The Sounds of "Sonus": An Interview with Filmmaker Mike Davis

In October, BMFI launched its inaugural Silver Screen Inspiration Short Film Contest to encourage emerging filmmakers and celebrate cinema’s rich history. From over 280 entries, four finalist short films have been chosen: "Miss Todd," "Wrong Number," "Redemption," and "Sonus." In April, see these remarkable short films on the big screen before the features that inspired them, and learn more about the finalist filmmakers on BMFInsights.

---

The Sounds of "Sonus"

By Kerri Grogan, Staff Assistant

Virginia-based filmmaker Mike Davis creates a fun, modern take on the silent film genre in “Sonus,” one of Bryn Mawr Film Institute’s four Silver Screen Inspiration Short Film Contest finalists. His inspiration film, Charlie Chaplin’s silent masterpiece City Lights, perfectly reflects the blend of creativity and humor that inspires Mike's work.

Recent film graduate Mike Davis is currently finishing his first feature-length screenplay and is already receiving recognition for his film work.

I got in touch with with Mike via e-mail to learn more about him and his film. Keep reading to find out about the challenges of making a film without dialogue, his musical choices, and what inspires his filmmaking style.

You recently graduated from George Mason University with a degree in film production. What do you enjoy most about the filmmaking process?

I'd have to say it’s a tie between the ideation of my films at the script level and actually watching it when it's all done. I get a lot of great ideas and screenwriting lets me dive deeper into them. I have a lot of fun crafting and sometimes pruning my stories to make them work. There's nothing like watching your idea that you've spent hours and hours working on play on screen in front of an audience. I love watching people's reactions to my films.

"Sonus" is a modern take on a silent movie. How did Charlie Chaplin's City Lights inspire your story?

Besides the obvious black and white, I really like the love story in City Lights between Chaplin's Little Tramp and the blind woman. It's one of my favorite onscreen love stories. For my film, I wanted to craft something similar, but of my own design. I think it worked.

What are some of the unique challenges you faced making a film without dialogue? How did that affect the way you told the story?

I can't really say that I ran into any challenges due to lack of dialogue. I knew exactly how I wanted to tell this story going in and I cast my actors based on their nonverbal cues and gestures. After that, in terms of directing, it was a pretty simple shoot, which is a credit to my cast. The big challenges I faced were all production based: doing everything solo, a malfunctioning camera, finding an empty study room in a busy library, filming “Sonus” simultaneously with my senior thesis film...things like that.

In "Sonus," a college student unwittingly discovers a hidden world of sound during a library trip. But is it all just in his mind?

The music that your character discovers in "Sonus" plays a big part in the story. Does the music you featured have any special relevance? What made you choose those pieces?

I'm a closet classical music fan. Personally, I'll listen to anything besides country, but only a couple of my friends know that I like classical. I'm also a big fan of all things animated. So for one of the songs, I wanted to create a Pixar vibe by relating the music to what's happening on screen.

Your filmmaking style has a lot of light-hearted humor and creativity. What films or filmmakers have had the biggest influence on your style?

The biggest influence on my style probably comes from animation and cartoons. Again, I'm a big fan of animation, and there are so many films and television shows that have influenced me in that genre. But what I like the most about them is how universal they can be. I think those are the films we remember best. Those are the films we can enjoy over and over again as a kid or an adult. Besides that, I also really enjoy the element of surprise in my work. I love catching my audience off guard. Sometimes I'll even slow down the pace of a film just so the surprise can have a bigger impact when it’s delivered. “Sonus” is probably one of my better works in terms of representing my style as a filmmaker and screenwriter.

Thanks, Mike!

See "Sonus" and the classic feature that inspired it, City Lights, on Tuesday, April 22 at 7:00 pm. The film will be shown in conjunction with a Cinema Classics Seminar. Join us on April 27 for our ACTION! Dedication Celebration, where we will announce the Silver Screen Inspiration Short Film Contest winners.

---

Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, animator, and comic artist.

Finding the Soul of "Redemption": An Interview with Chris Carden

In October, BMFI launched its inaugural Silver Screen Inspiration Short Film Contest to encourage emerging filmmakers and celebrate cinema’s rich history. From over 280 entries, four finalist short films have been chosen: "Miss Todd," "Wrong Number," "Redemption," and "Sonus." In April, see these remarkable short films on the big screen before the features that inspired them, and learn more about the finalist filmmakers on BMFInsights.

---

Finding the Soul of "Redemption"

By Kerri Grogan, Staff Assistant

Filmmaker Chris Carden's supernatural short film, "Redemption," is one of four finalists in Bryn Mawr Film Institute's Silver Screen Inspiration Short Film Contest. Although this is his first self-produced short, he has been in front of or behind cameras since age four, when he was a regular on Sesame Street. Inspired by the classic horror masterpiece The Exorcist (1973), "Redemption" asks the question, "Are angels among us?"

Chris acted in commercials until age eleven, when he left the business. He later returned as a broadcast journalist for the CBS affiliate in Philadelphia, before turning his attention to narrative film.

I asked Chris some questions via e-mail about "Redemption," how it related to The Exorcist, and how his actors inspired the film. Keep reading for his responses!

You wrote and directed “Redemption”. How does your acting and broadcast journalism background shape your approach to storytelling? To filmmaking?

There are some great correlations between news and film. You wouldn't think so unless you've done both. But when I was a journalist, I used to rehearse my live leads and then read my stories aloud to hear what the viewers would hear, like an actor, which I had been briefly as a child. I spent a long time crafting news stories that were clear and concise but also emotionally gripping. In my narrative writing I strive to hit all those same notes. Then it's just a matter of finding a visual language to carry those elements forward, similar to what you do in the world of broadcast journalism. In news, you have a shooter; in film, a d.p. You can step out of a news story as a reporter and let the subject matter speak for itself just as a director gathers all of the elements for a story and then lets it come together organically in the service of his or her vision. Even editing is similar because in both you have to be ruthless and leave only those frames that push the story forward. The similarities go on, but my experience has made for a great transition.

This is your first self-produced short film. What inspired you to make it? What was the most surprising thing that you learned?

I actually did a couple of films in college, one of which was also about death and the afterlife. It's an obsession, I guess. But with religion there is never an absolute answer. I wanted to explore the issue of sin and consequences; in essence, how far can you go before you can no longer be forgiven, and what spiritual forces exist in times of trouble to push us either towards salvation or damnation. But I didn't want a preachy movie. So I folded the idea into a film noir narrative and what came out the other side of all these ruminations was "Redemption." On the plus side, I learned that good material attracts good people and "Redemption" was blessed with a talented cast and crew that made it so much easier for me to bring the story to life. Unfortunately, as a rookie filmmaker, I also learned that not everyone has your best interests at heart, and I had to make some difficult choices to keep the train on the tracks. But the most important thing I learned is that perseverance is more important than resources. Keep at it even when you think you can't and solutions will present themselves.

In "Redemption," the forces of good and evil fight to control the soul of an unstable man.

“Redemption” is a parable of good versus evil. How did The Exorcist influence your approach to the story?

Decades have gone by and no one, in my opinion, has yet to match [The Exorcist] for depth, intricacy of character, and durability. The Exorcist's director, William Friedkin, said, "I know that it is considered by a great many people as a horror film. I've never thought of it that way and I didn't approach it that way. It's a story about the mystery of faith." That made complete sense to me, and that's the reason it stands above other horror flicks. Friedkin shifted the focus away from shock value for its own sake, and I attempted the same. Whether I succeeded or not I leave up to viewers.

Actor Simon Lovell plays one of the lead characters. Once allegedly a notorious con man pursued by Interpol, Lovell is now the technical consultant behind USA Network’s White Collar. How did he become involved in the project? Did you tailor the role for him?

I wrote the original part of Harry as a downtown New York guy, somewhere between Al Pacino and James Gandolfini. Then my casting director showed me a clip of Simon conning an elderly woman on a television show. I'm a huge Anglophile and when I heard that charming British accent and saw his morally bereft performance, I was sold. I gave him the part. Actually he stole it and I haven't seen it since. Seriously, Simon was a great find, as well as Michael [Newcomer] and Max [Rhyser], who play Gale and Peter respectively. They played off each other so well all I had to do was explain the scene and let them take off on their own.

What is your favorite part of the filmmaking process? What do you find most challenging?

I'll be honest, I enjoyed everything but chasing the money. Filmmaking would be great if everyone worked for free, but alas, art in itself does not pay the bills. I'm still working on squaring everyone away. But everything else was a joy and I can't wait to start another project. On "Redemption," I was writer, director, executive producer, editor, and colorist. I would gladly hire someone else next time to take on one or more of those jobs, but overall, it was a blast. I only have about ten projects screaming for attention in my head so I'll be busy scratching out scripts for awhile.

Thank you, Chris!

You can see "Redemption" and its inspiration film, The Exorcist, on Tuesday, April 15 at 7:00 pm. The film will be shown in conjunction with a Cinema Classics Seminar. Join us on April 27 for our ACTION! Dedication Celebration, where we will announce the Silver Screen Inspiration Short Film Contest winners.

---

Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, animator, and comic artist.

"Miss Todd" Takes Animation to New Heights: An Interview with Filmmaker Kristina Yee

In October, BMFI launched its inaugural Silver Screen Inspiration Short Film Contest to encourage emerging filmmakers and celebrate cinema’s rich history. From over 280 entries, four finalist short films have been chosen: "Miss Todd," "Wrong Number," "Redemption," and "Sonus." In April, see these remarkable short films on the big screen before the features that inspired them, and learn more about the finalist filmmakers on BMFInsights.

---

"Miss Todd" Takes Animation to New Heights

By Kerri Grogan, Staff Assistant

Inspiring is the best word to describe the story of "Miss Todd," a stop-motion, animated, musical short that is one of Bryn Mawr Film Institute’s inaugural Silver Screen Inspiration Short Film Contest finalist films. Director Kristina Yee's award-winning short, which uses beautiful, hand-drawn puppets and handmade sets, follows the compelling journey of a young woman who dreams of flight. The project was her graduation film from the National Film and Television School in Beaconsfield, England, and was the first animated film to win a Gold Medal for Best Foreign Film at the Student Academy Awards. The short will be shown with the feature that inspired it, the beloved musical Singin’ in the Rain (1952), on the big screen this Tuesday, April 1 at 7:00 pm.

I caught up with Kristina via email to ask her a few questions about her film. Keep reading to learn about the challenges of stop-motion animation, what attracted her to the story, and what inspires her.

Director Kristina Yee earned a 2014 Annie Award nomination for her film.

"Miss Todd" is based on the experiences of a little-known historical figure, Lillian Todd, whom the New York Times identified in 1909 as the first woman to design airplanes. What drew you to her story?

I came across Miss Todd almost by accident. I was perusing articles about this particular time in aviation history because I was doing research for another project that involved flying, and kites particularly, when I came across Miss Todd. I wondered why I'd never heard of her, and the more I read, the more her story smacked of injustice. I thought it was amazing that she accomplished so much, and yet is so forgotten by the history books. The mystery of what happened to her after her plane flew also drew me to her—I wanted to believe that, as we've portrayed in the story, her disappearance wasn't a tragedy, but an adventure.

What made you decide that you wanted to tell her story as a musical?

I had been thinking of making a musical for my graduation film, but when my writer and I decided to tell Miss Todd's story, a musical seemed perfect in a lot of ways, mostly because it's very much a story about literally not having a voice. When Miss Todd sings, she's communicating all the highs and lows of her experience in a way that only music can communicate.

What would you say is your favorite part of the filmmaking process?

I'm not sure I could name a favorite part—I genuinely love every step. I suppose the best part is when you feel that all of your collaborators are really united in making the film and are each using their own gifts to bring out the best in the story. I had a fantastic team for "Miss Todd," and that made the entire process a real pleasure.

You used a stop-motion style of animation that uses paper cut-outs and built sets. What made you choose this style? Did you have any particular inspiration for the visual look of the film?

Well, there were certainly practical considerations when we chose this style. We wanted to do stop-motion because we thought there was something really wonderfully tactile in this world of inventions and machinery. The textures of the real sets really invite you to be a part of her world. We settled on paper cut-outs for two reasons: we needed to be able to do lip-sync and wanted to have facially expressive characters, and also because, in a more abstract way, there was something about the limitations of the movements of the paper puppets that seemed fitting for the time period in which the film is set. Plus, the paper in the sets looked amazing!

Miss Todd dreams of flight, but her aspirations may be forever grounded. This beautiful animated film was done with no use of green screen, and only minimal post-production retouching.

What are some of the challenges of working in this type of stop-motion style?

Well, my editor was really disappointed when I told him we couldn't do a 360 shot around Miss Todd. There are certainly logistical things you have to think about when your puppets are flat! But I think the challenge was mostly that it was a bit experimental, so we were learning as we went along. We were also trying to do things that are difficult to do in stop-motion, even in the best of circumstances, on a shoe-string budget and a tiny animation team—things like lip-syncing (lots of it!) and flying. One moment I was proudest of is that, in order to create realistic motion-blur in the take-off sequence, we had loads of friends helping us to "pull" the grass of the airfield the moment that the shutter closed, frame by frame, so that the grass would appear to be racing by for the take-off. We also had to make sure that the wheels and propeller were spinning as the shutter closed, which became the special responsibility of our amazing cinematographer, Nick Cooke.

What filmmakers have inspired you and the way you work?

As with all animators, I'm a huge Miyazaki fan. I only hope to one day be one tenth as accomplished as he is! I also love Billy Wilder. In particular, I love The Apartment, which is one of those films that is completely perfect just the way it is. I hope one day I'm able to write the kind of witty, snappy dialogue that he and his collaborators always seemed to capture. I grew up watching old musicals, which have nurtured my love of grand, sweeping moments in film. I also love the films of Michael Powell and Emeric Pressburger; I think I've watched The Red Shoes more times than any other film! I love their sense of imagination and artistry.

Thank you, Kristina!

See "Miss Todd" and the classic feature that inspired it, Singin' in the Rain, this Tuesday at 7:00 pm. Join us on April 27 for our ACTION! Dedication Celebration, where we will announce the Silver Screen Inspiration Short Film Contest winners.

---

Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.

Hank Mandel's FIVE FRIENDS

By Nina Zipkin, BMFI Intern

Bromances may be a hit in Hollywood, but what role do meaningful male friendships play in a man's life, and how can they be cultivated?

Hank Mandel, the 65-year-old subject of the new documentary Five Friends, will share his insights as part of a panel discussion about male friendships following the screening of the movie at BMFI on Wednesday, March 14 at 7:30 pm. Based on Elbert Hubbard's saying, "My father always used to say that when you die, if you've got five real friends, you've had a great life," director Erik Santiago’s poignant film focuses on Hank's relationships with his five closest friends.

In anticipation of the event at BMFI, Hank took the time to answer some questions about his experience working on the film:

How did you decide to share the story of your friendships?

It was a very personal process. As I looked back on my life, I was very blessed to have five amazing friends in my life dating back from 40 to 10 years--all of these men supporting and growing with me through life. I wanted my two daughters to know these friends better and understand the importance of men having intimate, healthy, and strong male relationships. I thought making a film about these friendships would be a great gift for them to have. I thought the guys might like it as well. I discussed it with my wife and together we decided it would be a good thing to do for me and the kids.

Hank Mandel and his friend Scott in the new documentary, Five Friends

 

What was it like being followed around by the cameras?

This was easy, they were quite invisible. Erik Santiago, the director of the film, our cinematographer Sean Conaty, and their fantastic crew were masterful over the weeks and months of shooting. We shot about 50 hours of film for what turned out to be a 67-minute documentary. The crew was young, professional, and really enjoyed the topic. It was an all-male crew, except for the second camera woman, who really found the experience exciting and interesting. She enjoyed seeing the dynamics of men in very personal relationships. It made everyone on the crew think of their own relationships with men. We had excellent and diverse places to shoot on the two coasts, which I believe made the film more interesting.

Hank Mandel (right) with his friend Charlie

How did you collaborate with director Erik Santiago to create the film?

Erik and I had known each other for about 10 years. We worked together making training films at the bank where I worked. We knew how to work closely and collaboratively, but we never expected to do anything like this. We have very different talents and have found ways to collaborate and create an exciting and engaging film. We ended up with the same vision of the film. He did an amazing job editing the film with Kyle Gilbertson which made the story of the film quite impactful as it unfolds.

We were surprised how powerful the film was for men and women when we started holding focus groups with an uncut version of the final film. We wanted to see how men and women would react to the film. It was because of these focus groups that we began to understand that "Five Friends" was much more than a film for my daughters. It was a film that both men and women found as important, relevant and profound. Focus group audiences around the country encouraged us to see the film as an significant piece of work that needed to be shared broadly with both men and women.

You have had a wide-range of work experiences. What do you see as the connecting threads between the different stages of your career?

Great question. The clearest thread is ME! I am an eclectic individual with pieces of creativity and relationships throughout my life. Growing up in New York City, I loved theater and enjoyed being in and directing plays in school and camps. I went to Ithaca College as a Theater major and worked for five years producing and directing shows for the Country Music Association when I was in my late 40s. I have my graduate degree in Social Work which in many ways is a degree in understanding yourself and others in various relationships and situations. Both of my parents died when I was 30, so I think I found male friendships to be profound and important connections to fill my parental void. They were substitutes for family, since my brother and I lived far apart and had very different interests in life.

Hank with his friend Bob in Five Friends

Is there a lesson that you’d like to impart to your daughters from this experience of making the film?

I have tried to live a life of intimacy with my family and balance work with relationships at home. I hope I have done a decent job. Both my daughters love the movie. Years ago, my oldest daughter, Briana (30), had lunch one day with me and one of my friends, Barry. She was amazed by the quality of our conversation. It opened her eyes to the possibility of emotionally in-touch men. The movie was profound for her because: (a) she knew the friends and (b) she discovered things about me and my life she did not know. We hugged each other for a long time after her screening. It was wonderful, we are very close. Lauren, my youngest daughter (22), sat on my lap and cried after the movie ended. She said, "The best part of the movie is that she could share it with her children." (Whenever and if she has some.) It was very touching! She is very creative and loving! 

I think both of them see the quality of the collaborative experience with Erik and myself and how we work together and share life together. He is not one of the "Five Friends", but he and I have worked together in a way that makes us very special colleagues and "brothers". The lessons for my daughters are all about male relationships and for them to look for healthy, introspective, emotionally connected and smart men in their lives. I think they both do this now.

Is there a message or a lesson about male friendships that you hope people take away from the film? In your opinion and in your experience as a therapist, why is it a subject that’s so rarely addressed?

There are many lessons to be found in this documentary and it is wonderful that each person who sees the film finds lessons relevant to their lives. This is why the film has become so popular for men's groups, gender study programs at universities, therapy sessions, between friends, for both men and women at any age, and for the general public at movie venues. It is a story that has been needed in our society. Men are thirsty for male relationships, they just frequently do not know how to find them and nurture them. Our society often confuses male intimacy with male gay relationships. They are quite different, but have similar qualities of profound intimacy.

Hank hugs his friend Barry in a still from Five Friends

Men, in our society are often taught to be strong, hold their feeling inside and solve their own problems. Men are expected to achieve, but not expected to love other men unless it is "family love". Our society puts men in specific "strong behavior roles" that often do not meet their emotional needs and sense of isolation that men struggle with throughout their lives. Pop culture also puts men into stereotypes of being awkward, stupid, insensitive, funny and macho. This not real. It is a corner we are painted into while society provides women all the emotional opportunity and skills to be intimate with other women and men. The film Five Friends shows the audience that men are totally capable of as many complex and important emotions as women. This was a story ready and needing to be told.

Thanks for sharing such great insights into the film, Hank!

In addition to answering questions as part of the panel discussion after the film screening, Hank Mandel will also be a featured speaker at a workshop about male relationships at Widener University on Saturday, March 17.

---

Nina Zipkin is a senior at Bryn Mawr College currently interning at BMFI.

Take "A Trip Through Strawberry Fields" with Scott Freiman

By Daniel Santelli, Jr., BMFI Programming Intern

Think you know everything about the Fab Four? Think again!

On Tuesday, January 31 at 7:30pm, BMFI will host Scott Freiman’s interactive lecture A Trip Through Strawberry Fields: Deconstructing The Beatles. Mr. Freiman, a composer and Beatles expert, will examine three iconic songs (“Strawberry Fields Forever”, “Penny Lane”, and “A Day in the Life”), revealing hidden messages and layered subtext as he uses archival footage and anecdotes to illuminate the Beatles’ creative process. He has performed the lectures across the country in packed theaters, sharing his valuable insights on the tide-turning band.

Click here to win free tickets and more!

Mr. Freiman was kind enough to answer a few questions in a brief email interview:

What about The Beatles do you see as most important? Why deconstruct their work?
The Beatles are incredibly important in popular music--and in music overall. They helped evolve rock and roll and influenced countless artists. They were instrumental in having rock music be taken seriously by music critics. They influences clothing, video, and popular culture. Their music still resonates with people more than fifty years since they first formed.

How does deconstructing the music and lyrics further our understanding of these classics?
My presentations attract audiences from age 8 to 88.  There's no other musicians or musical group where people with such a wide range of age and experience can enjoy the same music.

What do you hope audiences who attend the lectures take away from them?
I have always found that understanding more about how a piece of art is constructed (what were the circumstances behind its creation, what creative decisions were made as it was created) helps lead to a greater appreciation of the art. The one comment I consistently get after my presentations is that "I will never listen to music the same way again."

What is your favorite Beatles’ tune?
I'm not great with picking favorites, but "Strawberry Fields Forever" is certainly up there for me.  It is fascinating to listen to the song evolve from a simple demo to the sonic masterpiece that landed on vinyl. I plan to share that journey with the audience at the Bryn Mawr Film Institute. "A Day In The Life" is another amazing piece of music.  The orchestral climax still gives me chills.  I'll also be talking about that song on Tuesday night.

We hope to see you on Tuesday! You can get tickets online here.