Winning SCI-FI Feature Screenplay Reading: Steam Powered, by Kendrick Wallace

A young woman dreams of defying convention to become a British pilot, but when a german attack nearly kills her she must use her wits, skill and determination to battle the axis powers in a steampunk-inspired world of fantastical inventions, flying airships and ruthless half-machine, half-human warriors.

CAST LIST:

Bryon – Charles Gordon
Bleriot – Chris Irving
Narration: Kat Smiley
Victoria – Tiera Watts
Rees – Daniel Jones
Various – Sophie Wojtyczka

Producer/Director: Matthew Toffolo http://www.matthewtoffolo.com

Festival Moderators: Matthew Toffolo, Rachel Elder

Casting Director: Sean Ballantyne

Editors: Kimberly Villarruel, Ryan Haines, John Johnson

Festival Directors: Rachel Elder, Natasha Levy

Camera Operators: Ryan Haines, Temitope Akinterinwa, Efren Zapata, Zack Arch

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July 2019 Film/Story/Screenplay Winners

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ACTORSCREENPLAY MOVIE: MIND FORCE, by James Zeankowski
July 2019 Winner

ACTORTV SPEC SCREENPLAY: WESTWORLD, by Brenda Holiday
July 2019 Winner

ACTOR1st Scene TV SCREENPLAY: VAPOR, by Eric White
July 2019 Winner

ACTORSCI-FI SHORT SCREENPLAY: THE LAST BREATH OF WINTER, by Thom Holland
July 2019 Winner

ACTORFEMALE BEST SCENE SCREENPLAY: THE TERRAN CHRONICLES, by Lisa Kirkwood
July 2019 Winner

ACTOR BEST SCENE SCREENPLAY: CETACEANS, by Paul Nurkowski
July 2019 Winner

ACTORNOVEL TRANSCRIPT: CANDELJACK BOOK ONE, by Jeffrey Anthony Campos
July 2019 Winner

festival posterRED & THE KINGDOM OF SOUND, UK, Animation/Fantasy

festival posterNOMADIC CLOUD, 5min., Sci-Fi/Animation

festival posterNOW, 16min, USA, Sci-Fi/Fantasy

festival posterTHIS IS FINE, 7min, USA, Sci-Fi/Drama

 

 

 

Producer/Director: Matthew Toffolo http://www.matthewtoffolo.com

Festival Moderators: Matthew Toffolo, Rachel Elder

Casting Director: Sean Ballantyne

Editors: Kimberly Villarruel, Kyle Drier, John Johnson

Festival Directors: Rachel Elder, Natasha Levy

Camera Operators: Denissa Palmer, Temitope Akinterinwa, Efren Zapata, Zack Arch

Director Biography – Adrian Ross Munro (SHORT BURST)

Adrian Ross Munro is a film director from Toronto Canada. His credits include A Son’s Father, Team Epic, The Black Light, Untitled Abraham Lincoln Short, Cigarettes Hurt Babies, Parasite and making its festival debut this year – Short Burst. His films have screened in festivals throughout North America.

Short Film: SHORT BURST, 9min., Canada, Sci-Fi/Fantasy

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Chad is a lonely programmer at a massive tech company, and he has been selected as the first person to beta test the company’s new app. The app, called ’Short Burst’, is an incredible feat of technology. It allows its user to send voice memos to themselves in the near past. Forget to bring your lunch to work? Take a wrong turn on the highway? Regret not talking to that cute stranger on the subway? Chad’s future self is there to correct life’s little mistakes. The ease and convenience of the Short Burst app changes Chad’s life for the better, but also for the worse — much worse. Chad’s past, present, and future selves are affected by Short Burst in ways no one could’ve predicted.

  • Film Type:
    Short
  • Genres:
    Sci-Fi
  • Runtime:
    9 minutes 12 seconds
  • Completion Date:
    June 1, 2018
  • Production Budget:
    8,000 USD
  • Country of Origin:
    Canada
  • Country of Filming:
    Canada
  • Film Language:
    English
  • Shooting Format:
    Digital
  • Aspect Ratio:
    2.35:1
    short_burst

Director Biography – John Carlin (ECHOES

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John is the director of horror shorts ‘Exposure’ & ‘6 Feet Under’ and the award winning Sci-fi-Fi ‘The Way Back’. ‘ECHOES’ is the fourth collaboration with the writing team of Paul Skillen and Aaron Gray. John has been working as a director in the television industry for 17 years and directed the Irish language drama ‘Seacht’ for BBC and TG4. He also wrote and directed 12 episodes of the factual drama series Marú for TG4. Most recently he filmed, edited and directed the factual documentary series Ireland’s Great War for BBC and RTE.

Director Statement

ECHOES was first developed back in 2015 when the writers, Paul Skillen and Aaron Gray finished a feature length script called THE SILENCE. The decision was taken to produce a concept short film thematically based on the ideas within the feature film and ECHOES was born.

What I found interesting with the story was the unique take on human weakness – our ability to destroy our own kind for personal gain. The film is based around the idea that “spheres” have been sent throughout the galaxy by an alien life-form as a defence mechanism. These spheres have been located on planets that form a ring of protection around their own extra-terrestrial planet as they fear the consequences of humans finding them. These spheres are capable of heightening the destructive side of any human that comes into immediate contact with it, leading to rage, insanity and ultimately death to all those that encounter it.

I have previously worked with Paul and Aaron on three short films (EXPOSURE, 6 FEET UNDER, THE WAY BACK). We have a common interest in telling dark tales that have a deeper meaning. We have similar tastes in horror and science fiction and always work as a team to deliver a twisted story that can be read on different levels.

My own inspirations in preparing for ECHOES were varied and included “TAPE” by Richard Linklater ( a claustrophobic tale of 3 old friends meeting up in a motel room) to Paul W.S. Anderson’s dark sci-fi/horror “EVENT HORIZON”. What interests me are character arcs that all move in different directions to each other. This is something that is evident in ECHOES.

When developing ECHOES as a short film it became clear early in the process that we were attempting something bigger than we had tried before. We had to design and build a complete “space train” set, something that was going to eat up a huge chunk of our budget. It was integral to the story and needed to be something that could be a working set yet still give us a sense of confinement and claustrophobia. The next important question I had to ask was how could I best tell the story visually – what could I bring that would lend itself to the character’s plot of losing control. I decided to shoot the film with a slightly unconventional approach – using three different methods.
The first was the filming method. I shot the early scenes on a mixture of tracks, sliders and tripods. This created a sense of stability. As the story progressed I gradually began adding more and more handheld camera work until the final scene that is completely handheld. This gave the illusion that everything was gradually losing control.

I imitated this same technique in the second method by applying the similar approach to the actors. As with my first method I gradually allowed the actors to re-act rather than deliver exact lines over the duration of the film. All the early scenes were verbatim from the script but as the film moved on the dialogue got looser. This gave the feeling of naturalism that I was looking for and something the actors relished.

The final visual aid I used to create the impression of loss of control was the grade. I applied a grade that gradually gets “sicker” as the film moves through the scenes – each scene slightly greener and more distorted than the last.

Due to the cost of the set build we had to condense our shoot into 2 days. We shot scenes at a fast pace giving the entire film more energy. The actors and main crew stayed in the carriage for long periods of time. We actually felt like we were on the journey we were replicating.

What I hope audiences get from ECHOES is something that changes their opinion – something that starts one way but gradually twists their perception. I also hope they feel claustrophobic – there is intentional reason why we stay on board the shuttle throughout – to keep our audience captive and a part of the journey. They should hopefully question the meaning of the sphere and who Goudine is, why she isn’t affected. These are the questions that Sa’im would also ask and that’s who the audience should be rooting for. He is the lynch-pin of the story. Someone who has to make the decisions, who has to understand what or who is good or evil.

Short Film: TRANSMISSION, 15min., Australia, Sci-Fi

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Earth is dying, humanity is on the brink of extinction, and now mankind’s final hope has all but disappeared. In an effort to source a new life for planet earth, a research team ventured through the stars, only to go missing on an unknown planet. Desperate to find them, Commander Madison Sterling and her crew venture in pursuit. As her crew go missing one by one, the entire fate of humanity rests on her shoulders.

Project Links

Director Biography – Didac Gimeno (SATURN THROUGH THE TELESCOPE)

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Graduated in Veterinary Sciences in 2011, I have worked as a veterinarian mainly in the fields of cardiology and in clinical practice with exotic animals. In 2014 I graduated in Film Direction in the Cinematography and Audiovisual School of the Community of Madrid (ECAM) with the highest mark in my speciality.
Oscillation (2014), my end-of-course short film, has been selected in around fifty international festivals and has won several awards and nominations, among them, the Best University Short-film Award in the Nocturna Madrid Festival; the Lunartis Award in the Videmedeja Film Festival, Serbia; Spanish Radio and Television Corporation (RTVE) Award in the Hispasat 4K Festival; the nomination for the Silver Méliès in the Imagine Fantastic Film Festival or the nomination for the Gold Panda in China for the most innovative short-film.
“Saturn through the telescope” (2018), my last short-film, has won the aid for audiovisual creation from both the Malaga Film Festival and the Community of Madrid. Nowadays, it is at the distribution stage.

 

Director Statement

This shortfilm is about the desire of watching something that scares but fascinates you at the same time. Here, Max, a ten years old boy, discovers the pulsion of seeing a horror movie.
Altough is a fantastic genre shortfilm, it is deeply autobiographic. I remember when I was a kid and I ran out of bed at night for seeing horror movies on the television, even knowing I would had nightmares after. However I was fascinated by its disturbing but beatiful images, so that supposed the begining of my love for cinema.