialogue heavy. 

• GENERAL EXAMPLE: You see this used a lot in Procedural shows like medical dramas, crime dramas, law drama, etc. The idea behind this is the actors are talking and sharing whatever information they have to in the scene, but the scene involves them walking through or to something. 
   
• • WHY IS IT USED
    Dialogue heavy scenes are often needed to establish a character backstory (Think that classic scene in a Rom-Com when the Characters have a hear to-to-heart while walking in the park), Explain a situation, or establish major conflict. We want to avoid exposition is most cases of writing, but when we MUST have a scene where exposition is happening, then that dialogue-heavy scene would get pretty boring if the characters were just standing there like talking heads. So a Walk-And-Talk shot does four things: 
    • It creates a sense of Urgency- those characters are getting somewhere!
    • It can link scenes together. Ex: The characters were in the boardroom and they shared important information that will affect them in the next scene when they enter the main office space. 
    • It establishes the lines as more casual (these details must be shared but they are not SO important that the characters have to STOP what they are doing to share it)
    • Psychologically, it establishes visual interest. As moving characters are more interesting to watch that non-moving one. 
      
       

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