August 28, 2013 § Leave a comment
Julia Kwan interviewed by Ileana Pietrobruno, March 2006
Steve Rosenberg interviewed by Ileana Pietrobruno, November 2005
Kerry Laitala interviewed by Ileana Pietrobruno, September 2005
Jem Noble- The Collapse of Memory and Promise, Cineworks/Signal and Noise May 2010
On Cinematic Cartographies, or, What is Art Good For? by Roger Beebe, 2009
Moveable City- by Vanessa Brown, Sept. 2009
08/08/08: An Interview with Project 8 Founder Julie Sargosa by Amy Lynn Kazymerchyk, 2008
The Enduring, cheyanne turions Critical Essay, April 2009
Cinema + Disjunction, curated by Ben Donahue, April 2009
Who Will Give Up Their Distinctions? cheyanne turions Curatorial Essay, July 2008
Plaidcolumn’s Reponse to “Who Will Give Up Their Distinctions?”, July 2008
Notes on an Independent Aesthetic of Dance-Film in Canada, by memelab, 2008
Claudia Morgado Interviewed by Ileana Pietrobruno
Karin Lee Interviewed by Ileana Pietrobruno
December 14, 2012 § Leave a comment
This afternoon I had to opportunity to ask John a few questions about himself and his upcoming workshops:
John Woods has been a Cineworks member since 2003. Currently working with alternative film processes with Super 8 and 16mm film, John’s work has been screened across North America and Europe. He knows no one famous.
There are 2 upcoming workshops with John:
Learn how to setup & maintain the printer, basic principals of digitizing film and how to use the resulting computer files in their digital post-production workflow.
Tuesday, January 22, 6 p.m. – 9 p.m. Limited Spaces available.
$40 Members, $60 Non-Members.
Introduction to 16mm Optical Printing with a JK Printer
Saturday, January 26, 12 p.m. – 6 p.m. Limited spaces available.
$80 Members, $120 Non-Members
Special rate of $100 if you register for both the digital and analogue workshop for all Cineworks members!
Check cineworks.ca for more information.
Thanks to John Woods for his time!
December 13, 2012 § Leave a comment
Last week, our own Facilities and Equipment Manager Jon Ornoy successfully pitched True Love Waits, the winning script of the 2012/13 Motion Picture Production Industry Association Short Film Award at The Whistler Film Festival. Besides prestige, the prize comes with a $15,000 cash prize and up to $100,000 in services to help the director develop the script to premiere at next year’s Whistler Film Festival. I thought it was time to send a few emails back and forth down the hall and get to know Ornoy the filmmaker a little bit better.
Image taken from Brianne Nord-Stewart’s site (Jon is the one in the hat)
CineworksPost: First, Congratulations! How does it feel to know you’ve got a premiere already locked down at next year’s film festival?
Jon Ornoy: Getting into festivals can be tough and sometimes frustrating because of all the competition out there. Ultimately, every filmmaker wants their work to be seen by an audience, and preferably in a theater, so knowing that I’ve got at least one audience lined up is nice. It’s also good to have hard deadlines to help motivate completion!
CwP: Can you briefly tell us what True Love Waits is about?
JO: The film is the story of Judy, a woman in her mid-fifties who has spent her entire career decorating the windows of Wedgely’s for Women, a high end clothing boutique. However, recently she has begun to suspect that Tammy, a new employee at the store has been sabotaging her displays at night in an effort to make her look bad and steal her job. Every morning when she arrives at the store, her work is in more and more of a disarray, in ways that Judy can’t explain, and she begins to slowly crackup as the prospect of losing her job becomes more of a reality.
CwP: I recently caught your first finished work, The Lunar Effect (2008). While that was a documentary and this is a fictive drama, is there a trajectory in how your approach storytelling and filmmaking?
JO: Even though documentaries deal with “real life”, in many ways I find there to be a lot more room for creativity within that genre than dramas because the real world is so much weirder and more diverse. The variety of storytelling coming out of the narrative world has been decreasing a lot in recent years as the films Hollywood fills the multiplex with take fewer risks and prefer to feed audiences the same stories repackaged and rebooted. Even though TLW is scripted, I’d like to shoot it using as many documentary techniques as possible like using handheld cameras and allowing the actors to improvise with each other and the public who will be extras in the film when they unknowingly walk through our downtown sidewalk locations. I’d definitely like to continue working on both sides of the “reality” line and expect that my approach to each genre will be informed by what I’ve learned from doing the other and am very interested in exploring docu-drama hybrids.
This e-mail interview took place on Thursday, December 13, 2012 between Jon Ornoy and Amy Fung.