Aug 30 2010

Icelandic Cinema: Bjarnfredarson

markfogarty

One way to get a sense of a culture is to watch a film from that culture.  That is why on my recent trip to Iceland, when confronted with the opportunity to watch a film on the flight, I passed by Date Night and Edge of Darkness to watch the only Icelandic film being offered – Bjarnfredarson.

I was surprised to find that this film that I had never heard of and only stumbled upon because it was the only film there, was one of the best movies I have seen this year.

This is a quirky story about a strange and uptight communist, Mr. Bjarnfredarson who is released from jail and must find a life for himself in the new world.  He stays with an old friend, who does not seem to like him much.  In fact, no one likes him much.  He is rude, self-righteous, bossy and strange.  The focus of this movie is what made him the man he is, and we see his upbringing in hilarious flashbacks.  The

This movie is funny and touching in the way the BBC Office was.  It succeeds in making us believe in the characters and care for them so that the laughs seem earned instead of the needy begging-for-laughs style comedy many films try for, this is the kind of comedy that earns it’s laughs.  In fact, the entire film culminates in a punchline (I will not give away here) that I did not see coming and was so honestly surprised by, I had a long hard out-loud laugh on the plane.

The film has an interesting story.  The film is actually the culmination of a multi-series TV show, so to the average Icelander, finally hearing the story of Mr. Bjarnfredarson must have been an incredible thing.  Sort of like seeing the life story of  David Brent at the end of the series.  The original series, Naeturvaktin – (Night Shift), shows the characters at the beginning of the story.  They are all stuck together in a gas station on the night shift.  The series evolves to a second series, Dagvaktin, which follows the trio working at a hotel.  Finally, Fangavaktin, follows the trio in prison.  These series were amongst the most successful shows in Iceland.  The shows were so successful, the actor playing Mr. Bjarnfredarson became the mayor of Iceland’s capitol – Reykjavik.

I am not sure how you would see this film or the TV shows unless you happen to make it to Iceland.  However, they are all worth seeking out.  We can only hope for an American release (and not a remake)   It made me aware of the wealth of great film that might be out there in the world.

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Aug 4 2010

Atomic Brain Invasion World Premiere on September 10th

markfogarty

This comes to you from our good friends at Scorpio Film Releasing…

Here it is! The WORLD PREMIERE of Scorpio Film Releasing’s newest feature ATOMIC BRAIN INVASION!

It’s 1957 and evil aliens have landed in the quaint New England town of New Shoreham! What could they possibly want from our precious planet? Will our plucky teenage heroes be able to stop them?

ATOMIC BRAIN INVASION is a good, old-fashioned sci-fi horror film. No tricks, no gimmicks. Just 90 minutes of fun that will bring you back to the thrilling days of the drive-in!

ATOMIC BRAIN INVASION stars such acclaimed actors as
Sarah Nicklin
David Lavallee, Jr.
Michael Reed
Rich Tretheway
Alexandra Cipolla
David Erin Wilson
Daniel Lee White
Ruth Sullivan
Colin Carlton
Alexander Lewis
Alex Aponte
Andre Boudreau
Mark Fogarty
Gregory Barbon
Gio Castellano
Christopher Ferreira
Jennifer Scharf
Cat Hainfeld
Aurora Grabill
Sarah Lewis
Peter Morse
Jason McCormick
Kenneth Koury
Eric Eastman
and Brandon Luis Aponte as “Elvis Presley”
… as well as many, many more!

ATOMIC BRAIN INVASION was produced by Ted Marr, directed by Richard Griffin and written by Guy Benoit and Richard Griffin.

ATOMIC BRAIN INVASION will be playing at the historic Orpheum Foxboro theater in Foxborough, MA on September 10th and 11th at 7pm and 9pm daily. Tickets are $9.00 at the door.

ATOMIC BRIAN INVASION is not rated, but contains no nudity, graphic violence or profanity and would be considered acceptable for audience members 12 years old and up!

ATOMIC BRAIN INVASION will be preceded by a brief Spookshow on opening night. Before your very eyes, horror hostess Penny Dreadful will bring Elvis Presley back from the dead On-Stage and In-Person!

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Jul 26 2010

Exile Movies Looking for Marketing Director/PR

markfogarty

We are a small film production company looking for help marketing our feature film “smalltown” as well as several other projects. We are looking for creative, organized and driven people to collaborate with in trying to get this film out to the public.

This is an unpaid job, however, this could be a great opportunity for someone looking to break in to the film industry. The film was shot using the RED camera and has great potential for distribution.

Here is a description of the film:

An action adventure mythic thriller set in a suburban wasteland, smalltown is a once beautiful suburb ruined by poverty and devastated by corporate greed overrun by drugs, poverty, prostitution and violence. For years the town has lived under two warlords, the Druglord and the Pimp. A truce between these two fathers was born, and has kept the town at peace. But not for long. War is on it’s way to smalltown.

When Logan is caught trying to bring down the druglord and is sentenced to death, his girlfriend, Sasha, begs the town pimp, Logan’s estranged brother, Roarke, to help save him, offering herself to him. Sasha and Roarke race against the druglord’s servants to save Logan and end the druglord’s reign over smalltown. In order to save Logan they must make their way through the town on foot, facing brutal gangsters, corrupt cops, desperate drug addicts, soulless teenagers and a hidden army of freaks, while Logan makes his way to the edge of town, haunted by the ghost of the girl he could not save, and hunted by the Druglord’s men. Part action thriller/ part social commentary with elements of comedy and horror, “smalltown” is a modern myth with echoes of The Warriors, The Odyssey, Lord of The Rings, Escape From New York, Sin City, Pulp Fiction and Casablanca.

You can find out more about us at www.exilemovies.com

Internship can be arranged with your school for credit.

To be considered for the position contact m@exilemovies.com

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Jul 26 2010

World Premiere of RI Made Film – Sleather

markfogarty

This is an excellent example of  film made using community to bring together resources.  I briefly appear in the film as “The Saint Pauly Girl”.

You can purchase tickets for the premiere at the link below.

The 989 Project presents www.sleathermovie.com
header
SleatherMovie.com |   The989Project.com
View the Official Trailer! Tickets on Sale Now!
Click to watch the trailer now!

480p (Low)
720p (Medium)
1080p (High)

Veterans Memorial Auditorium Tickets for the SleatherWorld Premiere can now be purchased online through the Rhode Island International Film Festival.

Click here to purchase!

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Jul 10 2010

New Scenes for Smalltown

markfogarty

Check out news on the new scenes for our upcoming feature — smalltown.

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May 23 2010

Love Letter To Roger Ebert

markfogarty

Anyone still watching “At the Movies” (there are two or three of us) will understand why I miss Roger Ebert so much. Ebert, having suffered from thyroid cancer which has left him unable to speak, Ebert is no longer able to helm the most famous movie review show in history. He is still writing, and you can still read his reviews here, and they are still written with the same sharp wit and genuine love for movies that has made him the greatest movie critic of all time (yes, even better than Pauline Kael).

There is no replacement, and no matter how hard we look, we will only find pretenders to the throne.  The reason why I and others love Ebert so much is the same reason why every other critic pisses us off.  Ebert seems to be the only one who understood the vast purposes and functions movies can fulfill.  Not all movies need to be masterpieces of subtle artistry, and there is art in a popcorn movie.  Every other film critic seems too out of touch with the audience, too pretentious to really guide us to which movie to see.

The thing that separates Ebert from every other critic, including even his ex-partner, Gene Siskel, is his unpretentious love for movies.  He understood that you can not compare the latest comic book adaptation with Meryl Streep’s new movie.  Maybe the thing that separated him is that he actually wrote a movie, in fact, he wrote a classless, unpretentious Russ Meyer camp fest “Beyond The Valley of The Dolls”.  How the hell could the guy who wrote a transexual date-rape scene featuring a character that refers to herself as Superwoman while revealing her manbreasts, then going on a homicidal rampage, tell another filmmaker their film was too low brow?  This is a guy who can’t be too pretentious.

Ebert was not just a reviewer, he was a teacher.  I watched every review as a lecture from the best and most relavent film teacher around.  Ebert told you what worked, what did not, what made a great movie great and what made a mediocre movie  worth watching.  He championed small films to help them gain an audience.   He let you know when a movie might not be  a good movie, but you probably would like it anyway.  That is what makes him irreplaceable.   That does not mean I always agreed with him, (He loved Affleck’s “Daredevil” which I will someday forgive) but what I always agreed with was his clear love for the movies.

Reminder:  while I lament our loss of him on TV, I do not mean to suggest he is gone, he is alive and well and still writing great reviews at the Sun Times.  While I will continue to read his reviews, I miss the weekly Sunday school I have been watching since I made the horrible decision to become a filmmaker over thirty years ago.

He may no longer be on TV, but he can still rip to shreds a shitty movie with the best of them.  Here is a quote from his review for Transformers: Revenge of The Fallen:

Transformers: Revenge of the Fallen” is a horrible experience of unbearable length, briefly punctuated by three or four amusing moments. One of these involves a dog-like robot humping the leg of the heroine. Such are the meager joys. If you want to save yourself the ticket price, go into the kitchen, cue up a male choir singing the music of hell, and get a kid to start banging pots and pans together. Then close your eyes and use your imagination.”

Roger, the TV misses you.  Please keep writing.

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May 13 2010

Give Me 5 Film Festival: Rhode Island Film Festival for Teens

markfogarty

The Rhode Island Film and Television Office, in conjunction with the Rhode Island State Council on the Arts Education Program, and the Rhode Island Arts Learning Network, announces its second annual GiveMe5 Teen Film Festival, to be held Saturday, May 15th at Bryant University, Janikies Auditorium, from 12:30-4:30 PM.

Teen filmmakers from school and community media education programs will show their work, and a panel of professionals will give feedback after each piece. Participating programs this year include: Cranston West High School, East Bay Met School (Newport), Bishop Hendricken High School (Warwick) , Providence Academy for International Studies, LaSalle Academy (Providence), Beacon Charter High School (Woonsocket), Hope High School (Providence), and Westerly High School Steven Feinberg, Executive Director of RI Film & TV Office, will be the master of ceremonies for the event.

Each participating school or community media program has entered up to three pieces in the event. The purpose of GiveMe5 is to network media education programs statewide, and build the community of young filmmakers in Rhode Island. Rather than a competition, the focus of the showcase is on media education.

“Young people today are inundated with images about them but not by them” says Sherilyn Brown, Education Director of the Rhode Island State Council on the Arts. “Media education is an important part of putting young filmmakers at the center, letting them tell us in images and sound what they think and feel about the world around them.”

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Apr 29 2010

New Study Supports Positive Economic Study of Film Industry in RI

markfogarty

See the study here: http://www.rifcfilms.com/media/FilmTaxCreditStudy.pdf

NEWS RELEASE

April 26, 2010

ECONOMIC BENEFITS OF FILM TAX CREDIT FAR OUTWEIGH COST

Distinguished University Professor Reports $56.7 Million In Credits Results In $465.5 Million for Rhode Island’s Economy and 4,184 New FTE Jobs

RHODE ISLAND~-With the Ocean State’s high unemployment rate and elected officials searching for ways to improve Rhode Island’s economy, the Motion Picture Production Tax Credit attracts thousands of high paying jobs, supports small businesses, and is crucial to the state’s economy, according to a new, comprehensive study from Dr. Edward M. Mazze, Distinguished University Professor of Business Administration, The University of Rhode Island, titled, The Economic Impact of the Motion Picture Production Tax Credit on the Rhode Island Economy for the years 2005-2009.

The state and local economic benefits brought by hosting a major motion picture or television production are dynamic, and the total economic activity in Rhode Island that resulted from the $56.7 million tax credits from the period of 2005 through 2009 was $465.51 million dollars. The tax credit was responsible for creating and supporting 4,184 new FTE jobs. This does not include over 10,000 background extras used in the film and television productions.

“The Motion Picture Tax Credit was, and is, critical to the film and television production industry in Rhode Island, and vital to the state’s economy. For every $1 dollar invested in the tax credit, over $8 of economic activity resulted. The economic benefits of the tax credit far outweigh the state’s investment in the program,” said Dr. Edward M. Mazze.

“The Rhode Island Film Collaborative was excited to sponsor a study by such an esteemed expert in the field of business as Dr. Mazze. His thorough examination offers crucial insight into the value of filmmaking to our community and to our local economy”, said Mark Fogarty, RIFC President.

“Dr. Mazze’s report on the economic impact of the tax credit on Rhode Island confirms what IATSE Local 481 has seen since the credit’s inception in 2005: the creation of thousands of new jobs in the state”, said Chris 0′ Donnell, Business Manager, IATSE Local 481, “Local 481 membership in Rhode Island since 2005 has increased 350%. These are well paying jobs which typically provide health insurance and retirement benefits.”

Dr. Mazze also indicated other positive impacts of the film tax credit that were not easily quantifiable:

- support of Rhode Island’s cultural and historic sites

- formation of new businesses to support film and television production companies

- support of the state’s creative sector

- local internship opportunities for students

- out-of-state students enrolling in film and television courses at Rhode Island’s colleges and universities

- reduces the loss of skilled workers to other states

- support of other employment sectors such as leisure and hospitality, business and professional services, construction and education

- tourism from out-of-state visitors

- support of local film festivals

- support of charities, and

- global publicity for the state

“For years, we have received an overwhelming amount of correspondence with anecdotal evidence supporting the Motion Picture Incentive Program. Many citizens, small businesses, officials from cities and towns, tourism experts, college and university educators, community organizers, and charitable organizations have all shared the importance of this program and its positive influence on their lives. Dr. Mazze’s study now mathematically proves it.

Through hard data and solid facts, his research clearly measures the total impact of the tax credit on Rhode Island’s economy,” said Steven Feinberg, Executive Director of the Rhode Island Film & TV Office. “We have a unique state due to our small size and diversity of locations as well as a strong talent pool and crew base. Filmmaking is a rapid growing industry. It has tremendous positive benefits–both artistic and economic–and it must be recognized as one of the most promising, vital lanes to Rhode Island’s road for future economic success.”

Over 45 states in the United States have some form of film tax credit program. To contact Dr. Edward M. Mazze, please call 401-295-5802

###

More about Dr. Mazze:

Edward M. Mazze was Dean of the College of Business Administration and holder of the Alfred J. Verrecchia – Hasbro Inc. Leadership Chair in Business at the University of Rhode Island. Currently, he holds the rank of Distinguished University Professor of Business Administration at the University of Rhode Island. He has previously served as Dean of The Belk College of Business Administration at The University of North Carolina-Charlotte and Co-Director, The Frank Hawkins Kenan Institute of Private Enterprise – Charlotte, Dean of the School of Business and Management at Temple University, and Dean of the W. Paul Stillman School of Business at Seton Hall University. He received BBA and MBA degrees from City University of New York and his PhD degree in business administration from Pennsylvania State University.

Dr. Mazze serves as a member of the Board of Directors of Technitrol, Inc. (NYSE), Washington Trust Bancorp, Inc. (NASDAQ), and the Ocean State Business Development Authority. Dr. Mazze is the former Chairman of the Board and Chief Executive Officer of the William Penn Bank in Philadelphia. He is a consultant to corporations. Government appointments have included among others, membership on the Panel of Chapter 7 Trustees, United States

Department of Justice; United States Department of Commerce District Export Council; and Chair of the Tax Competitiveness Committee of the Rhode Island Economic Policy Council.

Edward M. Mazze is the author, co-author and/or editor of eleven books in business and over one hundred fifty articles appearing in publications such as Industrial Marketing Management, Journal of Marketing Research, Journal of Advertising Research, Journal of Finance, Journal of Marketing, Journal of Economics and Business, American Business Law Journal, Journal of Retailing, The Journal of Consumer Affairs, and Long Range Planning Journal.

He serves on the editorial board of the Journal of Global Marketing and Industrial Marketing Management. He is a member of the Academy of International Business, the Academy of Marketing Science, the American Marketing Association and the National Association of Corporate Directors. A complete biographical listing appears in Who’s Who in America and Who’s Who in the East.

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Apr 21 2010

First Look at Smalltown Web Comic

markfogarty

Art by Jacob Saariaho

Here is the first pencil sketch of Mojo from the upcoming web comic, “smalltown: Stories of a Suburb Gone Wrong”.

The artwork was created by Jacob Saariaho.

More coming soon.

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Apr 20 2010

Comics “Kick-Ass”: Why Comic Book Movies are Better Than Regular Movies

markfogarty

I just saw “Kick-Ass” which was one of the best times I have had at the movies in years.  It brought up a question: Why are comic movies the best genre-style movies around while everyday non-comic inspired movies continue to suck?

This is not about so-called “Serious Movies” (anything starring Meryl Streep except the atrocious “Mamma Mia”) as comparing Kick-Ass to “Sophie’s Choice” makes about as much sense as comparing Archie comics to James Joyce.  Besides, this type of movie continues to be pretty good and even great.  I am specifically referring to genre movies, such as “Die Hard”, “Transformers”, “Max Payne”, “Friday The 13th”, “Public Enemies” Etc.   The movies people actually pay money to go see.

To a comic geek (of which I will readily admit, pretty-fucking accurately describes me) the answer is obvious.  Comics have been great for decades.  It is certainly no surprise that someone made a great popcorn movie out of Spider-Man or Batman, because us fanboys have been reading great Batman stories for decades.  Even as good as “The Dark Knight” is, it is a B+ compared to it’s source material such as “The Killing Joke” or “Dark Night Returns”.

Comics are essentially genre stories.  With the exception of the occasional departures like “Love & Rockets” and “Box-Office Poison” comics thrive in the world of genre entertainment. occupying the same ground as genre movies (Note: even these departures tend to be better stories than the Hollywood equivalent.  For instance compare “Ghost World” to any coming of age story).  Why then, are comics so much better at telling genre stories?

Here are my thoughts on why, and what Hollywood needs to do to catch up to Comics and stop their movies from sucking:

WHY COMIC MOVIES ARE BETTER THAN MOST GENRE MOVIES

1. Movies are written by committee.  Comics are the vision of a writer and artist. Because the audience for comics is considerably smaller than that of movies and the cost to make a comic is so much less, the comic writer has been free for decades to experiment, to twist the genre and to re-invent.  The movie writer on the other hand has been encouraged to rehash and rewrite.  Their films have been written by committee instead of being the vision of a couple of people.

Comics had their day of being programmed conventional crap.  Companies like Vertigo and Dark Horse pushed the limits of what comics were and found that the audience was waiting for these stories to be told.  It is time for the movie companies to catch up.

2. Comics understand that the audience is not stupid, they just like goofy shit. Let’s face facts, nobody like Transformers: The Movie (unless we’re talking about the Orson-Welles-as-planet animated movie.  That thing rocks).  We just like watching Megan Fox bend over an engine and will pretty much be happy with any movie that features a robot battle. 

We all know it sucks.  But it’s the kind of movie we want to see.  We will pay for it, suck it up and complain about the story while we wait in line to buy the DVD.  But we know it sucks, and we want it to be good.  We want Christopher Nolan directing Transformers instead of Michael Bay, because we, the audience, understand better then Hollywood, ANY story can be told well.

The comic companies figured this out years ago when their sales were failing and the indies were creating a new audience.  Marvel didn’t stop making super-hero comics,  they just made comic books with the same passion for storytelling that is put into serious comics.   Marvel made the genius step of putting creative talent in charge of development.

Movies don’t get this.  You either make “Serious films” or you are making movies for children.  Only when they realize that all stories must be created equally will they earn the respect of the audience and evolve cinema into what it needs to become – a fusion of the art movie and the popcorn flick.

3. Comics are created by people who love comics.  Genre movies are made by people who want to make “films”, and instead get hired to make goofy crap. Most people in the comic field are there because they love comics.  They love genre storytelling.  This is what they want to do with their life and they do it with passion.  Genre movies are often written by people who have no interest in genre movies and have no idea how to make them interesting.

Film school will only prepare you to make “films” and continues to turn out people interested in making Avante-Garde films or serious movies.  You will not find a film school that teaches you to make pop-art, therefore, most filmmakers get into the industry trained to make the kind of movie nobody wants to see.

Mission Impossible - A lamo version of a great idea

Mission Impossible - Holllywood's lamo version of a great idea

For instance, Robert Towne was hired to write Mission Impossible.  Which, we can all agree, blew.  Towne is a genius screenwriter, but the guy wrote Chinatown.  He has no interest in writing goofy shit like Mission Impossible.  He phoned it in and it stunk because he is not a genre writer.  Hollywood always makes the mistake of getting the great writer to write their goofy action movie.  The same thing with director.  Ang Lee directing the Hulk was about as bad an idea as you can get.  Unless the Hulk is going to confess is forbidden  love for the Abomination, Lee just is not the right guy for the job.  They hire music video directors to make our myths instead of storytellers.  Kick-Ass is great because it was written by a guy who loves comics, not because they hired some Oscar winning screenwriter to do his prerequisite sell-out screenplay.

If Hollywood wants to survive and create trust with the audience, it is time they put a creative visionary in charge of a studio.  Stop hiring music video directors and Oscar winning writers to make the movies that should be made by genre geeks.  Treat the genre movies as they would a serious film and the audience will keep going to the movies, buy the DVD and a poster and a t-shirt.  If they do not, they are going to feel a serious sting when the genre geeks finally get the equipment in their hands to make the movies we are all waiting to see and this digital revolution finally kicks in.

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