calvin nemeth is a junior studying television and film production in tisch. his three films are the betrayer piano, malignant, and 3:02 PM.
Calvin Nemeth is a river troll baked in cakes between the ages of fifteen and 21. Now that he has reached the age of consent and drink, the social significance of his life has increased drastically, but no change has been realized. He hopes this shows in his films.
--the betrayer piano and malignant were made for your sight and sound class. what was the assignment? --you voice over and star in your own films. how does this change the filmmaking process? does this change the dynamic between you and your actors and crew? --betrayer: you seem to have a special relationship to the piano. did you study the piano? what style? --3:02: Created over the course of exactly 48 hours, this film was created solely for the purpose of having a good good time. It was not one of the 20 films chosen by the NYU 48 Hour Film Festival, but it is great and was made for that festival with the directions that it must include 1. A cane 2. A motivational speaker and 3. The line, "It's a lot harder than it looks."
--malignant: what inspired this film? do you have experience with cancer, or read a story/article? it’s a very internal film, a psychological study - reminds me of david lynch and surrealist film. i would guess that you do not mean everything in this film literally, but indulge me as i delve into the film’s symbolic framework. you seem to represent the human as a set of machines operated by a conscience, represented by a woman. you seem to represent the cancer as the hooded figure, whose black tape covers, disrupts normal function. interesting that conscience is a woman
but what is cancer a symbol for? general illness, malaise, dissatisfaction? some hidden guilt, that festers, a disease of the emotional landscape? could the hooded figure also represent an id, plaguing the ego? two layers: external reality (audio: phone calls + sink washing) + internal reality (woman, hooded figure, machines) internal mind often seems to be wandering, not paying attention to the voices of reality “the worst you can do is let a guilty conscience hold back the truth” critical moment of film: conscience the woman pulls back the date/time post-it notes pad to reveal a spot of black tape self-destruction (with a pair of scissors) is placed under creativity in your internal reality to what extent can your film be understood this way? is there another paradigm or way of thinking that better illuminates the film’s meaning? grace gao
grace gao is a freshman in the tisch film & tv program. her film is titled: black & white.
she was born in beijing and attended high school in irving, california. an accomplished pianist, grace collaborates with other student filmmakers to combine her literary, musical ideas into short films. she is also a leader in the Liberal Studies Film Production club and the Footnotes A Cappella group.
--when did you start making films? do you write music?
--is your film based on your own piano studies, your own musical journey from a student to an artist? --interesting use of color in the transformation from black and white to color. how did you accomplish this?
ellie forman is a freshman in the tisch film & tv program. her film is La Dernière Classe.
In early 2012, I encountered Alphonse Daudet's short story, "La Dernière Classe," and instantly fell in love with the narrative's unique look into the role of language and culture in developing a child's identity. I was also drawn to the the face that the piece explores the context of the Franco-Prussian war in Alsace, France, 1871 and I felt it must be shared with a wider audience. Thus, I adapted the story into a script and created my interpretation of the work. Thank you for watching, and I hope you enjoy the movie.
--are you french, or...
Please join StudyMode to read the full document