Tuesday, December 13, 2011
http://www.indiegogo.com/20-Ways
See the film trailer for our 2011 comic satire - 20 Ways.View the film then post, share, network to get the film out there.We'll be using crowdfunding to complete the film and also to teach students in the spring.
Thursday, October 13, 2011
Monday, October 3, 2011
http://www.youtube.com/watch?v=XwzO2Ua7MH8 New! Edit this video
Clip from '20 Ways' goes live.
A social justice comic satire on immigration. Winner State of New Mexico, New Visions & Panavision Awards 2011. Inspired by an article on 20 ways to spot an illegal. A Jewish family flee 1930’s Europe, a story with modern global echoes.
Written & directed by Peter M. Kershaw & produced by Duchy Parade Films.
Clip edited by David Aubrey.
Sound mix Dave Aston.
Music Gerald Fried.
Executive Producer Judy Hennessey.
A social justice comic satire on immigration. Winner State of New Mexico, New Visions & Panavision Awards 2011. Inspired by an article on 20 ways to spot an illegal. A Jewish family flee 1930’s Europe, a story with modern global echoes.
Written & directed by Peter M. Kershaw & produced by Duchy Parade Films.
Clip edited by David Aubrey.
Sound mix Dave Aston.
Music Gerald Fried.
Executive Producer Judy Hennessey.
Tuesday, September 20, 2011
IMDB page for 20 WAYS
20 Ways (2011)
www.imdb.com
Directed by Peter Kershaw. With Christopher Dempsey, Joe Feldman, Liliana Ashman, Kathryn Phipps, Omar Lux. A comic satire 20 WAYS explores the absurd humor of an article by an Oklahoma lawyer that proposed twenty ways to spot an illegal. An entertaining, intelligent look at immigration using humor to explore this contemporary tale. Check out in IMDB.
http://www.imdb.com/title/tt2033188
www.imdb.com
Directed by Peter Kershaw. With Christopher Dempsey, Joe Feldman, Liliana Ashman, Kathryn Phipps, Omar Lux. A comic satire 20 WAYS explores the absurd humor of an article by an Oklahoma lawyer that proposed twenty ways to spot an illegal. An entertaining, intelligent look at immigration using humor to explore this contemporary tale. Check out in IMDB.
http://www.imdb.com/title/tt2033188
Tuesday, August 16, 2011
20 Ways review
‘20 Ways’
By Mike Smith
A modern satire.
In the opening frames of ‘20 Ways’, two horses pull a rickety wagon down a dusty dirt road toward the audience – and a pair of stern, stiff, spread, uniformed, and jackbooted legs. This simple image, iconic in nature, introduces the thematic riff that will shape the film’s 16-minute running time: people versus the system. When the image shifts to a lone Nazi officer and owner of said jackboots, he slowly removes a pair of anachronistic police shades before halting the wagon, introducing the story’s key component: timeless absurdity. In a double stroke as visually striking as it is sly and subtle, international award-winning filmmaker, writer/director Peter M. Kershaw has stated his intentions for ’20 Ways’ as a satire before a single line of dialogue reaches the audience’s ears.
Shot in New Mexico on (mostly) black and white film, ‘20 Ways’ is a short comic satire that takes an off-the-wall look at a contemporary and emotionally charged issue of debate – immigration - without ever preaching about it. Instead, the film tackles its subject through its clever plot, offbeat characters, quirky visual style, and original score by legendary film composer Gerald Fried (The Killing, Paths of Glory, and Roots among his classics).
The story unfolds simply enough. A mother (Kathryn Phipps) and her two children sit in uncomfortable silence as Hymie (Joe Feldman), the fully bearded family patriarch, fields the increasingly bizarre and intrusive questioning of nosy border guard Marc (Christopher Dempsey). His investigation becomes an awkward one-man game of good cop/bad cop that leaps from straightforward interrogation, to language confusion, to threats of force, to sly mind tricks, to passive-aggressive harassment – and back again.
But the devil is in the details, and atop his basic narrative foundation, Kershaw has erected a rich and complex web of structural girders – dramatic flourishes that one by one, little by little, bring the story’s subtext into the light. Marc is consistently preoccupied with testing the family’s “Germanness.”, their belonging to the State. While searching their belongings, he happens upon an antique violin. After some finagling, he encourages their young daughter Jessica (Liliana Ashman) to play a brief selection from Bach. “Good German music,” he nods in approval. But Marc’s satisfaction is short-lived. He soon discovers “Uncle” (John Flax) hiding beneath the wagon. Uncle produces a hammer and claims he was fixing a leak. When Marc asks for his name, he blurts out “Isaac!” Simultaneously, Hymie chimes in, “Michael!” Hymie scrambles to clarify, settling on “Isaac von Michael.”
Uncle, wildly uncomfortable, avoids eye contact. Marc smells a rat. Further investigation reveals – wait for it – the size of Uncle’s and Hymie’s noses. Abnormally large for people claiming to be from Frankfurt, in Marc’s opinion. Now he needs to see their papers. It’s a pivotal gem of a moment, and an illuminating one. The story’s humor is driven by the men’s witty and excruciating verbal interplay that constantly beats around the bush. Despite Hymie’s name and appearance, Marc never once asks, “Are you Jewish?” This refusal to cut to the chase contains an unpleasant ring of familiarity; as Marc engages the family, his behavior walks a razor-sharp edge between the gruff, businesslike shakedown tactics of a servant of the Third Reich and the subtle, tortured restraint of a twenty-first century Border Guard, hence the shades.
Even some of the character names feel vaguely anachronistic, out of place, modern yet somehow appropriate to the story. It’s as if the events of ‘20 Ways’ could unfold in 1930s Germany or in present day near the Mexican border and there’d be no difference. When UK native Kershaw resettled in New Mexico in early 2010, he left behind a Europe in which the legality of actions taken in France and Italy raged over their treatment of Romaine’s as illegal immigrants. Then, his new neighboring State of Arizona was gearing up for a controversial legislative crackdown on illegal immigration. “I found a piece on the Internet to do with an Oklahoma lawyer who put together twenty different supposed ways to identify an illegal. This formed the basis of the Arizona police forces’ approach to identification – right down to the sandals you wore,” Kershaw explains. “What struck me as humorous was, other than looking Hispanic – that’s the one thing they couldn’t say – I could actually fail all twenty of these things and that seemed an absurd way to profile people and a very dangerous road historically to journey down.”
The clever insertion of these “twenty ways” into Marc’s investigation draws a direct link between past and present, between the tension of prewar Europe and the unceasing headache of the southern U.S. border echoed today across the globe. This link is boldly underlined in the story’s unconventional twist ending, which, without spoiling too much, sees a striking transition to color film.
While social commentary may be a significant component of ‘20 Ways, it’s these gorgeous, humorous, absurd, and emotional visual strokes that tell the story. Such a visual feat proved a major challenge for Kershaw and ace cinematographer Anders Uhl, who collaborated together for a full year prior to shooting in May 2011. “Visual research went into a number of things,” Uhl explains. “Part of it was researching still photography from [Europe in the 1930s] I wanted to take that approach.” Kershaw adds, “Gone are the sharp high definition images we are so used to watching in modern films. Instead we have a much softer period look and feel to the film.” Kershaw explains, “I wanted the audience to feel as if they are looking back at something which is in fact very contemporary.”
Uhl added on the film’s look. “Films about that time period (1930’s) tended to be made later, so I was more interested in stills. We looked at a lot of old black and white portraiture, which had a very specific look in terms of optical qualities and the way it was printed.” Having achieved the darker, heavily contrasted qualities of period portraiture, a whole new visual canvas was unfurled, on which extra special attention was paid to each individual actor through multicolored lighting filtration. For example, “Omar Lux, the boy playing Hymie’s son, had these beautiful blue eyes, and in his close-ups, we used a blue filter to bring those out and give them a silvery sheen and we mixed that very classic kind of approach with a more absurdist one. I think of it as a very high level of comedy, as opposed to just the high-key, flat comedic look that’s frequently done.” Uhl has some very definite opinions on just how fitting his and Kershaw’s chosen method is. “The material is very funny, but it’s also very, very dark. I feel there’s a respect in our approach for the darkness of it, which you never get away from.”
Kershaw concluded, “We wanted the satirical approach of the film to have a definite look and style and I think we achieved that. I wanted the audience to feel they are watching history but are they?” As director, for Kershaw, the power of the sound track and music score and the importance of the cinematographic approach can be summed up thus: “It brings a whole new edge to a comedy. Combining that dark, dramatic look with these absurdist elements in our photographic approach mirrored in our playful and powerful score makes this a unique, complex, original piece.”
We are currently in distribution and booking festival screenings for ’20 Ways’. Produced by Duchy Parade Films LLC you can contact Duchy and Peter M. Kershaw at: duchyfilms@gmail.com.
Michael Smith, ’20 Ways’
August 2011
By Mike Smith
A modern satire.
In the opening frames of ‘20 Ways’, two horses pull a rickety wagon down a dusty dirt road toward the audience – and a pair of stern, stiff, spread, uniformed, and jackbooted legs. This simple image, iconic in nature, introduces the thematic riff that will shape the film’s 16-minute running time: people versus the system. When the image shifts to a lone Nazi officer and owner of said jackboots, he slowly removes a pair of anachronistic police shades before halting the wagon, introducing the story’s key component: timeless absurdity. In a double stroke as visually striking as it is sly and subtle, international award-winning filmmaker, writer/director Peter M. Kershaw has stated his intentions for ’20 Ways’ as a satire before a single line of dialogue reaches the audience’s ears.
Shot in New Mexico on (mostly) black and white film, ‘20 Ways’ is a short comic satire that takes an off-the-wall look at a contemporary and emotionally charged issue of debate – immigration - without ever preaching about it. Instead, the film tackles its subject through its clever plot, offbeat characters, quirky visual style, and original score by legendary film composer Gerald Fried (The Killing, Paths of Glory, and Roots among his classics).
The story unfolds simply enough. A mother (Kathryn Phipps) and her two children sit in uncomfortable silence as Hymie (Joe Feldman), the fully bearded family patriarch, fields the increasingly bizarre and intrusive questioning of nosy border guard Marc (Christopher Dempsey). His investigation becomes an awkward one-man game of good cop/bad cop that leaps from straightforward interrogation, to language confusion, to threats of force, to sly mind tricks, to passive-aggressive harassment – and back again.
But the devil is in the details, and atop his basic narrative foundation, Kershaw has erected a rich and complex web of structural girders – dramatic flourishes that one by one, little by little, bring the story’s subtext into the light. Marc is consistently preoccupied with testing the family’s “Germanness.”, their belonging to the State. While searching their belongings, he happens upon an antique violin. After some finagling, he encourages their young daughter Jessica (Liliana Ashman) to play a brief selection from Bach. “Good German music,” he nods in approval. But Marc’s satisfaction is short-lived. He soon discovers “Uncle” (John Flax) hiding beneath the wagon. Uncle produces a hammer and claims he was fixing a leak. When Marc asks for his name, he blurts out “Isaac!” Simultaneously, Hymie chimes in, “Michael!” Hymie scrambles to clarify, settling on “Isaac von Michael.”
Uncle, wildly uncomfortable, avoids eye contact. Marc smells a rat. Further investigation reveals – wait for it – the size of Uncle’s and Hymie’s noses. Abnormally large for people claiming to be from Frankfurt, in Marc’s opinion. Now he needs to see their papers. It’s a pivotal gem of a moment, and an illuminating one. The story’s humor is driven by the men’s witty and excruciating verbal interplay that constantly beats around the bush. Despite Hymie’s name and appearance, Marc never once asks, “Are you Jewish?” This refusal to cut to the chase contains an unpleasant ring of familiarity; as Marc engages the family, his behavior walks a razor-sharp edge between the gruff, businesslike shakedown tactics of a servant of the Third Reich and the subtle, tortured restraint of a twenty-first century Border Guard, hence the shades.
Even some of the character names feel vaguely anachronistic, out of place, modern yet somehow appropriate to the story. It’s as if the events of ‘20 Ways’ could unfold in 1930s Germany or in present day near the Mexican border and there’d be no difference. When UK native Kershaw resettled in New Mexico in early 2010, he left behind a Europe in which the legality of actions taken in France and Italy raged over their treatment of Romaine’s as illegal immigrants. Then, his new neighboring State of Arizona was gearing up for a controversial legislative crackdown on illegal immigration. “I found a piece on the Internet to do with an Oklahoma lawyer who put together twenty different supposed ways to identify an illegal. This formed the basis of the Arizona police forces’ approach to identification – right down to the sandals you wore,” Kershaw explains. “What struck me as humorous was, other than looking Hispanic – that’s the one thing they couldn’t say – I could actually fail all twenty of these things and that seemed an absurd way to profile people and a very dangerous road historically to journey down.”
The clever insertion of these “twenty ways” into Marc’s investigation draws a direct link between past and present, between the tension of prewar Europe and the unceasing headache of the southern U.S. border echoed today across the globe. This link is boldly underlined in the story’s unconventional twist ending, which, without spoiling too much, sees a striking transition to color film.
While social commentary may be a significant component of ‘20 Ways, it’s these gorgeous, humorous, absurd, and emotional visual strokes that tell the story. Such a visual feat proved a major challenge for Kershaw and ace cinematographer Anders Uhl, who collaborated together for a full year prior to shooting in May 2011. “Visual research went into a number of things,” Uhl explains. “Part of it was researching still photography from [Europe in the 1930s] I wanted to take that approach.” Kershaw adds, “Gone are the sharp high definition images we are so used to watching in modern films. Instead we have a much softer period look and feel to the film.” Kershaw explains, “I wanted the audience to feel as if they are looking back at something which is in fact very contemporary.”
Uhl added on the film’s look. “Films about that time period (1930’s) tended to be made later, so I was more interested in stills. We looked at a lot of old black and white portraiture, which had a very specific look in terms of optical qualities and the way it was printed.” Having achieved the darker, heavily contrasted qualities of period portraiture, a whole new visual canvas was unfurled, on which extra special attention was paid to each individual actor through multicolored lighting filtration. For example, “Omar Lux, the boy playing Hymie’s son, had these beautiful blue eyes, and in his close-ups, we used a blue filter to bring those out and give them a silvery sheen and we mixed that very classic kind of approach with a more absurdist one. I think of it as a very high level of comedy, as opposed to just the high-key, flat comedic look that’s frequently done.” Uhl has some very definite opinions on just how fitting his and Kershaw’s chosen method is. “The material is very funny, but it’s also very, very dark. I feel there’s a respect in our approach for the darkness of it, which you never get away from.”
Kershaw concluded, “We wanted the satirical approach of the film to have a definite look and style and I think we achieved that. I wanted the audience to feel they are watching history but are they?” As director, for Kershaw, the power of the sound track and music score and the importance of the cinematographic approach can be summed up thus: “It brings a whole new edge to a comedy. Combining that dark, dramatic look with these absurdist elements in our photographic approach mirrored in our playful and powerful score makes this a unique, complex, original piece.”
We are currently in distribution and booking festival screenings for ’20 Ways’. Produced by Duchy Parade Films LLC you can contact Duchy and Peter M. Kershaw at: duchyfilms@gmail.com.
Michael Smith, ’20 Ways’
August 2011
Friday, August 12, 2011
On the radio - Friday 12th August
TURN ON YOUR RADIO AND LISTEN to CINEMA SCOPE at 6:30 this evening! Stu Goswick's guests include Yoav Potash, producer/director of 'Crime After Crime', award-winning documentary that open is SFe this week AND SFCC Film Dept Head Monique Anair with staff members Peter Kershaw & Gene Maderos and students Marcos Abeta & Mark Gee, discusing the great film classes offered this fall at SFCC....6:30pm on KSFR 101.1FM and live-stream at ksfr.org.
Saturday, August 6, 2011
Sound is mixed
Sound mix is now completeWe move a step closer to being able to lauch on the film festival circuit.
Photo by Gabriella Marks
(c) triggerfinger/2011
Friday, August 5, 2011
Steady on that steadicam
Rich Romero about to jump into action as steadicam operator on '20 Ways' one of nearly 40 crew who took part in the filming process north of Santa Fe, New Mexico at Los Luceros in May 2011.(Ps. If you look carefully you can see he is humming 'Eye of the Tiger' - his signature tune for turning up on set).
Thursday, August 4, 2011
Final screen title for film - '20 Ways'
‘20 Ways’ replaces the original working title ‘WHAT? or A road trip to Europe’.
The short comic satire ‘20 Ways’ explores the absurd humor of a newspaper article that proposed twenty ways to spot an illegal. We start in a B&W world, seemingly a period story about Hymie, his family, and their horse - a Jewish family who are stopped by a Nazi border guard as they are fleeing Europe in the 1930s. The film takes an off-the-wall look at the contemporary issue of immigration using humor, music and a quirky visual style to open up the subject. Shot on film in New Mexico by International award winning writer & director Peter M Kershaw with an original score by Emmy winning Oscar nominated composer Gerald Fried.
In 1976, Gerald was nominated for an Oscar for Best Music: Original Score for the 1974 documentary, Birds Do It, Bees Do It. He was nominated for a Grammy, and won the Emmy award for Outstanding Achievement in Music Composition for a Series for the critically acclaimed 1977 miniseries, Roots.
Composer and multi-award winner Gerald Fried has pretty well been, seen and done that, when it comes to film scores.
'20 Ways' marks a return to scoring for film with 10 original pieces of music created for '20 Ways'. This film marks Gerald's 60th year in the business and a landmark in his career.
Having, since 1995 turned down numerous offers to produce a score Gerald said "What appealed with '20 Ways' was the original screenplay and the comic nonsense, absurd and visual quirk of the film". Director Peter M. Kershaw said "The film's score had to reflect the period, give a sense of a European setting, echo the silent B&W world and let the audience know that as a satire it is comical and fine to laugh, Gerald's score does all these things and is a work of beauty in it's own right."
To give the film it's distinct look we spent a deal of time researching B&W photography from the 1930s studying European photography and employ rare lenses like the Cooke 65mm to generate a sense of period. The film was processed at Fotokem Labs, LA and then graded with a colorist at Technicolor NY.
The short comic satire ‘20 Ways’ explores the absurd humor of a newspaper article that proposed twenty ways to spot an illegal. We start in a B&W world, seemingly a period story about Hymie, his family, and their horse - a Jewish family who are stopped by a Nazi border guard as they are fleeing Europe in the 1930s. The film takes an off-the-wall look at the contemporary issue of immigration using humor, music and a quirky visual style to open up the subject. Shot on film in New Mexico by International award winning writer & director Peter M Kershaw with an original score by Emmy winning Oscar nominated composer Gerald Fried.
In 1976, Gerald was nominated for an Oscar for Best Music: Original Score for the 1974 documentary, Birds Do It, Bees Do It. He was nominated for a Grammy, and won the Emmy award for Outstanding Achievement in Music Composition for a Series for the critically acclaimed 1977 miniseries, Roots.
Composer and multi-award winner Gerald Fried has pretty well been, seen and done that, when it comes to film scores.
'20 Ways' marks a return to scoring for film with 10 original pieces of music created for '20 Ways'. This film marks Gerald's 60th year in the business and a landmark in his career.
Having, since 1995 turned down numerous offers to produce a score Gerald said "What appealed with '20 Ways' was the original screenplay and the comic nonsense, absurd and visual quirk of the film". Director Peter M. Kershaw said "The film's score had to reflect the period, give a sense of a European setting, echo the silent B&W world and let the audience know that as a satire it is comical and fine to laugh, Gerald's score does all these things and is a work of beauty in it's own right."
To give the film it's distinct look we spent a deal of time researching B&W photography from the 1930s studying European photography and employ rare lenses like the Cooke 65mm to generate a sense of period. The film was processed at Fotokem Labs, LA and then graded with a colorist at Technicolor NY.
Monday, July 11, 2011
Thursday, July 7, 2011
Mexican music for WHAT? or Road trip to Europe
The film will feature the following track
Y Te Lo Pidoby David Olivarez, ASCAP
Ser-Ca Publishing, 2010
'Y te lo pido' means 'I ask of you'. The song is about asking their loved one to return to them, that they have made a mistake and love and miss them very much. So, 'I ask of you to return to me'.
It's good to work with living musicians.
Y Te Lo Pidoby David Olivarez, ASCAP
Ser-Ca Publishing, 2010
'Y te lo pido' means 'I ask of you'. The song is about asking their loved one to return to them, that they have made a mistake and love and miss them very much. So, 'I ask of you to return to me'.
It's good to work with living musicians.
Friday, July 1, 2011
Tuesday, June 28, 2011
First of the last film Lab stages - today
Today, in New York City at Technicolor Labs WHAT? or A road trip to Europe is going through the full scan. We look forward to seeing how it turns out. It is a tense moment.
Photo by Gabriella Marks (c).
Tuesday, June 7, 2011
Final Goal in sight
With some pledges already on the table I'm pleased to announce that we are now down to needing to only raise the final $6,000.
World class Composer joins WHAT? team
You may know Composer Gerald Fried from Star Trek, Man from Uncle, Gilligan's Island, Dynasty or for his work with film legend Stanley Kubrick.Gerald won one of his many Emmy's for his Outstanding Achievement in Music Composition for a Series on the critically acclaimed miniseries ROOTS.
Gerald now brings his sense of humor and musical fun to create an original score for WHAT?
"Often a good composer brings the icing to the cake but Gerald is such an amazing talent and creative inspiration I think we just added a whole new layer to our already multi-layered cake. His film work is among my core influences - I'm proud and honored to be collaborating with Gerald - it don't come any better." Peter M. Kershaw, Writer/Director
Friday, May 27, 2011
Character
Joe Feldman as Hymie with the family cast while Cinematographer Anders Uhl frames a shot.This image says what it is all about - performance and performance caught on camera.
Love it!
Peter
Photo by Gabriella Marks
One interns view of working on WHAT?
What did you enjoy most about working on the production?
"I learned 200 times, and 200 times faster then I ever would have otherwise. I learned: Blocking is critical, every aspect of the shot thereafter depends upon it. Shooting outdoors utilizes natural light, simplifies setups, but locks the schedule to available light and weather. A movie shoot is like mechanical hurricane, at the center is an eye piece and a lens, as a DP, one need only focus on the simple desire and feeling of wanting ‘get the shot.’ “Company moves” can be the biggest bottle neck, so non-sequential shooting coupled with mobility and verbose planning can pay off in large time savings. If you are lucky enough to find a director who creates a creative, collaborative, and open environment, everyone can learn from each other and help one another. Film is fragile, it’s a process in which the chain depends on each link to work. I better understand the many roles that make up a film crew. Each one is essential, and each must come together in focused unity for each and every take to work. The process is like rowing a ship to a distant unseen shore, many oars have to hit the water at the same time. Just as the Captain and the Navigator have a unique relationship, so does the Director and the DP."
Taos based Alex Levy, Video Village on WHAT?
"I learned 200 times, and 200 times faster then I ever would have otherwise. I learned: Blocking is critical, every aspect of the shot thereafter depends upon it. Shooting outdoors utilizes natural light, simplifies setups, but locks the schedule to available light and weather. A movie shoot is like mechanical hurricane, at the center is an eye piece and a lens, as a DP, one need only focus on the simple desire and feeling of wanting ‘get the shot.’ “Company moves” can be the biggest bottle neck, so non-sequential shooting coupled with mobility and verbose planning can pay off in large time savings. If you are lucky enough to find a director who creates a creative, collaborative, and open environment, everyone can learn from each other and help one another. Film is fragile, it’s a process in which the chain depends on each link to work. I better understand the many roles that make up a film crew. Each one is essential, and each must come together in focused unity for each and every take to work. The process is like rowing a ship to a distant unseen shore, many oars have to hit the water at the same time. Just as the Captain and the Navigator have a unique relationship, so does the Director and the DP."
Taos based Alex Levy, Video Village on WHAT?
Tuesday, May 24, 2011
People and process
Filmmaking is all about asking practical questions and answering them in a creative way.Greg Eichman of Serious Grippage & Lighting Company in Santa Fe brought more than our budget could afford to the set of WHAT?
He also brought experience as Gaffer that added to the look of the film and the final quality.
At his core Greg is a filmmaker of the finest kind. We had a lot of interns on set and Greg was happy to share his experience and knowledge adding a value to their experience beyond what was expected of Greg.
Greg is the kind of person you need on a film set as you know with Greg he has your back - it was a pleasure to work with a Gaffer of such calibre and it won't be the last time. New Mexico's finest.
Photo Gabriella Marks
WHAT? gave an opportunity for a number of new to film people to experience life on a production set. Lori Rohan Mersman Harris a photographer in her own right had the chance to intern as a film stills photographer and observe experienced artist/film set photographer Gabriella Marks at work in the very different arena of a film set. Phone nail thumb image by Gabriella Marks.
Friday, May 13, 2011
New Executive Producer joins WHAT?
Judith Hennessey who has been raising finance for WHAT? from the outset recently joined the production as Executive Producer. Judy has been sourcing money for the film from outside of New Mexico. "What people need to take note of is, that a short film shot and produced in New Mexico providing employment and hire for NM cast, crews and facility houses has also brought significant money into the State. It shows that filmmaking on a large or small scale production is a benefit to the local economy." Peter M. Kershaw, Producer/Director. Photo by Gabriella Marks.
Sunday, May 8, 2011
Words from the front
Actors can thrive if the environment around them allows and this was one of the best "spaces" I have ever had the honor to work within. That was made possible by the amazing and gifted team of crew and fellow actors to and by whom I am humbled.
Best wishes to all...can't wait to do it again.
Dempsey aka Marc
Best wishes to all...can't wait to do it again.
Dempsey aka Marc
Words from our Horse Wranglers.
Everyone on the set of What? treated the horses with such respect and affection we just wanted to again thank you all. The professionalism and attention the entire cast and crew displayed made our jobs so much easier and is a large part of why the horses were so well behaved and accepting of the unusual environment. It sounds cliche but it is true that safety is no accident and everyone deserves the credit for the fact that we were able to work so closely around the horse without any incidents. Thank you all and we look forward to working with any and all of you again in the future.
Karen and Harry
& Horses - Ben, Betty and Blue.
Karen and Harry
& Horses - Ben, Betty and Blue.
Shooting for WHAT?
A low res. image taken from the actual filming of WHAT? of Hymie and Marc.
Production wrapped on Friday 6th May 2011.
Friday, April 15, 2011
WHAT? on set professional photographer
Gabriella is a Santa Fe based photographer specializing in editorial,
portraiture and lifestyle photography. She also has an irresistible
urge to capture the moments that happen when small bands of unruly
individuals converge on cue under a common flag for the purpose of
making movie magic together. You can see what she sees at:
http://www.triggerfinger.com
Tuesday, April 12, 2011
Screening in New Mexico - New Visions
FARMINGTON: Friday, April 15th, 6:30pm
Showcase and Q&A | San Juan College – 4601 College Blvd, Farmington, NM, 87402 | Award winning filmmaker Peter Kershaw will present a series of short films from Europe, see amazing work from world-class, professional filmmakers. Open and free to the public. Visit this New Vision winner’s website... for more information and updates: www.duchyfilms.blogspot.com.
Showcase and Q&A | San Juan College – 4601 College Blvd, Farmington, NM, 87402 | Award winning filmmaker Peter Kershaw will present a series of short films from Europe, see amazing work from world-class, professional filmmakers. Open and free to the public. Visit this New Vision winner’s website... for more information and updates: www.duchyfilms.blogspot.com.
Sunday, April 10, 2011
Interns
We will be posting the results of our search to bring Interns from across New Mexico's communities by the end of this week. Interviews have been co-ordinated by Line Producer Erica Mehaffy and Associate Producer Brittany Madrid. On set the interns will be working under their Heads of Department to gain genuine live industry experience but will be ultimately reporting to director/producer Peter M. Kershaw.
Production Designer
Patrick Mehaffy is an artist. His work is included in the permanent collections of The New Mexico State Capitol Collection of New Mexico Artists, The New Mexico Museum of Fine Art, The Albuquerque Museum, and the Art Museum of Southeast Texas. His work has also been acquired by many corporate and private collectors in the United States, as well as collectors in London, Paris, Madrid, Toronto, and Sydney, Australia. His next solo exhibition will open July 1st at Shiprock Gallery in Santa Fe. He has also been set designer for Ironweed Productions and Theater Grottesco, and written and directed three short films. His second short, called The Lark Snare (produced by his wife, Erica, under the banner of their production company, pieboy films), won Best American Short at the 2007 Napa/Sonoma Wine Country Film Festival. (He was also production designer on that film.) Their most recent project, called Heat Lightning, will next screen at the Edgemar Center for The Arts Film Festival, in Santa Monica, on April 29.
Thursday, April 7, 2011
Director
Peter M. Kershaw completed my first USA shoot as director working on the excellent web drama CYPHERS. DP & Operator
Anders Uhl - DP and Operator on WHAT? recently filming in New Mexico with director Peter M. Kershaw on the drama CYPHERS.
We are pleased to announce that WHAT? will be shooting on super 16mm color & Black & White film stock and that we will be working with leaders in their field FotoKem labs http://www.fotokem.com/
Wednesday, March 2, 2011
Link to Wed. March 2nd Screening
http://www.iaia.edu/about/directions/
Link to tonights venue - directions for screening.
Link to tonights venue - directions for screening.
Monday, February 21, 2011
WHO ARE DUCHY PARADE FILMS?
WHO ARE DUCHY PARADE FILMS?
Duchy Parade Films LLC was set up in Santa Fe, New Mexico in September 2010 as an independent production company to produce and distribute film & media projects. Previously, (from 1997 to 2010) Duchy Parade Films had been a UK limited company. Peter Kershaw has worked in the film & television business for over twenty years.
The sole owner of Duchy Parade Films is Independent Producer & director, Peter M. Kershaw.
OUR MISSION STATEMENT The creation of high production value imaginative, entertaining short films that will lead towards the production of narrative Feature Films here in New Mexico.
Duchy Parade Films LLC was set up in Santa Fe, New Mexico in September 2010 as an independent production company to produce and distribute film & media projects. Previously, (from 1997 to 2010) Duchy Parade Films had been a UK limited company. Peter Kershaw has worked in the film & television business for over twenty years.
The sole owner of Duchy Parade Films is Independent Producer & director, Peter M. Kershaw.
OUR MISSION STATEMENT The creation of high production value imaginative, entertaining short films that will lead towards the production of narrative Feature Films here in New Mexico.
Friday, February 18, 2011
Fuller update on Screenings in NM
New Mexico Screenings 2011
All New Mexico Screenings all are free and open to the public.
Carlsbad: NMSU-C Saturday, February 26th 2011, 6pm
Program starts at 6:00pm in room 153.
Where? NMSU-C campus 1500 University Dr,
Instructional Building, Room 153
Santa Fe: Public screening
Wednesday, March 2nd 2011, 6pm.
at IAIA, Institute of American Indian Arts
83 Avan Nu Po Road, Santa Fe
Las Cruces: Monday, March 14th 2011, 08.30am
at Creative Media Institute
New Mexico State University
Truth or Consequences:
Thursday, March 24th 2011, 7pm
Where: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, NM 87901
Las Vegas:
Wednesday 30th March, 5.30pm
Where: Highlands University in the Media Arts West Building, 901 University Ave., Las Vegas, NM 87701
Espanola:Wednesday 20th April, 6pm
Northern New Mexico College
Nick Salazar Center for the Arts Theater
921 Paseo de Oñate
Española, NM 87582
Farmington:Friday, April 15 from 6:30 - 8:30pm
San Juan College
4601 College Boulevard
Farmington, NM 87402
Contact: Luke Renner, Assistant Professor Digital Media Arts and Design (505) 566-3792
All New Mexico Screenings all are free and open to the public.
Carlsbad: NMSU-C Saturday, February 26th 2011, 6pm
Program starts at 6:00pm in room 153.
Where? NMSU-C campus 1500 University Dr,
Instructional Building, Room 153
Santa Fe: Public screening
Wednesday, March 2nd 2011, 6pm.
at IAIA, Institute of American Indian Arts
83 Avan Nu Po Road, Santa Fe
Las Cruces: Monday, March 14th 2011, 08.30am
at Creative Media Institute
New Mexico State University
Truth or Consequences:
Thursday, March 24th 2011, 7pm
Where: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, NM 87901
Las Vegas:
Wednesday 30th March, 5.30pm
Where: Highlands University in the Media Arts West Building, 901 University Ave., Las Vegas, NM 87701
Espanola:Wednesday 20th April, 6pm
Northern New Mexico College
Nick Salazar Center for the Arts Theater
921 Paseo de Oñate
Española, NM 87582
Farmington:Friday, April 15 from 6:30 - 8:30pm
San Juan College
4601 College Boulevard
Farmington, NM 87402
Contact: Luke Renner, Assistant Professor Digital Media Arts and Design (505) 566-3792
Wednesday, February 9, 2011
Latest New Visions State Service dates
Screenings by Peter M. Kershaw, Santa Fe’s, Duchy Parade Films LLC
All New Mexico Screenings all are free and open to the public
Carlsbad: NMSU-C Saturday February 26th 2011, 6pm
Program starts at 6:00pm in room 153.
Where? NMSU-C campus 1500 University Dr - Instructional Building - Room 153
Santa Fe: Public screening
at IAIA, March 2nd 2011, 6pm.
Las Cruces: March 14th 2011, 08.30am
at Creative Media Institute
New Mexico State University
Truth or Consequences:
Thursday, March 24th 2011, 7pm
Where: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, 87901
Las Vegas:
Wednesday 30th March, 5.30pm
Where: in the Media Arts West Building, 901 University Ave., Las Vegas, NM 87701
All New Mexico Screenings all are free and open to the public
Carlsbad: NMSU-C Saturday February 26th 2011, 6pm
Program starts at 6:00pm in room 153.
Where? NMSU-C campus 1500 University Dr - Instructional Building - Room 153
Santa Fe: Public screening
at IAIA, March 2nd 2011, 6pm.
Las Cruces: March 14th 2011, 08.30am
at Creative Media Institute
New Mexico State University
Truth or Consequences:
Thursday, March 24th 2011, 7pm
Where: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, 87901
Las Vegas:
Wednesday 30th March, 5.30pm
Where: in the Media Arts West Building, 901 University Ave., Las Vegas, NM 87701
Sunday, February 6, 2011
Joe as Hymie
Who said, actors don't need to prepare for a role for months before hand!Joe Feldman - playing Hymie an elderly Jewish character in WHAT?
As Joe is a relatively young man to get into playing the much older Hymie he's been turning his normal smooth face into a full beard. All part of preparing to become the character Joe will be bringing to life - Hymie during May's filming of WHAT?
Monday, January 31, 2011
First New Vision NM Screenings
Truth or Consequences:
Thursday, March 24th 2011, 7pm
At: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, 87901
Contact number, James 575-894-7008
7pm - admission is free
Carlsbad:
NMSU-C Saturday February 26th 2011, 6pm
Digital Media welcomes award winning filmmaker, Peter Kershaw to NMSU-C for a special showcase of short films from western and eastern Europe followed by a Q&A with the filmmaker. Don’t miss this unique opportunity hosted by Cynthia Niedland. Program starts at 6:00pm in room 153.
Open to the public free of charge.
Where? NMSU-C campus 1500 University Dr - Instructional Building - Room 153
For more information contact: Cynthia Niedland 575-234-9412
Thursday, March 24th 2011, 7pm
At: The Lee Belle Johnson Recreation Center
300 S. Foch
T or C, 87901
Contact number, James 575-894-7008
7pm - admission is free
Carlsbad:
NMSU-C Saturday February 26th 2011, 6pm
Digital Media welcomes award winning filmmaker, Peter Kershaw to NMSU-C for a special showcase of short films from western and eastern Europe followed by a Q&A with the filmmaker. Don’t miss this unique opportunity hosted by Cynthia Niedland. Program starts at 6:00pm in room 153.
Open to the public free of charge.
Where? NMSU-C campus 1500 University Dr - Instructional Building - Room 153
For more information contact: Cynthia Niedland 575-234-9412
Tuesday, January 18, 2011
WHAT? or A ROAD TRIP TO EUROPE
WHAT? is supported through the New Visions Awards, a contract to provide service to the State of New Mexico.New Associate Producer joins the team
We are excited that New Mexican Producer Brittany Madrid will be joining the production team for the comedy/drama WHAT?The director of WHAT? Peter Kershaw said, "Brittany, who runs her own production company Madrid Films and Entertainment, Inc., producers of cutting edge documentaries, shorts and feature films, will make a valuable addition to the production team with a wealth of local knowledge and contacts in the Indie sector especially, amongst younger filmmakers". With WHAT? we are putting together a production team that reflects the diverse film community in New Mexico and giving an opportunity to new and established crew and filmmakers to work together has always been an intention of this production.
The film will be taking on a number of interns which Brittany will be responsible for. "Short films are an ideal platform if, the filmmaker is willing, to provide not just employment for existing filmmakers but a place for new and underrepresented voices to grow their craft." Peter said.
Brittany entered the mainstream media and entertainment industry in 2005 when she was featured in Body & Brain Magazine as a model and writer of several articles, launching her into the film industry in 2008 as a choreographer for the feature film, Fired Up in LA. She has since worked on many independent feature films, including Stephen Kings Everythings Eventual and on to Executive Producing such shorts as Good Day Gone Bad.
Brittany will be working as an Associate Producer on WHAT?
Award Success for The Astronomer's Sun
While last night many film buffs were watching the Golden Globes the real film drama was being played out in New Mexico at Comic Com, Albuquerque. Sunday's award ceremony concluded Fire Born Films screening event. I'm pleased to annouce on an evening with award success for a number of NM's industry talent, Duchy's The Astronomer's Sun walked away with Awards for CINEMATOGRAPHY, the AUDIENCE AWARD and star prize, BEST FILM (see blue figure in photo). Thank you to all who voted, judges, Jerry & the Fire Born team the audience who made the event and Monique and the VJ's for a great interview.
Monday, January 3, 2011
How did our 2010 film end the year?
THE ASTRONOMERS SUN An animated fantasy/drama created using traditional animation techniques has played in 43 International Film Festivals to date and collected 9 major awards.
AWARDS, THE ASTRONOMERS SUN, 2010:BEST FILM, Northern Futures Award, Manchester, UK
SPECIAL PRIZE «For the mystery of liberation» VI International Short and Animation Film Festival OPEN CINEMA, St Petersburg, Russia
BEST ANIMATED FILM, 2010 Rome International Film Festival, Georgia, USA
BEST FILM, Santa Fe International Film Festival, New Mexico, USA
BEST ANIMATED FILM, Fantastic Planet, Sydney International Sci-Fi & Fantasy Film Festival, Australia
BEST FILM, FLIP Animation Film Festival, UK
WINNER AUDIENCE AWARD, National Irish Science Fiction Film Awards, Dublin, Ireland
BEST FILM, Yorkshire Film of year Award, Leeds International Film Festival, UK
Nominated for a 2010 BRITISH ANIMATION AWARD for BEST SHORT FILM in Public Choice.
AUDIENCE CHOICE AWARD WINNER Anima: a festival of contemporary animation by women, New Hampshire, USA
The Astronomer's Sun will also be playing in France in the Clermont-Ferrand Short Film festival, February 2011 and, The Science Fiction & Fantasy Short Film Festival, Seattle, January 2011. ABQ, NM in January 2010. Currently, touring South America as part of Animartefest bringing the best in world animation shorts to South America.
Produced by Duchy Parade Films of UK & Santa Fe, NM USA
http://www.duchyfilms.blogspot.com
http://www.roadtriptoeurope.blogspot.com
http://www.astronomerssun.com
AWARDS, THE ASTRONOMERS SUN, 2010:BEST FILM, Northern Futures Award, Manchester, UK
SPECIAL PRIZE «For the mystery of liberation» VI International Short and Animation Film Festival OPEN CINEMA, St Petersburg, Russia
BEST ANIMATED FILM, 2010 Rome International Film Festival, Georgia, USA
BEST FILM, Santa Fe International Film Festival, New Mexico, USA
BEST ANIMATED FILM, Fantastic Planet, Sydney International Sci-Fi & Fantasy Film Festival, Australia
BEST FILM, FLIP Animation Film Festival, UK
WINNER AUDIENCE AWARD, National Irish Science Fiction Film Awards, Dublin, Ireland
BEST FILM, Yorkshire Film of year Award, Leeds International Film Festival, UK
Nominated for a 2010 BRITISH ANIMATION AWARD for BEST SHORT FILM in Public Choice.
AUDIENCE CHOICE AWARD WINNER Anima: a festival of contemporary animation by women, New Hampshire, USA
The Astronomer's Sun will also be playing in France in the Clermont-Ferrand Short Film festival, February 2011 and, The Science Fiction & Fantasy Short Film Festival, Seattle, January 2011. ABQ, NM in January 2010. Currently, touring South America as part of Animartefest bringing the best in world animation shorts to South America.
Produced by Duchy Parade Films of UK & Santa Fe, NM USA
http://www.duchyfilms.blogspot.com
http://www.roadtriptoeurope.blogspot.com
http://www.astronomerssun.com
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