Teaser: The Earth the Way I Left It

The Earth, the way I left it (Trailer) from Jeff Pinilla on Vimeo.

Few things are as pleasing as seeing someone complete a movie. Late last year I spoke to young filmmaker Jeff Pinilla about his newest project and now here's the first teaser. Go check it out, I personally think it looks pretty good, so congrats Jeff. Keep us posted on how it goes!

Space Travel with Jeff Pinilla.

Last year I was invited to become a Grand Jury Member of the Beneath the Earth Film Festival - undoubtedly one of the most exciting outlets for new filmmakers - among the 2011 winners was the charming After Ever After directed by Jeff Pinilla. I interviewed Jeff back then and have kept an eye out for his career since, only to realize this dude is one hard worker. Jeff is currently working on a new project which is sure to capture hearts and imaginations. Here's what he had to say about it:

Hi Jeff, What have you been up to since we last spoke?

I believe we last spoke in 2011. Since then I have been working on numerous commercials and films including a few that helped earn me 6 Emmy nominations in the New York television market. Although I lost with these 6 entries, I learned the value of being amongst some of the greatest talent in the number 1 market. These commercials and promos also went on to win me 4 Promax gold awards at the Promaxbda Award Show in Los Angeles. Along with this, I was also awarded with the "Ron Scalera Rocket Award" which is an award given to anyone working in the industry for two years or less and is doing outstanding work. Recently, I documented a local news team while they were out covering Hurricane Sandy and after posting my 22 minute piece on Vimeo, it accrued over 82 thousand views in a matter of days. The project was titled "The First 36 Hours".

What inspired you to develop this new project?

This new project had been in development for two years. It all started when I saw a sketch for one of my co workers clothing company that involved an astronaut with his arms around two mermaids. The first thought I had was "this is so outer worldly and unique. This is an astronaut that doesn't belong" and the idea flourished from there. I later spent an entire afternoon watching my old home movies and I saw this young version of myself, so innocent and full of joy, that I began to feel a bit nostalgic and so I tied in to the visual treatment I had been giving to my story. It made sense to make this story of an astronaut on earth be about a child longing for his innocence.

Your story is seen through the eyes of a little girl. How important do you think is to show more children's points of view in movies?
I think children are the only ones who have a real perspective. Their brains aren't muddled with opinions or references and their take on everything is purely unbiased and unfiltered. The beauty of children and the way they see things is that their imagination allows them to have a certain perspective on heavy subjects, such as death, which we touch on in this film.

Equally, how important do you think it is to tell stories from a female character's perspective?

In our film, our character goes through a rapid phase of growth which we capture on screen. Almost overnight, the death of her brother changes her. A young girl doesn't decide to become a woman... Life, circumstances, and the mental shift of coping with grief have chosen it for her. This is a side rarely told from a theatrical standpoint. We all know we grow up, and we know women experience it much differently than men, but we never see it told from the eyes of the child before the woman.

Why should people contribute to your project?

This project is much more than a film. After the last two years, there has been this journey I've been on with my storytelling that has allowed me to garner the nominations and rewards that have allowed me to gain a different perspective and appreciation for life. None of this would have ever been possible without the support of my own colleagues, peers, and family and I want to keep them along in this journey for as long as I can. This fundraiser isn't about 1 dollar or 10 dollars but rather about the amount of people that take a look at this idea and say "I believe." As a filmmaker and as a storyteller, there's no better feeling than knowing you're doing something not just for yourself or by yourself, but with the people that stand by your side.

Head over to Rocket Hub where you can contribute to help Jeff make his movie. I'm sure it'll be worth it. 

Beneath the Festival: An Interview With Jeff Pinilla

After watching the official selection for this year's Beneath the Earth Film Festival I decided to interview Jeff Pinilla, director of the Audience Award winner, After Ever After. Given that both Jeff and I are currently in different parts of the world, I was more than impressed by his willingness to talk about his work for my site (ahem, take a cue up-and-coming filmmakers in Latin America...). Jeff was extremely helpful and you can see he has a real passion for his work. One of the things that made me curious about him, was the bio in the festival site where he reveals his passion for film began quite early in his life.

After Ever After is Pinilla's first short film after a notable career in television and advertising. While the film lacks a bit of mood and a harder punch near the climax, it more than makes up for it with inventive technique and some little moments that feel both intimate and universal. I forgot to tell Jeff, that a few lines in his movie seem to have been extracted out of my very own love life. I remembered to tell him this...

Jose: Watching the film one can't help but get the idea that it's very autobiographical (then you get to the credits and see it's based on a story you wrote). Is it autobiographical on any level?

Jeff: It's absolutely autobiographical. I went through one of the most excruciating heartbreaks I've ever felt in my life. I had been through breakups before and I remember thinking "okay, Jeff... two weeks and you should be okay." I kept psyching myself out by breaking down my emotions into these weekly phases. Obviously, it wasn't that easy. I was sleeping in my office, trying to find an apartment, I was obsessed with a commercial I was working on, and I couldn't figure out a way to get this girl out of my head Now, some parts in the script are exaggerated, but the emotions that I felt were in the script which I think helped make it completely honest.

Jose: I loved the way in which you capture some tiny details that make a difference. For example

when Sidney and his friend are playing pool, they have a short exchange that's filled

with pitch perfect timing. Would you say you plan this nuances or is some of this luck?

Jeff: It would be a lie if I said it's completely planned. Every time you're on set you get happy surprises.

A lot of this scene, however, was planned. There's definitely some choreographed moments like the crossing of the 180 when the conversation has a power shift and Dan's subtle moment of putting Sydney in his place by saying "what's your target demo". There's also a subtle moment in the beginning when the title card reads "Saturday morning" and we see them wake up together. This same title card appears later on when he wakes up at 1pm. The significance behind this is that Saturday morning is when you really feel the emptiness. One Saturday, you're waking up with her by your side and the next, you find yourself alone waking up in the worst way in the middle of the afternoon. It's very subtle and you'll only really know what this means if you really dig for it.

Jose: Michael Furlong gives a great performance in the film. Can you please share a bit about your process while directing actors.

Jeff: The process of finding Michael was funny, actually. Originally I was going to play the role myself (like every naive first time director usually does). The only reason I even considered it was based on a passage I read where Chaplin said "the only reason I ever starred in my films was to elevate my directing." I didn't want to risk it, so I decided to hold a casting call and when I saw Michael I was convinced. About two months prior to shooting, I made it a priority to really know how his mind works. We spent almost every night going to bars, playing pool, having conversations. When we were on set and he had his emotional breakdown scene, I came into the set in the morning and pretended that me and my father got into a big fight. He knew I was upset so I got him to start giving me advice by talking about his own personal problems he has had. The thought of loss lingered with him all day.

Jose: I enjoy the way in which you mix fantasy with reality. Sometimes I was reminded of 8 ½, would you say that was an influence? Can you mention filmmakers who have influenced you.

Jeff: It's crazy how you were spot on. 8 ½ was a complete 100 percent influence. I tend to drift into the Fellini/ Jonze/ Gondry realm with my style. It's not just with this film, but also with all my commercial work. Those are the guys that are my day to day influence. They have both style and substance.

Check out one of Jeff's commercials:

New York Jets "The Chase" from Jeff Pinilla on Vimeo.

Jose: I was very impressed by the editing work. Knowing that you have a background in television, you can see the quick cuts and the flashy moments but you also managed to create a great symmetry with longer takes and subtle cuts. In the future would you like to work more in movies or TV?

Jeff: Well, the only reason I ever started working in TV was because I had the freedom to create 30 second short films. Essentially, that's what an Ad is. I have the opportunity to tell a story in 30 seconds and I do my best to incorporate a little bit of style, a strong message, and a sell. I mean, if you can't tell a story in 30 seconds what makes you think you can tell one in an hour and a half? 

Jose: I come from a third world country where the film industry is barely starting and official film education is very flawed. How important would you say is the importance of a film  degree in a global context?

Jeff: I got myself a film degree and to be honest, I contemplated framing it everyday. Yes, a film degree is an awesome thing to have but it's not the degree itself that gives you the ability to chase your dreams. It's about the knowledge and experience you gain from going to a school that focuses on your passion. I don't believe there is such a thing as an official film school education. I've learned more in my two years out of school than I did at anytime in film school. 

Check out After Ever After and all the other films here.

Beneath the Earth Reviews.

As you all know, I was fortunate enough to be part of the Grand Jury of the Beneath the Earth Film Festival.
The official selection was comprised of some truly remarkable films made by people from all over the world.
My favorite entry in the official selection was the fast moving, excitingly melancholy It's Natural to Be Afraid, which deals with globalization, doomed love and is a hybrid between Tom Tykwer and Michel Gondry. You can watch this and all the other films here (but hurry, you have until 11/15)

As part of our work as jury members we all had to review the winning films, which I now present to you:

After Ever After - Winner of the Audience Award

Director: Jeff Pinilla

This tale of love gone wrong focuses on what happens after relationships end. In this case we follow young advertising creative Sidney Gamblin (gotta love the retro inspired name) as he goes through the phases of post-love grief. Done with extreme style and featuring a superb performance by Michael Furlong - perhaps the film's greatest asset - we witness a lovely story that feels urgent and very real. There is a dialogue exchange in a billiard room, which is captured with such care by director Pinilla, that you feel as if he's been poking around inside your memories. The film features a wonderful job of edition that focuses on both moments of extreme activity as well as more introspective scenes and Pinilla does an overall good job even if you get the feeling that he wanted to say much more than he could handle. The film could've done without a few minutes; even if it's quite short, sometimes its themes seem redundant, but Furlong is a joy to watch (talk about schadenfreude) and for all its flaws and slight stylistic incoherence the film results pleasing.

(Watch After Ever After here)

Photographs - Winner of the Best Film Award

Director: Brendan Clogher, Christina Manrique

The problem with Pixar is that they have spoiled us for most animated films out there. Such is the case when watching Photographs, the winner of this year's Best Film Award which seems merited but results slightly underwhelming when compared to other, more exciting work. Photographs tells the story of a lonely old lady who finds a photographic camera and proceeds to take mysterious pictures in different locations. It takes little imagination to figure out why she's doing it and perhaps the film relies too much on this eventual emotional revelation to maintain the audience captivated. Those who guess the twist in the first minute will then be showered with a series of pretty images that lead nowhere. The animation is indeed masterful and the score is gorgeous but the film's emotional payoff is directly connected to the viewer's ignorance of how dramatic structure works, or perhaps its joys are better reserved for those who are less cynical.

(Watch Photographs here)

Don't forget to share the films with your friends and family! As always, what's important is to get new filmmakers involved in the conversation!