Tag Archives for " Short Film "

4 weeks ago

Festival Recap

Oregon Documentary Film Festival 2017 Event Photos Session 1411

Festival Recap: Oregon Documentary Film Festival 2017

I would like to say 'thank you' to all of the attendees, filmmakers and supporters of the very first Oregon Documentary Film Festival and write a brief festival recap. Fifteen short and feature length documentary films from all over the world were screened at this two-day event. With over two hundred and fifty total ticket purchases and attendees combined, the event was more successful than we ever dreamed, in our first year.

Veterans (Right), Clay Kempf (Right)

Festival Recap: The Awards

We kicked things off on Veterans Day, Friday November 10th, 2017 and screened 'Stu Steinberg,' a film about US Military Veterans with a call-to-action to offer better and more efficient medical support for those that have served in combat. Director Clay Kempf's film was voted "Best Feature Film" by the judges and Stu Steinberg himself was on hand for the screening with several veterans from the film.

Oregon Documentary Film Festival 2017Awards List:

  1. Best Feature Film "Stu Steinberg" Directed by Clay Kempf
  2. Best Oregon Film "Perception: Prison to Purpose" Directed by Jonathan Reed
  3. Best Directors (Feature Film): Lindsey Averill and Viridiana Lieberman
  4. Best Directors (Short Film): The Mustached American of the Year" Directed by Anna Yeager and Peter Subaiya
  5. Best Short Film: The Mustached American of the Year" Directed by Anna Yeager and Peter Subaiya
  6. Best Cinematography: "SOS: The Salton Sea Walk" Directed by Corbin Schweitzer
  7. Best Cinematography (Short Film): "Song in a Day" Directed by Kris Jones
  8. Best Editing: "Human Zoos Directed by John West
  9. Best Original Music: "Sisterly" Composer André Barros
  10. Most Inspirational Film: "Going the Distance: Journeys of Recovery" Directed by David L. Brown

Jeffrey Janoff (Left), Will Cuddy (Left Middle), Mikel Fair (Right Middle), Jordan Smith (Right)

Tony Rivas (Left), Jonathan Reed (Middle), Will Cuddy (Right)

last month

“Model Material” Directed by Sabrina Linville

Model Material Documentary Film
Oregon Documentary Film Festival Official Selection
  • Film Name: "Model Material"
  • Runtime: 7 minutes and 9 seconds
  • Screening: Friday, November 10th, 2017
  • Featuring: Sam Swan and Franklin Headen
  • Director: Sabrina Linville
  • Director of Photography: Annie Piacentini
  • Editor: Samantha Cordova
  • Music Composer: Jamil Houston
  • Post Production Sound: Steven Blevins
  • Motion Media Specialist Paris Mumpower
  • LinkedIn
  • Tagline: "An exclusive glimpse of the modeling industry through the diverse perspectives of a casting director and models during New York Fashion Week."
Model Material Oregon Documentary Film Festival

Director Sabrina Linville

As one of five children, Sabrina Linville learned the power of collaboration and communication at a young age. Her enthusiasm for human interest stories led her to purse a BFA in Film and Television Studies at Savannah College of Art and Design (SCAD). As a producer and director, Sabrina has had the privilege of working with a variety of artistic talents from her student documentaries' inception to final cut. Her favorite motto "team work makes the dream work" derives from these beautiful learning experiences. 

Model Material Official Selection
last month

“The Kenton Lead Blob” Directed by Zach Putnam and Richard Percy

The Kenton Lead Blob Directed by Zach Putnam

"The Kenton Lead Blob" is a documentary film from director Zach Putnam and Richard Percy.

Zach Putnam is a concerned citizen who decided to research an environmental pollution problem in Oregon and expose the truth to the world.

  • Film Name: "The Kenton Lead Blob*" 
  • Director: Zach Putnam and Richard Percy
  • Producers: Richard Percy and David MacKay
  • Runtime: 10 minutes and 8 seconds
  • Screening: Friday, November 10th, 2017
  • Website | Portland Tribune Article | LinkedIn
  • Tagline: "When Zach saw a news article that suggested he was living in a hotspot of lead pollution, he took action. Connecting with his neighbors through social media, a community-led investigation began, with hopes of getting to the bottom of any causes and health risks that could be affecting them and their families. The surprising answers they found only raised more questions. This film was produced as a student project in the University of Oregon Master's in Multimedia Journalism program."
The Kenton Lead Blob Directed by Zach Putnam

Interview with Zach Putnam:

We had an opportunity to catch up with Director Zach Putnam for an in-depth look behind the scenes at this film.

  1. Why did you think that the Oregon Documentary Film Festival was a good place to submit and screen your film? “Though this story is hyper local, I think it holds lessons that apply much more widely, so I'm always looking for more audiences to show it to. As a showcase for documentary storytelling, the Oregon Documentary Film Festival seemed like a perfect fit.”
  2. What is the title of your film and is there any special meaning to the title? “The Kenton Lead Blob* was the name my neighbors and I gave to this scary-looking hotspot on the lead contamination map published by the Oregonian newspaper. The asterisk we added later, after the nature of the "blob" became more clear.”
  3. Why did you choose to tell this particular story? “I began researching this story out of pure self-interest when I first saw the hotspot map. As the story unfolded, it was so fascinating that I decided to document it with my co-producers.”
  4. Did you discover certain story elements during the production of this film that you never expected to find in the planning stages of this project? “Everything in this story was a surprise for me. I hardly knew anything about lead contamination before I started, much less what could cause it.”
  5. What camera(s) did you use to during the production of this film? Discuss any advantages or limitations that you may have run into, from an equipment perspective. “Mostly shot on Canon C100, with some Canon 70D.”
  6. Did anything happen during the production of this film that was very interesting, but never made it on camera? “There are lots of things that we didn't squeeze into the final short doc, like our attempt at filing a FOIA request and lots more general info about lead poisoning and intrigue in the Kenton neighborhood.”
  7. How did you fund this film? Did you use crowd funding? Do you have pressure to recoup the production costs somehow? “We produced this short doc as graduate students in the University of Oregon Master's in Multimedia Journalism program, so we received support from UO in the form of equipment and the guidance of our faculty advisors.”
  8. What kind of audience reaction are you getting to this film? Discuss any Positives or Negatives that you feel comfortable talking about. “Portland International Raceway has announced new regulations on leaded fuel as a result of our investigation, and many of my neighbors are grateful for the light we shed on that situation. Despite being such a local story, I've been surprised how intriguing many people from all over the country have found our story. We even won a national Edward R. Murrow Award for Excellence in Video Reporting.”
  9. Do you have plans for a sequel or future film that you are working on? Please discuss. “The Forest Service just contacted me to tell me that they finally are going to come back and try to determine what caused the contaminated moss sample in the first place, so perhaps we will need to make a sequel about that.”
  10. You have completed a documentary film, which is a huge achievement. Do you have any advice for a future filmmaker that is about to start a documentary project? Advice that you wish you had been given before you started yours? “My advice is for after you make your film: share it! I think too many filmmakers post their film online and hope it get discovered by an audience. I highly recommend submitting your film to media platforms, contests and festivals so it can be seen by as large an audience as possible. Be prepared for lots of rejections (and no replies) but that is normal. The point of all your hard work is for someone to watch it, so make sure to follow through on the distribution part of the equation.”
The Kenton Lead Blob Directed by Zach Putnam
"The Kenton Lead Blob" Director Zach Putnam

"When Zach Putnam saw a news article that suggested he was living in a hotspot of lead pollution, he took action."

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last month

“Sisterly” Directed by Nina Vallado

"Sisterly" is a documentary film from director Nina Vallado.

A touching story about Nina and Lisa and how their relationship continues to grow after Lisa is diagnosed with autism. Director Nina Vallado gives the viewer an inside look at the struggles and rewards of dealing with this medical condition. The Oregon Documentary Film Festival judges were inspired by this story and appreciate Nina's ability to give the viewer a first person experience with this beautiful family.

  • Film Name: "Sisterly" 
  • Director: Directed by Nina Vallado
  • Art Director: Amber Kuo
  • Composer: André Barros
  • Runtime: 28 Minutes
  • Screening: Friday, November 10th, 2017
  • Spectrum Magazine Article | Student Academy Awards | LinkedIn
  • Tagline: "Nina and Lisa are two sisters destined to be the best of friends, but with a diagnosis autism at the age of 2, Lisa’s voice disappears. Without communication, Nina and Lisa set out to find connection and sisterhood."

"Sisterhood is a different matter, and adding autism into the mix, only complicates the matter more." Nina Vallado

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"Sisterly" Director Nina Vallado

Interview with Nina Vallado:

We had an opportunity to catch up with director Nina Vallado for a short interview about the "Sisterly" film's back story. 

  1. Why did you think that the Oregon Documentary Film Festival was a good place to submit and screen your film? “Because it's focused on documentary work, and because of the location.”
  2. What is the title of your film and is there any special meaning to the title? “Sisterly; It was a title that my professors and I came up with. I wanted the word "sister" to be part of the title, and one professor asked me to describe the film. "Sisterly" is the adverb that came from that conversation. Phonetically, it has the beginning sound of the word, "Lisa."
  3. Why did you choose to tell this particular story? “I wanted to tell this story from the POV of siblings, because I find that there are not many stories that deal with the topic of siblings, especially within the context of autism.”
  4. Did you discover certain story elements during the production of this film that you never expected to find in the planning stages of this project? “Over the course of four years, my film changed it story over and over again. Which is expected in documentary work, but because I allowed things to develop and change, I discovered so much about my personal relationship with my sister through the film's production. I was able to use the filmmaking process to get to know my sister in a way I wasn't able to, or didn't have the courage to do so, before.”
  5. What camera(s) did you use to during the production of this film? Discuss any advantages or limitations that you may have run into, from an equipment perspective. “I used the cameras that my school owned - Canon C100, Panasonic GH4. I found that my primary camera, the C100, would change some of the dynamic between the characters and I. Some of the footage I captured using my iPhone, mainly because of convenience and intimacy. It was familiar to my subjects and to myself.”
  6. Did anything happen during the production of this film that was very interesting, but never made it on camera? “There were many intimate moments captured between my sister and I, as well as with my mother and I. The film ends with the conclusion that I do not have to share everything with everyone. Those moments I have kept for myself.”
  7. How did you fund this film? Did you use crowd funding? Do you have pressure to recoup the production costs somehow? “I funded the film mostly with my own personal account. I set up a Kickstarter campaign for finishing funds - all post production and distribution purposes.”
  8. What kind of audience reaction are you getting to this film? Discuss any Positives or Negatives that you feel comfortable talking about. “The audience has surprisingly reacted similarly to how my family reacted. Being a very personal film, I find that people are still able to apply certain experiences of mine to their own sibling experience.”
  9. Do you have plans for a sequel or future film that you are working on? Please discuss. “I have ideas, but nothing solid yet. I think creating a personal narrative took a big toll on myself and my family, which ended being very worthwhile, but I want to take a break from something so close to home.”
  10. You have completed a documentary film, which is a huge achievement. Do you have any advice for a future filmmaker that is about to start a documentary project? Advice that you wish you had been given before you started yours? “Know yourself and be comfortable with yourself. Being locked away in the editing suite of my school for hours and hours each day pushed me to be comfortable and face my fears. Get to know yourself, and make a movie that is for you.”

Director's Statement:

The relationship between siblings is difficult to define. A relationship between parent and child, or between friends, is easily understood and carries certain expectations. Sisterhood is a different matter, and adding autism into the mix, only complicates the matter more. My film is about the complexities of a sisterhood without communication. My sister Lisa is diagnosed with autism, and for the first 16 years of her life she did not communicate. After learning rapid-prompt method, a communication method using a stencil board, her life changed. While Lisa’s life was beginning anew, my life remained almost unchanged. Two people living under the same roof, sharing the same family, sharing similar experiences, yet, living almost opposite lives. The world of autism is one that isolates and builds unwanted walls between neurotypicals and those on the autism spectrum. Misunderstanding and broken communication have been the bricks that separated my sister and me. I have faced these walls for years , but rarely tried to climb over them, or tear them down. In the four years of my thesis production, I have learned more about my sister than I have my entire life. My camera allowed me to focus more clearly on her struggles, her pain, her story. Throughout the production of this film, I have questioned my role in her life as her older sister. In my film, I intertwine the search for connection with my sister with her personal search for independence. My film is a pursuit for a meaningful relationship within the world of autism. The story builds as we learn to communicate. The more we learn about one another, the more we tear down the walls that separate us. The film is not meant to resolve all of our problems, but to come to terms with the sisterhood that we are creating for ourselves.

"Sisterly" Director Nina Vallado

Director's Nina Vallado's Bio:

Nina Vallado was born in Rio de Janeiro, Brazil and moved to the United States of America at the age of six. She received her BFA in Documentary Film from Andrews University. Nina’s passion for social justice and equality is stemmed from her experiences as an immigrant and her close relationship with autism. Nina strives to tell stories that can evoke empathy and connection between human beings. She strongly believes that storytelling is the world’s greatest tool for change. Nina has worked on short documentary projects that have won awards, such as "Then Came Sandy" and "Papi". Her senior project, "Sisterly," for her undergraduate studies, focuses on her complex relationship with her sister with autism. "Sisterly" is a student film produced over the course of four years and has involved artists and professionals from Brazil, United States of America, Portugal and Iceland.

last month

“Invisible Oregon” Directed by Sam Forencich

"Invisible Oregon" is a documentary film from director Sam Forencich.

A time lapse filmmaker, Sam captured visuals of Oregon in ways that exceed imagination. The vibrant colors of the landscape are breath taking. The judges were truly impressed with the images and filmmaking of Sam Forenicich.

  • Film Name: "Invisible Oregon" 
  • Director and Cinematographer: Sam Forencich
  • Director of Photography: Sam Forencich
  • Composer: Travis Forencich
  • Runtime: 6 Minutes
  • Screening: Friday, November 10th, 2017
  • Website | LinkedIn
  • Tagline: "Invisible Oregon is an art time-lapse piece 3 years in the making. Created entirely with infrared converted cameras, Invisible Oregon reveals a landscape beyond the range of human perception that challenges how we process the world around us."
"Invisible Oregon" Director Sam Forencich

"Created entirely with infrared converted cameras, Invisible Oregon is a study of light across time and space."

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"Invisible Oregon" Director Sam Forencich

Director's Statement:

"Ever since my youthful days of “experimentation” I've often wondered about the nature of reality. Those of you that still believe in science understand the limitations of our perceptions, and it's no secret that many creatures exceed our abilities to interpret the world around us. The idea that we have to process the sensory data coming into our brains makes it seem like we are already a step removed from the real world. So what exactly are we missing? What do animals experience that we can't, and how do our human perceptions vary from person to person? While this film does nothing to answer these questions, time-lapse and infrared photography do, in a metaphorical sort of way, extend our sensory abilities so we can imagine a world beyond ours. Ultimately I think this is what draws us to these forms, not to solve the mystery, but to flirt with it's boundaries." - Director Sam Forencich

Sam Forencich Interview:

We had a chance to interview Director and DP Sam Forencich for a behind the scenes look at his "Invisible Oregon."

  1. Why did you think that the Oregon Documentary Film Festival was a good place to submit and screen your film? “My film is a celebration of Oregon's natural beauty. If there was going to be a receptive audience it would be here.”
  2. What is the title of your film and is there any special meaning to the title? “Invisible Oregon - My film was created entirely with infrared converted cameras. Humans do not perceive infrared light so the scenes in the film are relatively speaking "invisible".
  3. Why did you choose to tell this particular story? “The making of this film came at a juncture of experimentation between time-lapse and infrared photography. I didn't set out to do this initially, but since I live in Oregon the surrounding landscapes were a natural choice to experiment. There was a tipping point when it became obvious that the results were both interesting and repeatable. The momentum to make the film took off from there.”
  4. Did you discover certain story elements during the production of this film that you never expected to find in the planning stages of this project? “In what is essentially a non-narrative art film a great deal of the piece was "discovered" through my process. I had crafted a "structure" for the film, and had a list of target locations, but to a large degree time and conditions dictated the decision making that went into each shot.”
  5. What camera(s) did you use to during the production of this film? Discuss any advantages or limitations that you may have run into, from an equipment perspective. “I used 2 infrared converted DSLR cameras. A Nikon D750 and a Canon 5D MII. The Nikon is a better low noise performer and was used in all the night sky scenes. Both cameras have a unique infrared response curve, so the subject would sometimes dictate which camera was appropriate.”
  6. Did anything happen during the production of this film that was very interesting, but never made it on camera? “With time-lapse things do occasionally do go wrong. So yes we did lose a few shots, mainly due to "pilot error."
  7. How did you fund this film? Did you use crowd funding? Do you have pressure to recoup the production costs somehow? “The film was self funded. I never intended to make any money off this, and that proved to be the one assumption I was right about.
  8. What kind of audience reaction are you getting to this film? Discuss any Positives or Negatives that you feel comfortable talking about. “The film has done well online through Vimeo. It was a "staff pick" early on that really helped get it out there. The response has been overwhelmingly positive, but you can never totally escape the trolls online.”
  9. Do you have plans for a sequel or future film that you are working on? Please discuss. “My background is in still photography, but time-lapse film making has introduced me to many aspects of film production. Not sure where I'm going next but I'd like to do something that has a strong narrative or documentary structure.
  10. You have completed a documentary film, which is a huge achievement. Do you have any advice for a future filmmaker that is about to start a documentary project? Advice that you wish you had been given before you started yours? “My film came to life because of my curiosity. It just sort of sprang out from there. I can't give advice for a proper project since I've never done one, but if you start with a subject that you are genuinely passionate about, that's a good set up for success.”
"Invisible Oregon" Director Sam Forencich

Filmmaker Bio:

Sam Forencich is a time-lapse film maker and photographer based in Portland Oregon. Sam is the principle time-lapse contributor to the NBC production Grimm, and the NBA team photographer for the Portland Trail Blazers. See more of his work here: https://www.samforencich.com/

"Invisible Oregon" Director Sam Forencich
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last month

“Song in a Day” Directed by Kris Jones

"Song in a Day" is a documentary film from director Kris Jones.

Song in a Day is an impressive film from Kris Jones who explores the creativity of song writing, recording and completion in just one day. The judges enjoyed the personalities of this group of musicians that all seem to bring their talents together and weave them into one cohesive mix. There are some bumps along the road, but at the end of the day, Kris Jones captures the twists and turns of this back story and delivers an enjoyable film.

  • Film Name: "Song in a Day" 
  • Director: Directed by Kris Jones
  • Director of Photography: Michael Nipper
  • Editor: Aaron Filipowsky
  • Runtime: 14 Minutes
  • Screening: Friday, November 10th, 2017
  • Website | Facebook Instagram | LinkedIn
  • Tagline: "​Can art be created under constraints? What happens to the creative process under the pressure of time and collaboration? Five Portland musicians accept the challenge of working together to write, compose, record and mix an entire song in just one day. Viewers see behind the scenes during the songwriting process — from the small sparks which start the creative fires of collaboration, to pushing boundaries before setting structure. Find out how a creative process which normally takes weeks, or even months, can benefit from a high-wire sense of urgency."

"An impressive film from Kris Jones who explores the creativity of song writing in just one day." - Mikel Fair

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"Song in a Day" Poster Director Kris Jones

Director Kris Jones

Kris Jones’ film explores the tension between creativity and constraints; asking the question: Can limitations actually enhance the creative process? Jones’ most recent film, Song in a Day, challenges five Portland musicians to meet on a Friday morning to write, compose, record and mix an entire song by the end of the day. A trained graphic artist, Jones brings her deep love of music and unending curiosity about the creative process to this inspiring film. Song in a Day launches her exploration on how collaboration and constraints can springboard creativity.

last month

“Throwline” Directed by Mia Mullarkey

Director Mia Mullarkey Oregon Documentary Film Festival 2017

"Throwline" is a documentary film from Irish director Mia Mullarkey.

With excellent visuals and a creative score, Mia Mullarkey has captured the story of a group of ordinary citizens that have taken action to help prevent suicides in Kilkenny, Ireland. The Oregon Documentary Film Festival judges were inspired by this story and mesmerized by the personalities of these concerned citizens.

  • Film Name: "Throwline" 
  • Director: Directed by Mia Mullarkey
  • Director of Photography: Jass Foley
  • Composer: Anna Mullarkey
  • Runtime: 14 Minutes
  • Screening: Friday, November 10th, 2017
  • Website | LinkedIn
  • Tagline: "A group of taxi drivers in Kilkenny, Ireland, join together to form a suicide prevention group. Uniquely positioned to patrol the night, the drivers keep vigil over the city's streets and bridges and offer help to those who feel forlorn."

"The drivers keep vigil over the city's streets and bridges and offer help to those who feel forlorn."

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We had an opportunity to catch up with director Mia Mallarkey for a short interview about the "Throwline" film's back story. 

  1. Why did you think that the Oregon Documentary Film Festival was a good place to submit and screen your film? “Throwline is an independent documentary so I was looking for festivals which support this kind of work.”
  2. What is the title of your film and is there any special meaning to the title? “Throwline. The title refers to a line thrown into water to rescue someone from drowning. This has a concrete and a symbolic reference to the film in that they drivers keep throwlines in their cars for emergencies and they also offer a symbolic throwline to those in need.”
  3. Why did you choose to tell this particular story? “I love stories about people who are immensely compassionate, so when I heard about Derek's work I called him straight away.”
  4. How did you fund this film? Did you use crowd funding? Do you have pressure to recoup the production costs somehow? “I financed the film myself and don't expect to recoup the costs. I felt it was an important story and just started working on it straight away.”
  5. What kind of audience reaction are you getting to this film? Discuss any Positives or Negatives that you feel comfortable talking about. “The best thing that has come out of this film is that people approach me and the taxi drivers after watching it to talk about their experiences of suicide, whether it's personal mental health stories or the loss of a loved one. The film allows people to open up and talk. Another great thing to come from the film is that people offer to support Taxi Watch because they are deeply moved by the work.”

"Moved by how many people were being rescued, I embarked on filming Taxi Watch in action. To capture the driver's world at night we had a special car roof mount built to counteract the bumps of the road. Cameras were also attached to the bonnets and doors of cars to create an immersive visual experience. My main goal when creating the film was to reveal the deep kindness of the drivers involved in Taxi Watch." - Director Mia Mullarkey

Official Poster for "Throwline" Documentary Film

Director Mia Mullarkey Bio

Following her studies in philosophy and psychology, and after working as a psychologist for a short time, Director Mia Mullarkey completed a masters in film production and theory in 2009. In 2011 she set up a production company called Ishka Films to create music videos and digital content. Several of these projects have won awards and gone viral. Mia's short documentaries have screened at film festivals worldwide and collected a number of nominations and awards. In 2016 Mia received film grants from the Irish Film Board; Science Foundation Ireland in association with Galway Film Centre; and National Women's Council of Ireland in association with the National Lottery Fund.

"Throwline" Taxi Driver
last month

“The Mustached American of the Year” Directed by Anna Yeager & Peter Subaiya

Director Peter Subaiya Oregon Documentary Film Festival

"The Mustached American of the Year" is not just a film about an international mustache competition.

It's a fun story about a family man. The judges of the Oregon Documentary Film Festival loved this film for it's structure, story telling, cinematography and, of course, the personality of Mr. Rivas. "The Mustached American of the Year" starring Troy Rivas is an official selection of the Oregon Documentary Film Festival 2017.

  • Film Name: "The Mustached American of the Year"
  • Directors: Anna Yeager and Peter Subaiya
  • Featuring: Troy Rivas
  • Runtime: 15 minutes and 28 seconds
  • Screening: Friday, November 10th, 2017
  • Website | LinkedIn | Voted Best New Mexico Documentary Short
  • Tagline: "After growing a mustache in honor of his unborn son, Troy Rivas finds himself pitted against national stars in a fierce online mustache competition. While navigating the new realms of fatherhood and fame, Troy embarks on a journey to give back to the community that embraced his eccentrically styled ‘stache."

“... keep an open mind about how you envision the final product. Stories evolve as you dive into them.” Anna & Peter

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We had an opportunity to catch up with Directors Anna Yeager and Peter Subaiya for an interview. There is an interesting back story to "The Mustached American of the Year."

  1. Why did you think that the Oregon Documentary Film Festival was a good place to submit and screen your film? “In a nutshell, we love Oregon and we love documentaries. We moved to Oregon a little less than two years ago, so we are looking forward to contributing to and getting to know the documentary film community here. We love watching and creating documentaries, so this festival seemed like a perfect fit.”
  2. What is the title of your film and is there any special meaning to the title? "The Mustached American of the Year" is the title given to the winner of the American Mustache Institute's annual competition.”
  3. Why did you choose to tell this particular story? “We wanted to tell a story that could inspire audiences to do something good for our world, and at the same time, we wanted that story to be lighthearted, comedic, and fun to watch. We felt Troy's story was just that.”
  4. Did you discover certain story elements during the production of this film that you never expected to find in the planning stages of this project? “As we dove deeper into Troy's past, we discovered unexpected family history that ultimately changed the course and theme of our story.”
  5. What camera(s) did you use to during the production of this film? Discuss any advantages or limitations that you may have run into, from an equipment perspective. “We shot our film on a Canon C100 mark ii and a Canon 5D mark iii. We've been longtime Canon users, and for this project we felt that this setup allowed for easy run-and-gun shooting which worked great for this project.”
  6. How did you fund this film? Did you use crowd funding? Do you have pressure to recoup the production costs somehow? “We self-funded the entire film from start to finish from savings, which consisted of a very small budget.”
  7. What kind of audience reaction are you getting to this film? Discuss any Positives or Negatives that you feel comfortable talking about. “The feedback we received at the film's premiere was that it was refreshing to see a documentary that made them laugh.”
  8. Do you have plans for a sequel or future film that you are working on? Please discuss. “We have no plans for a sequel, but have started brainstorming our next short documentary. Keep an eye on our website (shotsofyeager.com) for updates!”
  9. You have completed a documentary film, which is a huge achievement. Do you have any advice for a future filmmaker that is about to start a documentary project? Advice that you wish you had been given before you started yours? “It's important to have a solid idea of what story you want to tell before you start shooting, but keep an open mind about how you envision the final product. Stories evolve as you dive into them.”
Mustached American Year Oregon Documentary Film Festival
Director Anna Yeager Mustached American Year Oregon Documentary Film Festival

Director Anna Yeager Bio:

Anna Yeager studied film and video production at Columbia College Chicago. More than a decade of producing videos for a variety of clients and organizations taught her that her true love is producing meaningful stories for non-profits. Her passion is creating compelling video of the highest quality for mission-driven organizations of modest means. She has created videos for non-profits across the country including the Santa Fe Animal Shelter, the Rendville Art Works, the International Folk Art Alliance, and the Ohio Department of Developmental Disabilities. Her work has been featured on Huffington Post, Upworthy and Good Morning America.

Mustached American Year Oregon Documentary Film Festival
last month

“The Business of Boxing: Part One” Directed by Rob Maloof

"The Business of Boxing" is a documentary film directed by Rob Maloof.

Director Rob Maloof's film is a powerful display of cinematography and captures the sport of boxing at a level that HBO should be envious of. The images of the boxers training are stunning and the story of each of these young men is powerful. You can literally feel their energy and love for the sport.

  • Film Name: "The Business of Boxing: Part One" 
  • Director: Rob Maloof
  • Assistant Editor: Jared Lenox
  • Runtime: 10 Minutes
  • Screening: Saturday, November 11th, 2017
  • Website | Instagram | Twitter | LinkedIn
  • Tagline: "A sports documentary short on the business of boxing: what amateurs and early professionals can expect when starting a career in boxing."
"The Business of Boxing" Directed by Rob Maloof

"amateur experiences, turning “pro”, and what makes a fighter marketable."

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"The Business of Boxing" Directed by Rob Maloof

This ongoing project has developing stories concerning the laser-focus determination of fighters, in the face of constant assaults on the mind and body. This film follows the progress of two professional fighters (Kevin Cobbs & David Benavidez) and one amateur fighter (Shane Jordan). The fighters, their trainers, promoters, and industry experts comment on: amateur experiences, turning “pro”, and what makes a fighter marketable. At the time of filming, Cobbs and Benavidez were scheduled to fight at a nationally televised event in Los Angeles.

"The Business of Boxing" Director Rob Maloof

Director Rob Maloof has been active in the creative industry since 2005, when he worked primarily as an audio engineer. His career in audio included producing & recording local bands, as well as developing skills in electronics bench work & acoustics testing/design. Always a long-time fan of photography, an afternoon camera lesson from a childhood friend was the start of his evolution into visual arts. The next logical progression from the audio/photo workflow was motion picture, and has become the focus of his practice at Gauntlet Films.

"The Business of Boxing" Director Rob Maloof