The Memphis Film Prize can easily be looked at as the upstart younger brother or sister in the Film Prize family, as it is a younger event in comparison to the Louisiana Film Prize and it’s much coveted grand prize comes in at $10,000, in comparison to the senior event’s $50,000.
But little to one of that matters when you are a filmmaker vying for that grand prize. I often talk about and write about what film festivals can do to benefit filmmakers in a concrete way. Naturally, handing over a huge check is about as obvious as it gets when it comes to benefiting a filmmaker. I mean, how else will they be able to make that next film, or even eat and pay their rent while they are trying to make that next film, right?
Well, the Memphis Film Prize does that to the tune of $10,000, so there you go. All settled. Done.
But, wait – there is more to see and talk about here, because the Film Prize events by their very design offer much more than that. And the Memphis Film Prize, in particular, offers more than the obvious very legit payoff. So, let’s look at some pictures of filmmakers and stuff and talk about that:
Here are the filmmakers (most of them making their first appearances) on a red carpet – or to be fair, a photo call with a basic step-and-repeat. But Memphis is a work-in-progress when it comes to getting across the idea that filmmakers need to promote themselves. There is a fantastically talented group of filmmakers in town and the Shelby County area, but a lot of them seem to get stuck in that “We’re artists and are above that self-portion gambit” routine. Which is fine if the only people you plan to screen your film for are cast and crew, mom and dad, and your significant other.
But as we do at each of the film festivals I am a part of, we have bigger ambitions for the filmmakers at Memphis Film Prize, so learning to pose for photos is just scratching the surface you might say…
Arnold G. Edwards II (WAYWARD SON) getting his photo taken (Photo by Wildman)
Arnold G. Edwards II, Director of WAYWARD SON (Photo by Wes Fowinkle)
Marcus Santi (JACK SQUAT) getting his photo taken (Photo by Wildman)
Marcus Santi, Director and star of YOU DON’T KNOW JACK SQUAT: THE TRIAL). Maybe the most promotional-minded of all the filmmakers in Memphis. He gets it. And we’ll be seeing him take it to the next level because of that. (Photo by Wes Fowinkle)
Kyle Taubken, Director of PATRICK. His film was maybe the most assured of the group, from conception to execution. That first feature is only a matter of time with this guy. (Photo by Wes Fowinkle)
PATRICK’s Curtis C. Jackson (CAST), Kyle Taubken (DIR), and Paul Vinsonhaler (DP) (Photo by Wes Fowinkle)
The Memphis Film Prize dynamic duo: David Merrill, Gregory Kallenberg. David is the Memphis “connector,” putting people together, cajoling them to check out the event and support it, meeting with EVERYONE. And Gregory is the true Godfather of all of it – his personality, his energy, his guiding hand IS what Film Prize thrives on. (Photo by Wes Fowinkle)
Jaron S. Lockridge (THE STIX) getting his photo taken (Photo by Wildman)
Jaron S. Lockridge, Director of THE STIX. THE STIX is meant to be a web series, and you can tell Jaron lives and breathes the idea of that project. It matters to him. That may sound obvious to say, but it isn’t. He’s a filmmaker you root for because of that fact. (Photo by Wes Fowinkle)
Daniel R. Ferrell, director of DEAN’S LIST. Gritty, provocative, and more than a hint of being able to combine drama with action as he goes forward. (Photo by Wes Fowinkle)
Arnold G. Edwards II, Marcus Santi, Kyle Taubken getting their photo taken (Photo by Wildman)
The competitors playing nice for the camera: Arnold G. Edwards II (WAYWARD SON), Marcus Santi (YOU DON’T KNOW JACK SQUAT: THE TRIAL), and Kyle Taubken (PATRICK) (Photo by Wes Fowinkle)
Film Prize’s David Merrill flanked by Memphis-based actors Nora Childers and John Locke (Photo by Wes Fowinkle)
The true “star” of Memphis Film Prize: Rosalyn R. Ross (MINORITY, LAST DAY) She is routinely described as the “Halle Berry of Memphis” or at least she was during the weekend. And there is a very good reason for that. She literally pops off the screen. I want to hire her form next film – it doesn’t matter what that film is, I just want her in front of my camera. talented, gorgeous, with presence to spare. (Photo by Wes Fowinkle)
The directors of TRAVELING SOLDIER: Drew Fleming and Lauren Cox. Lauren was the sole female filmmaker in the final group. Their film had heart and you could tell she is at that stage where she’s absorbing everything coming her way and will be applying it to the next project, which I’ll be looking forward to. (Photo by Wes Fowinkle)
Last year’s winner of the big check, Matteo Servente (WE GO ON) stops by. (Photo by Wes Fowinkle)
Robb Rokk, director of OUTSIDE ARCADIA. Robb makes his films with a student-filmmaker group, and he was a finalist last year with another student-fueled production. That system obviously works and it’s great to see that next-gen group get such a great, practical kickstart to their own filmmaking endeavors. (Photo by Wes Fowinkle)
Donald R. Meyers (DIR), Jared Callan (DP/ED) of HYPNOTIC INDUCTION. Donald’s film had an ambitious twisted aspect to it that inspired quite a bit of post-screening discussion. (Photo by Wes Fowinkle)
Producer Jesiah Burnett, joins his director, Robb Rokk (OUTSIDE ARCADIA) on the carpet (Photo by Wes Fowinkle)
The Memphis Film Prize jurors for 2018: Thelma Adams (Real Clear Life), Nelson Kim (Hammer to Nail), Victoria Negri GOLD STAR), Farah White (THE LADIES OF THE HOUSE) (Photo by Wes Fowinkle)
Gregory Kallenberg kicks off the Film Prize. This is the way you “baptize” your filmmakers and give them a kick in the pants to start off a fest. He sets the tone of “We’re all in it together, filmmakers, jurors, staff, and film fans – all of us.” If you’re not onboard after Gregory’s opening remarks, the filmmakers first “pitches”, and the legendary Film Prize tequila toast, then it’s possible someone should check your pulse. (Photo by Wes Fowinkle)
Speaking of those opening pitches, each filmmaker has 30 seconds to offer up why everyone should vote for their film and/or them, personally…
Donald R. Meyers (HYPNOTC INDUCTION) (Photo by Wes Fowinkle)
Robb Rokk (OUTSIDE ARCADIA) (Photo by Wes Fowinkle)
Daniel R. Ferrell (DEAN’S LIST) (Photo by Wes Fowinkle)
Arnold G. Edwards II (WAYWARD SON) (Photo by Wes Fowinkle)
Lauren Cox (TRAVELING SOLDIER) (Photo by Wes Fowinkle)
Marcus Santi (JACK SQUAT) (Photo by Wes Fowinkle)
Jaron S. Lockridge (THE STIX) (Photo by Wes Fowinkle)
Kevin Brooks (LAST DAY) (Photo by Wes Fowinkle)
Kyle Taubken (PATRICK) (Photo by Wes Fowinkle)
Gregory Kallenberg leads the tequila toast. (Photo by Wes Fowinkle)
Nearly every film festival has filmmaker panels. The question is why? Is there actually any useful information being doled out or is it just a handful of people in front of a smattering of filmmakers and film goers recounting their greatest hits, and anecdotes, and delivering a lot of blah, blah, blah?
Yeah – usually it is.
But not here. One, what was discussed were things relevant to filmmakers with short films about to embark on their film fest tours, thinking about how they could possibly take the next step to making features, and how they could actually get people to write about them in the press or give a damn in general – among other things.
The other key was this: The jurors didn’t just come to Memphis Film Prize to pass down their decree on who was good and who was not, eat some great Memphis food, see the sights, drink a lot and then head back to LA or NYC or wherever. No, they actually were involved in imparting some knowledge to the filmmakers, and giving some counsel. When does that happen at film fests? Answer: Not a whole helluva a lot.
John Wildman, Nelson Kim, Thelma Adams (Photo by Wes Fowinkle)
Nelson Kim, Thelma Adams (Photo by Wes Fowinkle)
Gregory Kallenberg, Farah White, Melanie Addington, John Wildman (Photo by Wes Fowinkle)
Gregory Kallenberg, Farah White, Melanie Addington (Photo by Wes Fowinkle)
Chris Lyon, Victoria Negri (Photo by Wes Fowinkle)
Victoria Negri, Farah White (Photo by Wes Fowinkle)
Victoria Negri, Farah White (Photo by Wes Fowinkle)
Kyle Taubken getting some practical filmmaking advice from Farah White. (Photo by Wes Fowinkle)
Marcus Santi mining some info from Nelson Kim, who multitasks as a filmmaker and a journalist. (Photo by Wes Fowinkle)
Lauren Cox, Donald R. Meyers (Photo by Wes Fowinkle)
The audiences. They were HUGE. In fact, the event has grown so much that it is likely theaters will need to added next year. Memphis Film Prize has a quality unique to the city in that coalescing of all factions from filmmaker to staff to jury to the film fans that no other film event in the city shares. And that fact really was underlined and bolded this year.
The crowds (Photo by Wes Fowinkle)
The voting (Photo by Wes Fowinkle)
Another not-so-obvious benefit of film festivals is the basic ability to put filmmakers in the same room with each other so they can compare notes, make connections, and maybe leave with people added to their “go to” lists – to hire, ask for referrals and advice, or be hired by, and expand their filmmaking community. Film Prize has that aspect highlighted in a major way.
How all of this applies to Memphis was interesting this year when you consider that out of the 10 finalists, 4 were of the filmmakers were black. Having those projects put forward, promoted, and celebrated, and seeing those filmmakers solidify their relationships and make new ones in a filmmaking community that can seem very segmented, is key to inspiring and contributing to getting those next projects made.
In fact, other film festivals have offered artist internships and filmmaker residencies for black artists. But clearly, Memphis Film Prize is leading in that regard by seamlessly connecting all of its participating filmmakers and prominently providing opportunities for them to succeed. The competition is by design – just that, a competition, but it also offers as level a “playing field” as you can get, and you can see and feel the participants respond to that by developing a camaraderie as opposed to a cutthroat scenario as they attend the Film Prize and interact.
Rosalyn R. Ross, Ricky D. Smith (LAST DAY) strike a pose (Photo by Wes Fowinkle)
Gregory Kallenberg, Nelson Kim, John Wildman (Photo by Wes Fowinkle)
The announcement of the winning filmmaker traditionally takes place at the legendary Arcade restaurant, which was Elvis’s favorite breakfast joint, I believe. It’s a low-key and family-styled affair in many ways. However, with the growth of Memphis Film Prize, I could actually see the need to either take over the entire place (instead of just one room) or they’re going to need a bigger boat, as they say.
The Arcade (Photo by Wes Fowinkle)
Gregory Kallenberg. When he puts on the jacket and his glasses, you know the dude is about to give out some big bucks. (Photo by Wes Fowinkle)
Ricky D. Smith (LAST DAY) accepts the big check on behalf of the film he starred in. Of course, he had to do that because the film’s director, Kevin Brooks for some reason almost missed the entire event. I mean, what’s $10K, right? (Photo by Wildman)
David Merrill, Ricky D. Smith, Kevin Brooks, Gregory Kallenberg. It’s all smiles now, but no one dares bring up how this thing will fit into an ATM. (Photo by Wes Fowinkle)
A formidable group: The class of 2018 Memphis Film Prize at the awards brunch. Look how serious some of them are. Already thinking about the next film…? (Photo by Wildman)
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