Post(s) tagged with "afi fest"

Catching Up With Kim Ki-duk


Kim Ki-duk’s ARIRANG was an official selection at AFI FEST 2011 and he was a guest of AFI FEST in 2012, where he presented his new film PIETA. We caught up with him in anticipation of the film’s theatrical release this month.

Your last film, ARIRANG was a documentary about how you dealt with the guilt from an incident in your life, and PIETA, similarly, deals with characters who are seeking redemption for acts that they have committed in the past. Did making this film feel like a cathartic experience for you?

I think that ARIRANG was a film about how people lose their faith in a money-centric society. No matter how good a relationship you may have with your fellow man when faced with the prospect of fame or money, even deep relationships can become quite fragile. PIETA also raises this question of how human relationships can be cruelly affected by the involvement of money. PIETA was not an act of catharsis. I did not make a vindictive movie to force people to repent their actions.  It’s just a shame that we are living in an era where money is destroying human values. 

What made you want to frame this story in such a religious sense? Why did you title it PIETA?

I think religion in the lives of human beings stems from the fervent prayer of those suffering from events outside of their control. I think we can see the Catholic “Pieta” for many people associated with the intense image of the Virgin Mary in times of sadness or suffering. I felt his image of “Pieta” sadly looking out over the heartless money-centric modern society was perfect for the PIETA movie concept. 

The maternal relationship in this film is unconventional to say the least, can you talk about some of the other mother-son relationships that you’ve explored in your other films?

This is certainly not the first time I’ve explored mother-son relationships in this way in my movies. My first film ADDRESS UNKNOWN was a story about the relationship between a mixed-race son of a U.S. soldier and his Korean mother. In Korean society what is called “motherhood” is a mother’s love. For Korean people, especially Korean sons, this love is the driving force in their lives. I wanted to face the reality of the violence perpetrated on the mother as a hostage of the events happening to her sons, I hoped to show this in PIETA.  

Do you think its harder or easier to get films made that include graphic violence?

This is not the case. Violence is easy. You can shock both the physical and mental aspects of someone. I think violence can be personal between individuals, or larger groups, or entire populations, or even between countries. Currently, the most dreadful violence that can be perpetrated is war. Even now, the aura, the potential, of war still hangs across the Korean peninsula. Even now North Korea and the United States continue to puff themselves up with Nationalistic pride and fight with each other. Why don’t the leaders of both Nations just meet with each other? I don’t know. I hope they can abandon their egos long enough to meet and listen to each others point of view. Perhaps, even though human beings are aware that reconciliation is that simple, we enjoy the tension and violence. 

What will you be working on next?

Now I’m in the midst of shooting the second half of my film MOBIUS If possible, I’d like to make it a movie that overcomes the tensions between the United States and North Korea.

Catching up with Jordan Vogt-Roberts

Filmmaker Jordan Vogt-Roberts’ short film SUCCESSFUL ALCOHOLICS was an official selection at AFI FEST 2010.  His feature film debut THE KINGS OF SUMMER premiered at Sundance earlier this year.  We caught up with Jordan in anticipation of his new film’s upcoming theatrical release.

You’ve had such success with your short films, and such talented casts in your short work as well, what were some of the biggest challenges that you encountered in making your first feature film?

I think filmmakers spend so much time thinking about their first feature because everyone from peers, media and executives put such incredible weight on it. So inevitably you run through the infinite possibilities of “Am I ready?”, “What if I mess this up?”, “Am I a hack?”, “What if it’s just okay and not a masterpiece?”, “Orson Welles made CITIZEN KANE in his twenties, where does that put me?”. I think it’s too easy to get caught up in those anxieties and forget that you’re there because you have a job to do. The whole prep period on this movie basically didn’t exist for me because it overlapped with the post production schedule on my TV series MASH UP for Comedy Central. That was a really crazy time and it didn’t help that we had some people involved with the movie who basically proved to be pretty incompetent which meant that you need to step up and carry extra weight. In a weird way this was a blessing because my brain couldn’t run crazy with the aforementioned anxieties because I was too busy throwing myself at it whether I was awake or asleep. It consumes you and that’s almost it’s own challenge to deal with in itself. I had a sit down with my DP, friend and frequent collaborator Ross Riege when he showed up to Ohio where I basically said “Right now, we either make every part of this movie better than anything we’ve done before…or we go home…forever”, we just sort of had this mantra of fail boldly and fail bravely. We saw it as being fortunate enough to be making a feature film, which was ultimately the entire reason we got into this business and moved to L.A., so we just felt a responsibility to ourselves to go for it at all times – I’m sure there’s a sports cliché about leaving it all on the court and that’s probably applicable. There were camera moves and set ups that we didn’t know if they would work, but dammit we wanted to try and push things for ourselves. Production is production so ideally you’ve trained yourself in the art of trusting your instincts, being a leader and executing well enough that when you show up to the first day on the set of your first feature it doesn’t feel any different from another day on set. I know that’s not a very romantic answer but that’s how it felt. The biggest new challenges were just adjusting to the length of the shoot and really keeping track of the big picture in terms of plotting and characters. Making sure the whole thing unfolds properly when you shoot it out of order. That was the new muscle so to speak.

This film is infused with such a nostalgia for childhood, specifically male adolescence; is it at all similar to your childhood?

I was always a dreamer and a troublemaker. I wasn’t a bad kid, I was just always instigating and hatching plans or schemes. I’m a really nostalgic person but I feel like even at a young age I recognized the duality of that age. Incredible freedom and incredible pain that comes from not knowing your place in the world. I remember the dichotomy of not wanting to grow up yet wanting to be taken seriously. Bill Watterson, the creator of Calvin and Hobbes has a quote where he says “People who get nostalgic about childhood were obviously never children” and I’ve always found it fascinating that someone who created such an incredibly earnest look at adolescence could be so jaded about it. I think myself and the movie very much reflect that idea. I think the people I find most fascinating in the world from Shel Silverstein to Shigeru Miyamoto or Steve Jobs are people who were able to keep the child inside them alive yet transition into adult life. Once that kid inside you dies I don’t think there’s any bringing it back to life.  I’m also just really obsessed with what masculinity is in 2013 considering we’re basically a generation of wusses raised on technology and video games. 

People traditionally think child actors can be difficult to work with, what do you think is more difficult, children or celebrities?

It was really important to me that the kids in the movie be actual teenagers below the age of 18 as opposed to twenty five year olds playing 15. They needed to be real and authentic as opposed to movie stars. The kids in my movie were incredible to work with and it was important to me that I wasn’t their boss but their friend. We tried to run a set where there wasn’t a separation between kids and adults, they were all actors there to do a job because they were invested in a project. 

This film has such a powerful and unusual script, you never can tell where the narrative is going to take you.  What attracted you to working with (screenwriter) Chris Galleta?

Chris is amazing and we immediately clicked. Him and I have very similar sensibilities but I knew that I could take his script and really push it to a place that was perfect for my first feature. He laid the groundwork that allowed me to create an indie comedy that had the heart of John Hughes movies mixed with the cinematic scope and technique of early Amblin films and fuse that with extremely contemporary alt comedy and add in some lyrical terrance Malick Homages. I fell in love with the script because I knew I could push all of those things and effectively shout “HEY! Comedy doesn’t have to be this boring thing we’ve turned it into over the last 20 years. Remember when films weren’t as disposable?” Chris gave me such an incredible base to build off of and really that’s all I could ever ask for.

Like a lot of other independent directors, you’ve had a lot of success working in television lately, do you see yourself returning to that or doing more features in the future?

I love all mediums of filmmaking. Commercials, TV, Web. They all of their own quirks. The internet is the wild west and super fascinating. I love commercials because it’s the rare time you actually have a budget to play with and I love the challenge of knowing your exact parameters in terms of message and length and then trying to make something awesome. I have my own TV show which we might do a second season of and I’ve done some for hire stuff but I’m really still trying to figure out what my place in TV is. Features on the other hand… that’s why i’m here. I grew up falling in love with movies and the worlds they created. That’s my priority and that’s where I want to be.  

THE KINGS OF SUMMER opens in theaters May 31.

Catching up with Filmmaker Ben Wheatley


Director Ben Wheatley’s last film KILL LIST was an official selection at AFI FEST 2011.  We caught up with the director for a few questions in anticipation of the upcoming release of his latest film SIGHTSEERS.

This film while still very violent has a decidedly lighter and more humorous tone than your last film, are you moving in that direction or do you intend to return to darker material with your future work?

I think I’d like to keep my options open. I think I’ll make another horror film at some point, but wouldn’t rule out a rom com.

What was it like to have your film premiere in Cannes last year?

It’s was nerve-racking , and in retrospect, it was a lot of fun. 

Your two leads have such amazing chemistry, can you tell us a little about how your found them and put them together?

Alice and Steve had been developing the characters for years together before I got involved. 

You’re pretty much finished with your next film A FIELD IN ENGLAND, and it sounds very different from your previous films, can you tell us a little about what we can expect?

Expect magic mushrooms, big hats, shoot-outs and freak-outs. It’s half period piece, half Roger Corman’s THE TRIP.

SIGHTSEERS opens in theaters on May 10  in New York at Landmark’s Sunshine Cinema and in Los Angeles at Landmark’s Nuart Theater in West L.A.  SIGHTSEERS will alsol be available on VOD May 13.

Ulrich Seidl’s PARADISE Trilogy begins a one week run at Cinefamily this Friday


The controversial director’s latest trilogy begins a one week run at Los Angeles’ Cinefmaily theater this Friday.  PARADISE FAITH and PARADISE LOVE were both official selections at AFI FEST 2012.  Click here for more information.

AFI Alumni at the 66th Annual Cannes Film Festival - Updated


We are proud to announce that the 66th Annual Cannes Film Festival will feature 15 films from AFI Conservatory Alumni. The festival will begin May 15 and will run until May 26.


THE IMMIGRANT                                                                                                   Kayla Emter (AFI Class of 2008), Editor

Affonso Gonçalves (AFI Class of 1993), Editor

Director’s Fortnight

Paul Van Zyl (AFI Class of 1984), Production Staff

Un Certain Regard

Rachel Morrison (AFI Class of 2006), Cinematographer

Diego Quemada-Diez (AFI Class of 2001), Producer/Director/Screenwriter

Short Films Competition

Darin Mercado (AFI Class of 2001), Producer
Magnús Viðar Sigurðsson (AFI Class of 1992), Executive Producer

Short Film Corner

Jack Swanstrom (AFI Class of 1995), Director

Deniese Davis (AFI Class of 2012), Producer
Moshe Sayada (AFI Class of 2012), Director/Screenwriter
Cami Starkman (AFI Class of 2012), Screenwriter/Editor
Stefan Weinberger (AFI Class of 2012), Cinematographer
Lavinia DeCastro-Walsh (AFI Class of 2012), Production Designer

Tiffany Laufer (AFI Class of 2003), Director/Screenwriter/Editor

Sheena McCann (AFI Class of 2011), Producer/Director/Screenwriter
Petr Cikhart (AFI Class of 2012), Cinematographer

Shuchi Talati (AFI Class of 2011), Director/Screenwriter
Jaspar Granderath (AFI Class of 2011), Cinematographer

Lisa Molomot (AFI Class of 1998), Director

Lisanne Sartor (AFI Directing Workshop for Women, Class of 2012), Producer/Director/Screenwriter
Samuel Kim (AFI Class of 2011), Cinematographer
Sevdije Kastrati (AFI Class of 2011), Camera Operator


Justin Tipping (AFI Class of 2011), Director

Hannah Chipman (AFI Class of 2012), Producer
Vuk Mitrovic (AFI Class of 2012), Director/Screenwriter
Rahel Grunder (AFI Class of 2012), Screenwriter
Yong Jin Kim (AFI Class of 2012), Cinematographer
Cami Starkman (AFI Class of 2012), Editor

Special Screenings

Nicolas Emiliani (AFI Class of 2007), Line Producer: Napa Valley
Dwjuan Fox (AFI Class of 2007), Line Producer: Los Angeles

Now Playing - KON-TIKI (AFI FEST 2012)


KON-TIKI is now playing in theaters. The movie screened at AFI FEST 2012. You can read more about the film here.

Now Playing - THE ANGELS’ SHARE (AFI FEST 2012)


Ken Loach’s film THE ANGELS’ SHARE is now playing in theaters. The movie was part of the AFI FEST 2012 lineup and won the Jury Prize at the 2012 Cannes Film Festival. Read our catalog entry for the film here.

Now Playing - SIMON KILLER (AFI FEST 2012)


SIMON KILLER is now playing in theaters. The film played as part of the AFI FEST 2012 lineup.

Now Playing - WRONG (AFI FEST 2012)


WRONG opens today in theaters. The film was part of the AFI FEST 2012 lineup, and you can learn more about the movie here.

Now Playing - ROOM 237 (AFI FEST 2012)


If you’re a fan of Stanley Kubrick and THE SHINING you should definitely check out AFI FEST 2012 film ROOM 237 this weekend. Read more here.


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