Director BIO: David Odio (LILITH)

Director Biography

Screen shot 2017 05 01 at 9.16.31 pm

An LA native, David has been making films his entire life. After graduating from the USC School of Cinematic Arts, he interned at Marvel Studios in Manhattan Beach. Post internship, he began working at Ignition Creative, one of the world’s largest film and television advertising houses. From there, he began his career directing digital commercials, web series, music videos, and short films. He’s directed projects for Ryan Reynolds and Terry Crews, as well as an animated digital series starring Nathan Fillion, Scarlett Johansson, and Will Sasso. David has loved being part of LILITH and bringing this inspiring story to life.


Director BIO: Philippe McKie (BREAKER)

Director Biography

Philippe mckie director

Philippe is an award-winning filmmaker born in Montreal, Canada.
Since graduating from the Mel-Hoppenheim School of Cinema he has been living and making films in Japan. His films explore multiple genres ranging from psychological-dramas, to period pieces and science fiction.
Beginning in 2010 with his short-film ARIA, made in his first-year at film-school, his films have been selected in festivals around the world and received multiple prizes and distinctions.
Since 2011 he has been based in Tokyo, Japan.

Selected Filmography:

SHŪEN (Japan, 2015) Color, 15mins, HD
* Silver Award Horror Spotlight Awards

Healing Waters (Japan, 2014) Color, 3mins, HD
* Grand Prize winner 2014 Shikoku Film festival

Where The Heart Is (Japan, 2014) Color, 2mins, HD
* Silver Winner Chiba Film Festival

Shades of Grey on the Silver Screen (Montreal, 2011) B/W, 15mins, S-16mm
* 35th Festival des Films du Monde, Montreal, Canada, 2011

ARIA (Montreal, 2010) Color, 6mins, 16mm
* Winner best Film Jury’s prize 8th Festival Neatworks, Canada 2011

Director BIO: Stephen Rutterford (BACK PAGE RIPPER)

Director Biography

Rutterford 2

Stephen Rutterford is a British born Artist based in New York.
His day job is Partner, Executive Creative Director, at The Brooklyn Brothers ; Voted Gold at Advertising Age’s Small agency of the year 2014.
Prior to The Brooklyn Brothers, Stephen trained under Sir John Hegarty and Sir Charles Saatchi.
During his career he has worked on over 160 brands including; Levi’s, Xbox, T-mobile, Johnnie Walker, Rémy Martin and Coca Cola. And has collaborated with artists including Pharrell Williams, Talib Kweli, Astronautica, Shepard Fairey, Faile, D*Face and Michel Gondry.
“Advertising has been my film school. I’ve had the privilege to learn by watching first hand from the best talent in the industry.”
Stephen is a drummer, a ninja and a father. He is also left handed.

Director Statement

Back Page Ripper is my Directorial debut.
The film is an experiment with narrative structure and the visual style is a combination of influences from Bladerunner, Wong kar- Wai movies and The Muppets.
Based on a true story, the idea was inspired by a conversation with friend Jon Burkhart, (now founder of TBC Global). We spoke about a former work colleague, who would prank fellow coworkers by tearing the last page out of the book they were reading.
It took several years for the project to get off the ground. After a couple of failed attempts, I finally met the right group of people and everything aligned.
After shooting, It took a further year of nagging people for favors to complete the post production. It was a good lesson in perseverance and believing in your ideas.
A key moment was meeting Cinematographer Brenden Savi at The Creative Circus grad show, where I was looking to recruit creative teams. I was very impressed by Savi’s photography portfolio. It was evident we shared very similar tastes aesthetically, so I knew instantly he was the right man for the job.
Casting was important to the film visually. I was searching for a “Girl with the dragon tattoo” type of character and was introduced to Marion Saint Jean, a Chilean model and cosplay actor through Savi.
Additionally, my personal trainer Anwar Jackson had the right physicality for the role of the Ripper and eagerly embraced the character.
Furthermore I was very fortunate to be surrounded by a group of very talented people at The Brooklyn Brothers Ad agency.
In particular Ilana Fried. Not only a great producer but also an amazing craftsperson. She was responsible for creating a very complex costume made entirely from paper. (Amongst many many other things). Producers Christina Thompson and Kim Tyner were extremely patient with my crazy ramblings and bizarre requests.
Ethan Simmons skillfully cut the film, telling the story clearly and building tension and comedy in all the right places.
Danny Morris at Blacksmith post did a great job of covering up all my mistakes and took it to another level on the visuals.
The soundtrack was composed by Ben Runyan the former front man of City rain, who went on to form J U S T P R O C E S S. We met when he was teaching a music production course I attended at The Foxgrove music school in NYC. Since then we have collaborated on a music video for the song ” I Already know” featuring Joannie Jimenez on The J U S T P R O C E S S EP.
Carl Mandelbaum built the sound design from scratch (as we did not record any sound) We spent several sessions together crafting the right atmosphere and punctuation to give the film a cinematic edge.

Director BIO: Holy Fatma

Short Film Playing at the July 27, 2017 FANTASY FEEDBACK Film Festival

Director of the short film PLEASE LOVE ME FOREVER

Director Biography


With a Masters of Cinema Studies in hand, Holy Fatma traveled the world before settling down as a set dresser in Hollywood. It was there that she created her own visual brand and made the transition to director. Back in Paris, Holy Fatma is the winning director of the Cinétalents 2014 by 1000 VISAGES under the supervision of director Houda Benyamina. It is at the end of this experience that she meets Romain Compingt with whom she writes her script Please Love Me Forever. Her brand looks just like her : extravagant, disturbing and populated by strange and endearing characters. Holy Fatma lives in a world influenced by Fellini, Burton, and Browning.

Please Love Me Forever is her first movie.

Director Statement

Please Love Me Forever was born after years of exploring a contrasted yet fas- cinating Hollywood. A place where out- casts wear glitter jackets and beauty often irts with monstrosity. Neo-romantic fan- tasy, Please Love Me Forever is set in a world of innocence and dementia. Between botanical garden of organs and tree hearts, this dark tale will lead our heroine towards an inevitably tragic ending… much more realistic than it looks.

Director BIO: Jeremy Garcia

Short Film Playing at the July 27, 2017 FANTASY FEEDBACK Film Festival

Get to know the short film STAR WARS: TRIALS

Director Biography

41168 1586393708544 4197837 n

Jeremy Garcia moved to Augusta GA after earning his Bachelors Degree in Digital Film and Video production in 2011. Through college and into today Jeremy has had the opportunity to work on feature films, shorts, documentaries and music videos. He has experience is just about every crew position that a film set has to offer and has had the opportunity to write and direct several of his own shorts and music videos.

Director Statement

Every artistic medium is interesting and has the potential to tell a story. To evoke an emotion. In the most basic terms “to feel”. I consider myself very lucky to work within a medium (film) that can bring nearly every other medium together with the possibility to create that “symphony of emotion”. The placement of the camera, the subtlety of that sound effect or musical hit, or the range and expressions of an actor. One film can change the course of someones life. It did for me. If I can inspire others or just one person to realize or confirm their passion then I can say that I’m pretty happy.

Director BIO: Cameo Wood

Short Film Playing at the July 27, 2017 FANTASY FEEDBACK Film Festival

Director Biography

Cameo headshot

“Real Artists” is her first narrative film. Cameo had a long career in technology, working in voice over IP and computer security, and then studied artificial intelligence and neuroscience in university. She also opened up the first urban beekeeping store in America. Filmmaking has been her lifelong desire, and she is thrilled to have the chance to make movies.

Director Statement

What might it be like to have your main creative collaborator be an Artificial Intelligence? Already, biometric data is used for neuromarketing in many different contexts. Film plots are influenced by how test audiences respond during key points in the film. The creation of entertainment is no longer passed on guesswork. Enjoyment is quantitatively measured.

We are envisioning a near future when its more efficient to have an artificial intelligence create a film and test it on a human audience than it is to support artistic invention from concept through execution. Where ‘taste’ is not yet captured by code and still has to be measured by a human’s reactions. This is a story of what it means to be human. It is a question posed of what humanity is when creativity is in the realm of an artificial intelligence, leaving us to consume and react. Through science-fiction, we focus on rapidly-approaching question of ethics in neuromarketing and the power of corporations to craft products in response to our biometric responses. We are also telling a story of a young woman’s dream, and how she might hold the key to the future of storytelling.

Sophia seems closer to a superhero; she’s a genius editor, hard working, beautiful and cries at the sight of her favorite cartoon. She is confident in her artistic taste, and she is willing to do whatever it takes to make the best movies the world has ever seen. But young people are rebellious – and Sophia was willing to risk her career and reputation in order to create what she knew was a superior edit to her favorite film. Sophia is on fire with her youth: and this is how she resists Palladon’s enticements toward an artistic life of being merely a barometer of taste.

We all love products designed especially for us. We willingly forgo our privacy for sake of being a part of the new, the trendy, what’s hot. But when young people like Sophia are confronted with ultimatums, their actions — sometimes heroic, sometimes tragic — can rewrite many stories, not just their own.

Cameo Wood, San Francisco, September 2016

Director BIO: Marina Waltz

Short Film Playing at the July 27, 2017 FANTASY FEEDBACK Film Festival

Director of short film SUICIDE NOTE

Director Biography

Marina waltz headshot

After ten years running a contemporary art gallery in Moscow with an emphasis on video art, I moved to the UK where my passion turned to making my own films. My first film, ‘Private Waltz’, won several film awards. ‘Suicide Note’ is my second film.

Director Statement

The initial inspiration for SUICIDE NOTE came about a few years ago through a visit with my daughter to the Museum of Anthropology and Enthnography in St. Petersburg, founded by Peter the Great. It famously contains a ‘cabinet of curiosities’, humans and animals with abnormal medical conditions preserved in jars for all to see. Peter wanted a permanent public display so that the world could confront these ‘monsters’ in a compassionate and scientific way instead of falling back on superstition. They are also carefully arranged to show the fragility and fleeting nature of life.

The conversation that ensued with my daughter covered the subjects of what it means to be ‘normal’, our relationship to the outsider and the notion of mortality about which she exhibited curiosity and fear in equal measure. Victoria asked whether the technology exists now to live indefinitely but was just as intrigued to know what the afterlife might be like; whether it would be possible to fly, walk through walls, visit the moon. In her dual attitude, I was reminded of my own musings as a child about the potentially liberating experience of escaping the constraints of my family, the USSR, homework, my own habits and the excitement of encountering the forbidden outsider.

SUICIDE NOTE isn’t a film about ending one’s own physical existence – it’s a meditation on the courage required to confront our assumptions about who we are and by extension those we perceive as outsiders.