ATLFF Alumni Spotlight: Landon Ashworth

When you meet Landon Ashworth, you know quickly that you won’t forget him. I met Landon at ATLFF’23. He was introduced to me as the winner of that year’s screenplay competition in the TV Pilot category. In the very same category I submitted my script but was disqualified because I  took a job with the Atlanta Film Society shortly after submitting. I understood why, but of course, I hated him. I’m kidding. Why? When I met this tall, handsome man wearing a cowboy hat, I could tell there was something quite special about him. 

What was it? I didn’t find out until I sat down with Landon for our next edition of ATLFF Alumni Spotlight a couple of weeks ago. And boy, was I right…

Oh, and when you get to the end, I’ll tell you a story that didn’t make the interview.

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Keith Hannigan

Hey, folks. I am Keith Hannigan from the Atlanta Film Society and the  Atlanta Film Festival.  I’m here for another episode of ATLFF Alumni Spotlight. Today, the spotlight shines on the man who won the ATLFF’23 Screenplay Award. By the way, that is the award over his shoulder he won for his pilot script, The Space Suit.

Ladies and gentlemen, I give you Randy Ashworth. Hello, Landon. 

Landon waves appreciatively to the crowd to his adoring fans

Landon Ashworth

Hi. Sorry for all of the fans.

KH

It's all good and understood. If you haven't, you should definitely check out Landon's IMDB because he has a lot going on in his world, including one that is slated to start tomorrow. Landon, what is starting tomorrow for you, my friend?

LA

I'm heading out to New Mexico to direct a feature that I wrote after basically 20 years of being told no by Hollywood.

KH

What's the name of the feature?

LA

GO ON.

KH

Where in New Mexico?

LA

Near Las Vegas, New Mexico. As the crow flies, it's about to 50 miles east of Santa Fe.

KH

Outstanding. We’ll talk more about that in a second because I need to mention that beautiful Phoneix beside you. Which, of course, is the ATLFF’23 Screenplay Award you won for your pilot script, SPACE SUITS. What was that script about, and how did it come about?

LA

It is about the female bra makers of Playtex who won the contract to make the Apollo spacesuits. And they weren't even invited to compete. They just kind of showed up against the military-industrial complex. They were fighting for the contract against a bunch of military people, and they weren't invited to join.

But they learned about the competition a couple of weeks before it happened. All the other teams had six months to a year to prepare their prototypes. Not only did they win the contract after just making bras for a living, but they destroyed the competition.

I wrote the story for several reasons. Number one, I spent my young adult life trying to become an astronaut.

I was a pilot—a civilian test pilot. But then they decided they would only hire military test pilots, even though I had all my hours to apply. So, that degree ended up becoming useless. Then, they said they would slate a mission to Mars and send somebody from the arts community because NASA is a boondoggle, and they must raise public funds.

I'm autistic, and I had therapists who encouraged me to get into acting classes to learn how to mask my autism because I was bullied really, really, really, really bad growing up. So I had already been an actor basically since I was a young kid. And so I applied to conservatories, and I got into one. Then I got my MFA in filmmaking, and they scrapped the Mars mission.

So now I have two useless degrees. Then my academic advisor from undergrad said, "Well, now you got to go back and get your Ph.D. or your M.D.” But medical school was too long. So I got my Ph.D. in astrophysics, and on my dissertation defense day, Obama put a ten-year hiring freeze on astronauts, which made all three degrees useless.

So I sat in my car and cried for a bunch of hours. And then I thought, okay, well, I got to pivot. What am I going to do? I could go back to being a test pilot. Too dangerous. I didn't want to do that. I knew I didn't want to teach physics at university, so I was like, I'm going to try to use this MFA and make a career as a filmmaker.  So I packed up my car and drove straight to L.A. 

I knew one person out there, a buddy from undergrad who owned a 22-foot sailboat, Marina Del Rey, and moved on to his sailboat because no one was on it. And the person on the sailboat next to mine was the casting director. And the casting director happened to be casting a big commercial. So, my very first commercial audition was for American Airlines. Funny enough, I got the part, and then they aired that commercial for about two years, and it paid a lot.

That was back when commercials paid a lot of money. And so I made a gargantuan amount of money for that. I didn't have to have any side jobs, which was lucky. And then, after I booked a commercial, she said, "You know, there are no A-list actors who don't have their own production companies, so you need to start making your own stuff now that you're kind of set financially."

I wasn't rich, but I took 80% of my earnings and bought film equipment: camera lenses, lights, and sound equipment. Every time I got cast as a costar on a TV show, I would talk to the department heads to learn how to do sound really well.

I would be with the crew asking every single question while the other actors were hanging out and bullshitting with each other. I'd go to the cinematographer and say, I just bought these lights. What do I do? How do I set it up? 

This is all stuff I learned during my filmmaking degree. But like, I want to learn because you're on set. I treated it as a master class to be around professionals, doing it for a living, to learn how to do it myself. What I wish the casting director would have told me was,” You need to learn how to network and  make things with other like-minded people..” But being artistic and taking things very literally.

Instead, I started making my own stuff and only my stuff. I started writing and directing comedy sketches because comedy kind of comes naturally to me. I don't think that I'm funny, but other people do kind of unintentionally. So I just started writing comedy sketches and then shooting comedy sketches, and that's what I spent all of my free time doing, shooting.

Then I met some actors and then I put them in my comedy sketches and then basically I was not getting ahead from my comedy sketches because they were like, really weird, esoteric, autistic kind of what I consider smart. Smart humor. And smart humor is not made for social media. It's made for BBC. But I am not the BBC.

So basically at the end of of having 200, 300 comedy sketches filmed, I finally was like, screw it. I need some advice. So the next show that I was on, I went up to the showrunner and I said, I've shot all of these things, but nobody's hiring me to direct or write. What would your advice be?

They advised me, and I followed it to the Nth degree. No success. So then the next costar I booked, I'd go up to the showrunner and say, I need help. I followed this advice, and they said, “That showrunner is an idiot. This is what you should do.” So I did that and got no success.

The next costar, go up to that showrunner; “Those guys are idiots. This is what you should do.” So basically, after five or six times of doing every single thing that these showrunners told me to do and getting no success from it whatsoever, I was like, alright, well, advice is really not helping me.

 The very last bit of advice that I got was, “You need to do a topical comedy sketch that goes viral.” So I did that. It went viral, but nothing happened for my career. The next bit of advice was, “You need to make a short.” So then I made a short. The next person asked, “Did you put it short in film festivals?”  And it was like, no, so I put it in film festivals.

I put it in film festivals, and it was a really weird short that was smart but not something that normal people would like. Then the next advice was, "Well, you got to make it topical. It's got to be something that people want to watch, and it's got to win awards." So then I made something that I thought was smart that people would want to watch, and then it won about a dozen Oscar-qualifying film festivals.

But I didn't go to any of the film festivals because I have crippling social anxiety, so I didn't network at all. So then the next bit of advice that I got was you need to write a pilot and put that into festivals and win awards. And then when I got into the Atlanta Film Festival, I told when I won the award I was like, can you just mail me the award?

And they're like, “You need to come here and network, and we'll protect you and kind of put you under our wing.” And so that's what happened with the Atlanta Film Festival. I wrote the SPACE SUITS. I sat down and wrote it in one day. It was my first draft, and I sent it out to film festivals. Then, it won five or six film festivals for best unproduced and best pilot screenplay, which kind of led me to where I am today.

KH

So, what happened after you won the Atlanta Film Festival?

LA

After I won the Atlanta Film Festival, I met people from several different producers who were part of the festival and several lit agents. The Lit agents told me, “ Nobody's buying historical dramas. Congratulations on your win.” For the producers that I met said, “We can sell this. Let's stay in touch.” I stayed in touch with them. They never emailed me back.

The next TV show I booked was THE RESIDENT, and the showrunner said,” You need to build a really big social media following based on topical stuff. Once you have a big following, there's nothing that you can't do because people want to put butts in seats. If you have a million followers, you're good to go.”

So then I started writing topical sketch comedy, which is the bane of my existence. I hate topical stuff. I like stuff that nobody else likes. So then I started writing topical stuff. In six months, I gained a following of 2 million followers, and then the next bit of advice I got was write a feature and try to get it made, crowdfund it.

And I was like, no, that's the one thing that I will not do. I have friends that have crowdfunded their features, and they have these awful, awful features for 25 grand and I'm not going to put out crap. I'm not going to make a feature if I'm the only one that believes in it.

I'm not going to crowdfund. I'm going to do it the Hollywood way because I've done it the Hollywood way for 20 straight years. And I really believed in the Hollywood way. I believed in you write a script, a producer that does this for a living says, “I like your script. I know how to make movies. I've made movies.  I believe in the economic viability of your project. I'm going to make it.” 

So I let pride get in my way for a very, very long time because I was never going to make a TV show or a movie that I was the only one who believed in. In one year, I sent about 1100 emails to producers, agents, directors, showrunners, developmental executives, whatever.

I got three responses back in that year. I went back and counted them all, and all three were, “We do not take unsolicited submissions.” So the best answer I got was no. The rest of the 1097 people just ignored it. So finally, I'm like, well, my career is never going to move forward.

And so in January of this year, I was going to quit. I was going to be done with the industry. I won Best Pilot and a dozen other Oscar-qualifying film festivals for Best Short. And I'm like, I'm never going to make it. And that's fine and I'm done. 

So I woke up on January 1st, and the first thought in my mind was, "You've done it everybody else's way your entire career. Why don't you try your own way?" 

You know, casting directors during casting director workshops were like, “Don't go up to A-list stars and bother them on set. It'll make you look bad. Don't talk to producers and ask them for anything. Just show up, do a good job, and go home.

”I was like, you know what? I'm going to do it my way this year, and if I don't make it, who gives a shit? I've already not made it. I've spent an entire career not making it. 

Yeah, I've done a bunch of costars on TV shows, but that's not making it. That's going from job to job where you don't go from costar to guest star to series regular.

That's just, you know, I spent one to four days on set saying my lines, being polite, going home, doing a good job. Every time I would go up to the showrunner at the end of the show, they’d say, “You're great, you're great. We'll keep you in mind in the future.”

They did not keep me in mind in the future. They got the one to five lines out of me, and they would never see me again. People don't keep you in mind unless you're friends with them. And I never networked. So, I said I would do it my way this year. So, I started doing it my way, and I decided the very first thing that I was going to do was stop masking my autism.

I was going to be me, unapologetically me. And by doing that, I gained an even bigger social media following. And I'm like, okay, cool. And then somebody said, “You know what? Now is the time for you to raise money for a movie.” And I was like, well, I've never written a movie that would cost less than 10 million bucks.

And they're like, “Well, then you need to sit down and write a movie you can make for half a million.” And I was like, I don't know anybody with a half a million bucks. That's a movie producer. And they're like,” Just write a movie.” So I sat down and I wrote a movie in two days. I didn't change a single word of it.

I sent it to ten people who had no reason to be nice to me, and all ten of them were like, “Go make this movie right now.” And I was like, well, I don't know any producers. They're like, “Crowdfund, dude, you have 2 million social media followers.” So I was like, okay, this makes me sick to my stomach, but I'll do it.

So I raised $170,000 in donations, just straight up donations in a month. And I was like, okay, I'm going to have to give all of this money back because this is not even close to enough money to get my movie made. And then when I was asking all of the people at the fund raising things, how do I give this money back?

And they're like, but you have enough to make something. I was like, no.  I'm going to make this movie or I'm not going to make anything. I'm very passionate about this project for numerous reasons. And they said, “Well, this this is the process that you go through to return all the money.” So I was researching that, and on the same day three weeks ago, I got two emails from two very wealthy individuals and they said, “We believe in you.”

“You've raised this much money so other people believe in you too. We're writing you a blank check, whatever you need, go make your movie.” That was three weeks ago. And now tomorrow, I start to head out to New Mexico to make this feature. So for the past three weeks, it's been a firehose. I hired two producers because  I had a budget for the movie, and we've just put it together. We're going to make this movie out in the mountains.

I've got Vincent Kartheiser, a series regular on Mad Men, and Laura Slade Wiggins, a series regular on Shameless, to be in It, and off we go.

KH

So, first of all, congratulations, man.  And I'm not talking about all the awards from your entire life. You have pivoted, proving beyond a shadow of a doubt how resilient you are. So everybody watching at home, please grasp one thing from this:  Landon has given you a masterclass of listening to people and having that not come true and saying, alright, I'm either going to go this, I’m doing it my way. And if I'm done after that, I know I did everything within myself to do it.

And thank you more than anything for being vulnerable and sharing that you’re autistic. 

I told you I was in New Mexico a couple of weeks ago at a writer's retreat, and I had the honor of speaking to some very acclaimed writers, showrunners, and other such people.

One question I love to ask is simply stating that I, like you, have this in common: that we're dreamers. We dream differently, but we dream, and we don't want to let go of those dreams because we keep chasing them with the understanding that our dreams are not going to chase us. So, ultimately, what has been your dream?

 Is it standing in front of an audience receiving an Academy Award or an Emmy or anything like that? Is it saying thank you to your mom for everything she's done for you? What is the dream for?

LA

I've only had five dreams, and I had one, which was to be an astronaut, and that door was slammed in my face. And then when I started this career in Hollywood, I set four goals: 

1. One be a series regular on a TV show, which has not happened yet. 

2. Second was to sell a TV pilot that gets made, not to sell a pilot because a lot of people saw pilots and they never went into production.

3. Third was to get a musical that I wrote about the space race to Broadway.

4. The last was to write a feature, get it funded, and direct it. That journey starts tomorrow.

KH

God bless you, man. Thank you for achieving your dreams. Because unless people out there knowing right now watching can see you achieve yours, then I can achieve mine… If I work my ass off.

LA

Yeah, you got it. You got to scrape it out of pure marble with your fingernails. I moved to Hollywood knowing no one in the industry. And I mean no one in the industry. I didn't know a P.A. No one has helped me. No one has had my back other than the people at the Atlanta Film Festival. Literally, they're the first people who were like, "We will protect you."

We're going to help you collect your award and help you start conversations. They're literally the only organization that's ever helped me. So I'll do anything for the Atlanta Film Festival. But thank you God. You know, I appreciate you more than you'll ever know. But realize this out there if you want it, it's out there in the fucking dirt.

Go dig it up.

KH

Love it. And speaking of that, before you go out into the dirt and direct your movie, what is it about, man? Was this the story you're going to tell us?

LA

So the logline—I have to go to IMDB because I wrote it—is better than anything I'm ever going to, just like improv. The logline is that two people are forced to confront their past on a remote forest fire-burned mountain. So that's the logline the film is about. I had a cousin, and I went to visit his family out in Texas, and he had two twin boys.

They were on the spectrum, and one of them I really, really resonated with. He's going through some heavy stuff, and I felt like I was one of the only people who really could help other people recognize it. But I felt that I could help. So I invited him to come to my home here in Georgia because I was like, anytime you want to come, just come, and we'll do whatever you want.

Literally, if you want to rob a bank, we'll rob a bank. You want to go steal a car? We'll go steal a car. You want to eat sushi every single meal for a week straight will do that. And I knew that he was going to say no. And I flew back home and then I got a call from his mom and she was like, “So he hasn't stopped talking about him coming out here. Were you serious?” 

I was like, my God, please send him. So it blew my mind. The 16-year-old kid said yes. So I got him at the airport, and it was just a week of saying yes to anything he wanted to do. We did. And we talked about literally everything in life. And fame was very important to him at the end of the week. Becoming famous.

And at the very end of the week, he would not tell me why fame was so important to him. And as I was dropping him off at the airport, he turned to me and said,” I just want to matter.” And then he got out of the car, and I was like, okay, I have made an impact. I know how to help him. 

Then, a few days later, I got a call from his mom that he had died by suicide. And so I sat down and I wrote this movie in two days. I had no idea where the movie was going. I just went on a journey with these characters. I sent it to ten friends and asked them what they thought.

All ten of them said, “If you don't go make this movie right now, we're going to steal, and you can just deal with suing me. But this movie needs to be made.” And so that's when the fundraising campaign started. So it's in my cousin Landon Bellingham's honor. I just imagine the story is about him being stuck somewhere, or in real life, being stuck somewhere.

He had no way out. And it's two characters at war, trying to help each other where neither wants to give nor wants to take. So that's what the film's about.

KH

So, I think I can speak for everybody watching when I say there isn't a soul out there who isn't rooting for you. Thank you for being you.

LA

Well, everyone else was taken.

KH

I'm never going to forget this conversation. That's the highest compliment I can give. 

Please keep telling your stories. Have a wonderful, safe, amazing, life-changing experience,  my brother.  We can't wait to see what happens, and we can't wait to see what happens next.

LA

So I hope it comes to the Atlanta Film Festival and wins  Best Picture.

KH

There we go, brother. There we go. So, I want in to wrap things up. Just keep. How can we keep in touch with you? Can we follow you on any social media? 

LA

So, my handle on Instagram is @LandonAshworthdirects. I have a million followers on Instagram and a million followers on TikTok. I check every day and write back to every single one.

It's a compulsion I have got. God bless you, autism. But yeah, so I've got I got a million followers, but I'll still still write you back.

KH

You may have a million followers, but you're one in a billion, my friend. And I have to tell this story about Landon before I take off.

I met Landon at the Atlanta Film Festival in 2023. We had an after-party. I don't know if it was an after-party or a hangout. I can't remember what it was. It was basically something away from the film festival itself in that it was in a building. The building that we were at was called the Illuminarium, and they had a presentation devoted to outer space.

And I saw Landon walk in, and I, I, I'll tear up thinking about it because knowing what you've been through and what dreams you had. I saw a look in this man's eyes like, my God, I'm here. It was wonderful.

LA

Afterward, I reached out to him and said, "I've got a Space Race musical. We should partner." This was another cold email that went unanswered. 

KH

I love that, though, you may have apprehensions, but you have a fearlessness about you. You just say, fuck it, I'm going to put it out there. And the worst thing you can ever say to me is no. And trust me, that ain't the worst thing that's ever happened to me.

So, Landon, thank you so very much. If you're watching this and would like to participate, please email me at keith@atlantafilmfestival.com. You can also follow us at the Atlanta Film Society on Facebook, Twitter, Instagram, LinkedIn, and YouTube.

This interview will be posted on the Atlanta Film Festival YouTube page. You can also follow us on our Atlanta Film Festival, Instagram, Facebook, Twitter or X, or whatever you want to call it. So, thank you again, Landon. I wish you the best.

I really do. And please, my brother, stay in touch with me. Stay in touch with us. We want to celebrate. Even though you don't believe in many celebrations, we will take care of that for you and we will celebrate everything you do because you are a part of the family and we love you. And thank you for everything.

God bless you, man. Al right, brother. Take care, and I will talk to you soon.

LA

A right. Thank you for your time. I appreciate you.

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Landon reminded me of the shitty parts of your best friend that only your best friend can be. The person who will fire tomahawk truth missiles to your sternum. Not because they suck. But because they care. And Landon truthfully cares about people not having to go through what he’s been through and he will tell you exactly why. 

Speaking of hard truths, I have to tell you that you only got half of our conversation. I only had about an hour with him, and we were going back and forth for about half an hour before the call dropped. This was only a few days after I ordered high-speed internet from a company that rhymes with AT&T. I was white hot.

However, during that first half, we discussed how he would do it his way and not listen to any more advice. “Keith, if Denzel Washington was across the street, I’m going up to him!” I instantly asked him what he would say. Landon said, “I would go up to him and say I have a fucking script that will change your life!”

I believe in my bones Landon would do just that. And I have to tell you, meeting him has undoubtedly changed mine. 

-k.

Watch the full interview on our Youtube channel and checkout our interview with Don-Dimitri Joseph from ATLFF ‘24

ATLFF Alumni Spotlight: Don-Dimitri Joseph

Don-Dimitri Joseph gets it. I don’t remember when I met him. Truthfully, my memory of the ATLFF’24 is a blur. But I’m fairly sure it was the first night. I was stalking. My eyes were staring at the badges hanging around everyone’s neck. Looking specifically for one’s reading “Filmmaker.” 

The ATLFF Marketing Team, which I’m a proud member of, had a mission: Find filmmakers and talk to them about their film on camera. And when I met a fella named Don, I don’t even think I finished my question before Don replied, “Absolutely!”

Now, despite not remembering when I met Don, I do remember not being able to conduct the interview at that moment. So I told him I would catch up with him. He flashed that smile that graced movie and television screens worldwide, and we parted ways. 

For the next few days, I was scrambling from the Plaza Theatre to the Tara Theatre and all the parties and hangouts in between. And every time I saw Don, he threw me a grin and asked if it was a good time to talk. I told him to give me a beat, and I would as soon as possible. Finally, when the tides went in a bit, I finally did something I should have done sooner, but was glad I waited to give it the proper time he deserved. I spoke with the Director, Producer, and star of the ATLFF’24 Episodic Short, Last Option.

Fast-forward to a couple of weeks ago. The Marketing Team had a new mission: Talk to ATLFF alums and find out what they were up to. 

I knew who I needed to talk to. Here is a transcript from my interview with Don-Dimitri Joseph. It happened the night that his latest acting release, the Apple TV show…Well, you’ll see.  

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Keith Hannigan

Hi, everybody. I am Keith Hannigan, the Community Engagement Lead for the Atlanta Film Society and the Atlanta Film Festival. Tonight, I have the privilege and honor of speaking with Atlanta Film Festival 24 #ATLFF24 alum Don-Dimitri Joseph, whose film Last Option was shown during our Episodic Showcase at this year's festival. Don. Welcome. Thank you for your time.

Don-Dimitri Joseph

No, thank you. Thank you for having me, bro.

KH

It's an absolute pleasure. I loved your film. It was great. Or I'm sorry. I loved your pilot. And you tell me now, Don, you're an actor, producer and director.

DDJ

Yes. Yes. I am an actor, producer, and Director. I started off as an actor and then transitioned into producing because we were like others who made our own projects. After that, it was my first foray into directing last year.

KH

Okay. Well, we'll talk about your acting quickly because, folks, tonight at midnight, something huge is happening for Don. Don, I give it to you.

DDJ

Yeah. Lady in the Lake comes out on Apple TV, directed by Alma Har’el. She is a visionary director. She directed Honey Boy as a feature, and this is her first foray into showwriting a TV show. She's, you know, phenomenal working with on set.  I play a character named Johnny in the first two episodes. Byron Bowers who plays Slappy Johnson, his crew. And we had a really good time on set in our first episode. A lot of it was just doing a lot of improv, which was interesting and fun. The second episode was just us having a good time together. Yeah.

KH

Well, Don, you didn't mention the star of the show.

DDJ

Natalie Portman.

KH

An Academy Award-winning actress. Natalie Portman, correct?

DDJ

Yes. Yes.

KH

Did you have any scenes with her?

DDJ

I didn't have any scenes with her, but I had scenes with Moses Ingram, and she's a phenomenal actress.

KH

Now, I did some extensive research on you, which means I went to your IMDB page. You've acted in 32 pieces, correct?

DDJ

I mean, I don't remember the number.

KH

It’s 32, trust me, I counted. What was the most popular thing you've done?

DDJ

Probably Lady in the Lake, the one that's coming out now. I mean, I've done Gotham Knights, Gotham Knights was pretty cool. Opposite Misha (Collins)  from Supernatural. That was a great little time. And then, yeah, I'm not sure, really. I guess BMF. People are familiar with that show.  I was in an episode, and it was fun as well. But also, at the same time, the projects that we've made, you know, I love those projects, and those are some of my most favorite projects that I've ever done.

KH

Well, that's a beautiful segue, my friend, because we'll discuss Last Option. I love it. My wife loved it. You not only acted in it, you not only produced it, but you also directed it. Now, tell me what that was like.

DDJ

Yeah. It's so awesome when you get to make projects with your friends. My friend, A.J. Fitzgerald, wrote the script. We've known each other for close to a decade, and we've been making movies for close to that amount of time together. And I remember there was a movie I was able to be a part of. He got inspired, and we knew that we wanted to make a fun movie. And he wrote Last Option in 15 minutes. He had the script written down in 15 minutes! The guy is brilliant to me. I always say he has a brilliant mind, and I just love working with him. And even more than that, I love our friendship. The funny thing with this project (Last Option) is that he wrote it years ago. I want to say about like 2018, 2019 around that time. But we basically shelved it because we were working on other stuff. And then we were like, yo, we're going to shoot a project that I ended up writing, which was Bonnie. It's like a project about a foster care kid, and I was trying to raise money for that, but the money didn’t come through because I actually ended up booking Lady in the Lake. So, I had to fly out to Baltimore, and the traction for the money that I was raising fell apart. So we're like,” What can we do for a little bit of money and that we can just, you know, make it happen?” And we brought up Last Option. We shot that for $1200 in three days.

And yeah, we were able to put that together in a fun way. We brought together some of our friends, Candice Marie Singleton. I have been friends with her for close to a decade, and she moved up here to Atlanta from Miami. And that's where we all met. And it's just been awesome. Just, you know, making projects with your friends and the friendships that we're able to build on set, too.

And like with my DP Cam Nails, he is going to be DP for the next project that I'm shooting next month, which is called Heart To See. It is just beautiful to see how we can enjoy these working relationships and friendships. You know what I mean? I think it's always fun when you get to work with people who bring their A-game, but are also excellent at what they do.

KH

I do. And I'm glad you brought up Heart To See. We’ll get to that shortly because my friend here is doing a crowdfunding campaign on Seed & Spark. I want you to donate to his film because he's a brilliant filmmaker. And for those who haven't seen Last Option, well, what is it about?

DDJ

Yeah, it's about a guy named Daniel who can see into the future, and he uses those abilities to commit burglaries. It’s a sci-fi buddy comedy. It's an adventure film, you know. It's a film that wanted to tackle the platonic relationship between him (Daniel)  and the lead, Josie. Josie’s like this eccentric homeless person, and she's breaking into the same house he's breaking into.

But it's a fun project, and we're looking to expand it. We're trying to shop around and get the funds to make that project as well.

DDJ

Well, I have to ask you. I mean, I work for the Atlanta Film Festival. So what did you think? You were a part of the festival this year, and it was huge. What were your impressions?

DDJ

Yo! I love the Atlanta Film Festival! Atlanta Film Festival is the best film festival. Do you know what I mean? From the way everything was curated to the way they treated the filmmakers, to the parties, to the get-togethers, to the way every single aspect of the film festival was run, it was top-notch. The people that I was able to meet were amazing, the food was great, you know, every aspect of the film festival was phenomenal, and connecting with you was great. Do you know what I'm saying? So it was just pretty cool meeting great people throughout the festival from day one to literally the end and even at the launch party. The Launch Party was phenomenal. You know? So I love it. I love it, I love it, I love it!  The hope is that we get the actual green light for Last Option, that that would be like the premiere, you know, for us, you know what I'm saying? So, yeah.

KH

Well, it's awesome too, because we celebrate independent film. We support and celebrate independent film. And independent filmmakers are a community. And one thing that we try to do at the festival is bring everybody together. I'm a writer, you know, I want to be around other writers. I want to be around other visionaries. I want to be around other filmmakers. We all, at one point or another, got that chill moment, that goosebumps moment while watching a film, whether we were little kids or adults or all the space in between. And sharing that common bond, whether you're an actor, a producer, a director, a writer, whatever the case may be, because they're all their folks. You go to the Atlanta Film Festival, and you're surrounded by them, like at the Launch Party, which was off the hook. It kind of took us back. My God, this is way bigger than we thought it would be. But it was awesome, too, because it was just like, wow! This is really showing you that the independent film industry is just bursting at the seams with these amazingly talented, gifted, passionate, and driven folks such as you.

So I say that to ask you something. What was it that grabbed you? What film just grabbed you, whether you were an eight-year-old at the theater or watching a TV show, and you were like, my God, I need to do this?

DDJ

You know, I think it's interesting, right? Because it's like growing up, I wasn't necessarily ever thinking that I'd ever be in this industry, I'd ever be in this world of filmmaking. But I remember there was one time, even as a kid, just watching Blade, I was like, wow!  A black man is on screen as a vampire. That's pretty cool, you know? And I was really young just seeing it and just enjoying it. And then fast forward to seeing all the different films such as Remember the Titans and, you know, seeing these performances that were just so alive and rich was just like, wow,  this is pretty cool. And then there was one day I was in middle school. I was getting ready for school. I looked in the mirror and wondered if I wanted to be an actor. It was just a thought, but I remember I had that one thought, and then it was just like, I don't know. 

But it was later,  I was in high school just doing my thing, and my guidance counselor ended up putting me in Drama 2 randomly. And my mind is just like, I've never taken a drama class in my life. And the funny thing is, literally, we're in class, and we're doing all the exercises, and one of them, they're like lay down on the floor, close your eyes. Imagine this scene is happening. But next thing I know, I'm falling asleep, and I'm just like, yeah, this isn’t for me. So I'm not even doing the exercise. I'm just sleeping in class because I didn't really know what this was.

But later on, around my freshman year of college, my friend and I went to an audition at church, and it was for a play called Jesus of Nazareth. And he was like,  do I want to audition? And I was like, sure, I guess. I really have nothing to do. And then, I went to the audition, and I got the role that I auditioned for. Ever since then, I have been doing theater, being alive in front of people, and just experiencing the project and the play and just everything with the audience. It was so powerful it created the acting bug in me and the passion to just keep going with this art of creating films and being a part of moving stories.

KH

So that’s the first time you smoked the drug, for lack of a better phrase. I know for actors in particular, if you ask them what world they would love to live in, I think the majority of them say stage because there's such a rush that comes from performing in front of a live audience every night. So, what got you into film?

DDJ

Let's make movies, you know? Let's make our own projects. Let's shoot stories that we want to tell. Because there were times when I wanted to do plays… But at the same time, I saw the opportunity with film and TV to reach even more people with stories that can change lives.

And I feel like I'm in this world to change lives, to impact lives, to help somebody have a better day, you know? But if somebody was dealing with something and they felt bad and they came in and watched a movie that I was part of or helped make, and then their days uplifted, that right there makes me feel like, wow! That right there is amazing; you know what I'm saying?

KH

I love that answer. I know you were saying it means so much to you to have a community. You know, a lot of people say you've got to be a part of a community. You have to start your own community, find people around you, find others, work with writers, find writers' groups, etc. I mean, if you ever see the Steven Spielberg documentary, you find out who his friends were when he was first making films, and it's like, he was friends with Martin Scorsese, Francis Ford Coppola, Brian De Palma, and George Lucas.

You're like, okay, well, I saw his clique of people. How do I find my clique? How did you find your community? How do you find your clique?

DDJ

I will say Facebook. 

KH

Really, how?

DDJ

For example, AJ is one of the first people to come to mind. I met him at a church event, and we just connected there, and then we added each other on Facebook. But fast-forward one day, and I was like, “Hey, I'm setting up a writer's group. Does anybody want to join?” He responded to it, and then a couple of other people responded. 

And then, from those people who responded to it, we started going to Starbucks weekly and reading up and, you know, working on different prompts and creating different short stories and scripts and all that. And then there were certain friends I also met at auditions. I met Candice at an audition. I met a friend of mine named Adebiyi  at a Home Depot audition.

So, another friend, Isaac, and I met him at an audition. So, like actors, I've met at auditions. Writers, I've met at different places and Facebook, and then just knowing that, like, I feel like I'm a vision-filled person, and I have a lot of vision in terms of like, what is possible and what can be accomplished in the projects that we can tell and the stories that we can create to change people's lives.

Certain people definitely draw to it, and I'm drawn to it, and then I'm drawn to their vision as well. And I think, you know, we gravitate towards one another, and we know that we want to just make fun and impactful stories. And we're not in it to be famous or anything.

We're in it to change people's lives. We're in it to make an impact. We're in it just because we love it. There's this love for this craft. This is love for film, love for acting, love for storytelling. And I feel like I gravitate towards those people who know that they're doing this, you know, for purpose, and then are enjoying it, have fun with it.

KH

That’s beautiful. It's funny; you made me think of the movie America Fiction.  Have you seen it?

DDJ

No, no. With Jeffrey Wright?

KH

Yeah, it's sensational. And I watched it, and as soon as I'm done watching it, I'm telling everybody, I'm telling my wife, I'm like, I will watch it again right now with you if you watch this with me. That night, I'm reading the script because you're like, I got to see how this all started.

And the reason why—and I don't know if you feel this way—is that there is no medium on Earth that gets you, moves you, speaks to you, and sings to your soul like cinematic storytelling. So, I have to ask you, since you’re attracted to visionaries, what do you see for the future of cinematic storytelling?

DDJ

Future of cinematic storytelling…

KH

Is it shorter films? Is it in the world of TikTok, where my 17-year-old has an attention span of less than 45 seconds?

DDJ

Yeah, Yeah. No, that's a great question, man. Honestly, I think it's independent storytellers and independent filmmakers. You know, so many articles came out literally specifying how there's been a 40% drop in productions that are being made and people who have lost their jobs and now have to do other work outside of the industry because of the lack of productions being shot.

Meanwhile, independent filmmakers are rising up. I think I even saw something about Netflix saying that now they will be branching out towards independent filmmakers and considering their projects to be brought onto their platform. And I think that's a beautiful thing because, as an independent filmmaker, if I can shoot a feature film for $25,000, I will make the best movie that we can possibly make as a team.

And honestly, even with TikTok, I've seen some cool things happen. But I will say, though, I think they tried to test a three-minute service that was out for a while and shut down because people still want to go to movies. People actually enjoy a cinematic masterpiece. People want to be able to go to the cinemas. I think the future is independent filmmakers telling stories at a budget level that isn't necessarily a blockbuster, you know?

KH

Great answer. And I want to point out something you mentioned earlier about how you found your community on Facebook. One of the classes that we offer at the Atlanta Film Society is Genre Feature Screenwriting, and we have one coming up.

Ruckus and Lane Skye, two accomplished filmmakers and screenwriters, teach the class. After you finish the class, you have a page devoted just to all the people who attended it.

Another community builder is using the Atlanta Film Society. Every third Tuesday of the month, shameless plugging right now, every third Tuesday of the month at Manuel's Tavern, we have Eat, Drink, and B-Indie, which we always have a theme for the night, but immediately thereafter words, we have about an hour for everybody to network.

And there are people like Don who go there. So whether you’re an actor, producer, director, or writer, it doesn't matter. They're all there. Anybody watching (or reading) this right now, use us. Use the Atlanta Film Society, use the Atlanta Film Festival, and let us help you achieve your dream.

At least we can put you in front of people who are like you. And speaking of people like you, I have to ask you something. Given where you are now, what would you say to you ten years ago? Would you want to speed up the process if you could give yourself a piece of advice that would possibly get you further along in the process at a faster rate?

Or would you be like, you know what, kid, take your time? You need to experience some things.

DDJ

Yeah, I definitely would allow myself to still take that time. But at the same time, experience life at a rate where you’re taking in everything around you. And I say that because I know there are moments where I wanted to learn how to play an instrument, and I didn't do it when I should have. And I think that would have benefited me. Not to say, I still can't do it, which I still can't. But I think I would have told myself, “Hey, Don, you know, yo, learn as much as you can, get better at the craft in your life that you love, but at the same time, don't necessarily let the acting be everything.”

You know what I mean? Because everything else around you helps develop the acting. And if I'm a better musician, I'll be a better actor. I can take that into the acting. I can take on a character who knows how to, you know, play the piano. La La Land is one of my favorite movies. Ryan Gosling kills it as a pianist and jazz musician. You know what I'm saying?

So, I think I just experience life and learn as much as I possibly can, enjoy every single moment, and enjoy the people around me. I lost my grandma a couple of years ago; I just wish I had spent more time with her, you know?

So spend more time with the people around you, learn from them, and hear their stories. And I think, yeah, it wouldn’t even necessarily be about the acting, but it'd be about the people that you love and the experiences that you are able to experience.

KH

Beautiful. I was chatting with the writer, not the writer of the book Fight Club (Chuck Palahniuk), but the writer of the screenplay Fight Club (Jim Uhls). And I asked what one thing in your life helped you become a better writer. And he goes, I took acting classes, and I was like, no kidding. Aaron Sorkin, who is usually everybody's screenwriting’s favorite writer, was an actor who started out as an actor. So, just be well-rounded.

But I have to ask you, whether it be a kid watching or an adult who has stories to tell, what would be a piece of advice you can give them to help them  get to where you're at today?

DDJ

Don't be afraid to tell those stories. You know, I'm the type of person that I really need to make it happen. If you can implement that in your life to make it happen, that will help you get further than you would have thought. Because I think about it like this, with Last Option, that was a film that we made, but if we didn't make it, I wouldn't be in this interview with you. You know what I mean? I wouldn't be sitting here right now having this conversation with you. I wouldn't have been able to be at that film festival and have that on my resumé now, and not only for me, but every single person who worked on that film wouldn’t have had it on their resumé.

For example, I know AJ's life has benefited from being a part of that festival. The people that he's been able to meet, especially as a writer, and the connections that he's been able to make as a writer have been a blessing because we decided to make that movie. So it's like for anybody who's watching and is afraid. Hey, if you have to do it afraid, do it afraid. But know that you’re taking that first step; that's what matters.

KH

That’s all that matters. Like the crowd watching your film, right? And speaking of crowds, let’s talk about the film you're crowdfunding for, which is Heart to See. Now, you're not playing one role because God forbid you only play one role in a film you're making or being a part of. Usually, you're wearing multiple hats. So, what roles are you playing in the film?

DDJ

I ended up writing the script, and I'll also be producing, directing, and starring in the film.

KH

Look at you. Now, this is your first time writing.

DDJ

First official time. I'd say that we're actually getting a project out that I really put some time into writing. Yeah.

KH

You told me something earlier. Tell everybody what you did. You kind of experimented with storytelling to get to where you are now with your TikTok, right?

DDJ

Yes. Yes. So it's very funny because it was before I wanted to test something out and build an audience. And I was like, I was seeing what was happening on TikTok, how people were, you know, just building crowds at such an audience at such a fast rate. I was like, I wonder if I could do that with the project, you know?

So I wrote a one-minute episode series. I was doing some funny videos and some creative and talking videos, encouraging videos, I ended up gaining a good amount of followers in a little bit of time. And then I just lost traction.

But then for that series, I started building a little bit too, but then the part that did suck, though, was that at the time, I didn't really know how to edit as well, so I was paying for an editor, and I was like I don't have $750 to pay for the rest of this stuff. 

So, only a couple of episodes are up. I just wanted to test it out and see if I could build the audience. But at the same time, I learned how storytelling on social media platforms can go as well. And I'm proud to say I did it. You know what I'm saying? It wasn't the greatest writing. But I'm proud of the fact that I was able to do it, put myself out there, and do that.

But now, with this project, Heart to See, I believe with some of my best writing. I've grown as a writer and I've grown as an artist since then till now. And I'm just thankful that I’m doing it. I was afraid but I did it. And I'm proud of the fact that we are here now.

And a lot of people have read the script for Heart to See so far. They're really digging it. There are some things that we're still tightening up, but for the most part, it's a pretty solid story.

KH

What is the story about?

DDJ

Iit's about this guy named Zack on his 30th birthday. And his aunt shares with his mom how he looks like his dad. So that opens up Pandora's box for him. But the only thing is he's never met his dad. And he wants he wants to meet him for the very first time before he goes blind. So it's a heartfelt family drama.

And yeah, I think it's a proof of concept for a feature as well. We have an amazing cast and crew. Markuann Smith and Christina Horn are involved in the project. Christine, she's an amazing actress. She leads Hollywood Bound Actors. She's been in BMF. So many amazing projects as well. Snowfall. She's great. When I say she's one of the best actresses I've ever seen, I'm super thankful that she decided to be a part of this. 

And Markuann Smith, he's he actually created this one show called Godfather of Harlem that’s on Epix and stars Forest Whitaker. So he's part of this project, and I'm thankful that he's a part of it, too.

And we just got some really cool people because, of course, they’re Korstiaan Vandiver, Dario Harris, and the homie Corwin Tuggles. So it's just some amazing friends as well because I love working with the same people, too, you know. And people I know are going to put in great work. 

KH

Well, you have a Seed & Spark campaign going right now?

DDJ

Right now. 

KH

Where can people get more information?

DDJ

Yeah, if you go to our Instagram page, HeartToSeeFilm, and click the link in the bio, the link, and it'll take you directly to the page. On that page, you can choose whichever incentive you want, whether that be $10, so you know, $1,000, or even if you want to give $5.

But there are many incentives that you can get with the giving towards the project. And yeah, man, so we are aiming to raise this film by the end of August, and going into production next month.

KH

Awesome. Congratulations. Thank you. Not only for being who you are, which is a hell of a man, but also for being an Atlanta Film Festival ‘24 Alumnus, for being a working actor, and for trying to inspire people via your stories. So, if they want to keep up with what you're up to, how can people follow you on your social handles?

DDJ

Yeah, thank you, bro. Don- Dimitri Joseph and that's on Facebook, Instagram, Twitter (X).

KH

More than anything, I want to say thank you for your time. And before we go, we all have to say congratulations to you, by the way, on being a newly married man.

Welcome to the world of Till Death Us Party. I have one last question: Is she a fan of your work?

DDJ

She is, man. When I say she is, she's amazing. I mean, this. This woman is amazing, as is the case with Last Option. I will tell you this, she watched that movie with me at least a thousand times when I was editing, and I was like, does that sound good? Is that cut too quickly? Like, does that work? Does that flow good? Like, I just fixed the audio, can you hear the white in the background?  

She literally sat and watched the whole film from beginning to end in my editing. And man, just her support. I love that woman so, so much. And yeah, I'm thankful that she chose to marry me because, man, she. She's amazingly beautiful.

KH

Well, thank you again, my friend. I appreciate you.

DDJ

Thank you.

KH

And for any filmmaker watching, whether it be the Atlanta Film Festival ‘24 or any years prior, and you would like to be part of this series, which we will be doing with our alums, you can email me at keith@atlantafilmfestival.com.  You can check out everything we're doing at the Atlanta Film Society by going to atlfs.org. And, of course, the 49th Atlanta Film Festival is coming next April.

You can check that out on atlantafilmfestival.com. On those pages, you'll find all of our social handles if you want to follow us, see what's going on, and see what classes we're offering. As I mentioned, we have these free networking events every month, EDBI. I really suggest people, you go to them. You'll not only learn things, but you'll meet people.

Wonderful people like my friend. So again, thank you. And take care, everyone.

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So, what does Don-Dimitri Joseph “get”? I’ll pull this quote for you again:

“We're in it to change people's lives. We're in it to make an impact.”

He gets why he’s doing what he’s doing. He gets that it’s not about him; it’s about the people who come and spend their money and, more importantly, their time watching him do what he does. It’s about making them think, laugh, cry, whatever takes their minds off their bills, their kids' grades, the job they hate… He gets it.

And he gets that he’s not done, not by damn sight. 

Written by Keith Hannigan

ATLFF Alum Molly Coffee's KAYLEE AGE 8 is Coming!

Filmmaker-In-Residence and 2018 Screenplay Competition Semifinalist, Molly Coffee has come back to bring the world yet another impactful story coupled with amazing production design. Coffee needs you to help KAYLEE AGE 8 get the final push over the mountain of funding.   

Synopsis

In her short time on Earth, quiet autistic eight year old Kaylee’s entire world is just her and her mother. They play, they eat, they bathe, they love their own special way. Kaylee sees her mother as a beautiful mermaid, unlike any of the other human beings she encounters. One day, out of the blue, the real world comes crashing down when Kaylee’s mother dies. With no one left interested in taking care of her and not quite understanding what happened to change her life so drastically, she takes her life into her own hands and embarks on an odyssey with her mother’s ashes to release her into the river so she can become a true mermaid. Along the way, she meets a colorful cast of characters who help her truly understand how to cope with her mother’s death in her own unique way.

2018 ATLFF Pilot Screenplay Winner Jonathan Mason's Film ENTROPIA Needs You!

Entropia is a short musically-themed thriller set in the Polish neighborhood of Philadelphia - Port Richmond - where an immigrant master piano restorer gets embroiled in an insurance scam that tests his sense of Old World integrity.

Entropia is Polish for “Entropy,” meaning a lack of order or predictability or a gradual decline into disorder. In piano tuning it is a term that refers to the increasing state of “disharmony” or “discord” an instrument will find itself in, the second after it has been tuned. 

Based in New York & Philadelphia, Jonathan Mason earned his M.F.A from Columbia University, and served as Creative Director for New York’s Belladonna Productions (Cold in July, Dhuktar) and Bullet Pictures (4:44 Last Day on Earth). His latest film, L’échappée, co-directed with Hamid Saïdji, has played at forty festivals in seventeen countries and is a recipient of the Canal+ Short Film Prize. The screenplay for the feature version of the film was selected for the Sundance Institute's Screenwriting Intensive in Philadelphia. In addition to winning the ATLFF Pilot Screenplay Competition in 2018 for the pilot The Order. 

Ask an Alum: Jiyoung Lee Yeah!

In anticipation of Friday's Late Deadline for 2017 ATLFF submissions, we've asked a handful of local alumni about their experience with Atlanta's film festival and creative influences. Jiyoung Lee's second feature, FEMALE PERVERT, screened as a GA-made New Mavericks selection in the 2015 festival. 

Read on for more on her ATLFF history preceding 2015, what she's working on now, and why she likes making movies despite being "not a particularly artsy person." Then submit your work(s) in any of twelve categories by 10/28 in effort to join the family and #BecomeAnAlum!

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Q: How did you first hear about the Atlanta Film Festival?
A: I moved to Atlanta in 2007. In 2008, I participated in a 50 hour film festival, and I heard about the Atlanta Film Festival through the event.

Q: Why did you submit your films to ATLFF? 
A: It's a film festival with a long history. Many of its past participants have achieved success. And it's local. Traveling for film festivals can get pricey.

Q: What have your ATLFF screenings accomplished for you as a filmmaker and actress, if anything?
A: I first participated in the Atlanta Film Festival in 2011, as an actress in a feature called PLEASANT PEOPLE. Through the festival, I met the great Zach White (director of VACATION/WHITE REINDEER/LITTLE SISTER), and I got a small part in WHITE REINDEER through him. While hanging out in the WHITE REINDEER set, I met Alex Sablow, who would later be the DP in my second feature FEMALE PERVERT. Also, through the Atlanta Film Festival, I met Joshua Mikel, a great local actor/writer/director, who does a great job in FEMALE PERVERT.

Q: Okay, everyone's favorite question—what are you working on now?
A: I am currently in the last stages of writing a feature called DIRTY PANTIES. It may take a while to make the movie because I refuse to make it without a decent budget. I also just finished shooting a horror/comedy short. And, I'm currently hosting a streaming show called ASSEMBLY LINE YEAH! on adultswim.com.

Q: What part of Atlanta (or place in Atlanta) serves as your most reliable or impactful arts incubator?
A: I'm not particularly an artsy person. I just like making movies and noise. I make things because I think it will be fun, interesting and pretty. I'm not a person trying to make an artistic statement. That being said, I think the Fox Theatre and the Plaza Theater are cool places to watch movies. Also, I like going to Videodrome. It's just fun to peruse movies and find forgotten classics which appeal to you. It's fun to watch bands at the Earl/529/Drunken Unicorn/The Masquerade. I'm not a fan of art galleries or video installations. I get bored easily.

Q: If you were an Atlanta neighborhood. which would you be? 
A: Druid Hills. I'm a recluse. I like being isolated. But I like being close to the amenities of the city. I also like pre-80s architecture.

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Ask an Alum: Virtual Reality Architect Jason Drakeford

Before Virtual Reality (VR) was a Sundance submission category or upcoming Playstation edition, it was on display at the Atlanta Film Festival. The World Premiere of INTERRUPTURE, a short VR film co-directed by Thomas Nybo and Jason Drakeford, was a highlight at our biggest party of the festival week—a multimedia film and music event called Sound + Vision. Attendees waited their turn to be transported into the true story escape of two 11-year-old girls from Syria.

Since building a seasoned track record of art direction and video production for the likes of Showtime, Adult Swim, New York Times, MTV and MailChimp, Jason works freelance for the American Museum of Natural History (read on for a peek at his upcoming video!), speaks on VR filmmaking, and continues to produce his own independent work. We talked with Jason on how he fell into ATLFF, the innovation behind his other favorite genre, and what Atlanta means to him as a creative.

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JASON DRAKEFORD AT THE 2016 SOUND + VISION WORLD PREMIERE OF INTERRUPTURE 

Q: How did you first hear about the Atlanta Film Festival?
A: Videodrome! The best place for a filmmaker to hang out and devour great cinema in Atlanta. 

Q: What did your ATLFF screening accomplish for you as a filmmaker, if anything?
A: It opened up more opportunities in meeting fellow filmmakers and established me further as a VR director. It also opened my eyes to see how people reacted to our film - one woman was crying after she took the headset off. 

Q: Why did you submit your film to ATLFF? 
A: I've been to previous ATLFF events, watching incredible curated films and meeting people I look up to and have established collaborations with, so it was a no-brainer. 

Q: Since our community met you as a VR guy, clue us in on your other favorite genres to work with.
A: I absolutely love to create physical manifestations of my films, specifically in projection-mapping. While in New York I worked under Tony Oursler, a projection-artist and shot a music video with him and David Bowie, and ever since then I've been itching to create more in that medium. I think there is a natural connection to virtual reality and projection-mapping that no one has really explored yet. 

Q: Okay, everyone's favorite question—what are you working on now?
A: Currently I'm directing a new VR film series with The American Museum of Natural History. Also continuing to create the space series "Out There" with The New York Times (we just wrapped our 17th episode) as well as independently producing a documentary on the life of Shigeko Kubota, as a followup from my previous film profiling Ken Jacobs. I'll also be at the Adobe MAX conference this fall talking about VR filmmaking, behind-the-scenes making-of and best practices while producing immersive stories. 

Q: What part of Atlanta (or place in Atlanta) serves as your most reliable arts incubator?
A: Grant Park, mainly because of the combination of the Elevator Factory and Octane Coffee. Great people and random encounters for collaboration. 

Q: If you were an Atlanta neighborhood. Which would you be?
A: Cabbagetown... during Chomp and Stomp.

Q: What sets Atlanta apart for you as a creative home?
A: After 5 years in New York, coming back to Atlanta (my hometown), creating work here has had a much more relaxed, meditative process than being in NYC. I think projects have the space to breathe, and other "backburner" film ideas have time to marinate into solid ideas instead of forcing them into a specific outlet. There's a great talent base that's growing with the film industry as well down here that's very exciting. 

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Our 2017 festival will expand our VR program, and we're always looking for compelling, boundary-pushing intergenre work. Sound familiar? Send us your stuff and join the family.

Ask an Alum: Danielle Deadwyler, a.k.a. Elevate ATL's Didi Xio

Continuing our Ask an Alum series, we talked with ATLFF-selected filmmaker and actress Danielle Deadwyler about what makes Atlanta home, what she has coming up (hint: go to Elevate ATL!) and why she submitted to the festival. Currently showcased in the International Terminal in the Hartsfield-Jackson Airport as part of the Atlanta Film Society's Airport Shorts Program version 3.0 with her short film Su:Per:He:Ro:In:Uh, Deadwyler is the first recipient of the Living Walls Laura Patricia Calle Grant with her project BUST IT OPEN—a multimedia arts installation that champions black feminism.

Q: ATLFF knows you primarily as an actress and narrative short filmmaker. What other genres do you like to work with?
A: I work in dance, experimental video/film, theatre, voiceover, poetry and hiphop (I go by didi xio too)...as well as film and TV. I'm willing and open and invested in being malleable and collaborative. I invite myself to play in all fields.

Q: What sets Atlanta apart for you as a creative home?
A: Atlanta is home first. That's what sets it apart. You know something, or a place, inside out, then it shifts as Atlanta is right now, and you have to relearn it, or learn as you go. And yet that place still holds history, memory all over you...that is a creative flux right there. It's a place still morphing...other cities are fixed...Atlanta is creatively taking shape, and can be shaped by artists who are present.

Q: Why did you submit your films to ATLFF? 
A: I submitted to ATLFF to gain connection. To reveal work at home. To be a part of a significant festival that could support me with access to information, education, and like minds.

Q: What part of Atlanta (or place in Atlanta) serves as your most reliable or impactful arts incubator?
A: I can't say one place or one part of Atlanta has been most reliable for incubating my arts growth. There have always been multiple hoods and places serving my growth simultaneously. Whether I'm in Little five doing theatre or experimental work, or on Broad St of late performing with Dux or showing performance art work, or downtown learning at C4, or performing at the Southwest Arts Center, or being nurtured as an emerging artist at Spelman's Museum...Atlanta as a whole has invested in the present form of art that I am producing or collaborating to create.

Q: Okay, everyone's favorite question—what are you working on now?
A: I'm currently preparing to present a public performance art multimedia work at ELEVATE ATLANTA Friday October 14. Come check it out! I'm traveling 3.8 miles from the old Club Nikki on Metropolitan Pkwy (old Stewart Ave) to Broad St and Mitchell St, where the ELEVATE event will be held.

Q: If you were an Atlanta neighborhood. which would you be?
A: I'd have to be Capital View...its the neighborhood that birthed me.

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We love our filmmakers. We love Atlanta. And there's no such thing as too much of either. Submit your work(s) in any of twelve categories before prices rise with the late deadline—October 28th. Catch Danielle and her work this weekend at Elevate ATL! You'll also find ATLFS-supported works from Josephine Figueroa and the Digital Good Times crew.

Ask an Alum: Atlanta's Alex Orr

In recognition of our final month of submissions for the 2017 ATLFF (!!!), we're catching up with some of the local alumni who continue to make great things in Atlanta and beyond. This week we say hello to three-time alumnus Alex Orr of Fake Wood Wallpaper Films. He's produced the polarizing #ATLFF 2016 selection and nationwide festival darling THE ARBALEST, FX's new smash hit Atlanta, and Easy—a new Netflix Original Series directed by Joe Swanberg (DRINKING BUDDIES, DIGGING FOR FIRE).

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ALEX ORR STARS IN HIS SELF-DIRECTED, SELF-WRITTEN FEATURE "A IS FOR ALEX"

Q: How did you first hear about the Atlanta Film Festival? 
A: I was in Film School at GSU and it was at the Hollywood 24 way on the north side of town. It was my intro to truly indie cinema. The first film I saw was a feature called Santa Smokes, the filmmaker was out front of the theatre jawing at people to go see his film. 

Q: Why did you submit your films to ATLFF?  
A: I live here and like to hang at the festival and see other filmmakers I know and meet new ones. It's great. I still work with people I've met at ATLFF through the years.  

Q: Okay, everyone's favorite question—what are you working on now? 
A: A Christmas Special for Adult Swim. It will be out...this Christmas time. 

Q: What sets Atlanta apart for you as a creative home? 
A: I lived in LA for 4 years and made more indie projects my first year back in Atlanta than the whole time i was in LA. There's a lot less of the pretension and false promises to sort through in the South. 

Q: If you were an Atlanta neighborhood. which would you be?  
A: I would be Buckhead because I think I'm better than you, but I'm really just another redneck with a spray tan. 

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Want to join our alumni family or to see your work screened at the 41st Atlanta Film Festival? Submit before prices go up on October 28th. Already an alum? Have two cents to give about art in Atlanta or an upcoming project we can mention? Email us to be considered for the Q&A. 

ATLFF '14 Hit LIMO RIDE is On the Road to Distribution—And You Can Help!

Atlanta Film Festival alumni Gideon Kennedy and Marcus Rosentrater are taking the next step in distributing their film "Limo Ride!" Not only is their film amazing, but they have a kick-ass Kickstarter to promote their project. The campaign is not to produce the movie (it’s already done, crazy! Not to mention it had its world premiere at the 2014 ATLFF), it is to distribute the film and backers get a copy of "Limo Ride" just by donating! 

Care to know more? "Limo Ride" follows ten friends re-accounting a tale of well-mannered debauchery. The reenactment of their 24-hour excursion through possession, trespassing, kidnapping, assault, intoxication and indecency, ultimately being stranded in the middle of nowhere is too good to be a lie, and you will want to be a part of it.  Make these Georgia/Alabama filmmakers’ dream a reality and back the experimental documentary comedy and travel with them from Mobile, Alabama to the annual Polar Bear Plunge at the Gulf Coast. 

ATLFF Alum David Bruckner's Latest SOUTHBOUND Opens at The Plaza on February 12th

David Bruckner, a Georgia-born filmmaker and ATLFF alum behind films like "The Signal" and "V/H/S," returns to Atlanta next week for his latest, "Southbound."

A new anthology horror film, "Southbound" sees Bruckner teaming up with Roxanne Benjamin, Patrick Horvath & Radio Silence (several members of the team that created the "V/H/S" series) for five interconnected tales of terror that unfold along the length of an endless desert highway. Famed film critic Richard Roeper has called the film "one of the smartest and scariest movies in recent memory." 

"Southbound" premiered at the Toronto International Film Festival and is released nationwide this month. Next Friday, February 12th, the film debuts in Atlanta. Linda Burns hosts a Q&A with Bruckner in attendance at the 7:30 PM screening.