More



SYNOPOSIS

 

MORE tells the story of an old, tired inventor as he struggles through joyless life in a drab and passionless society, leading the same cold and colorless existence accepted by the identical drones around him. At once tortured and inspired by his dreaming of and yearning for his younger carefree days, he struggles to finish the invention he hopes will give his life meaning and worth. His world, and the world of those around him, is transformed when his secret invention is completed. However, his subsequent success does not come without sacrifice. The inventor realizes that the true essence of his inspiration cannot be manufactured…

WATCH

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This is the trailer for MAKING MORE, the hour long documentary that depicts the epic journey this six minute short film took to make it to the IMAX screen. The full doc is available on the Special Edition MORE DVD in the Happy Product(s) Store.

PHOTO GALLERY

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DETAILS

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Year: 1998
Run Time: 6:00
Format: 70/mm/15p and 35 mm/4 perf release prints

Writer and Director: Mark Osborne
Producer: Steve Kalafer
Co-producers: Debra Callabresi, Kelly Moren

CREDITS

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Writer and Director: Mark Osborne
Producer: Steve Kalafer
Co-producers: Debra Callabresi, Kelly Moren
Line Producer: Shannon Lowry

70mm Prod. Supervision: IMAGICA USA Inc., Kelly Moren

Production Designer: Rick Orner
Puppet Construction: David J. Candelaria
Stop-Motion Animators: Mark Osborne, David J. Candelaria, Nick Peterson
Set and Model Builders: David J. Cadelaria, Nick Peterson, Joe Schmidt
Camera Department: Keith Lowry

Cel Animation Designer: Lorelei Pepi
Cel Animation Director: Jenny Walsh
Cel Animators: Lea Zagury, Rick Potts, Marcos Magalhaes

Post-Prod. Supervisors: Debra Callabresi, Kelly Moren, IMAGICA USA Inc., RPG
Digital Effects Supervisor: Debra Callabresi
Digital Arts and Effects: Ben Matsunaga, Kelly Moren, Mark Osborne

Sound Effects Editor: Jeremy Pitts
Re-Recording Mixer: Peter Carlstedt
Negative Cut: Ron Johnson
Color and Prints: Consolidated Film Industries

Music: New Order, “Elegia.” Written and produced by New Order, Engineered by Michael Johnson, Distributed by Warner Bros. Records, Inc. © 1985 Qwest Records.
Additional Music: Ben Decter

Production Services: California Institute of the Arts, Consolidated Film Industries
Donated By: Dream Quest Images, KODAK Motion Picture Film, Graphic Films, Image G, IMAGICA USA Inc., Iwerks Entertainment, RPG Productions Inc., Swell Productions

Special Thanks To: Mario Allen, Tom Attencio, Tom Barron, Bob Beitcher, Chris Blum, Jamie Caliri, Kevin Clark, Maureen Claypool, Jon Corfina, Edwin Escalante, Larry Fagan, Rick Gordon, Cathy Hair, Wendy Jackson-Hall, Ron Johnson, Tim Knapp, Dick Larson, Alec Lorimore, Alan Markowitz, James Manke, Katherine Mervie, Andrew Millstein, Mike Mitchell, Paloma Navarette, Ammiel Najar, Paul Novoros, Jeff Osborne, Kent Osborne, Paulette Osborne, Julie O’Neil, Andrew Oran, Dave Palomaren, Jose Parra, Sarah Peterson, Brian Peterson, Sean Phillips, Christopher Reyna, Tim Sassoon, Scott Shepley, Susan Simpson, Jonathan Silsby, Ron Wangler, Miriam Yagi

AWARDS

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Academy Awards 1998Nominee – Best Animated Short
Sundance Film Festival 2/99Special Jury Prize for Short Films
South by South West 2/99Best Animated Short
Aspen Shorts Fest 3/99Special Jury prize
World Fest Houston 3/99Gold Special Jury Prize for Shorts
USA Film Festival, Dallas, TX 4/99Grand Jury Prize for Shorts
Toronto International Short Film Fest – 6/99Best Animated Short, Best Short Overall
Stony Brook Film Fest – 6/99Best Short Film
Atlanta Film and Video Festival – 6/99Honorable Mention Animation
‘Message to Man’/St.Petersburg, Russia – 6/99Best International Debut Film
Vila do Conde Short Film Festival/Portugal – 7/99Honorable Mention Animation
PhilaFilm, Philadelphia – 8/99Best Animated Short
One Reel Film Festival/Bumbershoot – 8/99Audience Award for International Animation
ResFest – 9/99Audience Award for Best Film, Grand Audience Prize for Best Film
New Orleans Film Festival – 10/99Lumiere Award
Upsalla International Short Film Festival/Sweden– 10/99Audience Award for Best Film
A.S.I.F.A. Annie Awards – 11/99Nominee for Best Animated Short Subject
St. Louis International Film Festival 11/99Best Short Film
Ft. Lauterdale Film Fest – 11/99Second Place Animation
San Francisco Indie Fest 12/99Audience Award

FAQ

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MORE FAQ

What is the music score for MORE?

Did the New Order music inspire the film?

Is MORE made with computers?

How big were the puppets and sets for MORE?

What materials were used to create the puppets?

Is it true that MORE is an IMAX film?

Does MORE ever play in GIANT SCREEN theaters?

How did MORE get the chance to be a GIANT SCREEN FILM?

Does the 35mm version of MORE ever screen in theaters?

Is MORE a music video also?

Is the Kenna Music Video available anywhere?

Why is it so hard to see this Kenna video?

When will the new short be coming out?

What are your inspirations- books, films, artists, etc?

What specific things inspired MORE?

What specific things inspired Greener?

How do you make a living?

How do you finance your films?

How did you get started, where did you go to school, and did you major in Art?

How did you do the glowing effects in MORE?

How long did MORE take to make?

Are you developing a feature film?

Where can I obtain a copy of your short films?

Where can I find products with your characters on them?

Why should I buy your DVD of MORE when I can see the film for free?

Ask a question

*HAPPY PRODUCT INC© makes no claims about the frequency with which the questions that are answered here are asked.  Due to forces beyond our control, INFREQUENTLY ASKED QUESTIONS may also be answered here from time to time.

FIRST GIANT SCREEN STOP-MOTION ANIMATED SHORT

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MORE Premieres at IMAX Theater to Standing Room Only Audience

November, 1998. Los Angeles, California. Los Angeles-based director Mark Osborne has completed
MORE, a six-minute, experimental animated short filmed for the “Giant Screen” format and the
premiere screening filled the 500-seat theatre to capacity.

MORE was shot on 65mm 15-perforation negative film, which is printed on 70mm/15-perforation
positive film, known in the industry as 70/15p. As a result, MORE has the distinction of being the first
fully-animated stop-motion film to be presented for exhibition in the 70/15p format. MORE will
premiere on November 19, 1998 at the state-of-the-art California Science Center IMAX Theater in Los
Angeles’ Exposition Park. MORE will then be screened in front of Everest for three days, November
23-25. A 35mm/4-perforation print will also be created for showing in more traditional venues.

An experimental amalgam of animation techniques and styles portraying a narrative storyline, MORE
brings latex and clay puppets to life in a constructed three-dimensional environment, enhanced with
multiple-pass animation of light and color. In all, MORE features over 7,000 individual frames of
animation, including 30 seconds of hand-drawn cel animation, designed by independent animator
Lorelei Pepi, for a fantasy sequence in the film. The film score is an extended mix version of the song
“Elegia” by the world-renowned pop group New Order.

MORE tells the story of an old, tired inventor as he struggles through joyless life in a drab and
passionless society, leading the same cold and colorless existence accepted by the identical drones
around him. At once tortured and inspired by his dreaming of and yearning for his younger carefree
days, he struggles to finish the invention he hopes will give his life meaning and worth. His world and
the world of those around him is transformed when his secret invention is completed. However, his
subsequent success does not come without sacrifice. The inventor realizes that the true essence of
his inspiration cannot be manufactured…

“It was a tremendously inspiring year that compelled me to begin my second short animated film,”
says Osborne. “I had been working in the commercial world and when I started teaching I returned to
a creative environment that reminded me how important it is to make personal films.”

In early 1998, Osborne was already at the point of starting production of MORE as a personal film
project in 35mm, when he was approached by Swell Productions’ Debra Callabresi and Kelly Moren.
Representing the Large Format Cinema Association (LFCA)’s Animation & Experimental Film Task
Force, Callabresi and Moren offered the LFCA’s support to help Osborne switch the production to
70mm format. MORE was co-produced by Osborne’s Bad Clams Productions and Swell Productions,
with funding provided by producer Steve Kalafer and his company, Flemington Pictures.

“Large format is the perfect medium for experimentation in animation. The sheer size of the screen
allows the artist the opportunity to create a viewing experience impossible in any other visual
medium,” says co-producer Debra Callabresi, who, on the flip side, produced the Internet animation
festival, Absolut Panushka, which featured experimental animation displayed as Quicktime movies
about the size of a post-it note.

The Large Format Cinema Association (LFCA) is a non-profit organization which includes in its goals
the objective of promoting and encouraging experimental uses of the Large Format medium. This
year they have assisted with several 70/15p animation projects including MORE (Jules Engel’s Aviary,
Christine Panushka’s Singing Sticks, and Bärbel Neubauer’s Sky).

Under the non-profit wing of the LFCA’s Animation & Experimental Film Task Force, Osborne obtained
donated equipment and services from Eastman Kodak, CFI, Dream Quest Images, Graphic Films,
Image G, IMAGICA USA, INC., iWerks Entertainment and RPG Productions. The production facilities
were donated by California Institute of the Arts (Cal Arts) in Valencia, California, where Osborne, an
alumnus of the school, teaches stop-motion animation production.

“The LFCA Animation Task Force is proud to be supporting this important milestone in the
development of a new cinematic genre,” said LFCA President Christopher Reyna, general manager of
IMAGICA USA, which generously donated 65/15p digital scanning and recording (film outs) in addition
to general assistance with the elements of the production of MORE specific to 70mm film making.

Giant-screen, also known as “large format” film classifies a variety of film formats that use negatives
larger than standard 35mm. There are about 200 giant screen specialty theaters in the world, and
more being built every year. The latest trend in giant-screen cinema theaters is their addition to 35mm
standard movie mega-plexes, such as the Edwards Cinema spectrum theater in Irvine California
(IMAX), or the Ontario Mill theater in Ontario, California (Iwerks).

In addition to its premiere large format screening in November, MORE will be screened at the
California Science Center as part of the LFCA annual Conference and Large Format Film festival May
18-22, 1999.

THE MAKING OF MORE: TECHNICAL INFORMATION

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The production of MORE began in April 1998, with Osborne making storyboards and a fully timed
animatic, while the details of the 70mm production were being ironed out. As 70mm production costs
are far greater than that of 35mm, everything had to be planned out meticulously before a single
frame could be shot. Co-producers Kelly Moren and Debra Callabresi worked out a methodology for
the 70mm/15p production which incorporated donated services in order to keep the costs as low as
possible.

Working with donated equipment necessitated a resourceful–and patient–approach. Production on
MORE began by mounting a compact single-frame 65mm camera (donated by Graphic Films) on a
motion-control rig (donated by Image G). Director Mark Osborne notes that “It took some effort and
ingenuity to make the two systems compatible. The four weeks we spent setting up the technical
aspects also allowed us more opportunity to elaborate on the six different sets we needed to create.”

In fact, the camera system employed for the shoot was designed for miniature model shoots, not stop-
motion animation, which presented some difficulties for the crew. When shooting stop-motion
animation, it is helpful to be able to see through the lens. However, this camera system was designed
primarily to be compact, and as such the standard reflex viewing system was eliminated. So, to set-up
each shot, the film was completely removed from the camera body, the mechanism that registers the
film had to be removed, and a viewing mechanism–a prism directed at a video camera or a plate of
ground glass and a mirror–had to be put in place.

Osborne notes that one of the additional challenges of working with large-format film is the level of
detail it offers. “Since we had originally planned to shoot just in 35mm, our plans had to be expanded
to include the additional level of detail and complexity needed for large format,” he says. A crew of five
artists labored for a total of three months on the six elaborately detailed sets used in MORE.
During the 15-week shoot, Osborne and his animators shot all stop-motion animation on “ones,”
meaning that just one frame of film was exposed for every movement of the scene. Some scenes
using in-camera multiple-pass light effects required that a single frame needed to be shot four or even
five times to achieve the desired effect. In all, MORE features over 7,000 individual frames of
animation, including 30 seconds of hand-drawn cel animation, designed by independent animator
Lorelei Pepi, for a fantasy sequence in the film.

The cel animation sequences were scanned, colored and composited on Macintosh PPC computers
using Adobe’s Photoshop and After Effects software, and filmed out using IMAGICA USA’s 65mm film
recorder. Also utilizing IMAGICA USA’s donated services, Osborne opted to composite several
extremely difficult shots digitally in post-production. Callabresi and Moren used IMAGICA USA’s
Digital Image Manipulation facilities to create and repair about one minute of stop-motion footage for
MORE.

The film’s final edit decisions were created using Adobe Premiere on a Mac 9500 utilizing a Targa
2000 PCI digitizing board. The work print was cut to match the video that featured a specially-
designed keycode and shot numbering system. Negative cutting of the estar-based film was done
using a sonic splicing process (donated services of RPG Productions Inc.). 70mm test screening
facilities were donated by Iwerks Entertainment.

MORE premiered on November 19, 1998 at the state-of-the-art California Science Center IMAX
Theater in Los Angeles’ Exposition Park. MORE then screened in front of Everest for three days,
November 23-25 to get itʼs qualification for the Academy Awards short competition. MORE will also be
screened at the California Science Center as part of the LFCA annual Conference and Large Format
Film festival May 18-22, 1999. A 35mm/4-perforation print will also be created for showing in more
traditional venues.

REVIEWS

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There are not words enough in the dictionary to begin describing the master achievement of this brief but almost excruciatingly brilliant short film. Using a technique considered almost passe by many filmmakers, writer-director Mark Osborne has crafted a work that is no mere piece of nostalgia – no simple gimmicky achievement (i.e. making stop-motion work on an IMAX screen). Rather, it’s a work of art that makes ambitions of most feature films seem puny by comparison, almost as if there were an inverse ratio between the running time and accomplishment.

With no dialogue, little drama, a free-flow of images, the film is poised on the edge of abstractionism, except that the images combine to form a story clearly understood. An aging inventor, haunted by the memories of a playful childhood long gone, works on a soul-deadening assembly line by day while tinkering winth an invention on his own time. Periodically checking the flickering (dying?) life force emanating from a compartment in his abdomen, he finally uses a drop of this philospher’s stone to complete his invention, which brings color to this colorless world. But his joy is short lived when his invention becomes merely the next product mass-produced on the same assembly line, and while he now resides in an upper office rather than in the factory below, he still finds himself yearning for something more…. that has been lost.

With puppets and a monochromatic cityscape that recall the work of bolex brothers (e.g., THE SECRET ADVENTURES OF TOM THUMB), MORE nevertheless stands as a perfect achievement in its own right. The distorted expressiveness of the puppets is not merely eye-catching in a bizarre way but emotionally involving. The music by New Order (in the vein of Mike Oldfield’s “Tubular Bells”) unifies the images as Osborne’s graceful camera tracks and pans and dissolves from scene to scene, pulling viewers into the events on screen. When the invention brings a moment of vivid color (courtesy of Lorelei Pepi’s cell animation), it is a breathtaking moment that surpasses the ham-handed metaphor of a similar device in PLEASANTVILLE. All in all, you will not see six better minutes of film on screen this year- or ever.

Steve Biodrowski

“… this six-minute short has produced DVD material that puts the majority of Hollywood studios to shame… a must-own collection for aspiring filmmakers and those who enjoy the crafting of a film.”

DVD Town review, click HERE

” Only in the spirit of independent film could you have 2 discs of material for a six minute film… this is exactly what I’ve been waiting for… The film itself is great, and the extras are considerable, especially since this isn’t a Hollywood blockbuster. Buy and enjoy.”

Lights Out Films review, click HERE.

“[MORE]… packs an emotional punch that puts it on a plane with the best features.”

Steve Schneider

“Osborne combines expressive, fluid claymation with psychadelic animation in a story that in just six minutes is able to do what too many filmmakers canʼt do in two hours: make you care.”

Soyonim

“Remarkable…”

Peter Olsen

COLLECTIONS – [FOR THE SERIOUS COLLECTOR]

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Best of Wholphin Vol 1

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SYNOPOSIS

 

The Best of Wholphin Vol. 1 includes the Academy award nominated shorts, “Two Cars, One Night” and “MORE”; a band of Scottish 9-year-olds singing “Satan Rocks” at the county fair; the most illegal game of border volleyball ever played; Bob Odenkirk’s hilarious TV pilot “The Pity Card”; the U.S. Government stealing horses from two Shoshone grandmothers; award-winning animation; cult favorite “The Delicious”; the bravest 13-year-old girl in the world; performances by Miranda July, John C. Reilly, David Byrne, Patton Oswalt, giant squid, New Order, Aesop Rock, God, and so much more!

DETAILS

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Year: 2008
Run Time: 165min
Studio: Mcsweeney’s

Directors: Taika Waititi, Bob Odenkirk, Mark Osborne…

TABLE OF CONTENTS

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Two Cars, One Night
Short Film, New Zealand
Directed by Taika Waititi
12:00

Heavy Metal Jr.
Documentary, U.K.
Directed by Chris Waitt
24:00

The Pity Card
Unaired TV Pilot, U.S.A.
Directed by Bob Odenkirk
12:29

Chonto
Animated Short, U.S.A.
Directed by Carson Mell
13:33

American Outrage
Excerpt from the Documentary, U.S.A.
Directed by Beth Gage & George Gage
32:30

Walleyball
Original Wholphin Short, U.S.A.
3:18

The Delicious
Unaired TV Pilot, U.S.A.
Directed by Scott Prendergast
15:54

MORE
Animated Short, U.S.A.
Directed by Mark Osborne
6:19

A Stranger in Her Own City
Documentary, Yemen
Directed by Khadija Al- Salami
29:45

Are You The Favorite Person of Anybody?
Short Film, U.S.A.
Directed by Miguel Arteta
Written by Miranda July
4:11

Untitled Patton/Byrne Piece
Original Wholphin Short, U.S.A.
6:42

Born Like Stars
Original Wholphin Short, U.S.A.
5:20

Tactical Advantage
Short Film, U.S.A.
Directed by Daren Rabinovitch
3:30

BUY BEST OF WHOLPHIN VOL 1!

Wholphin no. 2

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SYNOPOSIS

 

Wholphin is a new quarterly DVD magazine lovingly encoded with unique and ponderable films designed to make you feel the way we felt when we learned that dolphins and whales sometimes, you know, do it.

Wholphin no. 2 features a brand-new film from Steven Soderbergh, the Japanese Bewitched rescripted by writers of The Daily Show, two Oscar-nominated animated shorts, and special appearances by Andy Richter, Donald Trump, and a monkey-faced eel.

DETAILS

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Year: 2008
Run Time: 148min
Studio: Mcsweeney’s

Directors: Bob Odenkirk, Steven Soderbergh, Mark Osborne…

TABLE OF CONTENTS

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THE PITY CARD
Directed by Bob Odenkirk
Starring Simon Helberg, Derek Waters, Zack Galifianakis and Bill Hader
Short Film, 12:29 minutes

BUILDING NO. 7
Directed by Steven Soderbergh
Short Film, 3:52 minutes

AMERICAN STORAGE
Directed by Andrew Jay Cohen
Written by Brendan O’Brien
Starring David Krumholtz and Martin Starr
Short Film, 13:10 minutes

SOUR DEATH BALLS
Directed by Jessica Yu
Documentary Experiment, 4:36 minutes

THE MYSTERIOUS GEOGRAPHIC EXPLORATIONS OF JASPER MORELLO
Directed by Anthony Lucas
Animation, 26:07 minutes

OKUSAMA WA MAJO (”MY WIFE’S A WITCH”)
Scripts by Daniel Handler, Rich Blomquist, Scott Jacobson, Jason Reich and Dan Kennedy
Re-scripted Japanese Sitcom, 27:00 minutes

HOME, JAMES, AND DON’T SPARE THE HORSES
Directed by John Dolan
Short Film, 31:33 minutes

THE MESMERIST
Directed by Bill Morrison
15:48 minutes

MORE
Directed by Mark Osborne
Animation, 6:19 minutes

HOW TO: POKE POLE A MONKEY-FACED EEL
Directed by Wholphin
Starring Kirk Lombard
Instructional Video, 3:43 minutes

THE MOVIE MOVIE (AN EXCERPT)
Directed by Errol Morris
Starring Donald Trump
3:58 minutes

THE QUEST
Directed by Wholphin
2:10 minutes

BORN LIKE STARS
Directed by Steve Haddock and Brad A. Seibel
Scientific Discovery, 5:20 minutes

THE COMPETITION
Directed by Wholphin
A competition, 3:43 minutes

BUY WHOLPHIN NO. 2!

Best of ResFest #2

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SYNOPOSIS

The Best of RESFEST Volume 2 is a stellar collection of 12 hand-picked short films from the archives of RESFEST, a global, touring festival dedicated to showcasing innovative film, music, art, design and technology. Designed to support and inspire emerging talent, the festival kicks off annually each fall in the United States, and then journeys worldwide to over a dozen cities across six continents, building a global network of creators and audiences. The festival has supported breaking new talent, hosted visionary filmmakers, and pushed boundaries to rethink the visual language of cinema.

Highlights of this collection include Virgil Widrich¹s amazing Copy Shop, winner of numerous awards and an 2002 Oscar Nominee for Best Short; Daniel Loflin¹s dark yet hilarious Delusions in Modern Primitivism; Mark Osborne¹s powerful animation More, winner of the first Audience Choice Award at RESFEST and an Oscar Nominee; and Elyse Couvillion¹s masterful DV short Sweet.

DETAILS

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Year: 2003
Run Time: 117min

Directors: Daniel Loflin, David Birdsell, Elyse Couvillion, Mark Osborne, Suzie Templeton
Writers: Karl Moore, Daniel Loflin, David Birdsell, Elyse Couvillion
Actors:Karl Moore, Kurt D. Christenson, Kris Ingersol, Tony Fish, Joshua O’Keefe

BUY BEST OF RESFEST #2!

Shorts 7 Utopia

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SYNOPOSIS

 

A compilation of Short Films that includes the Acedemy Award Nominated short “MORE” which also won best short at SUNDANCE 1999.

The Utopia issue. More is the first stop-motion animated short film shot in the 70mm format. This story of an elderly inventor working on a secret project was nominated for an Academy Award. Zoltar from Zoran is a pitch-perfect teen angst story about a boy who claims to be from the Planet Zoran. Sophie Fiennes and Shari Roman have created Lars from 1-10, a portrait of Lars von Trier, director of Breaking the Waves and creator of Dogme 95. The documentary Amplified Man weighs in on the evolutionary future of man and machinery. Features experts ranging from Mark Mothersbaugh of Devo to NASA rocket scientists. Other films include Richard Belzer (Homicide) as one of the futuristic patrons in The Bar Channel, along with director Frank Chindamo’s companion piece, The Remote; claymation animator Young Man Kang employs traditional Korean images and materials in Images of Korea; Superstition 9 from Mexico; The Lion and the Lamb from Montreal; and much much more.

DETAILS

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Year: 2000
Run Time: 112min

Director: Mark Osborne
Producer: Gordon Bijelonic

Supplements:

  • More – Alternate video track of animatics (storyboards in motion); interview with filmmaker Mark Osborne
  • Zoltar from Zoran – Audio commentary by the director; rough cut alternate ending
  • Lars from 1-10 – Audio commentary by the filmmakers
  • Amplified Man – Robotic version of American Gladiators
  • Images of Korea – Audio commentary by the director
  • Superstition 9 – Filmmaker’s multi-media creation
  • The Lion and the Lamb – Audio commentary by the director

BUY SHORTS 7 UTOPIA!

Film Fest DVD 2

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SYNOPOSIS

 

Get into issue 2 of FILM-FEST DVD magazine and you’ll be whisked away to the south of France for all the glitz and glamour from the most famous festival in the world, the Cannes Festival International du Film. Spend time with acclaimed director John Sayles, actress Irene Jabob, actor-turned filmmaker Alex Winter, hot young actors Timothy Olyphant and Natasha Gregson Wagner, and go behind the scenes with Ron Howard, Spike Lee, Atom Egoyan and Salma Hayek. Not to be missed – 7 of the best short films from the festival circuit including the Academy Award Nominated 70mm masterpiece More. (Short films included in issue 2 include – More (Mark Osborne), Express Aisle To Glory (Jonathan Buss), Devil Doll (Jarl Olson), The Mischievous Ravi (Byron Shah), Falcone (Jean-Dominique Ferucci), Descent (Kevin Souls), Catholic School (Jona Frank)). And don’t forget the “Coming Soon” section where we preview Sophia Coppola’s, The Virgin Suicides and the controversial Kevin Smith hit film, Dogma.

DVD Extras include Alternate Audio Tracks, Production Notes, Advanced Web-Connectivity, Pop-up festival facts, interactive menus, filmographies and more.

DETAILS

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DVD Release Date: 1999
Run Time: 130min
Format: Color, AC-3, Collector’s Edition, NTSC

Directors: Jonathan Buss, Mark Osborne
Writers: Jonathan Buss, Mark Osborne
Producers: Jonathan Buss, Debra Callabresi, John Bernstein, Kelly Moren
Actors: Laura Dern, Atom Egoyan, Salma Hayek, Ron Howard, Irène Jacob

BUY FILM FEST DVD 2!

BUY!