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Burning Man documentary finds success and Leo nominations

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I had the pleasure of interviewing Leo nominees Joel Ashton McCarthy and Bryant H. Boesen, the co-directors, producers, and editors of Taking My Parents to Burning Man. Bryant, who along with his parents were the stars of the movie, says the experience was spontaneous, dusty, and emotional. They were nominated for Best Feature Length Documentary Program, Best Direction in a Documentary Program, Best Picture Editing, Best Sound Editing (by Robert Phaneuf).

Joel and Bryant were classmates at Vancouver Film School and used to team up to make stoner comedy movies. Joel noted that they are “very different people, but are drawn together because of their creative nature.” Of course, being on the same artistic wavelength enabled them to work on 10 different projects together during their time at VFS.

Bryant was adamant that the movie should be called Burning Boundaries, an idea that Joel was vehemently against, even going to the extent that he would only do the movie if the title was changed. Bryant said that the was a ‘passion project’ in which he wanted to take the values and mindset of Burning Man and show them to the world.

When his parents told him that they were planning to go to Burning Man, he was ecstatic and wanted to capture the experience through their eyes. At first, Bryant’s parents said to him, “we are not gonna be in your dumb reality show,” but they soon realized that since they were going anyways it would be great to support their son’s project.

Joel and Bryant had been out of school for only two months when they decided to take this on with no financial resources and a crew of eight people, including Bryant and his parents.

They started shooting in the summer of 2012 and took over year and a half to edit, which paid off when the film premiered in California in April 2014. When the film was nominated alongside other feature documentaries that had bigger budgets, they instantly became the underdogs.

After selling out their first eleven consecutive screenings, the film won the Audience Choice Award for Best Documentary at both the 2014 Sonoma International Film Festival and the 2014 Newport Beach Film Festival. Two kids that spent $10,000 competing with films whose budgets were exponentially bigger goes to show what eager film students can achieve when they put their minds to it.

Of course, a project like this does not come without its challenges. Joel said that the biggest shock was the weather, as 2012 was the dustiest year in Burning Man’s history; the two were afraid that all the expensive cameras were going to be destroyed with dust. After surviving their personal Mad Max environment, the second challenge was recording audio in windy conditions.

Bryant also shared a couple other obstacles that arose before even beginning the film. A week before Burning Man, his mom broke her ankle but, lukily, was able to pull through. A friend who was supposed to lend them an RV bailed on them and they were forced to find another means of transportation. They ended up with the beautiful green school bus that is featured in the film.

For Bryant, not much writing was required because Burning Man has a story arc of its own. All they needed was a rolling camera and attentiveness to spontaneity. Joel said that their film offers the audience an idea of how big Burning Man is, and how inclusive its community is.

When his documentary course instructor asked how things were going, Bryant replied that everything was falling apart. The instructor asked quickly whether they were filming it. When a nervous Bryant replied with a “yeah,” the instructor affirmed enthusiastically: “Great, that’s your movie.”

Taking My Parents to Burning Man will be showing at the Rio Theatre July 12 to 15, leading up to their theatrical release on iTunes July 17.

Leo Awards 2015: Behind-the-scenes film geniuses honoured

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The Leo Awards are about celebrating excellence in the film and television industry of British Columbia. The first leg of the 2015 Leo Awards took place on June 6 at The Westin Bayshore Hotel, where local technical geniuses were celebrated.

Ellie Harvie (Mrs. Bubkes in Some Assembly Required) wasn’t able to attend due to an emergency family issue, but Veena Sood (Mrs. Rashid in Little Mosque on the Prairie) rose to the occasion and was kind enough to co-host with Paul McGillion (Dr. Carson Beckett in Stargate: Atlantis). After an exquisitely hilarious bit alluding to actors as assholes, the long awaited celebration of technical talent kicked off.

Eadweard was the winner of four Leos: Best Makeup, Best Costume Design, Best Hairstyling, and Best Production Design. Kathy Howatt, the make up designer for the film quipped, “If anybody is talking to Josh [Epstein, Eadweard’s co-writer and producer], can you tell him he owes me therapy for all the merkins I had to apply?”

Violent, the second winner in the motion picture category, received three awards for Best Cinematography, Best Picture Editing, and Best Visual Effects.

Dead Hearts, a short drama, took home three Leos for Best Production Design, Best Make-Up, and Best Costume Design.

In the category of Dramatic Series, The Flash’s episodeGoing Rogue” took the Leo Award in Visual Effects.

Among the documentaries, Jordan Paterson and Norm Li won Leos for Cinematography and Picture Editing for Tricks On The Dead: The Story Of The Chinese Labour Corps In WWI.

It was a lovely night of many stars, peer appreciation, and heartfelt gratitude.

All-female adaptation of Glengarry Glen Ross impresses

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Classic Chic Productions has a mandate of performing classic plays with all-female casts — they credit themselves as “chicks bringing class to the classics.” Last year’s production of The Winter’s Tale was very well-received, and this year they’ve taken on the classic tale of desperate salesmen, Glengarry Glen Ross.

The intimate venue of The Beaumont Stage allowed for the audience to be engrossed by the fast-paced, razor sharp dialogue, and I was extremely impressed with the way these ladies were able to convey the masculine gestures of these domineering male characters. It would be easy to take a play like this, especially when done by a female cast, and have it turn out cheesy or over the top with exaggerated gesture, but that was not the case at all.

Shelley Levene (Colleen Winton) is in the middle of a bad streak of luck and needs to catch a break, but office manager John Williamson (Marci T House) is not willing to help him out. The opening exchange between these two characters was nuanced and full of just the right amount of masculine bravado, right down to the minute changes in their facial expressions. I knew right away that this play was going to be superb.

Each character was very well defined, and the whole cast gave exceptional performances. I particularly loved Richard Roma’s (Michelle Martin) monologue about the meaning of life that hooked a potential customer at a bar before Richard quickly slid a brochure under his nose. As these men show, it’s all about setting them up properly before you ask them to sign the contract. Back at the office when the same client came to see him, Dave Moss (Corina Akeson) was smooth as silk in his attempts to defer a meeting where he knew the client wanted to cancel.

Meanwhile, Dave has a plan to move up in the world of sales, aided by the unlikely accomplice George Aaronow (Suzanne Ristic). Their conversation about a potential robbery of the office was another highlight of the show, as Dave guides George through a hypothetical scenario the whole way, until he finally realizes what is being implied: “Are you saying you’re going to rob the office? I thought we were just talking!”

I was so captivated by the performances, the lengthy conversations of the first act flew by, and the scene in the office held my attention with its impeccable timing and characterizations that never wavered. What a spectacular achievement by this talented group of women.

Glengarry Glen Ross is presented by Classic Chic Productions from June 6 to 27 at the Beaumont Stage. Tickets are $25 at the door or $23 plus service fee online. Visit classicchic.ca for more information.

Surrey names SFU students and alumni in Top 25 Under 25

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"Top 25 Under 25" winners - Surrey Board of Trade

During its fifth annual reception on May 28, the Surrey Board of Trade (SBOT) recognized the initiatives of select youth in Surrey, aged 25 or younger.

The ‘Top 25 Under 25’ award honours individuals based upon their business or community achievements, demonstration of leadership, and community involvement. The following list highlights the eleven SFU students chosen by SBOT for the award.

 

Ridge Pinto — Business (Entrepreneurship and Finance)

Recipient of RBC’s Students Leading Change Scholarship, Pinto currently works as an intern at Microsoft. His future plans include either attending law school in the Fall of 2016 or potentially going back to an internship employer.

“It’s humbling to be recognized amongst Surrey’s youth; as a proud Surrey resident, I owe a lot to a city and to a community that have provided me with so much. I hope one day to return the favour.”

 

Deepak Sharma — Sciences (Behavioral Neurosciences)

Sharma currently works alongside a former teacher organizing a TEDxSurrey conference to showcase the youth of Surrey. He is also the VP Student Life at the Simon Fraser Student Society, as well as an advocate for the #WESayYES student led campaign, encouraging students to vote “yes” in this year’s transit plebiscite.

“The honour of being recognized as one of Surrey’s Top 25 under 25 is very humbling and motivating. It’s a recognition that speaks to the community of supporters, mentors and role models who have without hesitation always taken out the time to assist me in all my accomplishments.”

 

Felicia Rafael — Alumni

Rafael is the President of Beneath One Sky, a non-profit group from Vancouver devoted to conquering poverty in our neighbourhood and around the world, and she currently sits on the Surrey Christmas Board. She is developing a volunteer program within the organization that will focus on engagement with disadvantaged children which she hopes to launch the program in the next two years.

“I am humbled to receive this honour, and thank my parents and friends for their love and support. This honour not only represents what I have done but really it represents the entire BOS team, who have worked so hard and so passionately these past 5-plus years.”

 

Shantelle Medel — Health Sciences

Medel is one of the founders for the organization the Beneath One Sky Community Support Society. She just completed coordinating the “Walk and Learn Program: Engaging and Inspiring Seniors and Youth,” which she hopes to sustain and carry into the future. She is also the jewelry designer for her business “A Vintage Enchantment.”

“It is an honour to win the Top 25 Under 25 award as it recognizes and is a reminder that transforming your passions into reality is key to helping you grow as a leader and in providing support and opportunities for our community.”

Lourence Singh — Business (Accounting and Finance)

Singh is the founder of an importing company Lorcorp as well as a Sponsorship Specialist for SOAR Philanthropic Society, a non-for-profit student-run organization that provides scholarships to high school graduates entering post-secondary institutions who are in financial need. He is also the Logistics Manager for Soap for Hope, and a licensed realtor.

“It was truly an honour being recognized among a group of such talented and passionate individuals who all strive for personal growth while making a positive impact on society. The award reinforces my entrepreneurial spirit and will drive me to attain continued success.”

 

Naina Grewal — Business and Communications

Grewal has been volunteering as a radio show host at Red 93.1 FM, working on a show targeted towards children and youth.

She is also part of the SFU Student Ambassador Club and has been a guest speaker at events throughout the lower mainland. For the future, Grewal plans to step into the world of broadcasting and media while continuing to serve her community.

“Knowing that my efforts as an engaged community member and volunteer are recognized and appreciated serves as a pillar of moral strength. It is truly a humbling and inspiring experience and a memorable stepping stone to keep moving forward in the right direction!”

 

Jeremy Pearce — Criminology and Sociology

Pearce created “Transit Watch,” a program aimed at improving transit safety in Surrey, after being inspired by a class presentation. Recently certified as a Canadian Mental Health First Aid Instructor, Jeremy hopes to be employed as an RCMP officer in the future.

“This award means a great deal to me. It is humbling to be recognized among the other [award winners] who have all accomplished so much in their lives and have all contributed so greatly to benefiting their community in whichever way their passion allows.”

 

Sean Warwick — Interactive Arts and Technology

Warwick is the founder and coordinator for “Away From Keyboard” (AFK), a game development symposium, and is currently a teaching assistant in the foundations of game design in the School for Interactive Arts and Technology. His plans include entering the gaming industry and gaining experience, as well as working towards a position as a game development instructor.

“Receiving this award meant a lot to me. It proved to me that the time and effort I spent creating AFK was worthwhile and will continue to have a positive impact on SFU and SIAT after I graduate.”

 

Rhythm Tang — Business

Tang is a Beedie School of Business student. She manages Hunger Actions, a four-week interactive workshop series that empowers low-income families in Metro Vancouver with the knowledge to lead a healthy lifestyle on a tight budget.

“It isn’t easy being an entrepreneur, but being awarded the Surrey Top 25 Under 25 Award has led me to realize that hard work and dedication really pays off in the end. It is only with the ongoing support from my Hunger Actions and Enactus SFU Team that we were able to create such a large impact in the lives of low-income parents and their children.”

 

Rizwan Qaiser — Business (Entrepreneurship and Innovation)

Qaiser was one of the the co-founding president of SFU’s Interdisciplinary Entrepreneurship Association (IdEA). He is also a research assistant in the Beedie School. Qaiser hopes to explore the role of the university in the process of becoming an entrepreneur and look for barriers at an institutional level. For the future, he is looking to create a cheaper alternative to motion control equipment for filmmaking using robotics.

“I wish it was more of an opportunity to acknowledge to the professors who have helped me and the team at IdEA SFU. The only reason it makes me feel better is because of my mum; as an international student it is almost as a confirmation for all the hard work.”

Peak Speak: Is Vancouver Boring?

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The Peak asks SFU Vancouver students if they think the city is boring.

Created by Paige Smith
Special thanks to Max Hill

The Peak: Sports Podcast

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Peak Associates Nick Bondi and Austin Cozicar sit down to discuss this week’s sports news.

Created by: Paige Smith

Aloha suffers from an incomprehensible plot

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Bradley Cooper, left, and Emma Stone star in Columbia Pictures' "Aloha."

Aloha is about, um, it’s about. . .

Okay, let’s start with the basics: Brian Gilcrest (Bradley Cooper) is a contract worker for the military who has come for a brief stop in Hawaii to convince a group of native residents to trade their land. He is escorted around the island by a cute captain named Allison Ng (Emma Stone), who, despite being overbearing and rough around the edges, grows on him. Things get a little more complicated when Allison discovers Brian’s connection to a dubiously-intentioned businessman and an ex-girlfriend who is now unhappily married with children.

This new rom-com from Cameron Crowe, one of the most inoffensive filmmakers working today, stirred controversy among a group of native Hawaiians for not properly representing their culture. Although casting the pale, blonde Emma Stone as a character who is a quarter Hawaiian is a bit of a stretch, it is the very least of this film’s worries.

In his early work, like Jerry Maguire, Say Anything, and Almost Famous, Crowe was a master at creating one kind of “movie moment”: when the mundane is exaggerated to express heightened human emotions. Although these kinds of films aren’t grounded in circumstances we can identify with, they capture an essence of our everyday experiences by inflating them.

These movies provide this kind of unabashedly nice wish-fulfilment. In general, his films often feature great soundtracks with an eclectic taste of pop tunes that give us the warm and fuzzy feeling that something down-to-earth and ambiguous might miss.

Our lives don’t have a soundtrack by Peter Gabriel, but we can see ourselves wanting to be John Cusack holding that boombox over our head. It’s a little ridiculous and more than a little cheesy, but it gets at an aura, an emotion, a dream only the movies can give us.

Aloha has glimpses of these moments, but too often the film settles for another kind of “movie moment”: those absurd and contrived instances where we’re supposed to just go along with ridiculous coincidences, gaps in logic, and muddled motivation, because the characters do. Aloha seems totally oblivious to the fact that it too often indulges in this.

Much of this story is incomprehensible: why does the military need that specific piece of land where the group of Hawaiian natives are living? What is the military’s motive in privatizing satellites? Why did Brian Gilcrest get shot in Afghanistan? How does Brian take down the satellite at the end of the film?

Even the understandable plotting is flimsy with leaps of faith that are about as plausible as the Hawaiian myths in the film. For example, the film’s most crucial plot development — when Allison discovers that the satellite is secretly being weaponized — is contingent on at least seven assumptions: (1) that a pre-teen boy would bring a camcorder everywhere; (2) that he would sneak out to film random things at night; (3) that he would be able to stumble upon the location of the satellite; (4) that the workers arming the satellite would leave the doors to the factory open; (5) that he would be able to get past a fence and security (unless we are to believe there is no fence or security); (6) that he would be reviewing his footage on a television perfectly visible by Allison as she walks into the house unannounced; (7) that the boy wouldn’t tell his mother or Brian about the video.

Aloha has good intentions, but it feels like it’s from another planet.

A mysterious falcon is Aloft in this feel-bad movie

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Here are some things you can look forward to in Aloft: a pig giving birth in the opening shot, numerous sex scenes where the characters seem to be enjoying themselves as much as the aforementioned pig, and a pigish mother who is glorified for abandoning her children to become a faith healer.

Sound like your cup of porky miserabilism? This is the feel-bad movie of the year that makes you feel even worse once you realize it’s all for nothing.

The story jumps between two time periods. The earlier one follows a mother’s struggle to raise her two sons — one of whom is fatally ill — after the death of her husband. The second timeline takes place about 25 years later as a journalist and the older son journey to a reclusive place in the northernmost part of Canada.

Beautiful, ponderous shots of ice and forests imply that you should take this movie very, very seriously. It deals with essential themes of memory, loss, grief, and faith; it’s about searching for meaning and healing in a cold wasteland and finding warmth through the search. And then there’s some indistinguishable meaning behind some falcons and nature and art.

Admittedly, the reason everyone is so sad is eventually unveiled after over an hour of unnecessary confusion. Like Atom Egoyan’s Exotica, all the characters are aware of a tragedy that has occurred, but it’s not revealed to the audience until much later in the film. This device works very well in Egoyan’s work because it allows us to focus on the universality of the characters’ suffering rather than the particulars of their situation.

Though, where Exotica’s great reveal actually revealed something of human nature, Aloft simply uses it as a contrived plot device to try to hold the viewer’s interest in what is otherwise a dull melodrama.

The most crucial character change is the mother’s acceptance of her role as a faith healer. It creates the strain in her relationship with her son, but more importantly, it links the two timelines together. You would think we would be given a reason for her drastic and abrupt shift from skepticism to devotion, but it’s simply not in the film.

Aloft doesn’t think coherence matters. Rather than tell a conventional story, it wants to be a tone poem or a parable that doesn’t need to make logical sense. Despite the dreamy mood created by a cold visual palette and the often discontinuous editing, the issue with this film’s deeper layer is that the development is muddled the same way as the plotting.

“But nature does not judge the darkness or the light and so it is unpredictable,” the mother says at the end of the film, as an image of the falcon projects onto the screen. This final speech is meant to define the metaphor, but it tightens things up as much as a belt that sags on the loosest belt hole. Not only is her statement nonsensical lip-flap, but it makes even less sense with the context of what the falcon does in the film.

Do you get it? If so, maybe you’re the falcon — as high as the sky. How’s that for a metaphor?

Epik High were here for the fans

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Korean hip-hop group Epik High took the stage by storm during the Vancouver stop on their North American tour, living up to their reputation as one of Korea’s most talented hip-hop acts. Playing a sold-out show at the Vogue Theatre, the group proved yet again that music can break cultural barriers.

Composed of rapper Mithra Jin, DJ Tukutz, and leader Tablo, the trio have been creating music that fuses hip-hop with alternative sounds for over twelve years, collaborating with dozens of famous Korean artists such as Beenzino, Dynamic Duo, Verbal Jint, and BIGBANG’s G-Dragon and Taeyang.

The concert itself can only be described as electrifying. Two parts energy and three parts charisma, the group kept the crowd jumping and completely engaged throughout the entirety of the show. The trio was able to combine older and classic songs such as “Love Love Love,” “Fan,” and “One” with their newer titles, such as “Burj Khalifa,” “Rich,” and “Happen Ending,” all from their 2014 album Shoebox. It created the perfect mix of familiar and fresh sounds, building up the anticipation of what was to come next.

The group’s stage presence was a force to be reckoned with. I was overwhelmed with how they were able to bring the stage to life, conducting the crowd from virtually all angles. That, coupled with the music and lights, kept the crowd cheering and waving their hands along with the various beats.

During the Q&A session half way through the show, the three artists responded to questions regarding their personal impressions of Vancouver and musical inspirations.

While Tablo generally kept his answers sincere, claiming at one point to be inspired both by his daughter, Haru, and by Epik High’s fans, DJ Tukutz made the crowd laugh with his humorous responses. It was refreshing, and a shining example of how Epik High’s personalities make the group admirable and down-to-earth.

One thing that really stood out to me was the passion Epik High has for their fans and their ability to interact with the audience on a personal level.

Throughout the entirety of the concert, the group was consistently asking the audience questions, dedicating songs to the crowd, and even taking numerous group photos. It felt like they were there for the fans, not vice versa, which is something I have never experienced at a concert before.

At the end of the night, Tablo voiced his desire for the crowd to feel inspired by Epik High’s performance and to feel motivated to pursue our dreams. It was refreshing to hear this from the former Vancouverite, and he repeatedly reminded the crowd that Epik High are living proof that things do get better.

With the performance they presented, I can honestly say that I believe it. The night was inspirational and captivating for me in a way that no other concert experience has ever been.

San Andreas’s only fault is clichés

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Oh my God, that was the most awesome movie I’ve ever seen.

Yes, yes, I know, no written work, let alone a film review, should start with those words, but it’s truly the only way you can talk about San Andreas aside from making the loud grunting noises of an excited ape.

From a film critic or snob’s point of view, it’s a terrible movie. The plot depends on every cliché in the book — if there was a book on writing disaster movies, this movie would probably be sued for plagiarism.

Let’s do a checklist of clichés in this movie. Likable single dad? Check. Said dad has emotional issues that led to his wife leaving him, but his ex-wife is still on good terms, and the dad, despite having an “emotional distance,” is sociable and everybody likes him? Check. Dickhead stepfather? Check. Disaster brings the family together? Obviously.

Dwayne “The Rock” Johnson plays Chief Raymond “Ray” Gaines, a search and rescue helicopter pilot for the LA fire department. He has a team, and they apparently came from the military together, but that’s not really important; his team just disappears after the first ten minutes. They don’t die, but The Rock is just a one-man team, I guess.

His family life has suffered since the tragic death of one of his daughters, however his other daughter (Alexandra Daddario) is going to college, while his wife (Carla Gugino) surprises him with divorce papers (she’s dating a millionaire real estate developer (Ioan Gruffudd)).

Meanwhile, the clichéd scientist character (Paul Giamatti) has some new theory to predict earthquakes. He and his scientist partner (who might as well be named Redshirt McDead), go to Las Vegas where there’s seismic activity, but no supposed fault lines. McDead suffers a heroic death, as there’s a big earthquake that destroys the Hoover Dam. Giamatti doesn’t have any time to grieve as he finds out a big one’s headed for San Francisco.

The Rock’s daughter has gone with her stepfather to San Fran on her way to college, while her mother is meeting with Kylie Minogue for some reason. The daughter meets some British kids, which is lucky because Mr. Fantastic turns out to be a complete coward when the earthquake hits, before eventually going full heel and pushing people out of his way. The British boys save The Rock’s daughter, and hang out with her for the rest of the movie, while The Rock tries to save his family.

You’ll never guess how it ends.

It’s always awesome to see a big city get destroyed (in the movies). The Rock is actually a pretty good actor — I nearly cried at his dramatic monologue — and the rest of the cast performed pretty well too.

My only qualm is that the movie drags on a bit too long; with a running time of 114 minutes, it could have afforded to be a bit closer to an hour and a half.

I may have exaggerated a tad, calling it the most awesome movie ever — that title belongs to either Flash Gordon or Highlander — but seriously, it’s the best. Everything’s so cheesy and formulaic that it just. . .works.