Deadline: Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/screenplaycontest.html

Read the best of Short Film Pitches from all over the world:

THE FEDERAL DEPARTMENT, by Sam Thorpe-Spinks
http://www.wildsoundfestival.com/the_federal_department_of_meaningful_existences_by_sam_thorpe-spinks.html

THE RICE COOKER, by Christopher Vance
http://www.wildsoundfestival.com/the_rice_cooker_by_christopher_vance.html

HAVEN FOR GRIT, by Michael Saintil
http://www.wildsoundfestival.com/haven_for_grit_by_michael_saintil.html

ANONYMOUS, by Banksia Lebel
http://www.wildsoundfestival.com/anonymous_by_banksia_lebel.html

THE THREE LODGERS, by Bayo Baker
http://www.wildsoundfestival.com/the_three_lodgers_by_bayo_baker.html

THE DIFFERENCE BETWEEN CARE AND DEATH, by Yetunde Ayodele
http://www.wildsoundfestival.com/the_difference_between_care_and_death_by_yetunde_ayodele.html

WHO IS NEXT, by Deepa Dharmaraj
http://www.wildsoundfestival.com/who_is_next_by_deepa_dharmaraj.html

SPITTING IMAGES, by Jenn Ekeoba
http://www.wildsoundfestival.com/spitting_image_by_jenn_ekeoba.html

Deadline: Screenplay Festival – Get FULL FEEDBACK. Get script performed by professional actors
http://www.wildsound.ca/screenplaycontest.html

 Read the best of Feature Film Pitches from all over the world:

THE BLACK FOREST HAM, by Matthew Heinze
http://www.wildsoundfestival.com/the_black_forest_ham_by_matthew_heinze.html

HER DAGUERREOTYPE, by Jim Starr
http://www.wildsoundfestival.com/her_daguerreotype_by_jim_starr.html

BLUE COVE DAY, by John Robert Jolley
http://www.wildsoundfestival.com/blue_cove_day_by_john_robert_jolley.html

THE PREY, by Luca Alfaroli
http://www.wildsoundfestival.com/the_prey_by_luca_alfaroli.html

FOXHUNT, by Emily Schooley
http://www.wildsoundfestival.com/foxhunt_by_emily_schooley.html

HOLY-WAR, by Joseph D. Shellim
http://www.wildsoundfestival.com/holy-war_by_joseph_d_shellim.html

DREXLER, by Carlton L. Winston
http://www.wildsoundfestival.com/drexler_by_carlton_l_winston.html

O CRY AFRIKA, by William Teller
http://www.wildsoundfestival.com/o_cry_afrika_by_william_teller.html

THE CANCUN INCIDENT, by Lynn Winiarczyk
http://www.wildsoundfestival.com/the_cancun_incident_by_lynn_winiarczyk.html

BHUNDU, by Tawanda Mudokwenyu
http://www.wildsoundfestival.com/bhundu_by_tawanda_mudokwenyu.html

SHADOW BROTHER, by George Tysley
http://www.wildsoundfestival.com/shadow_brother_by_george_tysley.html

SALVAGE AND RECEOVERY THE HEIST, by Lynn Winiarczykt
http://www.wildsoundfestival.com/salvage_and_recovery_the_heist_by_lynn_winiarczykt.html

CARROW, by Kimberly Tompkins
http://www.wildsoundfestival.com/carrow_by_kimberly_tompkins.html

BLOTEFLY, by Vaughn Jennings-White
http://www.wildsoundfestival.com/blotefly_by_vaughn_jennings-white.html

THE ANTI-CHRIST, by Thomas Williams
http://www.wildsoundfestival.com/the_anti-christ_by_thomas_williams.html

TWO FINS ON A FISH, by Kent Flaagan
http://www.wildsoundfestival.com/two_fins_on_a_fish_by_kent_flaagan.html

CALLALOO AND COLLARD GREENS, by Chrisana Noel-Paul
http://www.wildsoundfestival.com/callaloo_and_collard_greens_by_chrisana_noel-paul.html

ASCENT FUSION, by Ruslan Tlif
http://www.wildsoundfestival.com/ascent_fusion_by_ruslan_tlif.html

NILE, by Peter Mbulo
http://www.wildsoundfestival.com/nile_by_peter_mbulo.html

We’re telling stories. Every scene is a piece of that tapestry. Every shot is like a thread in that tapestry. How do those individual threads work best to tell the story of that scene? What are the objectives of that scene? That’s what I’m trying to figure out. I hope to take an audience on a ride when I cut action. I think the best way to do that is by keeping track of the characters in the midst of whatever action is going on. What are they doing in the scene? How are they reacting? If you connect the audience to the characters, it becomes an immersive experience. I think every film, doesn’t matter what genre, succeeds when it gets to that level.

– Greg D’Auria. On his editing process.

Read the entire interview with the editor at http://www.matthew toffolo.com

Interview with Editor Greg D’Auria (Star Trek Beyond, Fast…

Alan Heim is an Oscar & Emmy winning editor. Many will say that he’s one of the greatest editors in the history of cinema. All you need to do it watch “Network” (1976), and “All that Jazz” (1979) to see the uniqueness of his talent. If you haven’t seen those films I highly suggest you do because they are timeless in their themes and character studies. It was an honor to chat with Alan about his career. A career that’s still going strong  at 80 years of age.

Matthew Toffolo: In the last many years you’ve worked with director Nick Cassavetes in collaboration (The Notebook, My Sister’s Keeper, The Other Woman, Alpha Dog). How did you first meet? What makes your working relationship so strong?

Alan Heim: I believe Dede Allen (Editor: The Hustler, Bonnie & Clyde) suggested I cut “The Notebook” and Nick and I have gotten along together very well since…

Greg D’Auria is very modest as you’ll see when you read this interview. He’s a wealth of knowledge and an amazing storyteller – as he seems to be the last to know this! He has worked in the editorial department on over 30 productions in the last 20 years. His list of credits include: Star Trek Beyond (2016), Eloise (2016), Fast & Furious 6 (2013), Django Unchained (2012), & Kill Bill Vol. 1 (2003). It was an honor to interview him:

Matthew Toffolo: You’ve worked as an Assistant Editor on many big Hollywood productions. What is the role of Assistant/Associate Editor? What is the biggest thing you’ve learned doing this task to help you grow as an editor?

Greg D’Auria: I think the main role of an Assistant is to be a traffic cop for the flow of information into and out of the cutting room. I won’t bore you…

DREAMS OR DEMONS, directed by Lisa Svelmoe played to rave reviews at the Under 5 minute Film Festival in July 2016.

Matthew Toffolo: What motivated you to make this film?

Lisa Svelmoe: I was asked to make a film about a relevant media subject and I chose body image.

MT: From the idea to the finished product, how long did it take for you to make this film?

LS: 2-3 months

MT: How would you describe your short film in two words!?

LS: Eerie. Symbolic.

MT: What was the biggest obstacle you faced in completing this film?

LS: Finding the main actress.

MT: What were your initial reactions when watching the Toronto audience talking about your film in the feedback video?

LS: So nice to hear all those great comments. I am convinced once again that you should never underestimate your audience, they are so smart.

MT: How did you…