fusion film festival

Dec 28 2015

Public Relations Team Seeking Perfection with PR Workshop

By AlHanouf Tamimi

The Public Relations team at Fusion Film Festival met with Shonna Keogan, Public Affairs Officer for NYU Tisch School of the Arts, to help them improve their PR skills. Along with the basics, the team has learnt how to properly assemble a schedule up to 6 weeks before an event (in this case, the actual festival date, March 3-5 2016!).

Here are some of the key lessons Shonna gave us:

Always remember to get your key messages out, especially to the press.

Who are your experts? Place two or three individuals in front of the press who are experts in the PR process.

What are the key visuals to highlight?

Always take good photos!

Study your different press contacts: know what to present to each one to grab their attention. (Headlines depend on the news source itself!)

Have your media hit list ready 6 weeks ahead of the festival.

Create shared assets and delegate tasks accordingly within the team. (Yay for teamwork!)

Remember to utilize on-campus publications, too. (NYU websites and social media)

Grab your audience’s attention by presenting up to date information.

Don’t forget to smile!

The PR team at Fusion would like to thank Shonna for taking the time to help them add more knowledge to their PR skills book, and for guiding them in the right direction to create a more hands-on, organized approach. With the festival coming up, this PR workshop was a positive step toward excelling as a team, pre-festival and in the long run.

May 03 2015

Competition Winners Reflect on the 2015 Fusion Film Festival

by Amanda Saiewitz, PR Head

This year’s Fusion Film Festival was jam-packed with amazing panels, incredible conversations with industry professionals, and impressive displays of student work. From our Woman of the Year Reed Morano and the Showrunner Superstars panel with Amy Sherman-Palladino and Janet Tamaro to the Student Showcase and Awards Ceremony, the three-day festival overflowed with inspiration. Fusion wouldn’t be a fraction of what it is without the support and enthusiasm of our fellow NYU students, so we asked some of the 2015 competition winners to share their Fusion experiences:

“Having been fortunate enough to participate in other festivals, we can’t express how exceptional Fusion is specifically, from the very beginning until the end. Between the thought-provoking discussions with industry leaders, to the final screening of bold and exciting work, Fusion is a festival that continues to break the mold and establish itself as a formidable celebration of great cinema. Writing our pilot [“Pass By Catastrophe”] was a tremendously enjoyable experience, and to have that experience recognized at a festival like Fusion, makes the process all the more richer. We have no doubt that our fellow honorees will continue to create works that truly say something; we can’t thank Fusion enough for including us among these artists.”

Joseph Gerbino and Erica A. Hart, Undergraduate Half-Hour Pilot

“Having Adam’s Ail honored at Fusion was phenomenal, for many reasons. It was exciting for so many people to come together to celebrate the films, and it’s so gratifying to see something I put so much of myself into recognized and appreciated.

There were a lot of nebulous emotions that went in to my film that I worked hard to communicate. It’s unreal to see all these talented people gather together through the festival and see them connect to what I made. It brings a life to the film that I never anticipated!”

Amelia Harvey, Animation Short

“I attended workshops led by successful showrunners, networked with industry people and even won some cash for my One Hour Pilot, “The Doll House.” Who could ask for anything more? Well, I even got a meeting with an industry professional to discuss landing an agent. It was an awesome experience!”

Brigette ReDavid, Graduate Hour Pilot

“As an emerging female filmmaker, I think it’s incredible that Fusion creates not only a platform for women to present their work, but a community where women support other women.

I’m proud that the majority of crewmembers on my web series were women. This is not because I am a woman, but because these ladies were extremely qualified for their jobs. There’s an overwhelming amount of talented, hard-working, and passionate women at NYU and in the industry.

Fusion seeks out these individuals and aids greatly in getting their original, thought-provoking stories out to the public. I’m honored to be a part of an organization with such a noble mission.”

Emory Parker, Web Series (Pants Role)

“Fusion not only celebrates great work by female writers and directors but also engenders it: after three years as a producer working with women on their documentary pitches, I decided to apply to the Docs-in-the-Works program with my own documentary. I had been thinking about following an exciting area of science for years – Hydrogen fuel cell technology – which will allow cars everywhere to run cleanly and will ween us off our dependence on foreign oil. The great thing about Fusion is that it not only supports women in the arts, but projects with social significance.

I filmed a week of this project – my first documentary, Oil and Water – and submitted it to the Fusion Film Festival. Working with the talented documentary professor and Fusion liaison, Nilita Vachani, I sculpted my trailer and did a live 20-minute pitch to execs at HBO, VICE, POV, Chicken & Egg and Impact Partners. This was more than just a pitch session: I could see palpable excitement in the audience for this subject matter and for the wonderful scientists behind it like Harry Gray. I am continuing to develop this project and film over the next 5 years as Dr. Gray and his fellow scientists attempt to bring this technology to the world.

In addition to winning the documentary film pitch competition, I also had the fortune to win the half-hour comedy TV contest with my pilot “Dating by Numbers.” There’s nothing like deadlines to help finish a project! And participating in Fusion seemed like the perfect place to start shopping my script around. I’m so glad I did, and it’s been such a great experience to be part of this festival and have the support of other kick-ass women in this industry!”

Dagny Looper, Graduate Half-Hour Pilot and Docs-in-the-Works

Feb 27 2015

The Original Gilmore Girl: Amy Sherman-Palladino

By AlHanouf Al Tamimi, PR Staff Writer

The 2015 Fusion Film Festival is here and all I can think about is my excitement for my first Fusion Festival. We, as the Fusion family, can’t mask how thrilled we are about this year’s panels and events, but personally, I can’t wait to be in the same room as Amy Sherman-Palladino, the creator (and executive producer) of Gilmore Girls tomorrow!

This woman kept the lives of the many mother/daughter duos quite entertained and, in some ways, motivated us to have the qualities of both smart and driven Rory and spontaneous Lorelai. Growing up, Gilmore Girls was the show to watch for their famously unique mother/daughter relationship. Lorelai and Rory made each and every one of us want that same crazy mother in our lives (if we didn’t have one already!). If you’re fangirling right now, you probably know the ending of Gilmore Girls and how Amy Sherman-Palladino was not involved in the last season, leaving us all confused and somewhat upset about the ending. Had she been involved, many believed the final ending would have differed immensely and had more of a bang. In the end, though, I honestly believe that Gilmore Girls will remain on the list of classic TV series to binge watch for many women and men, too (can’t forget the male GG fans out there!).

Sherman-Palladino is extraordinary when it comes to creating good television. Her talent in creating witty conversations, presenting diverse family dynamics, and writing hilarious comedy in Gilmore Girls captured the hearts of many viewers. The showrunner perceives her talent to be writing for great actors/actresses and it’s one of the defining attributes behind her success in both Bunheads and Gilmore Girls. She creates characters that truly leave a mark in the lives of many individuals, be it due to a personal connection to the characters or seeing the character as a friend after watching all 7 seasons. Her attention to detail in preparing lines for Lorelai, Rory, Paris, Michel, Sookie, Luke, Miss Patty, Mrs. Kim, Richard and Emily Gilmore and everyone else on Gilmore Girls proves her talent for breathing life into fictional characters.

One very important piece of advice she’s put out into the world was via her interview with Refinery29:

“It’s very simple. Women have to hire women. Women have to trust women. Women have to stop competing with women. This whole business is about competing. And women have made great strides, but there is still a boys’ club feeling of ‘we’re all on the same team’ that women don’t subscribe to, quite yet. And, I think it’s getting better, but it’s twofold: First, women need to sit around not talking about being women. If you have to be better than the men to get ahead, just be better. Work harder, get it, succeed, and then be in the position to do that for other people. Because that’s what men did.”

This is a piece of advice we, as the Fusion team, look up to; celebrating women in film, television, and new media is our main priority. These are words of wisdom for any females out there trying to push themselves to become better, aspiring to be showrunners, and for those just trying to pave their way to becoming successful women in the field.

Luckily, this inspirational writer-director-producer has gone on to pave the way for more shows after her hit series Gilmore Girls and created another entertaining TV series called Bunheads. If you don’t know it already, you should. She’s spoken about not wanting to create mediocre television and has proved herself to be nowhere near mediocre with list of successes. Sherman-Palladino went above and beyond with Gilmore Girls and is an inspiration to many women wanting to break into the film and television industry, so we are in no doubt ecstatic about her presence at the 2015 Fusion Film Festival.

In honor of Amy Sherman Palladino (and my addiction to Gilmore Girls) here are some fun GIFs that sum up what Gilmore Girls has taught us fans and how it represents us all on a daily basis. And be sure to check out the Showrunner Superstars panel on Saturday February 28th at 2:30 p.m. in Tisch Theater 006!

1. Doesn’t Michel just exemplify how we feel every morning when we wake up?

2. I share your sentiments exactly Rory:

3. That feeling when you’re finally home after a long day at NYU:

4. When you want to lose weight and Kirk sums up your thoughts on the matter:

5. What I think about in the middle of class:

6. How I’m going to act if Amy Sherman-Palladino (or Reed Morano, or any of the fabulous ladies coming to speak to the audience at Fusion) looks my way:

7. When someone asks me about Gilmore Girls:

8. I feel Sookie on so many levels:

9. What the show taught me in a couple of GIFs:

Carpe Diem (Sieze the moment) thanks to Logan!

You will always need your mother no matter what (let’s not get too emotional, please).

No matter how different you are, you’ll most probably end up resembling your mother in many ways.

I’ve learned to come into terms with reality and just let it be.

Lastly, I’ve learned to find motivation within and not rely on others as much as someone like Paris (minus her life coach moments that is).

10. Finally, this is a conclusion to all of the above, as it represents how I felt when the show ended:

Jan 28 2015

Reed Morano: A Celebration of Women Behind the Camera

by Daniella Duarte, Editorial Staff Writer

This year, we are honoring cinematographer and director Reed Morano as our Woman of the Year for her astonishing body of work, as well as her induction into the legendary cinematographer’s guild, The American Society of Cinematographers. Reed is one of only 14 women of the approximately 350 active members in the organization, and is also youngest member to ever be admitted. Her work includes Little Birds, For Ellen, Kill Your Darlings, The Skeleton Twins, and her upcoming directorial debut, Meadowland, which she also shot.

Among many of Reed’s accomplishments in film, she was honored with the 2011 Kodak Vision Award for cinematography at the Women in Film Crystal + Lucy awards, and in past years has been named one of Variety’s “10 Cinematographers to Watch,” one of Ioncinema.com’s “American New Wave 25,” and one of five innovative cinematographers in ICG Magazine’s “Generation Next” spotlight. In 2012, Reed’s work was featured in Indiewire’s “On the Rise ’12: 5 Cinematographers Lighting Up Screens in Recent Years” and was named an Indiewire “Heroine of Cinema” twice in 2 years. Some of Reed’s thoughts on the digital revolution and how it has affected filmmaking are featured in Keanu Reeves’ acclaimed documentary Side by Side. She also earned the honor to be featured in Kodak’s long-running OnFilm series.

frozen_river-207720 — Still from “Frozen River”

still-of-paul-dano-in-for-ellen-(2012)-large-picture — Still from “For Ellen”

Equally impressive, Reed has become a mainstay of the Sundance Film Festival; Frozen River won the Grand Jury prize at the 2008 Sundance Film Festival and went on to be nominated for two Academy Awards (Best Actress for Melissa Leo and Best Screenplay) and seven Independent Spirit Awards, including Best Picture. The film received critical acclaim with film critic Hiram Lee mentioning “The necessary attention has been paid to seemingly small but ultimately meaningful details, and the camera of Hunt and cinematographer Reed Morano lingers just long enough on the right things—a face, the interactions between two children—to allow us time to think about what’s playing out before our eyes.” Audiences in Park City have also seen the premieres of Little Birds, which competed at the 2011 festival, Shut Up and Play the Hits, a feature-length documentary about the band LCD Soundsystem that premiered at the 2012 festival, and For Ellen, which also debuted at the 2012 festival in the dramatic competition.

THE SKELETON TWINS, from left: Bill Hader, Kristen Wiig, 2014. ©Lionsgate/Courtesy Everett — Still from “The Skeleton Twins”

In 2014, audiences were treated to two more of her projects—the hugely successful The Skeleton Twins, a black comedy starring Kristen Wiig and Bill Hader, directed by Craig Johnson and co-written by Mark Heyman (Black Swan), and War Story, a dark drama filmed in Sicily starring Catherine Keener and Sir Ben Kingsley, directed by Mark Jackson (Without). Both of these films premiered at the Sundance Film Festival in 2014. Also released this year were the cult 35mm and 65mm dark drama Autumn Blood, shot in the Tyrolean Alps in Austria, starring Sophie Lowe and Peter Stormare, and Rob Reiner’s latest feature, And So It Goes, starring Michael Douglas and Diane Keaton (her second collaboration with Reiner). In January of 2014, HBO premiered the first season of its new original series, Looking, shot masterfully by Reed and directed by Andrew Haigh (Weekend).

More recently, Reed began production on her first feature as both director and DP (not to mention editor); the dark drama Meadowland features a murderer’s row of talent from Olivia Wilde and Luke Wilson to Giovanni Ribisi and Elisabeth Moss. Moreover, Reed is generously leading the charge on a movement to control motion interpolation AKA “the soap opera effect” on our HDTVs. Reed’s change.org petition is supported by 10,500 signatures and has gained significant momentum, attracting the attention of both the film and technology communities. The petition reflects her passion for the industry, and the value of her work and the work of other DPs.

Fusion greatly admires Reed for her talent, tenacity, and forward-thinking mentality. In a male-dominated industry, she’s more than proven her mettle and integrity, asserting, “I do not want to be treated special or differently because I’m a woman and I’m a DP. That’s what I’ve fought so hard for my entire career. I can do my job just as well as the next guy.” Further proving her commitment to the art, she even filmed Little Birds while seven months pregnant! Fusion also looks up to Reed because of her familiar origins – she graduated from NYU’s Kanbar Institute in 2000 and accredits much of her young enthusiasm for cinematography to Professors Michael Carmine, David Irving and Rick Litvin. Following graduation, Reed paid it forward as an adjunct cinematography professor, co-instructing the first Advanced Television classes that NYU offered.

Currently, Reed lives in Brooklyn, New York with her husband and two children. Her reel can be found here. We thank Reed for her tremendous dedication to the art and for providing a hugely positive role model.

Congratulations to Fusion’s Woman of the Year, Reed Morano!

Jan 05 2015

Once Upon a Time: The Progression of Women in Fairytales

By Rachel Lambert, Editorial Staff Writer.

Female characters in fairytales, while set in environments of fiction and fantasy, have begun to express truer-to-life traits. They are expanding beyond a reliance on princes on handsome steeds and breaking gender stereotypes. Once Upon a Time, an ABC television series created by Adam Horowitz and Edward Kitsis, joins many characters, some new and some from well known fairytales and Disney films, in a creative plot set predominantly in Storybrooke, a fictional town in Maine. The storyline is intriguing, from its plot twists to its cleverly intermingled character relationships, and it provides a very empowering view of women through its multiple strong, female characters.

The main character is Emma Swan (Jennifer Morrison), a woman who discovers that she is the daughter of Snow White (Ginnifer Goodwin) and Prince Charming (Josh Dallas), and that she is the “savior” who can break the curse over Storybrooke. Emma exhibits remarkable fortitude, intelligence, and independence, and despite the obstacles that stand before her, continues to persevere and protect the town and her family. She is not perfect; for instance, she made mistakes when she was younger when trying to cope with being an orphan, but this again reveals the fine line between fantasy and reality. Magic comes with a price, and so do our decisions. The characters, like us, are multi-faceted and subject to the challenging situations life propels at them. Their perseverance through these situations, willingness to learn from their mistakes, and readiness to be the rescuers rather than the rescued is what makes them so motivational and relatable.

The show’s central antagonist, as much as the protagonist, breaks stereotypes as well. We are all familiar with the “evil stepmother” concept, but Once Upon A Time’s Regina Mills (Lana Parrilla), the queen who released the curse over Storybrooke, reveals that villains too are complex. They become evil not by an inherent desire to cause suffering, or by a devotion to vanity (as it is commonly portrayed), but by struggling to cope with their personal tragedies. Regina actually saved Snow White’s life when she was a child; however, Snow’s failure to keep a secret about Regina’s lover, a divulgence that led to his murder, was part of what sparked Regina’s villainy. In the series, Snow White and the Evil Queen are more than symbols of either virtue or vanity; instead, they are both human.

The same is true for other characters. Belle (Emilie de Ravin) exercises empathy and curiosity but sometimes lacks self-confidence. Red Riding Hood (Meghan Ory), who transforms into the Wolf, is tough but must also battle her inner beast, and her granny (Beverley Elliott), sharp-tongued and crossbow-bearing, is far from defenseless. The series has featured many other women as well, from Ariel (JoAnna Garcia Swisher) to the Wicked Witch of the West (Rebecca Mader), Tinker Bell (Rose McIver), Elsa (Georgina Haig) and Anna (Elizabeth Lail) of Arendelle, and more. Each woman has a goal that defines them and a past that built their identities. Some make more admirable decisions than others, but they all show that women are far from delicate damsels.

The characters in Once Upon a Time are independent, but that does not mean they reject love. Yes, the idea of “love at first sight” is challenged, but the characters still have lovers, families, and friends that they fight to protect. The relationships between characters grow over time, as love often does in the real world, evidencing a shift towards a more authentic perspective on romance. The performances by the many brilliant actresses in the cast are fantastic. Viewers empathize with the characters, want to see them find their happily ever afters, and join in every episode’s adventure.

Once Upon a Time fuses imagination with reality. Physical magic exists in the show, but it symbolizes and makes visual the magic we all possess. Some of the characters are afraid of their powers in a way that is similar to how many of us suppress what makes us unique, but they move past this fear. It is inspiring to see characters like Emma Swan, savior, mother, and sheriff, who reveals how tough, inventive, and brave women are. Women can sword fight, care for children, battle dragons, and save towns. They can be nurturers and protectors, fighters and peacekeepers. All stereotypes can be shattered, and everyone can be a hero.

Dec 10 2014

Now Playing: Jennifer Kent’s ‘The Babadook’

Alexander Hunter, Editorial Staff Writer

Now playing is the theatrical release of Australian filmmaker Jennifer Kent’s first feature film, The Babadook. The film made a splash at this year’s Sundance and has received widespread critical acclaim, leading it to become one of the most talked-about horror films of the year.

”I’ve never seen a more terrifying film than THE BABADOOK” tweeted William Friedkin, director of The Exorcist.

Babadook tells the story of Amelia and Robbie, single mother and son, as they encounter a mysterious children’s pop-up book about the Babadook: a dark, cloaked figure who wears a large, eerie smile on its illustrated face. “If it’s in a word, or it’s in a look, you can’t get rid of the Babadook.” Robbie, a boy of around six, is first to experience the creature’s existence outside of the book, screaming in terror as he experiences the creature’s daily hauntings. His mother presumes it to be a delusion only to realize his fear is anything but. The Babadook follows Amelia as she experiences the reality of her son’s fear within her own home.

What appears to be an edge-of-your-seat horror film is actually a film about the relationship between a mother and her son, and the role a mother must rise to in order to protect her kin. While many horror films stereotypically feature cartoonish damsels in distress (does anyone remember the VH1 reality show Scream Queens? I do), The Babadook is a tale of female empowerment in the face of danger. The film turns an unfortunate trend of the genre upside down.

While we are all too aware of male dominance in the film industry, especially in the form of directors and protagonists, Kent is an exceedingly rare case. On top of general Hollywood trends, horror is an especially male-dominated genre. Kent states that she doesn’t believe the film to simply be a horror film, as she thinks of it through its central thematic lens: the mother/son relationship. The horror aspects are secondary. Let’s just say this unnerving film works on both levels.

Overall, this film represents something largely unseen in recent memory: a female-led horror film that deals with issues of empowerment, swimming upstream against modern genre trends. Kent’s film will hopefully carve the way for similar features in the future: quality independent horror, female presence onscreen, and confrontation of larger female issues like motherhood, responsibility, and fear. At Fusion we not only celebrate the presence of women in film, in front of and behind the camera, but also films that speak to feminine perspectives. The Babadook is a film that epitomizes Fusion’s mission, a film that we hope is the first of more to come. Check it out, but be warned: it’s pretty scary.

The Babadook is currently playing in limited release, screening at the IFC Center and the Film Society of Lincoln Center in New York, for which I recently interviewed director Jennifer Kent (read here: http://www.filmlinc.com/daily/entry/the-babadook-director-jennifer-kent-discusses-her-nail-biting-directorial-d)

Sep 19 2014

Alumni Showcase

This year, Fusion is introducing to its calendar an Alumni Showcase to showcase Alumni work to the Fusion community. The Alumni Showcase will be a presentation by several Fusion alumni of their finished pieces or works-in-progress. The works range from a script readings and short films to screening sections of features. This is a great opportunity for alumni to network with current Fusion members and other alumni as well. Fusion industry mentors will be invited in support of the work in progress.

Mar 06 2014

What Filmmakers Can Learn from the Docs-In-The-Works Pitch Competition: Tips & Insight From Prof. Nilita Vachani

The Docs-In-The-Works competition at Fusion is a yearly institution, but also perhaps our most misunderstood event to audiences – that is, until they witness it for themselves. The pitch competition is unlike any other, it’s an immersive experience that is both educational and professional, beyond what a classroom can offer. The woman behind this event, award-winning documentarian of the Grand Prize at the Festival dei Popoli and current Tisch professor Nilita Vachani, describes it as a “doorway into the real world [of filmmaking].”

Five finalists have already been chosen whose in progress documentaries show great promise in how they construct a powerful story through the documentary medium. All of them are in the running to win some very practical awards in completing their projects – including, Final Draft 9, Gotham Sound, VideoBlocks Subscription, and a WMM’s Workshop Pass. This Friday they will each have 10 minutes to pitch their documentaries and screen their trailers and 10 minutes to field a Q&A from a panel of esteemed executives from at HBO, Independent Film Project, History Channel, Impact Partners, POV, and Chicken & Egg Pictures.

Yet, as Nilita describes the event, it is “not just people sitting in chairs and talking. It’s a rapid fire Q&A that delves into story, characterization, narration, potential audiences, and much more.” The session can be just as exciting for the audience as the work shown; Nilita notes that “the panel often disagrees with each other, which makes it more interesting” given that all of the story conventions discussed do ultimately “depend on taste.”

Still, there are things the competitors can do in preparation to elevate their project to a level of refined, while still raw, taste before the pitch. Nilita coaches all of the finalists for weeks before the competition and offers some great tips, which she was more than happy to share with me so that audience members have the opportunity to learn as much as the competitors.

Nilita claims that often times in order to “bring out the strengths and address the weaknesses” of the project” often times “a re-edit of the trailer is required.”

The trailer shouldn’t look so slick. It needs to give a real sense of the world and still feel rough and raw. This is a film that’s crying to be made. One incredible shot will leave the audience and panelists wanting to see this story more than an over-produced edit.

In regards to pitching it is also important to bear in mind the time limit; in fact, the 20 minute pitch within the competition is another quality that grounds it in the real-world of both narrative and documentary production. “You only get 10 minutes to pitch and 10 minutes to field Q&A so to maximize the exposure, what you say verbally should not be a repetition of what’s in the trailer, they should be different yet work hand in glove,” Nilita explains.

Audience members find themselves completely engaged in Docs-In-The-Works year after year, more so as participants than simply as flies-on-the-wall of a high-profile pitch session. This year though the array of finalists alone are enough of a draw for a diverse experience in documentary work. Four out of five of the finalists follow the true life narratives of immigration stories, though they are all handled in extremely different ways. Two of the films are on Asian immigrant experience, “both dramatically different from each other and both shatter stereotypes.” One even implements an immigration story with sections told through animation while stilling holding true to the heart of documentary storytelling.

The most thrilling aspect of being an audience member at Docs-In-The-Works is to witness and take part in the shaping of true works-in-progress of true stories. “These films will have a life outside of film school,” Nilita says, “as will all of us as students.” Nilita’s words hold true for Emma Thatcher, a finalist from last year’s Docs-In-The-Works who went on to complete her project as her first feature To The Moon, and Fusion winner in Undergrad Narrative Film from last year, Erin Sanger, who credits being an audience member at Docs as her inspiration for directing a her own documentary on a wounded EOD war veteran post-graduation (For more on these two wonderful Fusion filmmakers and their projects check out our blog posts on them: Emma Thatcher and Erin Sanger). Come join us this Friday at 3PM in Tisch 006 to be a part of a Fusion tradition and truly professional experience in the world of documentary pitches, which at its core is really just testing the ability to tell a worthwhile story.

By Danielle Massie

Mar 06 2014

Festival Treats – Thoughts from a Fusion Foodie

Like many of our friends and fans out there, when I think of Fusion I think of talent, creativity, collaboration, inspiring women and artists, amazing work, and a three day intake of vast amounts of Luna Bars (so much so that I have discovered exactly which combination makes the best course of meals – I suggest going from Oatmeal Raisin, to a Peanut Honey Pretzel and topping it off with a Caramel Nut Brownie for dessert; if a Carrot Cake sneaks its way in, we’ll just call it Dessert Act II).

We are so thankful to our sponsors at Luna for empowering women and also providing us with yummy, and healthy, treats to power our way through three days of amazing Fusion events. And gentlemen, they’re not just for ladies; there is no shame in munching on a Blueberry Bliss between Docs-In-The-Works and Women in Animation.

But this year at the 2014 festival, we have so many great food options that attending for the free treats becomes almost as tantalizing as attending for the amazing programs!

After Women in Animation, Friday at 7pm in Tisch 006, Chloe’s Soft Serve Fruit will be providing us with a sweetly divine sundae bar – and all of their soft serve flavors are simply fruit, water, and a touch of cane juice, making them not only vegan-friendly but also all of the fun of sundaes without the guilt.

Our friends at ‘Wichcraft are graciously catering our brunch with Susan Margolin, an intimate discussion with a marketing and distribution powerhouse, with mid-morning conversation powered by delicious (and healthy; we care about you all, can you tell?) sandwiches, granola, coffee, and more. Also, our friends at Neuro Water plan to help keep the conversation stimulating, and hydrated, with their line of brain-boosting beverages.

We at Fusion want to invite you to come celebrate with us; and what celebration comes without some amazing treats! We would also like to thank the sponsors who have kept the Fusion Team fed and focused throughout the year – Lombardi’s Pizza, Peanut Butter Co., KuKu Canteen, Insomnia Cookies, Bob’s Bagels, and Eileen’s Cheesecake.

By Danielle Massie

Mar 03 2014

An Interview with ELIZA HITTMAN Writer/Director of Sundance Smash Feature It Felt Like Love

In Person with Cast for Fusion’s OPENING NIGHT Thursday, 7pm @ Cantor Film Center

This week I had the privilege of speaking with writer/director Eliza Hittman, about her groundbreaking film It Felt Like Love, opening March 21 at IFC Center in NYC.

The film paints the coming-of-age of female sexuality in a boldly honest light. Hittman holds nothing back when speaking about her film’s intricate and controversial themes, and what it is like being a woman director and independent filmmaker.

The story she tells about the making of the micro-budgeted film, made fiercely on her own terms, is inspiring story for all young filmmakers, male and female alike. And it is a story Eliza will be happy to share more when she joins us for a Q&A with cast members Gina Persanti and Giovanna Saliemeni on Fusion’s opening night March 6 at 7:00PM at Cantor Film Center. (Fusion screenings is free and seating on a first come basis.)

You’ve written in your production notes that your focus for It Felt Like Love is to show the “outtakes from childhood” and the disillusionment of a true-coming-of-age story. Do you look at Lila’s story as a cautionary tale, or more a realistic portrayal of adolescence?

There’s no moral attached to this story and it’s not a cautionary tale. It’s about a transformative borderline violent and painful moment in a girl’s life that she instigates. I think American films that deal with coming of age themes like sexual awakening tend to depict these emotions in a very generalized fashion and perpetuate myths about romantic love. I wanted to create an unsentimental film about that shatters that moment. A lot of the elements from teen movies are there, but I think and hope I subvert clichés and also the audiences’ expectations.

How did you manage to deal with sexual taboos with young actors and help them deliver such amazing performances?

I didn’t have a traditional rehearsal process for the film. I felt it was more crucial to spend time with each other and hang out before shooting. We did several read throughs of the script, but on our longest rehearsal we went to Coney Island and hung out on amusement park rides. I like the performances to be fresh when the actors get on set and feel there’s a danger in overworking dialogue that’s meant to sound very conversational and natural. To stage the scenes, I prefer to walk through them alone from the perspective of each character, to make discoveries about camera position, movement, and framing. In a sense, I act out the script by myself and then again with the cinematographer and then finally on set with the actors. Each time, I discover something new. Gina wasn’t on set for the more taboo moments. I was her body double. Those were my hardest days, Gina’s easiest.

Do you think that your bold, unsentimental approach is important for the portrayal of young female characters?

I think most people regardless of age and gender feel the pressure to represent themselves as being happy. The main character is lonely and trying to appear otherwise. Thematically, the film explores self-deception, the process of lying to ourselves and other people because the truth about ourselves or our relationships can be difficult to acknowledge. I think that’s an important character to exist on the screen. It connects audiences to that part of themselves.

How would you describe your style as a filmmaker?

Poetic Realism

What inspired the use the unexplored locations of Brooklyn’s Gerritsen Beach?

It Felt Like Love was shot in working class neighborhoods in Brooklyn like Gravesend and Gerritsen Beach, areas that are rarely pictured in the popular imagination of the city. There’s something unfamiliar and unrecognizable about where the film takes place, and that’s what I was going for. There are parts of Brooklyn where you can get lost in nature, places I remember from my own childhood that have a certain resonance with kids. There’s a wild beauty to the landscape that I wanted to capture.

Your production notes reference NYU undergrads as interns in your camera department. What kind of learning experience did your set provide for these students who are dreaming of bringing their own independent film ideas to life?

George Itzhak and Frances Chen worked as camera assistants to our cinematographer Sean Porter. Since the crew was so small and barebones, they had a totally hands on and immersive experience. It was probably a smaller size crew then most NYU undergrad shoots. I hope it empowered them to realize they can make challenging and successful work without millions of dollars and huge crews. It’s about the quality of the story and the success of the collaboration.

As Fusion is a festival that celebrates women behind the camera, we’re always curious: what’s it like being a female filmmaker at this moment in our industry?

It’s super challenging! I think unfortunately women are expected to create romantic comedies and be the next Lena Dunham and that’s the only way the industry thinks they can monetize the female voice. I’d like to make work that’s more radical and subvert those expectations.

Interview by Danielle Massie

Attend the Industry Screenings in the Cantor Film Center (36 E 8th St) at 7pm on Thursday, March 6th to hear more from Eliza and see her amazing film. Visit her site for more information on It Felt Like Love.

fusion film festival

In Person with Cast for Fusion’s OPENING NIGHT Thursday, 7pm @ Cantor Film Center

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