FILM FORT

FEATURED FILMMAKERS - DECEMBER

2009-11-30T13:23:00.089-05:00

I had a chance to ask a couple of questions to each of the filmmmakers screening at our next event December 12th. Hopefully it sheds a bit of light on their approach to filmmaking and how they use their space to create these amazing works.

MIKE WEISS - Toronto ON - www.deliciousnougat.com

As a kid, Looney Tunes and Weird Al. As a teen, Tool videos and anything where people were unhappy. Drawn and Quarterly, Fantagraphics comics and Kids in the Hall. Actually, I really, really love watching television and movies and books to the point where I think I’m doing this only because I enjoy what other people are doing so much, not necessarily because it’s my purpose, or anything.

Where do you do most of your work, can you explain a bit about your set up?

I pretty much do it all in my tiny bachelor apartment – build sets, props, puppets, shoot animation, even record most of the voices. I record using a mini-disc recorder, so I could even take it on the road for those gracious enough to lend their voice, but who couldn’t make it to my place to record.

For building materials and supplies, I always keep it cheap. It’s fun taking a cheap piece of crap and enthusiastically injecting creativity into it – it gives it a sad, flawed charm. Dollarama, Value Village, Active Surplus and art stores are where I get most of my props. My friend Arlen made the costumes for the puppets out of clothing items I purchased from Value Village (and washed). Here are a few photos from the set of Mike's stop motion short "Debt" that was shot at his house.

For instance, puppet sweatpants are made from people sweatpants, and so forth. I constantly keep my eyes open for props I need for the film – I needed a garbage can prop and, while in a candy store, I found some candy that came in a gimmicky garbage can container, sized at the perfect scale for my film! The candy was terrible, though, so I guess that was a ‘single win’.

What I can’t find, I build using Sculpey, foam core, hot glue (12 sticks for a buck at Dollarama!) and acrylic paint. My advice for anyone looking to shoot stop-mo at home: find a place where hydro is inclusive.

What do you eat while working on your films?

Upon reading this question, I realized I ate an amazing number of shawarmas while making this film.

What are you working on now?

I’m working on a lot of shorter films at once right now. For me, it’s so much more satisfying doing a long story, but it takes forever.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I do have a day job and finding an appropriate balance is an ongoing struggle. I never try the “I’ll work during the day and then come home and work on my film at night” approach. It’s too much. I tend to work contract jobs, so quite often making a film during down-time works out nicely.

Is there a purpose to screening work outside of the internet anymore?
I definitely think there’s a purpose to screening work outside of the internet – have you seen that David Lynch iPhone clip? I mean, I love the sheer volume of content and exposure that’s accessible through the net, but it doens’t really do the works justice. The online screening of indie films also lacks the personal touch of an immediate audience response. Small scale shorts tend to be personal works, and it’s a huge payoff for the artist to experience people enjoying your work. I would also never open a comments section if I were to post a film online.

MIKE JUNEAU - Canmore, AB - www.heisthefuture.com

After taking photography through high school, and first year of university I realized that I was not totally satisfied just creating one image, or even a series of photos. So I switched to video. I wanted every frame to be able to stand alone as a beautiful photograph. I'm still working towards that goal, it's something that I think about each time I direct.

I love listening to music, but since I don't yet have the skills to create something worth listening to, the closest thing I could do was document musicians that I enjoyed. I started with early Born Ruffians shows in high school back when they were Mornington Drive, the first music video I ever made was for their song "Hello Sincicago".

Where do you do most of your work, can you explain a bit about your set up?

I work on my desktop Mac and using Adobe Premier to edit. For studio work I have only really had one for my thesis at school, it was really great to have a whole space dedicated to just creating work. I'd like to get another studio one day. I really enjoyed having a completely separate space, then the one you live in. Even for my paintings I did them all in my bedroom, and my carpet really suffered from it. Plus my computer mouse and keyboard are smeared with paint.

My creative process usually begins with one image in my head, and then I work around that. For brain storming I find it best to have someone to talk to. With music videos I just listen to the song over and over until something comes into my head.

What do you eat while working on your films?

I work on a reward system, so once I complete a section of a video I allow myself to eat a bag of Ruffles Sour Cream and Onion Chips, or Jalapeno Doritos. I survive mostly off pizza and burritos.

What are you working on now?

I just finished another music video - this time for Bellewoods, the song is called "Kneel on the Apron". This is my 4th or 5th time working with Kyle McCreight, he is my partner in Humble Empire. This video features my Dad in his acting debut. I am really excited to show people; I think it's the best video I have ever made.

For future projects I want to try out a new medium, I just moved to western Canada and am thinking of pursuing street art. I don't have a video camera out here, so I probably won't make any videos unless I can find a sweet deal at a garage sale or something. I also want to learn to sing and figure out how to write songs. I am out here with my girlfriend Meghan and she is really motivated to become a great guitarist, singer and song writer, so she is inspiring me to focus on that too.

Here are some stills from Mike's music video for dd/mm/yyyy.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I've been lucky for the last few months I've got to help out and work for my friends. I was assisting Jesse Ewles for the month of October, he is a great guy to work with and be around. My other part time job through out the summer was as a painter. I showed my work at the Outdoor Art Show and had a solo show at Earth & Fire Gallery they both went really great.

Getting paid for my paintings really opened up my eyes to other possibilities for making money. I never thought I could make money off of my paintings before. Video work has always been the medium I thought I'd succeed in, I had just painted for fun for a few years, until I was convinced by my friends that I should do more than just hang them on my own walls.

Is there a purpose to screening work outside of the internet anymore?

I definitely think that work needs to be screened outside of the internet, unless you have a home theatre or something hooked up to your internet. I think most videos need to be seen big, and if it can be also with a group of people in the dark it gets even better. I realized the importance of this after seeing one of the first successful videos I created for Rock Plaza Central - "I am an Excellent Steel Horse" play at a screening at Bloor Cinema. I had watched it dozens of times on my computer, and liked it but never loved it. When I saw it huge and in a theatre I realized that it was something I should be proud of.

FELIX KALMENSON - Toronto ON - Felix's Site

I would say my strongest influence would be my mentor Tracy German who taught me everything I know about hand processing, scratching and painting on negatives. She teaches part-time at Sheridan now, but I got to know her through some film tutorials at the Hart House.

As for people whose films inspired me, that would have to be Arthur Lipsett, Norman Mclaren, Stan Brakhage, Guy Maddin, Jan Lenica, Chris Marker, Svankmajer, Artavazd Peleshian, and most of all Fassbinder.

Where do you do most of your work, can you explain a bit about your set up?

I work mostly at home. I edit negatives on a light box with surgical blades, picks, sandpaper, india ink, and markers. I get my camera rentals and do my handprocessing and final cut pro editing at the Hart House, which has been an indispensible resource. They also award small grants that have been really helpful in funding my work. They require you become at Hart House member or a U of T student to join the Film Board, but it's really worth it since their rentals are so cheap. I get my digital transfers at Photoplays, they are sweetest people, plus they have the cheapest tranfers in town.

What do you eat while working on your films?

I mostly just drink copious amounts of tea.

What are you working on now?

I'm working on a music video for the band Brides and another one for Little Girls. Other than that I'm mostly just working on scripts for upcoming shorts. Here are some samples of Felix's photography taken from his site.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I'm a student right now, so it's pretty difficult to find a balance, I usually wait till breaktimes to work on film. I don't really think I'll be making a living off my work, I couldn't see anybody paying big commercial bucks for my kinda work but I don't really care, I'll just have a shitty job and work on my own stuff, that way I'll have complete creative control.

Is there a purpose to screening work outside of the internet anymore?

I do think there is value in screenings because it provides a platform for face-to-face feedback which means so much more to me than youtube comments, plus it works to foster a local creative community which is really important to me.

JESSE EWLES - Toronto ON - www.jesseewles.com

I have a strong protestant work ethic which lead me to habitually
overwork any paintings or illustrations I'd do. Switching to film
makes it harder to nitpick; the project is so big, you're forced to keep
moving forward or you'll overshoot the deadlines.

Where do you do most of your work, can you explain a bit about your set up?

I've shot most of my work with cheap still cameras; the advantage was
that you could get a great picture quality without having to buy a 20k
video camera. Plus civilians tend to ignore you more readily when
your shooting with a tiny point and shoot. Luckily, since then,
Canon has come out with great SLRs that shoot HD. It'll be amazing in
5 years or so when anyone can have a pro camera for a few hundred
bucks. The price of equipment has been prohibiting a lot of good
films from being made over the years I think.

What do you eat while working on your films?

Doritos and Instant Breakfast, sadly. Mostly veggies and catfish the rest
of the time.

What are you working on now?

A short derived from the Aesop's Fable The Frog's That Wanted a King.
It's a remake of a stop-motion animation Ladislas Starevich made in the
20's. Here are some stills below of the puppet making process.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I live with two roommates and I scrimp on fun stuff like vacations and
buying new clothes. I'm probably going to get a part time job this
spring I think. Just to regain a bit of routine. There's a danger of
being swallowed by the work if I'm allowed to do whatever I want all
the time.

Because I come from an illustration background, I think I'm as
prepared as anyone for the changes that are going on in the film
industry. Basically I think we're headed for a future where pictures
are made by small crews of multi-talented people who self-finance and
distribute their work. The educated generalist will replace the
specialists (ie Director's won't be able to afford to JUST boss people
around and Gaffers will be able to afford to make their own films if
they choose.)

Budgets will dry up, but so to will the prohibitive
expenses of making a video. It's the same direction indie music has
gone, and much like indie music, the most talented people will be able
to make cash. If I work hard enough, get good and find an audience,
I'll be okay. If not, I'll go back to school and persue my first
love: Rain forest scientist, like Conery in Medicine Man.

AMY LOCKHART - Montreal QC - Amy's Blog

What or who got you into animation/music videos/film?

Helen Hill and Trixy Sweetvittles really got me into animation, and opened me up to different ways to make things, and animations. Mostly just don't take things too seriously and don't be brought down by the limitations of things, just find your own way to get around them. Like making hand crafted films.

Where do you do most of your work, can you explain a bit about your set up?

I work mostly in my apt. Our place is kind of small right now so I am having a bit of trouble getting back to the standard. I first started making films on a 16mm oxberry film stand. So I would make all the art for it at home, then go in and lock myself away until it was all filmed. Devil Lives In Hollywood took around 6 hours to film, or less. But Walk for Walk took around 3 months of 9 hour days, 5 days a week, sorta thing. Eek. Anyways.. now I work in video mostly.

My set up is super simple. I use Framethief, a share ware program that lets you capture single frames using a video camera. And Then I attach the camera to a shelf that is affixed above a table top. Yep. Oh yeah, for Walk for Walk I built this isolation booth in my living room. Basically like a sound proof cardboard fort. It was tiny and had no air inside, with a mic, some earphones and a mouse, that was attached to my laptop which was outside the fort. I could see it through a double paned plexiglass window I made. And that's how I recorded the sounds for that one.

What do you eat while working on your films?

Gum. I really like chewing gum while I am working, especially writing or something. Gets my brain going.

What are you working on now?

Hmm...... I will be in the Pulp Fiction group show at St. Mary's (I think) in Halifax in January. A book of mine called Dirty Dishes (with a painting of two ladies on front with no title) just came out. Drawn and Quarterly Published it. I am also working on a live action film (with some animation mixed in).

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I babysit sometimes, which is a fun and rewarding odd job. Heh... I also tend to live cheaply so I don't have to stress too much about work, etc.

Is there a purpose to screening work outside of the internet anymore?

Yeah, I have seen some great video stuff on the internet, especially outsider/folk art type stuff. But I don't know... It would be great if local tv got really cheap or accessible again and it turned into a public access type thing. But really I kind of see everything becoming more internet based, and people become more and more alienated from the people around them, bwahahahahahaaa!!! Heh... But I think and hope there will always be screenings of things in theatres.

SINBAD RICHARDSON - Montreal QC - www.viennapitts.com

What or who got you into animation/music videos/film?

I started doing stop-motion animation when I was quite young with my father's Hi-8 camera. I started by creating a character in clay and making him go from sitting to standing up. I remember when I saw the playback for the first time and seeing it come to life and being amazed that I was able to do that with so little. I remember watching Pingu and wanting to do animation like that.

Where do you do most of your work, can you explain a bit about your set up?

My set up changes from project to project. When I'm working on personal projects I like working from home where I have complete control of my time and snacks.

I use whatever is available to me to achieve telling a story in an interesting visual way. If there is budget then I can afford tools and space that make it easier, but with or without a budget if you are the single animator it's going to be a lot of work. It's good to do tests, even if it's just a few frames. Personally I work at 10 frames per second and the results are great. For the Have You Seen In Your Dreams music video for Miracle Fortress I worked at 10 fps.

What do you eat while working on your films?

Szechuan and Breaktime cookies.

What are you working on now?

I've started writing dialogue for a webisode series. The story's main character is "Jennifer Harris", a talk show host who has recently gone from daytime AM radio to a hot late night spot.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I spend most of my time working as a graphic artist for bands which also branches out into creating videos for bands.

Is there a purpose to screening work outside of the internet anymore?

I think there is a purpose to screening work because it can give you particular exposure to a community which can be great to get more screenings or even paying work. Real life word of mouth has been great to me and I think that kind of exchange is an important part of creating a name for yourself in your area. As for the future of video, I think more and more advertisement in cities and public trasit will all be video, my advice would be to start learning Flash.

BRANDON JAN BLOMMAERT - Montreal QC - www.pandaclock.com

What or who got you into animation/music videos/film?

I never even thought about animation until I tried it in 2004 in some art school elective. The teacher, Kevin Kurytnik, was my first major influence. He really encouraged me to play and not worry about making things that make sense and he showed me the most insane things I had never seen before. Then I realized a lot of my friends were really into animation at the time and they where also really encouraging.

Where do you do most of your work, can you explain a bit about your set up?

I always have different working situations and have yet to have a steady space. If I have no space I work digitally, if I have space (and time and money) I will do things with objects. I think all art is is about solving problems creatively, even if the problems are self created. On a film like Greycon4 (made in the living room of my apartment at the time) every shot was created differently. I have no real formal training and I really had no idea what I was doing, so every frame was kind of an adventure. So yes, always building things. I got good at making paper sculptures. I would like to make another movie like that, but I need time, money and lots of space that I don't currently have. If I make a film that is all digital (like batmilk) it is still time consuming, but it is kind of a vacation.

What do you eat while working on your films?

I basically live on bagels, apples and coffee.

What are you working on now?

I am trying to make a music video today. I am obsessed with making tiny minimal loops and I am going to start a little claymation movie in December.

Do you have another job outside of filmmaking? How do you find a balance between making art and making a living?

I should do the responsible thing and get a real job but I get fired from things pretty quickly. I do a lot of projects that are not animation related. Animation/video stuff rarely pays me. There is a pretty huge chasm between what I want to make, what I get paid to make and what I am technically able to make.

Do you think there is a way of making a living doing what you're doing?

I feel like I know very little about video stuff, as far as venues, funding, technology, ideology etc... so I don't know much about the future, past or present. I would like to make money doing what I like doing. I don't think I will ever get paid to make the movies I want to make, but I will find a way to make them, even if I have to go to jail as a result.

I might get into product placement. I've been trying to figure out how to approach big companies to see if they would pay me to work their logos or products into my movies. I made this as part of a proposal to Burger King, I was imagining making a movie set in a Burger King of the future or something. I haven't sent in the proposal yet. I feel like that would be easier than trying to trick the government into thinking there is artistic merit to what I do. Trying to get money for movies is a great mystery to me but it also seems like a big part of the adventure.

Is there a purpose to screening work outside of the internet anymore?

Yes, screenings are very important. If someone is going to put an ass load of work into a film I want to see it big, loud, bright and in an awkward sweaty social setting. I like going to screenings because I know that someone has picked things for me that are amazing that I need to see (as an audience member). It's like being handed a plate of delicious pre-made food, rather than trawling through a giant infinite bin of junk, sure you might find something amazing in that pile but I find the pile is so big I just want to keep digging. The internet is obviously good for spreading weirdness rapidly around the world, in this workaday world of flash frying, cubicle warfare, and booty bass we have to admit that this is the future of cinema

You can see some of Brandon's loops during Film Fort intermission this Saturday!

DECEMBER FILM FORT - ANIMATION

2009-11-22T10:38:00.007-05:00

FILM FORT + PRIMARY COLORS PRESENT
DECEMBER 12TH
NEW ANIMATIONS+MUSIC VIDEOS FROM ARTISTS ACROSS
CANADA+USA

Mike Weiss
Philip Eddolls
Brandon Blommaert
84 Films (N.Y.)
Jesse Ewles
Zak Margolis (PORTLAND)
Tobias Stretch (PHILLY)
Amy Lockhart
Allison Schulnik (L.A.)
Mike Juneau
Felix Kalmenson
Sinbad Richardson
Leslie Supnet
Nick Fox-Gieg
Bryan Belanger
More to be announced...
+++++
VINCE COLLINS AND SALLY CRUIKSHANK RETROSPECTIVE (SAN FRAN)

DJ LONGHORN GRILLE
5 BUX
9:30PM SHARP @ 225 STERLING (House of Everlasting Super Joy)

SECONDS SHOTS!

2009-08-27T16:28:00.006-04:00

Thank you to everyone that came out to Seconds Under the Sun!

MICRO INTERVIEWS WITH SECONDS UNDER THE SUN ANIMATORS: PART 2

2009-08-10T13:02:00.015-04:00

Atsushi Wada
Day of Nose, 9min 31sec（2005）

Born in 1980, Hyogo prefecture. Atsushi Wada started making animations on his own while studying at Osaka Kyoiku University. After graduating, he studied film and experimental video at the Image Forum school and created “Day of Nose” as his final project. It won the Best Short Film prize at the Norwich Animation Festival among other awards at screenings both home and abroad. He then went on to contribute to the omnibus Tokyo Loop and is now majoring in animation at graduate school at the Tokyo National University of Fine Arts and Music.

Favourite smell: A towel that’s been in the sun.
Favourite childhood toy: I can’t remember any toy in particular, but I remember enjoying playing with my younger brother.
First visual memory: I either imagined it or dreamt about a large room at daycare. We were having nap time when all of a sudden a criminal or psycho came into the daycare and everyone started crying. I had already checked for an escape route in case of a situation like this and escaped through that very window without anyone noticing. I was the only one who ran away.
Summer for you is: Watermelon (I don’t really like it) and fireworks (I don’t really like them either).

Daisuke Ichiba
Animation for Les Religions Sauvages by Le Dernier Cri, 2min 34sec (2006)

Daisuke Ichiba started painting seriously in the eighties and in 1990 self-published his first book entitled 37 Year Old Bastard. Since then he has continued to release a book a year, and was noticed by the great manga artist Takashi Nemoto, as well as Pakito from the outsider art gallery Le Dernier Cri in Marseille, France. Since 2006, Ichiba has held solo shows in such places as Paris, Marseille, and Switzerland, and in recent years has been pursuing photography.

Favourite smell: The scent of a woman.
Favourite sushi: Mackerel.
What are you reading right now? “What is Zen Buddhism?”
Summer for you is: Watermelon.

Kei Oyama
Yuki-chan, 5min 15sec (2006)

Born 1978 in Tokyo. Kei Oyama graduated from the Image Forum’s affiliated school in 2001 and the Tokyo Zokei University in 2005. His graduation production “The Doctor’s Office” screened at the Cannes International Film Festival. Oyama participated in the 2006 omnibus Tokyo Loop and completed graduate school at the Tokyo Zokei University in 2007. Presently, he is working on a work titled “Hand Soap” at the Aichi Arts Centre.

The most frightening thing: Death.
Your birthday: September 11th, 1978.
Your usual breakfast: Rice, miso soup, natto and an egg. The classic Japanese breakfast. If I don’t have time, sometimes I’ll stop in at a 7-Eleven and get a sandwich or onigiri (rice ball).
Summer for you is: Scalding asphalt, oyster water, grimaces on people’s faces, the smell of sweat. When I was a kid it used to be the sound of cicadas, but I feel like I hear them less these days.

Kihachiro Kawamoto
The Demon, 8min (1970)

Born in 1925, from an early age Kihachiro Kawamoto was captivated by the art of doll and puppet making. After seeing the works of maestro Czech animator Jiri Trnka, he first became interested in stop motion puppet animation and during the 50s began working alongside Japan's first stop motion animator, the legendary Tadahito Mochinaga.

In 1958, he co-founded Shiba Productions to make commercial animation for television, but it was not until 1963, when he traveled to Prague to study puppet animation under Jiri Trnka for a year, that his puppets truly began to take on a life of their own. Trnka encouraged Kawamoto to draw on his own country's rich cultural heritage in his work, and so Kawamoto returned from Czechoslovakia to make a series of highly individual, independently-produced artistic short works, beginning with Breaking of Branches is Forbidden (Hana-Ori) in 1968.

Heavily influence by the traditional aesthetics of Noh, Bunraku doll theatre and Kabuki, since the 70s his haunting puppet animations such as The Demon (Oni, 1972), Dojoji Temple (Dojoji, 1976) and House of Flame (Kataku, 1979) have won numerous prizes internationally. He has also produced cut out (kirigami) animations such as The Trip (Tabi, 1973) and A Poet's Life (Shijin no Shogai, 1974). In 1990 he returned to Trnka's studios in Prague to make Briar Rose, or The Sleeping Beauty.

Naoyuki Tsuji
The Place Where We Were, 6min (2008)

Born in 1972, Shizuoka, Japan. Naoyuki Tsuji lives and works in Yokohama. He graduated in 1995 with a B.F.A. from Tokyo Zokei University.

What type of meal inspires you: A delicious meal is best!
Summer for you is: Sweat, sun, asphalt.

Shintaro Kago
Terror of Olympic Game, 1min 20sec
Terror of Golf Course, 1min 35sec (2008)
Mermaid, 33sec (2009)

Born 1969 in Tokyo, Japan. He is a Japanese manga artist.

First part-time job: Manga artist's assistant.

The most terrifying thing: Nuclear missile.

Favourite smell: Inside of a bookstore.

Summer is: Mosquitoes.

Tochka (Takeshi Nagata & Kazue Monno)
Kanazawa (Trailer), 2min (2008)

TOCHKA is a creative unit conprised of Takeshi Nagata and Kazue Monno. They have been making animation films, graphics and comics since 1998. They were awarded the Multimedia grand-prix 1999 in CGsection, and nominated in the Annecy Animation Film Festival (2000) and Holland Animation Film Festival (2000). They participate in various group shows and projects, such as [capaty in caphouse] in Kobe, Japan (2001), [animation soup] in Osaka, Japan (2000 to 2002), and [BIGART movie festa vol1~3] in Yokohama (1999 to 2002). They also participated in the animation film project [RELIGIONS SAUVAGES] produced by Le Dernier Cri in Marseille France and are now members of the Conference on Art and Art Projects (C.A.P.) in Kobe, Japan.

MICRO INTERVIEWS WITH SECONDS UNDER THE SUN ANIMATORS: PART 1

2009-08-08T10:45:00.012-04:00

Akino Kondoh
Ladybirds' Requiem, 5min 38sec (2006)

Akino Kondoh was born in Chiba in 1980 and graduated from Tama University Department of Graphic Design in 2003. In 2000, Kondoh won 2nd AX Manga Newcomer's Award / Encouragement Award (Seirin Kogeisha) with manga "Kayoko Kobayashi", and in 2002 her animation “The Evening Traveling”, on which girls dance rhythmically to the music by Toshiaki Chiku (former member of music group, Tama), brought her Grand Prix for DIGISTA AWARDS 2002 / Animation Division. Her drawing is known for a fine and delicate touch with a mechanical pencil. She recently made approach to oil painting and the second manga book “Itsumo no hanashi”(Seirin Kogeisha) has been published in 2008.

First visual memory: For some reason I see the scene from behind: I remember riding in an orange baby carriage when my family, the four of us, were leaving to go somewhere on a snowy day. It could have been a memory from my first dream.

The most frightening thing: Irrational occurrences.　
The person who taught you how to sew a button: My mother.
Summer is: Cicadas.

K+Me (Kaoru Sato & Jeremy Sanson)
Weirdos, 2min 23sec (2008)

K+Me was founded in London in 2005 by Jeremy Sanson and Kaoru Sato. Their work is based on the concept of using materials close at hand. They moved operations to Tokyo in November 2006 and began their collaboration in earnest. Aside from motion graphics, they are also involved in illustration, graphic design and editorial design.

(Kaoru)
Favourite childhood toy: Sylvanian Family.
Your first part-time job: A waitress at an Italian restaurant.
What type of meal inspires you: Hmmm, my grandmother’s nimono (stews)… nikujaga! (stewed meat and potatoes)

(Jeremy)
Favourite character: I don't know but when I was young I liked Wile E. Coyote.
Shoes you usually wear: Today I’m wearing my organic Veja shoes.
The most frightening thing: I am scared of getting older... I want to stay young!!

Kurosaka Keita
Worm Story, 15min (1989)

Kurosaka Keita (b. 1956) is an independent experimental short animation filmmaker. In 1985 he debuted with his abstract motion graphics that used walls and the surfaces of stones as material. He has created numerous short animation works using diverse techniques such as drawing, photography and 3D objects.

First part-time job: I taught an arts and crafts class to toddlers.
Artists/animation that inspired you in your youth: I started drawing comics influenced by Disney and Tezuka Osamu when I was in elementary school.
First visual memory: One night when I was little, I woke up in the middle of the night because had to go pee. Opening my eyes, I saw a 45 cm cube dancing down the hall and became so terrified that I couldn’t bring myself to go to the bathroom.

Mika Seike
Face to Face, 8min 42sec (2007)

Born and raised in Osaka Japan, Mika Seike began creating animation in 2001.

First visual memory: The scenery around the place where I lived since childhood until about 12 years ago. In my memory it is an alluring three-dimensional image. The scenery still appears in my dreams sometimes.
An artist you admire right now:　I admire the animation artist Georges Schwizgebel and have been watching his DVD of collected works a lot recently. I really like the DVD.
Favourite smell:　I like the smell of the air before and after raining, and the smell of the forest.
Summer for you is: The heat, and Japanese festivals. The summer in Osaka is damp and hot!

Shoji Goto
UMO (Music video for OOIOO), 3min 39sec (2007)

Born in 1973. Shoji Goto is a graphic designer, motion graphic creator and musician. Foucsing mainly on album covers, music videos, flyers, and t-shirts of various bands, he works on his own music as well.

The age you learned to swim: I think I was six, but I could have been younger.
First album purchased: The Police, Ghost in the Machine.
The most frightening thing: Geography Cone (a species of cone snail that lives in the ocean known for its poisonous venom).
Summer for you is: Cicada songs, the sound when you’re under water, and the rays of sun while diving.

Tomoyasu Murata
Lemon's Road, 13min（2008）

Born in Tokyo, 1974. His Nostalgia received an Excellence Prize at Media Art Festival by the Agency of Cultural Affairs of Japan, and Scarlet Road received an Excellence Prize at the 2005 International Animation Festival Hiroshima. Recently, Murata has been working not only on animation but also other art forms, including manga, photographic images, and installation works as a total art form.

Favourite childhood toy: Famicom.
Most enjoyable movie you’ve seen in 2009: Ponyo on the Cliff by the Sea (Hayao Miyazaki).
Favourite smell: Flowers.
Summer for you is: Watermelons.

Naomi Nagata
Komoko-chan’s Coffee, 4min 17sec (2008)

Born in 1978, Naomi Nagata makes music videos and her own works in stop- motion animation using sand and paper cut outs. Since 2002 she has been involved in event planning and operation as a member of the animation screening group “animation soup”.

Favourite childhood toy: When I was child, I liked playing outside more than playing with toys. But, when I play inside, my favorite toy was Family Computer.
Do you like coffee? Yes.
The length is takes you to brush your teeth: Hmm....about 5 to 10 minutes.

SECONDS UNDER THE SUN: A JAPANESE SHORT ANIMATION SCREENING

2009-07-17T10:13:00.017-04:00

A hot summer night of brilliant Japanese animation shorts, most of which are being shown for the first time in North America! There will be cold beer, yummy Japanese snacks, a raffle, and J-psych grooves straight from the gutters of Shinjuku.

Tuesday August 18th
8:30 PM
Function13 (156 Augusta Ave)
Admission: PWYC

FEATURING WORKS BY:

Akino Kondoh Website
Atsushi Wada Website
Daisuke Ichiba Website
K+ME Website
Kei Oyama Website
Keita Kurosaka
Kihachiro Kawamoto Website
Mika Seike
Naomi Nagata Website
Naoyuki Tsuji
Shintaro Kago Website
Shoji Goto Website
Tochka (Takeshi Nagata, Kazue Monno) Website
Tomoyasu Murata Website

Curated by Naomi Hocura

Poster design by Andrew Remington Bailey (http://hehasantlers.blogspot.com/)

COMMUNITY SPONSOR

If you're into Japanese indie films be sure to check out Toronto’s first Japanese Cinema Festival happening the following weekend August 21-23. Check out their schedule online for the full listings.

GUESS WHAT JUST ARRIVED IN THE MAIL!

2009-06-30T22:38:00.003-04:00

A super crazy animator from San Fran by the name of Vince Collins has sent his work to screen at Film Fort. For the longest time even he didn't have copies of his work! This is a real treat, if you don't know any of his work I am posting a link at the bottom of this page, a lot of you will remember the pin ball animation from Sesame Street. We are going to put together a special screening of his work real soon! Keep coming back for updates!

BRUCE BICKFORD SHOW PHOTOS!

2009-06-24T21:00:00.005-04:00

Click here to see more pics from our last show! Photos by Naomi Hocura.

FEATURED ARTISTS: BRUCE BICKFORD AND BRETT INGRAM

2009-06-21T09:02:00.009-04:00

Bruce, what projects do you have planned and/or what are you working on at the moment?

I'm working on a comic book, trying to find a soundtrack for my clay animated film CAS'L',numerous screenwriting projects, various line animations, and a proposal for a potential TV series about pirates.

Have you ever worked outside of your own studio?

I worked for Frank Zappa from 1974-80.

What is the longest amount of time spent on one single shot?

I've never kept track of such things, but I am certain some clay animated shots took days or weeks, and some line animation sequences without cuts took months to do.

Your studio is set up in your house, can you explain what that is like and how you have made it efficient for yourself?

It would be easier to do a video about my archiving process than try to explain it. As far as filming, I don't have much space, but the scenes I shoot are on a very small scale involving very tiny miniatures in some cases, so I make do with the space I have.

Do you listen to music while animating?

I mostly listen to talk shows and music. Music with a fast tempo is best.

What is the most difficult thing about doing commercial work, can you share some insight or some stories from previous work you have done?

I've hardly done any commercial work - a line animated commercial, a clay animated spot for MTV Latino, and a music video. The hardest thing about these projects was meeting the short deadlines, but I managed to do it in every case.

Brett, what new projects do you have on the horizon?

I just finished a new documentary about an outsider artist/illustrator named Renaldo Kuhler. For more information, visit my website: http://www.brettingram.org/

How did you first get to collaborating with Bruce? What is your take on the future of independent film distribution?

I met Bruce when he came to a film festival in North Carolina. I helped him coordinate an animation workshop he was teaching. From there, we just stayed in touch until I decided a documentary should be made about him.

As far as the future of independent film distribution goes, I'm hardly an expert. In some ways, as a lot of filmmakers and distributors would probably agree, things look pretty bleak as with many aspects of the current economy. Due to the digital video revolution, there has been an explosion of work with so many more filmmakers out there than ever before. So, having success and getting noticed on the festival circuit is getting harder and harder.

But more and more people are finding ways of distributing their work online. How they make any money (or even break even) at it is still a mystery to me. Things are really in flux right now and who knows what the future holds, but it seems to be heading in the direction of everything being distributed online eventually, though I hope the theatrical experience never dies out completely. There's nothing like seeing a movie on a big screen with an audience. Thankfully, there are many alternative cinemas and venues like yours who dedicate themselves to screening truly original work that might not otherwise be seen.

Can you share some insight on your approach to screening Bruce's work, ie collaborating with bands. What draws you to these methods of screening/promotion?

Bruce: Because CAS'L' doesn't have a permanent soundtrack yet, and because there are a lot of bands that
want to be heard and to score films, it seems to be a good approach for now.

Brett: There is a quality of Bruce's animation that makes it work with almost ANY music. What's interesting is that with each original band/score, the film takes on a completely different mood and each experience is unique and magical.

LESS THAN TWO WEEKS AWAY!

2009-06-02T18:26:00.001-04:00

New animated poster for the upcoming Film Fort/Primary Colors show June 13th at the Deleon White Gallery! Animated by Brett Long, sound by Andrew Zukerman, production design by Winston Hacking.

THE WORK OF BRUCE BICKFORD

2009-05-17T13:53:00.010-04:00

Film Fort and Primary Colors have teamed up to bring you THE WORK OF BRUCE BICKFORD godfather of psychedelic claymation. We will be screening a short documentary on Bruce by Brett Ingram "Luck of a Foghorn" 28 min. (2008) and Bruce's short film "Prometheus' Garden 28 min. (1988). The screening is a fundraiser for a future Toronto collaboration+screening of Bruce's newest film (Cas'l') to screen in the fall with a score+foley by Mike Smith (Muskox) and Andrew Zukerman (Gastric Female Reflex).

Followed By ANOTHORRRR SHOW!:

Brian Ruryk: the pedagogue of ping-pong percussion, the highway-martial of amphetamine sound aesthetic, the hairdresser of electro-shock patients; first show in years! sounds like a beercan avalanche in a pack-rat's mansion through warp-speed howdie-doodie?

D.A.D.S.: Zeesy Powers and Amy Lam reunite after how long? to stick it to the neglectful, coors-injected, testosterone-swilling mustache-men of the patriarch. You like this!

Battleship Ethel: Openly dexterous and from Hamilton, B.E. is a barefaced affront to the recent trend of not being able to play music and begs the question WHY DO WE LET THEM GET AWAY WITH IT!?! Their sound is bigger than a precarious pile of diapers threatening to collapse on lunchmeat rendition of the moaning lisa.

Man Made Hill: The man with the most memorable phone number in the phonebook returns to demonstrate how to grapple a arpeggiated keyboard line, a drum machine and a host of derogatory pelvis munitions that marinate your brain in butter before blowing it out your third ear.

+ DJ Longhorn Grille: formerly DJ 3PO, formerly DJ how does this thing work, formerly DJ heinous vein

films @ 8pm
music @ 9:30pm

BRUCE BICKFORD RAFFLE PRIZE!!!
Silkscreened Poster, Pillowcase, F13 Gift Certificate and DVD!

Event Sponsored by:

The Deleon White Gallery
Function 13 - www.function13.ca
Halo Halo Screenprinting - www.halohalo.ca

FUNCTION13 GALLERY LAUNCH

2009-04-06T20:30:00.011-04:00

Function13 now has a gallery! With more space comes more events, art & good times. Look out for an all Japanese artist Film Fort at F13 this summer.

The inaugural exhibit ONE HUNDRED WAYS TO LIVE, is an exhibition jam between F13, Halo Halo Screen Printing Studio and friends. Head down to contribute to the 100 sq ft collage! As part of the exhibit we have 100 one dollar art grants available. First 100 applicants will be accepted!

EXHIBIT WRAP PARTY & AUCTION
FRI APRIL 17th - 8:30pm / 156 Augusta Ave / Admission: PWYC

Featuring:

ZZ Sharrock
Gastric Female Reflex
Guy Dallas
Man Made Hill
DJ Dog Mouth

FILM FORT @ HALO HALO - URBAN SPACE GALLERY

2009-02-26T01:00:00.013-05:00

We will be holding a special Saturday Film Fort at 401 Richmond's Urban Space Gallery as part of the Halo Halo Screenprinting Exhibition and Fundraiser. Come out and see some mind boggling animation from the amazing Japanese filmmaker Keita Kurosaka. Prizes from Function 13!

Kurosaka Keita is an independent experimental short animation filmmaker. In 1985 he debuted with his abstract motion graphics that used walls and the surfaces of stones as material. He has created numerous short animation works using diverse techniques such as drawing, photography and 3D objects.

His body of work includes commercials, manga, and illustrations. "Papa ga Tonda Asa [The Morning that Papa Flew], " the MTV Station ID that he created, has received international acclaim. He also actively holds exhibitions and workshops. His work has screened at various international film festivals and his collection of shorts, ‘The Collected Works of Keita Kurosaka’ (Three Volumes, Mistral Video), won awards at Annecy International Animation Festival, BDA International Design Awards, Ottawa International Animation Festival and Holland Animation Film Festival.

His recent work includes ‘Fuyu no Hi’ [A Winter Day], a collaborative work with 35 animators from around the world, which was released in theatres in 2003. He is currently working on his first full-length animation film for theater called ‘Midori-ko’.

Films curated By: Naomi Hocura

SATURDAY MARCH 7
DOORS: 8:30pm
ADMISSION: $5
URBAN SPACE GALLERY (AT 401 RICHMOND) TORONTO

A part of the HALO HALO EXHIBITION AND FUNDRAISER
MARCH 2nd to March 7th, 2009

FEATURING ARTISTS
Fiona Smyth | Michael Comeau | Andrew Zukerman | Jacob Horwood | Winston Hacking | Steph Davidson | Jesjit Gill
Randy Gagne | Michael Deforge | Ginette Lapalme | Jan Avendano | Tomas Del Balso | Alexandra Mackenzie
Deadweight! | Team Macho

++ Tetsunori (Japan) | MIRUKI TUSKO (Belgium) | Urban Inks (New York) | E.T. Press (Baltimore)
Luke Ramsey (Vancouver) | Kilusan Collective (Philippines)
++ Week long installation by Exploding Motor Car
++ Free halo-halo made by Chef Rudy
++ Celebrating the collaborative work from over 60 students in 2008

PERFORMANCES BY
Music Neighbour 3 | Multi | Apt.909 | 663A | Masia One | Ana EQ | Minae Omi | Tower of DJ | Exploding Motor Car

www.halohalo.ca
www.function13.ca
www.apt909.blogspot.com

SHOW PHOTOS

2009-02-17T23:42:00.005-05:00

Our latest show at the new location went over without a hitch, no angry neighbours and no one calling the cops about the line up of people outside of our building! Here are some photos. Keep checking back to find out about our next special screening at the 401 Richmond building. Amazing amazing psychedelic animations from Japan...

FILM FORT + LE DERNIER CRI @ NEW LOCATION!

2009-01-27T21:39:00.009-05:00

TUESDAY 8:30PM FEBRUARY 10th 2009!

"LES RELIGIONS SAUVAGES" - 2007

"THIRTY ARTISTS FROM ELEVEN COUNTRIES HAVE CREATED A FILM THAT IS A KIND OF HELLFISH JOY RIDE FOR THE EYES THAT IS CLOSE TO ART BRUT AND LEAVES HARDLY ANY FANTASY UNTOUCHED. IT IS NASTY, BLASPHEMOUS AND OBSCENE, AND THE ANIMATION REVEALS ITS ANARCHISTIC SIDE."

- Fantoshe Animation Festival

Artists Include:

Mathias Lehmann (Fr) / Tochka (Jap) / Mike Diana (Usa) / FTZ (It) / Leyla (Can) / Los Lichis (Mex) / Scott Batty (Uk) / Caroline Sury (Fr) / Fredox (Fr) / Marcel Ruijters (Neth) / Marc Druez (Fr) / Mischa Good + Carmen Gomez (Ch) / Reïjo Karkaïnen (Fin) / Laetitia Brochier (Fr) / Pakito Bolino (Fr) / Blineau Judex (Fr) / Ishiba Daïsuke (Jap) / Stumead (All) / Marco Corona (It) / Raymond Reynaud (Fr) / Valium (Can) / Moulinex (Fr) / MS Bastian (Ch) / Matti Hagelberg (Fin) / Katja Tukiainen (Fin) / Jonathon Rosen (Usa) / Elina Merenmies (Fin) / Nicoz (It) / Nuvish (Fr) / Melted Men (Usa) /Quentin Faucompré (Fr)

WARNING: THIS FILM IS NOISY AND GRAPHIC - NOT FOR THOSE WHO ARE EASILY OFFENDED OR FOR ANYONE THAT IS EPILEPTIC! (SEE TRAILER BELOW)

WE HAVE MOVED TO A NEW LOCATION!
(888 DUPONT ST. UNIT 108)
THIS IS ALSO A PWYC EVENT!
WE CAN ONLY FIT 60 PEOPLE SO ARRIVE ON TIME BEFORE THE DOORS CLOSE!
CHEAP BEER+TREATS!

For more info please visit:
www.lederniercri.org

TRAILER!!!

FEATURED ARTIST - HOOLIGANSHIP

2008-12-29T18:42:00.009-05:00

Name: Hooliganship - Peter Burr & Christopher Doulgeris
Age: 28 & 28
Location: Portland, Oregon USA
www.hooliganship.com
Hooliganship's Youtube Page
Day job: Artists
Describe your work: Our friend said this once: 'Hooliganship have an unforgettable live show which blends their penchant for animation with their passion for electro rock. Coming off like a game of Super Mario in a parallel dimension, Hooliganship craft elaborate video sequences with which they interact on stage. They at once create the blip-bleepingly glorious live soundtrack for the video, while also playing along -- a giant remote control on stage turns on a TV screen within the video, etc. The result is compelling, humorous, and downright innovative -- plus costume changes.'
Influences: The Black Lodge, Yuichi Yokoyama's New Engineering, John Carpenter's Escape From New York Soundtrack
Favourite local artist: Bruce Bickford
Describe your process/approach to filmmaking: When we first started working together we were making these dense background video worlds that swirled around us while we played live musical party-shows. This eventually tightened up into highly synchronized dance-shows where we taught specific moves to our audiences to join the video maelstrom. Currently we are exploring more narrative paths of cartoon music including the use of custom props, lighting effects, and costumes.
Describe your approach to screening work/touring: Do-It-Yourself
Current project: We are beginning to work on a new music show called CASTL CRNRS that will be like a super pitfall koyaanisqatsi.

FILM FORT THIS TUESDAY!

2008-12-14T18:09:00.000-05:00

A screening of new work from local and international artists; a collection of melting cartoons, practical taxidermy, hand scratched super 8, etch-a-sketch music videos, epileptic animated collage, bottled cadavers and much much more! Visit www.filmfort.ca to see the animated poster!

Local Artists:

Seth Scriver
Jesi The Elder
Nirvana The Band The Show
Allen Riley
Kat Burns
Stefan Herbruger
Mike Weiss
Scott Cudmore+Spencer Butt
Iris Fraser
Naomi Hocura
Family Contact
Franktown

Guest Artists:

Chad VanGaalen (Calgary)
Mike Maryniuk (Winnipeg)
Sinbad Utz (Montreal)

Hosted By: Spencer Butt
Doors: 8:30pm
Screening: 9pm
$5

FUNCTION13 IS OUR OFFICIAL SPONSOR!

2008-12-12T21:32:00.000-05:00

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We are really excited to let everyone know that Function13 is our offical events sponsor. What does this mean? You can expect to have a chance to win some great dvd prizes at our events and there will be more surprises to come... Here is some more info on the store!

Design, Art, and Technology; The interaction, crossover and dialogue between these often-thought unrelated disciplines is constantly advancing, resulting in new aesthetic boundaries. The exciting areas created by these changes are the focus of this unique retail environment.

The store features a carefully curated selection of books, tees, DVDs, magazines, electronic music, timepieces, gadgets and other items that represent the most inspiring and exciting work being done in these areas both globally and locally. We aim to bring out the inner design nerd in everyone!

Join us on Facebook!

Location:
156 Augusta Ave
Toronto, ON

FEATURED ARTIST - MIKE MARYNIUK

2008-12-08T21:30:00.001-05:00

Name: Mike Maryniuk
Age: 31
Location: Winnipeg, Manitoba
www.winnipegfilmgroup.com
Mike's Youtube page
Day job: Production Coordinator at the Winnipeg Film Group
Describe your work: Fun Formalism. My films are: Scratch animated, hole punched, pixelated, temporary tattooed, hand processed, dipped in bile, put in a bag with firecrackers attached to highlighters, processed in the murky waters of the Red River, and fun to watch.
Influences: Virgil Widrich, Doug Henning, Al Simmons, Craig Baldwin
Favourite local or Canadian artists: Fred and Sharon, Winnipeg Filmmakers: Darryl Nepinak, Greg Zbitnew, Leslie Supnet, Matthew Rankin
Your "blockbuster" Canadian feature film idea: The life story of the Manitoban badminton player who used a snowshoe instead of a racket. This truly amazing story must be told!
Current project: My Ice fishing epic.

FEATURED ARTIST - NICK FOX-GIEG

2008-11-30T17:34:00.001-05:00

Name: Nick Fox-Gieg
Age: 30
Location: Toronto
www.fox-gieg.com
Nick's Youtube page
Day job: Animator
Describe your work: Flash animation that, I hope, doesn't look like Flash animation.
Influences: René Laloux, William Kentridge, Don Hertzfeldt
Favourite local or Canadian artists: Peter Foldes, Chris Landreth, Freida Abtan
Your "blockbuster" Canadian feature film idea: Woot! The Mars Phoenix Lander Story
Current project: A Bravo!FACT short about René Carmille, who was most likely history's first computer hacker.

NEXT FILM FORT DECEMBER 16th!

2008-11-28T08:31:00.000-05:00

More info coming soon...

Animated By: Brett Long
Designed By: Winston Hacking

SUBMISSION DEADLINE EXTENDED!

2008-11-14T12:52:00.000-05:00

We are still accepting submissions for the next Film Fort to screen in December. Please send us your short films, animations, music videos or documentaries for consideration for the next screening or a future screening in the coming months! There is no submission fee!

Please send your work as a 720x480 uncompressed quicktime files on a data dvd, clearly labeling your name, film title and contact information. Mailing address:

FILM FORT
888 Dupont St. Unit 108
Toronto, ON
M6G1Z8

The deadline for submissions is NOVEMBER 28TH!

FILM FORT #6 - OCTOBER 15 2008

2008-11-10T12:27:00.000-05:00

October 15th 2008
Doors: 8:30pm
Studio 404: Not Found
Curated By: Winston Hacking

Artists: Jeremy Bailey, Mark Stevenson, Matt King, Emily Tu and Matt Hammill, Jesi The Elder, Zak Tatham, Jesse Ewles, Nick Fox-Cieg, Brendan Ko, Efehan Elbi, Randy Gagne+Wolfcow
Guest Artist: Whamcity (Baltimore)

Click pictures to view full album on Flickr!

FILM FORT #5 - JULY 29 2008

2008-11-10T12:24:00.001-05:00

July 29th 2008
8:30pm
Studio 404: Not Found
Curated By: Winston Hacking

Artists: Brett Long, Iris Fraser, Brian Roche, Victoria Cheong,
Jesse Ewles, Jesi The Elder, Ajla Odobasic, Dona Arbabzadeh+Slim Twig

Click pictures to view full album on Flickr!

FILM FORT #4 - MAY 16 2008

2008-11-10T12:18:00.000-05:00

"Small Change Screenings - Action News"
(A collaborative screening with Space 1026 from Philly)
May 16th 2008
8pm
Studio 404: Not Found
Event Coordinator: Iris Fraser

Guest Artists: Ryan Trecartin, Chris Ward, Sarah Christman, Andrew Jeffrey Wright and Clare E. Rojas, Michael Robinson, David Dunn, Ted Passon

Click pictures to view full album on Flickr!

FILM FORT #3 - APRIL 8 2008

2008-11-10T12:17:00.001-05:00

“The Sights and Sounds of Language In Their Particular Order”
(A collaborative screening with Public Radio and Camera Assembly)
Curated By: Morgan Rhys Tams
April 8th 2008
7:30pm
Studio 404: Not Found

Artists: Aaron Kopff, Ajla Odobasic, Alex Winfield, Beau Dickson, Brett Long, Chris Clifford, Craig Desson, Dan Browne, Daniel Libby, Elaisha Stokes, Howard Ng, James Algie, Kate Mior, Mandi Gornstein, Marc de Pape, Marcus Jamin, Morgan Rhys Tams, Nick Wallace, Norman Lup-Man Yeung, Robin Sharp, Ryan Hughes, Sara Schmidt, Sarah Kolasky, Steve Thomas, Tim Moore, Winston Hacking, Brett Long, Zeesy Powers, Zik Staav.

FREE MOVIE NIGHT - TARANTULA - MARCH 27 2008

2008-11-10T12:13:00.001-05:00

“Tarantula” (1955) Directed By: Jack Arnold
March 27th 2008
7:30pm
Studio 404: Not Found
Host: Spencer Butt

FREE MOVIE NIGHT - HAUSU - JANUARY 22 2008

2008-11-10T12:12:00.000-05:00

“Hausu” (1977) Directed By: Nobuhiko Obayashi
January 22nd 2008
7:30pm
Studio 404: Not Found
Host: Spencer Butt

Click pictures to view full album on Flickr!

OUTDOOR SCREENING - AUGUST 28 2007

2008-11-10T12:10:00.000-05:00

"Best of Film Fort Year 1"
August 28th 2007
9pm
Civic Square, Mississauga

Artists: Sinbad Richardon, Yuula Benivolski, Aleks Bartosik, Nick Wallace, Brett Long , Marissa Neave, Sam Scott, Emily Tu, Marc De Pape, Brian Roche, Amy C. Lam, Jon Garcia, Winston Hacking, Eleni Alpous, Dona Arbabzadeh, Matt Hammill, Zeesy Powers, Jeff Garcia, Andrew Zukerman, Norman Lup-Man Yeung, Iris Fraser, Airin McGuinty, Bryan Belanger

FILM FORT #2 JULY 26 2007

2008-11-10T12:09:00.000-05:00

July 26th 2007
8pm
Studio 404: Not Found
Curated By: Winston Hacking and Marissa Neave

Artists: Matt Hammill, Brian Roche, Iris Fraser, Winston Hacking, Brett Long, Bill Houshmandi, Jon Garcia, Aleks Bartosik, Marissa Neave, Eleni Alpous, Norman Lup-Man Yeung, Kevin Hainey

Guest Artist: Sinbad Richardson

GALLERY EXHIBITION #1 - MAY 17 2007

2008-11-10T12:06:00.000-05:00

“Film Fort: A Collection of Collaborative Shorts”
May 17th-July 15th 2007
Art Gallery of Mississauga
Curated By: Winston Hacking and Marissa Neave

Artists: Brett Long, Jeff Garcia, Andrew Zukerman, Winston Hacking, Airin McGuinty, Marc De Pape, Nick Wallace

FILM FORT #1 APRIL 26 2007

2008-11-10T12:04:00.000-05:00

April 26th 2007
9pm
Studio 404: Not Found
Curated By: Winston Hacking and Marissa Neave

Artists: Liisa Graham, Marc De Pape, Iris Fraser, Airin McGuinty, Kimberley England, Jeff Garcia, Andrew Zukerman, Winston Hacking, Nick Wallace, Brett Long, Bryan Belanger, Iris Fraser

Guest Artist: Martha Colburn (New York) and Sam Scott (Vancouver)

WHAT IS FILM FORT?

2008-11-08T21:30:00.006-05:00

Film Fort is a film and video event that takes place in a giant roaming assemblage of bedsheets. The screenings are comprised of work focusing on music+video collaborations and animated films from Canada, as well international artists and touring collectives.

FILM FORT NOVEMBER SUBMISSIONS!

2008-11-04T01:15:00.003-05:00

Please send us your short films (animations, music videos or documentaries under 10 minutes in length), as always there is no submission fee!

Please send your work as full resolution quicktime mov files(720x480) on a data dvd-r, clearly labeling your name, film title and contact information. Also include a bio about yourself (300 words or less), as well as a description of the work you are submitting (300 words or less).

Mailing address:

FILM FORT
888 Dupont St. Unit 108
Toronto, ON
M6G1Z8