Director BIO: Marc Adamson (AFTER WE HAVE LEFT OUR HOMES)

Director Biography – Marc Adamson

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After graduating from the BA animation production course at the Arts University at Bournemouth in 2010, Marc began working in the art department for Dredd (2012) as a pre production concept artist, right through to post production, completing many matte paintings to create the striking look of Mega City One. After the completion of Dredd, he has gone on to work as a VFX artist and concept artist on tent pole projects such as Avengers and Guardians of the Galaxy as well as smaller indie films like Woman Walks Ahead and Kill Command.

Marc has also directed short form content for TV and web. He likes to regularly take time away from commercial work get involved in short film projects. His films have screened at festivals around the world and earned him a Royal Television Society award for best undergraduate animation, a finalist position at the Ciudat De Palma awards and a Vimeo Staff Pick.

Marc currently resides in Bournemouth, freelancing for various post production companies whilst developing a new short film & a feature.

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Director BIO: H. Yağmur Kartal (SOLUK)

Director Biography – H. Yağmur Kartal

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She was born in Istanbul in 1990. She started her career as a cinematographer at the age of 14 when she attended cinema. The experience he had with his short films there with his friends turned him into a passion for himself. He tried to test a lot of techniques as a practitioner who tends to curiously learn all the technical information in the cinema and wants to tell stories of all kinds. This interest in cinema has gained a new dimension in 2009 by winning the department of visual communication design at Kocaeli University. During his university years, he also received a lot of attention in his field and made double major in radio, television and cinema department, adding a lot of information such as telling a lot of things on a square, figurative graphic filling, color information, advertising and animation. In this way, he never tied his connection with the cinema in the academic field. In 2013, he began writing film critiques and analyzes for a while. These articles have been published in sites like Cinematic World, Kuledibi, Other Cinema. During this time, she gained experience by studying various post-production companies in summer. In Studio Piano he worked as a editing assistant, and in Visual Focus he created TV programs. In 2013 he was featured as a fiction assistant in the movie “The Rest Room” and was selected as the best short film in Cannes. In 2014, he completed the radio, television and cinema department, second place in the department, and visual communication design in the same department as the fifth. Shortly after his graduation, he started to work as an editing assistant in Sinegraf, the company of Osman Sınav. The Red Apple left his job with the end of his line. Soon after, Digiflame started to work as editor in the animation section. After working in the Animation Department for about 3 months, he switched to the VFX department where he worked as a supervisor assistant. He left his job in 2015 and started to work in the field of Communication Sciences in Kocaeli University. In 2016, VFX coordination group Genius Park for a period of about 5 months, even if the arch for the first time in the business life, gave the pause. Still continuing his graduate studies, he directed the film “Soluk” short film and the medium-length animated documentary Filmin named “Toy maker Hidden Hidigars”.

 

Director Statement

Yağmur Kartal Filmography
– İstirahat Odası / The Resting Room (editing assistant)
(Cannes Film festival / best short film award – 2013)
*Psişik Celil ve Kişisel Devrim Antolojisi / Psychic Celil and personal Revolution Anthology- Assistant director /
Editor / Colorist (2016)
* Recycled Plastics (Pagder) / Stopmotion – public spot –
Director (2014)
* Kenosis / Fiction short footage – Director (2014)
* Yuvaya Dönüşen Plastikler- Pale / fiction short footage – Director (2017)
* Oyuncakçı Saklı Yadigarlar / The Toymaker; Hidden Holies / animated Documentary film – Director (ongoing)

Director BIO: Jimmy Boutry (RENDEZ-VOUS)

Director Biography – Jimmy Boutry, Thibaud Chaufourier

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Jimmy Boutry is a French director of photography since 2010. He’s working on feature films, commercials, music videos and short films. “Rendez-vous” is the third short film he directed seriously. The second one with Thibaud Chaufourier. Now (since january 2017), he has moved in Québec to give to his career a new path.

Thibaud Chaufourier is a French actor. You can see him in the recent commercial for the game “Call of Duty”. “Rendez-vous” is the second short film he directed with Jimmy Boutry.

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Director BIO: David Odio (LILITH)

Director Biography

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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

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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: Tim Willrich (SKIN DEEP)

Director Biography

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Tim Willrich is a Director & Producer based in the UK where he works on Films, Music videos and large scale bespoke immersive shows and experiences.

He started out predominantly as an Editor cutting his teeth on short films before jumping platforms to all sorts of weird and wonderful sized screens in Exhibition areas, live shows and attractions all over the world. Quickly accumulating experience that led to working as first a Post Producer and then heading up and overseeing full productions from concept to delivery as a Creative Director and / or Producer
This has now brought him neatly full circle back to his passion- film, and bringing interesting and innovative projects to life.

Director Statement

“Having worked with the Adrift team before, I was definitely interested in directing ‘Skin Deep’ as soon as the writer, Harry, mentioned it due to the overwhelming success of our previous short film. However, I underestimated how enthusiastic and positive I’d feel about the project from day one. The script is unique, unapologetic and conveys numerous moral messages with minimal dialogue. We had to step up and do it justice.

Issues surrounding body image are tackled in numerous ways, whether caused through cultural or social perceptions. The unique element of Skin Deep, is the internal struggle and self obsession we seldom discuss. This is beautifully portrayed by the opening actress, who herself, should have no issues in her appearance. By opening the film with someone who many would consider beautiful, we put forward an argument that everyone, regardless of gender, can have issues with themselves.

‘Skin Deep’ broaches the subject in a very literal way, whilst maintaining a sense of realness throughout. Along with the message of the script, the definition of the character arcs and the emotional journeys that both Greg and Millie undertake, and how our opinion of them changes, is a beautiful thing.

Visually, we wanted to impose a very specific look and feel. With the use of expansive spaces, materialistic and glamorous surroundings, we created a lavish yet prison like atmosphere. We tackled the lighting in a specific style, using contrasts between light and dark areas to reflect the emotion of the scene, coupled with slow moving imagery.

The subject matter elicited powerful, emotional responses from all the actors. Further more, although there were some differences, both men and women who previewed the film could all relate. We wish to promote these types of conversation amongst future audiences and look forward to taking it on a journey around the festival circuit.”

Director BIO: Stephen Rutterford (BACK PAGE RIPPER)

Director Biography

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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.