Tony Film

[Numeria Mealer]

Myparents came into the movie industry during a time where food on film sets was very simple. Everyone was serving hot dogs and hamburgers for lunch. He was the first caterer to serve lobsters and filet mignon on a movie set. He changed the face of Motion Picture Catering, disrupted the industry, and set the standard for all other caterers in film.

I grew up in the suburbs, and NYC was always a second home to me. Every weekend my family would drive down to the city. These trips were full of adventure, but what I remember most was the graffiti. It was everywhere--on the walls, on the trains, on buildings, on billboards. I loved it.

Dave and I quoted those three words for the next two years. We were extremely obnoxious, but it was our little in-joke, and if you didn't see the movie (on PBS in the middle of the afternoon, mind you), then you weren't cool enough to get it. I will always remember that scene and, of course, those three words. But years afterward, it was the film's name that I had forgotten.

About ten years later, in the early '90s, I started living in NYC and began an internship at an editing house called Valkhn Film and Video. This place was (and still is) run by an editor named Victor Kanefsky. On the first day of my apprenticeship, I noticed a plaque hanging in the office. It was one of those "Best Documentary" plaques, and the title of the film was Style Wars

About three weeks into my internship, I got up the courage to ask what Style Wars was all about. Maggie, a co-worker, told me that Victor and Sam Pollard (an alumnus of Valkhn) had edited the film, and it was about graffiti artists in the early '80s. She told me how it took them a full year to edit, that it was one of those films that was "made" in the editing room and in the end, it came out wonderfully.

Since then, the two-disc special edition DVD of Style Wars (Tony Silver, dir./prod.; Henry Chalfant, prod.) has come out, and I watch it over and over again. For every viewing, I learn something new about filmmaking--editing, shooting, the use of music, story, structure, rhythm, pace, character, etc. For me, the film is a training manual in how to edit and make a great documentary.

As our world and community work to make sense of, rebuild, and transform how we create and express ourselves, NFF is committed to giving filmmakers, writers, and storytellers an avenue to showcase their work and help them transform this incredibly difficult experience into beauty and meaning.

Tony Cox Screenplay Competitions recognize emerging writers in four unique categories as the best from the pool of submissions each year. Finalists in each competition are read by prestigious juries, receive top industry recognition, and participate in a Festival focused specifically on screenwriting that includes cash prizes for all competitions and a Mentors Brunch with a prominent screenwriter (past mentors include Noah Baumbach, Oliver Stone, Robert Towne, David O. Russell, and Nancy Meyers).

This prize recognizes an emerging feature screenwriter with a unique voice and a compelling story who demonstrates a commitment to writing for the screen. The winner will be selected by a jury led by Almanack Screenwriters.

This prize recognizes emerging episodic screenwriters with unique voices and compelling stories who demonstrate a commitment to writing for the small screen. The winners will be selected by a jury comprised of current industry leaders.

Once upon a time from La Canada, CA, Mark came to Nantucket in 1982, after a decade in Ketchum, ID. That year, he opened his first restaurant, The Morning Glory Cafe, soon followed by The Dockside and The Sconset Cafe. During his early career as a restaurateur, he acquired the Sconset Market which he owned and operated until his retirement in 2017. Mark calls Nantucket home year-round and has been involved in the community for decades, including 2 terms as Vice President of the Nantucket Chamber of Commerce and 3 terms as President of the Sconset Civic Association. In 2020 he was elected a Commissioner of the Nantucket Land Bank. With a budget of nearly $40M, the Land Bank purchases land for purposes of conservation, parks, agriculture, and recreation. An original member of the Nantucket Wine Festival team, Mark has worked for the festival in various capacities since it was founded in 1997, most recently as Ambassador and Community Liaison. Other community service includes the Dreamland Theatre Advisory Board, 2-time Chair of The Nantucket Historical Association Festival of Trees, and 2023 Honorary Co-Chair of the Theatre Workshop of Nantucket Gala. Presently, Mark works with his wife Beth English in their wine shop, Current Vintage, celebrating its 16th season on Easy Street.

Mr. Stewart previously worked as an assistant US attorney in San Jose, CA, and he was a litigator at Vorys, Sater, Seymour, and Pease LLP in Columbus, OH, and Bingham McCutchen LLP in San Francisco, CA. Prior to law school, Mr. Stewart taught history at Friends Seminary High School in Manhattan and was a New York City Urban Fellow. Mr. Stewart received a JD degree from Harvard Law School, holds an MA in education policy from Columbia University, and a BA in political science from Stanford University. Mr. Stewart has served on the boards of several arts-related organizations, including the Contemporary American Theater Company and the Joyce Foundation. He currently is a trustee for the Marshall Project, Nantucket Film Festival, Nantucket Historical Association, and the Atlantic Foundation. In a prior life, Mr. Stewart acted in various community theater productions in the SF Bay Area and St. Croix, USVI.

The Private Bank leverages the global resources of Bank of America to deliver highly customized solutions in banking, lending, investment management, wealth structuring, trust and estate planning, and philanthropy. As president, Knox has modernized and grown The Private Bank by expanding into new markets, adding advisors, and investing in technology to better serve clients. Under her leadership, The Private Bank has been named the Best Private Bank in the U.S. and North America for its expertise, innovation, and best-in-class service offerings.

With over 35 years of financial services industry experience, Knox has held numerous leadership positions at Bank of America across Wealth Management, Commercial Banking, Business Banking, and Retail Banking, enabling Knox to understand client needs at every stage of their lives and careers.

Deborah Kahn graduated from the University of Maryland and went to work in the investment business. After her start with a small investment research firm in Philadelphia, she moved to Putnam investments in Boston where she took her technical training and joined the marketing team in 1977. She spent the next 29 years at Putnam as a Senior Vice President and Marketing Director. Debbie participated in the growth of the mutual fund industry helping Putnam grow their assets from $300 million to $400 billion.

Jill Burkhart is the VP of Unscripted Programming for Epix where she executive produces documentary series for the cable network including the Emmy nominated Laurel Canyon; A Place in Time, Helter Skelter: An American Myth, and the upcoming Fall River. She is the cofounder of the Nantucket Film Festival, which she also helmed, first as Artistic Director, then as Executive Director, from 1996-2008. Jill was also the Executive Director of the Screenwriters Colony from 1999-2001, a sister Nantucket organization created to enable screenwriting retreats and creative guidance. Previously, she worked with Madstone Films as a curator for its Very Indie Film Series. And a very long time ago, Jill was an actress. She attended New York University for Theatre and The New School for Film. Jill grew up on the island of Nantucket, is a proud graduate of NHS, and now happily lives in Barrytown, New York.

I was thrilled to talk with Tony Spiridakis and Alex Plank about the new film Ezra, which Tony wrote and produced alongside director Tony Goldwyn, and which Alex associate produced, acted and consulted on. (Read my review of Ezra here.) We take a look behind the scenes at how the film was developed and produced on set, and how the film is aspirational for new films with autistic characters.

Alex Plank is a producer and actor, known for Ezra, The Good Doctor, The Bridge and other works. He is also well known in our community as the founder of Wrong Planet, an online community for autistic people and a place where a lot of autistic people found each other and found out more about themselves. Alex is an associate producer of Ezra and consulted on the film from a neurodiversity perspective.

The Film Shooters Collective is an international group of photographers united by a love for film photography and cameras. All FSC photographers use 35mm, 120 medium format, and large format film and cameras for the works featured on this site.

So what exactly is redscale? As mentioned, you can create redscale images with any color film including both negative and positive films. To do this, you simply need to load the film into the camera with the base facing toward the lens and the emulsion facing away. There are several ways to do this, which will be discussed shortly.

The theory behind redscale is interesting; it was pretty much discovered by accident when sheet film photographers accidentally exposed their film backwards in the camera. To fully appreciate what is happening requires some understanding of how color film normally works. While a simplification, in general, color film is made up of three layers, each sensitive to a different color of light. These layers consist of a blue light sensitive layer, a green sensitive layer, and finally a red layer in the back. In between these layers are color couplers which react with the developer when processed, and this all sits on the film base at the very back behind the red layer. There is also a filter behind the blue layer, since all layers are somewhat sensitive to blue light. When the film is the developed, the couplers for each layer react with the developer and the respective layer creating the colors in the final negative. In simple terms, the blue layer turns yellow, green to magenta, and red to cyan, creating the color negative which sits on the orange base layer of the film.

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