Director BIO: Christopher Harvey (Blade Runner Fan Fiction Film)

Director Biography

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Christopher Grant Harvey is a South African-born writer/director. At the age of 16, he began his film career at home making short films with friends, often taking on various production duties such as the writing, directing, acting, cinematography and editing. He received his bachelor’s degree in film and television production from the Motion Picture Academy of Pretoria, graduating cum laude. After international film festival success with his graduation film, he has continued his intense desire for storytelling with unique projects in development.

Director Statement

The making of Tears In the Rain has been a sometimes arduous five-year journey. I had no idea what I was in for when production began one cold night in 2012, and I often wanted to give up. I came very close, in fact, spending years in post-prod trying to get the perfect original visual effects and fitting score to bring the story to life, can lead to fatigue. This is particularly the case when resources are tight, and you have to find a way through the limitations. I asked myself why this particular film was so important. The pursuit of perfection and not settling for mediocrity was daunting and time-consuming. The burning desire, though, to delve deep inside and produce something that I could ultimately feel proud of (and be enjoyed by fans the world over) kept me going.

FAN FICTION Film Festival – Thursday January 26, 2016

The FEEDBACK Monthly Film Festival is back for 2016.. Our home is The Carlton Cinemas, located in the heart of downtown Toronto at 20 Carlton Street. The event runs from 7pm to 9:10pm.

Continuing to showcase the best of short films from around the world, while maintaining our audience feedback format moderated by Matthew Toffolo. Showcasing a festival twice a month in 2017 starting in February!

Tickets for 2017 are PAY WHAT YOU LIKE. Purchase your tickets online via Paypal or Credit Card. Tickets are first come first serve.

All proceeds to this month’s festival will be donated to festival cinema costs (suggestion $8 and up), which helps the monthly event:


OR, if you like to obtain seats in advance and pick them up on the day of the event (come for FREE, or make a donation), please email us at festivalevent@wildsoundfestival.com and we’ll reserve seats for you.

You can pick up the tickets on the day of the event at the cinema. Tickets are first come, first serve. This festival has sold out 48 out of its last 50 events!

You will be able to buy alcohol (beer, wine, liquor), popcorn, candy, and refreshments before the show.

Here is the full program of films. Festival starts at 7pm sharp!

FIRST ACT PROGRAM – SCI-FI/FANTASY


IM PERFEKT, 7min, Hungray, Sci-Fi/Fantasy
Directed by Zsuzsanna Koszti
The short film aims to show a date in 2046. How the technology can shape our lives in an everyday situation. What if someone else controls your senses.

CLICK HERE – and see full info and more pics of the film!

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INTO THE DARK, 14min, USA, Sci-Fi/Fantasy
Directed by Lukas Hassel
Sometime in the future, two men strapped in back to back, on a journey from Moon to Earth. Real Justice. Just Reality.

CLICK HERE – and see full info and more pics of the film!

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MARIA FERNANDA IN TIME, 9min, Spain, Sci-Fi/Comedy
Directed by Xavier Pijuan
An overprotective mother produces an accident with terrible consequences in the space-time continuum in the scientific laboratory where his son works.

CLICK HERE – and see full info and more pics of the film!

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SECOND ACT PROGRAM – FAN FICTION


REVENGANT, 7min. Germany, Fan Fiction/Sci-Fi

Directed by Ferdinand Koerner KYLO REN is on the HUNT for a ancient SITH HOLOCRON that the Resistance gathered on the planet DAHENDOR in the Outer Rim. Will KANE ALTIS be able to rescue himself before the HOLOCRON is found by KYLO REN and his REVENGANT?

CLICK HERE – and see full info and more pics of the film!


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ARKHAM’S JOURNAL, 7min, Canada, Fan Fiction/Mystery
Directed by Matthew P.H Rea
Based on “Batman” DC Comics. Filmed in and around Toronto, this short proof-of-concept film provides a small insight into the untold stories of Gotham’s darkest hour. With the timeline loosely based around the batman comic, “Knightfall”, Arkham’s Journal is told through the words of Dr. Arkham’s Journal, detailing the lives of all the Arkham Asylum patients.

CLICK HERE – and see full info and more pics of the film!

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QUESTIONS, 6min, USA, Fan Fiction/Action
Directed by Zack Russell Bartlett
Based on “Question” DC Comics. Two faceless vigilantes search for answers as they take on a dangerous criminal.

CLICK HERE – and see full info and more pics of the film!

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2BR0@B: TO BE OR NAUGHT TO BE, 18min, Canada, Sci-Fi/Fan Fiction
Directed by Marco Checa Garcia
Based on the short story “2 B R 0 2 B” by Kurt Vonnegut. Set in a dystopian future where population is strictly controlled, a Father waits for his children to be born. In a deserted hospital waiting room, one man must ask himself exactly what he is willing to do, to give his children a chance at life, any life at all.

CLICK HERE – and see full info and more pics of the film!

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Fan Fiction Best Scene -Therese by Heidi Scott (Sequel to the 2015 movie Carol)

Watch the December 2016 FAN FICTION Screenplay Winner.

Best Scene from the screenplay THERESE (Sequel to 2015 Film CAROL) Screenplay
Written by Heidi Scott

CAST LIST:

NARRATOR – Gabriel Darku
CAROL – Kiran Friesen
Kelly Daly

SYNOPSIS:

Genre: Drama, Romance

The story takes place 5 years later in 1958, when their relationship has had time to ripen and gain complexity within the homophobic era. They have to be closeted, so their public and professional lives are discontinuous with who they are with each other. This causes high stakes, tension, and great potential for drama and character development.

What is your screenplay about?

THERESE is a sequel to the film and book Carol, which came out in 2015. The film ends with such raw possibility, and yet so many challenges for Carol and Therese, that the idea of extending it wouldn’t leave me alone.

I take up their story 5 years later in 1958, when their relationship has had time to ripen and gain complexity within the homophobic era. They have to be closeted, so their public and professional lives are discontinuous with who they are with each other. This causes high stakes, tension, and great potential for drama and character development.

I also wanted to explore a power reversal between the characters. In Carol, the Carol character is more dominant, powerful, elusive. But the end of the film hints at Therese gaining agency, and Carol’s love in effect making her suppliant to the younger woman. So THERESE is the arc of Therese as the more powerful, elusive figure, and Carol studying her. It echoes the subjectivity of Highsmith’s book, but in reverse.

What genres does your screenplay under?

Drama, romance, period piece.

Why should this screenplay be made into a movie?

Just watch Carol, witness the mobs of critical and public adorers of the film, and ask yourself if the final scene in the Oak Room is enough for us. We need more. The allure of the ’50s aesthetic, which I update to mid-century modern through Carol’s work in furniture and Therese’s love of jazz music, creates a visual and aural world perfect for film. The chemistry between the leads is dripping electric. Of course, we’re talking about two of the world’s most in-demand actresses (Mara and Blanchett), a supporting actress who just won an Emmy (Paulson), and a celebrated director (Haynes), so it’s all high-profile, high-stakes, and potentially high-reward. But the world, including and beyond the LGBT community, wants to see this story evolve.

How would you describe this script in two words?

Love Trumps.

What movie have you seen the most times in your life?

I’m not embarrassed: The move Clue (1985), starring Tim Curry, Eileen Brennan, Madeline Kahn, etc. So excellently funny and ridiculous no matter how many times. I saw it 3 times in the theater when it came out (I was 6), and since then … maybe another 144 times.
Second most: Carol. Twice in theater, since then, maybe 5 more times, with different combos of family and friends. Both 1950s movies!

How long have you been working on this screenplay?

I drafted it this summer (May), revised (July), again in fall (October).

How many stories have you written?

Four screenplays: THERESE, a Jane Austen adaptation called DARCY’S DAYS, a Darwin biopic called THE VOYAGE OF THE BEAGLE, and an original sci-fi script called LANDFILL. I’m trained as an academic (lit prof), so I’ve also published a book and a lot of articles, like academics do, and assorted poems.

What motivated you to write this screenplay?

Sheer excitement and love for the characters and source material. I also wanted to recover some of the character dynamics, high tension, and subjectivity in Patricia Highsmith’s book that weren’t much represented in the film Carol. I had to make sure that I was doing everything I could do as an individual human to make this story continue. So, mission accomplished. Does the world care? Yet to be determined. It’s really hard to get any attention from producers as an outsider in an exclusive and competitive business.

What obstacles did you face to finish this screenplay?

Staying true to their love for each other without wallowing in lovey-dovey. I want it to be edgy and exciting. But I didn’t want either woman to degrade into bitchiness. That’s a hard balance to strike. Fortunately, their world presents challenges that make their character arcs believable, and their joys and griefs complementary.

Oh, and having a new baby. I mostly wrote during her naps and late at night.

Apart from writing, what else are you passionate about?

My kids (ages 3 and 0) and wife, teaching literature, nature, travel, film. The human experience. Musing about environmental futures. I live in DC, so we’re at the epicenter of this ornery cultural climate.

Any advice or tips you’d like to pass on to other writers?

Zora Neale Hurston said something like: “there is no agony like holding an untold story inside you.” I agree. Let it out, let it breathe. Revise. Up the ante. It’ll make you a more complete person, more empathetic. We need all the empathy we can get in this strange world of 2016.


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Movie Review: MAD MAX: FURY ROAD (USA/Australia 2015) ****

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mad_maxMAD MAX: FURY ROAD (USA/Australia 2015) ****
Directed by George Miller

Starring: Tom Hardy, Charlize Theron, Nicholas Hoult, Nathan Jones, Zoë Kravitz, Rosie Huntington-Whiteley

Review by Gilbert Seah

Aussie director George Miller, now in his 70s reboots his MAD MAX movies after decades with MAD MAX: FURY ROAD, a film that spurned two sequels and defined the anti-hero (Mel Gibson becoming famous in the process as a bad ass actor and human being).

The reboot is again set in a post apocalyptic future of a desert wasteland where petroleum is the needed commodity in which all tribes fight and kill for it. And water. The bad guy is Joe (Hugh Keays-Byrne) ruling his distraught tribe controlling their access to water. Imperator Furiousa (Charlize Theron) steals his brides escaping in a war rig. She meets Max (Tom Hardy) in a vicious fight but they become allies right to the end of the last reel.

What is marvellous about the film is that the story still manages to emerge despite the scant dialogue. There is no silly message but the characters do strive for hope and redemption. This is almost pure cinema where the audience gets everything, in true cinematic form.

The scenes of the various bikes, souped up vehicles and trucks chasing the war rig with warriors dangling on the poles trying to hop on to the rig are nothing short of spectacular. Inventive, scary, exciting and totally awesome! The stunts are for done with real vehicles and men without any silly CGI, according to the reports on the production sets.

This reboot is an American-Australian co-production unlike the original which is totally Aussie. But this film keeps the actors Australian with most speaking with an Aussie accent.
The word ‘mad’ never comes into the dialogue but the meaning is evident throughout the film, embedded in Max’s character. He looks completely mad (angry) throughout the first third of the film, forced to wear a mask that makes him look like a madman.
Miller’s film is complete action and chase from start to finish – a full 2 hours non-stop. The film’s camera work, atmosphere and look are excellent.

Miller’s name is synonymous with mayhem. His BABE IN THE CITY was so black darkly funny, it angered the financial backers and lost money despite being the most chaotic entertaining family film not for children. His first MAD MAX had the villain saw off his limb in order to survive and his American debut THE WITCHES OF EASTWICK was Jack Nicholson’s wildest. Miller has lived to his reputation with this reboot, though a reboot is hardly the correct term for this film. Though set in similar territory, the story, if it has one is radically different. And there is his expected mayhem all the way from start to finish. A cinematic treat of violence, blood and gore and of course, mayhem.

Compared to the original, FURY ROAD has achieved director Miller’s vision of heightened mayhem of his dystopian future. It is not a future one wishes for, but it makes great entertainment and a visual classic. Clearly, the best serious action film of 2015!

Movie Review: IRON MAN 3 (2013)

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  MOVIE POSTERIRON MAN 3, 2013
Movie Reviews

Director: Shane Black

Stars: Robert Downey Jr., Guy Pearce, Gwyneth Paltrow, Don Cheadle

Review by Matthew Toffolo

REVIEW:

Tony Stark uses his ingenuity to fight those who destroyed his private world and soon goes up against his most powerful enemy yet: the Mandarin. Tony Stark (Robert Downey, Jr.) has literally everything a man could ever want. More money and fame than he knows what to do with, a great girl (Gwyneth Paltrow), an amazing house and even better toys and to top it off when he’s not jetting around the world as a billionaire playboy he’s the superhero Iron Man. But when a crazed terrorist (Ben Kingsley) starts blowing up pieces of the world Tony begins to realize he may be up against the one thing even he can’t handle: the second sequel.

Third time’s the charm, isn’t that how it goes? Except usually not, at least as far as film franchises go. Third time is usually where the gasp of creativity that breathed life into the series to begin with finally starts to run out, leaving the filmmakers with one of two possible options: either keep repeating what has worked already on larger and larger scales ad nauseum, or break the series apart and come at it from a brand new angle.

Very few series opt for option two, since it is a very risky proposition at the best of times. At best you’ll generally get some sort of middle ground in between options 1 and 2 – which pretty well sums up writer-director Shane Black’s (“Lethal Weapon,” “Kiss Kiss, Bang Bang”) stab at “Iron Man 3.”

He has, like many before him, decided to focus on what has worked in Iron Man before and provide more of it. Fortunately for him what worked before has been less big effects or ideas and more along the lines of star Robert Downey, Jr. doing what he does. Like no other actor in a superhero film (except perhaps Heath Ledger’s turn as the Joker), Downey has made both the character of Tony Stark and the role of Iron Man his, and most of the joy of these films is watching him swagger and strut and attempt to hide Tony’s many faults through snark and arrogance. Of course, Downey has done this three times already now so he can do Iron Man in his sleep if he has to.

Fortunately, Black is not going to let anyone rest on their laurels. He’s given a real think at how to advance an Iron Man story beyond what has come before and the result is not only the cleverest action beats in the series to date, but the most work Downey has had to put into them. In fact, for all the many dozens of suits of armor flying around through the film and all the people wearing them (at one point it seems as if the entire cast is put into a suit at one point) Iron Man 3 actually boasts the least Iron Man of the series to date.

After brazenly calling out The Mandarin on live TV, Tony’s home soon comes under attack and is destroyed, leaving him on his own with only his mind and his wits to help him figure out what the Mandarin is up to and what it has to do with an old girlfriend (Maya Hall) and a shady think-tank called Advanced Idea Mechanics who have been cooking a up a means to make the human body stronger and better called Extremis.

It’s a bit of a gamble but it works as Downey is actually more relatable and more fun to watch out of his armor than in it, and he’s helped but tight script from Black and screenwriter Drew Pearce who have applied a liberal dose of comedy relief that has the benefit of actually being funny.

On the downside, along with the armor, a lot of Tony’s supporting cast tends to come and go for long periods, particularly once he disappears into rural Tennessee to follow up a lead. Sure they get stuff to do – Happy follows some suspicious characters and sets the plot in motion, Rhodey once again backs Tony up during the action finish after doing little else the rest of the time, and Pepper actually gets into the action movie game for the first time, particularly during the middle segment when she briefly gets a suit of her own.

But then they disappear so that Downey can go off and trade quips with a 10 year old for 30 minutes. Which is, it must be said, far better than it sounds due to Stark’s inability to actually be sappy but it’s still hard to feel like you’re being gipped somehow. After two films setting these characters up and making you care about them, they are shipped off because now no one knows what to do with them.

Those are generally small quibbles, though, as “Iron Man” continues to set the bar for Marvel’s solo superhero films through a combination of wit, charm and out and out entertainment. It’s not quite as good as “Iron Man 2” – but then I’m one of the few who thinks Iron Man 2 is the best of the series – but it’s not far off and certainly does no shame to the series. I don’t know how many more of these they can make, but so far it doesn’t look like they’ve run out of steam quite yet.

 

 

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Movie Review: IRON MAN 2 (2010)

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IRON MAN 2 MOVIE POSTERIron Man 2, 2010
Movie Reviews

Directed by Jon Favreau

Cast: Robert Downey Jr., Scarlett Johansson, Sam Rockwell, Samuel L. Jackson, Gwyneth Paltrow, Don Cheadle, John Slattery, Clark Gregg, Paul Bettany, Gary Shandling, Jon Favreau
Review by Joshua Starnes

SYNOPSIS:

With the world now aware of his dual life as the armored superhero Iron Man, billionaire inventor Tony Stark (Robert Downey Jr.) faces pressure from the government, the press, and the public to share his technology with the military. Unwilling to let go of his invention, Stark, along with Pepper Potts (Gwyneth Paltrow), and James “Rhodey” Rhodes (Don Cheadle) at his side, must forge new alliances — and confront powerful enemies.

 

REVIEW:

Most sequels offer you one of two choices in their approach: either bigger, louder and faster (the most popular choice), or smaller with a focus on characters over plot. Both of these choices offer certain costs and benefits. One gives you more bang for your buck but tends to be empty and heartless. The other will offer a surfeit of heart but with so little actually happening that you can’t help but feel unsatisfied. The ideal sequel will balance the two, upping the ante in threat and using it as an opportunity to deepen its characters and story.

“Iron Man 2” isn’t an ideal sequel but it is awful good, fixing most of the problems of the first movie without giving up what made it work to begin with.

To be fair, much of what made the first film work was Robert Downey, Jr.’s Tony Stark, and that’s still true in the sequel. Better yet director Jon Favreau and screenwriter Justin Theroux (“Tropic Thunder”) have given him some real problems to struggle with instead of just being charming and funny.

Because Tony Stark is dying. The materials in power core that keeps him alive are also deadly poisonous, it turns out, and Tony can’t find a cure. With the end starting to look nigh, Tony has turned his attention to his legacy, finding a good person to run his company and pick up his Iron Man mantle after he’s gone. Unfortunately there’s a dark side to his legacy as well in the form of mad Russian scientist Ivan Vanko (Mickey Rourke) who has figured out how to weaponize Stark’s power system and wants nothing more than to wipe Stark out once and for all.

 

They say you have to make one of these films to learn how to make one of these films and Favreau has certainly taken that lesson to heart, adding a great deal of style and panache to “Iron Man’s” already impressive repertoire. What was good about the first “Iron Man” is still good about the sequel and in many cases noticeably better. As good as Downey’s original performance was it is aided considerably by having to deal with the reality that he may not have cheated death after all, just put it off for a little bit. The quest sends him not just to cement his legacy but also an incentive to increase his already manic and unpredictable lifestyle–like spontaneously taking his Formula One driver’s place before the Monaco Grand Prix–which is the part of Stark that Downey really excels at.

It’s also a step above the original in terms of pure craft. While the original was solid but unassuming, the sequel looks every inch the big budget film it is. Matthew Libatique, who shot one of the best looking movies of the 00s—”The Fountain”—has substantially upped his game from the first film. The Monaco sequence in particular is gorgeous and illustrates in microcosm what makes “Iron Man 2” so successful. It’s extremely well paced, quick and funny and light on its feet before turning a sharp corner as Vanko attacks Stark on the racetrack while he is alone and unarmed. Even in the middle of a large action sequence Favreau keeps his eye solidly on his characters and working hard to make solid use of everyone, not just Downey, as his erstwhile Girl and Guy Friday’s—Pepper Potts (Gwyneth Paltrow) and Happy Hogan—drive against traffic in a Formula One race to get Stark’s armor to him.

IRON MAN 2 POSTERIn fact almost every character gets significantly more to do, from Pepper struggling with running the company to Stark’s best friend Rhodey (Don Cheadle) being forced to decide where his loyalties lie, to Stark or the US Air Force. New characters, like Sam Rockwell’s unctuous Justin Hammer (a sort of anti-Tony Stark) are just as good, and yet for the most part they don’t overwhelm the film.

However, while Favreau et al. have solved a lot of the problems of the first film, several of them still remain, not least its propensity to climax without warning. A great deal of work has been put into building up the action sequences, with Industrial Light & Magic putting in some fantastic effects work, only to have them suddenly finish. It’s not as noticeable as in the first film but it’s still there, particularly in any sequence involving Vanko.

More insidious it’s starting to develop the ‘comic book universe’ problem. These premade stories come packed with large amounts of ready made stories and characters, and plenty of fans who want to see them on screen. Inevitably this seems to turn to introducing characters just to introduce them, letting them eat of screen time that would be better spent somewhere else. It’s most noticeable in Scarlet Johansson’s Natasha Romanoff, who while well executed serves no important purpose. She moves the plot along, but there’s nothing she does that couldn’t be done by another, already existing character. However she does eat up valuable screen time that might be better used by Rhodey who is not around near enough considering how important he is to the climax. He’s the only character who still feels underdeveloped.

It’s also risking getting stuck in a rut. Because there are as yet no super powered people for Iron Man to fight he keeps getting stuck fighting iterations of ‘other guys in Iron Man armor’ and there’s only so many times you can go to that well.

Still “Iron Man 2” is far, far better than it is weak. Action junkies may find the middle more than a little slow as it dwells quite a bit on his existential dilemma, but that’s also where many of the films best moments lie. “Iron Man 2” is one of those rare films with something for everyone, good characters, excellent presentation and well designed adventure elements. Worth every penny.

 

 

 

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