Chat w/ Sanjay Rawal, director of '3100: Run and Become'

What would you do to transform your life? How far would you go to change yourself? Would you drive, would you fly, would you run? These are the themes of a new documentary about why we run, 3100: Run and Become. This uplifting, intimate portrait of endurance runners and what motivates them.

Sanjay Rawal is the director of the film. Sanjay worked in the human rights and international development sectors for 15 years and in over 40 countries before focusing his love for photography and story-telling onto filmmaking. His first two shorts Ocean Monk (2010) and Challenging Impossibility (2011) were screened at over 120 festivals including Tribeca, St. Louis and Locarno.

Sanjay then directed his first feature, Food Chains (2014), which premiered at the 2014 Berlinale and then screened at Tribeca before securing domestic distribution from Screen Media. The film chronicled the battle of a small group of farmworkers (the CIW) against large supermarkets and fast food chains. The film was produced by Eva Longoria and Eric Schlosser and narrated by Forest Whitaker. Food Chains had a robust opening release in 26 cities in November 2014 and went on to screen in 1100 more through its theatrical, semi-theatrical & community screening tour. It won a host of awards including a James Beard Award as well as the BritDoc Impact Award as one of the most important films of 2015.

A lifelong runner, Sanjay was happy to lose the pounds he gained eating Mexican food in farmworker towns and take on a project about running.

We had a chance to talk to him, here are the excerpts:

- What did you learn in process of making this film?

We wanted to approach documentary filmmaking and this story in particular as though we were making a narrative film. That approach allowed us the freedom to imagine we could stitch together incredibly different stories – from the world’s longest race where runners circle a ½ mile loop in New York City for 3100 miles to a Navajo spirit runner retracing a family journey thru the high deserts of Arizona. We were able to work with an exceptional director of photography, Sean Kirby, and focused our story telling thru visuals as well as deep character-driven storylines.

The final product doesn’t simply show people running; the film reveals the meditative reasons why people run long distances and the power of long-distance running to transform people.

It was an honor to spend time and document the stories of three remarkable groups of people all of whom have rarely shared their stories – the Navajo, the Kalahari Bushmen and the Monks of Mount Hiei, Japan.

- What inspires you as a director and storyteller?

My background is in human rights and international development and the projects I enjoyed most were ones where recipients of the programs had equal power in driving progress. Those projects allowed everyone to participate. In that sense, my style of filmmaking is no different. I really enjoy listening to other people’s stories and seeing those stories come to life in film.

- How being an Indian-American affects your storytelling? What's been your personal experience on this journey?

I had a traditional Hindu upbringing in California but after university I yearned to deepen my identification with India and I moved to New York to study at the feet of an Indian Yogi – Sri Chinmoy. He gave me an entirely new perspective on happiness and I began to understand how best to achieve happiness in the West. One can’t shun life – the Divine is in everyone. It is through the acceptance of life and of other people’s own journeys and perspectives that we can fully appreciate the breadth of the Supreme here on earth. Sri Chinmoy’s philosophy blended advaita, bhakti yoga and seva in very much a modern way. At the same time, he was an ardent proponent of physical fitness and running, and founded the Self-Transcendence 3100 Mile Run, upon which my film is based. So, in many ways, 3100 Run and Become is fully an Indian-American film.

- What's next on your plate?

I’m hoping to take some time off, my first break since my previous film started production in 2011.

- Who are your favorite filmmakers and few of your favorite films and TV show?

I really enjoy Wes Anderson’s films and his perspective on life. I tend to like dark comedies and Rushmore ranks as one of my all-time favorites. At the same time, I love crime dramas from the Godfather to more pulpy films like The Departed or Hell or High Water. As for TV, I love procedurals like Bosch and Southland.

More about the film:

3100: Run and Become follows Ashprihanal Aalto, an unassuming Finnish paperboy, and Shamita, an Austrian cellist, in their attempts to complete the Self-Transcendence 3100 Mile Race, the world’s longest certified footrace, which takes place each summer June through August. The 3100 encourages runners to discover the limits of their capacities--and to try to go beyond them. And go beyond, they must: the small group of competitors come from all over the world to run a distance that approximates a US cross-country run -- a total of 3,100 miles in 52 days – 5,649 laps around one city block in Jamaica, Queens. 

Ashprihanal and Shamita’s 3100 quest takes viewers from the heart of this astonishing event in New York to places around the world where ancient cultures have held running sacred for millennia: the Kalahari Desert, Arizona’s Navajo Reservation, and to the mountain temples of Japan. Through the heroic stories of three other runners (Shaun Martin, a Navajo runner and Board Member of Wings of America; Gaolo of the San Bushmen of the Kalahari; and Gyoman-san of the Monks of Mt. Hiei, Japan) 3100: Run and Become presents a portrait of endurance and transformation. Beyond competitiveness and athletic prowess, they run not for glory but for spiritual enlightenment, universal oneness --or because they simply have the responsibility to run.

3100: Run and Become is directed by Sanjay Rawal (Food Chains) and produced by Tanya Ager Meillier (Alias Ruby Blade, Capitalism: a Love Story). It was edited by Alex Meillier (Alias Ruby Blade, Obscene) and shot in 4K by Sean Kirby (Racing Extinction, We are X, Long Strange Trip). The film’s soundtrack, composed by Michael A. Levine, features an original song recorded by Roberta Flack, her first after suffering a stroke in 2016. 

Running Time: 79 minutes

 Website: http://3100film.com/

Instagram: @3100film
Facebook: facebook.com/3100film

Twitter: @3100_film

Trailer: https://vimeo.com/261386426

3100: Run and Become Festivals and Screenings

DATE                           CITY                             THEATER                                                                                               

Oct 26 New York                   Village East

Nov 9    LA/Santa Monica      Laemmle Theater   

Chat w/ Sara Zandieh, director of SIMPLE WEDDING

SIMPLE WEDDING starring RITA WILSON, had it’s world premiere at Los Angeles Film Festival this year. It’s a romantic comedy about a young Iranian-American woman and the lengths she goes to in order to appease her parents and their need to see her settled down.

We had a chat with the co-writer and director of the film, Sara Zandieh. Here are the excerpts.

- What was the most challenging and most rewarding part of making this film?

Working with a limited budget is a huge challenge so when you overcome it, it’s rewarding. It forces you to be crafty and economical in how you execute the story. I worked hard to create a strategy with my shot choices and directing technique that would be compliant with our production and 20 day shoot. Since I couldn’t have all the jibs and cranes that I wanted, nor copious days to shoot, I designed a “simple” approach to the film language of SIMPLE WEDDING. The scenes in Nousha’s world—her apartment, her time with friends—are all handheld because her world is more “free.” The scenes with her family, we shot all on sticks to create a more formal shot language to speak to her parent’s world and contrast with hers. The shot language then changes again after one pivotal scene (I won’t give it away, spoiler alert!) I also tried to focus on my actors—one of my film’s greatest assets— to ensure we got the best possible performance for each character. These simple strategies made story and production work with our budget. Bringing my story alive within these constraints was one of my most satisfying accomplishments as a director. It was like solving an epic puzzle.

- What was the casting process for the film like? How did you find Rita and what was that experience like?

SIMPLE WEDDING is a mash up of the rom-com genre and the family comedy. I knew that I needed a great ensemble cast to pull off the familial world of SIMPLE WEDDING. This is the type of script that is all about character, character, character. I had Rita Wilson in mind for the role of Maggie from an early stage of writing. I had seen her most recent work on Lena Dunham’s GIRLS where she played a colorful mom character. My great casting director, Meghan Lennox, also suggested Rita. Given that the movie is both a multi-cultural story and a female story, it seemed like something in her wheel house and when she read the script, she liked it. In our initial conversation we clicked on so many levels. We both had multicultural upbringings and big ethnic families. We talked about how we had a similar experience in high school. We just connected on a heart and soul level and I think that’s what made the experience of making the film so magical. It was a heart and soul effort with so many wonderful, kind-hearted people. Rita is generous, good-natured, smart, talented, and spirited. She is truly a “model citizen.” I loved working with her everyday. It was such a joy. Rita also connected me to Shohreh Aghdashloo who I always dreamed would play Nousha’s mother, and then what was just as incredible was that Shohreh pulled in her husband, Houshang Touzie who I always hoped would play Nousha’s father. I knew this particular combination would be special for the Iranian audiences because they haven't been on screen together as a husband/wife couple for a long time. My entire cast Tara Grammy, Christopher O’Shea, Maz Jobrani, Peter Mackenzie, James Eckhouse, Rebecca Henderson, Aleque Reid, Angela Gibbs, RJ Hatanaka, Keon Alexander, were the best. We turned into a real family on set.

- How was your experience at LAFF?

It was fantastic. The film independent family and everyone at LAFF were super supportive, positive and professional. I really appreciate that they were willing to support my film and by extension my interest in making commercially viable films with diverse characters and storylines. They showed a wide array of films, great documentary films, fresh voices, and had great panels as well. We also had an amazing red-carpet premiere where Rita and her husband Tom Hanks attended. My entire family was there and sharing the moment with everyone I love felt amazing. Tom was so generous with my family. I think everyone posted a selfie with him on social media the next day. It was a special and lovely night. 

- What's next for you?

I would love to direct a studio comedy. If someone were to give me the “golden keys”, I know I could revamp a studio script so that it played with lovable, three dimensional characters, and a compelling “heart and soul” story. In the meantime, I’m developing my own pilot about a mother/daughter breaking bad and a new feature film comedy about a female con-artist. Both are comedies with drama.

-What are your favorite romantic comedies and favorite filmmakers that inspire you? 

My favorite romantic comedies are “The Apartment”, “When Harry Met Sally”, and “Annie Hall.” I also love the silent era comedy filmmakers like Buster Keaton, Charlie Chaplin, Harold Llyod. It’s hard to name my absolute favorite filmmakers, there are too many to name, but I can think of a few that have been particularly helpful in the last few months. Alexander Payne for his satirical wit and complex, tragicomic characters. Mike Nichols for his ability to work across a wide range of genres and for his skillful direction to get the best out of his actors. He’s an actor’s director and I aspire to be the same.

-What's your message to other aspiring filmmakers and storytellers?

It takes years to get something across the finish. Choose a story that you are passionate about so that you can take it all the way. Love your characters, know what you are saying and why it's important. And most of all, don’t give up! Making an independent feature film is like pushing a truck up a mountain. There’s no question it’s hard and it might seem impossible, but if you take it one day at a time you’ll find a way!

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You can listen below for the full interview with Sara Zandieh.

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?

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

Chat w/ Derrick Borte, director of AMERICAN DREAMER

American Dreamer recently had it’s world premiere at LAFF. Starring Jim Gaffigan, it’s a film about “A down on his luck driver, who makes extra cash chauffeuring a low level drug dealer around town, and finds himself in a serious financial bind and decides to kidnap the dealer's child.”

Derrick Borte is the co-writer (along with Daniel Forte) and director of the film. We had a chat with him and here are the excerpts

What was the most challenging and most rewarding part of making this film?

Limited resources (and everything that comes with that) presented the biggest challenge by far. Shooting this film in 16 nights was tough. Thankfully the whole team was totally committed and we were able to make it work.

What was the casting process for the film like? How as working with an excellent comic like Jim?

Casting is always one of my favorite parts of the process. So much of your film comes together (or not) based on every one of those choices. I feel like we found such great talent for these roles, and it was such a pleasure working with all of them. Jim was so prepared for the challenges this role presented. We had great conversations every day about Cam, his situation, and his decisions.

How was your experience at LAFF?

 Jenn and Drea have been wonderful to work with. The entire staff (and all the volunteers) are great!

 What's next for you?

 Scott, Danny, and I have a few projects in development, but it’s difficult to look past this film right now though. We are all so proud of it and want to help ensure it finds its audience.

 What's on your Netflix (or amazon/hulu) queue right now?

 Lately I’ve been going back to a pretty eclectic variety of films; BIG WEDNESDAY, ANGEL HEART, MANHUNTER, BARRY LYNDON, etc. Also all of the seasons of Bourdain for some travel inspiration.

Who are your favorite filmmakers that inspire you?

 (In no particular order) Sofia Coppola, Hal Ashby, David Cronenberg, Jim Jarmusch, John Hughes, Terry Gilliam. 

What's your message to other aspiring filmmakers and storytellers?

If you have a story to tell, don’t wait for permission. Make your movie with whatever resources you have.

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You can listen to the full interview with Derrick Borte below: