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Anne Seibel earned an Oscar Nomination for “Midnight in Paris”. Based in Paris, she has worked with some of the top directors in the world today, including Steven Spielberg, David Frankel, M. Night Shyamalan, Sofia Coppola, Clint Eastwood, and 3 Production Designer assignments with Woody Allen.
I was fortunate enough to sit down with Anne to chat about her career.
Matthew Toffolo: Film fans always get Production Designer and Art Director mixed up, thinking they are the same position? Can you tell people what the difference is?
Anne Seibel: The Production designer is the person in charge of the sets, the mood and look of the film collaborating directly with the director and Director of Photography.
The Art director is their right hand, supervising the art department and the making of the sets for the production designer.
Read interviews from top people working in the Art Department in the movie industry today. Production Designers. Art Directors. Storyboard Artists. Costume Designers.
It was fun to chat with Kayla Adams, a definite artist on the rise. She gives us the insight on being a female stunt performer on Hollywood productions and moving to working as an actress (who can also do her own stunts!)
Matthew Toffolo: Oblivion was your first credited film? Quite the introduction: working on a large budget Hollywood film. How did you get initially hired to work on that film? How was the Tom Cruise experience?
Kayla Adams: Oblivion was my first experience on a feature film. I had booked commercials prior to Oblivion, but this was my first time working on a feature for the run of the show. I was like a sponge, soaking everything up. Initially I was hired as the Stunt Department Assistant which provided me with so much inside knowledge of the filmmaking process. As…
It was a blast sitting down with the Director of the Photographer of the hottest show on television: “The Bachelor”. Chad Griepentrog reveals a lot of funny behind the scenes moments, including shooting in the “fantasy suites” and trying to hold back his laughter with his fellow camera-operators so the shot isn’t ruined. Shooting reality television is a very difficult job. Enjoy the interview:
Matthew Toffolo: What is your job as the cinematographer on a Reality TV Show set? From being in studio to on location?
Chad Griepentrog: My job is to basically try to make chaos look as good as possible without slowing down the production schedule or disrupting the cast. For the most part, reality shows are produced fast and cheap. Every shoot day is packed with locations and content that must be captured. The story is created through the actions of the cast members, so the mentality is…
I was very impressed with the customer service at WILDsound. I had a question regarding my entry this year and I was contacted back immediately. I like that in a contest. Also, I was given feedback from WILDsound on my script and what I received was extremely helpful and detail oriented and it assisted me greatly in crafting my rewrite. The feedback from Wildsound strengthened my script to the point where it’s placing better in other contests as well.
-Robert Ward, The Final Job – Short Script
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One hunter, who never speaks, journeys through a unique forest to discover its mystery.
“The Shot” is a science-fiction fantasy in line with “2001: A Space Odyssey”, in that it forces the viewer to make interpretations for themselves while utilizing time in a unique way. Because time is perceived differently by everyone, if executed properly, each person that watches this story unfold will see a *different film entirely*.
2. Why should this screenplay be made into a movie?
“The Shot” should be made into a film because cinema, especially from a digital perspective, has never seen something that utilizes time in quite the same way. From a marketing standpoint, people have already proven with “The Revenant” for instance, that they will be willing to pay to see a philosophical story set inside a forest, away from technology. This is perhaps, the anti-version.
The academy has also shown love for these types of stories, and the twist on the end is bound to land, at the very least, a nomination for best actress.
3. How would you describe this script in two words?
Digital Poetry.
4. What movie have you seen the most times in your life?
Avatar.
5. How long have you been working on this screenplay?
About five years.
6. How many stories have you written?
I’ve written countless scripts since dropping out of Emerson, ever trying to hone my craft and teach myself knew techniques, but officially? Three. My next one for instance takes the opposite approach, being a dialogue-heavy, horror masterpiece that will scare the $%&! out of you. You have my word on that.
7. What motivated you to write this screenplay?
The biggest influence on why this film was created was how much an enthusiast I for the whole “Film vs. Digital” war. Tarantino himself has made comments regarding how, if you wanted to write a poem, that you wouldn’t type it… you’d write it with ink instead. While his films are also part novels, mine is part video game. I really wonder what some of the film lovers out there would think of this “movie”.
8. What obstacles did you face to finish this screenplay?
While I’ve been toying with the outline and concept for some years, it wasn’t until a freak accident that got me to sit down and actually figure out how the hell to execute a film that would make everyone who watches it, perceive it differently, from a time standpoint. One day I was just playing basketball with my brother, and somehow in going for a rebound at the same time, his finger went *through* the right side of my nose. I didn’t know the laws of physics worked that way, must have missed that class. So I’ve been suffering from this severed nerve, confined to the indoors, and just dealing with the most unbearable, excruciating agony. I’m not a complainer though, and just used it to create a journey through self-discovery, about struggle in its purest form.
9. Apart from writing, what else are you passionate about?
Battlestar Galactica, Eminem, and Metal Gear Solid.
So say we all.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
I’ve entered a few contests before, never to win but simply because I love constructible criticism. When I saw this contest, it stood out to me more than most because of the 10-page structure. I immediately understood what they were going for with it, and I wanted their feedback. The funny part is, when I received the email, I went straight to the criticism, completely oblivious to the fact that I won. Took me an extra day. Good thing I went back and checked.
11. Any advice or tips you’d like to pass on to other writers?
Love what you do. It might sound cliche, but I’m a firm believer that people simply do what they want. If you want to make a good film, you will. Practice. Practice. Practice. And that goes for any art form or life pursuit.
The screenplay is about one’s redemption and the dynamics of a broken family’s relationship through the guise of a haunting thriller that touches on many genres through the protagonist’s hellish journey.
2. Why should this screenplay be made into a movie?
The screenplay deals with issues that concern us all in one way or another, and sometimes without us realising it. It makes a connection to the way we deal with relationships via modern technology, either good or bad. So the subject matters in this screenplay will touch a nerve with the audience who will be able to make a connection with it, and also open their eyes to an unknown World right under their noses.
3. How would you describe this script in two words?
FORGIVENESS. REDEMPTION.
4. What movie have you seen the most times in your life?
As a child I was crazy about STAR WARS and CLOSE ENCOUNTERS OF THE THIRD KIND. But as an adult, I keep revisiting these movies that help me to understand the language of cinema; THE SEVEN SAMURAI, TAXI DRIVER, ALL THAT JAZZ and APOCALYPSE NOW.
5. How long have you been working on this screenplay?
I’ve been at this script on and off for about ten years. And I still think I’ve got another ten years to go. But one can keep on writing the same script forever. It takes a great writer to know when to stop and accept their limitations. I’m almost fifty and a late starter, so I’m still learning the craft.
6. How many stories have you written?
Since my early childhood I’ve written over twenty screenplays, but nothing seriously. It’s only in the last five years (now that my children have grown and left home) that I’ve decided to improve on my writing craft and start revisiting these old scripts that have been hidden away.
7. What motivated you to write this screenplay?
My motivation was based on a challenge, to see if a could write a genre screenplay that also deals with social issues such as a dysfunctional family and how the internet influences our lives. But you would always find that you may go in different directions as you write, and the challenge is to discipline yourself and maintain your purpose and goal.
8. What obstacles did you face to finish this screenplay?
The length of the script was a main concern. In the end I had to break the script into two parts and then found that the first half had no real ending as such. So I decided to create myself a challenge and began the story midway through the original script. So now I have a script for a prequel, delving back to the roots of the cause that the protagonist finds himself in this script.
9. Apart from writing, what else are you passionate about?
I love my music. I collect vinyl (the LP 33rpm record kind), and sometimes create my own movie-influenced music under the guise of D’bach which you can find on Soundcloud. I have created tracks that pay homage to filmmakers and movies. It is mostly experimental music, with a few attempts of dance music, but I get as kick out of it.
10. What influenced you to enter the festival? What were your feelings on the initial feedback you received?
Sooner or later I had to let the script go and I thought this festival would be a perfect way to showcase it. And to have it read by a group of actors is a bonus and a pleasure.
11. Any advice or tips you’d like to pass on to other writers?
Watch as many diverse films as you can, and read all about the craft. Most importantly, understand the powerful language of film. And don’t be scared to be a ruthless editor of your own script!
Matthew Toffolo: What is your feature film screenplay about?
Toby Roberts: The story is about three teenagers from completely different backgrounds on the run in rural New Mexico with a thoroughbred racehorse. But the underlying theme is the triumph of hope over experience and whether you should grow up doing exactly what your parents tell you or sometimes trust your spirit , abandon convention and go live your dream.
Matthew: Why should this screenplay be made into a movie?
The music editor is a type of sound editor in film responsible for compiling, editing, and syncing music during the production of a soundtrack. Among the music editor’s roles is creating a “temp track”, which is a “mock-up” of the film’s soundtrack using pre-existing elements to use for editing, audience previews, and other purposes while the film’s commissioned score is being composed.
John M. Davis is one of the most talented people I have had the pleasure to interview. Just go to this website http://www.johnmdavis.com and explore his world of music.
Matthew Toffolo: I love the photo of you on your website. It describes who you are in one picture. Composing attire. The dog you obviously love. Cup of coffee. Piano. A rocking chair for thinking. Art Work. And a relaxed but determined look on your face. As they say, a picture says a 1000 words, or in your case a 1,000,000 words!
Anne Seibel: The Production designer is the person in charge of the sets, the mood and look of the film collaborating directly with the director and Director of Photography.
Matthew Toffolo: Oblivion was your first credited film? Quite the introduction: working on a large budget Hollywood film. How did you get initially hired to work on that film? How was the Tom Cruise experience?
First Scene Screenplay Festival 