Sunday, December 28, 2008

Las Cruces Update

The Las Cruces Sun's annual Year in Review provides a rundown on several of the activities that are building awareness of the Las Cruces' area's filmmaking capabilities:
Hollywood on the Rio Grande

Las Cruces continued to build its reputation as Hollywood on the Rio Grande with big budget potential blockbusters, indie and student films in production here.

"The Burning Plain" wrapped local shoots early in 2008 in Las Cruces. The film, which stars Charlize Theron, Kim Basinger and Jennifer Lawrence, has already garnered awards and nominations. Lawrence won Italy's Marcello Mastroianni Award and Guillermo Arriaga, the film's director and screenwriter, has been nominated for The Leone d'Oro (Golden Lion) Award, the highest prize given to a film at the Biennale Venice Film Festival. A U.S. release date has not yet been announced.

White Sands National Monument and southern New Mexico were again principal locations for "Transformers." The sequel, "Revenge of the Fallen," is slated to hit theaters next summer.

Comedic superstar Jack Black and Michael Cera finished shoots in White Sands for "Year One," a buddy quest comedy set in Biblical times. A John Makovich movie, "Afterwards" did some location shoots in southern New Mexico and a London production company filmed the David Parker Ray documentary in Truth or Consequences, scene of Ray's crimes and a reality TV show, "Man vs. Cartoon," filmed at the Very Large Array, about 50 miles from Socorro.

Several indie films were made in southern New Mexico, too. Creative Media Institute's first feature-length film, "Becoming Eduardo," filmed in Hillsboro and Truth or Consequences, is based on "Alternative Ed," a book by former Oñate High School teacher LouAnne Johnson, whose bestseller, "My Posse Don't Do Homework," became the basis for the 1995 blockbuster film "Dangerous Minds," starring Michelle Pfeiffer. The cast includes students from Alma d'arte, Las Cruces' charter high school for the arts and its executive artistic producer, Irene Oliver-Lewis. Johnson worked with indie filmmaker and CMI professor Rod McCall on the film.

"AH-HOS-TEEND (Retired)," a spiritual quest movie by writers-directors Chris Kientz and Shonie De La Rosa, was filmed on locations in Las Cruces and southern New Mexico. Writer Mackenzie Ridgeway and producer and director Jaron Whitfill chose locations in Las Cruces, southern New Mexico and Albuquerque for their thriller, "They Can't Be Stopped." Shawn Darling's "Grave Mistake" had a private premiere here and was picked up for national distribution by Maxim Media International and Brain Damage Films. Darling has several other projects the works, including "Red Sands," a monster movie set in a a survivalist camp for troubled kids, and a fantasy film in pre-production.

Writer and director Constance Haspopoulos worked on "A Road To Paris," produced by CMI for a short film production class of Tony Award-winning playwright and Academy Award-nominated screenwriter Mark Medoff.


More at Year in Review

Thursday, December 11, 2008

Interview with Lisa Strout

Nice interview with NMFO Director Lisa Strout in today's Albuquerque Journal:

One on One with Lisa Strout
By Autumn Gray
Assistant Business Editor
Soup changed Lisa Strout's life. At the very least, it played a leading role.
Before the fresh pot arrived on her doorstep in Santa Fe, Strout led the kind of Hollywood lifestyle that had her flying to Italy as location manager for the Academy-award winning “A Room with A View” one day, heading a New York production office another. The majority of her 20-plus years in the business was spent in Los Angeles, usually in traffic, working 18 of every 24 hours, meeting scores of people but knowing no one, and certainly not receiving gifts that were good for the soul.
So about eight years ago, Strout decided to take a short break.
“I came out here to do some writing. I thought because I was in between movies, I would write, and I came out here for a few months,” hardly expecting to fall in love, she said.
But New Mexico had wooed her, and it “became obvious” she needed a change.
Strout returned to California long enough to finish working on her last film there, “13 Days,” starring Kevin Costner. Then, “I just up and moved,” she said.
“Within a week of coming here, I met two people who are still two of my closest friends. I was alone. I didn't know anybody. And they were neighbors on either side of me. They were so generous and warm. I remember coming home to a pot of soup on my porch with a note that said, 'It sounds like you're getting sick,' and I burst into tears because in Los Angeles, I lived in a place for 10 years that neighbors didn't talk to each other, they didn't help each other, and I missed and wanted that sense of community.”
More at: One on One with Lisa Strout

KOB-TV" Movie business going strong

From KOB-TV:

Movie business going strong in NM
A different kind of movie magic seems to be going on in New Mexico. Despite a recession, there's plenty of work to go around with movie-making.

In fact, a big production staring martial arts legend Jackie Chan is being filmed in Rio Rancho.

The star, described as a bit shy and quiet, presented two $5,000 to the Boys and Girls Club and Southwest Multi-Media. Both organizations work with children.

Pulte Homes donated the money because the company is getting a chunk of money from the film production. Producers are using some of their model homes for the shoot.

There are currently eight different movies or television shoots going on across the state.

Seven projects just wrapped up.

The New Mexico Film Commission says in the past 18 months, there have been eight to 12 shoots in New Mexico and they say that number remains steady.

The Georgia O'keefe film that's going on right now is made up of a 95 percent New Mexican crew.

Film officials say the bad economy has not hurt the film business in the least bit.

The week after Thanksgiving, theatres across the country saw the highest attendance since 2000.

"It's clean, it's high-paying, it hires local talent, it gives local talent an opportunity to show what they have to offer and I think overall it has a rippling effect of benefiting the regular individual here in the community," said Rio Rancho Mayor Tom Swisstack.

As for the plans for a Lionsgate studio in Rio Rancho, that's not happening anytime soon. But the mayor is hopeful that the studio will come back to the table for talks when the economy improves.

Tuesday, December 9, 2008

NM Independent: Lt. Governor Denish to Support Film

The new(-ish) online news source New Mexico Independent has refreshing news about soon-to-be-Governor Denish:
Hollywood, you’re still welcome in N.M., Denish says
By Trip Jennings 12/5/08 4:34 PM

While driving through downtown Albuquerque, it’s difficult to miss signs of the film industry: Here a blocked-off street with large trailers, there a sign affixed to a pole directing crews to a set.

There’s no mistaking that Gov. Bill Richardson has made it a priority to attract film and TV projects to the Land of Enchantment, and it shows. How many of us have watched the USA Network show, In Plain Sight, just for the chance to shout out, “There are the Sandias!” OK, not many. Well, how many of you have wondered how the series ‘Crash’ holds us against its Oscar-winning film counterpart?

So does his successor, Lt. Gov. Denish, hope to continue the Hollywood-ization of New Mexico.

You betcha.

Here’s what she said during a Thursday press conference.

“In the last few weeks and months I’ve been talking to many people in the film industry, it is one of the job creators in New Mexico,” Denish said. “I’m going to work hard to keep us one step ahead of every state. We are now the model thanks to Gov. Richardson. I am going to work hard so that we don’t lose ground in that area.”

More NM Movie Industry News

One of the cooler, yet under-reported aspects of New Mexico's success with film and media is the the dimension it adds to people's thoughts of New Mexico, whether they're tourists, family members or potential clients (etc.). We live in a cooler place (to some) because there's a chance of seeing George Clooney or Christian Bale or Jennifer Lopez; we live and work in a place that must be cool and tech-savvy because companies like Sony Picture Imageworks have a presence here.

In today's NM Business Journal (online) there's another neat story about filmmaking's positive impact on New Mexico's Tourism industry:

Film tours next?
Film industry spawns more than movies made in NM
New Mexico Business Weekly - by Megan Kamerick NMBW Staff

When Marla Steinbrecker’s sister came to visit her in Albuquerque, she had one request.

“‘I want to see the building where Mary was kidnapped!’” Steinbrecker recalls her saying.

Mary was Mary Shannon, the character played by Mary McCormack in the show “In Plain Sight,” which is set in Albuquerque. Steinbrecker dutifully showed her sister the Atomic Cantina.

“‘This is so cool!’” Steinbrecker recalls her saying.

It’s just the kind of excitement tourism officials want to leverage from New Mexico’s booming film and TV industry, which has showcased many areas of the state.

Christian Bale and Peter Fonda led prisoner Russell Crow through the red sandstone rocks of Abiquiu in “3:10 to Yuma.” Josh Brolin dodged a psychopath with a bad hair cut around historic downtown Las Vegas in “No Country for Old Men.” John Travolta, Martin Lawrence, Tim Allen and William H. Macy hung out in Madrid with their motorcycles in “Wild Hogs.”

“There is no better advertisement for the state than watching the beautiful scenery of New Mexico,” said Jennifer Hoffman, deputy secretary for the state Department of Tourism.

Hoffman joined the department earlier this year and is working on bringing tourism and film closer together. The department is currently conducting surveys at the state’s visitor centers to gauge people’s knowledge of New Mexico based on the movies they have seen.

Eventual plans would include kiosks in all the visitor centers, with streaming video from movies shot in New Mexico and an accompanying film map to help tourists find landmarks featured in films. Ideally, this will correspond with road signs marking certain sites, Hoffman said.

The State Film Office has a map it updates every few months that lists sites where films have been shot, but Hoffman envisions something that is more tourist-friendly.

Tourism is already a major force in the state as the largest private sector employer, with more than 80,000 employees. The film industry has risen quickly as a sector here, with direct spending of $751.7 million over the past six years. Some 115 films and television shows have been shot here since 2003...
More at Film tours next?

Tuesday, December 2, 2008

NM in the News: Indie Vest Attracts Attention

Indie Vest, which funded the recent NM-shot St. John of Las Vegas, is featured nicely in today's Fast Company.

IndieVest Attracts Indie-Film Investors With Reduced-Risk Model

By: Lucas Conley
Investing in independent cinema is usually just for those with money to burn. IndieVest promises both Hollywood-worthy perks and a relatively safe haven.

Martin Shreibak and Nic Rad aren't the type of investors who usually meet their partners in moonlit junkyards. Yet here they are, late on a Friday night, in a grotesque menagerie of twisted automotive scrap on the southern margins of Albuquerque, New Mexico. Both men have been drawn here from their homes, which are thousands of miles away, by a shared passion: movies.

"I used to save up for the three-a-days as a kid," admits Shreibak, who owns health clubs in Indiana and still goes to the movies weekly with his 15-year-old son. "I'd sit in the theater all day, watching films like Spartacus."

"Tarantino, Scorsese, the Coen brothers," adds Rad, a 26-year-old artist, ticking off his favorites. "And any Buscemi project." Steve Buscemi, 20 yards away, pacing amid stripped-down wrecks, doesn't catch the praise. Shoulders hunched, grimacing, the actor is rehearsing his next scene.

Shreibak and Rad have made their way to this rough tract of alkaline desert to see their asset up close. They are two of about 100 investors in the first film from an upstart production company called IndieVest. Saint John of Las Vegas is a buddy comedy about a pair of insurance-fraud investigators, starring Buscemi, Romany Malco, and Sarah Silverman. Being part of IndieVest buys each investor behind-the-scenes perks, such as set visits and an invite to the Sundance Film Festival in January, where SJLV, as it's known, will be screened. More important, though, IndieVest offers its backers an array of financial guarantees and protections not found elsewhere in the Hollywood money game...
More at IndieVest Attracts Indie-Film Investors With Reduced-Risk Model

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Monday, December 1, 2008

Bill Garberina Interview @ Dead Harvey

One of our local Indie production stars in the world of horror is Albuquerque's Billy Garberina, whose Necroville recently got a solid bump in its distribution with Shock O Rama which serves the horror market. There have been pretty frequent discussions about the merits of producing Zombie flicks, but one of the things I admire about the local folks making them is that they consistently deliver.

A recent interview with Garberina at horror movie blogsite Dead Harvey is really refreshing. And useful, I think, for any up and coming movie producer to read.

Interview with Billy Garberina, writer/director of Necroville

...Tell us about yourself. What's your background and how did you get into film making?

I've been living in Albuquerque, New Mexico for the better part of 20 plus years. I was born on the east coast and as an adult I spent a summer in NYC and a year in LA. For now, Albuquerque is home. It's been very good to me. I was interested in acting from the time I was very young, but didn't really have any outlet till I was in the high school drama department. It was as a teenager I started to get the idea of directing plays, but it wouldn't be until I was about 23 that someone introduced me to 3 chip digital cinema and made the idea of making my own movie real to me. I got a BFA in acting from the University of New Mexico and in the spaces in between picked up a little dance, a lot of juggling, a healthy dose of martial fury and some vocal and music background. As a natural jackass, stunts aren't usually much of a problem.

What was the budget and how did you attain financing?

The shooting budget for Necroville was a slim $5000. The post production budget ended up near $4800. So all in all it was a $9800 movie. As for financing, that's a question every single film maker asks without fail and I almost always have the same answer: you have to save it, or save some of it and have a couple of buddies come on board. You have to really, really, REALLY want to do this more than anything, not just talk about it. If you're talking about making a movie (you're off to a bad start to begin with by talking too much) you need to look at everything in your life you don't need to spend money on. Booze? Video games? DVD's? Eating out? Expensive dates? Cheap dates? A jedi craves NOT these things! Seriously...if you aren't willing to make these kinds of sacrifices, you're spending way too much money and especially time on pursuits other than making your damn movie. My first feature was all credit cards...since that horrific mistake I've learned the simple power of earning and saving. Earn, save, repeat. I know that to your average human being, close to 10 grand is no small sum, but in the larger context of life, houses, cars, major Hollywood productions and other general craziness it really isn't anything at all. Necroville was financially, actually a combined effort of Ochressandro Rettinger, myself and Adam Jarmon Brown. When you spread that 10K figure over three committed people, it becomes even easier still. I find a lot of filmmakers continually lamenting not having this piece of gear or that amount of budget. Let me tell you, after close to ten years and dozens of features, both mine and other people's, I've got to tell you that availability of your actors and crew, time and personal commitment is WAY more important than any piece of gear or dollar spent ever. So my bottom line is commit to the process, commit to committed people, make sure they're available and you'd be shocked what a little elbow grease and ingenuity can get you. Necroville isn't Citizen Kane by any stretch of the imagination, but if there's a better way to make a movie with that much stuff in it for under 10K, then I challenge and encourage everyone to give it a shot.

What were the biggest challenges you faced during the making of this film and how did you overcome them?

In Necroville I had to relearn the simple lessons I threw out the window to make Necroville. When you have no budget, never use animals, never use an abundance of extras, don't need exotic locations, don't have a ton of CGI, keep the story simple, don't have a ton of SFX...yeah, I pretty much ignored all of my best wisdom. I don't know what I was thinking and looking back at the final product, I really should never have gotten away with half of what we did. That being said, I'd say that story boarding based on locations in advance of a shoot would slim the process down. A lot. I say keeping everything organized and rolling smoothly was probably the single greatest feat. That being said, I feel a lot of headaches in production and post production could be solved with better planning and thinking in pre-production...possibly even in scripting to avoid MAJOR headaches down the road. For as harrowing as those 17 days of straight production were though, the two and a half years of post were the worst. Most grueling of all, in fact if I were pushed. Again, I think I had committed people and good planning in pre for production itself, but if I had to be really honest about the process, I'd say I didn't plan enough for post either with planning or budget and it cost a LOT of time.

What are the pros and cons of making a zombie film?

Pros are obvious. People love zombies. I love zombies. It's hilarious. Everytime a mainstream movie with zombies comes out out, you'll hear some insipid reporter quipping something trite like "zombies are back" or "can the zombie craze last?". I've got to tell you, I'm not sure it ever really went anywhere. Zombies are always in because zombies are cool. Not because I say so, but because the dozens of zombie films in production or fresh on shelves and the seemingly unlimited voracious appetite for them seems to indicate it. I think it's a vile and insulting mistake however, to make a zombie movie or any low budget genre pic if you see it as an easy in to film makin' and don't really have a love or passion for them. But really? Shotguns, chainsaws and baseball bats just scream to the human need to overcome fears and trepidation about the evils in the world. The zombie genre is just one of many fine examples of the kind of movie that releases that pent up angst. Good times. Cons? Well...time is always against you. There is never...and I do mean NEVER enough time to get really good zombies and SFX without time...that or money. I know this kind of flies in the face of my previous statement but to make REALLY good zombies with REALLY good SFX takes time. When you're cramming a whole feature into two short weeks and trying to maintain good camera work and decent acting? Let's just say this is one area I will concede the time and money argument. Better zombies require better budget and WAY more time than is often afforded in B movie makin;. That being said, I am also of the opinion that a movie needs to be done before it can be good. If you shoot a movie with perfect zombies that fails to make it past three scenes and never gets seen or a completed feature with quicker, less rotted flesh eaters, who made the better movie? I'm not saying you should throw quality control out the window, but done is more important always, always, always. That being said, if you can;t inject SOME quality into your done movie, maybe you should quit while you're behind. Tricky debate to be sure. Another obvious con is organizing zombies. I got lucky...DAMNED lucky with my zombie siege scene in Necroville. I had well over 100 zombies, but they get bored and angry quick. Many wandered off the set before the end of the day. I'm of the strict opinion that zombies is a plural word that generally works best when there are PLURAL zombies. Lots and lots of zombies. Tricky. Very very tricky.

How has the distribution been going? Any tips you can give to upcoming filmmakers looking to get their movies out there?

I can't tell you how distro is going yet because it just got released. I'm looking forward to seeing the end of year report myself!'s crossing fingers. I can tell you based on the coverage Necroville has received online and the ads I've seen in the places I've seen them that the great folks over at Shock O Rama are really doing their best to get this movie out there. Michael Raso is a straight shooter and brutally honest about the state of the market and condition of products. It's the principle reason I opted to go with Shock O Rama...they did really right by the distribution of Feeding The Masses and I feel like Mr. Raso and his staff are really down to earth about what makes this system happen. I think my best advice to filmmakers is to be realistic about what they've made. I have a handful of unreleased features myself. The first thing you have to remember is that you are in competition with hundreds, if not thousands of other pictures every year. If you can't look at your own movie and be honest with yourself and others about where it's absolutely crappy you need to quit now and never look back. You need to realize that you are not God's gift to film making simply because you bothered to point a camera at something and press record. You need to take the advice and derision of other film makers and especially distributors with a grain of salt and simultaneously for the golden wisdom it can be. Lord knows I have. Ask questions, don't stop learning and expect answers you don't want to hear. If you can be realistic with yourself about yourself and your movie you're already taken your first step into a larger world. You also can't wait for distribution to come to you. You have to promote, promote, promote. YOU have to do the work. If you're waiting around for someone else to do the work for you, you're coming in last and you don't even know it yet. Also, don't be smooth talked into some kind of fluffy sounding deal because like the saying goes, if something seems too good to be true, it probably is. Research your distributor BEFORE you commit to a deal. Look at the products they put out and the way they get out. Ask other filmmakers on those labels how they feel about the distribution deal they got. Be careful, be bold...just get it done. And don't forget festivals...I myself always overlook festivals and it's a damned mistake...they are great networking and promotional opportunities.
Read the full interview at Interview with Billy Garberina, writer/director of Necroville


Pretty good news from Jason Silverman (

The New Mexico-based production company Galle Ceddo Projects is a recipient of one of the documentary film world’s most prestigious grants. Its work in progress SEMBENE: REVOLUTIONARY ARTIST (working title) is one of 20 documentary films selected from nearly 800 applications from 70 countries — and one of just six projects by first-time documentary filmmakers — to receive funding from the Sundance Documentary Fund.

SEMBENE, a film by Samba Gadjigo and Santa Fe’s Jason Silverman, revisits the life and work of the world’s greatest independent filmmaker, and follows Gadjigo’s attempts to connect his films with a new generation of African and African-American youth. The feature-length film is scheduled for completion in late 2009. Santa Fe’s Filip Celander serves as associate producer, cinematographer and post-production coordinator. The famed Senegalese novelist/screenwriter Boubacar Boris Diop serves as story consultant. Other Santa Fe participants include Business Manager Lacey Adams and editorial consultant Javier Hernandez.

Born in Senegal, Ousmane Sembene (1923-2007) almost singlehandedly invented what we now consider African cinema, creating 10 masterful films, including the Cannes-winning MOOLAADE. Gadjigo, Sembene’s chosen biographer, has spent more than a dozen years documenting Sembene’s life and career.

The documentary follows Sembene’s story from his birthplace, in the rebellious Casamance region of Senegal, to Dakar, then the capital of French colonial Africa, to the battlefields of World War II and post-war Marseilles, and back to Senegal. There, Sembene dedicated 40 years of determined, focused energy into making films and novels designed to reclaim African storytelling from the flood of colonial and post-colonial pop culture. After Sembene’s death, Gadjigo makes his own pledge: to spend his every spare moment keeping Sembene’s legacy alive. But will the YouTube generation — including Gadjigo’s two sons — put down their iPhones long enough to connect with their own African heritage?

The Sundance Institute Documentary Fund is a core activity of Sundance Institute’s Documentary Film Program, which provides year-round creative support to nonfiction filmmakers through creative Labs, work-in-progress screenings, Program staff and advisor consultations and artist-to-artist community. Proposals are accepted prior to deadlines twice a year, and submissions are judged on their approach to storytelling, artistic treatment and innovation, subject relevance and potential for social engagement. The Sundance Institute Documentary Program considers projects in the Development and Production/Post-Production phases. The film selection is juried by creative film professionals and human rights experts.

“The films funded in this round tell stories of perseverance and dignity in the face of our world’s greatest contemporary challenges,” said Cara Mertes, Director of the Sundance Documentary Film Program. “From journalists and lawyers who take on international war criminals, to a small American town confronting its own homophobia, nonfiction storytellers are leading us down new paths as we search for common ground.” Artists in this round are working in the United States, Tibet, The Democratic Republic of the Congo, Palestinian Territories, Ukraine, Nigeria, Iran, Romania, Chile, Senegal, Guantanamo Bay, India and Tanzania. For more information on the Sundance Documentary Fund, please visit

Other recipients from this round of funding, which Sundance described as its most competitive ever, include some of the documentary world's most acclaimed directors: Patricio Guzman (BATTLE OF CHILE), Tina DiFeliciantonio and Jane C. Wagner (GIRLS LIKE US), Macky Alston (THE KILLER WITHIN), Eric Daniel Metzgar (CHANCES OF THE WORLD CHANGING), Pamela Yates (STATE OF FEAR), Edet Belzberg (CHILDREN UNDERGROUND) and Thomas Allen Harris (TWELVE DISCIPLES OF NELSON MANDELA).

About the filmmakers:

Samba Gadjigo (writer/director) is the world’s foremost expert on the career of Ousmane Sembène. His biography Ousmane Sembène: Une Conscience Africaine (Homnispheres, Paris, 2007), which covers Sembène’s life from his birth in 1923 to the writing of his first book in 1956, will be published in English by the University of Indiana Press in late 2009. Born and raised in Senegal, Gadjigo joined the faculty of Mount Holyoke College in West Hadley, Mass., in 1986, and currently serves as chair of the French Department and also is a member of the African American and African Studies departments. Gadjigo has lectured widely on Sembène and on African cinema, literature and culture at institutions including Harvard and Brown universities. He is director of THE MAKING OF MOOLAADE, a documentary that was shown at film festivals and is available on the DVD of Sembène’s award-winning film MOOLAADE.

Jason Silverman (writer/producer) is co-founder of King Tomato Productions, for which he produced two award-winning films directed by Robert Byington (2008 Sundance Annenberg Fellow): SHAMELESS (winner, Great Plains Film Festival); and OLYMPIA (SXSW, Opening Night Film; Slamdance, Closing Night Film; Sundance Channel). He is currently Director of the Cinematheque at the Center for Contemporary Arts in Santa Fe, New Mexico, and has curated programs and consulted for the Telluride Film Festival, Smithsonian National Museum of the American Indian, the Lensic Center for the Arts, SITE Santa Fe, the Bioneers Conference, the Museum of Fine Arts, Museum of New Mexico, the Santa Fe Opera, El Museo del Barrio and the True/False Festival. He is former artistic director of Taos Talking Pictures; has served as a panelist or juror at the SXSW and Sundance film festivals; and has served as a nominator for the Rockefeller Media Arts Fellowships and Creative Capital. He is a longtime contributor to Wired and Santa Fean magazines and has written for Utne Reader, the Austin Chronicle and Time Out New York. His collection of essays Untold New Mexico is used as a textbook at the University of New Mexico.

Filip Celander (Associate Producer) has extensive management experience in the film industry: film editor for the advertising firm Creative Response AB in Stockholm (2001-2003); owner of Motion Picture Services Company in Stockholm (2003-2005); supervising projectionist at The Screen in Santa Fe from 1998 to 2000; and is the Director of Digital Media and Educational Outreach at Santa Fe’s Center for Contemporary Arts. Additionally, he has worked as an editor, camera operator, aerial photographer, and director in several feature and short films, videos, commercials and music videos, both in Europe and the United States. Fluent in Swedish and English, Filip received his B.A., Moving Image Arts, at the College of Santa Fe (Magna Cum Laude) in 2000.

Galle Ceddo Projects, LLC is a New Mexico-based production company.