Andrew Evenski, president and general manager of Kodak’s Entertainment and Commercial Films Group, presents Michael Goi, ASC, ISC with the Kodak Cinematography Mentor of the Year Award.
The International Cinematographers Guild (ICG, IATSE Local 600) recently hosted the 2014 edition of the Emerging Cinematographer Awards (ECA) in Los Angeles. Kodak was proud to take part as a founding sponsor and supporter of the ECAs since their inception 18 years ago.
This year, 10 short films were selected from almost 90 submissions. The ICG’s special awards included the presentation of the Kodak Cinematography Mentor of the Year Award to Michael Goi, ASC, ISC. Also honored were John Bailey, ASC as the cinematography journalist of the year, and Judy Irola, ASC for excellence in cinematography education.
Kolja Brandt filming Hector and the Search for Happiness (photo by Ed Araquel)
It’s almost fall and that means it’s time for awards season to shift into high gear. Kicking things off is the 2014 Toronto International Film Festival (TIFF). This year, a total of 285 features will be screened, representing films from 70 countries. With its global appeal, TIFF remains a highly charged event for filmmakers to generate critical buzz about their work and garner accolades along the way.
We’d like to congratulate all the filmmakers whose work has been chosen to screen at the festival. We are, once again, honored that many of the features were shot on KODAK Film. Here’s a glimpse at a few:
In Happy Christmas, writer/actor/director Joe Swanberg (Drinking Buddies) explores both sibling relationships and the choices women face in young families. Swanberg pulled from his own personal experience with his brother, a short-stay houseguest, unexpectedly become a three-month roommate to him and his wife.
Swanberg teamed up with DP Ben Richardson (Beasts of the Southern Wild) to bring the story to the screen. The director is known for using a unique, improvisational method of filming to create a dramatic, relatable peek into his characters’ lives. Instead of writing a traditional script, he creates an outline with the scenarios he envisions for his film. Richardson’s understanding of Swanberg’s editing and storytelling style enabled him to insert himself into scenes with a special sensitivity.
Donald M. Morgan, ASC on the set of The Red House (photo © 2014 Peter Switzer)
Written and directed by Jiaqi Lin, a Chinese film student at the New York Film Academy, the short film The Red House is the story of a 25-year-old prostitute, Fangfang, and her struggle to save enough of her earnings to buy back her freedom. Set in 1915 rural China, the sudden arrival of a 6-year-old child, Amei, being sold to The Red House by her desperate parents soon changes things. The brothel’s madam puts Fangfang in charge of Amei’s training, including the painful ritual of binding her feet to keep them small. Fangfang, who became a prostitute in very much the same way, soon realizes she cannot let it continue, and decides to use her savings to buy Amei’s contract and her freedom … something she now will never have.
Shot by Emmy®-winning cinematographer Donald M. Morgan, ASC, The Red House utilized Kodak film to capture the drama and angst of the story.
writer/director Grant Scicluna
Hurt's Rescue is the latest short film by writer/director Grant Scicluna and producer Jannine Barnes. Based on Todd Grimson's story of the same name, Hurt's Rescue is a short film that explores the moral maze of masochism and negotiation. It is a UK-Australian co-production funded by the prestigious Iris Prize in Wales. The Iris Prize, supported by the Michael Bishop Foundation, is the world's largest gay and lesbian prize and offers the winning filmmaker £25,000 in cash to make their next film. Scicluna's film The Wilding won the prize in 2012 and he was thrilled to have the opportunity to make his next film in Cardiff taking DOP Laszlo Baranyai, ACS HCS along with him.
The decision to shoot on film was an easy one. "Shooting in black and white, film was the natural choice for Hurt's Rescue. I was after the maximum depth of detail and levels of tonality that only film can give" states Scicluna. Adds Laszlo "To achieve a rich, atmospheric and natural B&W look, film was the only logical choice".