Hi there!
We have updated our gallery with new photos, and posted selected videos…
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Ciao a tutti!
Abbiamo aggiornato la galleria con le foto della decima edizione, ed inserito i migliori cortometraggi della decima edizione. Selezionando il titolo del cortometraggio, è possibile leggerne i dettagli e guardarlo per intero!
A seguire la versione italiana.
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My friends at Arrivano i Corti asked me for some “spicy anecdotes”. I don’t really have any… but perhaps I can tell you some interesting background stories about my films.
“Mini Driver Project” (2000)
This was my first short. My first film as a producer… and I made it in Portugal. “Why!?” you might ask… Well, back at that time, I was trying to do a feature co-production with Spain based on an extremely famous Spanish novel, and it just wasn’t working out for me. A friend of mine, a Portuguese actor, suggested to make a short film over there to demonstrate that I could produce in a foreign country. He was also of the opinion that it would be a stronger package for my feature producing inquiries if I had a finished film, to submit along with my feature script. As soon as I’d made the short, I fell in love with the genre! Shorts give you so much independence. You can do them with very little money, without having to deal with the Hollywood studios, and you can express things in shorts that features never touch because they’re topics that are “too risky” for big budgets.
“Dottie: The Little Girl with the Big Voice” (2002)
This film of mine is based on a short story that I wrote back in 1993. In 2002, technology allowed me to make it into a short animated film. (It would have been impossible to make this into a film back in the 1990s!) I met my team, The Moser Brothers, with whom I still work today, on “Dottie”. I was looking for animators on mandy.com, and they answered my ad. But, I think I told them “no” like four times because they lived in Orlando (Florida). I couldn’t get my mind around trusting the idea of working with people so far from me, especially after what had happened with the Spanish project. After a long telephone conversation where we talked about trust issues, I finally said “yes”, and I’m so glad I did! We still work together today! They moved to LA in June of 2002 while we were doing the sound mix on “Dottie”. We have made 6 films together: the Mosers aren’t just animators… they are also very capable cinematographers, editors, graphic artists, sound mixers, and they can direct… in fact, they do direct me wen I’m in acting mode. Here’s the truth: Without them, I’m nothing!
“Thoroughly Modern Mili” (2003)
In 2003, my life changed when my husband (Bruce Rheins) went to Kuwait and Iraq for 3.5 months to cover the war. During his absence, I made the anti-war comedy “Thoroughly Modern Mili” to keep my sanity.
Then, even though I was very fortunate to get him back safe and sound (some of his colleagues from networks around the world weren’t so lucky), the war was still distracting me, or I guess you could say that I couldn’t just make “fun” films anymore. Him having been over there completely changed my outlook on the direction my career should take.
Right after I made “A Life of Death” (2003), and I dedicated it to all the journalists lost in Iraq. It’s a “poetic/animated documentary” based on my father, Donald G. Westlake’s, poem of the same name, “A Life of Death” (1989). With the Moser Brothers, I married my dad’s narration of the poem with photos of almost all the conflicts and wars we’ve had since World War I until today. We used After Effects and Maya to produce the 3d effects you see in the film.
My next film was “The Pawn” (2004): It’s a drama based on the poem, “The Pawnshop” (1987), by my friend and neighbor, Sam Ambler. “The Pawn” is about a widow who lost her husband, a journalist, in Iraq. She’s so upset that she sells her faith and her soul to a surreal pawnshop in the ultimate attempt to escape her grief. It’s the most personal of all my films, and sometimes, it’s frankly difficult for me to watch. But, I think it’s an important one to have made because at that time, I felt a strange guilt… why was I so lucky to have Bruce back at my side, but so many other families of journalists around the world weren’t so fortunate?
“God’s Good Pleasure” (2006)
I continued to make films using my rage against the war machine as a creative flame. This time, I was really upset over the reports of the Bush Administration completely turning their back on the hard won Geneva Conventions and also the stories of torture and “renditions” of innocents by the CIA abroad. So, I invented a story about an escaped Italian serial killer (played by Davide Del Degan) who has a brief but memorable love affair with a rogue CIA operative (played by me) on vacation in Italy during the summer of 2001. They are soul mates… without soul. Ha! The film also plays with the philosophical questions (pro/con) surrounding the death penalty… which we still have here in the U.S., but of course which Italy abolished in 1947. I received a fan letter about the film from Senator Dick Marty (Switzerland). I am truly proud of this letter because Senator Marty is the one who is fighting so valiantly to bring to justice such rogue operatives who have perpetrated such illegal cruelty.
We shot “God’s Good Pleasure” in a 36,000 square feet castle built in 1894 in Amsterdam, NY (three hours north of NYC). The owners, Susan and Manfred Phemister, are friends of mine. Susan and I went to high school and then university (Northwestern University, near Chicago) together. Manfred and Susan won the castle on eBay during the late summer of 2005. About the same time, I’d written the script specifically for Davide Del Degan, who I’d met in Italy in 2003. I was looking for a “cheap” castle in which to shoot the film in Italy. Then, out of the blue, I got an email from Susan saying “Hello, All! We’ve just bought a castle on eBay!”. I thought she was joking, but no! I went there to scout in October 2005, and then, in May 2006, we were all there shooting the film. It was cheaper to import Davide from Trieste, Italy and move the Mosers and myself from Los Angeles, CA to Amsterdam, NY than it was to shoot in Italy!
“68˚ & Clear” (2007)
I hope to be able to say that this is my last film on the war. This one is about an African American boy who loses his older brother, a soldier, in Iraq. He lives with his Grandpa and together the two are really suffering the loss of his older sibling. They are not communicating well, and one day while the boy is listening to an anti-war song on the internet, and the Granpa is unpacking the dead soldier’s russack, the Granpa goes ballistic and breaks the boy’s computer. Later on, while the Granpa is sleeping, the boy steals his Granpa’s gun and decides to mug someone (for the first time), so that he can get money to buy himself a new computer. He chooses as his “victim” a middle-aged white woman who’s walking down the street with a cord wrapped around her shoulder. This woman has lost her husband to cancer, and she can’t pay the hospital bills he left her (which happens all the time, unfortunately, in the U.S.). So, the woman tells the boy he can have everything, if he’ll help her hang herself!
It’s certainly not the reaction the boy assumed he’d get when he put a pistol to her rib! Back at her place, they have an emotional conversation about their personal problems and the problems of America today… it’s a strange friendship of sorts, in a very strange world!
We made “68˚ & Clear” during a heat wave last summer: it was 101˚F outside and 110˚F inside on the set! But, it was always fun because Myles Stephens (the boy) and Jason Luckett (the musician who sings two of his original songs in the film) and I had been friends for a while through the LA Clippers (NBA). We’d all been season ticket-holders (and I still am) and had gone through many ups and downs with the team. Also, John Neisler and I were friends/colleagues back in high school when we did many plays together and were also on a competitive speech team. So, everyone worked really well together and the heat never caused us to lose our harmony.
Biography: Dawn Westlake is President of Ron de Cana Prods., Inc. in Los Angeles. She’s made 7 short films since 2000 which have won 38 awards and which have been played on all seven continents. Dawn is also an actress and screenwriter and she’s able to work in English, Spanish, Italian and Portuguese. She’s currently a judge for the SediciCorto Film Festival in Forli, Italy and the ECU Film Festival, held at the Bibliotheque Nationale in Paris.
To purchase a DVD or download her work, please visit:
http://www.filmbaby.com/films/2412 or
http://www.createspace.com/251618 .For more information on Dawn and her films, please visit:
http://www.dawnwestlake.com or
http://www.rondecana.com .
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Nota: la versione italiana è scritta da Dawn (ok: con qualche correzione :) ).
Aneddoti “piccanti” non ne ho… ma posso raccontarvi alcuni dettagli interessanti del background dei miei film.
“Mini Driver Project” (2000) Il mio primo corto, e primo film come produttrice… e lo faccio in Portogallo! Ma, come mai!? Boh. Intendevo fare un lungometraggio in co-produzione in Spagna su una novella famosissima, e non mi quadrava per niente. Un amico mio, attore portoghese, mi ha suggerito di fare un corto lì per dimostrare che potevo produrre in un paese straniero. Pensava che avere un film già prodotto avrebbe fatto un’impressione migliore accanto alla sceneggiatura per il lungo che volevo fare. Dopo averlo fatto invece, mi sono inamorata dei corti! Ti danno tanta indipendenza. Si possono fare bene con pochi soldi, senza gli studio hollywoodiani, e si possono spiegare cose che i lunghi non toccano perchè sono argomenti troppo rischiosi per i grandi budget.
“Dottie: The Little Girl with the Big Voice” (2002) Questo film è basato su un racconto che avevo scritto nel 1993. Nel 2002, finalmente esisteva tecnologia a buon mercato per realizzare un corto animato. Ho conosciuto il mio “team” attuale, i fratelli Moser, con “Dottie”. Cercavo animatori nel sito mandy.com e loro mi hanno risposto. Anche se avevo detto di “no” quattro volte perchè abitavano ad Orlando (Florida). Non avevo molta fiducia nell’idea di collaborare con persone così lontano da me! Dopo una conversazione telefonica molto lunga, ho detto di “si”, finalmente, e continuo con loro anche oggi! Vivono a Los Angeles dal mese di Giugno 2002. Non sono soltanto animatori: fanno montaggio, grafica, suono, e possono funzionare anche come registi nei momenti in cui io interpreto. Infatti, senza loro, non sono nulla!
“Thoroughly Modern Mili” (2003) Nel 2003, la mia vita è cambiato molto quando mio marito (Bruce Rheins) è andato in Kuwait ed Iraq per per mesi e mezzo, per fare reportage sulla guerra. Durante la sua assenza, ho fatto la commedia “Thoroughly Modern Mili” per non diventare totalmente pazza. Anche se ho avuto la grande fortuna di rivederlo a casa, accanto a me (alcuni colleghi non hanno avuto la stessa sorte: non sono tornati a casa), la guerra mi aveva distratto, o forse si puo dire che aveva cambiato la direzione della mia carriera.
Subito dopo “Thoroughly Modern Mili”, ho fatto “A Life of Death” (2003), dedicato ai giornalisti morti in Iraq. E’ un “documentario poetico/animato”, basato sulla poesia di mio padre, Donald G. Westlake, “A Life of Death” del 1989. Con I Fratelli Moser, ho aggiunto foto di quasi tutti i conflitti e dalla prima Guerra Mondiale ad oggi. Abbiamo utilizzato After Effects e Maya per produrre gli effetti 3d che si vedono nel film.
Il film seguente è stato “The Pawn” (2004), dramma adattato dalla poesia “The Pawnshop” (1987) di Sam Ambler, un mio amico. Una vedova perde suo marito giornalista in Iraq. E’ così triste che vende la sua fede e la sua anima ad un’agenzia di prestiti su pegno molto surreale. E’ il film più personale per me, ed è difficile guardarlo a volte. Però, l’ho fatto perchè durante quel periodo sentivo una colpa strana: perchè meritavo la presenza di Bruce ancora, mentre tante altre famiglie non erano così fortunate?
“God’s Good Pleasure” (2006) Continuavo a fare film utilizzando la mia “ira” contro la guerra come fiamma creativa… questa volta, sono stata molto arrabbiata sui reportage sulle infrazioni alla Convenzione di Ginevra a Guantanamo, ed anche sulle torture e vendette perpetrate dagli operativi CIA in Europa. Cosi, ho inventato una storia su un serial killer italiano, scappato dal carcere (Davide Del Degan), ed una donna, operativa della CIA (io), che diventano amanti in Italia durante l’estate di 2001. Come si dice in inglese, “They are soul mates… without soul…”. Il film gioca sulle domande filosofiche riguardanti la pena capitale. Ho ricevuto una lettera di apprezzamento dal Senatore Dick Marty (Svizzera). Sono veramente orgogliosa del suo interessamento perchè lui sta lottando con tutto il cuore per la giustizia, contro questi tipi CIA e la loro crudeltà. Abbiamo fatto il film in un castello ad Amsterdam, New York. I proprietarii sono amici miei: la moglie, Susan Phemister, è un’amica di scuola ed abbiamo anche studiato nella stessa università, Northwestern University, vicino a Chicago. Lei e suo marito Manfred avevano vinto il castello su eBay durante il 2005. Avevo scritto “God’s Good Pleasure” per collaborare con Davide Del Degan, regista ed attore del corto “Interno 9”. Cercavo un castello “economico” come locale per le riprese in Italia. Ha! Poi, ho ricevuto un mail di Susan che mi diceva “…abbiamo comprato un castello ad Amsterdam, NY”. Pensavo scherzasse, ma no! Ho visitato il castello ad ottobre 2005, e poi a maggio 2006 eravamo già lì per le riprese! Era piu “economico” importare Davide qui in America e muovere il mio “team”, i Fratelli Moser, da Los Angeles ad Amsterdam, NY, che montare la produzione in Italia.
“68˚ & Clear” (2007) Spero di potervi dire che questo film è l’ultimo che faccio sulla guerra. Tratta d’un ragazzo nero che perde suo fratello in Iraq. Abita con suo nonno ed entrambi soffrono molto la morte del soldato. Non comunicano bene e mentre il ragazzo ascolta una canzone pacifista su internet, il nonno si arrabbia e rompe il computer del ragazzo. Piu tardi, mentre il nonno dorme, il ragazzo ruba la sua pistola e decide di “essere teppista” per la prima volta, per avere soldi per comprare un computer nuovo. Sceglie come vittima una donna che cammina verso casa con una corda bianca: lei ha perso suo marito per via del cancro e non può pagare l’ospedale (accade molto spesso qui negli Stati Uniti). La donna vuole che il ragazzo la aiuti ad impiccarsi! Non è la reazione che il ragazzo aspettava! A casa sua hanno una conversazione piena d’emozione sui problemi personali e sull’America di oggi: nasce un’amicizia strana in un mondo stranissimo! Abbiamo girato “68˚ & Clear” durante l’ondata di caldo di fine agosto 2007: faceva 101˚F fuori, 110˚F sul set! Però era sempre divertente perchè Myles Stephens (il ragazzo) e Jason Luckert (il musico che canta le due canzoni nel film) ed io ci siamo conosciuti allo stadio dei Los Angeles Clippers (NBA): avevamo l’abbonamento annuale. John Neisler (il poliziotto) ed io siamo invece amici e colleghi dal 1979, quando facevamo teatro assieme alle scuole superiori. Così, abbiamo lavorato tutti insieme senza lasciare che il caldo affettasse l’armonia. ;-)
Biografia: Dawn Westlake è presidente di Ron de Cana Prods., Inc., Los Angeles. Ha prodotto 7 corti a partire dal 2000, proiettati nei 7 continenti, vincendo 38 premi. E’ anche attrice e sceneggiatrice; lavora in inglese, spagnolo, italiano e portoghese. Attualmente, è giudice per SediciCorto Film Festival a Forlì (Italia) e per l’ECU Film Festival presso la Bibliotheque Nationale de Paris.
Per comprare I DVD o download dei suoi film:
http://www.filmbaby.com/films/2412 o
http://www.createspace.com/251618 .Per maggiori informazioni:
http://www.dawnwestlake.com o
http://www.rondecana.com .
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Pan Much
Marcin Wladyniak, Polonia 10’
La sua ragazza muore in circostanze misteriose. Ombre di sospetto cadono su una madre troppo invadente.
His girlfriend dies in unexplained circumstances. Shadow of suspicion falls on invasive mother. But these nasty flies for it else. Hundreds of flies!
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Pun Much (Mr. Fly) - Marcin Wladyniak, Polonia 10’
Pun Much (Mr. Fly) - Marcin Wladyniak, Polonia 10’
Big Buck Bunny
Blender Institute & Creative Commons - Netherlands: Sacha Goedegebure, Olanda, 6′
Evento Speciale: Diritto d’autore ed Open Source
Buck è un coniglio piuttosto cresciutello, ma dall’animo sensibile. E se lo fai arrabbiare…
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Download Big Buck Bunny (watch online the entire movie)
Scarica la colonna sonora del film, a cura di Jan Morgenstern.
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Making of Big Buck Bunny:
Download Story as animatic
Download Jan and all the staff at work
Download Nathan explaining model rigging
Download William working at movement
Download Enrico building the enviroment
Download Compositing demo
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Come è nato
In seguito al progetto “Orange” (arancia), che ha portato alla produzione di “Elephant’s Dream”, la Fondazione Blender ha intrapreso un nuovo progetto di film. Un piccolo team, composto da 7 dei migliori artisti e sviluppatori della comunità Blender su internet, è stato invitato a lavorare ad Amsterdam da Ottobre 2007 ad Aprile 2008 per completare un cortometraggio d’animazione 3d. Il team è stato ospitato in uno studio ad Amesterdam, con viaggi spesati e stipendio sufficiente a coprire tutte le spese durante il periodo di lavoro.
Il concetto dietro al progetto “Peach” (pesca) è “divertente e peloso”.
Obiettivi del progetto
* Sviluppare strumenti in Blender per creare e rappresentare capelli, pelo o erba
* Migliorare gli strumenti di animazione dei personaggi per movimenti tipo cartone animato e deformazioni
* Mettere alla prova Blender sulla gestione di ambientazioni esterne di grandi dimensioni, con ampi campi erbosi, alberi e foglie
* Consolidare la posizione di Blender come pacchetto software per animazione di livello professionale
Obiettivi secondari:
* Creare un bel cortometraggio, con licensa gratuita e contenuto aperto (tutti i files creati sono utilizzabili gratuitamente dai partecipanti alla comunità Blender)
* Creare materiale per permettere ad altri artisti di imparare, riutilizzare, documentare e creare istruzioni passo passo
Ed ovviamente: divertirsi un sacco!
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How it started
As a follow-up to the successful project Orange’s “Elephants Dream”, the Blender Foundation initiated another open movie project. Again a small team (7) of the best 3D artists and developers in the Blender community have been invited to come together to work in Amsterdam from October 2007 until April 2008 on completing a short 3D animation movie. The team members will get a great studio facility and housing in Amsterdam, all travel costs reimbursed, and a fee sufficient to cover all expenses during the period.
The creative concept of “Peach” was completely different as for “Orange”. This time it is “funny and furry”!
The Blender Foundation and Blender community have been the main financiers for Peach. As for the previous open movie, a pre-sale campaign to purchase the DVD set in advance will be organized.
Additional support from sponsors and subsidy funds has been realized as well.
Peach also was the first Open Project hosted by the new Blender Institute in Amsterdam. This will make the project more independent, without much involvement of production partners, and also will ensure continuity.
Peach Targets
This Open movie project had as main targets:
* Developing tools in Blender for editing and rendering hair, fur or grass
* Improve character animation tools for cartoonish motion and deformation
* Test Blender with giant outdoor environments, with large grassy fields and many trees with leaves
* Further validate Blender as a professional animation creation suite
And secondary:
* Create a great and good looking animation short, licensed freely as open content
* Provide content for other artists to learn from or to re-use, including documentation and tutorials
And of course: Have lots of fun!
Trovi la versione italiana di questo articolo più in fondo nel testo.
Eng. Blender Foundation, from Amsterdam - the Netherlands, produced an Open Movie project which has been community-financed, using only Open Source tools, and opening up the movie itself as well as the entire studio database for everyone to re-use and learn from. The movie and production files are licensed as “Creative Commons Attribution 2.5″, which only requires a proper crediting for public screening, re-using and distribution.
The movie files and download mirrors can be accessed here:
http://www.elephantsdream.org/download
The film tells the story of Emo and Proog, two people with different visions of the surreal world in which they live. Viewers are taken on a journey through that world, full of strange mechanical birds, stunning technological vistas and machinery that seems to have a life of its own. (more…)
This article is written to promote discussion about copyright, its infringment, its escape routes and about the freedom to learn and to evolve. Copyright law says that a work can’t be used for 70 years after its author’s death: this is a lifetime, even when you are a student and the author is just dead.
Marco Infussi
These are strange times indeed. While they continue to command so much attention in the mainstream media, the ‘battles’ between old and new modes of distribution, between the pirate and the institution of copyright, seem to many of us already lost and won. We know who the winners are. Why then say anymore?
Because waves of repression continue to come: lawsuits are still levied against innocent people; arrests are still made on flimsy pretexts, in order to terrify and confuse; harsh laws are still enacted against filesharing, taking their place in the gradual erosion of our privacy and the bolstering of the surveillance state. All of this is intended to destroy or delay inexorable changes in what it means to create and exchange our creations. If Steal this Film II proves at all useful in bringing new people into the leagues of those now prepared to think ‘after intellectual property’, think creatively about the future of distribution, production and creativity, we have achieved our main goal.
Download Steal this Film - part two/1
Dear S@abun, dearest all other hackerz, this post is about your defacing activities on this website, arrivanoicorti.it.
As you can see, we are a no-profit association, dealing with everyday problems in setting up our annual international short film festival, since 1997, without so much money. We have decided to use our Grab.it! script to gain that little money from Google advertising to ensure this website can remain online.
We know that our website has vulnerabilities, and we ask you: please save us. Protect us, instead of destroying our little work. Attack industries, police or capitalism symbols, but not associations of free thinkers: white hats like Kevin D. Mitnick choose bigger targets. Short films makes people happy: we are happy if they are happy. And we are happier when our shows are free, without any subscription fee for competitors & without any entry ticket for the audience.
This article is written to promote discussion about copyright laws and fair use. It seems that fair use in only a legal defensible position, not a right. This surely obstacles teaching, learning and society’s overall progress. There is also a subtitles section and their italian translation.
Marco Infussi
Professor Eric Faden of Bucknell University created this humorous, yet informative, review of copyright principles delivered through the words of the very folks we can thank for nearly endless copyright terms.
Download A Fair(y) Use Tale
Download The Disney Trap - how copyright steals our stories.
Il video è stato realizzato da Monica Mazzitelli, una de iQuindici, che si battono a favore di queste tematiche assieme a WuMing Foundation.
La Mazzitelli mi ha risposto, con gran cortesia, inviandomi quel che segue.
Marco Infussi
This is the list of Academy Awards for Animated Short Films.
1930s
* 1931-1932 (5th)
o Flowers and Trees - Walt Disney Productions, United Artists - Walt Disney, producer
o Mickey’s Orphans - Walt Disney Productions, United Artists - Walt Disney, producer
o It’s Got Me Again! - Leon Schlesinger Productions, Warner Bros. - Leon Schlesinger, producer
* 1932-1933 (6th)
o Three Little Pigs - Walt Disney Productions, United Artists - Walt Disney, producer
o Building a Building - Walt Disney Productions, United Artists - Walt Disney, producer
o The Merry Old Soul - Universal - Walter Lantz, producer
* 1934 (7th)
o The Tortoise and the Hare - Walt Disney Productions, United Artists - Walt Disney, producer
o Holiday Land - Screen Gems, Columbia - Charles Mintz, producer
o Jolly Little Elves - Universal - Walter Lantz, producer
* 1935 (8th)
o Three Orphan Kittens - Walt Disney Productions, United Artists - Walt Disney, producer
o The Calico Dragon - Harman-Ising, Metro-Goldwyn-Mayer - Hugh Harman & Rudolf Ising, producers
o Who Killed Cock Robin? - Walt Disney Productions, United Artists - Walt Disney, producer
* 1936 (9th)
o The Country Cousin - Walt Disney Productions, United Artists - Walt Disney, producer
o Old Mill Pond - Harman-Ising, Metro-Goldwyn-Mayer - Hugh Harman & Rudolf Ising, producers
o Popeye the Sailor Meets Sindbad the Sailor - Fleischer Studios, Paramount - Max Fleischer, producer
* 1937 (10th)
o The Old Mill - Walt Disney Productions, RKO Radio - Walt Disney, producer
o Educated Fish - Fleischer Studios, Paramount - Max Fleischer, producer
o The Little Match Girl - Screen Gems, Columbia - Charles Mintz, producer
* 1938 (11th)
o Ferdinand the Bull - Walt Disney Productions, RKO Radio - Walt Disney, producer
o The Brave Little Tailor - Walt Disney Productions, RKO Radio - Walt Disney, producer
o Mother Goose Goes Hollywood - Walt Disney Productions, RKO Radio - Walt Disney, producer
o Good Scouts - Walt Disney Productions, RKO Radio - Walt Disney, producer
o Hunky and Spunky - Fleischer Studios, Paramount - Max Fleischer, producer
* 1939 (12th)
o The Ugly Duckling - Walt Disney Productions, RKO Radio - Walt Disney, producer
o Detouring America - Leon Schlesinger Productions, Warner Bros. - Leon Schlesinger, producer
o Peace on Earth - Metro-Goldwyn-Mayer - Fred Quimby & Hugh Harman, producers
o The Pointer - Walt Disney Productions, RKO Radio - Walt Disney, producer
In 2006, a group of friends decided to make a film about filesharing that *we* would recognize. There have been a few documentaries by ‘old media’ crews who don’t understand the net and see peer-to-peer organisation as a threat to their livelihoods. they have no reason to represent the filesharing movement positively, and no capacity to represent it lucidly. We wanted to make a film that would explore this huge popular movement in a way that excited us, engaged us, and most importantly, focussed on what we know to be the positive and optimistic vision many filesharers and artists (they are often one) have for the future of creativity. It achieves some, but by no means all, of our goals. to continue we need your help. this film is free for you to share, watch on your Dvd player or on your Ipod, or show in cinemas. But if you like the work we’ve done and want us to carry on, use our donate link to send us a couple of dollars or euros. The League of Noble Peers, August 2006 - à nous la liberté!
Download Steal this Film - part one/1
Download Steal this Film - part one/2
Download Steal this Film - part one/3
Download Steal this Film - part one/4
El Gran Zambini
Zuzendariak Dirección Directors
Igor Legarreta, Emilio Pérez
Produkzioa Producción Production
Aprieta Fuerte
Produkzio exekutiboa Productores ejecutivos Executive Producers
Carlos Juárez, Raquel Perea
Produkzio zuzendariak Directoras de producción Directors of Production
Begoña Muñoz, Xana Caiano
Gidoia Guión Screenplay
David Abia, Igor Legarreta, Emilio Pérez
Argazkia Fotografía Cinematography
David Tudela
Musika Música Music
Fernando Velázquez
Muntaketa Montaje Edition
José Sánchez
Zuzendari artistikoa Dirección artística Art Director
Esperanza Bringas
Soinua Sonido Sound
Sounders Creación Sonora
Aktoreak Intérpretes Cast
Emilio Gavira, Aníbal Tártalo, Esperanza de la Vega
Iraupena Duración Running Time
14 min.
Jatorrizko formatua Formato original Shooting format
35 mm
Proiekzio formatua Formato de proyección Screening format
35 mm
1:1,85
Soinua Sonido Sound
Dolby Digital
Generoa Género Genre
Drama
Jatorrizko bertsioa Versión original Original Version
Dialogorik gabea / Sin diálogos / No dialogues
Sinopsia
Hiri handi bateko aldirietan zirku zahar baten arrastoak geratzen dira oraindik.
Sinopsis
En el extrarradio de una gran ciudad aún perduran los restos de un antiguo circo.
Synopsis
The remains of an ancient circus can still be seen on the outskirts of a big city.
Igor Legarreta
Emilio Pérez* IGOR LEGARRETA. Bilbo, 1973. EMILIO PÉREZ. Bilbo, 1974 . EHUn Ikus-entzunezkoetan Lizentziatuak. 1994az geroztik elkarrekin batera lan egiten dute gidoiak idazten eta zuzentzen. Lehenengo film laburrak bideoan egin zituzten, hainbat zinemalditan sari ugari jaso zituztenak, eta ondoren, 1999an, lehenengo lana egin zuten zinean, El trabajo , Locarno eta Montpellierreko zinemaldietan saritua.
* IGOR LEGARRETA. Bilbao, 1973. EMILIO PÉREZ. Bilbao, 1974 . Licenciados en Audiovisuales por la EHU /UPV. Desde el año 1994 trabajan conjuntamente escribiendo y dirigiendo sus propios guiones. Tras sus primeros cortos en vídeo, premiados en diferentes festivales, realizan en 1999 su primer cortometraje en cine, El trabajo , con Pepo Oliva y Mariví Bilbao, con el que obtuvieron premios en los festivales de Locarno y Montpellier.
* IGOR LEGARRETA. Bilbao, 1973. EMILIO PÉREZ. Bilbao , 1974 . Graduates in Audiovisual Communications from the University of the Basque Country, EHU/UPV. They have been jointly writing and directing their own scripts since 1994. Following their first video shorts, winners of several awards at various festivals, in 1999 they made their first film work, El trabajo , which won awards at the Locarno and Montpellier Festivals.Zuzendariaren filmografia Filmografía de los directores Director’s filmography
1994 - El rincón del Salvador (VHS-C, 15 min)
1996 - Castoman (El hombre casto) (S-VHS, 20 min.)
1997 - Al, Ben & Gail (Hi8, 18 min.)
1999 - El trabajo (35 mm, 17 min.)
2001 - La jaula (35 mm, 1 min.)
2003 - Room 301 (Super 16 mm, 7 min.)
2003 - Lost (Super 16 mm, 6 min.)
2005 - El gran Zambini (35 mm, 14 min.)
Download El Gran Zambini
Sintonìa
Zuzendaria Dirección Director
Jose Mari Goenaga
Produkzioa Producción Production
Moriarti Produkzioak, S. L.
Produkzio exekutiboa Productor ejecutivo Executive Producer
Aitor Arregi
Produkzio zuzendaria Directora de producción Director of Production
Aitor Arregi
Gidoia Guión Screenplay
Jose Mari Goenaga
Argazkia Fotografía Cinematography
Rita Noriega
Musika Música Music
Pascal Gaigne
Muntaketa Montaje Edition
Raúl López
Zuzendari artistikoa Dirección artística Art Director
Menó Martín
Soinua Sonido Sound
Iñaki Díez, Aurelio Martínez
Aktoreak Intérpretes Cast
Josean Bengoetxea, Tania De la Cruz, Unai García
Iraupena Duración Running Time
9 min.
Jatorrizko formatua Formato original Shooting format
35 mm
Proiekzio formatua Formato de proyección Screening format
35 mm - 1:1,85
Soinua Sonido Sound
Dolby SR
Generoa Género Genre
Drama erromantikoa / Drama romántico / Romantic Drama
Jatorrizko bertsioa Versión original Original Version
Gazteleraz / Español / Spanish
Sinopsia
Kontua ez da elkarrizketa luzeak izatea, kontua ez da elkarrekin urteak bizitzea. Batzuetan, pasadizoko leku batean, minutu gutxi batzuetan, norbaitekin konekta dezakezu.
Sinopsis
No es cuestión de largas conversaciones, no es cuestión de años de convivencia. A veces, en un lugar de paso, en cuestión de unos pocos minutos, puedes llegar a sintonizar con alguien.
Synopsis
It’s not a question of long conversations, of long years of living together. Sometimes, in a place where people pass each other by, in only a few minutes, you may find yourself connecting with someone.
Jose Mari Goenaga
* Ordizia (Gipuzkoa), 1976. Manchesterren eta Donostian Enpresa Administrazioa ikasi ondoren, Goenagak errealizazio ikastaro bat egin zuen Urnietako Sarobe zentroan. 2001ean Moriarti Produkzioak enpresa sortu zuen. Zuzendu dituen film laburrez gain (besteak beste, sari ugari jaso dituen Tercero B ), Supertramps animaziozko film luzearen gidoigile eta zuzendarietako bat da. Orain Lucio dokumentalaren proiektuan lanean ari da.
* Ordizia (Gipuzkoa), 1976. Tras estudiar Administración Empresarial en Manchester y San Sebastián, Goenaga hizo un curso de realización en el Centro Sarobe de Urnieta. En 2001 cofundó la empresa de producción Moriarti Produkzioak. Además de los cortometrajes que ha dirigido (entre ellos, el multipremiado Tercero B ), ha coescrito y codirigido un largometraje de animación, Supertramps . Actualmente trabaja en el documental Lucio .
* Ordizia (Basque Country), 1976. Having studied Business Administration at Manchester and San Sebastián , Goenaga took a film directing course at the Sarobe Center in Urnieta. In 2001 he co-founded the production company Moriarti Produkzioak. In addition to having directed short films (including the multi-prizewinning Tercero B ), he co-wrote and co-directed the animation feature film Supertramps . He is currently working on a documentary, Lucio .Zuzendariaren filmografia Filmografía del director Director’s filmography
2002 - Tercero B (Betacam digital, 18 min.)
2004 - Supertramps (35 mm, 70 min.)
2005 - Sintonía (35 mm, 9 min.)
Download Sintonìa
La tenda in piazza
Regia: Gian Maria Volontè
Fotografia: Paolo D’Ottavi
Montaggio: Antonio D’Onofri, L. Spelli
Fonico: Francesco Venier
Elettricista: Enzo Rocchi
Anno: 1971
Durata: 62’
Il film racconta la lotta di operaie e operai della fabbrica Fatme di Roma (montaggio alternato di interviste, allestimento di un tendone in Piazza di Spagna per una manifestazione di protesta, scontri con le forze dell’ordine).
Dopo l’esperienza militante del “Teatro di Strada”, Gian Maria Volontè condusse un successivo “momento di lotta”: insieme ad un gruppo di compagni, realizzò due documentari in 16 millimetri, “La tenda in piazza” (1971) e “Reggio Calabria” (1972).
La tenda in piazza, racconta Volontè ” ...è venuto fuori perché in quel periodo c’erano le fabbriche occupate dai lavoratori qui a Roma e avevano pensato per il Natale, non ricordo di quale anno, di piantare una tenda in piazza di Spagna per raccogliere la solidarietà dei cittadini. Abbiamo seguito alcune assemblee nelle fabbriche occupate e la preparazione e l’organizzazione di questa iniziativa. Poi, al momento di metterla su, ci sono stati scontri con la polizia che voleva vietarla, e noi abbiamo registrato e documentato tutto“.
