Wednesday, 19 September 2018
Friday, 14 September 2018
April is a young faded ''It girl'' suffering in exile from multiple-personality disorder (brought on by a UFO Cult & Hollywood) and she decides that one of her six personalities must lose her virginity.
As April suffers bizarre flashbacks in a solitary room, sleepwalking, telephoning rent boys, listening to The Carpenters and terrorising her old guardian with her untamed sex appeal. She ultimately set's out to become a modern saint.
''I made the film on intuition and a sensation to focus on some powerful messages (trauma, anti-establishment, false idolatry, existential angst and spirituality) wrapped up in an isolated feline martyr quality.
The main character April is fighting to regain a state of grace that she lost from being an ''It girl'' in a superficial society obsessed with illusion while working in Hollywood. April is trying to penetrate the essence of her problems by being brave, screaming & articulating her pain through the film. She's trying to release the poisoned fragrance of her trauma. She's deprogramming her self by losing her mind.
In the beginning of the movie we're shown a glimpse into her former ''It girl'' pop-culture life, at the complete absolute zenith of her fame, which is full of tacky excitement, flashes, games, disciples, vibrations and action.
But then the film moves to the aftermath of all that, and to her current isolated life in London after rejecting her followers. But now she is battling her six personalities, so in a way she's leading six different realities and levels of consciousness. Each personality is a different level of consciousness, but music is her true prayer. She listens to The Carpenters while in exile, because she identifies with women who suffered like Karen Carpenter, Judy Garland, Marilyn Monroe etc... but she also enjoys hanging herself by visualising her suicide.
The film is also an insight into gurus, and how they deal with their followers problems, whether they are suffering from family or social suffering. The movies about spiritual terms instead of adolescent terms.
So while she's living out Hollywood, April get's mixed up with this UFO cult, has an outer body experience and is raped by the cult. After this trauma and because she's already mixed-up with this narcissism of her glamour lifestyle, it finally turns her into a stretcher case. In the film we watch her fighting to win back her sanity.
She forms this mission to cure the most evil of her multiple-personalities, to lose her virginity and to feel touch, which gives her a fresh enthusiasm and a existential mission; the glorification to start communicating again.
In general terms, she is coming out of a isolated fog and is looking for a universal consciousness. This girls story actually represents the whole elemental goal of humanity.
Feeling lost and sending signals into outer space, maybe that's why she joined a UFO cult to begin with. But she's still looking for an atomic attraction, or a spiritual push to come and save her. Dealing with six personalities will push anyone's sense's to the limit, but because she's in self-imposed isolation she cant really receive life's true miracle cure: human touch.
Touch is the sparkling combination of feeling all of your senses all at once. So she decides to recapture her salvation by losing the virginity of the most evil, of all her multiple personalities, called Sam.
Sam is a mythological ant-hero personality, a complete freak who suck's on her bloody tampons, wears wigs and sexually terrorises her old guardian that she's living with. But in many ways April is sacrificing her sanity in order to purify her soul from Sam's sinister presence. In order to become a divine being again and to grow.
Tuesday, 11 September 2018
REMEMBERING FABRIZIO FEDERICO - THE SELF DESTRUCTIVE FILMMAKER SABOTEUR WHO DID IT ALL WRONG IN THE RIGHT WAY
Tuesday, 28 August 2018
Interview with Kill TV's founder Christopher Neil
Where did you get the idea for Kill TV?
That’s a short question for a long answer… I’ll spare you the crying and touching myself alone in the dark sections…
Kill TV comes from years and years of ‘trying’ to be a filmmaker and failing, over and over again. As a creative, my ideas have always been ‘too edgy’ or ‘too big’ for my pockets. Producers would always tell me, “Take this part out,” “Tone it down” or I actually had a Studio Executive say, “We loved it!.. Until page 70, where the guy does the sex thing with the corpse…”
After burning out in my late-twenties on living check-to-check, amidst writing my second script, it kind of just… hit me. “Hollywood may own the theaters, but they can’t own the internet.”
The lights sparked on, and I started to manifest the idea of a marketplace where creatives who had ‘no boundaries’ could express themselves freely. Somewhere I could create content, upload and have an audience awaiting.
I played with the idea, creating mock ups, trying to pitch to developers and investors way too early. And then after my second script was finished and was getting no traction… Due to it being a multi-million dollar idea.. I said, “Fuck it” and jumped head first into Kill TV!
What first got you into movies?
When I was a kid, I wanted to be a comic book artist. But one day, when I told my mother she said, “You’re going to be painting pictures on top of the pier, and sleeping underneath it.” It crushed my fucking soul…
So.. in high school, after recesses of smoking mass amounts of weed in church parking lots… I got addicted to Photoshop in an art class.
Then Napster came out… So I instantly bought a CD burner, started burning CD’s, packaging them with with Art Covers and charged people for ‘custom’ mixes. Alongside selling ‘dubs’ and ‘eights’ to stoners…
I then knew this is what I wanted to do. I grinded out a decent GPA, cheated on my SAT and got into a four year college.
I attended SDSU [San Diego State University] shortly after and was expelled at the end of my freshman year. It was a fucking party school, what else was going to happen…
Sent home, extremely depressed, I applied to a community college and during a Typography class, we had to create a project with moving text and music.
My project was super fucking trash… But something about moving imagery and music, just made me realize that the medium to express and influence people, as an artist, was film. I immediately fell in love and pursued filmmaking ever since. Until Kill TV… dun-dun-dun… Trying to spice this shit up!
How would you describe Kill TV's identity?
Interesting question… What is the identity of Kill TV?
Well, Kill TV has changed a lot since I first started jotting down ideas. But the core of what Kill TV is, has deep roots into how I develop all of my projects.
What I mean by that, is that every single one of my creations act as a double edged sword or have two sides to them. There is one interpretation on the surface then another that is embedded beneath it.
The surface identity for Kill TV is anarchy, freedom of expression and a brand that represents you, but has some ‘balls’ behind it. I feel like ‘Youtube’ has done great things technologically, but honestly, it’s like premiering a Horror Film and right before the titles roll you see, “Sponsored by Sunkist…” It’s cute and works for a particular audience, but it doesn’t represent the artists who’ve inspired me or have altered the medium.
Kill TV is a brand and a notion for younger generations to express themselves into oblivion, without feeling restricted. Rather than being another ‘entity’ that is just there to supply you with an outlet.
We truly believe we are a stance for all opinion, thoughts and want to be a symbol, that when tattooed onto yourself, means ‘something’ to you and others. Are there ‘Youtube’ tattoos out there..? Jesus, I’m gonna have to google this now… FML.. People got ‘Youtube’ tatted on them..
But the deeper meaning to Kill TV, has to do with where its name comes from. When I was developing this platform, I had no idea what to call it. One day on my playlist, a song popped up by Marilyn Manson, “Astonishing Panorama of the Endtimes.” The chorus repeated, “Kill your god, Kill your TV.” Eureka! The gods have spoken! Kind of…
That’s our core, deep down. To push this generation and the next into the future of ‘news’, ‘brands’ and ‘art’. And to leave behind this ‘god’ that we’ve trusted and have slaved over to keep above us. These companies more and more today are fighting to stay afloat and the internet has connected us all, giving us an opportunity to change how we treat one another, how we dissect ideas and how we’ll move into the future in this place.
Kill TV is a mirror of the world and where it is at that time, not an extension of our values or ethics upon you. We are eradicating the ‘one’ god we worship and with our system, creating ’gods’ out of all of you! “Kill your god, Kill your TV!”
That was kind of cheesy… But damn it! You know what-the-fuck I’m saying! Right….?
What is Kill TV?
Simply put, Kill TV is an uncensored democratic video streaming site for adult’s only. Creatives upload their videos to our site and then are sent directly to ‘Deathrow’ to be sentenced.
We decided to go against hosting every single video uploaded to our server, due to beginning costs, as well.. 98% of the content on streaming sites never gets seen by the majority of the audience on these platforms. Anyways…
Users then go to ‘Deathrow’ and must vote on every video uploaded onto Kill TV. You must choose to “Kill” or “Save” each video uploaded.
Saved videos are sent to the “Saved” directory, for viewing at anytime and future monetization.
Where “Killed” videos are deemed “dead” and are deleted from our servers, forever!
I literally just recited our ‘pitch’ video.. Jesus…
What we’re truly creating is a way for you as the ‘creative’ to interact with audiences. If you upload a video to ‘Youtube’ for the first time, unless your video goes viral somehow… it is going to take ages for viewership to flood in.
Our system puts you in a smaller category of daily ‘Saves’, that then grants you larger exposure.
And if your video is killed… then at least you know something! Maybe your video is too long, maybe it’s not ‘good’ enough, maybe people ‘trolled’ you. Whatever the response is, you know that people that day, on Deathrow, did not want your content.
As we grow, we will implement features that let you as the creative know ‘why’ your video was rejected. But you have to think of it as a long run play as a filmmaker.
I see a lot of people uploading so many videos, fighting for tons of views believing they’re going to be one of the ‘few’ that got rich on Youtube. And that’s not the case as we’ve seen these days…
Once we roll into monetization, we’re thinking about paying you in a different manner so that you don’t have to upload 15 videos a month in order to either “break even” on the cost of production or make a living off of your content.
Plus, we’d love to see artists’ short films and other ‘art’ get big views, rather than just ‘vlogs’ or tutorials on how to do something.
At the end of the day, we want to be an entertainment hub of interactivity! We look at ‘Youtube’ as a source of information, where you go for info or news on things. Rarely do I got to ‘Youtube’ to see a cool short film, art piece or something weird?!
Our platform being uncensored and for adult’s only, brings up another one of our major goals. We believe that the term ‘adult’ should be altered, and there needs to be a place where “adults can be adults!”
That means sexual things can be found alongside thoughtful pieces, touching stories or flat out unforgettable imagery.
Whatever it is, we are looking to build more than just a server full of videos and comments. We want to build a community of people who come to Kill TV to advocate their opinions, don’t have to worry about being censored and are protected from outsiders ‘banning’ them or ‘removing’ their content because it doesn’t fit within someone else’s agenda.
“We are the operator to your call,” and when we get this guy up and running, we’re going to evolve this platform into something you’ll care about. Because it’s your opinion, your kill count, your save count, your choice and your friends you’ve met there to do this all with.
I believe that our generation is in a tough spot and that the future of this place needs more connection and openness. We hope to be the beginning of what can be more platforms like us in different areas. The days of clean interfaces and ‘boring’ brand names to represent a ‘popular’ platform… are ‘dead and gone.'
I think people need something that gives you a ‘jolt’ to the experience you’re having. And instead of these placeholder named sites that are super stale.. Let people enjoy something a little radical, out-of-the-box, and give them something that let’s them be free and is ‘O-K’ with them finding themselves through out time.
Plus, how the fuck can you hate on “Kill TV”, it doesn’t rhyme with anything shitty.. like ‘PooTube’, ‘DuDu’ or ‘Catdicks’… does it?!
Friday, 3 August 2018
Punk Filmmaker Fabrizio Federico praises Dennis Hopper's unsung masterpiece
Shot in Peru in 1970 in a narcotic haze, Dennis Hopper's follow up to Easy Rider is the purest experimental mainstream film ever released in Hollywood. Problem is not many people have seen this gem. It has been in exile for 50 years, in limbo as a low resolution bootleg DVD, which is how I first came across it, but it changed my life.
I first watched this amazing movie alone in a school library and it lit a firecracker under me, I had to make a movie! I give The Last Movie complete responsibility for inspiring me to make a film unlike any other. So with no experience what so ever I decided to finish the job Hopper had started in 1970. Now in 2011 I finally completed my first feature film Black Biscuit, I tore up the rule book on cinema and made an anti film with non-actors, no script, shot on mobile phones and toy cameras about a filmmaker lost in a wasteland of prostitution, money and sleaze.
The fact that a major Hollywood studio produced this psychedelic midnight movie is astounding, but once released it was misunderstood, and buried deep; even though it's lyrical beauty is evident in every frame. Easy Rider captured a cultural zeitgeist but The Last Movie could have changed the course of cinema forever if it had been handled differently.
The PINK8 cinema manifesto was born out of this, and just like Hopper; who already had a reputation for wildness, I threw it all away in a hurricane of spotlight, ego and hallucinogenics, but in the process I saved my damned soul, at odds with a system that still didn't understand real youth-quake provoking cinema, and the fact that Arbelos films have had the balls to make a move on re-releasing this masterpiece is better then twenty Christmas put together!!
To me The Last Movie is an allegory about the world as a whole and how it is destroying it's self, and becoming more self conscious and media trained which is boring as fuck. Hopper will always personify to me the true meaning of what an artist truly is; mercurial, insanely talented and untamed.
Monday, 30 July 2018
Sow will screen at the Straight Jacket Guerrilla Film Festival
How did you get into making films?
In seventh grade English class, I was partnered with my best friend (my assistant director on Sow) to teach the class about pronouns in a creative manner, we decided to video a puppet show lesson. Since then, he and I have made films together.
What inspired you to make your movie?
A plethora of things. Beautiful nature and my home county were incredible influences on showcasing the world within the film. My friends and our mutual respect for cinema. Particularly, for my film Sow, something that was a high inspiration, was my four sisters, who are thanked in the credits.
How has your style evolved?
Every project I have encountered I like to experiment with. Maybe things don't work, but I'll learn that as I go. And each project I hone toward a better masterpiece. Even throughout production, we as a team experiment often, desire to try something different, or have a vision unattainable, so we utilised resources. Attempting and growing through film has always made me smile.
Tell us any strange or funny stories while making the film.
While trespassing an abandoned fuel station, we spent too many minutes long. The police were called multiple times by drivers-by who noticed peculiar activity at a known ghost station. The film's sequence asks the male lead to drive off at a squeal. Perfect timing, the police showed up, my male lead (not noticing them) squeals off. With his hand hovering over his holster, the officer finally got the vehicle to cease movement and asked all actors to step out, and we crew joined them. After explaining our situation as filmmakers, they gaily remarked on one another being "stars" and if we ever should need police officers, we know who to go to. They were cheeky. The sergeant came simply to view the excitement. At the end, we asked them if we could remain to finish the shoot, they allowed and left, waving.
Upon watching the dailies, I noticed the reflections of our production crew in the windows of the vehicle in each shot. Even after all of this, we had to re-shoot this sequence. We re-shot in a wholly different location. Which I find to have been a much better looking shot, and even our actors performed better than before.
The MIsrule Film Movement & Pink8 manifesto bring what to mind?
Straightjacket Guerrilla Film Festival
What can we expect from your next film?
The fantasy world Sow takes place in is a broad one. There are many towns throughout this world, each at the mercy of a dragon. My next film is working-title Eager, production this winter. It is a winter's fantasy world about individuals who are setting off come morning to slay dragons in the towns over. But today, they prepare. We learn of citizens' lives and how they are affected by this impending change. The facebook page for this upcoming production is facebook.com/eagercatalyst.
Sunday, 29 July 2018
Image & Illusion will screen at the Straight Jacket Guerrilla Film Festival
How did you get into making films?
At a very young age, my parents introduced me to filmmakers such as Jim Jarmusch, Agnès Varda, and even more transgressive filmmakers like Lars von Trier (specifically Dancer in the Dark at the age of thirteen or fourteen, which I remember absolutely annihilating me emotionally). But beyond the emotional resonance, I always recognised film as a sort of "ultimate art form," combining text with image with movement and performance, and so on. I began to regard it as the most fully fleshed out art form of them all, or at least the medium to marry the most other mediums within its own innate structure. When I was seventeen years old and found out that my dad had terminal esophageal cancer, I started to make films of my own. I started to think about death more than ever before, and knew that I wanted to leave something behind on this earth when I died myself: what better than art? So during my senior year of high school, I directed my first two short films, Dancing with Shadows and Nobody (2012). The rest is history.
What inspired you to make your movie?
Over the last couple years, I've become obsessed with the notion of films as dreams. Whenever I watch a great experimental film, I always come out on the other end as if I've just awoken from a dream or been released from a trance. This effect is something that I've always wanted to achieve and, with both Mirage and Image & Illusion, I was interested in attempting to straddle that line between ambient, contemplative cinema and the world of the unconscious.
How has your style evolved?
I would say that my style has evolved quite noticeably over the years. While Dancing with Shadows is rather impressionistic, my other debut short film, Nobody, is a hyper-realist video diary of a film, documenting a day in the life of a severely mentally unstable teenager. I play the lead role in the film, and it contains not only dialogue but a rather clear A-to-B-to-C narrative (while still hinting toward some experimental techniques that I would implement later on in my career). The jump in aesthetic from Nobody to my next short film, Vanished (2013), was huge, not even necessarily in terms of quality but more in terms of taking a leap from pure realism to pure non-narrative expression. And I've definitely explored the realm of the latter more so than the former, over the past half decade of filmmaking.
Tell us any strange or funny stories while making the film?
I can't specifically think of anything strange or funny that happened during the production of these two features -- I know, I'm so boring, haha -- but there is something unorthodox about the way that both films were shot/created. Both Mirage and Image & Illusion had over a half dozen cinematographers on board. Not in the sense that I kept having to fire my DP or anything; that was the idea from the beginning, to structure a film comprised of segments shot by several different cameramen and camerawomen across the globe, and then fuse all of those visions into one, anthological dreamscape. Mirage was shot by ten individuals across four countries (France, Italy, the U.K. and the U.S.): myself, Ben Danzi, Nadin Mai, Pietro Agnoletto, Seb Karamayar, Andre de Nervaux, Ted Parks, James Slaymaker, Reece Beckett, and Ian Flick. Image & Illusion was shot by seven individuals across three countries (the U.K., the U.S. and Canada): myself, Alex Davies, Andre de Nervaux, Dov Doviak, Susie Brancaccio, Jesse Rolfe, and Ben Danzi.
The Misrule Film Movement & Pink8 manifesto bring what to mind?
I think that any attempt to break the rules of typical cinematic conventions is a good thing, so the U.K.'s Misrule Film Movement & the Pink8 manifesto bring's to mind the hopes (and, to an extent, the reality) of rewriting cinema's language through the artists of the underground. I love the idea of going against the grain, going against what "film school" teaches and creating, instead, with a micro-budget, a cast of unknowns, little to no preparation, little to no technical advances, and the experience of making something on one's own without the interference of institutions. Directors I admire that seem to have adhered to these kinds of ideas in the past include Giuseppe Andrews, Jonathan Caouette and, of course, Harmony Korine.
What can we expect from your next film?
I've spent the summer in Tallahassee, Florida, where my girlfriend is working a summer job and, over the course of the last two to three months, have been suffering from the extremities of my clinical depression. I was diagnosed with severe depression years ago, long before my father passed away, and the experience of being here in Tallahassee, essentially alone most days without anyone to really talk to or hang around, has been extremely difficult for me. Thank god I have my dog here, but it's been difficult to leave the apartment and actually function in society while suffering from such intense anxiety & depression. The handful of times that I've left my apartment have been to go out and shoot, as the original plan for this move to Tallahassee -- even though I wouldn't have a paying job here in Florida -- was to make a DIY landscape documentary over the course of these few months. As of right now, I've shot and cut 53 minutes of the film. I'm not sure how much more shooting that I will do before I decide that the project is complete, but there are a couple other locations that I'd like to capture before closing the door on this chapter of my life and moving back to Nashville, Tennessee.