Chat w/ Mtume Gant, Director of a Radical New Entry into Black Independent Cinema - 'I DON’T LIVE TODAY' #NoKingsHere

I DON’T LIVE TODAY follows one night in the life of a Black abstract artist who has become disillusioned with the morally corrupt art world in New York City. On this night, Robeson has declared his exodus from the city and in doing so wanders the streets for one final time getting into misadventures that force him to face his own toxic hypocrisies.

Gant intends to unveil New York City with a focus on rarely seen parts of the city to reveal the fuller truth about his hometown where he has lived his whole life. The film is a modern-day morality fable that takes place in the darker ends of the New York arts economy, where the subjects of race, family, loyalty and ethics are put on trial.

Here’s excerpts from our chat with Mtume.

Why do you think it's important to get this film made at this time?

In today's world its important not only that we have films that address important issues - we have plenty of those - but films that are not going to shy away from looking at the harsh reality of these issues which I believe many films that purport to be socially relevant actively do. The issues we face of exploitation in all its forms are of incredible importance and as artists we have a duty when making a 90 minute film to not sugar coat. This film does not sugar coat one bit from form to function. We need to really step up our conversations in this country and add more urgency, this film will be vital in pushing that. 

Why do you like about being a filmmaker and what does it mean to you?

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I love the totality of cinema. I am a multi-disciplined artist who comes from a background of drama, music and literature so to be able to find a medium that can host all three in a complex way is incredible gratifying, you feel like their so much possibility when making cinema. It also means I have a lot of responsibility because the image is so vital to shaping minds in societies and our society that is obsessed with concepts like “representation.” People are shaping their lives off of the characters they see in cinema, so its my duty to not do what mainstream cinema is doing and providing people with false senses of humanity that placate and engineer people to believing the world is something other than it actually is. 

Who are your favorite filmmakers that inspire you and why?

I have many. A few are Andrei Tarkovsky, Wendell B. Harris, Lucrecia Martel, John Cassavetes, Glauber Rocha, Bela Tarr, Krystoff Kieslowski, Lee Chang-dong and Lina Wertmueller. I could go with many more honestly. The reason why I say these names is because these people made films that exist beyond the market, this is cinema that stands as tall as the pyramids in Egypt, they made monuments of humanity. They expressed, not only their personal visions, but captured the pulse of the globe so it was never singular. I could talk about each one specifically but we would be here for hours. But just know that these filmmakers made pieces of art that will exist forever, out live social systems and social conventions, that are now a part of the human fabric wether they like it or not. 

What's currently on your Netflix (or Amazon/Hulu) queue? What do you love about these shows?

I actually watch Filmstruck and Mubi more. I know it probably sounds pretentious but it's the truth. Last thing I watched on Netflix is Bojack Horseman, I do enjoy the snide commentary on Hollywoods decadence. Other than that I mostly watch the doc series on Netflix. On Amazon Prime I love that they have the Fandor extension I have been able to see a lot of great films, I just watched Tetsuo The Iron Man again, such a fantastic film. I also watched some films by Tsai Ming-liang, who is another filmmaker I have a great amount of respect for. 

What's your most favorite and least favorite thing about NYC?

I grew up here and my favorite thing will always be the ability to walk and take mass transit, even with mass transit these days being as wonky as its ever been. I still feel like I have a certain amount physical freedom that I don’t feel in other cities like Los Angeles which always feel so confined and segregated. Much of it is illusion but life is perception. What I don’t like about NYC is how Capitalism has turned this city into a dreamland for those who have the money. The blatant disregard for the people who made this city what it was. New York is no longer what it was, artists can’t thrive here anymore. As a native I find the gentrification and constant answering to the bottom line of capital inhumane. 

About Mtume Gant
Mtume has been circling the arts industry for decades as an actor of theatre and film. He travelled the world as a hip-hop artist under the name Core Rhythm, and now focuses on making socially aware films. Mtume’s previous short films SPIT and WHITE FACE have screened at numerous festivals garnering countless awards including New York City’s Coney Island, Bushwick, Harlem, Lower East Side, and in San Francisco, Woodstock, Aspen, Ashland, and Manchester.

I DON’T LIVE TODAY is on Facebook, Twitter, Instagram as @IDLTFilm
and under the hashtag, #NoKingsHere

A crowdfunding campaign is currently on its final week offering a feature film to be executive produced by the Duplass Brothers. Mtume Gant’s I DON’T LIVE TODAY has just raised $20,000 reaching 50% of the campaign $40,000 goal.

In addition to raising the remaining funds, Gant and team must raise 1000 followers to successfully complete the campaign by October 17th 2018.

Individuals can visit the campaign page and click the FOLLOW button which is simple, easy, and free!

Individuals can show their support by clicking the FOLLOW button on the campaign page or pledging amounts upwards from $25 here
 www.seedandspark.com/fund/idltfilm

Special Correspondents (3/4) | Conversation with Ricky Gervais, Eric Bana and others

Ricky Gervais is one of the most unapologetic, honest and hilarious comedians today. This movie is an example of that in many ways. Ricky picks the topic of journalism, but does not make it into a “statement”, but makes it into quite an honest human story. We got to attend a special screening and world premier of Ricky’s next directorial venture, which he also wrote & acted in, Special Correspondents. The film was followed by a special conversation with Ricky and team of the film.

 

***Spoilers***

Ian Finch (Ricky Gervais) is Chief Sound Engineer” at the not so popular radio station in New York. That’s his achievement in life, which his wife Eleanor (Vera Farmiga) is not very proud of. She craves an exciting, successful life, and ends up cheating on him with Frank Bonneville (Eric Bana). Frank is the local celebrity radio correspondent, who believes he’s meant and destined for better things. He gets a mission to go to Ecuador for reporting from the war zone, with Ian as his accomplice.  Due to a “small mistake” by Ian, throwing away their passports and tickets, they end up in the apartment of his friend’s right across from radio station, instead of Ecuador. They create fake reports, and start false reporting, to not let their boss (Kevin Pollak) know about it. And before they know, the plan goes too far for them to be able to handle, and it gets out of hand. Even though still benefiting there downwards careers and Eleanor’s aspirations as well.

***Spoilers end***

Ricky plays these underdog roles, which are complete contrast of Ricky we see at Golden Globes. But this movie is more a human story than a statement. And as expected, Ricky rocks the role. Eric Bana is quite brilliant in his role. You really can’t imagine anyone else in the role of a suave, cocky but a failure-ish guy. Vera seems kinda tired in her role, but it also suits the role. America Ferrera and Raúl Castillo are quite hilarious in their roles and Kevin is a treat to watch as well. He was life of the post-screening conversation as well.

The conversation felt like a roast of Ricky. But revealed some interesting information as well. Like:

  • Ricky feels like a fish out of water, that’s why he writes and plays such roles.
  • America wasn’t sure about the film, but did it because of Ricky. With Ricky, either way it’ll be fun.
  • Netflix is great platform, since it guarantees people will see it. That’s why Ricky chose it.
  • The movie wasn’t shot in Ecuador, since Ricky felt too lazy to shoot it there.
@artshrian
Special Correspondents| Conversation with Ricky Gervais, Eric Bana and others
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Listen To The Conversation Here:

The movie is on Netflix now, so go watch it.

It’s quite a fun joy ride.

Ricky Gervais's hilarious comedy follows a struggling radio journalist and his hapless technician faking frontline war reports from a NYC hideout. Only on Netflix April 29.

Phil Saviano is a story to be told by itself ~ a conversation with Neal Huff

Synopsis: The true story of how the Boston Globe uncovered the massive scandal of child molestation and cover-up within the local Catholic Archdiocese, shaking the entire Catholic Church to its core. Genre: Biography, Drama, History Release Dates: January 2016 Director: Tom McCarthy Writers: Tom McCarthy (screenplay), Josh Singer (screenplay) Stars: Mark Ruffalo, Michael Keaton, Rachel McAdams ★ Subscribe to YouTube Movies Trailers → http://bit.ly/1s3Cxue ★ More Trailers + Reviews!

Neal Huff is a wonderful actor who has been active in Hollywood for years and has played many pivotal and wonderful roles, both on big and small screen. He’s also a personal friend of Art Shrian, from myNewYorkeye. Art and Neal had a chance to have a conversation about his role in the Oscar frontrunner film SPOTLIGHT. He plays the impactful character of Phil Saviano.

Here are the excepts from that conversation…

Art Shrian: Congratulations on this amazing film. I saw the movie and was very excited to see you in the film. It’s a very impactful and moving story, and you play a very important character in this film. It’s a very difficult and complex character, and you do a wonderful job of bringing it alive. So, how did this part come to you?

Neal Huff:  I’ve known Tom (the director) for years, but I auditioned. He was incredibly nice, and luckily it went very well. Most people in the film are based on real life characters, and bear a striking resemblance to their characters. And that’s definitely the case with Phil Saviano, and me, which was a great help in me getting the role. And yes, it was a great experience, being part of the film and knowing who Phil Savaino was. I knew that it was based on something real, but didn’t know who Phil was. So I asked Tom, that it seems like a real guy, and he said yes.  Then I started doing my research on him and there’s tons of footage and information on him. And over time, I got to know Phil personally, and even became really close friends with him.

Art Shrian: How was the audition process?

Neal Huff: It was just that one scene, actually an earlier version of that scene. I hadn’t read the whole script then. I knew about the subject, but didn’t know Phil’s story. But it went great.

Art Shrian: Talking about that scene, it’s an amazing scene. Talk about an actor’s dream. To be in front of such amazing actors such as Michael Keaton, Rachel McAdams, Brian Darcy James and Mark Ruffalo; and it is one of the best scenes of the movie. You bring so much truth and power into the scene.  How was that experience?

Neal Huff: Honestly, that was one thing I knew, I”ll have in my favor, making scene as truthful as possible. I’ll be talking to these 4 wonderful actors. The energy of that event alone is going to reflect lot of what Phil went through when that happened. When spotlight team called Phil, he felt that star-chamber were calling him. He worked in Public relations for year’s prior, and he knew that spotlight team was a big deal. He felt a real sense of importance there. So I knew, that me going in as an actor, in front of these people, would reflect to some extent what Phil was going through that day.

Art Shrian: Wow, so the dynamic was real in some way.

Neal Huff: Yeah, I was like - if I was nervous, it’ll play well!

Art Shrian: How was the rehearsal process for that scene?

Neal Huff: We rehearsed for few days in New York, before the filming started. We went through the scene with actors, Tom and other writers. But when we were actually doing it, I’m not sure if we did rehearse it. I think we pretty much started filming. As an actor, you want to bring a lot to such scenes. Tom gave me a wonderful direction, that I was really blown away by, when I was on set. As an actor, you feel that with so much information there, you want to relive it. But Tom suggested that I want to feel this man is not doing this for the first time. He’s been trying to share this story for a long time, he has been doing it and telling the people this for years. Which was a completely different direction than I expected it to be. I was blown away by it. So, with this direction, the scene took a completely different light than what I expected it to be. And the greatest affirmation of how it went, when we were shooting the scene in Toronto, when these 2 gentlemen came to me after the scene was done, and shook my hand. I didn’t know who they were. And they said, "that is exactly how it went". And they were Michael Rezendes and Walter Robinson (the 2 journalists who were on scene in real life, played by Mark Ruffalo and Michael Keaton). I was utterly floored and moved.

Art Shrian: That’s just amazing. It’s a very complex character, who’s part of an important event. How did you prepare for the character, and work on researching and developing it? Did Phil share a lot of personal information? And how did you absorb it and prepare yourself?

Neal Huff: At first, when I got to meet him, I had gone through an interview that Josh Singer did with him in 2012. Then I went up to Boston to meet him. It was a treasure of really complex details. And I had my own perspective on this important issue, which was very close to my own experiences.  I wanted to advocate for this issue. I was brought up catholic, went to catholic school. So I had my own kind of stake. But the more I got to know Phil, I realized that he’s alive for a very strong specific reason. He’s unlike anybody I have ever met.  It’s not that he got lucky, that he’s around, and be able to do what he did. He’s a remarkable character. So I felt a real responsibility to convey who Phil was.

He’s very open about talking about this abuse he suffered. He’s never repressed it, and been an advocate his entire life. His story is just extraordinary. His priest abused him at age 11. He was diagnosed with HIV positive in 1984. In 1992, he almost wanted to take his own life. But he bounced back. And then he decided to spread his story and be an advocate for this issue. He wasn’t sure how long will he live, but he wanted to use this time at its best. He read this small article in Boston Globe, about this priest, Father Holly, molesting kids in 70s in New Mexico, same priest who molested him in 60s. And no one had talked about this priest or others in a negative way, in his hometown or around in public. Phil got in touch with Globe to connect with these folks who were abused. And he started SNAP. He found a path and destiny, to do what he did. His generosity and spirit was really the furnace for what I was doing.

Art Shrian: Wow, it seems like a story to be told by itself.

Neal Huff: Yes. Who knows what would have happened if spotlight wouldn’t have called him in. They used lot of his help in the beginning to reach out to people. He was key to it all. If you really told Phil Saviano story, that could be a film in itself.

Art Shrian: So what are your thoughts on this important and sensitive subject? It’s unfortunate that it happened, and still happens out there. How has this impacted you and what has been response of your family and friends, and other practicing Catholics, to this film?

Neal Huff: Two examples. My mother goes to church every day. And she’s huge supporter of this film. She was upset that Kim Davis, the court clerk, got an audience with Pope. She was very disappointed. She loves the pope, but her biggest disappointment with him is that why not Phil Saviano get an audience with the Pope. She still goes to church, but also is very hopeful that a story like this will be a good thing for church. It’s the hiding of truth that is the problem. It’s devastating for my mother to see such suffering and pain of people. But still is very hopeful that things will change for good.

I have a close friend, who’s a priest. He married us. I spoke to him last week, and he loved the film. He was concerned how the film will portray the community in certain way. But he liked the film. And he feels that things will move in positive direction. I was really encouraged to hear that he feels that movie is a good thing moving forward.

Art Shrian: Agreed. It’s important that truth is not hidden and right action is taken to fix this kind of corruption. And hopefully things will change for good, and a movie like this definitely helps people understand the issue better and give it more spotlight!

Art Shrian: So, what else are you working on right now?

Neal Huff: There’s another film that came out this fall, Nasty Baby, with Kristen Wiig. I just adore the film. It’s almost a weird look of new definition of family. And cross-reference of gentrification of Brooklyn. Sebastian (the director) is a remarkable genius and does great job with this film. Also working on bunch of things on TV. I have a part in Billions. Also I have an interesting part in Person of Interest, probably airing in summer. Deadbeat is a really fun show, which I’m on. I had a great time on Blacklist. Had great time working with amazing Tim Hunter.

Art Shrian: It’s an amazing time for TV in America with so much good stuff going on. What are your favorite shows right now?

Neal Huff: I’m about to watch River on Netflix, with Stellan Skarsgard. I’m very excited about Portlandia. I loved Master of None.

Art Shrian: There’s so much film and TV stuff going in New York now. How is it to be a working actor in New York City?

Neal Huff: It’s always been my dream. I watched actors like Christopher Walken and William Dafoe, or if you go back in 60s & 50s, like Brando, Dean, DeNiro and many others. The idea of working actor in New York City has always been amazing.  I’m lucky that I have been hanging around here.

Art Shrian: It’s truly a wonderful time to be an actor in New York City. What’s your favorite representation of New York city on screen

Neal Huff: Taxi Driver. I love the film, and I still watch it regularly. It’s like a moving painting of the city. It’s just amazing!

Art Shrian: Martin Scorsese and Woody Allen, definitely do a great job of bringing New York City on screen.  Right now on TV, I relaly like what Louis CK does with his show Louis. It’s very honest representation of the city.

Neal Huff: Yes, I love Louis. I can’t wait until the next season comes back. I watch the same episode many times over. I adore the show.

Art Shrian: So last question, what’s your most favorite thing about New York City?

Neal Huff: My most favorite thing about New York, is that you can see anyone from any part of the world. And you can get authentic food from any part of the world here. You go down Roosevelt Av, every block is a completely different ethnicity, completely different cuisine. And that to me is the most favorite part of New York. It’s amazing to see the diversity and authenticity of food and people from around the world, I love it!

Art Shrian: Cannot agree more. New York City is a little worked in itself. That’s one of the reasons why I love New York City… Thanks a lot for taking time to talk to us, and share all this wonderful information and thoughts. Congratulations again on this wonderful movie and All the best!

STRATFORD ON HOUSTON at Film Forum, January 13-21

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STRATFORD ON HOUSTON, a nine-day, 11-film festival of classic Shakespeare screen adaptations commemorating the 400th anniversary of the Bard’s death, will run at Film Forum from Wednesday, January 13 through Thursday, January 21. 
 

Following a twelve-day run of Orson Welles’ long-unavailable masterpiece Chimes at Midnight (January 1-12; see earlier press release), the series kicks off on Wednesday, January 13 with two of Welles’ earlier Shakespeare adaptations: his original director’s cut of Macbeth, or the so-called “Scottish version,” with the actors speaking the lines with thick Scottish accents (later drastically cut and dubbed into “American” for general release), and his magnificent Othello, winner of the Grand Prize at Cannes – with Welles starring in the title role of both films.

The series includes three of the great Shakespeare adapations directed by and starring Laurence Olivier: his multi-Oscar-winning (Best Picture, Actor, Art Direction, Costumes) Hamlet; the wartime Technicolor tour-de-force Henry V; and a ravishing new 4K color restoration of Richard III, co-starring Ralph Richardson, John Gielgud, and Claire Bloom.

STRATFORD ON HOUSTON also includes Franco Zeffirelli’s Romeo and Juliet, with Leonard Whiting and Olivia Hussey as the ill-fated couple (perhaps the first actors of the correct age to play them), the most commercially successful Shakespearean movie adaptation ever; Zeffirelli’s underrated Taming of the Shrew, starring Richard Burton and Elizabeth Taylor; Throne of Blood, Macbeth transposed by Akira Kurosawa to medieval Japan, starring the great Toshiro Mifune and Isuzu Yamada (as “Lady Macbeth”); Joseph L. Mankiewicz’ Julius Caesar, with Marlon Brando as Marc Antony and an all-star cast inlcuding James Mason and Deborah Kerr; and a 4K restoration of Roman Polanski’s own adaptation of Macbeth, produced by Hugh Hefner and notable for its prodigious use of sex and violence. The series also includes a new restoration of Forbidden Planet, Shakespeare’s The Tempest in outer space, starring Walter Pidgeon, Leslie Nielsen, Anne Francis, and “Robby the Robot.”
 

Public Screening Schedule (all separate admissions)

JANUARY 13 WED
OTHELLO (1952, Orson Welles) DCP
Orson Welles, Micheál MacLiammóir, Suzanne Cloutier
12:30, 4:40, 9:15

MACBETH (1948, Orson Welles) 35mm
“Scottish Version” (longer director’s cut)
Orson Welles, Jeanette Nolan
Courtesy UCLA Film & Television Archive
2:30, 7:00

JANUARY 14 THURS
HAMLET (1948, Laurence Olivier) DCP restoration
Laurence Olivier, Jean Simmons, Eileen Herlie
1:00, 4:00, 7:00

JANUARY 15 FRI
RICHARD III (1955, Laurence Olivier) 4K DCP restoration
Laurence Olivier, Cedric Hardwicke, John Gielgud, Ralph Richardson, Claire Bloom
1:00, 4:00, 7:00

JANUARY 16 SAT
RICHARD III (1955, Laurence Olivier) 4K DCP restoration
1:00, 4:00, 7:00

FORBIDDEN PLANET (1956, Fred McLeod Wilcox) DCP restoration
Walter Pidgeon, Anne Francis, Leslie Nielsen, “Robby the Robot”
10:00

JANUARY 17 SUN
FORBIDDEN PLANET (1956, Fred McLeod Wilcox) DCP
11:00 AM*
*Part of our Film Forum Jr. Series; all seats $8.00

ROMEO AND JULIET (1968, Franco Zeffirelli) archival 35mm print
Olivia Hussey, Leonard Whiting, Michael York
1:20, 4:00, 7:00

JANUARY 18 MON
ROMEO AND JULIET (1968, Franco Zeffirelli) archival 35mm print
12:30

THRONE OF BLOOD (1957, Akira Kurosawa) 35mm
Toshiro Mifune, Isuzu Yamada
3:10, 5:20, 7:30. 9:40

JANUARY 19 TUE
HENRY V (1945, Laurence Olivier) DCP restoration
Laurence Olivier, Robert Newton, Leslie Banks
1:00, 3:40, 7:00, 9:45

JANUARY 20 WED
JULIUS CAESAR (1953, Joseph L. Maniewicz) 35mm
Marlon Brando. James Mason, Deborah Kerr, John Gielgud, Lous Calhern
12:30, 5:10, 9:50

THE TAMING OF THE SHREW (1967, Franco Zeffirelli) DCP restoration
Elizabeth Taylor, Richard Burton
2:50, 7:30

JANUARY 21 THU
MACBETH (1972, Roman Polanski) 4K DCP restoration
Jon Finch, Francesca Annis
1:00, 3:40 7:00, 9:40

For more information about showtimes, visit www.filmforum.org