THE EYE OF RICO

The man on the right is director / producer / screenwriter / editor / composer Robert Rodriguez. The man on the right is photographer Rico Torres.

I respect the artist, on the left.  I love the artist on the right.

Mr. Torres and I go way, way back.  I was a unit publicist and he was the still photographer. We worked together on several movies and along the way we developed a friendship that endures.

He is talented and he is kind.  He is well respected and he is kind. He is innovative, adventurous, bold, passionate and one of the best listener’s that I’ve ever met, and he is kind.

Take a moment and check out his work in the link below.
http://www.domestika.org/es/courses/48-la-fotografia-de-sin-city-del-comic-a-la-pantalla/rico_torres

“Manos Sucias” directed by Josef Wladyka and executive produced by Spike Lee

Uploaded by Manos Sucias on 2015-03-19.

During the 2014 Tribeca Film Festival, director and screenwriter Josef Wladyka’s, “Manos Sucias” won the Best New Narrative Director and an Audience Award at the 2014 Tribeca Film Festival.  The film has opened in New York. 

“Manos Sucias” was executive produced by Spike Lee, who was also Wladyka’s professor at NYU.

“Manos Sucias” is written by director Wladyka and Alan Blanco.  The taunt thriller explores the dangerous city of Buenaventura, Colombia, and is a harrowing tale of three men who embark on a journey over the dark murky waters of the Pacific. 

A set of mysterious coordinates is their guide, a fishing net is their cover, and a narco-torpedo filled with 100kg of cocaine is their cargo. 

Following estranged brothers as they risk everything for a chance at a better life, “Manos Sucias” takes a close look at life at the bottom of the food chain in the international drug trade. 

Wladyka cast tremendously gifted newcomers including Cristian James Advincula, Jarlin Martinez, Hadder Blandon, and Manuel David Riascos.

myNewYorkeye: What were the biggest challenges in making this movie?

Josef Kubota Wladyka: There were so many challenges to overcome while making this film, but one of the biggest was figuring out how to shoot in Buenaventura.   Buenaventura is a city on the Pacific Coast of Colombia plagued with many social/political issues.  Our core team, myself, Alan Blanco, Elena Greenlee, and Márcia Nunes, knew that if we were to make a film there we had to come in with the right attitude and a certain sensitivity in order to be welcomed.  There is no film infrastructure in Buenaventura so we encouraged the people in the community to act in and crew on the film. What at first seemed liked a challenge, turned into a beautiful collaboration with the people of Buenaventura.  As one of the most hot and humid areas in the world, the physical act of making this film was also another major obstacle.  Filming on boats, through thick jungles, and in other rough terrain taxed us emotionally and physically.

myNewYorkeye: Your producers are also from the NYU film program.  What’s it like, as a director, to work with a good producer?

Josef Kubota Wladyka: Good producers are such a crucial part of making a film. I had the privilege of working with Elena Greenlee and Márcia Nunes, two incredibly dedicated producers whose resilience in the face of challenges amazed me.  They brought so much to the project, especially from a creative standpoint. 

I always leaned on them not just for the logistical aspects of the film, but also collaborating with creative decisions.  They both have great taste and have an extremely important quality that I think all producers need… they are honest.  As a filmmaker you need people to be 100% honest with you all the time to keep you grounded.  So much of the success of this film is credited to the two of them.  They truly are badass. 

myNewYorkeye: How has your style changed since making the movie?

Josef Kubota Wladyka: I’m not sure if my style has changed because I haven’t made another movie yet, but I hope it doesn’t change too much.  I want to try to keep telling stories that are compelling, exciting, and emotionally moving.

myNewYorkeye: What are the central themes - to you – and why did you take such risks in telling this compelling story? 

Josef Kubota Wladyka: The main theme for me is the loss of innocence.  In Buenaventura there are so many young kids that get caught up in this cycle of the drug trade. I think at the end of the film it is clear that Delio is now forever a part of this world.  He lost his innocence by taking another life and in essence he is killing himself. Jacobo has been trapped in this cycle and at the end of the film, as he looks to his younger brother in the boat, he knows he is now trapped in it forever too.

We all took so many risks telling this story because we wanted to create an authentic and real film.  We wanted to show a part of the drug trade that people rarely see and we wanted to do it in the real place with the real people. Through making this film, we witnessed the resilience of the human spirit even when faced with hardship. We learned that the drug trade is a complex system that affects more than just the people directly involved in it.  We learned that those involved often times don't have a choice.  For us, it was worth all the risks. 

myNewYorkeye: What do you love best as a story teller?

Josef Kubota Wladyka: Being able to explore and learn about new worlds and show them to an audience.

myNewYorkeye: What’s the best advice that you’ve ever received, from anyone, that you apply to your life and work? 

Josef Kubota Wladyka: I often find that the best advice is the most simple.  For me, it came from Spike Lee… “Get it done, by any means necessary.” 

myNewYorkeye: What’s next, talented fellow? 

Josef Kubota Wladyka: Alan and I are working on various new projects, including writing for hired gigs as well as deciding what film we will make next.  I am also reading a lot of scripts hoping that one might grab me and be something I would want to direct.

New York, NY (Cinema Village)

Choque Clip:

https://vimeo.com/91757746

We Highly Recommend - FELIX AND MEIRA!

FELIX AND MEIRA is a calling card for its young director, Maxime Giroux; a story of an unconventional romance between two people living vastly different realities mere blocks away from one another. Each lost in their everyday lives, Meira (Hadas Yaron), a Hasidic Jewish wife and mother and Félix (Martin Dubreuil), a Secular loner mourning the recent death of his estranged father, unexpectedly meet in a local bakery in Montreal's Mile End district. What starts as an innocent friendship becomes more serious as the two wayward strangers find comfort in one another. As Felix opens Meira's eyes to the world outside of her tight-knit Orthodox community, her desire for change becomes harder for her to ignore, ultimately forcing her to choose: remain in the life that she knows or give it all up to be with Félix. Giroux's film is a poignant and touching tale of self-discovery set against the backdrops of Montreal, Brooklyn, and Venice, Italy. FÉLIX AND MEIRA is the Winner of Best Canadian Feature at the 2014 Toronto International Film Festival.

Opening: In New York on Friday, April 17th At Lincoln Plaza Cinemas

Director: Maxime Giroux, who also shares a writing credit with Alexandre Leferriere

Starring: Hadas Yaron, Martin Dubreuil and Luzer Twersky

Running time: 106 minutes

The Academy looks to the future with a colorful eye!

The Academy of Motion Picture Arts and Sciences has officially launched the Academy Color Encoding System (ACES), a free, open, device-independent color management and image interchange system that offers a critically needed global industry standard for motion picture and television production. 

From image capture through editing, VFX, mastering, public presentation, archiving and future remastering, ACES enables a consistent color experience that preserves the filmmaker’s creative vision.

It addresses and solves a number of significant production, post-production and archiving problems that have arisen with the increasing variety of digital cameras and formats in use, along with the surge in the number of productions that rely on worldwide collaboration using shared digital image files.

“A decade ago, the Academy recognized the need for a new set of infrastructure standards as the industry moved from film to digital,” said Richard Edlund, Academy governor and founding member of the Academy’s Science and Technology Council“We made a deep commitment to the effort – coordinating hundreds of top industry scientists, engineers and filmmakers on years of research, testing and field trials – so we’re both proud and excited to launch ACES 1.0 as the first production-ready release of the system.”

The Academy is simultaneously launching the ACES Logo Program to encourage consistent, high-quality implementations of ACES concepts and technical specifications throughout the industry. Initially focused on production and post-production equipment such as cameras, color correctors, displays and visual effects and animation software, the Logo Program is the first step toward enabling facilities and productions to take full advantage of ACES benefits.

There are 22 leading companies already in the Logo Program: ARRI, Assimilate, Autodesk, Canon U.S.A., Codex, Colorfront, Deluxe Media Creative Services, Digital Vision, Dolby Laboratories, FilmLight, FotoKem, The Foundry, FUJIFILM North America, Light Illusion, MTI Film, Panasonic, Pomfort, Quantel, RED Digital Cinema, SGO, Shotgun Digital and Sony Electronics.

ACES has been used on scores of film and television productions to date, including such features as “Chappie,” “The Lego Movie,” “Big Eyes,” “Elysium,” “Oblivion” and “Chasing Mavericks.”

As part of the ACES launch, the Academy will be exhibiting at the 2015 NAB (National Association of Broadcasters) Show, April 13–16 at the Las Vegas Convention Center, in booth C9132.  The Academy also will make two ACES presentations: the first as part of the Technology Summit on Cinema, and the second in conjunction with NAB’s Creative Master SeriesScience and Technology Council Managing Director Andy Maltz will make the Summit presentation “The Academy Color Encoding System (ACES): A Digital Production Infrastructure Standard,” covering the science, engineering and practical application of ACES, on Saturday, April 11, at 4:15 p.m. The panel session “Coming to You Live: ACES 1.0,” with top industry professionals discussing how ACES helped them successfully manage complex cinematography, visual effects and color correction issues on a variety of motion picture and television projects, will take place on Tuesday, April 14, at 3 p.m.

For more information about ACES or the ACES Logo Program, visit:

Oscars.org/ACES.

For complete information about the 2015 NAB Show, visit:

nabshow.com.

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