It has been a good two consecutive years for cinematographer Enmmanuel Lubezki who has won every single major cinematography award of the motion picture industry in 2015 for the tenacious and imaginative making of the independent dark comedy Birdman (or The Unexpected Virtue of Ignorance). Birdman won big this year at the Academy Awards for Best Picture, Best Director-Alejandro Gonzalez Iñarritu-, Best Original Screenplay and Best Cinematography. Prior Oscar night, Lubezki also bagged for himself, the most prestigious awards of the industry, a BAFTA, an ASC and the Independent Spirit Award for Best Cinematography.

Last year, Lubezki originated the same fete, winning almost every single cinematography award and sealing the recognition deal by winning a BAFTA award, an ASC award and the Academy Award for Best Cinematography for the 3D science-fiction thriller "Gravity" under the helm of his friend and long time collaborator, Alfonso Cuaron.

On Gravity, the complexity of making us believe the actors were actually into deep space was challenging at best, so director Alfonso Cuaron and cinematographer Lubezki utilized the latest on production and post-production techniques and equipment, some of it developed by themselves, to bring the award winning project to fruition. On Birdman,  the challenge was of a different nature and the requirements of the script by director Alejandro Gonzalez Iñarritu was more visceral and immediate as Emmanuel Lubezki explains at the Academy Awards backstage interview:

"You know, this was probably the hardest movie I've ever worked on. And it was really hard because exactly what you mentioned, the shots were very, very long.  And we were not doing coverage so everybody had to do their best every time and not mess it up.  And I think that brought an energy to the movie that otherwise the movie would not have.  And  I think that stress and that a need for concentration made the acting so powerful and the camera and everything in the movie.  So, to my humble opinion, it's so powerful because of that.  And that's something that Alejandro wanted to do since he wrote the script.

He really wanted the movie to be in one shot or appear to be in one shot, and he didn't want to do any coverage because he knew that that was a way to immerse the audience in the movie, in the story, much deeper than than any other, you know, any other way we could have shot the movie.  And also it would make the actors do their best every time because they are used to. Usually, we shoot movies with coverage, and we do a wide shot, and the actors give only 70 percent. And then when they do their close‑ups, they do 100 percent, but this time, they knew the shots were going to be in the movie, so they had to go for the whole thing, but you should talk to them, you know".

Q: What was your first reaction when Alejandro showed you the script and what was the challenge you had with  Birdman?
"Well, the first time he talked about the movie, he said he wanted to do a movie in one shot before I read the script.  And at that moment, I truly, honestly thought I hope he doesn't offer me this movie; I'm not interested.  It sounds like a nightmare. And then when he brought the script and talked about the characters and why it had to be one shot, he captivated me, and I truly wanted to do the movie.  And it was really, really complex, very hard.  You know, there's no book that says how do it.  It was like an experiment.  And I have to say that is because he's a very strong, very curious artist.  We went through the process and made this movie happen."

"I mean every movie has to be told in a different way, whatever is good for the script,  whatever is good for the story, whatever is good for the director.  And this just happened to be what Alejandro wanted  to do and the way he wanted to tell the story and the way he wanted to immerse the people into this emotional  journey of Riggan Thomson and I went for it.  But usually the style doesn't come from me, it comes  from the  script, from the directors, from the locations where you shoot, etcetera, but mostly from what  the directors need to tell their story.  

The cinematographer's job is really to help them translate their ideas into  images, and that's what I tried to do.  So I don't know,  if I will ever try something like this again.  It will depend on what the director wants and what the script needs".


Emmanuel Lubezki, ASC AMC Wins ASC Award 2015 for Birdman ©georgeleon/filmcastlive
Emmanuel Lubezki, ASC AMC took the top ASC award, Outstanding Achievement in Cinematography in the Category of Theatrical Release for BIRDMAN OR (THE UNEXPECTED VIRTUE OF IGNORANCE).

Actor and recent cinematography graduate, Giovanni Ribisi presented the ASC Award for best feature to Lubezki, who also won the ASC top prize last year for GRAVITY. This marks the first time that a cinematographer has won consecutive ASC Awards in the theatrical category. Lubezki previously won in 2012 for THE TREE OF LIFE and in 2007 for CHILDREN OF MEN, and earned a nomination in 2000 for SLEEPY HOLLOW. He is also been a 4 times BAFTA Award winner for Best Cinematography and a 4 times Academy Award nominated and winning Best Cinematography for Gravity. Other nominated films lensed by Lubezki were: Little Princess, Sleepy Hollow, The New World, Children Of Men and Tree Of Life. 

Emmanuel Lubezki ASC AMC flanked by Fred Goodich, ASC 
and his daughter at the 29th American Society of Cinematographers 
Annual Outstanding Achievement Awards.

The other nominees in the feature film category were Roger Deakins, ASC, BSC for UNBROKEN; Óscar Faura for THE IMITATION GAME; Dick Pope, BSC for MR. TURNER; and Robert D. Yeoman, ASC for THE GRAND BUDAPEST HOTEL.

Roger Deakins, ASC BSC  at the ASC Awards ©george leon/filmcastlive
Roger Deakins, ASC BSC was nominated for UNBROKEN

John Bailey, ASC  received the ASC Lifetime Achievement Award. His work on ORDINARY PEOPLE (1980) and THE BIG CHILL (1983) earned critical acclaim. He has subsequently compiled more than 70 credits, including AMERICAN GIGOLO, THE POPE OF GREENWICH VILLAGE, SILVERADO, MISHIMA, THE ACCIDENTAL TOURIST, GROUNDHOG DAY, IN THE LINE OF FIRE, AS GOOD AS IT GETS, INCIDENT AT LOCH NESS, BIG MIRACLE, THE WAY WAY BACK, and the upcoming THE FORGER and A WALK IN THE WOODS.

John Bailey ASC Lifetime Achievement Award  ©george leon/filmcastlive


Phil Meheux, BSC was recipient of  the ASC International Award ©george leon/filmcastlive

Award-winning  Barbra Streisand was recipient of the ASC Board of Governors Award from cinematographer Andrzej Bartkowiak, ASC. She is the only artist to achieve Oscar®, Tony®, Emmy®, Grammy®, Directors Guild of America, Golden Globe®, and Peabody Awards, as well as a National Medal of Honor, France’s Légion d’honneur, the American Film Institute Life Achievement Award, and the Kennedy Center Honors. The three films that Streisand has directed - YENTL, THE PRINCE OF TIDES, THE MIRROR HAS TWO FACES - earned 14 Academy Award® nominations.

Barbra Streisand recipient of the ASC Governors Award ©george leon/filmcastlive
Barbra Streisand with actor/husband James Brolin

Matthew F. Leonetti, ASC was recognized with the ASC Presidents Award for his impressive cinematographic contributions and dedication to the ASC. Leonetti’s credits include POLTERGEIST, FAST TIMES AT RIDGEMONT HIGH, WEIRD SCIENCE, JAGGED EDGE, STAR TREK: FIRST CONTACT, DAWN OF THE DEAD, THE BUTTERFLY EFFECT, and RUSH HOUR 2. Forty years after his first role as director of photography on BAT PEOPLE (1974), Leonetti continues to shoot, including the recent DUMB AND DUMBER TO, whose directors Bobby and Peter Farrelly bestowed the Presidents Award at the ceremony.

Matthew Leonetti received ASC Presidents Award ©george leon/filmcastlive

Bill Roe, ASC took home the Career Achievement in Television Award,  Roe has been nominated for three Emmy® Awards for his work on THE X-FILES and FAITH OF MY FATHERS. The ASC has nominated him nine times, for which he won consecutive awards for THE X-FILES (1999, 2000). Since 1997, Roe has shot nearly 200 television episodes contributing to CASTLE, BROOKLYN SOUTH, LAS VEGAS, DAY BREAK, ROBBERY HOMICIDE DIVISION, MAD MEN, and such pilots as TERMINATOR: THE SARAH CONNOR CHRONICLES, THE MENTALIST, and EASTWICK.

Bill Roe  Career Achievement in Television Award © george leon/filmcastlive

 The ASC Bud Stone Award of Distinction was given to Otto Nemenz, founder and CEO of the rental facility Otto Nemenz Intl, and Denny Clairmont, president and co-founder of Clairmont Camera. The award is presented to an Associate ASC Member who has demonstrated extraordinary service to the society and/or has made a significant contribution to the motion picture industry.

Otto Nemenz and Denny Clairmont received the ASC  Bud Stone Award ©george leon/filmcastlive

 Peter Flinckenberg, FSC was this year’s winner of the ASC Spotlight Award for CONCRETE NIGHT. The award recognizes outstanding cinematography in features and documentaries typically screened at film festivals, internationally or in limited theatrical release. Also nominated for the Spotlight Award were Darius Khondji, AFC, ASC for THE IMMIGRANT, and Daniel Landin, BSC for UNDER THE SKIN.

Leonard Maltin ©george leon/filmcastlive
 Film Critic and Historian, Leonard Maltin  attended the 
29th American Society of Cinematographers
 Annual Outstanding Achievement Awards.
Cheryl Boone Issacs, AMPAS President ©georgeleon/filmcastlive
Cheryl Boone Issacs, President of the Academy of Motion Pictures Arts and Sciences   
(AMPAS) attended the 29th American Society of Cinematographers
 Annual Outstanding Achievement Awards.

Jonathan Freeman, ASC took the Outstanding Achievement Award for an episode of a regular series, Freeman was recognized for his work on the “Golden Days for Boys and Girls” episode of the HBO series BOARDWALK EMPIRE. Last year Freeman took home the award for GAME OF THRONES. He previously won for BOARDWALK EMPIRE (2012, 2011), and HOMELAND SECURITY (2005). He has earned additional nominations for BOARDWALK EMPIRE (2011), TAKEN (2003), STRANGE JUSTICE (2000) and PRINCE STREET (1998). 

Vilmos Zsigmond ASC, Richard Crudo ASC President, Yuri Neyman,ASC  ©george leon/filmcastlive
 Vilmos Zsigmond ASC, Richard Crudo ASC President, Yuri Neyman, ASC

Andy Romanoff and Steven Poster ASC  ©george leon/filmcastlive
Andy Romanoff and Steven Poster, ASC and President of ICG Local 600 
accompanied by a lovely guest

Stephen Pizzello, David Heuring ©george leon/filmcastlive
Stephen Pizzello, Editor-in-Chief/Publisher of American Cinematographer 
with writer David Heuring (right)  and guests

For more information about the American Society of Cinematography click here.


Rachel Morrison, Laela Kilbourn, Dagmar Weaver-Madsen, ©george leon/filmcastlive
Indewire and Canon have joined forces to bring a series of Cinematography related panels.  Most panels and discussions are by-invitation only, the panels discussions  and are held at the Canon Creative Studio (427 Main Street) from Saturday, January 24 to Monday 26.

The Female Perspective: Women in Cinematography 
Saturday, 1/24 at 1pm
Rachel Morrison (DP, "Dope," "What Happened, Miss Simone?"), Laela Kilbourn (DP, "How to Dance in Ohio") and Dagmar Weaver-Madsen (DP, "Unexpected") gather for an illuminating conversation about their craft and women in the creative arts.

"The Overnight’s" John Guleserian on the Cinema EOS C500
Saturday, 1/24 at 3pm
The acclaimed DP behind Sundance tour de forces "Like Crazy" and "Song One" discusses why he chose the Canon Cinema EOS C500 for his latest feature, "The Overnight."  Tim Smith, Sr. Film and Television Advisor for Canon USA, will also participate.

Cut the Comedy: The Capture and Edit of Misery Loves Comedy
Sunday1/25 at 1pm
Explore the making of the Sundance doc "Misery Loves Comedy" with DP Adam McDaid and Oscar-winning visual effects supervisor/Consulting Editor Rob Legato, who, along with Tim Smith of Canon and Mike Kanfer, Sr. Strategic Development Manager, Adobe, discuss the workflow of Canon’s Cinema EOS C300 with Adobe Premiere Pro CC.

Behind the Screams: Eli Roth on the Making of "Knock Knock" with EOS-1D C
Sunday, 1/25 at 3pm
Park City At Midnight was made for horror kings like Eli Roth, whose latest spine-tingler "Knock Knock" stars Keanu Reeves, Lorenza Izzo and Ana de Armas. Roth and his team, including cinematographer Antonio Quercia, discuss shooting with the Cinema EOS-1D C and why this DSLR was a dream for capturing his nightmarish script.

 Get Real: Documentary Filmmaking with Cinema EOS 
Monday 1/26 at 1pm
Non-fiction storytellers Crystal Moselle (Director/DP, "The Wolfpack"), Thaddeus Wadleigh (DP, "The Hunting Ground") and Bradley Stonesifer, (DP, "Call Me Lucky"), along with Canon’s Tim Smith, tell the tales of their real-life films and talk about their tech tools of choice for documentary work.

Lance Acord,  filmcastlive
 Lance Acord, ASC
Design Inspiration, Art of Film Weekend
Friday, 1/30 at 3pm.
Where does the visual design of a film begin, and how does it contribute to the overall art of cinematic storytelling? Through an illuminating conversation that integrates handpicked visual and filmic references, discover the creative processes of three talented individuals (and frequent collaborators of Spike Jonze) known for their stunning artistic sensibilities: cinematographer Lance Acord ("God's Pocket," "Where the Wild Things Are," "Lost in Translation"); production designer K.K. Barrett ("Her," "Human Nature," "Marie Antoinette," "Being John Malkovich"); and costume designer Casey Storm ("Her," "Where the Wild Things Are," "Adaptation").

 Stephen Goldblat, ASC

The Indiewire/ Sundance events will culminate on Monday, January 26 at 3pm with a special Canon-hosted screening of "Bending the Light" a Michael Apted, directed documentary, celebrating the craft of photography, will be followed by a Q&A between Bernstein and featured cinematographer Stephen Goldblatt, ASC, BSC, who’ll spotlight his creative process and the craft of cinematography, at the New Frontier Microcinema (573 Main Street).

Also, Canon will feature “How I Shot That", a series of interviews with Sundance participating cinematographers. It will run  throughout the festival.


Robert Redford, Keri Putnam, John Cooper, George Leon, filmcastlive
 John Cooper and Salt Lake Tribune film critic Sean Means

Robert Redford, Keri Putnam, John Cooper, George Leon, filmcastlive
Salt Lake Tribune film critic Sean Means, Sundance Film Festival Director John Cooper, Sundance Institute Executive Director Keri Putnam, and Robert Redford, founder and president of the Sundance Institute gather for the Sundance Film Festival's Day One Press Conference at the Egyptian Theatre in Park City on Thursday, Jan. 22, 2014. 


Enjoy live coverage from Park City and all the inside buzz about film premieres, features and documentaries in competition, outstanding shorts, Q&As,  panels and music events.

Robert Redford, Keri Putnam, John Cooper, George Leon, filmcastlive
 Robert Redford


Thursday, January 22
Day One Press Conference with Robert Redford, Keri Putnam & John Cooper

Friday, January 23
Cinema Cafe: Leslye Headland and Melissa Rauch

Saturday, January 24
1-Cinema Cafe: Tig Notaro and Sarah Silverman
2-Power of Story: Serious Ladies

Sunday, January 25
Saoirse Ronan and Jack Reynor

Monday, January 26
Cinema Café: Bobcat Goldthwait and Johnny Knoxville

Tuesday, January 27
1-Cinema Café: Christopher Abbott and Alia Shawkat
2-2015 Sundance Film Festival Shorts Awards presented by YouTube

Wednesday, January 28
Cinema Café: Doug Aitken and Guy Maddin

Thursday, January 29
1-Cinema Cafe: Morgan Neville and TBD
2-Power of Story: Visions of Independence at 2015 Sundance Film Festival

Friday, January 30
Cinema Cafe: Jared Hess and Edgar Wright

Saturday, January 31
Cinema Cafe: Bryan Buckley and Charles Stone III
Closing Night Awards Ceremony Hosted By Tig Notaro


U.S. Dramatic
Presenting the world premieres of 16 narrative feature films, the Dramatic Competition offers Festival-goers a first look at groundbreaking new voices in American independent film.
U.S. Documentaries
Sixteen world-premiere American documentaries that illuminate the ideas, people, and events that shape the present day.
World Dramatic
Twelve films from emerging filmmaking talents around the world offer fresh perspectives and inventive styles.

World Documentaries
Twelve documentaries by some of the most courageous and extraordinary international filmmakers working today.
Pure, bold works distinguished by an innovative approach to storytelling populate this program that will shape a "greater" next wave in American cinema. Presented by Adobe.

Driven by innovation and experimentation, the Shorts Programs call out filmmaking's most original voices. Presented by YouTube.

New Frontier

New Frontier showcases films that expand, experiment with, and explode traditional storytelling as well as cutting-edge new media work and panel discussions.
Park City at Midnight
 From horror flicks to comedies to works that defy any genre, these unruly films will keep you edge-seated and wide awake.

 Regardless of where these films have played throughout the world, the Spotlight program is a tribute to the cinema we love.

A showcase of world premieres of some of the most highly anticipated narrative films of the coming year.
 Documentary Premieres
 Renowned filmmakers and films about far-reaching subjects comprise this section highlighting our ongoing commitment to documentaries. Each is a world premiere.

Sundance Kids
To reach our youngest independent film fans, we have created a new section of the Festival especially for them. Programmed in cooperation with Tumbleweeds, Utah's premiere film festival for children and youth.

New Frontier
 New Frontier showcases films that expand, experiment with, and explode traditional storytelling as well as cutting-edge new media work and panel discussions.

Park City at Midnight
From horror flicks to comedies to works that defy any genre, these unruly films will keep you edge-seated and wide awake.
Special Events
One-of-a-kind moments highlighting new independent works that add to the unique Festival experience.
Sundance Collection
A selection from The Sundance Collection at UCLA, a film preservation program established in 1997.


Power of Story
Sundance Film Festival's "Power of Story" series looks to deepen public engagement with storytelling, explore cinema culture and celebrate artists whose work pushes the form.
Cinema Café
Cinema Café revives the culture of conversation, offering audiences the opportunity to engage with an array of filmmakers and artists in an informal dialogue over coffee and treats. #CinemaCafe

 Art of Film

 Exploring cinema, body and soul, these events celebrate the art and craft of filmmaking and offer a behind-the-scenes look at the creative, collaborative spirit of the artists who make movie magic.

 At the Lodge
At the Lodge panels take up the compelling themes emerging from festival films and explore broader trends in contemporary independent film.
New Frontier panels explore diverse topics that celebrate boundary pushing storytellers; featuring innovative technologies, fascinating insights, forward thinking strategies and the possibilities of what the future may bring.
Film Music Events
Live performances and lively panels celebrate the art and business of film music.

Music Café

 Hosted Presentations
Hosted presentations bring the latest and greatest from our sponsor community to Festival goers throughout the ten days.

Download your printable PDF Program  Guide
Live stream courtesy of Weber Shandwick, official provider of the 2015 Sundance Film Festival.


ASC American Society of Cinematographers, Filmcastlive
The American Society of Cinematographers (ASC) has nominated three cinematographers for the Spotlight Award. This award is designed to recognize outstanding cinematography in features and documentaries that are typically screened at film festivals, internationally or in limited theatrical release. The winner will be announced at the 29th Annual ASC Awards on February 15, at the Hyatt Regency Century Plaza.

The nominees are:
 Peter Flinckenberg, FSC for Concrete Night (Betoniyö)
Darius Khondji, AFC, ASC for The Immigrant
Daniel Landin, BSC for Under the Skin

“These nominees have created some of the more inspiring and imaginative visuals our members have seen recently,” says ASC Awards Chairman Lowell Peterson. “We’re proud to recognize their innovative work, and we hope at the same time to raise the profile of these films, so more audiences have a chance to see their outstanding imagery.”

For the Spotlight Award, ASC members submitted entries for consideration which went before a Blue Ribbon panel that chose the nominees. All active members may vote to select the winner.

Concrete Night has been at festivals since its debut at the 2013 Toronto International Film festival. The Immigrant premiered at the 2013 Cannes Film Festival and received a limited international release. Under the Skin was unveiled at Telluride in 2013 and distributed in limited theaters worldwide.

Last year, Lukasz Zal and Ryszard Lenczewski won the inaugural ASC Spotlight Award for Ida, which has earned accolades around the globe. Ida is also nominated in the Foreign Language Film category of the 87th Academy Awards®.

For information regarding the 29th ASC Awards for Outstanding Achievement in Cinematography visit



  Birdman or (The Unexpected Virtue of Ignorance)
Emmanuel Lubezki

The Grand Budapest Hotel
Robert Yeoman

Lukasz Zal and Ryszard Lenczewski

Mr. Turner
Dick Pope

Roger Deakins


American Sniper
Clint Eastwood, Robert Lorenz, Andrew Lazar, Bradley Cooper and Peter Morgan

Birdman or (The Unexpected Virtue of Ignorance)
 Alejandro G. Iñárritu, John Lesher and James W. Skotchdopole
 Richard Linklater and Cathleen Sutherland
 The Grand Budapest Hotel
Wes Anderson, Scott Rudin, Steven Rales and Jeremy Dawson
The Imitation Game
 Nora Grossman, Ido Ostrowsky and Teddy Schwarzman

 Christian Colson, Oprah Winfrey, Dede Gardner and Jeremy Kleiner
 The Theory of Everything
  Tim Bevan, Eric Fellner, Lisa Bruce and Anthony McCarten
 Jason Blum, Helen Estabrook and David Lancaster

For a full list visit,


87th Oscars® Nominations Announcement Live!

On January 15, 2015 at 5:30 a.m. PT, Alfonso Cuarón and J.J. Abrams will announce the nominees in the following categories: Animated Feature Film, Documentary Feature, Documentary Short Subject, Film Editing, Original Song, Production Design, Animated Short Film, Live Action Short Film, Sound Editing, Sound Mixing and Visual Effects.

At 5:38 a.m. PT, Chris Pine and Cheryl Boone Isaacs will take the stage to unveil the nominations for Best Actor, Best Actress, Best Supporting Actor, Best Supporting Actress, Cinematography, Costume Design, Directing, Foreign Language Film, Makeup and Hairstyling, Original Score, Adapted Screenplay, Original Screenplay and Best Picture.


George Lucas, Robert Redford, Power of Story, Sundance Film Festval 2015, Filmcastlive, George Leon photographer
Sundance Film Festival Celebrates the Art of Film with Panels with Robert Redford, George  Lucas and More Discussing the Craft of Filmmaking.

Sundance Institute announced that the 2015 Sundance Film Festival will take an unprecedented look at the art and craft of filmmaking with its new 'Art of Film Weekend' series of offscreen programming. The 2015 Festival, taking place January 22 to February 1 in Park City, Salt Lake City, Ogden and Sundance, Utah, is the centerpiece public program for the Institute, which provides resources to independent artists on a year-round basis through its 24 annual residency labs and more than $2.5 million in grants. The Institute also holds public workshops through out the year that provide expert advice and critical insights into the craft and process of filmmaking.

Art of Film Weekend  (January 29-31) will highlight the unique roles of writers, directors, producers, actors, cinematographers, editors, production designers, art directors, costume designers, casting directors, sound designers, composers and the countless others who bring stories to life on screen. The series will kick off with Robert Redford and George Lucas discussing their careers and creative process with Leonard Maltin and continue throughout the second half of the Festival with additional panels on topics including artistry in film music, virtual reality, visual design, editing and documentary.

John Cooper, Director of the Sundance Film Festival, said, "Exploring cinema, body and soul, Art of Film Weekend will take aspiring filmmakers and film-loving audiences behind the scenes to see the creative, collaborative spirit of artists at every stage of the independent filmmaking process that is so core to our Festival."

For dates, times, locations and ticket information for these and other panels, including the free daily Cinema Café program, visit  Join the conversation on social media with #ArtFilmWeekend.

Power of Story: Visions of Independence — Kicking off Art of Film Weekend, join Robert Redford and George Lucas—two iconic filmmakers who epitomize the spirit of independence in American cinema—in conversation with critic Leonard Maltin. Distinctive as storytellers, their pioneering visions have also yielded innovative enterprises and institutions that cultivate creativity and imagination, advance technology, and push the realm of possibility. This will be live streamed on

Art of the Score: A Performance and Discussion with Harry Gregson-Williams — We explore the artists' approach to film music with renowned composer Harry Gregson-Williams (the Shrek series, The Chronicles of Narnia series, The Town, Man on Fire, Kingdom of Heaven, Spy Game and Blackhat), who shares his creative process from that first spark of a musical conception through the delivery of a final score. With film excerpts and a live performance, including electric violinist Hugh Marsh, we explore the indispensable role music plays in cinema.

A New Language in Filmmaking: Virtual Reality — Over a century has passed since the advent of film, allowing filmmakers to continuously hone, craft, and form the language of cinema, as well as pass those teachings on to a new crop of filmmakers. Virtual reality, on the other hand, has only recently emerged, and with it, a completely new language and approach to storytelling. Learn from the top directors working in this medium as they take you through their journey of failure and success in virtual reality storytelling. Join Chris Milk (director, An Evolution of Verse, Sound and Vision, Wilderness Downtown), Rose Troche (director, Perspective, The L Word), Saschka Unseld (director, The Blue Umbrella, story consultant to Oculus), and Glen Keane (animator, The Little Mermaid, Beauty and the Beast, Duet).

Design Inspiration — Where does the visual design of a film begin, and how does it contribute to the overall art of cinematic storytelling? Through an illuminating conversation that integrates handpicked visual and filmic references, discover the creative processes of three talented individuals (and frequent collaborators of Spike Jonze) known for their stunning artistic sensibilities: cinematographer Lance Acord (God's Pocket, Where the Wild Things Are, Lost in Translation); production designer K.K. Barrett (Her, Human Nature, Marie Antoinette, Being John Malkovich); and costume designer Casey Storm (Her, Where the Wild Things Are, Adaptation).

Cutting Class - An Editor's Guide to Storytelling — Spend an unforgettable afternoon with award-winning editor Sarah Flack (The Limey, Lost in Translation, Marie Antoinette) as she leads an in-depth session about her editing process, examining everything from the construction and evolution of scenes to the nuances of storytelling from an editor's perspective. Flack will shed light on the unique relationship between director and editor, referencing her collaborations with Sofia Coppola, Sam Mendes, and Steven Soderbergh.

The Doc Art Mix Tape — Perhaps more than any other cinema form, documentary is all too often discussed more in terms of content rather than its craft. But through its artful construction, distinctive storytelling styles, memorable characters, and groundbreaking aesthetics, non-fiction film has given us remarkable and lasting cinematic moments. Join us for a personal journey through documentary guided by Sam Green (The Weather Underground, Utopia in Four Movements) and Ross McElwee (Sherman's March, Time Indefinite, Bright Leaves), who unearth the rare and special moments that illustrate the remarkable range of the form.

For more information visit:
Click here to download the Film Guide :


To adapt a book to the screen is not an easy task, some screen writers fail miserably while others succeed garnering accolades from their peers and critics translating the written word to the captivating nuances of the cinematic language.

Moreover, to adapt a visceral descriptive erotic novel into a feature film without falling into the distastes of cheap quasi-pornographic movie making is truly not an easy task to accomplish.

Enter, THE KEY (2014) a  feature film adaptation to the screen on the erotic Japanese novel KAGI (1955) by Junichiro Tanizaki, about a middle-aged painter (David Arquette as Jack) who is deeply in love with his younger wife (Bai Ling as Ida) and in spite of that love, they have grown physically and emotionally apart.

As time goes by and to cope with the inadequacies on their ailing marriage, Jack decides to keep a very graphic and erotic journal with daily entries of all kind of sex games he demands from his much younger wife, who complies with her husband's desires without letting him know she is aware of his plans

 In order to maintain creative integrity with Tanizaki’s narrative style of sexuality and destructive erotic obsessions, writer/director Jefrey Levy developed the storyline into a juxtaposition of voiceovers and colored moving pictures vignettes, instead of a direct dialogue between characters, alternating between the entries of their private journals.

THE KEY has the flair and flavor of an experimental film by the lengthy use of cinematic techniques like extreme close ups, unusual actors blocking and camera position and lighting schemes. Notably, the post-production displays a “Sergei Eisenstein montage style” editing, recurrent piano chords musical track and many other visual effects like digital compositing, time passage compression, rotoscoping and frame tinting to represent the mood and pace of the story and in particular to this film, the emotional state of the characters.

At times, it seems as a modern version of the tinting and special effects adopted in early classic films, used to describe mood and intention of the narrative. But beyond than that, the film proves to be more experiential than experimental, immersing the audience in the voyeuristic colored world of the protagonists.

The lengthy use of captivating visual effects seems deliberate, but not in any way to showcase CGI/VXF prowess or just to be plainly gimmicky, but to evocate the poetic sensibility underlying the nature of the human condition as described in the context of the storyline.  Obviously, director/writer Jefery Levy conjured this obsessive-self destructive-erotic tale adaptation (about Jack) into a moving redemptive tale of lessons learned (about Ida).

There are two other iterations of The Key produced by earlier filmmakers, namely, Odd Obsession, directed by Kon Ichikawa, a culturally repressed Japanese dramatic adaption of the erotic novel and La Chiave by Tinto Brass, released in 1983, an overly sexual adaptation of the novel in fascist Italy. Kon Ichikawa won the Jury Prize in Cannes in 1960 and La Chiave achieved domestic financial success in Italy but was considered very scandalous by audiences at large.

THE KEY is Jefery Levy cinematic tour de force, a visually stunning and immersive erotic tale with stellar performances by David Arquette and Bai Ling. The film premiered at the Real Experiment Film Festival on November 21 at the Laemmle Music Hall Theater in Beverly Hills.
David Arquette Jack
Bai Ling Ida
Nathan Keyes Kim
Nathalie Love Mia

Written, Directed, and Produced by Jefery Levy
Producer – Susan Traylor
Executive Producer – John Scheide
Executive Producer – Mark Urman
Co-Producer – Tom Sanford
Cinematographer – William MacCollum
Edited – Jefery Levy
Edited – Pablo Espada
Edited – Scott Roon
Casting Director – Johanna Ray
Production Designer – Jessee Clarkson
Costume Designer – Patrick Milani
Co-Costume Designer – Paige Basham
Hair and Make-Up – Gina Nicole Maceri
Visual Effects – Scott Roon
Sound Designer – Jamie Scott


 For the last five years a new but very influential film festival has climbed to dominate the fashion industry scene as the leading international marketplace for fashion films.

La Jolla International Fashion Film Festival has all the attributes of a high profile film festival, not only because is the world’s largest gathering of fashion filmmakers but also because is held in the venerable San Diego Museum of Contemporary Art/La Jolla, nested in the picturesque coastal village of La Jolla and surrounded by collectible curated art, fine restaurants, designers boutiques, five stars hotels, lush foliage, balmy weather, Spanish and avant-garde architecture and of course, is uniquely framed by the magnificent visual bounty the Pacific Ocean could offer. 

In a nutshell, La Jolla International Fashion Film Festival is "suburban sunny California meets cosmopolitan Paris, London and Milan in a creative rendezvous of cinematic narrative full of style and glamorous fashion".

 BEST PICTURE  Kiss of a Siren  Victorija Pashuta & Miguel Gauthier

 BEST ACTRESS  The Purgatory of Monotony  Somja Kinski

 BEST CREATIVE CONCEPT.  The Purgatory of Monotony  Ace Norton

La Jolla International Fashion Film Festival empowers, support, and recognizes the individual creative professionals who make up the fashion film community worldwide. Known as the Cannes of fashion film, La Jolla IFFF was once again was the market center for distribution deals, director representation, and fashion film production houses showcase.

 BEST CINEMATOGRAPHY  The Old Road  Manuel Portillo
BEST FASHION  Honor Spring 2014  Giovanna Randall

Among the attendees supporting the filmmakers are fashion designers, fashionistas, fashion bloggers, industry executives, socialites and photographers from around the world packing the Museum of Contemporary Art/La Jolla theater of 500 seats enthralled by the top 1% of fashion films produced worldwide.

The Festival offers a varied program to all attendees and filmmakers for networking, making deals, attending  seminars and panels, screening films, attending to press receptions and after parties, and to those who deserve it, to win any category of he prestigious LJIFFF awards.

 BEST MUSIC  Snake  Vinilla Von Bismark

BEST VISUAL EFFECTS  Honor Spring 2014   Tim Regan and Fred Kim

BEST EDITING  Today, Tonight  Billy Mead

Festival Producer Fred Sweet, a veteran of the fashion industry adds “From now on the brilliant work done by makeup artists, hairstylists, art directors, editors, musicians, wardrobe stylists, writers, and others will have the opportunity to win awards. These awards are for the best in the world and cut across national boundaries and cultures. Thanks to the global reach of LJIFFF everyone is included no matter where on earth they live or work stated.”

 BEST ACTOR  206 David Oyelowo

 BEST MESSAGE  Around the World with Stella 
Jean Simone Cipriani

BEST ART DIRECTION   KWoman  Hunterand Gatti

LJFFF boasts a diverse line-up of films in competion and special Awards from the classic to the cutting edge, featuring such luminaries as Karl rgerfeld, Bruce Weber, Luca Finotti, Bruno Aveillan, Jonas Akerlund, Frank Funke, Matthew Frost, Jens Hallmann, Naqia Lee, and Zoe Hitchen, Ellen Von Unwerth, Indrani Pal-Chaudhuri, Marcus K. Jones, Karen Bystedt, producers Matthew Tucker, Joe Lombardo, Peter Isacksen, Marius Troy and Indira Cesarine among many others.

 BEST HAIRSTYLING  Crystals and the Postman 
are Girls Best Friends  Tracie Cant
BEST MAKEUP Mercado De Lagrimas. 
Tony Heredia,  Madgalena Sandoval and Alejandro Catalina

 BEST DIRECTOR We are all Mad Here Bruno Miotto
BEST COSTUME DESIGN  Kiss of a Siren  
Tiffany Chinel, Eric Ducharme Caley,

George Leon, Inna Zobova, Fred Sweet, Bruno Aveillan at La Jolla Fashion Film Festival, Filmcastlive
A re-post from La Jolla Fashion Film Festival FB page: We decided we liked this picture better than the previous one, so here it is! From left, cinematographer George Leon, Inna Zobova, Fred Sweet, and Bruno Aveillan. This year's LJIFFF will long be remembered for the enchanting imagery from one of the world's top film directors - Paris based Bruno Aveillan. Bruno and his lovely graceful wife, Russian actress Inna Zobova were one of the highlights of our Festival. From Bruno's film retrospective to Inna's stunning Red Carpet outfits, their presence added a special dimension to our worldwide gathering. Thank you Bruno and Inna!...

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