Interview with filmmaker Laura Grace Robles

Alice In Acid Wonderland will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
While studying art at the University of Texas at San Antonio I took a video art class with Leslie Raymond, now the Ann Arbor film festival executive director. I was assigned to make my first short film. It was then that I developed a love for film making. After that i couldn’t stop making films. The class was very inspiring and motivating for dreams I had of becoming a director like my Mother. 

What inspired you to make your movie? 
I was wandering YouTube watching all kinds of different versions of Alice In Wonderland, so I thought it would be cool to compile some of these different versions into my own acid version. 

How has your style evolved? 
I’ve always tried to contribute some kind of dream like interpretation to my films. Eventually I started becoming more interested into the “ACID” idea of psychedelic transformation for my films into to an acid dream experimental video art film form which I conceptualised my films with an Acid Dream Experimental Video Art film making manifesto which i wrote after directing DICA The Acid Dream Experiment and my latest film Alice in Acid Wonderland. Tell us any strange or funny stories while making the film? The funny thing I guess is that even though I was directing Alice In Acid Wonderland an acid film I never really actually tripped on acid. 

The Misrule Film Movement & Pink8 manifesto bring what to mind? 
It brings to mind challenges that most film making standards don’t expect you to follow through with. Its exciting how DIY the movement is and accepting to those rebel artists who have been doing these sorts of things all along. 

What can we expect from your next film? 
I’m not sure what to expect from my next film but I do know it will be very dream like and have some kind of psychedelic characteristics. I’m thinking of directing a film titled Acid Cinderella.

Interview with filmmaker Lazaro Mareco

Curtido will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
Cinema interested me since I was a child but I saw it as something distant, unattainable. After many years of dedicating myself to theatre, I made up my mind and moved to Buenos Aires to study filmmaking. It was only then that I started writing my own scripts and filming short films. 

What inspired you to make your movie? 
My film talks about a provincial actor frustrated by the lack of opportunities. This is what happens with artists who try to exercise their profession in small places. That is an experience that I know very well and it touches me closely. From there, I imagined a lonely and self-destructive character (an actor over forty) suffering from a lack of professional achievement. Instead of going in search of opportunities to bigger cities, he does the opposite, takes the opposite path, isolating himself from society in the middle of the countryside. 

How has your style evolved? 
I still don't think I have my own style. That would be one of my goals. I am in full search, on a path of experimentation that leads me to find that uniqueness that every artist must have. I hope to get it sometime even though I'm in no rush. What worries me the most is being able to continue filming and that is enough. 

Tell us any strange or funny stories while making the film? 
We started filming Curtido (Hardened) in January, it is the middle of summer in my country. The temperatures are really very high and the heat is unbearable. I needed that what was seen on the screen was the opposite, that is, a cold climate. So I asked the costume designer to wear winter clothes. The actors hated me for this. We had to stop filming for them to cool off a little bit between takes. It was necessary to fight so that perspiration that was permanent was not noticed. It was difficult but in the end we were happy with the result. 

The Misrule Film Movement & Pink8 manifesto bring what to mind? 
I did not know the movement or the manifesto before meeting the Festival. When I met you, I also got to know your ideas about the movies, of which I feel identified. I was born, live and produce my films in the province of Formosa (Argentina), which is very small compared to the big city in the world. For this reason, it is very difficult to access industrial cinema and many times we are totally oblivious to the stories they tell us. For this reason, we experience alternative modes of expression that are consistent with who we really are. 

What can we expect from your next film? 
My next movie is also about a village character. A woman tied to social and religious conventions who feels overwhelmed by her surroundings but also by the decisions I make in her life. From a series of events, she will be able to see that there are other ways for her, very different from those she knows. You should only be encouraged to take them. I think these characters reflect a somewhat invisible part of the society of my country. My idea is to continue telling stories where they are reflected.

Interview with filmmaker Ray Robison

Vampire Cap will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?  
Right out of high school I went to art school. I was just 18 years old and spending 6 to 9 hours every week drawing and painting nude models. I remember being very nervous about it at first but quickly it just became something I did as a part of my creative routine. Toward the end of my second term a friend from high school came to visit and he told me of the program he was in at another college that included photography, television and film.  As soon as he mentioned film I knew that was what I wanted to do. It would be the medium which would replace my pencils and paints. I felt that it was a much more powerful medium and way to communicate to others. So I transferred schools and enrolled in the film program. It would be over 20 years after I graduated before I would finally start making the films that I wanted to make. 

*What inspired you to make your movie? 
I knew I was going to be furloughed from my job for a couple months so I scheduled surgery with the idea that I would spend the furlough time recovering. But a month before the fulough was to begin I was prescribed a new drug that eliminated my need for the surgery.  So now I had a couple months off from work with nothing scheduled so I decided it was an opportunity to make my third ultra low-budget feature. I had previously made "Die Before I Wake" and "Sixes and the One Eyed King". So there wasn't any specific inspiration to make the film other than my passion for filmmaking and an opportunity of time that availed itself. 

*How has your style evolved?  
As I mentioned in my response to the first question it was over 20 years after film school that I really got to make the films I wanted to make. That was because during those 20 years I was making low-budget TV commercials. It paid the bills and was a good way to hone my filmmaking skills so I don't regret making all those television commercials.  It really helped me learn how to create films without money - though of course it is always nice to have a budget. I knew when I started my first feature I could do it with very little money. My style is based a great deal on my working for so long without budgets but also after being strapped down by commercial requirements it was quite freeing to self-finance a film and just do it the way I wanted.  I'd say I stay away from filming trends and maybe I stay away from trends in general as I've never really felt too connected to American culture. My mom was raised in a world of eastern philosophy and even though I grew up in the US my mother's perspected was definitely a part of who I was and am. So I just go with what I like whether it is the current style or not. I want to be able to be as eclectic as my budgets will allow. Specifically to "Vampire Camp" it borrows a lot from the beach movies of the 60's, like "Ghost in the Invisible Bikini" and the low budget comedies of the 40's and 50's like "Abbot and Costello meet Frankenstein".  But you notice "Vampire Camp" is not very similar to my previous feature films. Like I said, I like being eclectic. 

*Tell us any strange or funny stories while making the film? 
Reuben Rox plays a character in the film that the vampires leave alone. One of the reasons is that he is constantly eating garlic. I told him he could just palm the garlic hiding it in his hand while bringing it to his mouth instead of actually eating it.  He insisted it was fine so he ate garlic cloves in each of his scenes. There were a couple times he needed a break from chewing on the garlic but I'm amazed he never got sick. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
I went to film school which a lot of independent filmmakers view as a waste of time. Not to debate that opinion I will say that I studied filmmaking and not film. I do see a difference.  I don't know what other film school programs encompassed but where I went it was more about learning how to make a film from a technical and basic aesthetic direction and not a lot of over anylysing film styles and admiring the work of over praised filmmakers. All I was looking for was a way to make the films I wanted to make. The Misrule Film Movement & Pink8 manifesto to me bring attention to so much that is unfortunate in humanity - a lack of adventure in creativity - both from film audiences and filmmakers. What is popular is mainstream and mainstream exists for the purpose of making money so big business filmmaking brings in the masses to watch the same formula remakes and sequels. Sadly most audiences are not willing to take a risk on an unknown film and because of that we as an artistic community cannot grow. 

*What can we expect from your next film? 
I never know what to expect from my next film so can't really tell you what to expect. I've been doing a lot of short films lately but really want to get back to making another feature.  Some of the options I am exploring are: "And Evil Makes 8" a blend of the typical horror setup where people gather at a cabin in the woods and cosplayers; a film called "The Other N-word" that I wrote as a sequel to "Besetment" which I executive produced but looks like I will need to disassociate it from "Besetment". None the less if you haven't seen "Besetment" you should - it is fucked up. And of course I would love to do a sequel to "Vampire Camp" called "Zombie Camp".

Interview with filmmaker Ungyu Yeo

Making 100 Friends From All Over The World - premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? ​ 
I’m a movie buff. Sometimes I was into a bunch of Hollywood movies, and sometimes I was into some deep European art films. But when it comes down to it, I always wanted to be a film-maker since I was little. ​ 

*What inspired you to make your movie? ​ 
I love traveling. I’ve visited around 32 countries so far. Along the way I just wanted to film something fun while I’m traveling. ​ 

*How has your style evolved? ​
Making 100 Friends From All Over The World is not only a travel documentary but also a mockumentary and documentary comedy. I love the whole process that we reach the truth from the untruth. ​ 

*Tell us any strange or funny stories while making the film? ​ 
I hate geckos! (You know what I mean?) ​ 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? ​ 
Freedom. ​ 

*What can we expect from your next film? ​ 
I’m not sure yet but I think I will make something meaningful in the UK soon.

Interview with filmmaker Halle Capone

Misfits Of The Profane will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
I moved to Los Angeles when I was 20 to get into film. I started taking my writing more seriously and made the decision. It’s like a domino effect from there. I spent my time working as an AD on some projects and learned a lot, ultimately supplying me with the practical knowledge that I could make a feature with a crew of two. 

*What inspired you to make your movie? 
Real female stories. Real humanism in the streets of LA. Stories I’ve heard over the years from living and existing here. The confidence to be heard. Probably too much to write here. But all in all, to see if I could do it with the resources I had available. 

*How has your style evolved? 
This is my first feature film. So in short, we shall see! 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Given the world will be so different with virus threats now, I think the message of the manifesto and Misrule are probably more prevalent than ever. Although I subscribe to it nominally, my focus is on storytelling. I really love writing. The movements themselves are freeing, and sending the right message that you can just go out and do it. Technology is here and cinema is achievable through your fingertips. I can get behind that message. I co-founded a club with Gabriel Hans Durst in LA called The Hollywood Guerrilla Film Club where we focus on that notion, get out there and shoot. We made Misfits of the Profane together, we were the only crew besides cast. 

*What can we expect from your next film? 
You can expect that I’ll break the boundaries of traditional cinema. What one can accomplish with a small amount of money, to produce quality narrative stories that evoke consideration and thought.

Interview with filmmaker Natthaphon Amorntut

*How did you get into making films? 
I am script writer and director my  investor told me have film project story about religion value of life. I saw something have value to the audience. I need do it. 

*What inspired you to make your movie? 
I need expression to life value 

*How has your style evolved? 
My style develop from short film scrip writer cinematographer 

*Tell us any strange or funny stories while making the film? 
Every day to shoot film my crew is funny  make more smoke of mistake every day 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
I think so strange and other art films. 

*What can we expect from your next film? 
I think about make film from my spirit.

Interview with filmmaker Erik Zavala

Anya will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
When I was a boy I  always knew I had a lot of things to share but I didn't know how. In my adolescence I discovered cinema as a window to new worlds were I learned different visions of life, and identify myself with many characters that expressed my emotions better that I could even understand at the time. Then I questioned myself the meaning of life; A nice house, a new car, a good job, a pretty wife... is that it? and then disappearing without no one ever knowing you were really here.... In filmmaking I found a meaning, a means to express my thoughts and feelings and the best way to cheat death by making my ideas, all the images and stories in my head transcend my physical existence. 

*What inspired you to make your movie? 
Like all young filmmakers, I wanted to make a film, but I was very aware of my limitations and how difficult it is to finance a first film. So I set out to write a story with certain rules: - most of the story has to happen in one location - two main characters - The script has to be achievable in terms of budget - the story has to provoke strong emotions With that determination I went to Cuba for a month to isolate myself and write, I found in the genre cinema (psychological thriller) the best way to tell a visceral story that could transmit the anguish and hell that a victim of abuse goes through in a character that you could see on the street and you never imagine the psychological hell that goes through every day. 

*How has your style evolved? 
When I finished film school it was more a matter of replicating influences, then I realized that these were sterile images that did not express my way of understanding the world and I had to find my voice as a screenwriter and director. As I shot Anya I discovered that my major virtue as a director is the work with actors I feel very comfortable with an open Mise-en-scène, delimiting emotional goals that help them reach emotional extremes. This is complemented by the script, which becomes a fundamental tool to build actions and situations visceral that provoke the audience on an intellectual and emotional level. 

*Tell us any strange or funny stories while making the film? 
One of the last days all the crew was super tired, we were doing running shots at 4 am as it was an indie film we didn't have a camera car so we put the camera rigged, actors were in place and the only option for the sound guy was in the trunk of the car. So, we went to do the shots and spent some time doing them and when we finished we stepped off and went to rest but after some minutes we realized the sound guy was missing and said: shit! we forgot him in the trunk, when we opened it it was really funny to see that he fell asleep and didn't realize the running shots were over. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
I think both appeal to the very essence of Cinema, it is a common belief that in order to be a filmmaker you have to go to film school. Theory is easy you can learn it on your own, the beauty of cinema is portraying the complexity of human emotions and there's no theory for that, the only school for that is living, seeing, learning from happiness and suffering. The comfort zone is the death of the Artist so what I like of both of them is that there's no excuses to do a feature film 

*What can we expect from your next film? 
My next film is going to be more visceral, violent and provocative. Is a reflection about toxic love using cannibalism as a metaphor in which we devour our loved ones out of fear of loneliness.

Interview with filmmaker Roger Davill

Amores Artificiais will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
Well, my career as a director started in college, with experimental work, as well as other students who had the same goals, and I started to enjoy the possibility of telling stories my way, as my way of seeing the world. 

*What inspired you to make your movie? 
Some experiences I had and observation of other similar stories, motivated me to deal with the theme covered in Artificial Loves; SOCIAL PATHOLOGIES 

*How has your style evolved? 
Before making cinema, I was a theater actor and then I worked as a director, but I can say that my way of doing suffers references from the great directors of my country, of course we look at other good names in world cinema, but as I consider myself to be in the early career there is still a lot to learn and experience in the audiovisual universe. 

*Tell us any strange or funny stories while making the film? 
Well, i have several stories, but i will report one that caught my attention, as this film was inspired by real events, it took place in a scene in which the actors did not know the (real) name of the person being represented in the film and in a very strange way they started to give the text and saying the person's name in real life and that caught my attention, because I was careful to change the names of the characters so that there would be no problems with processes or something, but the actors insisted on treating the characters by their real names that was very bizarre. because nobody knew that the story was based on facts. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
My identification with the aforementioned movements comes from the possibility of making cinema in an alternative way, without resources and sometimes improvised, but in the end it works and the result is surprising. Guerrilla cinema is not tied to the big studios or large producers of the traditional film industry, and for that reason we suffer a certain prejudice for making this type of cinema. do my works, I believe that over time we will be seen and recognized, I say because cinema is an art it is not done collectively and my companions think just like me. 

*What can we expect from your next film? 
I am working on an action film, also in the guerrillas, it will be a film that addresses political and social issues, heinous crimes and the fight against them, the name is Tiro Certo. We will have news soon!

Interview with filmmaker Mani Shankar Iyer

Sattham will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 
I was always  interested in watching movies from my childhood.. It was in my high school days , I happened to see a Tamil film called RHYTHM, directed by Vasanth from Tamil Nadu, India. I got so much fascinated with that film. More than watching the film, I got addicted to that film.. I started analysing all the layers involved behind that film be it acting, Screenplay structure, cinematography, lighting, sound design, background score . I stared learning the process of  filmmaking through this film.. I understood later that I have the ability to act, narrate stories. Eventually I also  realized that the fascination is growing more for films rather than literature or theatre and then the journey of being Filmmaker started..  I joined Madras Film Institute and graduated in Direction and Screenplay writing with a Gold Medal. In my academic career, I made several short films and featurette which helped me to experiment with my style of filmmaking and understand cinema 

What inspired to make your Cinema? 
Sound is always a thrilling experience be it in theatres or any medium.. If you watch a horror film the real anxiety and fear is created not by seeing ghosts alone but it is due to the sound . Same way if you watch Jurassic Park or any action movies the real thrill is through the sound effects.. I always wanted to focus more on sound aspects in my films . When the idea strike to me that what if a man is haunted by a sound and it so happens that only he can listen to those sounds and no one else can, I realized this is my idea and started developing this film. I found sound to be a very intriguing element in storytelling and here, sound itself being a part of the conflict and narration, I was very motivated.. I loved the mystery part of the script where as an audience we are immersed inside deep to know what is bothering the protagonist and why the sounds are audible only to him.. Having said that, it was also challenging for me to design this sounds realistically in order to bring the characters closer to reality. I didn't want to design sound stereotype like in horror films. I wanted to bring a different mood through this sounds where as an audience while watching the film it should be interesting and the same time should convey the irritation the protagonist is going through.. 

How has your style evolved? 
I think the main focus for any film should be the story. The story is the key factor which decides how the film has to be crafted. I don't believe in style. I look deep into the script and decide what justice I can do as a filmmaker and screenwriter. I have watched so many International films and have learnt one thing.  Language is not a barrier for watching a film. Film itself is a language.  Irrespective of language, culture what really works with all set of audience is feelings. If a movie delivers the message honestly and emotionally,. It is conveyed to all set of audience.. Titanic was enjoyed world wide for it's emotion and simplicity. There are so many examples.. MEMORIES OF MURDER, BICYCLE THIEVES, CHILDREN OF HEAVEN, GREEN MILE, SHAWSHANK REDEMPTION..  I follow this sincerely in all my films.  Simplicity and emotion and narrating the story closer to reality.. 

Tell us any strange or funny experience with this film?
It was a big experience making this film.  Honestly I didn't plan to make this as a feature film.. the original script which I wrote consisted of 35 scenes in total.. I planned to make it as a featurette , lesser than 60 mins . We had a very shoe string budget and so we couldn't shoot continuously.  I first shot for five days and my budget was over. I decided to edit the footages and convince my parents and friends to fund further.  But as the process of edit started , I started generating extension off various ideas connected with this script.  I felt I can tell this more interesting and can add few more details.  Finally when I finished the film, it had total 105 scenes including Montages.. Though this practice is not the healthy way to approach a film technically but I learnt one thing that there is always a space for improvisation in all the stages of filmmaking. I finished the shoot for the entire film in just 15 days.  The budget spent for this film was very very very minimum but I could bring the result.  We did all the work ourselves.  We recorded sounds in Sony Recorder and brought the original Foley feel. To add another point as a part of this question. No one from my team charged even a single penny for this film. Everyone are newcomers and passionate.. what really brought us all together is the script and bonding.  I don't know whether I can recreate this magic again, but what magic happened with this film, the true appreciation should be shared equally to all my team members. 

The Misrule Film Movement and Pink8 Manifesto bring what to mind? 
Well.. I think films don't have a classification. It is not like genres- big budget, small budget, commercial cinema, parallel cinema..Film is a film. The budget and the strategy don't decide what type of film you have made. All that matters is the story, the theme and the emotional connection. With the advancement of digital cinema, I believe we have break all the stereotype. We can experiment with new stories, shoot in more real places, bring more reality. All we need is the courage and passion. 

What can we expect from your next film? 
Well. I don't rush myself doing films. The idea and story is what , matters me the most. We might get lot of ideas but they might not materialize everytime.  Something happens with an idea and that will not let you sleep or do anything.  Once I get an idea so fascinating, I will start writing the script . So I don't pressurize myself what I am going to do next.  It will happen itself.  But whatever movie I make , I will really focus that the film has something interesting to say, it has am emotional connection with the audience and it falls closer to the reality

CINEMA NEWS: Maverick Movies

Fabrizio Federico

What do you think is the future of underground cinema especially in the United Kingdom ? 

If you watch ‘Anarchy In The UK: The New Underground Cinema’ you’ll get a perfect idea, it’s about the Misrule film movement and how we changed the film industry. Cinema is my religion, Im the John McEnroe of cinema because of my gusto. Im not saying Im the best, but I am. I make the best hyper-kinetic films and pick groundbreaking subjects, and I do it cose I want cinema to move forward as an artistic expression. Im a pioneer but I dont want to just be a poster boy for cinema chic just cose Im good looking. I want new blood to upstage me and no one has done that. So the best thing for me to do now is now be a recluse, to give others a chance at world domination because Im generous. My wild years were from (2010-2019), Im pre Corona virus. I was the last cinema maverick before this brave new world we now all live in. 

How has the Misrule cinema movement helped you grow as a filmmaker and as an individual ? 

Well obviously I’ve become more humble. I’ve been blacklisted but it was worth it because the industry needed shaking up, Im not scared about fighting back if they arent open minded about my movies, I cant stand being polite all the time just to be PC. Those moguls needed to be told that they were being unfair by not letting new filmmakers screen their movies, just because they were different and we use iPhones and non-actors. You can learn more from street superstar non-actors than professionals, they offer real emotions and they touch a raw nerve like a Diane Arbus photo. But you have to take whats yours, Im not a rich kid like a lot of the people in the film industry, Im rough and ready but also highly intelligent and they think thats dangerous, plus it scared them when Im encouraging all these untrainned filmmakers to rise up, hence, the Misrule movement. A generation gap is always going to be messy, a lot of blood gets spilled but hopefully in the future things will be easier for a new generation of filmmakers. 

What has been your personal influences as a filmmaker ? 

At the moment I’ve been watching Le Samurai with Alain Delon, and Bad Timing by Nicholas Roeg, I’ve had it on loop. Theresa Russell is omnipotent in that movie, I wish all actors were as fearless as her. The editing is phenomenal as well, everything is juxtaposted like a daydream mixed with reality. I call my style ‘Pick-A-Mix’ because I mix up many levels of zen consciousness, even the afterlife, because Im psychic. But I prefer villains and anti-heroes like HAL 9000, computers make fascinating enemies. I now also do art collages based on bacteria and germ colour patterns. My last two art pieces are called Coroner Boner & Banana Fish Love Card, and then in August I’ve got the Straight-Jacket Guerrilla Film Festival. How has the lineage of filmmakers from the UK helped you from when you started making films ? Well not really, theres been some great classic films but nothing exciting lately in England other than Teddy Bears Live Forever. No other new British directors come to mind who have put their necks out on the guillotine like Im doing. The Kitchen Sink Movement was great but it isnt as experimental as Punk Cinema, until I came along England only had those two cinema movements, but Misrule is too undisciplined for mainstream magazines and TV because its too radioactive. My favourite directors are either French or Russian, they are a lot braver then British filmmakers. Over here Im the only one making edgy films but across the world there are many more because its a worldwide movement. YouTube is our church. 

Have you ever made a porno ? 

God no but I love films like Betty Blue, The Last Seduction and La Belle Noiseus, those crazy erotic avant-garde films, because sex is a natural emotion and it’s one of the best occasions in life between two people. It’s so pure and intense, and you just forget the world, the world goes away during sex. If you combine sex & intellect together in a film its like dynamite. It also depends on the person watching and how carnal they are. Unfortunately a lot of people in power are very frigid so they think sex is not a natural emotion. I get most of my inspiration from graveyards and ruins. But when the devil fails he sends me a woman. 

What exactly was the liberation that Misrule movement wanted to gain, or was it just economical or was it a change in the set of ideologies, if so how have the other cinema movements helped in the process, like Dogme95? 

We wanted to make cheap, DIY films mixed with documentary and alternative images. See this is the thing that annoys me, Dogme95 is very tame. But the Pink8 Manifesto is the equivalent of Bebop or psychedelic rock, the actors improvise while on drugs and its mind expanding and easy to do, you dont even need a script just guts, passion and colorful people. When I saw Dennis Hoppers The Last Movie I discovered cinema nirvana, but that film was a critical and commercial failure, think about that. But the future was invented to spoil the present so I focus on the ’now’. Misrule is like cinematic voodoo, or an incantation, it’s meant for intelligent viewers of any age who want to elevate themselves and watch a new kind of reality, just follow the white rabbit.

Interview with filmmaker Jessy Duport

Deep Web will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
My whole life is a flirt with cinema. But it became a reel love affair after I step away from main stream movies during my teenage period and discover art house, underground, low budget and marginal cinema. Then I started thinking I should grab a camera and make a movie my self. 

*What inspired you to make your movie? 
I wanted to do something dark and abstract with multiples layers. I was in an exploration mode, in a stylistic exercise. 

*How has your style evolved? 
Well I believe we're figuring out a style our whole life. Just trying to be myself and follow my own particular taste. I also like to create following the unexpected element on set and turning them into our advantages. 

*Tell us any strange or funny stories while making the film? 
Everything about our location was tricky because we had to be discrete. In the convenient store we had to stop shooting each time a customer enter the store. In the library it was very funny because we had the be quiet and we didn't ask for permission. The scenes in the forest near the end was shoot over 3 summers. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Harmony Korine come to mind indeed. I totally admire and love everything in filmmaking that involve freedom and some sort of an out of the box philosophy. I think cinema is an art and box office should not rule this industry. 

*What can we expect from your next film? 
My first language is French and I' m thinking to make a feature in this language. I have an idea for a story about a father and son. They haven't meet for 20 years and the father will need to drive thousands of miles in order to reconcile with his son. But I want to add an almost psychedelic tone to it.

Interview with filmmaker Logan Pillay

Silence will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
Movies and Acting was a passion I had from Childhood, However getting work in South African Entertainment is a great challenge, As time passed I got equipment  , and continued to do so. Started making monologues and applying for work , It was extremely difficult to get your work noticed as movies Industry still needs to Grow, So  that's when I decided "Why not make our own Movie" 

*What inspired you to make your movie? 
Had a Story to tell that was the actual day to day lives of the Indian Community in South African filled with drama, affiars, fights, Sex and betrayael Felt that the average person will relate to this movie and this movie will not be like the customary films that we are so used of watching, whereby applied taboos in India is not relative in South Africa, So truth telling was added to spice it up and I finally get to Act 

*How has your style evolved? 
Keeping it real to people behaviour, Learnt a lot on the Audio, will definitely invest more on the next film on Audio. Learn not to cut straight away after the scene is done. There is so much more that needs learning and i can't wait to get my hands on the next Project 

*Tell us any strange or funny stories while making the film? 
We were all new Actors , with 2 Cameras , My Son and Cousin help with Cameras, Actors wore they own clothes,, we had no budget So you can imagine the Guys wearing wrong outfits, Forgetting to put the Camera on when Actors are performing, Eating all the food before we could do the scene. We had lots of Fun 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
They bring sense of hope and faith to the Independent Film Makers 

*What can we expect from your next film? 
I need to take more time to Ensure , the quality of sound and lighting is taken care of. So better quality Film Movie based on Gender Based Violence as we have a problem in South Africa

Interview with filmmaker David Hastings

Sustain will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I got into filmmaking because of my folks, who encouraged me to watch as many of them as I could when I was growing up. So, things from Hammer Horror films, Godzilla, classic movies and pure drama films, as well as many more. The more films I watched, the more I was in awe of them, and eventually (especially with horror films), started wondering how they were made. So, I read books on them (no internet in the 80s folks!), and went to conventions with my Dad, and met some of my favourite actors. It all spiralled from there really. 

*What inspired you to make your movie? 
We were starting to finish production on our previous film House of Screaming Death, and as much as I love horror, as a director, I want to keep trying different things with differing genre, pushing myself as a filmmaker, challenging myself. So, I’d already mentioned to a few people that I wanted to tackle something without ghosts, vampyres and necromancers. And one of the stars of Screaming Death, Brett Dewsbury, wanted to do some little scenes after we’d wrapped, to get a showreel going. After we’d bounced ideas around, Brett came back with, what was meant to be a short 2 minute piece about a brother lamenting on the loss of his half-brother due to a racist attack. Problem was, the more we discussed it, the more it kept growing in scope, and within 2 weeks, we’d decided to instead mould it into a full feature film, because all these characters we were tinkering with, just couldn’t be contained in a mere 2 minute piece. So, Brett would write some scenes, hand them over to me to see if I could embed them into what I was writing in the script too. And it felt like it was needed. There is so much injustice in the world, especially over these past few months, and Sustain just needed to be told. And so far, audiences have noted that as well as enjoying it too. 

*How has your style evolved? 
I think a filmmaker’s style is always evolving. And that’s the beautiful part of filmmaking; it’s never set in stone. It’s always adapting, whether it be via technology or other avenues, so my own style adapts too as I go along, trying new ways to tell a story. With Sustain, I drew very heavily from one of my favourite directors, Michael Mann. However, while I was very conscious of him throughout the filming, I wasn’t letting his style affect how I was approaching the material myself. Of course there are little homages in there in terms of framing and composition of certain shots, but I was looking at a director I admire, his visual styles and adapting them for my own storytelling techniques, same as how directors like Spielberg continually look up to Hitchcock in what they do. It’s all a continually revolving door, and its exciting to see what we all do as filmmakers because of it. 

*Tell us any strange or funny stories while making the film? 
I think we have enough footage to probably make a musical version of this film. A lot of the times, the cast would burst into many a song and give us a full-on concert performance while we were setting up scenes! As much as the film is very serious and grim in tone, we had to have laughs behind the scenes to keep the energy going and to distance ourselves momentarily from the script, because these wonderful actors were all giving truly powerful performances, complimented by an equally fantastic crew, so it was fun to allow us all to just have some time to bond and have a few giggles. Lots of fun! 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
They suggest autonomy and working outside institutions. Allowing for more freedom of artistic expression away from the demands of executives whose only interest is to make money, which is seen as far more important than crafting and creating stories which have heart, can provoke thought and conversations, as well as being an area that encourages everyone to pick up a camera and make a film, regardless of budget, experience and background. Personally, I find the films that come from very little to be better than those where the money has been splashed across the screen. The latter lack the warmth, the passion and the visions of those who have fought tooth and claw to make their films within a community they are associated with outside the institutions and big studios. No matter what, you can make a film. And you’ll keep growing and finding your own styles and techniques as you go along, and that is just fantastic to see all over. 

*What can we expect from your next film? 
I’m really busy already in post-production on two more feature films, the first being another departure genre wise, with You Are My Sunshine, an LGBTQ romance that charts the story of Joe and Tom, from when they first meet in the 1970s all the way to present day, and how their relationship has progressed over the decades, despite hardships. I’m so excited to show audiences this film when it is finished. Additionally we are in the midst of another anthology film, this time tackling the most wonderful time of the year with Advent, a Christmas film which stars a multitude of fantastic regional actors again, while Arthur Bostrom (from BBCs Allo Allo), is also in the film as well. So far, it’s looking wonderful but lots of work to still do once normality resumes after this horrifying pandemic. There’s a multitude of short films coming too, while more feature films are in development including Borderland, and (coming back full circle) the horror film Spineless! So, lots to keep me busy over the next few years to come.

Interview with filmmaker El mismísimo DIOS (GOD ITSELF)

Evanghelio will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
From the beginning, I was very interested in story telling. I was very fond of my new monkey-toys but soon I realized that they missed something and so did I. It started with fool stories about floods and fire, nonsenses, but I could see that spark in their eyes, and through their attention I forged my empire. Later themselves created the music and theatre. And I saw that was good. Filming was the way to get this enriched message to a wider audience, through time and space, and in a very particular way I really love. *What inspired you to make your movie? When I found these stunned flock, they had already started filming with no script or plan. Just recording their so called “mission” wherever they went through to do their filthy shows. But I saw faith in them. And actually, it was quite easy possess each one of that empty-brained, letting them believe that the movie was a fruit of anarchy and improvisation. 

*How has your style evolved? 
During the development of this project there were many devoted believers getting involved and making it bloom like a wild garden. I guess my personal growth has been to improve my ability to be awake being able to capture this universe of details, and somehow make it fit together in a natural way. About my style, not pretty sure. I believe in the style of the play itself, beyond the Creator’s. 

*Tell us any strange or funny stories while making the film? 
Actually the whole process was full of fun and bizarre moments, but surely most of the weirdest  came from the hand of the altar boy Pedrito. One quite funny: As the rest of the crew, Pedrito decided his text as well as his action. At the end of the scene in which Pedrito clones Tomás de Torquemada using a piece of the double chin of the inquisitor, he thought it was a good idea a shot of himself cutting a piece of meat with an axe. Everybody else thought that was not necessary and actually were packing to go away, but who can deny anything to an altar boy with an axe? So we did it and left. Nobody noticed that someone (probably Pedrito) put the piece of meat in a drawer. The place was a school used occasionally as stage, set or any cultural purposes, but really was the headquarters of a very nice VEGAN collective. After two weeks people began to speculate with the possibility of a corpse hidden around. They were right, and when they found it they kept it in a fridge for a while, guess that waiting for some kind of trial. Pedrito always denied his implication. One disturbing: The whole wardrobe of the group IMAN that kidnap Pedrito, Islamist Male-fags Ankle-biter Nurses (or something like that) is entirely the wardrobe of the Disney princesses. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
Total communion. Breaking rules of the established is a necessity and I cannot agree more on each of the points that compose the manifesto. And I know I talk for the whole crew. 

*What can we expect from your next film? 
Not even god knows what’s coming next, but probably something awkward considering the times we are living.

Interview with filmmaker Sylvia Toy

Voice will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I started making movies when I realized my plays were never not going to be boring and mediocre. *What inspired you to make your movie? VOICE is about a bipolar woman whose psychoses start traveling together in outer space when the woman enters therapy. I had my first major depression when I was 3-1/2 in the 1950s when not even educated people like my parents knew that kids could be mentally ill. I was on my own emotionally, which I'm not complaining about because I'm 100% certain that driving myself all my life is how I wound up the person I am who went out and grabbed her own happiness. VOICE was inspired by the resourcefulness of the mentally ill, for which we don't get much credit from mental health professionals or anyone else. 

*How has your style evolved? 
My filmmaking aesthetic evolved from an obsession with the layering of images in shadow patterns and reflections, which so often seems to show both the interior and exterior of reality. Chromakeying lets me make up my own impossible world. 

*Tell us any strange or funny stories while making the film? 
The protagonist in VOICE, Psyche, is as opposite from me as I could possibly make her except that we are both bipolar. She's an only child (I have 4 siblings); her parents' sudden death in a car crash left her independently wealthy (my parents were not rich); her husband got so frustrated with her not seeking help for her mental illness that he left her (my husband is very supportive); her boss put her on disability to force her to seek help for her mental illness (this actually did happen to me); and most of all, she has had artist's block her whole adult life, which never happens to me. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
"Your instincts are right - you CAN do whatever you want. So, go the hell and do it." 

*What can we expect from your next film? 
My sci fi feature film in progress DERMALIAN (aliens investigate why humans became extinct), for which I made a proof-of-concept in 2019, is in 4th draft of the script but will not be made until somebody gives me $75,000. However, I always have several next films - always, always, always no-budget and handmade - in the works. They are character-driven, which in my work means that the characters decide what the story is and none of them have told me exactly what their stories are. So I can't tell you what to expect yet. HALF-LIVES, my second longest running project changed because the antagonist turned into the protagonist by announcing the protagonist's death in an improvisation one morning. THE LABYRINTH, my newest project was only supposed to have a solitary character wandering in a void, but so far additional characters, have shown up in improvisation. Stay tuned!

Interview with filmmaker Yakima Camille Waner

The Harvest will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films?

I studied my BA in Dramatic Arts at the University of the Witwatersrand in Johannesburg South Africa. My passion was born for experimental and documentary filmmaking in my final year. When I left university I was work shadowed by some of the best film makers in wildlife documentary in the world. I was interested in a future in wildlife documentary, but I soon found my true calling in journalistic documentary showcasing stories where I can make a difference within social and environmental issues.                    

*What inspired you to make your movie?

My main inspiration to make The Harvest was the social conflict that surrounded the community within the documentary. I was concerned as an activist that the conflict was going to create war between the inside community and the surrounding communities. Once I researched the informal settlement Plastic City (a recycling camp +- 6000 people, +- 600 children) which is the main location in the documentary I found out that there was a crèche in the facility. Visiting the crèche and hearing the story behind the journey of the school’s formation got the ball rolling. I felt it was my duty to share the story of the children of this settlement, a story like no other. And also to share the story of the incredible brave women who made these children’s safety and education their priority with no income or aid from the government.                     

*How has your style evolved?

My style as a documentarian has evolved in technique, but my signature is still very prominent in all my films. I feel my audience has to experience the film through the subjects eyes, through their raw emotion physically and emotionally. Some of my footage is even intentionally cropped or extremely close up in such a way that makes you feel like you are seeing it through the diegetic voice in the scene and not a onlooker. It’s very important for me as the director to make my audience feel, I don’t believe in judging or creating villains in my narrative, I leave that to the audience.                                                   

*Tell us any strange or funny stories while making the film?

To be honest I have hundreds of stories because this documentary showcases multiple NPO’s which have become our daily lives. I feel the most extreme moments in the documentary really showed me the dangers of being a journalistic documentarian. When I personally am behind my camera I switch off to the outside world and the fact that my life is in danger becomes non important. I drove right into a xenophobic march with my NPO partner, its not even a matter of bravery, it’s just living out the scene and capturing it. You become a clean canvas which has to get the story in order to paint the picture. My partner freaked out when she saw the massive shot guns and bazookas and begged me to leave. I told her calmly to take my phone camera and continue to film and she kept the camera down as the people who passed were protesting and I yelled FILM! Only afterwards I really took in the real measures of what we did. I think most funny moments were off camera to keep high spirits in between filming very difficult matters and painful realities. Some strange and some what funny moments was when I first started to film the women recyclers while working in the landfills. It took me about a year to gain the communities trust while in the beginning the women would scream at me and chase me away. We would try and explain to them that this film is to share their voice and their identity. It was so frustrating that I couldn’t record during so many occasions because the quality of the footage was so unique when they were just being themselves and doing this service and playing such an important role in sustainability. I would have to enter with the camera set up, make sure no officials of the landfill see me as I wasn’t granted permission due to xenophobia and then see if they would openly share their story as I don’t believe in non consent footage. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind?

I believe film is an expression of art & art is life and it will find it’s way to surface against all odds. The Misrule Film movement and the Pink 8 manifesto do exactly that. Art also creates emotion and response, some will connect and others will be repulsed, but it’s still art and no one can deny that.                             

*What can we expect from your next film?

I will be releasing a documentary on the 20th December 2020 which is International Human Solidarity Day. The documentary is called Indlala which means Hunger in Zulu. The documentary is based on The Harvest Covid 19 Relief Project which started a week before the National State Of Disaster was declared in South Africa due to the pandemic Covid 19. The documentary shares day to day experiences during Lockdown, moments of complete mayhem, moments of joy and tears, moments that we didn't know how we were going to continue feeding 200-300 starving people a day. The project aimed on supporting and creating relief for communities and minorities that would not receive any government support during the pandemic, especially for children and the elderly. What started as a limited support system that we agreed to aid only those stipulated became a day to day combat to find the means to help the influx of starving people who came to us begging for aid. The project also made masks and educated the masses on the devastating impact of the virus. Still today we are feeding hundreds of people and have received support and aid from so many wonderful organization and donations from individuals which keep us going.

Interview with filmmaker Alessio Nencioni

Go Dante Go, Go, Go! will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films? 

I started for fun, with some friends, in the middle of the woods of Tuscany. The first film was entitled Il lago nero 3, an amateur horror film shot with very few technical gears. After that I tried to improve and broaden my team. It was a very punk, rough cinema, made without any money at all. 

What inspired you to make your movie? 

Go Dante Go Go Go is a metacinematographic movie, partly autobiographical. The protagonist is a director who embarks on the crazy undertaking of shooting ten short movies, one for each cinematographic genre. I was inspired by the many adventures that really happened trying to make indie cinema and by the numerous draft ideas never realized. 

How has your style evolved? 

What I have tried to improve over the years is above all the team work of my troupe, devising increasingly ambitious projects. The style has consequently changed, with a more professional approach while always maintaining a personal touch. 

Tell us any strange or funny stories while making the film? 

There would be so many funny stories. Like when we fell into the lake shooting the horror segment. Or when we obscured a skylight with helium-inflated black balloons, or when some private guards caught us shooting in abandoned and reckless houses, with reptiles and half-naked girls... 

The Misrule Film Movement & Pink8 manifesto bring what to mind? 

My cinema certainly has some points in common with that manifesto. I sympathise with a social cinema, made with few economic resources, punk, grotesque; wrong but alive. 

What can we expect from your next film? 

My death. Because if I'll survive to another movie that would be totally unexpected.

Interview with filmmaker Antonio Amaral

From Star To Star will premier at the Straight-Jacket Guerrilla Film Festival

*How did you get into making films? 
I come from outerspace. My human name is Antonio AMARAL but it is not my real name. After I turned eighteen, I spent some time in jail for something I didn't do: I was innocent. I talked to my fellow inmates about all of this: how I got to earth and all the troubles I faced in this planet... At first they laughed. And then they advised me to make a film of it. When I left, an educator found me a job in a cinema stuff rental company ... for me, cinema started like that. 

*What inspired you to make your movie? 
We all make films. We make our own films in our head for ourselves. Our memory helps us to make the editing. The truth doesn't matter ; what matters is to believe in it, to believe in that story... I was searching for a way to escape from that trap. The character "Pedro" came to my mind. He's poor, homeless and sick... he has nothing to lose and no time left to lie to himself. Pedro wants to understand cinema and most of all he wants to find the truth. He wants the truth inside the actors, because he's convinced that they are able to show the human soul. 

*How has your style evolved? 
I made some animation films, and fictional films.  Making the imagination work is what guides me. Let the imagination work from the simplest raw material. Do not try to add, rather strip things on the contrary.   Only switch on the camera if there is an idea and try to give it shape. Luck can help. 

*Tell us any strange or funny stories while making the film? 
I started casting in search of the actress who could play AYA (the main character); I met Ariane LOUIS. She was enthusiastic about the script. I know that I seemed weird to her (I'm used to it), but as a good professional, she did not let anything appear. The casting went on... it was difficult to find the actor that could understand and play "Pedro" (the other main character of the film). No one wanted the role. One told me "I don't even understand what your project is !", another told me "This character is always offscreen, f***k that !". I had the chance to find Filipe Dionisio ; he told me "Pedro is an obsessive compulsive, always offscreens ! that's perfect, that's for me!". And he has been perfect indeed ! He first thought that it was a short film. After a few days, he understood that we were shooting a feature film... Filipe started to realise the amount of work to do! He did the job. 

*The Misrule Film Movement & Pink8 manifesto bring what to mind? 
In my opinion, Misrule Film Movement & Pink8 manifesto says that it's not only capitalism and the commercial film industry that is killing cinema. Critics, festivals, support funds ... are all looking more and more in the same direction, the divergent discourses of the mainstream are stifled. Reality TV has multiplied through the Internet; doing or saying something that makes sense doesn't really matter : it's buzz that counts and attracts flies. 

*What can we expect from your next film? 
I will do quite the same: filming like if I was making a documentary, in real places, in the middle of real people. The next film will reveal certain things from Pedro, things that the film From Star to Star leaves hanging.It will be about Adamou, a young african migrant. We will follow his path through the streets of Paris and its suburbs.In a foreign country, far from home and without papers, Adamou is in a critical situation. Yet he only thinks of helping others ... he meets Pedro, Pedro is an homeless man who only thinks of making a film.  But Pedro is sick and getting worse ... Pedro will cause an unexpected change in Adamou

Interview with filmmaker Jesus Alvarez Betancourt

Roomates will premier at the Straight-Jacket Guerrilla Film Festival

How did you get into making films?

I always wanted to make films. I think that´s the clearest thing I´ve ever had in my life. Every time I watched a movie, deep down I knew that what I wanted was to get out the seat and start making them, but equal I saw it distant. Finally, I encouraged myself to take that step, thanks to two of my friends who shared the same dream. What inspired you to make your movie? My last movie Roommates, talks about friends, the real ones. Not those who stay temporarily, but those who become part of your family. Roommates is a sum of anecdotes, people I have met and things I´ve lived, with its share of fiction of course. 

How has your style evolved? 

Rommates is my fourth movie and i definitely feel like there is a growth since the first till the current in technical terms. In the resources I have to be able to do it. In the stories I like to tell I think I always find a common point and is that they´re about the people who left a mark in your life, it doesn´t matter if you met them for a single day or if it´s your lifelong friend. The important thing is how a relationship mobilizes you. 

Tell us any strange or funny stories while making the film? 

I´m quite a distracted person, sometimes my head can be in four things at the same time. Or suddenly for instinct I desire to do something, that has already been talked about, in a different way and that in a shooting could generate some chaos. I remember asking for something as specific as a pink elephant doll or stuffed toy for a scene one day and the art team had to figure out how to get it in such a short time. I still think they hate me a little bit for that, besides I didn´t put it in the film at the end. 

The Misrule Film Movement & Pink8 manifesto bring what to mind? 

I think nowadays there are more possibilities to produce a movie. In Pink8-type policies, there are things in which I can agree with, but not all of them. Even though I´ve worked in some projects that could relate to that film, I believe that a movie built upon the sum of efforts of the technical as well as the artistic talent of the staff. At the same time, I feel the story ends up giving you clues as to how to write it; sometimes, not having some resources can encourage you to learn some interesting alternative ways of how to manage yourself without them. 

What can we expect from your next film? 

The next film, in which I´m working at the time, it´s called COCO Y EMMA; by far the most ambitious project I´ve ever worked on… all through searching for the resources to make it happen as well as the technique I´m using. It´s a fantastic movie – I think I´ve left my imagination fly too much, but it was the only way of telling a story that develops in a magical world.