John Wildman

Anabel Rodrigues Rios’ ONCE UPON A TIME IN VENEZUELA: HOT SPRINGS DOCUMENTARY Film Fest INTERVIEWS; villagers of Congo Mirador struggle with pollution

By John Wildman 5 years ago

In the interview, Rios and I talk about the film being an “act of resistance”, as well as how the film also lends some insight into what is happening in this country at this very moment. We also talk about Rios’ relationship with the two main subjects, how that managed within the considerations of her own politics versus theirs, and how she approached filmmaking while hiding her own anger over the political machinations at that time.

Minna Dufton’s BIG VS SMALL at HOT SPRINGS DOCUMENTARY Film Festival INTERVIEWS; giant wave surfer in Portugal, Joana Andrade

By John Wildman 5 years ago

In the interview, Dufton and I talk about the challenges in capturing what she needed for the film and managing that relationship throughout the filing process. We also discuss filming and moviemaking in extreme environments to not just get footage but to get it as safely as possible, as well as the tenuous nature of directing by webcam.

Nathalie Bibeau’s THE WALRUS AND THE WHISTLEBLOWER at HOT SPRINGS DOCUMENTARY Film Fest INTERVIEW; trainer at Canada’s Niagara Falls Marineland takes them on

By John Wildman 5 years ago

In the interview, Bibeau and I talk about Phil Demers, the former trainer of Smooshi, and her working relationship with him as the “star” of her film and how she set the boundaries with him. We also discuss her approach to the project in terms of strategy to follow a developing story without an obvious end, thoughts on open endings in documentaries, Finally, we zero in on a couple moments that she loved.

Lisa Molomot and Jeff Bemiss’ MISSING IN BROOKS COUNTY at HOT SPRINGS DOCUMENTARY Film Fest INTERVIEW; explores immigration

By John Wildman 5 years ago

In the interview, I talk to Molomot and Bemiss about their real on-the-ground approach to filmmaking as a tandem, the challenge of finding this film’s “story,” the beauty of having an editor who has “distance” from the director(s) to add an objective eye, and Kate Spradley, one of the film’s subjects, also weighs in on what it was like to have their cameras focused on her as she tried to solve these mysteries. All of them talk about the cameras catching “human moments” and what leads to accomplishing that.

Jessica Earnshaw’s JACINTA interview at HOT SPRINGS DOCUMENTARY Film Fest; struggles to overcome addiction

By John Wildman 5 years ago

In the interview, Earnshaw and I talk about how she balanced out the time and focus on each of the trio, the filmmaker’s heartbreak of cutting down hundreds of hours of footage to an hour and a half, the times that struck her as signature moments while filming and editing, the filmmaker’s ethical decisions and the line they draw as a filmmaker versus a concerned human being regarding the subject. What is the responsibility of the filmmaker in those moments? This is a great conversation addressing that question.

Khadifa Wong’s UPROOTED: THE JOURNEY OF JAZZ DANCE interview at HOT SPRINGS DOCUMENTARY Film Festival INTERVIEW; exploration of jazz dance’s history

By John Wildman 5 years ago

In the interview, Khadifa and I talk about the insane number of people – really KEY people they got to do interviews for the film, the importance of Patrick Swayze’s mom as an influence on jazz dance in this country, and the approach of making the film via a dancer’s perspective visually, and through choreography, as well as how having an editor with a little distance from the subject can help protect filmmakers from overindulging their “favorite” parts or interests in service of the film’s whole.

David Gutnik’s MATERNA leads Naples International Film Fest 2020; announces awards BASTARDS’ ROAD, and COMING CLEAN

By John Wildman 5 years ago

The 2020 Naples International Film Festival announced the filmmaker award winners following the conclusion of this year’s virtual/outdoor screening hybrid fest. The jury prize for Best Narrative Feature (and a cash prize of $1,250) went to David Gutnik’s MATERNA, and the jury prize for Best Documentary Feature (and $1,250) was given to Brian Morrison’s BASTARDS’ ROAD. Audience Awards went to Lanie Zipoy’s THE SUBJECT (Best Narrative Film) and Lynn Montgomery’s AMAZING GRACE (Best Documentary Film), which each won a cash prize of $1000.

Chris Zuhdi’s MEXICAN MOON Highlighted part of Hico’s Billy the Kid Film Festival teams with Dallas’ Women Texas Film Festival for fest highlighting Texas productions and women filmmakers November 6-7

By John Wildman 5 years ago

Vasquez and DiGiorgio said, “We launched the Billy the Kid Film Festival last year because the thought of combining the unique personality of Hico with our love of film was a winner no matter how we looked at it. However, our audiences’ and our filmmakers’ safety is first and foremost, and this virtual presentation will also give us an opportunity to share these films statewide and hopefully introduce them to even more film fans.”

Melanie Addington and the Oxford Film Festival: Regional Film Fests killing it (versus being killed) during the year of COVID

By John Wildman 5 years ago

What I learned from the lack of sleep and being available non-stop is that next year I will make sure there is more help. One major shift for us is Donna Kosloskie is now Head of Programming and we have added Greta Hagen-Richardson as our new Narrative Feature programmer and her main focus is on finding diverse voices. Our board is also looking at how to restructure in the future to not just rely on me to handle all things but to actually have some more staff roles and to grow the festival in a healthy way. It has been a great year to open some eyes on what it takes to run a successful festival.

Darius Marder’s SOUND OF METAL Opens Sound Unseen 2020 announces film and events lineup with the Bee Gees, Frank Zappa, the GoGos’ Kathy Valentine, Doc Severinsen and more.

By John Wildman 5 years ago

Sound Unseen Festival Director Jim Brunzell and Program Director Rich Gill, said, “This year we have an exciting lineup of films we have been looking forward to seeing for some time now, some great discoveries, and virtual appearances by very cool filmmakers, film subjects, authors, and more. It couldn’t be a better year to reach across state lines and bring the Sound Unseen experience to film and music fans in both Minnesota and Texas. We’re especially excited to open our doors to Texas and give them their first opportunity to check out what we’ve been doing for two decades now.”