reelprint: Recent Episodes
reelprint
reelprint, hosted by Edward Frumkin (he/him), explores the need to continue making or discussing films and TV and how the mediums can expand.
You can explore all episodes details and written articles by Edward Frumkin and other contributors at reelprint.org
In this episode, filmmaker Sophy Romvari talks about how she uses film to explore grief, the up and downsides of making a personal film, and the dangers of youth culture.
Guest Bio: Sophy Romvari (she/her) is a Canadian filmmaker based in Toronto, whose critically acclaimed short films premiered at festivals such as TIFF, True/False, Hot Docs, and Sheffield. Her short documentary Still Processing (2020) premiered at TIFF before touring festivals worldwide. Still Processing premiered online through MUBI and was nominated for a Canadian Screen Award. She is currently in development for her first feature film.
Time Codes:
1:00 - Sophy's First Film Memories and How Sophy Became a Filmmaker
7:00 - Exploring Film To Process Lived Experiences, How Style is Driven by Instincts and Limitations, and What It Means to Make Personal Films
13:23 - Inserting Performance in Documentary
17:00 - Sharing Haunting Experiences with Men, It's Unfortunate Timeliness and Not Viewing it as a Horror Film in Pumpkin Movie
28:50 - Centering Animals, Barbara Streisand, and Discovering Grief in Norman Norman
36:45 - Getting Into an Emotional State, Grasping Memory, The Family Traits Sophy Carries, and What is Considered to Be a Feature in Still Processing
47:50 - Seeking Desire and Connections, Interrogate Becca's Intentions with the movie, Sophy Entering the Story, and Deserving or Earning Companionship in It's What Each Person Needs
59:00 - Sophy's Recommendation: Allan King's A Married Couple
Show Notes:
Pumpkin Movie
Trailers for Norman Norman, Still Processing, and It's What Each Person Needs
Sophy's website
Film Comment's Best Shorts of 2022
Sophy's tweeting Still Processing is a feature
In this episode, artist-scholar Jessica Bardsley speaks with Edward Frumkin about fictionalizing her lived experiences, working with archival materials, incorporating borrowed sources into a new story, critiquing Hollywood, and the composition of the human brain and the earth.
Guest Bio:
Jessica Bardsley (she/her) is an artist-scholar. Her interdisciplinary research takes an ecological approach to film and media within the global context of contemporary art. In addition to her work as a scholar, she is also an ecofeminist filmmaker. Her films have screened at top festivals like CPH:DOX, Visions du Réel, EMAF, Hot Docs, RIDM, True/False, and on the Criterion Channel. She is the recipient of various awards, including a Princess Grace Award, Grand Prize at 25FPS, the Eileen Maitland Award at the Ann Arbor Film Festival, Best Short Film at Punto de Vista, and numerous Film Study Center fellowships. Her research and writing have been supported by the Radcliffe Institute for Advanced Study, the Terra Foundation for American Art, and the Henry Luce Foundation/American Council of Learned Societies.
Time Codes:
1:05 - Jessica's Path to Working in Video
3:55 - Balancing Written Scholarship with Creative Works and Making Autofiction Stories
13:00 - Stealing and Following Impulses in The Blazing World
29:50 - Exploring the Ecology of the Earth and Attachment in The Making and the Unmaking of the Earth
38:45 - Rewriting Endings and Searching for Solace in Goodbye Thelma
50:00 - Dissecting the Power of Sleep towards the Human Mind in Life Without Dreams
1:06:00 - Jessica's Recommendations: The Hunger by Tony Scott, Daughters of Darkness by Harry Kumel, and The Hole by Tsai Ming-liang
Show Notes:
Life Without Dreams Trailer
Excerpts of The Blazing World, The Making and Unmaking of the Earth, and Goodbye Thelma
In this episode, filmmaker Lydia Cornett speaks with Edward about rhythmic choreography in her work, ethnographical and observational approaches to filmmaking, and making films without a specific agenda.
Guest Bio:
Lydia Cornett is a filmmaker based between Columbus, Ohio and Brooklyn, NY. As a former musician turned filmmaker, she makes work that unites the restraint of observational storytelling with the physicality and connective qualities she associates with music-making. Her work has screened at BAMCinemaFest, Sheffield DocFest, AFI Docs, AspenShortsFest, Hamptons International Film Festival, and DOC NYC, where she received a Special Jury Mention for her film Yves & Variation. She was awarded fellowships to the Jacob Burns Film Center’s Creative Culture program and the UnionDocs’ Collaborative Studio, and she has received support from the Tribeca Film Institute, IF/Then Shorts, the Princess Grace Foundation, and the NYC Women's Fund for Media, Music and Theatre. Her work has been distributed and featured by The New Yorker, PBS (POV and Reel South) Nowness, and Vimeo Staff Picks.
Time Codes:
1:00 - Lydia's First Film Memory and Filmmaking Path
8:45 - Presenting Yves's multifaceted life and Collaborating With Yves in Yves & Variation
18:25 - Exploring Tenderness and Care in Bug Farm
28:15 - The Pleasures of Waiting, Humanizing Voting, and Witnessing the Absurdity in Party Line
41:30 - Tackling Labor, Rhythmic Choreography, and Connecting Meat Processing to Human Bodies in Fleshwork
51:55 - Lydia's Recommendation: Bombay Beach by Alma Har'el
Show Notes:
Bug Farm and Yves & Variation
Party Line andFleshwork Information
In this episode, filmmaker and dancer Sarah M. Friedland shares how dance choreography correlates with film directing, the status of people’s ideologies through body gesture and movement, and working with professional and non-professional performers. Finally in today's concluding thought, Edward talks about lines.
Guest Bio:
Sarah M. Friedland (she/her) is a filmmaker and choreographer working at the intersection of moving images and moving bodies. Through hybrid, narrative, and experimental filmmaking, multi-channel video installation, and site-specific live dance performance, she stages and scripts bodies and cameras in concert with one another to elucidate and distill the undetected, embodied patterns of social life and the body politic. Facilitating a research process integrating found movements, gestures, and postures from cinema and archival footage, embodied memories, and contemporary dance languages, she choreographs through practices of interviewing, pre- and re-enactment, adaptation, and improvisational play, shaping dances with diverse communities of performers and movers—from professional dancers to cohorts of seniors and teenagers.
Her work has screened and been presented in numerous festivals and film spaces including New York Film Festival, New Directors/New Films, Ann Arbor Film Festival, New Orleans Film Festival, BAMcinématek, Mubi, and Anthology Film Archives, in art spaces such as Performa19 Biennial, La MaMa Galleria, MoMA, Sharjah Art Foundation, MAM Rio, Nasher Museum, Wassaic Project, and Manifattura delle Arti (Bologna), and in dance spaces including the American Dance Festival and Dixon Place, among others. Her work has been supported by the Foundation for Contemporary Arts, Film at Lincoln Center, Dance Films Association, Art Factory International, NYSCA/Wave Farm, Rhode Island State Council of the Arts/NEA, Berlinale Talents, where she was one of 10 selected screenwriter/directors for the 2017 Script Station/Project Lab, and most recently by the Bronx Museum, where she was an AIM Emerging Artist Fellow in 2020.
Time Codes:
1:10 - Sarah's Film and Dance Upbringings
14:00 - Political Discourse and Imagery of Groups in Crowds
31:40 - Experimenting the Home Workout Video and Embodied Interviews in Home Exercises
46:18 - Choreography as an Intervention, Tackling School Shootings and Youth Futures in Drills
55:10 - Critiques on Institutional Form and Corporate Management in Trust Exercises
1:06:20 - Concluding Thought: Lines
Show Notes:
Crowds Excerpt and Trailer, Home Exercises Excerpt, Drills Trailer, and Trust Exercises Excerpt
In this episode, filmmaker and DJ Alex Ramirez-Mallis discusses the differences between making films and music, the theme of seeking liberty, and how to make filmmaking sustainable with Meerkat Media Collective. Finally in today's concluding thought, Edward shares some
Guest Bio:
Alex Ramirez-Mallis (he/him) is a Cuban-American, Jewish filmmaker raised in New Hampshire now living in Brooklyn, NY. His films have been selected for multiple festivals internationally. His work has been distributed by PBS, Criterion, Roku, The New Yorker, The Atlantic, Pitchfork, The Huffington Post, and Vimeo Staff Picks. His short documentary SHUT UP AND PAINT (2022) was awarded Grand Jury Prize at IFF Boston and Big Sky Documentary Film Festival and was broadcast nationally on POV. Alex received an MFA in Integrated Media Arts from Hunter College (CUNY) and is an active member of the Brooklyn Filmmakers Collective and the Meerkat Media Collective.
Time Codes:
1:03 - Alex's path to being a DJ and filmmaker
4:30 - Alex's dissecting the differences between making music and differences
9:30 - Exposing the politics of food waste in Spoils: Extraordinary Harvest
20:00 - Working in Cuba and exploring family heritage in La Noche Buena
33:14 - Following Brockhampton and showing their camaraderie in American Boyband
42:56 - Unveiling NYC's criminalization of dollar van drivers and the drivers' significance to the people in Flatbush! Flatbush!
55:30 - Making filmmaking sustainable with Meerkat Media Collective
1:03:02 - Alex's recommendation: The Territory
1:03:07 - Concluding Thought: reel print updates
Show Notes:
Alex's Website
Featured Works Available: American Boyband Series, La Noche Buena, and Spoils: Extraordinary Harvest
Flatbush! Flatbush! project page
Brooklyn Filmmakers Collective and Meerkat Media Collective group pages
In this episode, filmmaker Reid Davenport talks with Edward Frumkin (he/him) about his love of baseball, how his interest in filmmaking isn't necessarily related to telling stories, and how the personal is political. Finally in today's concluding thought, Edward talks about Q&As.
Guest Bio:
Reid Davenport (he/him) makes documentaries about disability from an overtly political perspective. His first feature film, I Didn't See You There, will be aired on PBS's POV on January 16, 2023, is nominated for Best Documentary at the Gotham Awards and won several awards at festivals such as Sundance, Full Frame, and SFFILM. Life After, produced by Multitude Films, will be released in early 2024. In 2020, Davenport was named to DOC NYC’s “40 Filmmakers Under 40.” His short film A Cerebral Game won the Artistic Vision Award at the 2016 Big Sky Documentary Film Festival. It is distributed by New Day Films, along with his short documentaries Wheelchair Diaries and Ramped Up. Davenport’s work has been supported by Field of Vision, Catapult Film Fund, Ford Foundation, Sundance Institute, XTR, ITVS, NBCUniversal, CNN, and Points North Institute, among others.
Davenport was a 2017 TED fellow and his work has been featured by outlets like NPR, PBS, The Washington Post, MSNBC, and The Chronicle of Higher Education. He holds an MFA in Documentary Film & Video from Stanford University and a BA in Journalism and Mass Communication from The George Washington University. Currently, Reid is a visiting professor in the film department at Pratt Institute and a member of Documentary Filmmakers with Disabilities (FWD-DOC).
Time Codes:
0:45 - Reid's path to being a filmmaker
5:50 - Demystifying Independence and first-time filmmaking experience in Wheelchair Diaries
16:30 - Sharing his love of baseball in A Cerebral Game
25:00 - Presenting Unconventionality and Congruent Aesthtics in I Didn't See You There
42:25 - Exploring Autonomy and Medically-Assisted Suicide in Life After
49:20 - Reid's recommendation: Koyaanisqatsi
50:05 - Concluding Thought: Q&As
Show Notes:
Trailers for Wheelchair Diaries, A Cerebral Game, I Didn't See You There (IDSYT) without Audio Description and IDSYT with Audio Description
IDSYT Press Kit
In this episode, filmmaker Rajee Samarasinghe talks about how he shares his memories on screen, playing with audience expectations in his work, and finding purpose in using footage he shot years ago. Finally, in today's concluding thought, Edwards talks about social anxiety.
Guest Bio:
Rajee Samarasinghe {he/him) was born and raised amidst the decades-long civil war in Sri Lanka. He later left for the United States where he is now based. He received his BFA from the University of California San Diego and his MFA from the California Institute of the Arts. Much of his work examines sociopolitical conditions in Sri Lanka through the scope of deconstructing ethnographic practices and the colonial gaze in contemporary media. His practice was born out of a desire to understand the circumstances around his childhood and often navigates the terrain of memory, migration, and impermanence.
Samarasinghe is currently working on his debut feature film, Your Touch Makes Others Invisible, which explores post-civil war Sri Lanka—the project has received support from the Sundance Institute's Documentary Film Program, Berlinale Talents' Doc Station, Field of Vision, and True/False Film Festival’s PRISM program. Samarasinghe was also named one of Filmmaker Magazine’s 25 New Faces of Independent Film in 2020. He had solo shows at the Museum of Modern Art (MoMA), the Berwick Film & Media Arts Festival, the San Diego Underground Film Festival in 2021, and the Los Angeles Filmforum in 2022. His works have been exhibited at many festivals and venues such as the Tiger Short Competition at the International Film Festival Rotterdam, New Directors/New Films presented by Film Society of Lincoln Center & MoMA, MoMA’s Doc Fortnight, BFI London Film Festival, Slamdance, SFFILM Festival, Melbourne International Film Festival, Vancouver International Film Festival, and BlackStar Film Festival, among others. He’s received the Tíos Award for Best International Film at the Ann Arbor Film Festival, the Film House Award for Visionary Filmmaking at the Athens International Film + Video Festival, and an Honorable Mention Award at the Thomas Edison Film Festival among others. He is also a member of Asian American Documentary Network (A-Doc).
Time Codes:
1:05 - Rajee's film upbringings
8:05 - Discussing the overall aesthetics and themes in Rajee's shorts
18:15 - Presenting Family Portraits in If I Were Any Further Away I'd Be Closer to Home
26:20 - Working with sound, color, and memories in The Exile
33:28 - Discovering spirits and spectral ethnography in The Eyes of Summer
46:23 - Making art ambiguous, working with audience's expectations, how festivals play his films, and how all of his films are one film
54:30 - Exploring the many dimensions of the moving image and his positionally in Show Me Other Places
1:02:33 - Rajee's updates and working with dialogue in his debut feature Your Touch Makes Others Invisible
1:10:45 - Rajee's recommendations: In a Year with 13 Moons and Siddheshwari
1:12:16 - Concluding Thought: Edward dealing with his social anxiety
Show Notes:
Rajee's 25 New Face Profile
Your Touch Makes Others Invisible project page
Trailers for The Exile, The Eyes of Summer, and Show Me Other Places
In this episode, filmmaker Travis Wood talks to Edward Frumkin (he/him) about his DIY approach to independent filmmaking, telling stories based on personal events, and how the program Indeed's Rising Voices help his short Black Santa. Finally in today's concluding thought, Edward shares his experience volunteering at Gotham Week 2022.
Guest Bio:
Travis Wood (he/him) is a director from Minneapolis and is based in Brooklyn. His short films have been selected for multiple Vimeo Staff Picks, SXSW film festival, True/False, Tribeca, Sidewalk Film Festival, Rooftop films, an NY EMMY award, and featured on NoBudge, Booooooom and Directors Notes. He is a current member of the Meerkat Media Artist Collective and part of the commercial directing team at Farm League.
Time Codes:
1:14 - Travis's film upbringings
6:15 - Travis's endeavor in commercial filmmaking
11:24 - Putting personal experiences in the visual medium in One Peg Boss
16:30 - Recognizing economic divisions and animation in One Peg Boss
21:36 - Sharing real-life observations in Kayla in 1A
26:40 - Experimenting camera specifications and executing real stories in Kayla in 1A
32:50 - Calling out the absurdity and racism in Affurmative Action
38:00 - Breaking down the editing, score and representing an American reality in Affurmative Action
44:20 - Making a narrative script and experiences in Indeed's Rising Voices program in Black Santa
47:30 - Tackling people's aging and corporate claims to DEI in Black Santa
51:30 - Working on the cinematography and larger budget in Black Santa
55:30 - Exploring love and work in Black Santa, as well as screening his short with Nope
1:02:35 - Travis's recommendation: Under the Tree (2017)
1:03:30 - Concluding Thought: Edward's experience volunteering at Gotham Week 2022
Show Notes:
Travis's website
Travis's discussed films: Hello Nostrand, One Peg Boss, Kayla in 1A, Affurmative Action, and Black Santa
In this episode, filmmaker Robert Greene shares the limits of the auteur theory, performances in documentary and collaborating with participants and crew members. Finally in today's concluding thought, Edward talks about being open.
Guest Bio:
Robert Greene (he/him)’s latest film PROCESSION premiered at the 2021 Telluride Film Festival, is distributed by Netflix, was nominated for an Independent Spirit Award for Best Documentary and shortlisted for an Academy Award. His previous film BISBEE ’17 (2018) premiered at Sundance, aired on PBS’s P.O.V. and was nominated for Best Documentary at the Gotham Awards. His films include the Sundance award winning KATE PLAYS CHRISTINE (2016) and the Gotham Awards nominated ACTRESS (2014). Robert was an inaugural Sundance Art of Nonfiction fellow in 2015 and served on the U.S. Documentary Jury for the 2017 Sundance Film Festival. He has edited many features, including HER SMELL (2018), GOLDEN EXITS (2017), QUEEN OF EARTH (2015) and LISTEN UP PHILIP (2014) by Alex Ross Perry. Robert has written for outlets such as Sight & Sound. He co-created the Murray Center for Documentary Journalism at the University of Missouri and serves as its Filmmaker-in-Chief.
Time Codes:
1:00 - Robert's Film Upbringings
7:50 - Robert's Film Beginnings
15:40 - Rebooting a Passion in Kati with an I
21:25 - How Owning the Weather Transformed Robert's 6 latter features
26:40 - Exploring Performance in Robert's Filmography
31:25 - Constructing and Presenting Realities in Fake It So Real
37:27 - Discovering the Next Film in Actress
47:40 - Visual Looks Within Robert's Earlier and Recent Works
50:30 - The Limits of the Auteur Theory and Collaborating with Participants and Crew Members
56:15 - Regaining Intimacy in Procession and Conceptual Gymnastics
1:01:30 - The Necessary Skepticism in Robert's Latter 3 Movies
1:04:45 - Robert's Family's Role in Robert's Work
1:11:03 - Robert's Recommendation: Edward Munch
1:12:29 - Concluding Thought: Being Open
Show Notes:
Trailers for Kati with an I, Fake It So Real, Actress, Kate Plays Christine, Bisbee '17, and Procession
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) analyze the standing ovation headlines from Cannes and Venice Film Festivals, and the Hollywood Critics Association turmoil. Finally in today's concluding thought, Edward talks about maintaining consistency.
Time Codes:
1:11 - Analyzing the Standing Ovation Reporting
6:15 - How Such Reporting Affects People Working in the Film World and Ties to Elitism
11:30 - How Festival Reviews Don't Reflect the Whole World
15:28 - Hollywood Critics Association Turmoil and Its History
21:23 - Voter Fraud Instances
26:00 - Recognizing Scott Menzel's Intentions
31:50 - Concluding Thought: Maintaining Consistency
Show Notes:
For the Love of God, Please Stop Timing Standing Ovations at Film Festivals by Chris Evangelista
HCA in Turmoil by Scott Feinberg
Stop Counting the Minutes of Film Festival Ovations by Eric Kohn
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) spotlight the Primetime, Midnight Madness, Special Presentation, and Gala Programs at this year's Toronto International Film Festival.
Time Codes:
1:10 - Primetime Program
3:30 - Midnight Madness
8:35 - Special Presentations
19:10 - Gala Programs
Show Notes:
2022 TIFF Complete Program
In this episode, contributor Jonah Desneux (he/him) and Edward Frumkin (he/him) spotlight the highlights in the Short Cuts, Contemporary World Cinema, TIFF Docs, Wavelengths, and Discovery programs in this year's Toronto International Film Festival.
Time Codes:
0:38 - Contextualizing the analysis of Joseph Amenta's Soft and Intro
2:55 - Highlighting the Short Cuts Program
7:43 - Analyzing the Wavelengths Program
16:13 - Breaking down the Discovery Program
23:04 - TIFF Docs
29:00 - Contemporary World Cinema
Show Notes:
2022 TIFF Wavelengths, Discovery, and Midnight Madness Programs
2022 TIFF Complete Program
In this episode, contributor Jonah Desneux (he/him) and host Edward Frumkin (he/him) predict the Golden Lion and analyze the films playing at this year's Venice Film Festival.
Time Codes:
0:33 - Housekeeping Information
2:40 - Out of Competition Films and Lifetime Achievement Award Recipients
10:10 - White Noise, Saint Omer, The Whale, The Banshees of Inisherin
15:10 - Bones and All, The Son, Tar, Bardo, Eternal Daughter
20:02 - Predicting the Golden Lion and All the Beauty and the Bloodshed
Show Notes:
2022 Venice Film Festival Program
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) break down the politics of viewing stories about and by BIPOC communities and the highly anticipated films playing at the 2022 BlackStar Film Festival. Finally, in today’s concluding thought, Edward shares his excitement about Comic Con.
Time Codes:
1:30 - Don't Categorize Festivals and Works that Serve BIPOC Audiences as an Anti-Racist Film List and Key Takeaways in Gates' Op-ed
9:43 - Key Takeaways in Oliveira's Politics of the Gaze
13:53 - Break and Special Shoutout to Aurora Brachman's Still Waters
15:15 - Our Anticipated Features Selections
21:50 - Our Anticipated Shorts Selections
30:10 - Concluding Thought: Edward's excitement about Comic Con.
Show Notes:
The Problem with Anti-Racist Film Lists by Racquel Gates
The Politics of the Gaze by Janaína Oliveira
2022 BlackStar Program Guide
In this episode, filmmaker Aurora Brachman discusses how she uses documentaries to understand the people in her life and shares the meanings beyond the surface with host Edward Frumkin. Finally in today’s concluding thought, Edward talks about parking cars.
Guest Bio: Aurora Brachman (she/her) is an award-winning documentary filmmaker drawn to stories about intimate relationships within families and communities. Her film Club Quarantine, about a virtual queer dance party, premiered on the New York Times Op-Docs. Her short documentary, Joychild, about a young gender-expansive child, was acquired by The New Yorker, broadcast on POV, and shortlisted for an IDA Award. Her work has screened at numerous festivals including Sundance, True/False, Hot Docs, Outfest, NewFest, AFI Docs, and DOC NYC, and selected for Vimeo Staff Picks. Aurora primarily makes work about the experiences of Black, brown, and Queer people and is committed to collaborative and ethical storytelling. Aurora is a graduate of the MFA program in Documentary Film at Stanford University, a 2020 Sundance Ignite Fellow, and a 2022 SFFilm House Resident. She is also the recipient of a Fulbright Scholarship in filmmaking. She currently works as a co-producer for Concordia Studios.
Time Codes:
1:08 - Aurora's Film Upbringings
5:20 - Aurora's Path to Being a Documentarian
11:43 - Exploring Coping within Queer Communities in Club Quarantine
16:00 - The Sounds of Club Quarantine and Avoiding the Doc as a Music Video
22:05 - The Real World's Presence in Club Quarantine
27:53 - The Role of Playground and Meeting Lou (ze/zir) in Joychild
31:30 - Shooting Joychild in 16mm and Benefts of In-Sync Sound
38:00 - Liberation of Showing Vulvas in The Gallery That Destroys All Shame
43:35 - The Gallery's Importance During This Current and Past Movements For the Fight of Reproductive Rights
46:45 - Exploring Family Histories in Still Waters
54:05 - The Therapeutic Process, Psychological Study and Nature in Still Waters
1:02:50 - Connecting Suzanne, Suzanne in Still Waters and Aurora's recommendation: Nalujuk Night
1:07:16 - Concluding Thought: Parked Cars
Show Notes:
Aurora's Completed Films: Club Quarantine (presented with its NY Times Op-Doc article), Joychild (presented with its New Yorker article), and The Gallery That Destroys All Shame
Trailer for Still Waters
In this episode, contributor Jonah Desnaux (he/him) and host Edward Frumkin (he/him) dissect the ongoing evolution and exhibitions of visual storytelling in the realm of episodic television, and the complications of rewarding such programs. Then, Edward reviews The Wild Parrots of Telegraph Hill, Daniel Hymanson’s recommendation. Finally in today’s concluding thought, Edward talks about his trip back home to the North Chicago suburbs.
Time Codes:
1:10 - Introducing the Evolution of Episodic Television Exhibitions
5:10 - How to Reward Anthology Programs (Small Axe and Twin Peaks: The Return)
7:20 - TV Shows at Festivals and Recognizing the International Catalog (Olivier Assayas's Carlos and Krzysztof Kieślowski's Dekalog)
9:55 - Edward's review: The Wild Parrots of Telegraph Hill
12:05 - Potential of Non-Traditional Exhibitions (such as The Eye-Slicer)
14:50 - Complications of Binge-Watching and Longer Runningtime Episodes
17:20 - The Future of Exhibitions and Awards Recognition of TV Shows
20:21 - Today's Concluding Thought: Edward's Homecoming trip.
In this episode, filmmaker Daniel Hymanson speaks with host Edward Frumkin about the making of his debut film So Late So Soon, as well as finding cohesive ways to tell a story and doing principal photography by himself. Finally in today's concluding thought, Edward opens up about being neurodivergent.
Guest Bio:
Daniel Hymanson (he/him) is a documentary filmmaker from Chicago. His first feature SO LATE SO SOON premiered at the 2020 True/False Film Festival and was acquired for distribution by Oscilloscope Pictures. His work as a director has received support from IFP, the Illinois Arts Council, the True/False & Catapult Rough Cut Retreat, Kartemquin Labs, and the Sundance Documentary Film Institute.He was also an associate producer on Sara Dosa’s THE LAST SEASON (Independent Spirit Award nominee) and Bill and Turner Ross’s WESTERN (Sundance Special Jury Prize winner).In 2020, Filmmaker Magazine named him one of its "25 New Faces of Independent Film." In 2021, DOC NYC named him and 39 other documentary filmmakers on its 40 under 40 class.
Time Codes:
1:10 - Daniel's film upbringings
7:32 - Daniel'sExperience as an Associate Producer
12:10 - Daniel's Meeting Jackie and Don of So Late So Soon
17:09 - Origins of So Late So Soon through Queen of the Battling Butterfly Brigade
20:35 - Jackie and Don as Characters and Finding a Cohesive Way to Tell a Story
24:16 - Daniel's Influences for So Late So Soon
27:02 - Daniel Filming by Himself On Set and Getting Producers
29:48 - Using Archival Material in So Late So Soon
33:30 - The Correlations Between the House and the Characters
36:30 - Deciding Which Parts of Jackie's and Don's Lives Would Be in the Film
40:31 - Critiquing Critics Labeling Documentaries as Tributes
42:20 - Filming at Restaurants and Health Clinics
44:26 - Daniel's Process in Sharing the Film with Don and Jackie
48:58 - Sound Design in So Late So Soon
51:35 - Visual Effects and Daniel Not Including His Physical Self in So Late So Soon
54:44 - The Theme of Avoid Letting Go and Life After So Late So Soon
57:03 - Daniel Making a So Late So Soon follow-up Wind Up and His Involvement in Isidore Bethel's Acts of Love
1:01:43 - Daniel's recommendation: The Wild Parrots of Telegraph Hill
1:03:28 - Concluding Thought: Edward Being Neurodivergent
Show Notes:
Trailers for So Late So Soon, Western, and The Last Season
Hymanson's New Face Profile and 2022 Filmmaker Magazine Interview
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) dissect the highly anticipated films playing at 2022 Outfest LA. Then Edward reviews Casting JonBenet, Alexandra Stergiou's recommendation. Finally in today's concluding thought, Edward talks how his podcast is a career.
Time Codes:
1:00 - Outfest LA and 2022 Centerpieces/Gala Films (Anything's Possible, They/Them, Mama Bears)
5:30 - Legacy Film Programs (Nightbreed, Punks)
8:40 - Documentaries (Sirens, Framing Agnes)
10:26 - Edward's Review: Casting JonBenet
13:19 - Festival Favorites (Mars One, Dos Estaciones, Three Headed Beast, It Runs in the Family)
16:05 - Shorts (Colman Domingo's North Star and New Moon)
19:03 - Other Shout-Outs and Wrap-up Statements
24:38 - Concluding Thought: Edward's argument on how reelprint is a career for him
Show Notes:
2022 Outfest LA Program
In this episode filmmaker Alexandra Stergiou discusses their experience as a casting director, the themes of performance and coming of age present in her works, and the commodification of queerness. Finally in today's concluding thought, Edward talks about sleeping.
Guest Bio:
Alexandra Stergiou (she/they) is a filmmaker whose work explores aesthetics that bridge fiction and nonfiction, queerness, coming-of-age, and pop culture. Her films have been recommended by The New York Times, The New Yorker, Independent Lens, and Filmmaker Magazine. This body of work has also screened in festivals and cultural institutions nationwide, including DOC NYC, Big Sky, IFFBoston, SXSW Edu, SF DocFest, the Athens International Film and Video Festival, the Columbus International Film & Video Festival, SF Shorts, the Smithsonian Institute's National Museum of the American Indian, and The Jewish Museum of New York City. Alexandra has received support from ITVS, If/Then Shorts, World of Wonder, and the Tribeca Film Institute and has streamed across S/VOD platforms and acquired by Independent Lens, Fuse TV, and The New Yorker.
Alexandra has balanced these award-winning independent films with work-for-hire as a producer, shooter, and editor for big brands, bold stories, and major talent. Right before the world shut down, she was a segment director and producer on the award-wnning British series Tyson Fury: The Gypsy King, which chronicles the comeback of the heavyweight champion of the world.
Time Codes:
1:18 - Alexandra's Film Upbringings
6:19 - Edward and Alexandra sharing their hometowns and connecting with their work
11:56 - The Making of Citizen Zero
17:50 - Showing the Present in Citizen Zero
24:13 - Differentiating Alexandra's "Normal High School" vs. Society's Normal High Schools" in The Candidates
31:43 - Showing Performance in The Candidates
38:50 - Marketing The Candidates to Multiple Audiences
46:36 - Behind the Scenes of Jewel's Hunt
50:45 - Maintaining Good Vibes with a Filmmaking Team and Its Relationship with the Film's Quality
57:50 - Alexandra Tackling "Coming Out" in The Act of Coming Out
1:04:33 - Bringing Expectations and Inserting Surprise Elements in The Act of Coming Out and Avoiding Posed Questions in the Film
1:13:40 - Making the Film as a Huge Relief for Alexandra and Alexandra Being a Stage Partner
1:21:58 - Alexandra recommendations: Kitty Green and Robert Greene Films
1:25:10 - Concluding Thought: Sleep
Show Notes:
The Candidates trailer
Jewel's Hunt
The Act of Coming Out
Citizen Zero
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin share their highly anticipated films playing at 2022 Sheffield DocFest and predict the fest's competition winners. Then, Edward shares his experience at 2022 Tribeca Festival. Finally in today's concluding thought, Edward shares his experience living with a third roommate.
Time Codes:
1:37 - Sheffield's International Shorts Competition
6:10 - Sheffield's International First Feature Competition
12:10 - Sheffield's International Film Competition
19:26 - Edward's Tribeca Experience
23:05 - Honorable Mentions of Other Films at the Festival
31:36 - Concluding Thought: Edward living with a third roommate.
Show Notes:
2022 Sheffield Doc Fest Programme
In this episode, filmmaker and University of Missouri film professor Michael Coleman discusses the differences between homage and plagiarism, working with college students, and telling stories based on real experiences. Finally in today’s concluding thought, Edward discusses what it means to be a film socialite.
Guest Bio:
Michael A. Coleman (he/him) is a writer, director, and producer whose work ranges from commercials, music videos, and branded content to independent films, both narrative and documentary through his production company No Parking Pictures. He has also worked with the production company Generic Moving Images and teaches film production at the University of Missouri.
Time Codes:
1:10 - Michael's First Film Memory
7:30 - Michael's First Forays Into Media Production
13:03 - Michael's First Documentary
17:53 - The Themes of Screens in Michael's music video Future by Arc Flash
22:30 - Working with a Bolex Camera on 16 narrative short But It's My Life
32:56 - Casting Actors and The Line Between Homage vs. Plagiarism in narrative short Walrus
47:41 - Finding Excitement Amid COVID and Biographical Elements in documentary It's Been Difficult
1:02:49 - Producing and Working Off Set on upcoming feature documentary To Love the Void
1:16:15 - Michael's Recommendations: Punishment Park, Edward Munch and Sherman's March
1:18:38 - Concluding Thought: Edward Being a Film Socialite.
Show Notes:
Arc Flash Future Music Video
In this episode, correspondent Sean Naughton (he/him) and host Edward Frumkin analyze the way movie theaters operate amid the Covid-19 Pandemic and how it has a larger impact on non-profit art houses. Finally in today’s concluding thought, Edward shares his use of Twitter.
Time Codes:
0:50 - How much films can make at today's Box Office?
2:50 - Looking at Theatrical Windows
6:20 - Same day Theater and Streaming Release
9:30 - Needing a Theatrical Release on Saving the Studios
12:00 - Impact on Art House Cinemas and Virtual Cinemas
16:30 - Seeing Full Crowds at Today's Art House Cinemas
21:05 - The State of Art House Cinemas and Streaming Services for the Next Few Years
26:16 - Concluding Thought: Edward's Use of Twitter
Show Notes:
How Movie Theaters Fought to Survive (Another) Year of Turbulence and Change By Brent Lang and Rebecca Rubin
Why Movie Theaters Aren't Dead by Edward Vega
In this episode, Ragtag Film Society’s Artistic Director Chloé Trayner discusses the recognition of film programming as a skill, merging industry and local audiences, and having film festivals in a pandemic. Finally in today’s concluding thought, Edward talks about his recent Walks and Sprints.
Guest Bio:
Chloé Trayner (she/her) is the Artistic Director at Ragtag Film Society and the founder of Assembly Documentary Development Lab. Before her role at Ragtag, she was the Festival Director of the Open City Documentary Festival from 2018 to 2020 and co-director of the Overnight Film Festival. In addition, she has worked in film and events programming with organizations such as Bertha DocHouse, BFI Future Film Festival, The Guardian, Wellcome Trust, London Short Film Festival, and UnderWire Festival.
Time Codes:
1:00 - Chloé's Film Upbringings
4:15 - Chloé's Activities at UnderWire
8:00 - Recognizing Film Programming as a Career Skill and Going Through Obstacles of Unpaid Work in the Film Industry
13:16 - Chloé's Responsibilities at Bertha DocHouse
19:30 - Chloé's Experience at Open City Documentary Festival
21:40 - Chloé Finding Assembly Documentary Lab
28:45 - Chloé's Path to Becoming Artistic Director at True/False
31:07 - Chloé's Goals as True/False's Artistic Director
33:00 - Audio Documentaries
36:50 - Differentiating Artistic and Executive Director Activities
39:33 - Developing an Audience within Locals and Industry; and Possible Return of Neither/Nor
44:42 - Having a Festival in a Pandemic
48:25 - Chloé's Recommendation: Eventually
50:12 - Concluding Thought: Edward's Walks and Sprints
Show Notes:
Bertha DocHouse
True/False and Ragtag Cinema
UnderWire Festival
Assembly Documentary Development Lab
In this episode, correspondent Jonah Desnaux (he/him) and host Edward Frumkin (he/him) discuss the rights and care needed for film festival volunteers after the recent controversial layoffs at Rotterdam International Film Festival (IFFR). Then, Edward reviews Whores’ Glory, Tom Krawczyk’s recommendation. Finally in today’s concluding thought, Edward has filed an LLC for reelprint.
Time Codes:
1:10 - Introducing the Circumstances that Festival Workers Go Through
4:28 - Unification of Festival Workers on Social Media Accounts Off the Festival Circuit and Fest Staffer Stories and Job Insecurity in the Field
7:30 - Needing to Adopt a Better Pay System in Film Festival Job Market
9:28 - How It Affects Edward as a T/F Screener and Volunteering for the Love of the Community
12:15 - Seeking Legislation for Festival Volunteers and Seeing Humans Behind the Foundation
15:40 - Funders Need to Invest in Non-Profit Organizations and Doubting If This is the Right Path
17:53 - Edward's Review: Whores' Glory
21:00 - Acknowledge the Possibility For a Better Future in This Field & Unionizing the Workplace in the Arts, Support the Arts and in the Volunteers and Employees
25:28 - How it Impacts Housing and Virtual Festivals
28:19 - Concluding Thought: Edward has filed an LLC for reelprint
Show Notes:
Past IFFR Programmer Julian Ross Tweet of IFFR Restructuring
Film Festival Workers Unite! By Anthony Kaufman (IDA's Documentary Magazine)
Off the Festival Circuit IG Account
Fest Staffer Stories IG Account
Why the Film Industry Isn’t Doing Enough to Support Programmers by Eric Kohn (IndieWire)
Missing Pieces: Why Film Festivals Treat Programmers as Disposable by Eric Kohn (IndieWire)
In this episode Big Sky Documentary Film Festival Features Programmer and filmmaker Michael T. Workman discusses the themes of labor, vulnerability and performance in his works, and avoiding the tropes present in personal films. Finally in today’s concluding thought, Edward talks about entering into more arthouse and experimental cinema environments.
Time Codes:
1:11 - Michael's Film Upbringings
6;12 - Michael's Exposure to Documentary
11:05 - From Parts Unknown Origins
18:05 - Expressing Vulnerability & Performance in From Parts Unknown
23:05 - Reality and Performance in Non-fiction
27:35 - Favor and Grace Origins
34:24 - Michael Breaks Down Favor and Grace's Cinematography and Collaboration with Adrian Burrell
39:00 - Avoid Retraumatize Audiences in Presenting Police Brutality Videos
43:12 - Origins of Meantime
50:55 - Michael Recognizing His Strengths and Limitations in Making a Personal Film in Meantime
55:35 - The Metaphor of Snow in Meantime
58:40 - Gender Roles in Meantime
1:04:19 - Michael's Experience and Role at Big Sky Documentary Film Festival
1:14:20 - File Me Away
1:17:55 - Michael's Recommendation: I Love You Dad
1:19:17 - Concluding Thought: Edward Entering Into More Arthouse and Experimental Cinema Environments
Guest Bio:
Michael T. Workman (he/him) is a filmmaker, curator, and organizer based in San Francisco.
Workman grew up living between a trailer park and a house without wheels in Missoula, Montana. Workman’s documentaries have screened at festivals around the world including Sheffield Doc/Fest, Full Frame Documentary Film Festival, Sidewalk Film Festival and many more. His latest film Meantime (2022) won the Best Short Film Award at Mountainfilm Festival. He has served on juries for the International Documentary Association, Full Frame Documentary Film Festival, Heartland Film Festival, The Cuban Hat Pitch, and RIDM.
Workman is the Director of Features Programming at the Big Sky Documentary Film Festival where he has worked in programming for close to ten years. He holds a B.F.A. in Fine Art from the University of Montana and an M.F.A. in Documentary Film from Stanford University. Workman is a member of the Board of Directors of Means TV, the only worker owned cooperative streaming platform. He currently teaches documentary production at University of San Francisco.
Show Notes:
Michael T Workman's released films: Constructed Situations, From Parts Unknown, Favor and Grace
Meantime Trailer
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) dissect the highly anticipated films and predict some competition winners at 2022 Tribeca Festival. Finally in today’s concluding thought, Edward shares his use of transportation means in his current life.
Time Codes:
1:00 - Introducing Tribeca 2022 Lineup
3:00 - Tribeca's Critics Week
6:40 - Tribeca Retrospectives
8:38 - Movie Plus
12:50 - Spotlight Documentaries
19:25 - Spotlight Narratives
28:43 - Documentary Competition
38:20 - Narrative Competition
47:55 - Final Thoughts on Tribeca and Tribeca Midnight
51:08 - Concluding Thought: Edward's Use of Transportations
Show Notes:
2022 Tribeca Lineup
In this episode, photographer and filmmaker Tom Krawczyk discusses his teaching experience overseas, using 8mm celluloid, and his acclaimed short documentary My Duduś (that has played at 2022 Big Sky, Santa Barbara, SXSW, SFFILM, Seattle Int. and Chicago Critics Film Festivals).
Guest Bio:
Tom Krawczyk (he/him) is a Chicago/Poland based photographer and filmmaker. He lived in South Korea for 2 years, teaching students and working on documentaries. His photographs have been painted as murals in the bustling neighborhood of Hongdae, South Korea and displayed as billboards in Hong Kong. His photos also landed on the cover of Bling, a Korean indie rock, underground hip-hop, club culture, and fashion magazine. He lived in India, New Zealand, Australia, Fiji and Myanmar, working as a photographer guide for Rustic Pathways, an adventure program for students from around the world. He graduated with a MFA in Photography at the Łódź Film School in Poland.
Time Codes:
0:55 - Introduction and Tom's photo and film upbringings
7:45 - Tom's path to be a English teacher
14:25 - Tom path to be a travel photographer
18:54 - Tom's experience in shooting 8mm footage in Bangkok and India
23:50 - Tom's Dog Photos
26:03 - Awaiting Your Reply photo series
32:00 - Heels and Babyface Photoseries
36:24 - Tom's Warsaw March Photos
42:25 - The Sun Will Come Out Again
47:15 - Room 202
52:45 - My Duduś
1:02:07 - Tom's experience at Łódź Film School
1:08:31 - Recommendations: Redheaded Peckerwood series and Whore's Glory
1:10:56 - Concluding Thought: Avoiding Discouragement
Show Notes:
My Duduś trailer
Room 202
The Sun Will Come Out Again
Bangkok and India 8mm Footage
Tom's Photography
In this episode, contributor Jonah Desnaux (he/him) and host Edward Frumkin (he/him) discuss the films from Pixar, the Pixar Theory, and the recent controversy about contextualizing Animation at the 94th Academy Awards. Then, Edward reviews Balloonfest, Rachel Gregg's Recommendation. Finally in today's concluding thought, Edward talks about being at the right place at the right time.
Time Codes:
1:00 - Introducing the History of Pixar
5:35 - Recognizing the Darker/Mature Tones in later Pixar films
8:32 - Critquing Sequels and the Double-Edge Sword of Business in Pixars
11:37 - The Pixar Theory
17:20 - Edward's Thoughts on Balloonfest
20:35 - Discussing the Critiques of How Hollywood and America Perceives Animation and New Deal 4 Animation
25:55 - Favorite Pixar Moments
29:56 - Concluding Thought: Being at the Right Place at the Right Time
Show notes:
Pixar
The Pixar Theory
Hollywood Should Elevate, Not Diminish Animation by Phil Lord and Chris Miller
Contract Talks Coming Down To The Wire For SAG-AFTRA & The Animation Guild by David Robb
New Deal for Animation Contract Talks by Jeremy Fuster
In this episode, Big Sky Executive Director Rachel Gregg discusses her previous work at the Montana Film Office and providing many spaces in exhibiting many types of documentaries at the Big Sky Film Festival. Finally, in today’s concluding thought, Edward discusses the power of language.
Guest Bio:
Rachel Gregg (she/her) is the Executive Director of the Big Sky Film Institute, home of the Big Sky Documentary Film Festival. Rachel joined the Big Sky Film Institute in 2016 and oversees creative direction and production of Institute programs including the Big Sky Documentary Film Festival, the Big Sky Film Series, the DocShop industry conference and the Native Filmmaker Initiative. Prior to her to roles at Big Sky, Rachel was a PR specialist for the Montana Film Office where she coordinated public relations, marketing, communications, project development, and web & social media promotions, as well as event-based marketing and brand activation at film festivals including Sundance, SXSW and LA Film Festival.
Time Codes:
1:25 - Rachel's film upbringings
8:25 - Rachel's experience in working at Montana Film Office
14:00 - Rachel's administrative and public relations work at Montana Film Office
18:33 - Rachel's Brand Activation and Talent Relations responsibilities at film festivals
25:50 - Having an Open Submissions Call at Big Sky Film Festival
30:50 - Dissecting the types of films programmed at Big Sky
34:30 - Including more short films than features
37:15 - Youth Education and Native American Initiative Programs at Big Sky
45:43 - How Legislation of Teaching Indigenous History ties into the Native American Initiative
48:37 - Being Accountable of Having an Anti-racist Environment
54:30 - Doc Shop Filmmakers Forum at Big Sky
1:00:50 - Planning to forgo the in-person portion of 2022 Big Sky Film Festival
1:03:15 - Big Sky Pitch
1:08:00 - Rachel recommendations: Stray, Feels Good Man, and shorts Balloonfest and It's Coming
1:11:41 - Concluding Thought: Power of Language
Show notes:
Big Sky Film Festival website
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) analyze the importance of restoring and preserving films, and recognizing these efforts from Missing Movies, a group of filmmakers, distributors, and archivists advocating for accessible cinema. Then Edward reviews The Time Traveler’s Wife, Cason Suggs’ recommendation. Finally in today’s concluding thought, Edward discusses his new adopted home.
Time Codes:
1:10 - Introducing Missing Movies
4:00 - Martin Scorsese's Film Foundation and World Cinema Project
8:25 - Limitations of a physical and digital archives
11:10 - Missing Movies Efforts to Preserve Films
15:53 - Edward's Review: The Time Traveler's Wife
19:15 - Acknowledge the Biases that Archivists Have
21:35 - Discussing the Archive's Impact as Shown in America by Garrett Bradley
24:40 - The Afterlight by Charlie Shackleton and Discussing the Missing Movies Manifesto
30:00 - Recommending Kino Lorber's Pioneers of African-American Cinema
33:12 - Concluding Thought: Edward's New Adopted Home
Show Notes:
America by Garrett Bradley
Film Foundation
Pioneers of African-American Cinema Co-Curated by Jacqueline Stewart and Charles Musser
Missing Movies Manifesto and Press
In this episode, filmmaker Cason Suggs shares how he divides time with athletics and filmmaking, breaking genre conventions in his works, recognizing the correlations between acting, directing and writing, and working on vlogs with NBA player Justin Holiday of the Sacramento Kings. Finally, in today’s concluding thought, Edward discusses his trip to Prismatic Ground.
Guest Bio:
Cason Suggs (he/him) is a Missouri-based filmmaker. Through his production company Cost of Kindness, he makes videography work such as vlogs for NBA player Justin Holiday and films that explore different genre conventions and avenues of representation. His upcoming series Miy's Eyes explores a tear in Miy and Seattle's friendship. His upcoming short TV-Y7 navigates the futures of two high schoolers upon their upcoming graduation.
Time codes:
1:20 - Cason's film upbringings
5:50 - Cason's storytelling beginnings as a cartoonist
8:45 - Cason's mom impact on Cason's artistry
10:45 - How athletics affect Cason's artistic expression
17:00 - Cason's views on acting
21:10 - Cason utilizing locations and inspiration in She Looks Like Me
24:05 - Cason overcoming the worries on speaking to the misrepresentation of Black women
28:30 - Recognizing She Looks Like Me universal resonance and connectivity
31:05 - Cason and Edward's experience on Finding Our Way Back
35:30 - Cason breaking genre conventions of the "relationship movie"
39:30 - Cason adapting Finding Our Way Back into limited series Miy's Eyes
43:20 - Moesha impact on Cason in its writing and characterization
47:38 - Cason on TV-Y7 and casting the film's leads
54:10 - Cason on writing stories where Black people hang out (e.g. that does not show much trials and tribulations and show the lives as they are)
58:12 - Cason working with Justin Holiday
1:05:30 - Cason's recommendation: The Time Traveler's Wife
1:09:00 - Concluding Thought: Edward's trip to 2022 Prismatic Ground
Show notes:
Miy's Eyes trailer
Finding Our Way Back
She Looks Like Me
Homebody
Flowers for Mom
For the Wait
Justin Holiday's vlogs that Cason edited
Cason's STL TV Live Appearance
In this episode, contributor Jonah Desnaux (he/him) and host Edward Frumkin (he/him) dissect the highly anticipated films playing at 2022 Cannes, as well as predicting the Palme D’Or winner for this edition. Then, Edward reviews Primary, Stacey Woelfel’s recommendation. Finally, in today’s concluding thought, Edward discusses his and his brother’s dog Quaker.
Time codes:
1:20 - Director's Fortnight
7:40 - International Cannes Critics Week and Cannes Special Screenings
9:53 - Will David Lynch come to Cannes?
10:50 - More Out of Competition Screenings such as Hunt, Final Cut and Irma Vep
14:52 - Edward's review: Primary
18:15 - Un Certain Regard
21:52 - Main competition films
25:07 - Who will win Palme D'Or?
29:37 - Concluding Thought: Quaker
Show notes:
2022 Cannes Film Lineup
In this episode, University of Missouri’s Professor Emeritus Stacey Woelfel discusses the formation of the Jonathan B. Murray Center for Documentary Journalism, the evolution of journalism, and working with students on Keep the Cameras Rolling: The Pedro Zamora Way. Finally, in today’s concluding thought, Edward discusses the workload that comes into being an independent film critic and podcaster.
Guest bio:
Stacey Woelfel (he/him) is a professor emeritus at the Missouri School of Journalism and the founding director of the Jonathan B. Murray Center for Documentary Journalism. He also serves as the school’s Director of Aerial Journalism, supervising a fleet of nearly a dozen drones and teaching students to fly and employ drones in journalistic pursuits. He is the former news director for KOMU-TV, the University of Missouri-owned NBC affiliate for central Missouri. The commercial station serves as the teaching laboratory for the Missouri School of Journalism. Woelfel was the national chairman of the Radio Television Digital News Association and the Radio Television Digital News Foundation. He has also served as the president of the board of the Carole Kneeland Project, an organization focused on responsible quality journalism. He currently serves as a national trustee of the National Academy of Television Arts and Sciences (NATAS) and president of the board of governors of the Mid-America chapter of the NATAS. Woelfel is a winner of the Payne Award for Ethics in Journalism, the Emmy, the Edward R. Murrow, numerous regional and local awards and was inducted into the Silver Circle of the Mid-America NATAS chapter in 2006 for 25 years of exemplary contributions to the television profession.
Time codes:
1:15 - Stacey's first film memory and journalistic upbringings
7:45 - Stacey's role as news director at KOMU and noticing the evolution of Journalism
13:12 - Stacey shares his interest in long-form docs and forming the Jonathan B. Murray Center
20:10 - Stacey Woelfel on finding the center's filmmaker-in-chief in Robert Greene and working with him on Bisbee '17 and Procession
26:35 - Students coursework in the Doc-J program such as pitching their films in a forum(e.g. Hot Docs, CPH:DOX)
33:30 - Reflecting on Films featured at 2022 Stronger Than Fiction film festival and Workin on it Session at Museum of the Moving Image, and professional expectations from Pitch forum & Jury members
43:30 - Based on a True Story Conference
48:10 - Keep the Cameras Rolling: The Pedro Zamora Way
57:50 - Stacey Woelfel on Aerial Journalism
1:06:18 - Stacey recs: Primary and The Endless Summer
1:08:53 - Concluding Thought: Edward's film criticism and podcast workload
Show notes:
Method M Films/Jonathan B. Murray Center
Procession trailer
Bisbee' 17 trailer
Keep the Cameras Rolling: The Pedro Zamora Way trailer & info
Stronger Than Fiction showcase
Based on a True Story conference
Dronepocalypse NYT article
In this episode, contributor Sean Naughton (he/him) and host Edward Frumkin (he/him) converse on watching films from problematic artists, and the recent controversies with Alec Baldwin and Will Smith. Then, Edward reviews Cleo from 5 to 7, Brooke Pepion Swaney’s recommendation. Finally, in today’s concluding thought, Edward discusses his name Eddy.
Time codes:
1:05 - Introducing the tough conversation
3:50 - Figuring out the person we think on screen vs. off screen
5:45 - How these scandals affect co-workers like Harvey Weinstein's relationship with Kevin Smith and Quentin Tarantino
9:30 - Analyzing on said artists merits like Casey Affleck winning Best Actor at 2017 Oscars
12:44 - How the events changes an actor's brand
15:11 - Edward's Review: Cleo from 5 to 7
18:20 - Alec Baldwin's Rust Incident
24:20 - Will Smith-Chris Rock Incident
27:15 - Recognizing the different sociological effects from Slapgate as stated in David Oyelowo's Op-Ed
29:27 - How do these events affect an actor's future
33:08 - Edward's explanation on why he won't stick with one side of Slapgate
33:50 - Concluding Thought: Eddy
Show notes:
David Oyelowo's Hollywood Reporter Op-Ed
Brandon Lee's The Crow Accident
Rust Incident
Oscars Slapgate
In this episode, director Brooke Pepion Swaney and producer/actor Kendra Mylnechuk Potter discuss the theme of sense of belonging and their friendship during the making of OK BREATHE AURALEE and DAUGHTER OF A LOST BIRD. Finally, in today’s concluding thought, Edward discusses his involvement in the film industry.
Guest Bios:
Brooke P. Swaney (she/her, Blackfeet/Salish) was selected to participate as a NATIVe Fellow at the 2019 European Film Market/Berlinale. She is also a 2014 Native Arts and Cultures Foundation Fellow and a 2013 Time Warner Fellow through the Sundance Institute. OK BREATHE AURALEE, her NYU graduate thesis film, screened at the 2012 Sundance Film Festival and has TV distribution with FNX (First Nations Experience, a PBS affiliate). Brooke’s experience also includes producing BELLA VISTA (Rotterdam 2014), Vision Maker Media funded short film and new media project SIXTY FOUR FLOOD (PBS & PBS digital), and the first season of the podcast ALL MY RELATIONS (Matika Wilbur & Dr. Adrienne Keene). She also worked with Revolution Messaging on the Bernie Sanders 2016 United States Presidential campaign on their digital media team, producing, directing and editing; her Native Outreach ad I AM HUMAN received over 3 million hits on Facebook. Brooke is also a screenwriting faculty mentor at the Institute of American Indian Arts in their Creative Writing MFA program.
Kendra M. Potter (she/her, Lummi) is an actor whose performances can be see in CHRISTMAS UNDER WRAPS (Hallmark), 2 DAYS IN NEW YORK, NATIVES (SXSW 2013), and OK BREATHE AURALEE (Best Actor NBC/Universal Short Cuts), THE BLACKLIST (NBC), WINTER IN THE BLOOD, WE BURN LIKE THIS, and COPPER CITY. In addition to her work on film, Kendra is a theatre artist, writer, and educator. She is co-founder of MT+NYC Collaborative, a cross country theatre company based in Missoula, MT. The Buffalo Play, which she co-wrote with Ciara Griffin, premiered at The Tank in NYC in 2019. She supports people’s search for identity and storytelling in workshops, retreats, and classes through both the MT+NYC Collaborative and her business Sistermoon Wellness, where she works as a birth doula and yoga instructor.
Time codes:
1:34 - Brooke and Kendra's film upbringings
10:15 - Brooke and Kendra discuss how they met and the making of OK BREATHE AURALEE
17:50 - Analyzing Auralee's characterization and film's themes
24:50 - Kendra shares her experience in the film industry
27:46 - Brooke shares how she became a character in DAUGHTER OF A LOST BIRD and its structure
35:00 - Breaking down DAUGHTER OF A LOST BIRD's opening and Kendra meeting her biological mom April
43:16 - Discussing the cemetery scene in DAUGHTER OF A LOST BIRD
45:40 - The historical context of the Indian Child Welfare Act (ICWA) and Indian Adoption Project
51:10 - Kendra's relationship with her biological and adoptive families and working in a healthy environment
55:30 - Brooke and Kendra on presenting DAUGHTER OF A LOST BIRD to non-target audiences, and during the U.S. political climate
1:02:20 - Film recommendations: Cleo from 5 to 7 and Love Liza
1:03:40 - Concluding Thought: Edward being a "film-involver"
Show notes:
Indian Child Welfare Act
Indian Adoption Project
DAUGHTER OF A LOST BIRD trailer
OK BREATHE AURALEE trailer
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) analyze the findings of the Center for Media and Social Impact’s Report on the current State of Journalism in Documentaries, SXSW’s hypocritical stance on providing spaces for people with disabilities (18:45), and Sundance’s inclusion of Jihad Rehab (32:40). Then, Edward shares his thoughts on Random Acts of Flyness, Jessica Tifase’s recommendation (28:07). Finally, in today’s concluding thought, Edward discusses reelprint’s politics (01:12:13).
Time Codes:
1:05 - Ep. 19 Introduction and the key findings of the Center for Media and Social Impact’s recent report
4:07 - Analyzing how people use documentaries as a source
8:25 - Conflict of Interest in funding documentaries
11:10 - Critiquing the journalistic coverage in documentaries
15:00 - Seeing how the doc industry is becoming more equitable, accountable and accessible
18:45 - Analyzing SXSW’s stance on providing spaces for people with disabilities as mentioned in Reid Davenport’s IDA Op-Ed
22:35 - SXSW’s film history towards stories about people with disabilies
25:30 - Critiquing SXSW’s listed accommodations for people with disabilities
28:08 - Edward’s take on Random Acts of Flyness
32:40 - Critiquing Sundance’s inclusion of Jihad Rehab
35:20 - Recognizing the efforts from a group of Muslim and Middle Eastern, North Africa, and South Asian (MENASA) filmmakers for holding several film organizations accountable for enabling an Islamophobic environment
39:20 - Explaining the reasons and limitations of this conversation
42:20 - The limits in the empathy model and critiquing Meg Smaker
48:45 - Recognizing Sundance’s history in problematic stories
51:05 - Analyzing the data on Sundance films in the documentary competition programs from the last 20 years about Muslims, MENASA-based people, or take place in MENA
55:38 - Assia Boundoui’s challenges in making The Feeling of Being Watched and acknowledging the backlash for speaking out
57:50 - #MyMuslimFilm
1:00:20 - Recognizing some of the co-signatories who are supporting the group
1:05:15 - The suggestions the Muslim and MENASA filmmakers list in their open letter
1:12:13 - Concluding Thought: reelprint’s politics
Episode show notes available here
In this episode, multidisciplinary artist Jessica Tifase (she/her) shares the similarities and differences in making projects in different mediums and how Mizzou has whitewashed history in her upcoming Concerned Student 1950 documentary. Finally, in today’s concluding thought, Edward talks about his favorite sport basketball.
Guest Bio:
Jessica Tifase (she/her) is a Nigerian-American artist from Houston, Texas that is passionate about disrupting the conventional approaches of storytelling in order to heal the relationship between her subjects, the camera and the audience. Through portrait photography and multimedia production, her work experiments with elements that have been historically used as tools for misrepresentation as a way to explore themes like identity and historical revisionism.
At the moment she is interning with the Houston Rockets, in addition to preparing for an exhibition at the Sager Reeves Gallery in 2022.
Time Codes:
1:30 - Jessica’s film and photography upbringings
5:00 - Jessica’s shares her inspiration for her photography works Godspeed, The Harvest and Caged Birds
7:45 - Jessica’s works evolving more than just a class assignment
11:40 - The challenges and adaptations Jessica went through during the making of her vertical video Dear Clover
15:34 - Jessica using film for The Harvest
18:35 - Jessica explains how differentiate, end, and create new projects
22:30 - Jessica discusses her upcoming Concerned Student 1950 documentary
25:30 - Jessica’s shares her worries about the history being watered when the students at the moment graduate MU
30:51 - Jessica’s inside access to MU’s little known history as a Tour Guide, Summer Welcome Leader, and MU Ambassador
35:03 - Jessica entails the dilemmas BlPOC students face when speaking out at predominantly White institutions
38:20 - Jessica’s path to being a Houston Rockets Intern
43:15 - Jessica’s shares how she works with the Rockets archival materials
47:13 - Jessica’s process in taking new risks with videos for certain game days
51:56 - Jessica’s recommendations: Variety Sketch Series Random Acts of Flyness and Documentary-series Eyes on the Prize
56:04 - Concluding Thought: Edward’s passion of basketball
Episode Notes:
Concerned Student 1950 Documentary by Adam Dietrich, Kellan H. Marvin, Varun Bahaj
The Spark with Jalen Green and Kevin Porter Jr
The Harvest by Jessica Tifase
Jessica talks to MU about Caged Birds
In this episode, host Edward Frumkin (he/him) and contributor Jonah Desnaux (he/him) dissect the highly anticipated films playing at 2022 Seattle International Film Festival and 2022 Hot Docs. Then Edward reviews Ascension by Bill Viola, Brady McDougall’s recommendation. Finally, in today’s concluding thought, Edward shares his excitement as accredited media for 2022 Hot Docs.
Time Codes:
2:25 - Analyzing the Documentary Competition (including Riotsville USA, Outta the Muck, Children of the Mist) at 2022 SIFF
4:42 - Analyzing the Official Competition (Invisible Demons, The Territory, and Navalny at 2022 SIFF
6:52 - Festival Spotlights at 2022 SIFF
8:44 - Cinedigenous Program highlights Daughter of a Lost Bird and Wildhood at 2022 SIFF
10:40 - Duel, Ahed’s Knee, and The Good Boss at 2022 SIFF
13:33 - Hockeyland, The Innocents and 2551.01 at 2022 SIFF
16:24 - Edward’s take on Bill Viola’s Ascension
18:58 - Our excited films for 2022 Hot Docs
21:16 - Edward’s application plans to be a media for 2022 Hot Docs
24:25 - Edward discussing The Exiles and Aftershock
27:44 - Concluding Thought: Edward shares his excitement as accredited media for 2022 Hot Docs
Episode Notes:
2022 Seattle Int. Film Festival Program
2022 Hot Docs Program
In this episode, video artist Brady McDougall (he/him) explains how images operate in a marketplace economy, his experiences making his thesis film Alone with you, and working as a production assistant on Bisbee ‘17 and Brewmaster. Finally in today’s concluding thought, Edward shares his reluctance in not doing published interview articles before he published his interview with Children of the Mist director Diem Ha Le.
Guest Bio:
Brady McDougall (he/him) is an interdisciplinary artist from Highland Park, IL. He graduated from the University of Missouri in May 2019, where he double majored in Film Studies and Digital Storytelling. He is currently pursuing an MFA in Video Art at Syracuse University and a technical assistant at Urban Video Project, a program from non-profit org Light Work.
His work is based on synthesizing video, photography, CGI, poetry, and collage to create novel forms of media that challenge preconceived understandings of identity and natural forms.
His production credits include being a production assistant on Bisbee '17 (Sundance 2018) and Brewmaster (SXSW 2018).
Time Codes:
1:22 - Brady’s film upbringings
7:00 - Brady’s making his undergrad works through intuition
13:22 - Brady discussing his style in Our Thoughts on Dream and Flashback
17:45 - Brady shares when and how he uses photos and videos for Our Thoughts on Dream and Flashback
22:25 - Brady talks about the economics of visual media
27:48 - Brady explains Alone With You
32:21 - Brady shares his PA experiences on Bisbee ‘17 and Brewmaster and Edward and Brady bond over their internships at 4th Row Films
37:07 - Brady contrasts directors Robert Greene and Douglas Tirola’s directing
44:30 - Edward and Brady discusstheir experience seeing Bisbee ‘17 at 2018 True/False
48:25 - Brady shares the benefits of going to grad school.
54:50 - Brady compares and contrasts his experiences at Syracuse and Mizzou Visual Storytelling programs, as well as the end of Syracuse’s Video Art Program
1:02:00 - Brady’s work with The Urban Video Project
1:09:32 - Brady’s recommendation: Ascension by video artist Bill Viola
1:11:27 - Concluding Thought: Edward’s on published interview articles
Episode Notes:
Brady’s directorial and DP credits Our Thoughts on Dream, Flashback, Trapped, and Alone With You
Bisbee ‘17 trailer
Brewmaster trailer
In this episode, contributor Jonah Desnaux (he/him) and host Edward Frumkin (he/him) analyze the history of the Hays Code and MPAA rating system and how they affect the way filmmakers can express their ideas. Then, Edward reviews Feels Good Man, Audrey Roloff’s recommendation. Finally, Edward shares his thoughts on the non-slap gate portions of the 94th Oscars.
Time Codes:
2:00 - Describing what the historical Hays Code prohibits
6:40 - Analyzing the harmful effects of the Hays Code
9:30 - Examining how artists subtly broke the code in genres like Film Noir
11:55 - Recognizing how Otto Preminger breaking the code explicitly
14:17 - Edward’s take on Feels Good Man
17:25 - Observing the double standards in the MPAA Rating System that was explored in This FIlm is Not Yet Rated
21:41 - Edward ranting on Rated R films solely for language
24:55 - Edward comparing the MPAA Rating System and U.S. TV rating system
28:31 - Concluding Thought: Edward shares his thoughts on the non-slap gate portions of the 94th Oscars
Episode Notes:
MPAA Rating System
Hays Code
In this episode, filmmaker Audrey Roloff describes (she/her) why she initially wanted to major in broadcast journalism, the differences between working with a big crew on music videos and herself on class projects, and how she became a character in her upcoming doc, Sifa. Finally, in today’s concluding thought, Edward talks about roadshow theatrical releases.
Guest Bio:
Audrey Roloff (she/her) is an editor and filmmaker from Columbia, Missouri. Currently, Audrey works as a production coordinator for Healium, a local virtual reality company and is the Missouri School of Journalism Student Council President. In her free time, she directs, edits, and produces freelance projects for local production companies, musicians such as Sifa Bohomora and Lauren Stokes, screenwriters, institutions, and fashion designers. Her first documentary that follows her friendship with Sifa, will premiere at the 2022 Stronger Than Fiction Film Festival, the annual showcase of thesis films from the respective year’s graduating class at MU’s Jonathan B. Murray Center for Documentary Journalism.
Time Codes:
1:25 - Audrey’s film upbringings and interest in Broadcast Journalism
6:30 - Audrey’s experiences with MU’s Doc-J Club
11:45 - Audrey’s work as a videographer with Helium and Terrapin Records
17:00 - Audrey explains her collaborative process with the company’s and clients’ vision
22:04 - Audrey’s entry into making music videos
26:03 - Audrey shares how she works with large crews and directing Hindsight
30:28 - Audrey shares her experiences working with Sifa Bohomora
34:38 - Audrey breaking down her narrative short debut Portrait of a Woman Unknown
40:57 - Audrey discussing her upcoming documentary Sifa (working title: Blinded Faith)
44:51 - Audrey becoming a character in Sifa
49:16 - Audrey examining the racial dynamics in Sifa
53:53 - Audrey’s recommendation: Feels Good Man
56:19 - Edward adding some context to the racial dynamic question that was not properly inserted during the interview
57:40 - Concluding Thought: Edward discussing the roadshow theatrical release
Episode Notes:
Audrey’s work with Terrapin Records
Audrey works on Sifa’s Music Videos Moon Villa and Tiny
Lauren Stokes’ music videos Hindsight and Rom Com
In this episode, host Edward Frumkin (he/him) and contributor Jonah Desneaux (he/him) analyze the 2022 CPH: DOX lineup and predict the winners in their competition programs. Then, Edward gives a new take on Fatal Attraction, in a rewatch following Nick Robbins’s recommendation. Finally, in today’s concluding thought, Edward shares his thoughts on traveling.
Time Codes:
1:40 - Analyzing the DOX:Award program
6:45 - Breaking down the F:ACT Award program
11:05 - Edward dissects the Next:Wave Award program
15:07 - Jonah breaks down the Nordic:Dox Award program
18:30 - Commenting on the Special Premieres program
19:50 - Edward’s new take on Fatal Attraction
23:25 - Discussing Highlights Program
28:20 - Sound and Visions Program.
33:23 - Changemakers Program
34:20 - Artists and Auteurs Program
37:40 - Discussing the films The Perfect Boyfriend and The Headless Body
41:07 - Concluding Thought: Edward’s announcement of a new format change for reelprint’s even numbered episodes.
Episode Notes:
2022 CPH:DOX Competition Programs
In this episode, guest Nick Robbins (he/him) shares the valuable lessons he learned from his internship at Hollywood Casting Productions and where he finds inspiration to tell stories and cast actors. Finally, in today’s concluding thought, Edward announces a new format change that will affect even-numbered episodes starting with episode 12.
Guest Bio:
Nick Robbins (he/him) is a filmmaker from Chicago, IL. He is finishing his undergraduate studies at the University of Missouri with a major in Film Production and minor in Digital Storytelling. His short films, I Can Make You Dance, The Cure, and upcoming Lost In the Lou focus on people's consequences when pursuing their aspirations. He was previously an intern for Hollywood Casting Productions.
Time Codes:
1:08 - Nick’s film upbringings
5:15 - Nick talking about I Can Make You Dance
9:10 - Nick’s approach in working with deadlines
12:15 - Nick’s editing approach
16:31 - Nick’s experience with Hollywood Casting.
20:40 - NIck’s comparisons and contrasts between working with a larger group vs. smaller group
23:44 - Nick’s thoughts on what makes a good reel for visual creatives
30:12 - Nick’s role as a collaborator and a DP for other directors.
35:22 - Nick Robbins’ recommendation: Fatal Attraction
38:02 - Concluding Thought: Edward’s announcement of a new format change for reelprint’s even numbered episodes.
Episode Notes:
Nick Robbins’s YouTube Channel where The Cure and I Can Make You Dance are available to watch.
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) reflect on Sean’s prediction articles and predict the winners for the 94th Academy Awards. Then, Edward reviews Seeking a Friend for the End of the World, Megan Liz Smith’s recommendation. Finally, in today’s concluding thought, Edward talks about his style of conversing with the guests.
Episode show notes and time codes here.
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) break down the comeback of Black and White films in 2021 such as Belfast, The Velvet Underground, and Passing. Then, filmmaker Megan Liz Smith (she/her) discusses her experiences as a young actor before transitioning to work behind the scenes as a "cameraperson." Finally, in today’s concluding thought, Edward talks about his experiences with performing and theatre.
Guest Bio:
Megan Liz Smith (she/her) is a cinematographer and documentary filmmaker from the snowy Northern Territory of Minnesota. She grew up acting in commercials and short films, but has since transitioned to working behind the camera. Megan has been a production assistant on shows like Truth About Murder with Sunny Hostin, and Rogue Trip on Disney+, as well as the Oscar shortlisted documentary Procession on Netflix. Her directorial debut was the short film Diary of a Teenage Zealot (played at 2021 First Look at Museum of the Moving Image 2020 St. Louis Int. and 2021 KC Film Fests). She now works as a full time cinematographer in the Twin Cities.
Time Codes:
1:20 - Recalling the 2021 B&W Films and our experiences of B&W films
4:23 - Seeing how Black and White films become refreshing
9:20 - Two Best Cinematography Academy Awards
14:32 - Analyzing color as an artistic decision
18:00 - Reverse Colorization of films
22:11 - Directors that changed Edward’s impression of color
25:47 - Megan’s film upbringings
29:55 - Megan’s move from working in front of to behind the camera
33:41 - Megan’s experiences from working at Rouge Trip and Truth About Murder
38:03 - Megan editing herself in Diary of a Teenage Zealot
45:18 - Megan’s experiences working at a rental house
49:44 - Megan’s perspective on filmmaking in Minnesota
54:07 - Megan Liz Smith’s recommendations: Turtles Can Fly and Seeking a Friend for the End of the World
55:39 - Concluding Thought: Edward’s experiences with performing and theatre
Episode Notes:
Why There Are So Many Black and White Movies in 2021 by Alissa Wilkinson
Diary of a Teenage Zealot Info Page
Procession Trailer
Megan Liz Smith’s website
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) dissect the line-ups and anticipated films at 2022 Berlinale. Then, Edward reviews Children of Men, Matt Schacht’s recommendation. Finally, in today’s concluding thought, Edward recounts his True/False trip.
Time Codes:
0:55 - Episode Intro and Claire Denis
4:55 - Announcing the 2022 Berlinale Generation and Shorts recipients
9:10 - Dissecting 2022 Berlinale Shorts Kicking the Clouds and Starfuckers
13:35 - Berlinale Documentary, Encounters and other Major Winners
16:50 - Edward’s review of Children of Men
22:12 - Dissecting 2022 Berlinale Competition Lineup
24:34 - The future of 2022 Berlinale selected films
28:45 - Analyzing how International films become star vehicles
34:14 - Concluding Thought: Edward’s highlights at 2022 True/False and his return to Columbia.
Show Notes:
2022 Berlinale Winners
2022 Belrinale Generation Lineup
2022 Berlinale Forum Lineup
2022 Berlinale Encounters Lineup
2022 Berlinale Shorts Lineup
2022 Berlinale Competition Lineup
2022 Berlinale Special Lineup
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) analyze the resurgence of musicals in 2021 with hits such as In the Heights, West Side Story, and Encanto. Then, guest Matt Schacht (he/him) discusses the need of local storytelling and his tricky path of becoming a filmmaker. Finally, in today’s concluding thought, Edward shares his highlights of the 2022 Big Sky Film Festival.
Guest Bio:
Matt Schacht (he/him) is the owner and operator of Peace Frame Productions, a commercial film production company in downtown Columbia. He graduated from the University of Missouri Law School in 2015. He is also the president of Columbia’s Vidwest Studios, a community media center where they make digital media, equipment, photography/video studios and editing softwares more accessible to fellow creatives in mid-Missouri.
Time Codes:
1:26 - Sean’s and Edward’s experiences with musicals
4:15 - Analyzing how Hamilton and La La Land paved the resurgence
6:36 - Analyzing Tick Tick Boom …
10:20 - Sean’s thoughts on Annette
12:14 - Analyzing Encanto
15:15 - Analyzing how film anthems become #1 hits
18:26 - Where do musicals go from here?
24:24 - Matt Schacht’s film upbringings
29:13 - Film as telepathic
34:14 - Matt’s path in becoming a filmmaker
40:10 - Matt discussing the importance of local storytelling
43:55 - Matt’s mission with Vidwest Studios
48:50 - Matt’s move to maintain a producer role
54:25 - Matt’s approach in leaving room for collaboration
1:00:30 - Matt’s recommendations: Children of Men and Princess Mononoke
1:06:53 - Concluding Thought: Edward’s highlights at 2022 Big Sky Film Festival
Episode Notes:
Vidwest Studios
Moonface Short film
Peace Frame Productions YouTube Channel
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) mourn the people we lost in the film industry from Feb. 2, 2021 through Feb. 2, 2022. Then, Edward reviews Amadeus, Kendrick Smith’s recommendation. Finally, in today’s concluding thought, Edward shares the need to have an in memoriam as an episode instead of in a written obituary.
Time Codes:
2:00 - Roy Christopher tribute
6:18 - Remy Julien and Other Stunt Performers Tributes
11:05 - Larry McMurtry, Joan Didion and Jean-Claude Carrière Tributes
16:09 - Lina Wertmüller, Melvin Van Peebles, and Jean-Marc Vallée Tributes
20:25 - Menelik Shabazz, Robert Downey Sr., and Richard Donner Tributes
25:09 - Stephen Sondheim and Giuseppe Rotunno Tributes
26:24 - Edward’s review of Amadeus
29:31 - Halyna Hutchins and Ruthie Tompson Tributes
33:23 - Jean-Paul Belmondo, Michael K. Williams, Jessica Walter, George Segal Tributes
36:43 - Dean Stockwell, Christopher Plummer, Kaycee Moore, Helen McCory Tributes
40:05 - Norman Lloyd, Yaphet Kotto, Olympia Dukakis, Charles Gordon, DMX and Ned Beatty Tributes
44:10 - Ed Asner, Bob Saget, Betty White, Monica Vitti Tributes
47:35 - Roft Zehetbauer, Louie Anderson, Mace Neufeld, Meat Loaf Popcorn Deelites, and Gaspard Ulliel tributes
51:05 - Marilyn Bergman, Peter Bogdanovich, and Sidney Poitier tributes
55:29 - Concluding Thought: In Memoriam 2022
Show Notes:
BFI’s 2021 Filmmaker Obituary
Emmy’s In Memoriam Database
Other tributes who is mentioned in the episode, but not in the articles above.
Denzel Washington’s Variety Feature
In this episode, host Edward Frumkin (he/him) and contributor Jonah Desneaux (he/him) analyze the top hits at SXSW and True/False. Then, Kendrick Smith (they/he), a filmmaker and studio manager for social media personality chef and NY Times Best-Selling Author Johsua Weissman, shares the differences in making videos for different platforms and how they made a filmmaking community when they were a student at the University of Missouri. Finally, in today’s concluding thought, Edward shares his relationship with health.
Guest Bio:
Kendrick Smith (they/he) is an editor, director, and writer. They are currently a studio manager for social media personality, chef, and New York Times Best-Selling author Joshua Weissman, who has a combined 11.1 million followers/subscribers on TikTok and YouTube.
They co-founded Shot Reverse Shot, an audio/visual production extracurricular club that focuses on making limited series and podcast dramas, along with other MU students to teach students about the process and roles within serial and television production.
Their upcoming directorial debut feature, I Love You, Elliot, that they co-written with Marcelese Cooper, about an insomniac returning from Vietnam and struggles to find their place amid chaos of everyday life, is in post-production.
Time Codes:
1:45 - SXSW Festival Favorites anticipations
5:54 - SXSW Headliners
15:15 - Other SXSW Films in their competition, midnight madness, and music programs
19:00 - 2022 True/False Honorees
23;00 - Edward’s top films to watch at 2022 T/F.
27:15 - Edward’s thought on 2022 T/F overall lineup
33:00 - Kendrick’s film upbringings
43:00 - Possibilities of Digital Storytelling
46:03 - Kendrick’s making of Shot Reverse Shot with their other classmates
51:00 - Expansions of making series/films outside of classes
55:57 - Kendrick’s inspirations for their short When I Leave
1:01:37 - Kendrick discusses the making of I Love You Elliot
1:10:27 - Kendrick’s relocation to Houston after living in Missouri.
1:12:45 - Kendrick’s path to becoming Joshua Weissman’s Studio Manager
1:21:50 - Kendrick’s discussing the differences of TikTok and YouTube videos
1:25:10 - Kendrick’s recommendation: Amadeus
1:27:31 - Concluding Thought: Edward’s relationship with health
Episode Notes:
2022 SXSW Film Lineup
2022 T/F Film Lineup
I Didn’t See You There Press Kit
Shot Reverse Shot series Grand Theft Autumn and Down The Rabbit Hole that Kendrick worked on.
Kendrick’s short When I Leave
I Love You Elliot Seed & Spark Campaign and Teaser
Joshua Weissman’s YouTube Channel
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) tear apart the nominees and snubs of the 94th Academy Awards. Then, Edward reviews High Life, Rowen Mutt’s recommendation. Finally, in today’s concluding thought, Edward shares how his love for the Oscars haven’t been the same since he was a kid.
Time Codes:
1:37 - 94th Oscar milestones
11:10 - Edward introducing shout-outs films that got nominated primarily in the technical categories
11:50 - Best Visual Effects, Editing, and Costume Design awards breakdown
16:23 - Best Cinematography and Best Makeup and Hairstyling awards breakdown
19:20 - Best Sound Design, Production Design, Original Song and Original Score awards breakdown
21:50 - Short Film Awards shout-outs
25:11 - Edward’s review of High Life
25:54 - Thoughts Shiva Baby and Flee
29:00 - Best Documentary Feature Breakdown
39:00 - Best Int. & Animated Features awards breakdown
43:15 - Screenplay awards breakdown
48:45 - Supporting Acting Awards breakdown
55:10 - Lead Acting Awards breakdown
59:49 - Best Director breakdown
1:02:18 - Best Picture breakdown
1:09:17 - Edward’s Concluding Thought: His disillusion of the Oscars
Show Notes:
94th Academy Awards Official Nominees
Academy Award for Best Documentary Feature Controversies
NY Post’s HBO documentary legend Sheila Nevins: Network boys ‘kicked me out the door’
Vulture’s How to Get a Black-Led Film Funded with its focus on Passing
In this episode, host Edward Frumkin (he/him) and contributor Sean Naughton (he/him) analyze how the Marvel Cinematic Universe became a force to be reckoned with. Then, filmmaker and cinematographer Rowen Mutt (he/him) discusses the purpose of making films and the things that come out of a collaborative partnership with Edward. Finally, in today’s concluding thought, Edward shares his favorite hobbies in New York City.
Guest Bio:
Rowen Mutt (he/him) is a filmmaker and writer. He makes fiction (Peppermint) and nonfiction narratives (My Canvas), as well as commercials through his production company Facade Images. His upcoming film “Nay Nay and The Diabolical Bumpkin,” a “hybrid film” that follows Rowen’s cousin Nathan making a fiction film based on events of his adolescence and Rowen documenting the filmmaking process behind the scenes, will make its world premiere at 2022 Stronger Than Fiction Film Festival, the annual showcase of thesis films from the respective year’s graduating class at MU’s Jonathan B. Murray Center for Documentary Journalism.
His film credits include being a cinematographer on “Gifts from Our Father,” (a short doc that played at 2021 First Look Film Festival at Museum of the Moving Image in Queens, NY, and 2021 St. Louis Film Festival), and a colorist on “Keep the Cameras Rolling: The Pedro Zamora Way” (feature bio doc of the eponymous HIV/AIDS activist and Real World star that played at 2021 Out on Film Atlanta Film Festival and 2022 Miami Film Festival).
Time Codes:
1:02 - Edward’s Introduction of the MCU
4:32 - How MCU is Affected through Disney’s acquisition of Fox
9:30 - Analyzing MCU’s Selection of Directors
15:00 - Post-MCU Careers for Directors such as Russo Brothers
18:43 - Comparing and Contrasting DC & Marvel films
22:00 - Why is Spider-Man: No Way Home the 1st Pandemic film to Make $1 billion at the Box Office
25:38 - Rowen’s Introduction to Film
31:10 - Rowen’s First Ever Attempt at Making Films
36:23 - How Rowen’s First Experiences Lay the Blueprint for His Process
40:50 - Rowen’s Approach to His Cinematography in Peppermint
49:50 - Edward’s Criticism of Making Graded Films by Himself
52:12 - Rowen’s Cinematography Breakdown in My Canvas
56:30 - Rowen’s Non-fiction Collaboration with Sara in My Canvas
59:50 - The Power of Speaking Truths in Documentaries
1:00:55 - Rowen’s Upcoming Film Nay Nay and The Diabolical Bumpkin
1:07:00 - Nathan’s Interest in Making Films with Rowen
1:15:15 - Rowen’s Recommendations: Stranger Than Fiction (2006) & High Life (2018)
1:19:00 - Concluding Thought: Edward’s New York Hobbies
In this episode, host Edward Frumkin (he/him) and contributors Jonah Desneux (he/him) and Sean Naughton (he/him) share their top 10 lists of films in 2021. Then, Edward reviews The Peanut Butter Falcon, Sean Greene’s recommendation. Finally, in today’s concluding thought, Edward breaks down his meaning of a Best Of list.
Time Codes:
0:55 - Best of 2021 introduction and our 3’s Top 10 Best of 2021 lists
4:47 - Thoughts on The Power of the Dog
7:48 - Thoughts on C’mon C’mon
12:00 - Thoughts on Wheel of Fortune and Fantasy
15:26 - Edward’s review of The Peanut Butter Falcon
20:35 - Thoughts on Drive My Car and Procession
25:54 - Thoughts Shiva Baby and Flee
30: 18 - Edward’s other top 10 2021 films
35:40 - Jonah’s other top 10 2021 films
42:33 - Edward’s Concluding Thought: His meaning of a “Best of” List.
Show Notes:
Edward’s Top 10 Films of 2021
- Bergman Island directed by Mia Hansen-Løve
- Belfast directed by Kenneth Branagh
- C’mon C’mon directed by Mike Mills
- Eyimofe: This is My Desire directed by Arie and Chuko Esiri
- Flee directed by Jonas Poher Rasmussen
- The Inheritance directed by Ephraim Asili
- The Power of the Dog directed by Jane Campion
- Procession directed by Robert Greene
- Wheel of Fortune and Fantasy directed by Ryusuke Hamaguchi
Jonah’s Top 10 Films of 2021
- Anette by Leos Carax
- Bad Luck Banging or Loony Porn directed by Radu Jude
- C’mon C’mon directed by Mike Mills
- Drive My Car directed by Ryusuke Hamaguchi
- The Green Knight directed by David Lowery
- Nightmare Alley directed by Guillermo Del Toro
- The Power of the Dog directed by Jane Campion
- Titane directed by Julia Ducourneau
- The Worst Person in the World directed by Joachim Trier
- Zola directed by Janice Bravo
Sean’s Top 10 of 2021
- Belle directed by Mamoru Hosoda
- Drive My Car directed by Ryusuke Hamaguchi
- A Hero directed by Asghar Farhadi
- The Last Duel directed by Ridley Scott
- Licorice Pizza by Paul Thomas Anderson
- The Matrix Resurrections directed by Lana Wachowski
- Memoria directed by Apichatpong Weerasethakul
- The Power of the Dog directed by Jane Campion
- West Side Story directed by Steven Spielberg
- Wheel of Fortune and Fantasy directed by Ryusuke Hamaguchi
In this episode, host Edward Frumkin (he/him) and contributor Jonah Desneux (he/him) analyze what will come in film in 2022. Then, filmmaker and videographer Sean Greene (he/him) stops by to discuss his filmmaking approach and why he exhibits his stuff immediately on Youtube instead of film festivals with Edward. Finally, in today’s Concluding Thought, Edward shares his first film exhibition trip to the 2021 Wild Bunch Film Festival in Wilcox, AZ, to represent The American Frontier.
Guest Bio:
Sean Greene (he/him) is a writer, filmmaker, and podcaster who recently graduated from the University of Missouri. His short films, which focus on adding humor or drama to the mundane, are available on the YouTube channel "Purple Elephant Films." His podcast, which he began back in November of 2020, is called "Purple Elephant Radio," and can be found on all major platforms.
In September of 2021, he published a book of essays and illustrations about the creative process called "The Purple Elephant Artist," which is available on Amazon.
He currently films weddings and does videography for local businesses.
Time Codes:
1:02 - Initial Thoughts on Film in 2022
4:32 - Film that play at Sundance 2022
9:13 - Predicting top 2022 Independent Films
13:11 - God’s Country and other ways that audience interact with films
19:07 - Docs to Watch
23:20 - Anticipated Box Office Hits in 2022
26:33 - Edward’s concerns of many spinoffs
30:58 - Sean Greene’s Introduction
34:10 - Sean’s path into making films
40:30 - Sean’s decision to act in a majority of his works
46:03 - Sean’s approach for making films, such as a week long Campus Movie Fest
53:05 - Personal experiences in the film festival circuit and why Sean did not submit to them at first.
57:05 - Sean’s use of Artlist and music from other libraries and artists
1:05:05 - Sean’s cinematography influences and methods
1:09:02 - Sean entails working with others’ visions
1:14:55 - Sean’s film recommendation: The Peanut Butter Falcon (2019)
1:16:33 - Concluding Thought: Edward’s trip to The Wild Bunch Film Festival
Episode Notes:
Sean Greene’s short films: Buttered Bread: The Tale of Two Roommates, Flashlight Tag: A Suburban Western, The Sticker Club, A Trip to the Sun, Riding High, and Sidewalking.
Sean Greene’s videography works
In this short episode, host Edward Frumkin (he/him) and contributors Jonah Desneux (he/him) and Sean Naughton (he/him) discuss the background and goals for the podcast and its accompanying publication. In today’s Concluding Thought, Edward explains the origin of reelprint and his thoughts on the podcast’s future.
Time Codes:
1:25 - Edward, Sean, and Jonah’s backgrounds
6:32 - Details on reelprint’s segments and the type of guests who will be on the podcast.
11:33 - Concluding Though: New Beginnings
All episodes are available on all streaming services, such as Spotify, Apple Music, and more.