Showing posts with label Interviews. Show all posts
Showing posts with label Interviews. Show all posts

Friday, September 27, 2024

Make A Wish Film Festival's Official Selection: Philip Brown, Producer discusses "The Socialists of Shoe City"



Hi Philip, based on your Political science studies, how have these studies influenced your work and your mission?

My background in Political Science and Public History has profoundly influenced my work and overall mission. It has helped me frame stories through the lens of power dynamics, societal structures, and social movements. In particular, I’ve been drawn to narratives where ordinary people confront systems of inequality—something deeply rooted in political theory. Studying political movements, especially the intersection of labor and socialism, has shaped my desire to explore these themes in my films. I want to highlight the importance of activism and public policy in shaping both past and present societies, and how historical struggles inform our contemporary challenges.
 
Have you always been passionate about films?

Yes, I’ve always had a passion for films, but my journey into filmmaking came later in life. While I originally focused on academia and writing, I found that film offered a unique and powerful way to tell complex stories, especially historical and political ones. The visual medium allows for a deeper emotional connection with the audience, which is especially important when covering topics like social justice and labor movements. My passion now lies in using film to make history accessible and engaging to a broader audience.
 
We know you have a short film documentary called “The Socialists of Shoe City” which has been officially selected at the Make A Wish Film Festival. Can you speak further about this project? How has this idea come to your mind?


“The Socialists of Shoe City” was inspired by Haverhill’s largely forgotten role as a hotbed of socialist activism in the early 20th century. Haverhill had a unique and significant labor movement, and it struck me that this rich history wasn’t being talked about or celebrated. The idea came from a combination of my academic background in political science and a desire to bring local history to light. I wanted to showcase how the city's shoe workers, led by figures like James F. Carey and John C. Chase, were part of a broader, national push for workers' rights and social reform. The documentary brings visibility to their contributions, which still resonate with today's discussions about labor and economic justice.
 
Who are James F. Carey and John C. Chase?

James F. Carey and John C. Chase were two prominent socialist figures in Haverhill’s political history. Carey was a member of the Massachusetts House of Representatives and a committed socialist who advocated for workers’ rights and equality. He was part of the political shift in Haverhill that saw the rise of socialism during the Progressive Era. John C. Chase was another key figure, becoming the first elected socialist mayor in the U.S., right in Haverhill. Both men were pioneers in promoting labor reforms and standing against the exploitation of workers. Their legacies remind us how local activism can have national and even global impact.
 
As you have been officially selected at the Make A Wish Film Festival, have you also attended any other film festivals?

Yes, “The Socialists of Shoe City” has been screened and selected at several film festivals beyond the Make A Wish Film Festival. It has received laurels at a few other festivals, and I’ve entered it into around 50 more this year. Each festival has been a unique opportunity to engage with audiences, share the history of Haverhill’s socialist movement, and connect with other filmmakers and activists. The reception has been wonderful so far, and I’m excited to continue sharing this important story.

The festival's winners will be announced online on September 30th for the following categories: Best Short Film, Best Director, Best Actor/Actress, Best Photography, Best Sound, and Best Screenplay.

Follow all the latest Make A Wish Film Festival updates on social media.

 

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©2024 The Hidden Review

Thursday, September 26, 2024

Make A Wish Film Festival: Interview with juror Giulio Amendolagine

 


Giulio, as a young Italian guy in a different country like the UK, what moved you to move there? and what was your experience studying Film studies abroad at your University?

I always had the drive to move to a different country. I felt that at the time the Italian film industry had become stagnant. Moreover, I found that the education opportunities to become a filmmaker were relatively scarce in Italy. For these reasons I decided to move to the UK where open mindedness is at the base of education and work opportunities. My experience was great, I struggled but probably for the best. I was extremely motivated by my peers and their dreams, so much It gave me incredible self confidence in my own skills.
 
We know that the more you study, the more you improve and specialise in your field. How do you describe your experience at Metfilm in one word and why?

I’d describe my experience at MetFilm as professional. Only by finishing that Master’s degree I could feel the confidence to put myself out there and start selling myself as a Dop.
 
How do you approach the work on a script as a DOP?

When I work on a script I find necessary to understand as many “whys” as possible. I love helping the director to dissect the intentions of the story and find patterns in it. Only like that the cinematographer can shape the visual language of the film finding the rules and unique vision to apply to the film.
 
What is the work you are most proud of and why?

My proudest work is definitely “Just One Last Thing”. It’s the first feature film I’ve worked on as a Cinematographer. It was the first project I worked on for more than three months and it required extreme dedication, consistency and hard work. I was able to adopt my method of working on a larger scale film and was rewarded with something I’m extremely proud of. The film is now winning awards all over the Festival circuit and hopefully will get the distribution it deserves.
 
Now, as you are a juror, what moved you to be a part of the Make A Wish Film Festival?

I believe that as a filmmaker you have to constantly watch and learn from other people’s work. At the end of the day we all started loving films by being spectators, so refining the skill that allows you to find what you like and why is crucial to grow. For this reason I decided to take on the challenge of being a juror.
 
As you are evaluating the projects, what are the aspects that make a project stand out according to you? and even a Director of Photography?

I believe that what stands out for me in a project is consistency, awareness of the array of tools that can be used to tell that story and choosing the right one. As a director of photography the other things that are extremely important are mood and the sense of place. The budget used to make the film doesn’t matter, as a matter of fact restrictions can lead to intuitive creative choices unique to a project.

The festival's winners will be announced online on September 30th for the following categories: Best Short Film, Best Director, Best Actor/Actress, Best Photography, Best Sound, and Best Screenplay.

Follow all the latest Make A Wish Film Festival updates on social media.



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©2024 The Hidden Review

Wednesday, September 25, 2024

Make A Wish Film Festival: Interview with juror Best Tangwongsiri

 


Best, we know you are a terrific artist and we can see you have trained in UK for Acting, and scenography, however, you have experienced also the role of a producer, writer, and director. In which expertise do you identify the most? and why?

I would say acting. Because I spent the most time doing it. While I have experience producing, writing and directing, I never acquire a degree specifically for them. Don’t get me wrong, field experience is extremely important, but sometimes a textbook way of doing this is also important for the foundation of your work.

Moreover, you have worked as an art director, can you specify how that would work?

Well, just like any other jobs, you will get the script to read. You’d do your homework, what you think would add value to the film or play and how you can tell a story through art. Then you will have a chat with the director to settle ideas. After that, you will have to bring that idea to life! Budget is very important. It is something to take into account during pre production. It is always a fun challenge.

At the same time, as an acting coach, how do you approach the methods with theories with your students?

Since I am an actor, I know how each of my students would feel. I try my best to use what I learn from my teacher at drama school. She is a role model for me, as a teacher. The most important thing for me is to make sure that I create a safe space for students to work in and to make sure that they will have fun. As per theories and techniques, I keep myself busy by going to classes, to gather and update my library to make sure that I can help my students to become better actors.
 
What is the work you are most proud of and why?

I would say the work I did with my team for Thailand’s NACC on a project called Creative Drama Anti Corruption Workshop: “Youth against Corruption”, where I get to play many roles from acting teacher, producer, writer, director and actor throughout the project. It is not something famous or blockbuster level but I truly cherish the experience I have.

Now, as you are a jury member what moved you to be a part of the Make A Wish Film Festival, and what do you think about the representation you give to your community too?

I always love to be a part of something that would allow people to be seen. This one is no different. It gives people that opportunity! And I do hope that Make A Wish Film Festival can act as a springboard for many of our entries. Being a South East Asian, we don't excel in the film industry as many Western or other parts of Asia. So, I hope this will encourage my community to make more meaningful and excellent films.

As you are evaluating the projects, what are the aspects that make a project stand out according to you?

Film narrative and storytelling. I think this is the first key to a successful project. The story needs to have a reason to be told! It needs to and I quote Michael Chekhov here “Will what we are presenting have any positive value for them [spectators] as human beings?” It is easy to make a film, but it is very hard to make something meaningful, something worth watching, something that will give a positive impact as a result of watching it.

What do you wish for these projects you are evaluating?

I hope that they will learn and make even better films. There’s no limit to how good a film can be, so there’s always room for improvement. They should go further than they once were.

The festival's winners will be announced online on September 30th for the following categories: Best Short Film, Best Director, Best Actor/Actress, Best Photography, Best Sound, and Best Screenplay.

Follow all the latest Make A Wish Film Festival updates on social media.


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©2024 The Hidden Review


Tuesday, September 24, 2024

Make A Wish Film Festival: Interview with juror Nathan Mann

 


Nathan, how did you identify yourself as a writer? Who inspires you the most?

I like to write things that make people laugh, cry and think. I like stories that are rooted in humanity and common themes that everyone in life will experience in one form or another, whether that be relationships, passions and other coming–of-age experiences.

I am inspired by writers including Matthew Graham, Ashley Pharoah, Cathy Crabb, Tom Davis, Jed Mercurio and Russell T Davies. All of those have brilliant storytelling abilities, creating clear, engaging shows which are impossible to stop watching once you have begun.
 
Moreover, you graduated from The Royal Central School of Speech and Drama, such a huge drama school worldwide, how was your experience there and what did you discover about yourself after that?

I found my time there insightful and useful. I had only ever really written musicals before joining Central, and the Writing for Performance degree greatly helped me expand my skill set, and I gained new experiences writing for different mediums, including children's theatre, immersive theatre and solo performance. Due to having to complete some of the degree during the height of the Covid-19 pandemic, I also learned much about how to tailor and adapt my creative practice to new mediums (such as digital theatre) and how I can write about these experiences in engaging, reflective ways.
 
At the same time, you have worked on unscripted television, how did you approach that through your writing?

My work in unscripted television inspired my writing massively. I was inspired whilst working in that industry to write an autism sci-fi dramedy where the autistic protagonist is working as a development researcher in that industry. I have gained great feedback for the pilot script and treatment, and I am continuing to develop it.
 
What is the work you are most proud of and why?

I would say there are two projects I am most proud of in their own ways.

The first one would be my jukebox musical that I wrote and directed at college. I used my love of Adele’s music to write a jukebox musical about my autistic experiences. Collaborating on this with other students helped me gain the friendships I had been longing for since I became a teenager. I got Goosebumps when writing, making me realise this was my passion. Those feelings have remained since.

The second one would be my current project: the aforementioned sci-fi tv series. Due to my long-suspected (and recently diagnosed) ADHD, I was always worried I wouldn’t have the mental energy to sustain a tv project that requires constant excellence and relentless drive for a sustained period of time. However, despite all the challenges that my brain can give me, I keep both sustaining my passion for this show, and having the enthusiasm to make it better. I am really optimistic for where it can go in the future.
 
Now, as you are a jury member what moved you to be a part of the Make A Wish Film Festival, and what kind of representation do you give to the community too?

I have long respected Al Fenderico’s work and enthusiasm for the company he has worked so wonderfully to build. Festivals like this are so important to discover new writers (especially those from under-privileged and minority backgrounds), As a gay, autistic working-class writer, I have been thrilled to judge the scripts and hopefully give positive representation to the groups I am part of, showing that I am proud of my intersectionality.
 
As you are evaluating the projects, what are the aspects that make a project stand out according to you?

Something that is unique, daring and relatable. For example, I have always had a belief that the best sci-fi scripts are ironically the ones that feel the most real. By that, I mean ones that can still create and explore somewhat wacky worlds but involve characters being pushed and having to make important, relatable decisions for the advancement of their desires. Life on Mars (and its sequel Ashes to Ashes) were brilliant examples of this. Here you have present-day police officers seemingly being plunged back in time, but through that they visit members of their families, learn about the very non-PC, often discriminatory worlds of the 1970s and 80s worlds they are in, while also still trying to solve crimes and protect the innocent. The world may be barely believable, but the characters' emotions and actions are so real.
 
What do you wish for these projects you are evaluating?

Something that grips me from beginning to end.

The festival's winners will be announced online on September 30th for the following categories: Best Short Film, Best Director, Best Actor/Actress, Best Photography, Best Sound, and Best Screenplay.

Follow all the latest Make A Wish Film Festival updates on social media.


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©2024 The Hidden Review

Monday, September 23, 2024

Make A Wish Film Festival: Interview with juror Flaminia Graziadei

 



Flaminia, we know you are a terrific artist and we can see you have trained in Italy and UK for Directing, Acting, Singing, Dancing, Screenwriting and Production. After years of work experience and awards, in which expertise do you identify the most? and why?

Definitely Direction, the possibility of crafting from a page an entire audio-visual piece it’s what I’m more interested in. A lot of people, wrongly in my opinion, think that the director is mainly an executor of the script. The way I see it is that the director gives an in depth interpretation of the script through a personal vision…and style. One of my most satisfactory shorts was a proof of concept for a very interesting but completely crazy feature on the theme of Body Dysmorphic Disorder. The writer, a very skilled but unorthodox author, gave literally 1 and half pages of script, full of words but with no dialogue, based on 1 only character: basically a monologue. I created two characters out of it, one that danced. I gave her a background story that wasn’t there and developed 4 minutes piece. One of my best in my opinion.

What is the work you are most proud of and why?
Probably The Power of One Coin. It was a strong script, but again there was a lot to invent. I approached it like a feature film of short length, as it was very dense with 4 different characters..and a dog! intertwining, changing each other's life paths. I would have loved to develop it into a feature.

We can see you are a BAFTA member, what does it feel like as an Italian to be a member of such an important institution like BAFTA?

I am italian but I’m also a British citizen and as an artist I do feel more British to be honest. It’s a great recognisement. There’s a proper rather lengthy application and you have to have been selected by BAFTA qualifying Festivals with your work, on top of having won awards, for being considered. I succeeded on the second application, so not too bad! It’s nice to have access to BAFTA for work meetings or go there to work, or to benefit of the networking and screening events they organise. 

Now, as you are a jury member what moved you to be a part of the Make A Wish Film Festival?

I was asked by the organiser, who I know personally. I am always interested in being a juror and see what the new generation of filmmakers is creating.

As you are an expert in evaluating projects, what are the aspects that make a project stand out according to you?

It’s a mix of various elements. Authenticity of the message is definitely one of the most important. Then direction of both camera and especially actors. I have noticed that a lot of young directors tend to concentrate mainly on shots and camera movements, but leave the actors to themselves. that’s a big detriment in my judgment, whilst good acting is definitely a plus. At the end of the day I’ve been an actress myself for 25 years so I know what it takes to deliver a good performance. Then there is the originality of the vision of the director, the personal style that reflects in the care of the costumes, the set designing, the colour palette chosen for the photography, the little details that especially in a short contribute to create the background story. In shorts these are even more important because there’s not much time to develop the whole story. Shorts are a format on their own..

What do you wish for these projects you are evaluating?

To find a bit of the above in each of them, to go far and give their author the confidence to carry on making films. With their own pace though, without rushing. Everybody wants to make a feature, but it requires skills, consistency and a knowledge that is built up through experimenting to find your own voice. So probably this is my wish for them: find your own voice.


The festival's winners will be announced online on September 30th for the following categories: Best Short Film, Best Director, Best Actor/Actress, Best Photography, Best Sound, and Best Screenplay.

Follow all the latest Make A Wish Film Festival updates on social media.


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©2024 The Hidden Review

Tuesday, August 6, 2024

L'intervista ad Eduardo Cocciardo, scrittore, attore e regista




Eduardo, come il Maestro Eduardo De Filippo. Mi perdonerà, ma mi sorge una domanda spontanea: con questo nome ha mai pensato che il suo destino nel teatro e nel cinema fosse già segnato?

Sicuramente il grande Eduardo è stato e sarà sempre uno dei miei più grandi punti di riferimento, sia dal punto di vista autoriale che attoriale. Per quanto riguarda il nome, mio nonno si chiamava così e, ad un certo punto, ho capito che quella era la mia strada, irta di difficoltà e sacrifici, ma sì, in un certo senso segnata, più che da quel nome, da una passione radicata che ereditavo da mio padre, amante del teatro e, da giovane, fondatore e regista di una compagnia amatoriale.

Scrittore, regista e attore. Secondo lei, di che pasta è fatta il filo rosso che unisce questi tre mestieri?

Tre ruoli solo apparentemente separati, ma, appunto, uniti da un filo rosso costituito secondo me da un elemento che li sottende: la creazione. Scrivere è creare a distanza, dirigere è creare sul set, recitare è creare nella cornice della finzione. Tre momenti di creazione distanziati solo dalla presenza più o meno forte dell’istinto. La fase della scrittura iniziale - può essere narrativa o di un copione cinematografico e teatrale - è caratterizzata dal predominio della ragione e della riflessione, la regia, per quanto introdotta da tutto un lavoro di ideazione, pianificazione e preparazione, si basa poi anche sull’istintività che rimescola, smussa, rivede direttamente sul set, ed, infine, la recitazione, anch’essa introdotta da una fase di preparazione, da’ poi spazio anche agli impulsi più profondi. In conclusione, dunque, non scindo le tre fasi, ma è come se la “scrittura” non si interrompesse mai e proseguisse nelle altre due.

Ho letto che ha studiato con maestri del calibro di Dario Fo e Lello Arena, in che modo sono stati determinati nel suo percorso di formazione?

Sono stati per certi versi fondamentali, il primo facendomi avvicinare alla magia delle maschere e della commedia dell’arte, e dunque a tutto quel bagaglio espressivo che è proprio del teatro antico e moderno, e che costituisce ancora la base tecnica del lavoro attoriale tout court, il secondo avvicinandomi, quasi come un transfer, al grande Massimo Troisi, amato, studiato e forse ancora da scoprire.

Quando penso a Lello Arena inevitabilmente mi viene da pensare a Massimo Troisi. Quanto ha influito e influisce la figura di Massimo Troisi nei suoi progetti e nella sua carriera? Penso al suo libro: “ L’applauso interrotto- poesia e periferia nell’opera di Massimo Troisi” edito da Non solo Parole Edizioni.

Troisi è stato per me prima lo specchio in cui vedevo riflesse tutte le incertezze della mia epoca giovanile e poi il grande riferimento artistico e di scrittura, perché in lui ritrovavo, come è trattato analiticamente nel saggio, un unicum del cinema italiano, una visione periferica e rivoluzionaria che ribaltava ogni codice e luogo comune, in vista di una rigenerazione della vita umana nel segno dei sentimenti e delle emozioni pure. Purtroppo, dopo la morte di Troisi, la società e il sistema dello spettacolo non sembrano aver davvero recepito il suo straordinario messaggio.

Ad oggi, che cosa direbbe a Massimo Troisi, se fosse ancora fisicamente qui con noi?

Caro Massimo, tu che puoi, facci vedere la verità dietro gli inganni della nostra epoca.

La scelta di ambientare il suo film “Prima del giorno dopo” su un’ isola del Mar Tirreno, riflette l’influenza affettiva che l’isola d’Ischia ha nella sua vita?

prima del giorno dopo, un film di Eduardo Cocciardo
Sicuramente il legame con l’isola natale è forte. C’era però la volontà di mostrare un volto nuovo, mai visto al cinema, dell’isola d’Ischia: un volto selvaggio, primordiale, come forse doveva essere quello della fase precedente all’urbanizzazione galoppante ed al turismo di massa. Allo stesso tempo, Ischia ha una storia millenaria, ed è collegata profondamente al mito greco, a tutto un immaginario che nel film è fondamentale sia da un punto di vista narrativo che stilistico.

Il suo film: prima del giorno dopo è un film in cui coesistono tre generi: horror, commedia e drama, questo fa pensare a una complessità degli archi narrativi dei personaggi? Che lavoro c’è stato in questo senso?
E’ uno stile che sto provando ad affinare nel tempo. Tentare di andare oltre certi limiti narrativi, soprattutto del nostro cinema, spesso sempre troppo uguale a se stesso. Per questo, partendo dai topos di ciascun genere, il lavoro è poi quello di forzarlo, per aprire nuove porte, nuove angolazioni, e far comunicare i generi fra loro, senza barriere.
Il risultato che se ne ottiene è, da un lato, di maggiore avvicinamento alla realtà in quanto tale, dove tutto è inevitabilmente mescolato, e dall’altro di analisi poetica della stessa realtà, che comincia ad apparirci spoglia di filtri e inquadrata da angolazioni che cominciano a disvelarla, svelando allo stesso tempo come tutto, nel mondo, è inestricabilmente unito ed in continua comunicazione, aldilà del bene e del male ed aldilà della visione convenzionale del tempo, che separa tutto nei compartimenti stagno del passato, del presente e del futuro, come se le cose non restassero più collegate.

Un consiglio che darebbe a un giovane attore? A un giovane scrittore? E a un giovane regista?

Uno solo. Crederci sempre, ma prima valutando dentro di sè se ne vale davvero la pena. Se la risposta è sì, nulla sarà impossibile.

Si è dichiarato innamorato della possibilità di sognare un mondo nuovo attraverso il teatro e il cinema. È così che allora la magia del teatro e del cinema diventano più reali di quanto si creda, a suo avviso?

Assolutamente sì. Proprio Eduardo, De Filippo intendo, proseguendo in un’idea che era già di Shakespeare, vedeva nel teatro una forma di intervento “politico” nella realtà. La magia è la veste e il grimaldello per guardare attraverso lo specchio, e scorgere, come diceva Baudelaire, la verità nella foresta di simboli del mondo.

Cosa si augura, per l’ immediato o prossimo futuro?

Per il mondo, qualcosa di più vero e meno tondo, parafrasando Eduardo. Per me, di avere la forza e la fortuna per proseguire su questa strada, che ora comincerà ad essere ancora più in salita.

TrailerPrima del giorno dopo Film


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©2024 The Hidden Review

Saturday, July 6, 2024

Sàff: Sanità Film Festival, l'intervista a due dei tre direttori artistici Vincenzo Pirozzi, Yulan Morra e Andrea De Rosa


Il team del Thr è stato presente alla prima edizione de il Sàff: Sanità film Festival. La redazione ha intervistato i direttori artistici della rassegna: l'attore e regista Vincenzo Pirozzi e il produttore Yulan Morra.


1. Come ci si sente a vedere Napoli così in festa per il cinema, in un rione che si sta impegnando per radicare la settima arte in uno dei luoghi più vivaci e aperti all’ arte della nostra città, quale è il Rione Sanità?

Yulan Morra, commenta cosi:
<<Per noi è una novità che diverte, una scommessa. La cosa che ci ha stupito di più è stata il networking: perché a Napoli non c'è un luogo di incontro per operatori del settore, giovani produttori e produttori già strutturati. Il bacino d'utenza quindi è stato molto grande.

Il festival ha 4 categorie in concorso: videoclip, cortometraggi, opere d'animazione, documentari, oltre alla proiezioni dei film fuori concorso, di produzione del Sud, che declinano Napoli e il tema portante del Festival: il senso di comunità.>>

2. Cos'è il Rione Sanità?

Vincenzo Pirozzi commenta cosi:

<<Il Rione Sanità è tutto è tanto. Perché è cambiato in meglio, ossia con un punto di vista diverso, cambiato in meglio per l'appunto. E questo è andato a nostro favore in fase progettuale e realizzativa del Sàff. Il Rione Sanità è sempre qualcosa di nuovo; è sempre in continua evoluzione. Siamo partiti da zero e siamo a un ottimo punto: siamo convinti che il Saff potrebbe essere una pietra miliare che si aggiunge alle altre già radicate in questo territorio, in questo quartiere.>>

3. Come è stato finanziato il progetto e da chi è stato sostenuto per l'organizzazione del progetto stesso?

Vincenzo commenta cosi:

<<L'idea parte dal 2013, vedendo il Festival di Willerupt in Francia dove sono andato a presentare mia opera prima “Sodoma, l’altra faccia di gomorra”. A quel Festival si respirava cinema in ogni angolo: Ovunque c'erano proiezioni di Film. Volevo portare quella stessa situazione in questo Rione, la Sanità. Dà lì, ne abbiamo parlato a tavolino, con Yulan e con Andrea De Rosa, che è l'altro direttore artistico del Festival.

Con Andrea e con Yulan stiamo già immaginando quali potrebbero essere le proiezioni della prossima edizione: in questo quartiere ci sono tante piccole viuzze ed è proprio in quelle che stiamo immaginando come potrebbero accadere tante cose. Per sfruttare bene tutti gli spazi del Rione un'altra idea sarebbe quella di rendere anche itinerante il Festival.

Il Festival è stato finanziato dal comune di Napoli, dalla Fondazione San Gennaro, in collaborazione con Apogeo. L'evento cade anche nel decennale della Fondazione che opera ormai sul Rione da anni, attraverso multeplici attività.>>

4. Il Sàff può essere una vetrina o un momento di comunità per giovani appassionati di cinema che sognano di fare questo mestiere?

Vincenzo commenta cosi:

<<Lo dico senza peccare di presunzione, ma il Saff sta già diventando un punto di riferimento per i giovani che vogliono fare questo mestiere. Speriamo lo diventi ancora di più in futuro. L'abbiamo vissuto pensando al feedback che abbiamo ricevuto per le masterclass, con Giffoni, anche qui da noi. C'è affluenza di giovani, che hanno manifestato così il loro amore verso il cinema, partecipando agli eventi del Festival.>>

5. Che effetto ti fa vedere tanta partecipazione da parte dei giovani?
Yulan commenta cosi:

<<Questo è un Festival per i giovani fatto dai giovani ed è una cosa importantissima. Abbiamo ricevuto approvazione da altri Festival che sono ormai un'istituzione e questo è un segnale forte. Può essere un punto di partenza. Speriamo di arrivare a fare altre cento edizioni de il Sàff.

Vincenzo commenta cosi:

<<Credo che il successo di questo Festival sia che dietro c'è il lavoro di tantissime persone che non si vedono, ma che appunto lavorano tanto per dare la vitalità che merita al successo. Non ci siamo solo noi direttori artistici, diciamo cosi. La nostra reazione nel vedere il Saff avere tanto successo è stata come quella alla vittoria dello scudetto del Napoli, per intenderci.>>

6. Che progetti avete, futuri? Personali e per il Festival

Vincenzo commenta cosi:

<<A livello personale devi sempre progettare la tua vita. Lavorativamente parlando è un periodo bello. Oltre al Sàff ho fatto, ho realizzato con la maxima film un documentario sulla vita del commediografo Eduardo De Filippo, una serie e un film in uscita. E' un momento bello pieno e spero continui ad esserlo.>>

Yulan commenta cosi:

<<Essendo una società di produzione, insieme anche ad Andrea de Rosa, il nostro sogno è quello di produrre film, al momento produciamo documentari, videoclip musicali, però abbiamo tanti progetti in cantiere.>>

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©2024 The Hidden Review

Thursday, June 20, 2024

Interview with Jonathan Sidgwick about the Solo Show “A Hunger Artist” - June 23rd, 25th, 26th, 27h at The Etcetera Theatre in North London

 

 

1) Hi Jon, please tell us more, where are you from? And how did you get passionate about acting?

I’m originally from North Yorkshire, England and grew up there before leaving home to study French & German at Keele University in the Midlands. After Uni I was lucky enough to go backpacking around the world for 2 years, and then spend 4 years in Tokyo teaching English.

I was excited about acting from a young age and, then forgot about it until age 24 when I started studying Meisner Technique, a branch of The Method, in Japan. Once I came back to the UK, I studied for a year at The London Academy of Music and Dramatic Art (LAMDA).

Like most people, I guess, I got interested from watching great TV and movies with fantastic actors like Gary Oldman, Daniel Day-Lewis, Robert De Niro, Al Pacino, Willem Dafoe and others. Then, when you start looking for work you realise that Stage acting is just as exciting and a great place to learn and practice your craft and you start paying attention to other actors like Steven Berkoff, Ian McKellen, Mark Rylance etc

2) Where did you graduate from? And what was your life and career like soon after that?

I took the Post Graduate Course at The London Academy of Music and Dramatic Art (LAMDA) leaving in 2000. I didn’t get an agent from the final Showcase but 15 of us put on another Showcase by ourselves and I got picked up since then. I tried to do as much fringe theatre work and student films as I could while doing promotional work to make a living. After 6 months I got an 8-week tour around Oxfordshire playing the character of Heathcliff in Wuthering Heights, a great role for a Yorkshireman. It took me 4 years to get an audition for TV! Thankfully, I got it and played Phil Mason on Coronation Street opposite Jane Danson for 2 episodes.

3) You appeared in Miss Julie, a show you produced and adapted for The King’s Head Theatre, North London, what was the creative process like and who did you play in it?

I played John (‘Jean’ in the original text), the male lead, with the two other characters being Miss Julie and John’s fiancee Christine. It was interesting working on the script, adapting it from the original, learning and working on it. As I was producing the play I learnt a lot about marketing, too, and we had some good audiences and a couple of great reviews.

4) What was it like transitioning from theatre to film as you appeared in film projects such as “Cargo”, “What Does Your Daddy Do? (Venice International Film Festival)”, “The Man Who Sold the World”, “Indie Horror Flicks Hellbreeder” and “The Witches Hammer”?

I’ve always been lucky to work on film projects as well as the stage so I find that ‘acting is acting’ in whichever medium one is working in. And, in other words, being truthful, being in the moment, putting your attention on the other character, knowing what you want and why and all the preparation techniques translate the same for stage and screen. I also love working with directors on their vision and helping bring their ideas to life.

5) Moreover, you have been on TV for a few different TV projects like “Eastenders”, “Father Brown”, “Coronation Street” and “Hollyoaks”. Now, as an actor yourself, making the transition from Theatre and film to TV...what are the differences in the medium for an actor's performance to adapt to that, and how do you achieve this?

The main difference for me is the rehearsal time (maybe 2 or 3 weeks for Stage and zero for TV!) and then the speed at which they are filmed and performed. TV you maybe get one or two takes, Film, maybe, a little more, Stage only ONE take (each night's performance), but you get to again and again, 8 times per week. There is a saying - the stage is an Actor’s medium because you and you alone are responsible for what happens once the play begins each night, TV is a director’s medium because it's such a tight turnaround that the director needs to get the best from everyone in quick time and is ‘editing’ the story in his/her/their head as we work and Film is an editor’s medium as he/she/they are given lots of footage and a few weeks or months to cut the film and craft into the final version.

If I need to pick one of them, which one would it be? And why?

I honestly love them all, whichever one I’m currently working in! You focus and think only about the project at hand.

6) Now we see you are going to appear in your first theatre Solo Show “A Hunger Artist”, an interpretation of Franz Kafka’s final work, which will be at The Etcetera Theatre in North London…Please, tell us more about it and what has been the process like in creating a solo show from writing, directing themselves, producing it and at the same time, acting it…please.

Steven Berkoff, who has been very supportive over the last 20 years and has employed me 4 times (huge thanks, Steven!) suggested I try this text as I have wanted to do a Solo Show for many years and this is the centenary year of Franz Kafka’s death. I’ve adapted it from Kafka’s original text and have worked for months with Val Colgan, an experienced tutor and Actor (the original ‘Aliens’ movie) learning the text and trying it out monthly and then weekly.  


Eventually, I booked the Etcetera Theatre and my co-producer Sushant Nair helped with all the technical aspects as well as marketing, flyers, Instagram etc. Mark Glentworth has created a wonderful original score for the show and, it continues to develop and grow with some terrific reviews. Audiences seem to love it and it is a tribute to Franz Kafka’s writing, his final short story, before he died aged 40 of tuberculosis on 3rd June 1924.


Creating a Solo Show is anything, but a solo effort and I am indebted and hugely grateful to the following: Sushant Nair, Valerie Colgan, Jerry Clark, Simon Morgan of TRDPUk, my Agent Joanna Hole of Jo Hole Associates and, of course, Steven Berkoff.

 

7) When are we going to see it?

The show is on at The Etcetera Theatre, Camden, North London at 6 pm on Sunday 23rd June and 7 pm on 25th, 26th & 27th June.


After that, we hope to take the play to festivals and tour it around the UK and hopefully beyond. DO COME TO THE SHOW and we’ll have a drink afterwards in the pub downstairs!

8) You have a drama school in Central London, called London Actors Workshop, please tell us more about it and the courses you explore. And as a facilitator exploring that skill, what is it like to teach?

Yes, London Actors Workshop has been going strong in Covent Garden, Central London since 2005 and has helped over 2500 actors get their start in the business. We provide a range of courses with diverse tutors and Acting Techniques in a very supportive, studio environment. The emphasis is on great, essential Acting practice AND the business knowledge and know-how to get a career started or develop your existing career.


9) What advice would you give to young and experienced actors nowadays since the evolution of the industry that you have experienced so far?

It’s a great time to be an ACTOR! It’s never been easier to get started without having to go through the expense of full-time Drama School, though this is still an excellent route if you can afford it.

Taking a lot of good short courses and getting an excellent Showreel, great headshots, good, top advice and having a dedicated attitude to your craft & career will give you a decent chance of getting work and hopefully, building a career. Yes, this means there is a lot more competition but there are also more opportunities with all the streaming networks and content we now have.

Take your work seriously but not yourselves. Love the Art in yourself but not yourself in Art.
Surround yourself with like-minded individuals who love Acting.

Take courses, join or form a support network, act regularly, even if it’s you and a few mates reading scripts together, have a good, professional, upbeat social media presence, never complain or slag off others, drink lots of water, train your Voice, keep as physically fit as you can, get lots of sleep, go to see plays regularly…….and good luck!

10) And finally, where does the audience can find you?


Instagram

Follow the Instagram page of  "A Hunger Artist"

The show is on at

The Etcetera Theatre,
Camden, North London

Showtimes: Book your Tickets 

Sunday 23rd, June - 6 pm

Tuesday 25th, June -7pm

Wednesday 26th, June - 7pm

Thursday 27th, June - 7pm


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