What's Up - Your guide to what's happening in Fayetteville, AR this week!
Issue link: https://www.epageflip.net/i/1199154
crisis has wreaked on Americans who could have had safer options for relief. I wrote the screenplay and then approached Blake Elder at Rockhill Studios to see if he would be willing to direct, and Rockhill would produce. Luckily, they liked the story and took on the project. They were fantastic to work with, and Blake has a wonderful director's eye. Q. Why is it meaningful for you to be included in this showcase that specifically highlights Arkansas filmmakers? Barnes: Since I was born and bred in Arkansas, I really do consider myself a homegrown Arkansas filmmaker. Anyone who knows me knows that, and it makes me proud to be a part of a group of filmmakers in Arkansas — some of whom I know personally — putting themselves out there, grinding for their cause, and changing the game for us young folks in the state and outside. I mean, how cool is it to be a part of a showcase like this with several of my good friends at age 21? Bowen: Arkansas means a lot to me. I really love the beautiful state we live in, and it's incredible to see the film industry grow around Northwest Arkansas. It's humbling and exciting to be a part of an event that shows people that we can make great films in Arkansas. With this film being such a personal one to me, I am glad that it gets to screen again closer to home. Cruz: I'm honored to be in anything, and it is very overwhelming for me, yet it excites me to know that Arkansas wants several voices heard. It's encouraging for me as a creator to know I can make shorts with Spanish subject matter here, especially since there are so many stories that can be told. McGaugh: I really want to be a part of the front line of the film industry that is primed to grow significantly in Arkansas and the region in the coming years. I'm so appreciative to be included with this group of films. Q. What did you learn or experience during the filmmaking process that will affect your craft moving forward? Barnes: Sometimes it's best to keep your personal life and filmmaking life separate, even if those people close to you are some of your best or closest collaborators. Those people can stay in your lives; they just don't necessarily have to work on your films. In addition, it helps to reflect on how the film was made element by element, and understand truthfully what could have been done better. There are several things in the film we could have accomplished more efficiently with more collective energy that was wasted, but in the end, it's done, and we can watch it and reflect and move on. Butler: In the script, there's a scene where all of the members of the sorority sit at a long table and a speech is given. That was originally written to be outside of the sorority house in the lawn, but it ended up raining that day so we had to scramble for an alternative plan. My first assistant director, Payton Perkins, and I were trying to think of where else this scene could take place, and we came across a green house that ended up making that scene one of our favorites because it was so unique. I learned that no matter how much planning and pre- production you do, there will most likely always something that will not go as planned, so it's crucial to be able to think on your toes and be flexible while you're in production. Hunt: The most important thing I learned was how valuable a good cast and crew is. Every single person that worked on "Milk Aisle" brought their own special skills and talent and worked together for one common goal, and it's humbling to know that without them, this film that I'm proud of wouldn't have been what it is. Q. Ultimately, what do you hope comes out of the making of this film? Bowen: I hope that people who see the film connect with it, feel emotions that they aren't always comfortable feeling, and maybe think about life and other people a little bit differently. I hope also that this film encourages me to continue filmmaking. The production process was so challenging, I kept jokingly swearing that I would never make another film again. Seeing the success of "Before My Eyes" is very encouraging because people have shown me through their responses to the film that the hard work was worth it. Cruz: I hope people know that many different voices can be heard, no matter where you come from or how you live your life. This story is actually part of a series that I am putting together. McGaugh: I really intended for this film to be a proof of concept to prove I could get it done, and to hopefully frame this short as "one chapter" of a larger story. So, selfishly — more opportunities to make more films. But, from a socially conscious angle, I truly hope that people take a moment to consider changing their mind on an issue they may have strong feelings against. They say an issue doesn't affect you until it affects you, or it's not a problem until it is my problem. I hope it will stir some empathy and maybe change a few hearts and minds. — Visit the online version of this story to read more of the filmmakers' answers and to learn about their backgrounds at nwadg.com/whatsup. 42 WHAT'S UP! JANUARY 12-18, 2020 Bowen Barnes COVER STORY FYI Filmmaker Fast Facts Whitney Butler, director of "As Sisters, As One," created her own film and photography business when she was 14 and continued it until she graduated college. "I was a member of the Bryant High School yearbook staff and led our publication to be No. 1 Best in Show in the nation my senior year when I was photo editor," she adds. David Cruz, director of "Unos Huevos," says when his parents bought a camcorder back in 2009, "I would use it randomly to record things or just go around the house and look through the viewfinder." "I wrote all the characters [in 'Unos Huevos'] around my family," he adds. "They all acted for me and it was easier for me to direct them." Jamey McGaugh, writer of "Chronic," "lived in New York City for many years and participated in the development and workshop process on a lot of new plays which piqued my interest in writing. That carried over to writing for the stage and eventually screenwriting. Filmmaking is pretty new territory for me." He adds: "The ability to capture a moment, a feeling, has so many different ways to be conveyed depending on a vast array of choices from lenses to lighting. It forced me to think bigger, more creatively, even." Sophie Barnes, director of "Father," says "the idea came from a song from an artist that is close to my heart, and the script was written years before it was shot." Both of the leading actors, Victoria Fox and Chuck Mere, "helped shape the film drastically with their experiences with acting, filmmaking and life." Mason Bowen, director of "Before My Eyes," says his "interest in film began in high school when I fell in love with photography. I loved learning everything technical about cameras and began to delve into making videos with friends." Bowen also directed several short films, worked on two local feature films, and worked as director of photography on multiple student films during his student days at JBU. "Since then, I have worked as a freelance grip and videographer, as well as working as an in-house video producer for New Life Ranch, a camp in northeastern Oklahoma." Jordan Hunt, director of "Milk Aisle," says in high school, "I took a film class and discovered that what I loved about theater could also be done through film and I wanted to learn everything about it!"