And... I have reached Picture Lock on Hide or Seek! After half a year of editing, I am turning the film back over to Brian who will send it out for Sound Mix and Color Grading. Editing is always a long journey, even on a short film and it is a relief to let go.
This has truly been one of the saddest years of many of our lives - I am grateful that I've had this project to help me cope. I've managed to feel like I was doing something productive and collaborative. Thanks, Brian, for the opportunity to work with you again. You are a great friend.
Here's a picture of my manic exhaustion and one of an overview of the timeline.
Since I'm not able to shoot any films right now, I've finalized two screenplays that I've been working on for a few years. I've just submitted the scripts to festivals and competitions as standalone works. Disrupture is a gay home invasion movie, in the vein of A Peculiar Thud but with even more violence, action, and queer politics. All Are Welcome is a gay drama that Matthew Herbertz and I have been working on for years that continues our work with mental illness, obsession, and trauma. I'm looking forward to seeing how these films do as scripts and I can't wait to direct them in the coming years.
The pandemic has cancelled all of my film production plans this fall, which (aside from the far more serious tragedy this year has brought) is disappointing for me. However, it has opened up the doors to deepen my collaboration with Brian Newell on our film Hide or Seek. In January, I served as 1st Assistant Director and Producer on the film, and now, with an open calendar, I've agreed to serve as Editor and Sound Designer. The work starts today!
What a joy to continue working with Brian - we've been making films for nearly 20 years now, since we were undergrads at Connecticut College. In the past ten years, Brian has edited most of my films (Ad Noctum, A Peculiar Thud, A Wheel out of Kilter), and I'm looking forward to repaying the favor with this work.
So begins the longest part of the filmmaking process... We are hopeful we'll have a complete cut of the film in February 2021.
After wrapping on ¡Come! this summer, I began the process of producing a film called Hide or Seek. It is written and directed by my friend and collaborator, Brian Newell (editor of Ad Noctum, A Wheel out of Kilter, and A Peculiar Thud). We shot the film in January where I also served as the 1st Assistant Director. I had two of my former students, Christian Vazquez and Charlie Losiewicz, on the AD team with me and they were incredible. I'm so excited to see where this terrifying and funny film goes in the next two years! Here are some photos from the shoot:
I've fallen behind in updating my website and in sharing the exciting news about My Florida Home (which I edited and co-produced). We've been accepted to a number of festivals around the country. Congrats to Matt who wrote and directed this beautiful film. It's still under review and touring but here are the festivals so far:
In a Landscape, Dreaming finished up its festival tour in the most beautiful way. Thanks to the support of Connecticut College, I was able to take my three former students (with whom I made the film) to the Artist's Forum Festival of the Moving Image in NYC where the film was nominated for Best Music Video and Best Cinematography. After a day of press interviews and networking with other filmmakers we attended our screening, did a q&a, and were awarded Best Music Video. I'm so proud to have worked with these three amazing people and so thankful to Connecticut College and the Sidney E. Frank Foundation for their support in making this film.
The film ended up the official selection of 12 festivals, it won two awards (including Best Foreign Film in India!) and was nominated for three others. Here's the list:
Artists Forum Festival of the Moving Image. New York, NY. 2019. Winner - Best Music Video, Nominated – Best Cinematography
Pune Short Film Festival. Pune, India. 2019. Winner - Best Foreign Film
ABQ Indie Film Festival. Albuquerque, NM. 2019. Nominated – Best Experimental Film
Northeast Mountain Film Festival. Dillard, GA. 2019. Nominated – Best Experimental Film
Utah Film Festival and Awards. Vineyard, UT. 2019. Semi-finalist
Tallahassee Film Festival. Tallahassee, FL. 2019
Kansas City Film Festival International. Kansas City, MO. 2019
Solaris Film Festival. Nice, France. 2019
Oaxaca FilmFest. Oaxaca, Mexico. 2019
University Film and Video Association Conference. Minneapolis, MN. 2019
St. Cloud Film Festival. St. Cloud, MN. 2019
Blow-up International Arthouse Film Festival. Chicago, IL. 2019
¡Come! is Kiltered Productions' newest short film. The screenplay is written by one of Matt's students and the crew is largely comprised of students from Florida Southern College. We hired Lizette Barrera to direct the film and I ran the set as the 1st Assistant Director. Aside from managing a 30 person crew, I coordinated over 60 extras (most of them children!) with an incredible 2nd Assistant Director, Bianca Vargas (from whom I learned so much). It was one of the most difficult things I've ever done but it was exhilarating and rewarding. I can't wait to see what happens with this new project. Here are some photos from the shoot:
I have just returned from Minneapolis with the most amazing news. This Friday I was honored with this year's University Film and Video Association's Award of Teaching Excellence for Senior Faculty. It is the most important teaching award I could possibly win in my field and, to me, the highest honor as a teacher I can dream of.
The UFVA is the international organization for the entire field of filmmaking teachers across the world. It is the largest and oldest academic organization for filmmaking professors who teach anything related to film or video production like screenwriting, cinematography, directing, sound or editing, and it also consists of film studies professors who teach history, theory, philosophy and criticism of film.
It all feels insane, unreal. Like a dream.
"Senior faculty" doesn't sound like me (I just turned 36), and I wasn't sure if the UFVA would give credence to a small college in Connecticut. I decided to try to stand out by emphasizing my commitment to social justice through filmmaking and I was thrilled to see in their letter to me: "The committee was impressed with the rigor, thoroughness, and thoughtfulness of your materials and teaching philosophy and your work toward creating an inclusive classroom in your teaching."
I’m sharing a video of my acceptance speech. At the end of the video, I hug a former student and friend, Matt, and I love that that’s how the video ends.
Thank you to all my friends and family, and my students and teachers who have given me so much to live for and so much love to give back.
More screenings to announce!
This weekend, the second international film festival acceptance of IN A LANDSCAPE, DREAMING at the 9th annual Pune Short Film Festival in Pune, India. The festival will take place June 7-11, 2019. Thanks so much to Yogesh, and the team at Pune Short Film Festival!
And next week it's screening at the Northeast Mountain Film Festival in Dillard, Georgia from June 14-16, 2019. Looks like an amazing festival. Thanks so much to entire team at the Northeast Mountain Film Festival!
My newest film is off to France! I'm proud to announce the first international film festival acceptance of IN A LANDSCAPE, DREAMING at the Solaris Film Festival in Nice this weekend. Thanks Solaris for screening our work!
I'm so very proud to announce my student Sam Simonds won the Oakes and Louise Ames Prize for Outstanding Honors Study at Connecticut College this year! I have never worked so hard with a student on anything in my life and I have never seen a student pull off such an incredible feat. I'm so, so proud that he received this honor.
Excerpts from the Commencement text:
Samuel Simonds, Film Studies major, is awarded the Oakes and Louise Ames Prize for his honors thesis in the Department of Film Studies, “Smoke of the Sea: A’Tolan Amis Resistance to Colonized Consciousness Through Resurgence of Traditional Epistemologies, Contemporary Existence and Collective Community.” A multipart creative project, Simonds’ thesis culminated in a short dramatic fiction film that explores the complexities of death, sickness, rebirth and reconciliation within a community whose cultural identity has been damaged by colonization and Western influence, and yet endures.
Set in Taiwan, Smoke of the Sea tells the story of a young girl who is dying from a mysterious sickness and must journey into the world of her Amis ancestors to rediscover her connection with herself, the land, and her culture to find a cure. The work is deeply spiritually introspective, using irony and humor to engage with those from Westernized perspectives. It challenges Western perceptions of health and science as practices based on observable truths in the physical world and explores how “old” traditional ways can be corrupted by capitalism, technology and U.S. culture, but also how they can endure and adapt to new influences and modern-day life.
The film was shot in Dulan, Taipei and Taitung City, Taiwan. It stars Amis actors from Dulan and is based on personal stories and accounts from many of the stars and crew of the film as well as cultural histories from elders of the Dulan Amis community. The dialogue is in three languages—Taiwanese, Mandarin and Amis—and Simonds worked with 26 actors, including children, and 31 crew members, many of whom speak Mandarin or Amis exclusively, to create the work.
In addition to the final film, Simonds’ thesis work consists of 15 unique screenplay drafts in English and five additional drafts in Mandarin; a 300 page document containing a producer’s notebook, a director’s notebook and a publicity campaign; and an immersive anthropological research experience. Chair of the Film Studies Department and Associate Professor of Film Studies, Ross Morin, who served as Simonds’ thesis adviser, describes the scope and quality of the project as unprecedented and exceptional. “It is beyond the undergraduate level, it is beyond the graduate level; it is at the professional level,” Morin said. “Sam has put the liberal arts into action as a global citizen as a storyteller, as a businessperson, as a manager, as a researcher and as an artist … if I had to guess, I would say that I will never again see a project of this level of ambition or execution in my career.”
I’m thrilled to post that my film, IN A LANDSCAPE, DREAMING is an official selection of the 23rd annual Kansas City FilmFest International at the Cinemark Palace on the Plaza April 10-14, 2019. Thanks so much to Veronica, Belinda, and the entire team at Kansas City FilmFest International!
And that’s not all! I’m proud to note that it has been nominated for BEST EXPERIMENTAL FILM of the ABQ Indie Film Festival in Albuquerque, New Mexico, on April 11, 2019. Thanks so much to the entire team at ABQ Indie Film Festival for nominating our film!
In a Landscape, Dreaming was made with three of my Connecticut College students - Charlie Losiewicz, Maggie Newell, and Christian Vazquez - at the Tippet Rise Art Center in Fishtail, Montana thanks to a grant from the Sidney E. Frank Foundation.
I’m so happy to announce that my latest film, IN A LANDSCAPE, DREAMING is an official selection of the 11th annual Tallahassee Film Festival occurring this weekend from April 5-7, 2019. Thanks so much to Chris and the team at Tallahassee! Not only that, but the film is also a Semi-Finalist at the 9th annual Utah Film Festival & Awards also happening April 4-6. Thanks so much to Dora and the team at Utah Film Festival!
In a Landscape, Dreaming was made with three of my Connecticut College students - Charlie Losiewicz, Maggie Newell, and Christian Vazquez - at the Tippet Rise Art Center in Fishtail, Montana thanks to a grant from the Sidney E. Frank Foundation. www.landscapedreaming.com
Ah, winter break. Time when professors can finally get some work done! In this case - I've finished the website and trailer for my new film, "In a Landscape, Dreaming." In the cold, dark days of January, I find myself very much dreaming of the hot sunny days we spent shooting this film this summer.
I spent most of my summer working on a film that I eventually titled, In a Landscape, Dreaming featuring the world-renowned pianist Pedja Muzijevic playing the music of John Cage throughout the hills and valleys of Montana. Not only was it an incredible filmmaking journey, but it was also one of the most meaningful teaching experiences I've ever had in my life.
I usually try to document the process of filmmaking on this website, but the whole thing happened so quickly that I'm only able to catch up in retrospect. The basics are: thanks to a grant from the Sidney E. Frank Foundation, I was able to take three of my students to the Tippet Rise Art Center in Fishtail, Montana to make an experimental landscape film about a John Cage piece called, appropriately enough, In a Landscape. This particular piece seems to me to be one of Cage's most accessible works, almost explicitly referencing Debussy's Reverie (recently infecting brains of fans of HBO's Westworld). Cage's piece, too, seems to be about dreams. As I listened to the track in the months leading up to the shoot, I found myself drifting into daydreams about the sky and the plains. And so the "story" of my film took shape - a pianist gets lost in his work and wanders through the landscape that bore him, inspired him, or maybe was even created by him. I was thinking equally of Owen Land's New Improved Institutional Quality: In the Environment of Liquids and Nasals a Parasitic Vowel Sometimes Develops as I was Peter Hutton's Skagafjordur. In both films I find themes that connect to my fascination of Zen Buddhism - namely regarding the insignificance and ephemerality of humanity in either the sublime nature that preceded us, or the hysterically sublime structures that we have created. And with these influences in mind, I set off with my students, a camera, and a tripod (no fancy rigs, no automation, no motion stabilizers) to make a film about a man whose daydream leads him to float like the speck of dust he is through the infinite landscape.
Today I was awarded the most meaningful honor I have ever received: the John S. King Memorial Award for Teaching Excellence. When I was told that I had been selected, I was moved to tears. I've wanted to be a teacher since I was very, very young. It's already such an honor to be a tenured faculty member at Connecticut College; I never believed I would be recognized as an outstanding faculty member among such incredible people.
Here's the text from the College's press release below, and you can read about the other awesome awards (including my dear friend, Ginny Anderson) here.
Ross Morin ’05, a professor at the College since 2011, is the winner of the John S. King Faculty Award for Excellence in Teaching. The award was established to recognize teacher-scholars with high standards of teaching excellence and concern for students. It is named for the beloved professor of German whose warmth and humanity touched all who knew him.
Morin, an independent filmmaker, editor and cinematographer, believes in teaching film production as a combination of art, storytelling and social justice activism. His courses emphasize a strong relationship between practice and theory.
As acting chair of the department, he has shaped a curriculum that teaches fundamental and advanced technique, craft, art and skills like a traditional film school while integrating the intellectual and theoretical field of film studies. Morin immerses his students in the study of film, while at the same time teaching them to write and direct their own work.
In nominating Morin for the King Award, Associate Professor of Philosophy Simon Feldman praised his ability to teach students, many of whom have no previous experience studying or creating film, to produce work that is “remarkable in its scope and quality.”
“From watching Ross’s students’ thoughtful and active class participation, seeing their work on screen, and watching them do their work, I can say that they leave his courses with preconceptions shattered, having been drawn, by Ross, into newly imagined social, political and critical possibilities for their own work and for what film can be.”
As a scholar, Morin is interested in the representation of sexuality and gender in film and television, in particular the student film. He is the co-founder of Kiltered Productions, and his award-winning film work has screened nationally and internationally. His most recent short film, A Peculiar Thud is touring film festivals around the world.
Thanks to Kristina and The Day for this interview!
Published January 12. 2018 12:21PM | Updated January 12. 2018 4:00PM
By Kristina Dorsey Day staff writer email@example.com
As the new movie “The Disaster Artist” has been making its way through screenings and positive reviews, one phrase about “The Room” — the notoriously and enjoyably awful 2003 film that serves as the basis for “The Disaster Artist” — keeps bubbling up.
“The Room,” you have no doubt heard, is “the Citizen Kane of bad movies.”
It’s a genius phrase and one that gave “The Room” a certain the-world-is-upside-down cachet.
That quote was originally uttered in 2008 by Ross Morin, a Connecticut College alum who is now associate professor of film studies and film department chair at the school.
A reporter from Entertainment Weekly called Morin back then for an article about “The Crazy Cult of ‘The Room.’” At the time, Morin was an assistant professor of film studies at St. Cloud State University in Minnesota, and he and his friends were hosting screenings of “The Room” that were drawing more and more viewers.
That Entertainment Weekly article, as Morin notes, propelled “The Room” to fame.
And it turned Morin’s assessment into a calling card of sorts for the movie.
“It’s not one of the more interesting things I’ve ever said, but it just sort of stuck,” Morin says. “It was a string of many things I was saying (to the reporter). You never know what you say that people are going to latch onto.”
He has since been interviewed by publications ranging from The Huffington Post to The Sunday Times of London about the strange little movie.
Morin uses “The Room” — directed and written by and starring Tommy Wiseau, it’s about a banker’s fiancée seducing his best friend — in classes he teaches at Conn College, since seeing a movie that goes so wrong can be a valuable learning tool for students.
“As a film professor, I see lots of people making films for the first time, and I see a lot of mistakes. I see a lot of baby-steps bad filmmaking mistakes,” he says. “‘The Room’ doesn’t just make mistakes. It exaggerates the mistakes in epic ways. … ‘The Room’ repeatedly exaggerates failure, and that exaggeration of failure and that exaggeration of wrong decision-making is fascinating. I love bad movies. I’ve always loved bad movies. But this movie, from top to bottom, makes the wrong choices of what to do. It’s wrong not just because, oops, the camera is in the wrong place or, oops, it’s out of focus, although that’s certainly a part of it. It’s like it gets humanity wrong in some way. It gets what it means to be a human wrong …
“It really does feel as though someone from another planet observed sitcoms from the ’80s and ’90s and maybe they watched a little porno, too, and they were like, ‘OK, that is humanity, and I’m going to make a movie about it.’”
Morin has been a “Room” enthusiast since he first saw it, as a grad student at Ohio University in 2007. His roommate bought a “Room” DVD with some friends, and a small group screened it — and then screened it again the following month, with double the number of people showing up. The audience grew in size again the following month. By the end of the year, hundreds gathered to watch “The Room” projected on the side of a building.
A newspaper in Ohio wrote about these screenings, and the Entertainment Weekly writer must have seen that article and so contacted him, Morin surmises.
“We inadvertently were responsible for helping to create the cult following for ‘The Room.’ I had no idea that was happening. I just knew I was part of something magical and really, really special,” Morin says.
Ross Morin (Submitted)As for “The Disaster Artist,” Morin hasn’t seen it yet. (“The Disaster Artist” had been riding high on a wave of awards-season buzz — until star/director/co-producer James Franco won a Golden Globe Award on Sunday for his performance. After that, a series of women went public with sexual misconduct allegations against Franco.)
“The Disaster Artist” is based on the book of the same name by “Room” star Greg Sestero and with the subtitle “My Life Inside ‘The Room,’ the Greatest Bad Movie Ever Made.” Morin loved the book, saying it “was one of the most special experiences I had reading a book. I laughed tears to the point of throwing the book across the room.”
He was moved, too, by the touching relationship portrayed between Sestero and director Tommy Wiseau.
Sestero came to Connecticut College in 2013 to talk in a public session about the book and the movie, and Morin recalls the two of them sitting in High 5’s in New London and Sestero discussing whether he should sell the movie rights to the book.
“I feel very protective of my personal experience of reading that book,” Morin says — hence his reluctance to see the movie adaptation.
But Morin remains a devoted fan of “The Room.” “Citizen Kane” might be widely considered the most important film of all time, but Morin says, “I guess my argument is ‘The Room’ is just as important, but on the opposite end of the spectrum. It deserves to be taught in every class in some way. There’s something to be gained from it. It’s one of the most important films ever made, and it’s the most important bad film ever made.”
I had a blast this weekend at the Macabre Faire Film Festival in New York where A Peculiar Thud was nominated for Best Editing. I was joined with the film's editor (and my dear friend) Brian Newell for a weekend of horror films, panels, and parties. Thanks so much, Elsie, for selecting our film and having us back this year!