Technology has allowed filmmakers to produce movies that beg grand productions such as "Titanic," Thomas Rothman '76 P'11 said at the closing ceremony of the seventh-annual Ivy Film Festival on Saturday night.
But simple films like "Juno" can also be commercial successes because the quality of a movie is dependent on its story, not its budget or technological grandeur, added Rothman, who oversaw production of both the nautical romantic tragedy and the dry comedy.
This keynote address by Rothman, now co-chairman and chief executive officer of Fox Filmed Entertainment, and the awards ceremony at Sayles Hall that followed wrapped up the annual, week-long film festival. About 200 student filmmakers, industry talent, festival staff and guests gathered to celebrate the close of the "only film festival for and by college students," said Meg Boudreau '08, the festival's executive director.
The week included 35 student film screenings, filmmaking panels and addresses by film industry professionals, including a conversation with "filmmaking legend" Martin Scorsese, IFF Associate Director Elizabeth Backup '08 said.
The festival received more than 250 film submissions this year, and 35 were chosen to be featured in the festival, IFF Program Director Eric Dahlbom '08.5 said. Students from across the globe - from Oregon to Greece - submitted movies.
The festival usually expects many entries from certain schools with strong film programs, like New York University and the University of Southern California, Boudreau said. The nine festival winners, except for the audience choice award, were selected by three industry judges.
Dahlbom said he was impressed with the quality of this year's films, saying he found himself "not being able to choose which to tell my friends to go to." In addition to films, the festival also received about 75 student-written screenplays, a "record amount," he added.
"Finding Matty's Voice," a film about a boy with autism, won the grand jury award, a high honor the festival's judges offer.
The audience choice award went to "Duckpin," a documentary by students from the American Film Institute Conservatory in Los Angeles. The film explores the subculture surrounding duckpin bowling, which is a miniature version of the more familiar 10-pin style and popular in the Northeast. The film was crafted so well it seemed professional. But still, duckpin bowling proved a topic lacking in interesting subject matter, which filled the film's 42 minutes with difficulty.
"Outside the Box" won the best experimental award. Made by undergraduates from the North Carolina School of the Arts, the 11-minute piece brings to life a childhood riddle. Its protagonist is in a frenzy as she searches for an escape route in a windowless, doorless room with only a mirror and a table. Well-executed, the movie's visuals were reminiscent of dark fantasy-cult films like "Donnie Darko."
The best international honor was snagged by a film made by University of California at Los Angeles students. "House of Olive Trees," which is in Greek with English subtitles, follows Anna, beginning with her childhood declaration of autonomy. The film then cuts to many years later when her lover tests her will by encouraging her to settle down with him. Taking place in a small seaside town, the scenery makes a wonderful backdrop for the timeless tale of love on the rocks.
While addressing these filmmakers and others on Saturday night, Rothman discussed more than technology's role in filmmaking. Speaking of Hollywood life, he mentioned that he will be parodied in the next season of HBO's Entourage.
Rothman also spoke fondly about his time at Brown. As an English concentrator, he said getting "an old school liberal arts education at an old school" led to great success, despite his father's protests that he should have leaned "something real."
Among Rothman's cinematic accomplishments are overseeing production of notable films such as "Little Miss Sunshine," "Independence Day," "Borat," "The Simpson's Movie," the X-Men series and "Walk the Line."
After speaking, Rothman fielded questions, insisting that students "ask anything." Most asked for advice about how to make it in Hollywood.
But some had more provocative inquiries - one student wanted to know why bad movies are made.
"No one sets out to make a bad movie," Rothman said. "I should know; I made 'Speed 2.'"The same "unpredictable chemistry" that makes good movies makes bad ones too, he added.
