1.

In addition to being some of the cutest birds on the planet, penguin populations also serve as an indicator of the health of sea life and

the effects of global warming. In The Penguin Counters, filmmakers Peter Getzels and Harriet Gordon Getzels accompany Ron Naveen and his team of research ecologists to the seventh continent to chronicle the arduous task of hand counting tens of thousands of penguins. It’s grueling, tedious work, but their data is some of the most important ecosystem information gathered.

What was the most surprising thing about mak-ing this film? Finding ourselves waist-high in penguin poo on the first day. The stench and the squelch in our boots, well … first days filming are always im-mersive, and this was no exception. Journeying to the ends of the earth was a spectacular expe-rience, standing on deck as we crossed the Ant-arctic convergence, everything transformed. The temperatures dropped; the seas changed color; even the seabirds seemed different.

The commitment of people counting tens of thousands of anything in increments of one — in high winds and driving snows — still staggers us. And being in a field amongst 100,000 em-

peror penguins is like being dropped into a fold of eternity. The penguins are just there. And you wonder, “Is this how it’s been here since the be-ginning of time? Will these penguins be stand-ing in this same place until the end of time? What goes on in their brains?”

What do you hope audiences take away from your film?We hope people become engaged with this pris-tine part of the world. Antarctica is run by a group of nations, so in a sense, it belongs to everyone. Seabirds, especially penguins, are like canaries in the coal mine: They carry the message of how healthy our oceans are and how rapidly our cli-mate is warming, so they’re a very important part of tracking the rapid changes in the environmen-tal story. And Ron is a force of nature. The inspi-ration of seeing how far his passion has taken him shows how science can be a great adventure, and not always confined to high-tech labs.

How have audiences responded to the film? Some people leave glowing in the dark. Most are happy to have spent an afternoon watching a docu-mentary film that makes them feel good. Penguins give people a fuzzy-wuzzy, and in today’s world, that’s not a bad thing. Watching a good adven-ture story with an environmental message that doesn’t hit people over the head or stir guilt — what could be a nicer viewing experience? As Ron says, “The world would be a much sadder place if there weren’t penguins to cheer us up.” — Michelle Drown

The Penguin CounTersco-Directors Peter Getzels anD Harriet GorDon Getzels penguincountersmovie.com

reel nature

independent.com presents

Meet The Makersinterviews with the filmmakers

5 issue five

jan. 27–feb. 7 • 2015

2.

In 1971, Australian filmmaker and surfer Alby Falzon made one of the most influential and cul-turally important surf films of all time, Morning

of the Earth. Now, from revered underground surf Renaissance man Andrew Kidman, comes Spirit of Akasha, a cinematic and musically brilliant celebration of that seminal film made possible by some of the biggest and brightest and most cre-ative stars in the surfing universe.

How did this project get started?Tony Harlow from Warner Music Australia ap-proached Alby Falzon and asked him if he would be interested in making a modern version of Morning of the Earth. Alby didn’t want to do it and asked me if I wanted to have a think about it. At first I didn’t think it was possible, but as I worked through the process, I realized how much I wanted to pay homage to the original film and soundtrack and how special this could be once we opened it up to all the artists and surfers that ultimately became involved. It was quite incredible what transpired.

What did Morning of the Earth mean to you?It meant everything really. The lyrics of the songs and the time capsule that it is, it had a profound influence on my life. I was dubious to undertake making Akasha, but when I realized that everyone I spoke to about it felt the same way I did and just wanted to give back to the original project with their best work, it became a real joy. As each song was submitted for the soundtrack, this became ap-parent. This was the most exciting part of the proj-ect, hearing the songs.

Describe the role that music plays in Spirit of Akasha.The music is everything. It drove the narrative of Morning of the Earth, and it drives the narrative of Akasha. It’s a remarkable collection of work.

Why does this film matter?It matters because everyone involved contrib-uted their best efforts to pay homage to an iconic film and soundtrack from another time yet in an incredibly modern fashion. When you watch, it makes you feel something. I think that’s impor-tant. — Ethan Stewart

sPiriT of AkAshADirector anDrew KiDman spiritofakasha.com

to tHe maxxx

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3.

In the winter of 1975, fi lmmaker James Szalapski went to work on a documentary about the found-ers of the outlaw-country-music movement. Its

slow, rambling style mirrored its subjects, which in-cluded luminaries like Guy Clark, Townes Van Zan-dt, Steve Earle, and Rodney Crowell, among many others. Since its 1981 release, Szalapski’s Heartworn Highways has become something of a cult phe-nomenon, which found a fan in fi lmmaker Wayne Price. For Heartworn Highways Revisited, Price and Heartworn’s original producer, Graham Leader, returned to the rural Tennessee music scene Sza-lapski had originally been drawn to. Th ere, he met and started fi lming modern-day “outlaws” like Deer Tick’s John McCauley, Jonny Fritz, and duo Shovels & Rope, as well as genre legends like Guy Clark. Th e result is a music documentary that moves slow and looms large, a treat for music lovers of all kinds.

What initially attracted you to this project?WP: I am fi rst and foremost a music lover. I never fo-cused on learning an instrument well enough to go pro, so I use the camera as an instrument and make the orchestration of the edit musical. In the same way that you can’t really explain why music is good,

I feel about movies. It’s a combination of storytell-ing — which is easy to focus on for criticism — and fl ow.

Graham, were you at all wary about trying to make a second fi lm?GL: Yes, defi nitely. Heart-worn Highways has become a beloved fi lm with devoted fans, so it’d be disastrous to let them down in any way. Also, importantly, Heart-worn Highways Revisited is an homage to Jim Szalapski, who shot and directed the original fi lm and tragically died in ’01. He was a great unsung talent.

Wayne, what did you think of Heartworn Highways when you fi rst saw it?

WP: I’ve loved music documentaries for many years, but it seems like most of them fell into one of two categories: dramas about bands (getting togeth-er, rising to fame, breaking up, going into therapy) or concert fi lms. Heartworn Highways was neither. It was like a visual album! Th ere was a cohesion the-matically, but just like a great record, it can be en-joyed in pieces.

Graham, how did the making of Revisited compare to the making of Heartworn Highways? Were there any notable déjà vu moments?GL: Th e déjà vu moments were less in the fi lm-ing itself than in certain moments of pure nostal-gia — i.e., Guy Clark’s home, where there are memo-rable paintings by Susanna and, in his studio, stacks of analogue tapes of his songs, including tapes from the original fi lm 40 years prior.

What do you hope people take away from Revisited?GL: A good time, warm feeling, and hopefully a deeper appreciation for the music. —Aly Comingore

cinematic overtures

heArTWorn highWAysDirector wayne Price anD ProDucer GraHam leaDerheartwornhighways.com/revisited

4.

This Australian fi lm will make you cringe and laugh. Kill Me Th ree Times is a black comedy about a group of revenge-seeking, greedy manip-

ulators who each concoct diabolic plans of murder and thievery to their own ends. But misperceptions pull at the threads of everyone’s careful strategizing and send the plot twisting and turning in the most delightful ways. Simon Pegg leads a stellar cast in this must-see fi lm.

How did you come across James McFarland’s script?I was actually approached by Laurence Malkin, the fi lm’s producer. He sent me the script with the pro-viso that I had to make a decision within two weeks because of the fi nancing gap he was dealing with. So I read it, and it was one of those deliciously con-structed scripts that immediately leapt off the page, and I knew straight away that I had no choice but to commit.  

The plot is dark and twisty but also funny. Was it diffi cult to keep that balance?Th e original version of the script was even darker tonally, but I saw that it also had the potential to be blackly comic. By the end of the script, I found

the violence almost operatic, and when I asked Larry [Malkin] if this could be a comedy thriller, he agreed, and we began to steer it fi rmly in that direc-tion. So, yes, it was a challenge to balance the dark and comedic elements and fi nd the right tone. But once we got Simon Pegg on board, the whole thing began to fuse together, and we knew we could push things and play the whole fi lm at a certain pitch and register, and get away with it. 

What was the most arduous thing about making this fi lm? And the most fun?Th e most arduous thing was the schedule, as we had to travel huge distances [across Australia] to get to those incredible locations that you see in the fi lm, and that travel time ate away at our shooting time. So it was always a trade-off , and in moviemaking, time is one of the greatest resources you can have. But I had a great crew and a great cast who made each moment count. So in turn, that pressure also created a great, focused working environment.

As for fun, working with Simon Pegg was a blast as was getting the chance to work with Alice Braga, Sullivan Stapleton, Teresa Palmer, Bryan Brown, Callan Mulvey, and Luke Hemsworth. I think back and can’t believe how lucky I was to a get a chance to make a movie with all those terrifi c actors. It’s one of the best casts I’ve ever had the chance to work with. I was blessed.   —Michelle Drown

kill Me Three TiMesDirector Kriv stenDers facebook.com/killmethreetimes

u.s. Premiere

independent.com presentsMeet The Makers interviews with the fi lmmakers

For fi lm festival coverage and schedule changes, visit independent.com/sBiff

5.

When you come up in the mecca of improv comedy, it’s almost guaranteed that your career is going to contain some curveballs.

For Matt Walsh, who helped found the Upright Cit-izens Brigade alongside folks like Amy Poehler, the move to screen has been a particularly adventurous one. In between roles on Veep and in almost every movie Todd Phillips has made, Walsh jumped be-hind the camera to direct two fully improv feature fi lms. Th e fi rst, 2011’s High Road, followed a young man who goes on the lam aft er a drug bust. His second fi lm, A Better You, follows a self-involved hypnotherapist stuck in a midlife rut he just can’t shake. Starring a cast of Walsh’s longtime buds, it’s a hilarious and oddly thoughtful take on the ago-nies and the ironies of the self-help industry.

Is it true you got the idea for this thing after you tried to quit smoking?I think it was more the willingness of people in Southern California to explore alternative thera-pies. I moved to California 10 years ago, and instead of always going to a doctor or psychiatrist, people out here will go to an aroma therapist or an herbal therapist or a reiki. It was more an exploration of the culture of that.

You also went to school for psychology. I did! I was a psych major in college. I worked on a psych fl oor for three years. I thought I was going to

be a psychologist. I did some post-grad work with disturbed adoles-cents, so I guess I’ve always been interested in pathology or rem-edies, the world of therapy.

Can you talk a bit about the pro-cess of making an improv movie? It sounds … challenging.It is defi nitely a diff erent process. It starts with an outline and you have to make sure that the story arc is solid and the emotional turns are there and that the char-acter development is there. You spend a lot of time cranking out that outline and reshaping it and rewriting it and making sure

it’s solid. Th en once you cast people, you do a few rehearsals so that everyone can get the tone of the movie. As far as fi lming, all the dialogue is impro-vised, but you’re controlling it because you know what you need from that outline. When you impro-vise on set, you get a nice version before you start rolling, and then you cover it in a forgiving way.

Hopefully once the scene is up and running, it’s really funny so you’re not improvising brand-new dialogue every time but rather tightening and con-tinuing the momentum you already have.

Was everyone pretty on-board with the idea when you came to them?Yeah. But they’re also doing it because they’re friends and they have a day off from whatever other thing they’re doing. It’s the best position to be in, having funny people who are also willing to come play for a day or two. —Aly Comingore

A BeTTer you Director matt walsH facebook.com/abetteryoumovie

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6.

Set in post-Balkan War Serbia, this inspiringly quirky and often hilarious film follows one man’s quest to revitalize tourism, the airport, and the

economy of a small town by erecting a monument to pop star Michael Jackson (who’s still alive back then) in the center of town.

What inspired you to tell this story?It’s inspired by a bizarre trend happening recently in small towns of Serbia and the Balkans: People are building monuments to Hollywood and pop icons (Rocky, Tarzan, Bruce Lee …). In the last 20 years, Serbia has repeatedly lost wars, changed its name, borders, flags, and anthems. The World War II heroes of socialist Yugoslavia are not politically correct anymore and, therefore, their monuments are being removed. Ironically, the recent bloody civil wars have left no new heroes, and so it is not surprising that in this hero-less word people would resort to the crazy idea of building monuments to safe, lifeless heroes, such as Hollywood movie char-acters.

Is Michael Jackson big in Serbia?Yes, like everywhere else, Michael Jackson is huge in Serbia. But what was more interesting to me, and what informed my script emotionally, was the reac-tion to his sudden death all over former Yugoslavia.

Because of this real-life fact, Michael Jackson’s death, I was forced to stop writ-ing and rethink the whole story. In the for-mer Yugoslavia, people took it very tragi-cally, very personally. To me it seemed as

though people were not only mourning Michael’s death, but also their lost years during the unfortu-nate times of the civil wars that have torn Yugosla-via apart in the early ’90s.

For them, Michael Jackson’s ’80s music was the soundtrack of their better past, and someone even wrote on an Internet forum, “Now that Michael is dead I know that Yugoslavia is really dead.”

Where did you film this? Any specific challenges with making a film there?We filmed in Serbia, mainly in a small town called Lozovik. We were successful in finding a place that perfectly fit what we were looking for; this town had the charm of a small town, run-down but full of earthy colors.

The biggest challenge was shooting for three weeks in a small town and therefore disrupting the everyday lives of the people who live there. We of-ten joked about being covered in tar and feathers while being chased out by the locals when things with them got pretty hairy. Once they sawed off the hand of our monument to stop our filming, but after a somewhat tricky negotiation, we got the hand back. Recently we had a great pre-premiere there in their local theater, and it was very touch-ing. The whole town came, and old animosities were forgotten. — Matt Kettmann

MonuMenT To MiChAel JACksonDirector DarKo lunGulov spomenikmajkludzeksonu.com

u.s. Premiere

eastern Bloc

independent.com presentsMeet The Makers interviews with the fi lmmakers

For fi lm festival coverage and schedule changes, visit independent.com/sBiff

7.

When prog-rock legends Kansas fi rst formed, they were operating like most bands in early 1970s Middle America. Th ey had no leg up

and no big-city connections, but they were talented and determined to make it. In Miracles Out of No-where, director Charles Randazzo paints an engag-ing story of a band that grew from obscurity into a multiplatinum-selling monolith, but the fi lm also showcases each of Kansas’ six members as caring, loyal, and real-deal people. It’s a rare — and refresh-ingly down-to-earth — rock doc.

What intrigued you about the project?I have worked with and been a friend of Budd Carr, Kansas’s manager back in the early days, and he sug-gested a meeting with Phil Ehart to discuss a possi-ble documentary project for their 40th anniversary. I was intrigued by the story of six guys from Kansas, in a small town in the middle of nowhere, and how they actually got a record deal sending only a three-song demo and one live showcase with “free beer.” Wouldn’t anyone want to tell that story?

Were there any particular interviews/moments that especially resonated with you over the course of filming?Doing extensive research on the band, their work, music, personal lives, writing all the questions, and

interviewing everyone in the fi lm — there were so many great interview moments that resonat-ed with me. But I would say the most heartfelt moments were that every one of the guys spoke of the love and respect they had for each other as people; that their friendship meant the most and then it was about the music. You don’t see this in a lot of bands then or now. Ego and money usually get in the way. But their honesty in every answer to the questions was so touching and re-warding. It told the story in such a real way.

What’s your favorite Kansas song?Th at is a hard question to answer. I listened to all fi ve of the fi rst Kansas albums dozens of times in order to chose the songs that were used in the fi lm. But I guess the song that haunted my dreams the most was “Dust in the Wind.” As Brian May from Queen said in the fi lm, “‘Dust in the Wind’ is so simple, so beautiful.” Th e lyr-ics and music that Kerry wrote for that song were and are so inspirational and thought pro-voking. It’s a once-in-a-lifetime writing achieve-ment and classic song that will be around forev-er for people to contemplate and enjoy. — Aly Comingore

kAnsAs: MirACles ouT of noWhereDirector cHarles ranDazzo miraclesoutofnowhere.com

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cinematic overtures

8.

Artificial intelligence is one of the most exciting and frightful developments in modern tech-nology. This feature film, about a female tech

reporter who visits a humanoid robot and his ge-nius creator and the love triangle that ensues, tack-les the issue with thrilling and thought-provoking intrigue.

What inspired this story?Sim Sarna,  the film’s producer, and I were talking about doing another film together, and I was telling him about how I was looking for a smart, Twilight Zone–like, science-fiction film. He told me that I needed to meet with his college friend Shahin Chan-drasoma, a screenwriter [and urologist by day]. 

I told him I was interested in something with two to three actors, one location. A moment later he laid out a story about a bizarre sort of love triangle between a sophisticated robot, his creator, and a female reporter that comes to do a story on them. I mentioned Masahiro Mori’s book The Buddha in the Robot, which not surprisingly Shahin had read and loved, as well. That’s when I realized that we were going to be perfect partners to pull this thing off. 

How close are we in reality to a world of functioning humanoid robots?Oh boy. Humanoid? Probably not true humanoid, because we are dealing with a biomechanical form that isn’t easy to replicate. Now, if you are talking about a powerful machine that can do virtually all of the things humans do and many things that humans cannot, well, that is starting to happen right now.

Is moving toward that future a disturbing or promis-ing trend?Two people that I think are very smart have very different ideas about this. Google’s director of en-gineering Ray Kurzweil thinks in about 10 years humanity will reach what is referred to as  “The Singularity,” where computers will develop a  “con-sciousness.” He also thinks that this will have posi-tive repercussions for humankind. Helping to cure cancer, prolong life, help us solve big-ticket prob-lems faster, etc.

On the other hand, you have the likes of Elon Musk of Tesla and SpaceX, who famously tweeted this past summer that AI is potentially more dan-gerous than nukes. I’m still not sure, but I do be-lieve that we need to keep a close eye on where all this is headed. I mean, theoretically, if AI developed enough, it would look at humans, with all of their pollution, warring, and sickness, as something that was a threat to its existence — like humans think of a deadly virus. And I suppose it would not be a stretch for them to try and wipe us out. I know, now I’m sounding like The Terminator. —Matt Kettmann

unCAnnyDirector mattHew leutwylerfacebook.com/uncannymovie

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9.

What would you do if you stopped at a gas sta-tion and were suddenly under gunfi re from an unknown source? Th at’s what this fi lm

portrays by focusing on the fear that builds in a vic-tim of such senseless violence and the quiet spaces in between the fl ashes of terror.

What inspired this story? It reminded me of the Washington, D.C., snipers.It’s not inspired by any specifi c case. Th e goal of the movie was to confront the “normal person” with an inexplicable adversity. It’s a serious matter, one that should worry us a lot even more now in a world where the “Fear Culture” is expanding under cer-tain “excuses.” But no matter what the excuse is (religious, political …), it should never be accepted: Th ere is never a justifi cation for terror, and even more when it aff ects the normal citizen, it doesn’t make sense.    

What are some challenges of fi lming essentially one character in one scene?Th e main challenges are the pace and authenticity. We wanted to respect that realness, of a situation like the one our characters are in, separating our-selves from the clichés of the genre but without af-fecting the pace of the fi lm. At the same time, it was an opportunity to focus more in the details which this particular genre doesn’t pay much attention to. Like the moments of waiting, the moments where the characters just don’t know what to do, when

they don’t know what’s coming next. On the other hand, the moments where thrillers or horror mov-ies shine the most (like violence or action), here they disappear quickly. Like in real life, they hit you in a second, then they are gone.  

Is there a greater meaning that you hoped to convey, or was this really more about suspense?We chose the thriller because it gives us the op-portunity to take the story we want to tell to the extreme, with an abstract enemy, and really forc-ing our protagonists to confront fear. We think that sometimes these genres actually let us tell more of a real story by taking them to the extreme. In this case, behind this story is the need to refl ect on this fear that is more and more present in today’s soci-ety: How do we face an adversity we don’t under-stand, one whose only purpose is to harm us?

The ending is mysterious. Do viewers like that, or are they frustrated by it?It’s a risky ending. We chose the thriller to tell our story, but this ending is not usual to the genre. We know that. But it’s a coherent ending to refl ect on that matter, that fear I talked about. Either way, even within the crew of the fi lm, there were people that were worried about what audiences would think (about the ending), and there were others that were excited. I wouldn’t change it for the world. I think that how it ends is in line with the message we want to convey. And it also reinforces the idea of the fi lm … with a moment of great suspense! — Matt Kettmann

lA noChe Del rATÓnDirector DaviD r. losaDalanochedelratonlapelicula.com

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10.

u.s. Premiere

This coming-of-age independent film follows a teenage girl who’s concerned about her late-blooming body, her budding love affair with an

older swim coach, and her work at a home for se-niors. It’s sad, happy, charming, and depressing at various times, but always very honest, much like life itself.

How did this story come about?One summer, when I was a teenager, my parents suggested I take a job at the nursing home as a cleaning woman. I reluctantly agreed. Working there meant I had to slowly get to know many of the residents on a personal level.

As the summer passed, I began to understand that this moment in these people’s lives wasn’t as peaceful as I had always imagined. As I struggled through the summer managing feelings of guilt, anger, and confusion, I discovered that many of the residents were struggling, too. They were angry that they were expected to gracefully step aside for a younger generation that didn’t understand or ap-preciate them. They felt the guilt of having lived a long life and not having accomplished all they set out to, and they shared in my confusion and fear of the uncertain.

As I was entering an exciting period in my life — holding a boy’s hand and having my first kiss — a man lost his wife. As I fought with my par-ents about responsibility and freedom, a woman was

admitted to the nursing home because her family could no longer take care of her. As I was growing up, they were growing old.

Tell me more about the opening sequence. What was intended by the floating people?This is something that can be left up to someone’s individual experience; however, I was interested in exploring idea of transcendence through bookend-ing the story with the images of the three charac-ters floating and then returning to these spaces at the end the film and all three spaces have changed. I hoped to subconsciously highlight the notion that we’re all passing through. Mortality is unavoidable, life continues on past the limits of our own experi-ence, but we are all linked through our humanity and the cyclical nature of life.

Where did you find the young actress? She does a great job.Julia Sarah Stone had been on our radar, but she was in British Columbia, and we were auditioning and filming in Ontario. So we had her send in audition tapes — and it was pretty obvious from the start that she had immense talent. I Skyped with her and talked about the character and had her send in more tapes while we continued the search in Canada. Then once we had narrowed it down, she flew out for chemistry reads, and we pretty instantly knew she was the right fit for Sam! And we were right. She did a great job! We were very lucky to have her on this project. She is a rare talent, with great depth and the incredible ability to say so much with no words. — Matt Kettmann

WeT BuMDirector linDsay macKay twitter.com/wetbumfilm

independent.com presentsMeet The Makers interviews with the fi lmmakers

For fi lm festival coverage and schedule changes, visit independent.com/sBiff

11.

This nail-biting narrative study of the mind of a very troubled though quite prolifi c serial killer in Toulouse, France, explores many fac-

ets of human existence, from childhood trauma to dreams of the future to the pains of growing old. Despite the murderer’s dastardly deeds, he is paint-ed so carefully that the audience can’t help but feel a bit of pity for him.

Why did you want to tell the story of a serial killer? I wanted to make a fi lm about the anguish of pass-ing time. With existential questions: What mean-ing to give to our life? What can we do with our existence? And to these questions, my main char-acter responds with violence. I am convinced that most of the time, we react to what is beyond us by violence — obviously not killing, but by a form of violence. I chose the character of the serial killer be-cause it is a symbol, a symbol of a man who believes he fi nds meaning in his life by killing other hu-mans. And then there is something that fascinates me with serial killers: Th ey are not monsters but men. One day they were children. Th ey had these children’s laughter one day. My question is then: What is this horror that is in each of us?

The genre has been explored in depth already, so was it a challenge to come up with a new and quite touching portrayal? I did not feel Cruel was a serial killer fi lm, because I wanted to show a serial killer who would have ex-actly the same life, the same problems, that we do. He would not be alone. He would like to be in love. He would live happily with his parents. He dreams of beauty. Th is is a man who wants to enjoy the beauty. But the life he has and that he would like to have are so diff erent. And he kills. Th ere is no objec-tive reason for his murders.

Why did you set the fi lm in Toulouse?I fi lmed in Toulouse because it is where I live. I had just to come out in the street to fi lm. Cruel is a very small-budget fi lm, and it was an obligation. Th e apartment of the girl in love with the killer, it’s my apartment. Th e home of the killer, it is that of my grandparents’. Th e clothes of the killer, they are mine. Furthermore, Toulouse is the city of Patrice Alègre, a French serial killer. Although my killer is very diff erent, I fi lmed in the area, the streets where Allegre lived and killed. Th e horror was there.

The killer is haunted by his childhood. Do you think that is a common thread for many true serial killers? I think everyone is haunted by his childhood. Con-sciously or not. So yes, I guess serial killers are the same as us. Oft en (but not always), they had an unhappy childhood. My killer is diff erent. He had a happy childhood. A paradise lost. Th is must be the only serial killer with such a happy childhood! — Matt Kettmann

u.s. Premiere

CruelDirector eric cHerriere facebook.com/cruelthemovie

12.