Tenacity and calculating measures are paying off for seven, hard-working New York Latino filmmakers and actors whose careers are reaching higher ground by virtue of their work in a short films at the internationally acclaimed Cannes Film Festival. Acceptance into the Festival de Cannes will benefit from a prime viewing position within the Short Film Corner from May 13-24th. The talent traveling to France do so with the intent on networking with industry players, institutions, financiers and the most important international reps in the film business to develop their next project – possibly a feature film. Here’s a behind-the-scenes look at the journey that got them there.
The Seven
Monica Palmieri Brandon Polanco Sebastian Rea Plinio Villablanca Pablo Andrade Francisco Lupini Basagoiti Adel Morales
MONICA PALMIERI Short: Dating Marvin Producer
Synopsis: A story about a boisterous hit man who falls for a baby-faced dancer, when a dangerous game of cat-and-mouse leads to a vengeful history of a lesson in love.
Written and Directed by: Richard Selvi
As a proud feminist, I hate describing a woman first as “beautiful.” First and foremost, Monica is talented and a professional Producer/Director/Actor with a pristine soul – as we say in Spanish, “sana” (a healthy, good soul). She also happens to be beautiful. Born and raised in Guatemala, she came to the U.S. intent on perfecting her acting capabilities. She’s an actor-turned producer and she’s got a (first time) film going to Cannes as a producer.
Tio Louie: You’ve now produced over five films, what is different about this one and what did you gain from it?
Monica Palmieri: A bigger budget helped tremendously. You can get anything you want. I loved working with my other Producer, Alexia Oldini who is Italian. We had to shoot on a day that was a torrential downpour and we had to roll with the punches. A lot of money had been invested in the set-up and we had to think on our feet, but it worked – we figured it out.
TL: How was it for you when the lead protagonist inflicts her vengeance upon the lead male antagonist at the end of the film?
MP: Cinema is about telling universal stories that we can relate to. I think it is healthy to address stories, including reconciling with the touchy subject of revenge. As the audience, you are rooting for her. You want her to wield her revenge. But in real life you wouldn’t want a human being to kill another. But I feel that movies are a perfect vehicle for expressing and exploring those feelings.
TL: Anything special about the outside scene for the closing of the film?
MP: It was our hardest scene to shoot. It was outside and it was raining. We had to postpone our scene for four hours. There was a large crew and equipment for the shoot with a lot of money spent and we could not reshoot. We just had to wing it. We waited the rain out. We had to talk and apologize to everyone, especially the Jimmy Jib operator, which is the crane that we only had for five hours and he had another gig immediately afterwards. It was stressful. We had permits to shoot on the street, but not close it out. We had some police officers that came by to check out the shoot to make sure everything was fine, especially due to the fact that we had a prop gun. They were very cool. They called another police car and they were so supportive, they actually closed the street off for us. Despite the fact that many filmmakers due to budgetary constraints for their film project do it – guerrilla style – without permits, it pays in the end to have them. Because we had such a large crew, equipment and gun it was essential and not an option.
TL: What is your 10 cents worth of advice that people should know about production that they rarely ask, but should know?
MP: #1: As a Producer you need to ask if you’re really in love with this project before taking it on, because it’s going to be your baby. Especially with a lot of low-budget productions you have to be extra resourceful and unless you’re really vested, you’re not going to execute your work to the nth degree.
#2: Take the time to amass an ensemble that is a good team that stands behind you in order to put your trust in them. I learned this twice when we had to do two reshoots with no additional compensation and they all came through. This only happens if you have a really good team who believes in you and you believe in them
#3: At the end of the day remember that it’s only a movie. You’re stressing yourself, pulling out your hair and not sleeping. It’s like, ‘It’s not cancer.’ No one is dying. It’s only a movie. Have fun with it!”
TL: How does it feel that you have a project going to Cannes?
MP: It feels surreal and encouraging. It only reinforces that it’s possible to make something great that is recognized internationally. It also made me realize that I want to focus on Directing. All along I have been helping first or second-time directors with their projects and realized that I am neglecting that calling for myself.
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