Director Biography – Katherine Helen Fisher (THE MIND MADE BODY)

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Katherine Helen Fisher is a Los Angeles based filmmaker, director, producer, choreographer and performer who’s work explores the intersectionality between dance and new media.

Her work has been presented at Joe’s Pub, Radio City Music Hall, Judson Church, Danspace Project, Art Basil Switzerland, The Palm Springs Museum of Art, The Lincoln Center Dance Film’s Association, the LACMA and the 2016 Microsoft Global Exchange Conference.

Her choreographic work for television was featured on Season 8 of NBC’s America’s Got Talent.

Katherine recently produced and directed CHARACTERS, an evening length solo performance piece featuring dance and interactive technology commissioned by Georgia Tech in partnership with The Institute of People and Technology and the Wearable Computing Center .

She is co-founder of Safety Third Productions, a media company focused on movement-based digital content.

Katherine has been a member of The Lucinda Childs Dance Company since 2008. She has also performed in the work of Robert Wilson, Mark Morris, MOMIX, and ODC San Francisco, Johannes Wieland, Sara Pearson and Patrik Widrig, Janis Brenner and Jennifer Muller among others. She holds a BFA from NYU’s Tisch School of the Arts.


Director Biography – Greedy Goons (Seth Scott™ – elxr_Track3_v2.3, 3min., UK, Music Video)

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Greedy Goons is a director and motion designer from London

Director Biography – Leigh Bloomfield (STARLIGHT)

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Leigh Bloomfield is a writer, director, visual artist and a co-owner of Leap Productions based in London, England.

Leigh recently filmed and edited the BBC2 TV series “The Retreat with Nick Knowles”. The show was received with great reviews and high ratings, and will later this year be having it’s second run on Netflix.

Commercially Leigh has worked as editor on the UK Nintendo Switch campaign. It consists of adds showing the console being used by anyone, anywhere and at anytime.

Leigh’s other credits as camera man and producer include the short film “Box Therapy”, this won Best National Short’ at the Making Waves film festival.

With a strong background in painting and photography, Leigh uses mixed media, to tell stories.

Leigh grew up in the south west of England in Torbay, where he attended South Devon College of Art and Design. Then went onto higher education at Wolverhampton university where he studied BA in Electronic Media and a Masters in Media and Animation.

Director Biography: Oh (DESERTED EYES)

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Oh. has a passion for creating both ethereal ballads and progressive rock, metal and acoustic renderings that whisper of Satriani with Vai-esque hard and fast shreds that burn through her Ibanez guitar. Her music is rich in symphonic and harmonic choruses accompanied by powerful sultry vocals in the timbre of Sharon Den Adel, Anneke Van Giesbergen and Tori Amos. Her music always challenges the listener to journey in her sonic landscapes and escape into the atmospheres she creates — with sounds take the listener musically to places they have never been before.

Oh. released a debut progressive rock EP “Sleeping World” in 2013 with the award winning video “Trials – A Song for a Lost Generation” and metal album and vinyl release, “Synemotion” in 2015 and two singles, “Love Will Heal” and “Love of Avalanches” in 2016 – one of the first Greek artists to create a 360° virtual reality video without a 360° camera.

A single ballad, “I’m in Love” was released in 2017 with an nominated WebGL online experience.

The last of the single ballad series, “Deserted Eyes” was released on January 19, 2018.

A progressive metal EP, “Metallia” will be released in 2018. Now, she’s in the studio working on the progressive rock album, “Prog Unshaven” coming out in Spring 2018.

<B>Director Statement</b>


Production Note
“Deserted Eyes” was filmed at the seashore in Glyfada a southern suburb of Athens, Greece in the late summer of 2017. During the filming, a ttragic oil spill occurred precipitated by the negligence of the Greek government – an ecological disaster in the waters of the Saronikos. On the last day of filming the beach was covered in oil, dead birds covered in tar and the stench of petrol in the air.

The song “Deserted Eyes” is about how a person’s dark, depressed and toxic states of mind can poison our interpersonal relationships and eventually dim the light of the soul in the other’s eyes, stealing their aspirations, hopes and finally the connection to their own soul and sense of self. The oil spill starkly depicted — with the blackening of the earth, toxic fumes, depressed state all present experienced, the death of wildlife — the irreparable damage to the interpersonal relationships shared everyday by all the beach-goers and coastal community. During post-production, we could not ignore the correlation that tragic event had to the song and so incorporated the visuals into the final clips.

Director Biography – Martin Ponferrada (EVERYTHING IS UPSTREAM)

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Born in the provinces of Central Philippines, Martin Ponferrada was brought to Australia in the early 90s by his parents. While studying, he worked as a red carpet cameraman and upon graduation wrote and directed several spec scripts and self-financed indies which have been screened at festivals all over the world. Accomplishments include a first place genre prize at the StoryPros Awards, the Grand Prize at the California Film Awards, second runner-up at the Domani Visionfest and more. “Upstream” represents Martin‘s first creative endeavour into animated filmmaking.


Director Statement

I should start this director’s statement by giving you, those who are about to watch this strange film, a sense of what you are about to see. It is a film about dreams that also holds the inverse: a dream about film – and not only that, but sketch and newsreel too. For me, there has always been something oddly dreamlike about flickering newsreels on old projection screens. But whatever this is, it means the world to me. It is a sincere exercise of light and movement, which, like most art, takes as its concomitant the exposure of some kind of truth through the depiction of some kind of lie. Though in Buddhism, I quickly learned that the absence of truth does not make a lie. The absence of truth makes a dream – one we all live in and call truth. But we do not know we are in this dream for the same reason fish do not know they are in water. Awareness of the essential, no matter how obvious, is not so easily attained when perception is inevitably reduced by one’s various doings. Or something like that. Basically, we can no longer distinguish life from the tasks we present ourselves while living; but these tasks are no more life than they are attempts at grasping, and so we get stuck evaluating life by how well we grasp, attaching happiness on a measure of things grasped against things ungrasped. But this is not living. This is grasping. And if the grasp does not matter, then what of the things we grasp? They are formless. Like apparitions, they are without essence. They are empty and emptier still in our attempts to grasp them, and yet grasp we still do, and we call this grasp life.
So concrete is this state that to be aware of it is often said to be like waking from a dream… All the more alarming, then, that this is the air monks breathe. Studies have shown that Buddhist monks presented with optical illusions reacted with a higher level of clarity and were able to control the speed at which information entered their thoughts. This made them adept at sifting the reality from the illusory, that is, the living from the grasping. Learning this, I came to wonder what visuals would emerge were such monks to aim this clarity on themselves. Four interviews later, I had listened to four elegant dreams. Elegant not in their composition but in their spiritual review, their capacity for reflection, their lack of nonsense as would otherwise be expected from more cluttered minds (like my own). But there was also darkness. An undeniable bleakness that did not fit in with the idealized magic I originally set out to depict. Drownings, fallings, deaths – all dark and terrifying, yet the frankness with which this terror was communicated lent itself an air of stark balancing, like there was no difference between the dreams we experience in sleep and the state of perennial grasping we call life – and to be woken from each is to leave behind a world of highs and lows, the grasped and the ungrasped, and realize that none of it was ever really there. Mind blown. This is the engine of our film. “Upstream” comes upon us in a burst of flame and is wiped from view with the dropping of blinds. It begins with “My parents tell me not to worry”, and ends with, “It’s a dream”.

Director Biography – Ian McGillivray (APPREHENSION)

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Ian McGillivray is a short film director/producer who completed his Advanced Diploma in Broadcasting & Film at Centennial College in 2017. He has been in the industry for just over a year with experience producing several short films such as Man on the Bench, in 2017, and music videos for Toronto indie artists. Ian co-founded his production company Lost in Nostalgia, based in Toronto Canada in late 2016. Apprehension is his directorial debut outside of education, which will be the stepping stone for his path as a young artist.

Director Statement

Apprehension is very much a personal project that has provided a backdrop for my personal struggles with anxiety. My goal was to portray anxiety in its different forms when it’s at its worst to when it’s most mellow.

The characters of my films have a consistency to struggle with trauma on either a psychological or physical level. I wanted to visually represent the feelings of my anxiety through the face of a woman to show the fragile beauty of Apprehension. This represents a very relatable subject to many.