{"id":142886,"date":"2021-10-19T17:22:09","date_gmt":"2021-10-19T08:22:09","guid":{"rendered":"https:\/\/www.fukuoka-now.com\/?p=142886&lang=en"},"modified":"2021-10-20T13:33:27","modified_gmt":"2021-10-20T04:33:27","slug":"interview-with-mj-di-rocco-rising-sun-film-festival-2021","status":"publish","type":"post","link":"https:\/\/www.fukuoka-now.com\/en\/interview-with-mj-di-rocco-rising-sun-film-festival-2021\/","title":{"rendered":"Interview with MJ Di Rocco \/ Rising Sun Film Festival 2021"},"content":{"rendered":"

Interview by Mark Potter<\/em><\/p>\n

MJ Di Rocco is the prime mover behind the Rising Sun Film Festival, scheduled this year for Friday, November 5th through Sunday, the 7th. The Fest is now approaching the lift-off of its second season. I, for one, wouldn\u2019t miss it. MJ is a man bent on doing great things for film in Japan and especially Kitakyushu. It was my pleasure to interview him over the final weeks of September 2021.<\/p>\n

\"\"<\/p>\n

MLP:<\/strong> I\u2019m going to take a wild stab in the dark and assume that since you\u2019re a film festival organizer, you love movies. Can you tell me when you first realized that?<\/p>\n

MJ:<\/strong> I\u2019m not sure when my love affair with cinema began. My earliest memories are of sitting in our kitchen as a child and my father getting out his Super8 projector and joining us in an array of HomeMovies. There were also some Disney animated shorts, some Three Stooges, and the moon landing ALL ON SUPER 8!! The distinct sound of the projector, the smell, the darkness. Oh, the memories.<\/p>\n

In my first cinema-going memories, I took a trip downtown with my Mom and saw Disney\u2019s Fantasia. I believe it was at the Loews cinema, downtown Montr\u00e9al. That means nothing to most, but watching a movie was a hell of a first place. It was built in 1917; it had wood carvings, spiral staircases, chandeliers, and red carpet. I loved that theatre\u2014a megaplex doesn\u2019t come close to giving you the feeling that going to a movie was an event. Man! Over my teen and college years, I spent a lot of time in that cinema. I guess the mix of those events and those two venues shaped my love of cinema, which led me to study film and make films. I had moderate success as a filmmaker, and that\u2019s what pushed me to start the fest.<\/p>\n

MLP:<\/strong> So, did you have any first-hand experiences dealing with fests at that point?<\/p>\n

MJ:<\/strong> Years back, I made a series of short films called Kitakyushu Stories, the first of which had a decent run on the global festival circuit. Things got a bit surreal when dealing with a festival in Japan that touted itself as the Cannes of Japan. I won\u2019t name the fest (I still retain some class), but long story short, its treatment of filmmakers was horrible. And its treatment of moviegoers was equally horrific.<\/p>\n

Then I started digging around and found that Japanese film festivals were very different from other festivals worldwide. Nobody knew how to submit to most fests here\u2014and let\u2019s face it, lots of people want to screen here. So then I said, \u201cWhy not try to do an international film festival in the style of others I\u2019d been to in North America?\u201d It seems to be working so far. And I\u2019m happy to offer audiences the chance to see films from places they may not otherwise get to discover cinematically.<\/p>\n

MLP:<\/strong> You piled on a lot there. Let\u2019s try pulling out a thread or two. Let\u2019s talk venues first. Two vivid venues from your childhood: the intimacy of an old Super8 whirring away in your parents\u2019 house. Then the grandeur of Montr\u00e9al\u2019s turn of the last century movie palace. So the venue is important to you, and you\u2019ve nabbed a great venue. In Moji, Kitakyushu, right?<\/p>\n

\"\"<\/p>\n

MJ:<\/strong> I\u2019d been to Red Brick place and the Kitakyushu Beer and Brick museum for a community book event when I had published a children\u2019s book. I didn\u2019t really know the owner well, but back when we were planning the festival\u2019s first edition, the venue was brought up as a possible location, and I quickly agreed that we should visit. It was the first and last place we saw. I didn\u2019t need to see anywhere else. Brick Hall had the class and feel of the old movie houses I love blended with a modern intimacy. I knew it would work, and it does. Audiences responded well, and the venue floored visiting filmmakers from Tokyo. I think most people have no idea what we are doing. But as soon as they walk in and the movie starts playing, they all get it. Even representatives of the Kitakyushu Film Commission posted on their social media that the films and venue made them feel as though they\u2019d been magically transported out of Japan to some global village.
\nOn top of the architectural ambiance, it\u2019s a wow location\u2014the sea on one side mountains on the other.<\/p>\n

When I met the owners of both buildings we use, they were totally cool. Instantly they understood what we wanted the festival to be, fully aboard and supportive. And I\u2019m happy to say the relationship between Rising Sun and the venue is solid and has even grown into a friendship.<\/p>\n

MLP:<\/strong> We\u2019ll want to come back to the venue again since it\u2019s so integral to what makes your festival a gem.<\/p>\n

Before zeroing in on this year\u2019s festival, a question about the first festival. What\u2019s one film from last year that you\u2019d like to sit down to and watch again?<\/p>\n

From last year definitely Small Town Wisconsin. Directed by Niels Mueller (The Assassination of Richard Nixon), it\u2019s my overall favorite film of 2020. I must have seen it eight times between prepping it for the fest, and its official screening, and its \u201cencore\u201d screening in December. We\u2019re fortunate to have Niels as one of the judges of this year\u2019s fest.<\/p>\n

As for this year\u2019s films, there are so many gems\u2026
\nThree docs stand out:<\/p>\n

1) From to Hell to Hollywood, the incredible story of Pulitzer-winning photographer Nick Ut.<\/p>\n

2) AI: Artificial Immortality, a doc about the future of AI and it will leave your head spinning, and a doc that\u2019s close to home:<\/p>\n

3) Who is Lun*na Menoh about an LA-based fashion designer and artist who was born and raised in Moji<\/p>\n

As for feature films. I\u2019m excited about the following:<\/p>\n

1) Porcupine, the new film by Mike Cahill who previously made King of California with Michael Douglas\u2014we have the Japanese premiere<\/p>\n

2) Peace by Chocolate, a wonderful Canadian film about Syrian refugees who opened a chocolate company in Nova Scotia, this film took Tribeca by storm, and I wouldn\u2019t be surprised to see it win several major awards. Again, we have the Japanese premiere.<\/p>\n

3) Sweetie You Won\u2019t Believe is a wild film from Kazakhstan. I can\u2019t explain it other than it\u2019s Fargo meets From Dusk Till Dawn, and it will have its Japanese premiere with us.<\/p>\n

4) Dreams on Fire, made by a Canadian director in Tokyo. It\u2019s Japan\u2019s first urban dance movie. We are helping relaunch the film after covid took a bite out of its box office release.<\/p>\n

I think our jury members help our reputation and the fact that we don\u2019t bullshit filmmakers and stand true to what we believe. A lot of filmmakers, well known or not, respect that. We are transparent about what we do and why and it\u2019s appreciated.<\/p>\n

Filmmakers talk. When guys like filmmaker Niels Mueller talk, people tend to listen. His support generates the right kind of interest.<\/p>\n

MLP:<\/strong> I know you won\u2019t badmouth the competition, but can you give us an idea about what kind of BS filmmakers who submit have to put up with in other festivals?<\/p>\n

MJ:<\/strong> That\u2019s a slippery slope. But here\u2019s a comment from one of last year\u2019s filmmakers who submitted an entry:<\/p>\n

\u201cWhat I appreciate about the Rising Sun International Film Festival is that they understand movies and respect the filmmakers. They know what goes into producing a project, both large and small, and encourage filmmakers with a personal touch. These days there are many predatory film festivals that are just interested in generating entrance fees and have no respect for or follow-through with filmmakers. I look forward to seeing Rising Sun grow bigger each and every year.\u201d<\/p>\n

MLP:<\/strong> So, can you tell us who that\u2019s from?<\/p>\n

MJ:<\/strong> His name is Randy Schmidt. He\u2019s an American producer and director based in Tokyo. This year will be his second time to participate in Rising Sun.<\/p>\n

We have a number of filmmakers from Kanto and Kansai attending. International guests won\u2019t be allowed into Japan; if they were, we would have a lot more.<\/p>\n

MLP:<\/strong> It sounds like love is a strong driver in all this. Labors or love don\u2019t necessarily correlate with banking huge revenues. Are you comfortable talking about finances? Sponsorship?<\/p>\n

MJ<\/strong> The city was the big one. We had some local sponsors as well, a sake brewer and liquor store, a real-estate company. Some of it was quid pro quo; with a pandemic, companies are losing money, so we got creative.<\/p>\n

MLP<\/strong>: Do you anticipate both and non-submitting filmmakers attending?<\/p>\n

MJ:<\/strong> We have a number of filmmakers from Kanto and Kansai attending. International guests won\u2019t be allowed into Japan, if they were, I am certain we would have a lot more.<\/p>\n

MLP:<\/strong> How family-friendly is the Fest?<\/p>\n

MJ:<\/strong> Our Sunday morning program is specifically for families. We have a number of animated films ending with the Lego film and workshop for kids. Family screening is free for kids with paying adults, and kids all get free popcorn too.<\/p>\n

\"\"<\/p>\n

MLP:<\/strong> If It\u2019s OK with you, before getting into more details of this year\u2019s festival, a question for people new to film festival attendance: could you give potential novice attendees an idea about what makes film festival films different? That is, different from what they\u2019ll see from Hollywood, Bollywood, or other mass centers of commercial film production?<\/p>\n

MJ:<\/strong> Well, when you think of commercial movies, the big studio franchise movies pop into your head, especially in a pandemic world when cinemas are hurting and need the big movies to survive. Festivals are the territory of tomorrow\u2019s blockbusters- blockbusters by indie or up-and-coming filmmakers. Who was Tarantino or Jarmusch before Cannes? Last year\u2019s surprise, Oscar nominees and winners all got their starts at festivals. What you\u2019ll find at festivals\u2014especially ours\u2014 are films you will hear about very soon, films you can see before they\u2019re a big deal on Netflix or Prime Video. It\u2019s also a place to discover films from cinematic regions you may not know. Last year we had great films from Greece and Egypt. This year we have one film from the Faroe Islands, one from Kazakhstan, and a couple from Singapore\u2014and they\u2019ll blow the audience away.<\/p>\n

MLP:<\/strong> I like it\u2014exposing films from rarely heard places. A keyhole poking through the monolith of Japanese culture peeking into cultures practically unknown here.<\/p>\n

Interesting, you should mention Tarantino and Jarmusch. Tarantino, quirkiness and all, has gone big time, all the while staying true to his art. Jarmusch, likewise true to his art\u2014 and himself, has taken a different fork in the road. He\u2019s an independent and, at least in film circles, he\u2019s famous. But he still finds seeking financing for his films troublesome. How do you see your harvest of films and filmmakers sorting on their commercial prospects and creative merit?<\/p>\n

MJ:<\/strong> The landscape for film distribution has changed since the start of the pandemic. Not that long ago, Netflix and Amazon, with their original films, were seen as impostors in the world of cinema. In the past two years they\u2019ve both emerged as the top studios. Streaming has become a strong threat to movie theaters. Thanks to the pandemic, the rules of the distribution game have changed.<\/p>\n

Netflix and Prime were once seen as the haven for indie filmmakers to get their work out there. However, the streaming platforms are now attracting bigger and bigger stars to make original films for them. Add to that the fact that the streaming game got more populated with studios following Disney\u2019s path, launching their own online platforms. Scary times for classic movie watching!!<\/p>\n

That being said, of our lineup this year, I can safely predict that 90% of our feature films will have distribution in play sooner rather than later\u2014I\u2019ll be bold and say a few of them even have major award potential. Rising Sun is in contact with several distributors in Asia and North America. We facilitate introductions with producers or sales agents with the distributors.<\/p>\n

I believe in every film we show. It\u2019s important to me that everyone who buys a ticket to a film we show feels what they see was worth the ticket price\u2014 and that when they see the film pop up on their Netflix or Prime a few months later, they can say, \u201chey, I saw that in Kitakyushu before anyone!\u201d<\/p>\n

MLP:<\/strong> It sounds like you\u2019re projecting a rosy career picture for 90% of your filmmakers. And then there\u2019s the other 10%. They\u2019re less commercial indie films, still worthwhile, likable even, but at the margins? Not likely to be picked up by Netflix or Amazon, destined to be seen only in blurry YouTubes or by lucky festival attendees?<\/p>\n

MJ:<\/strong> Not at all. If I were distributing them, they\u2019d all be out and pushed hard. But I keep that 10% for the great unknown trends of distributors. It\u2019s a messy game these days, so it\u2019s harder to know what will get picked up.<\/p>\n

We are in touch with distributors, and they\u2019re interested in most of what we show. But if they can come to terms with producers and sales agents, it\u2019s out of Rising Sun\u2019s hands.<\/p>\n

\"\"<\/p>\n

MLP:<\/strong> Let\u2019s turn to the individual titles scheduled for this year. Does that sound OK?<\/p>\n

What countries are represented and which have a preponderance of the films?<\/p>\n

Let me make that easier on you. I hope not too much slips through. Jumbling all countries together, I get six films from Japan (with one co-Canadian production), six from Canada (including the Japanese co-production), four from the USA, and two from Taiwan, Korea, and Singapore. Does that sound about right?<\/p>\n

MJ:<\/strong> Sounds about right. But our third wave of films will be announced on October 8, and we will have a few more from Japan and the USA.<\/p>\n

MLP:<\/strong> So what\u2019s behind the strong participation of Japan, Canada, and the USA?<\/p>\n

MJ:<\/strong> Your guess is as good as mine. I can check the numbers by submission and see if they match the demographics of the selected films.<\/p>\n

Primarily when we select a film, we select based on cinematic merit and avoid the politics of where it\u2019s from etc. First and foremost, we want to show the best possible movies.<\/p>\n

MLP:<\/strong> Stop me if the question makes you feel uncomfortable, but along with the documentaries and features you mentioned already, which submissions from those three countries stand out?<\/p>\n

MJ:<\/strong> Oh man. That\u2019s a toughie. Here\u2019s my shortlist, sorry if I upset anyone, honestly all the films are brilliant and worth seeing.<\/p>\n

USA: I already mentioned Porcupine, directed by M. Cahill\u2014who previously did The King of California with Michael Douglas. Porcupine will increase his legendary status. Then there\u2019s From Hell to Hollywood, the brilliant doc I already mentioned, about famous photographer Nick Ut, directed by Hollywood veteran Jon Kroll. There\u2019s Trees of Peace (we will announce this film in October) directed by first-timer Alanna Brown. Brown is already making a splash as a writer and director. This powerful film will cement her path on a long and brilliant career in cinema.<\/p>\n

Japan\/Canada: Phil McKie is the director of Dreams on Fire, what a guy and what a film.<\/p>\n

Japan: Ruined and Two and On the Edge both will surprise you!<\/p>\n

Canada: Peace by Chocolate is an amazing and heartwarming film based on a true story of Syrian Refugees who opened a chocolate shop in Nova Scotia\u2014excellently directed by Jonathan Keijser. Don\u2019t be surprised to see this film as a contender for major awards! And the previously mentioned, AI: Artificial Immortality\u2014an eye-opener of a doc. Then there\u2019s Motherly, a brilliant, shocking and violent suspense film!!<\/p>\n

MLP:<\/strong> Then, with two each, there\u2019s India, Korea, Taiwan, and Singapore. Then one each from a number of places. Kazakhstan and the Faroe Islands jumped to my mind as seldom heard from. France and Italy were each in there. Any high spots you can point to among all these?<\/p>\n

Again, that\u2019s tough. The selection team did a great job picking the best of the best.<\/p>\n

Korea: what an amazing and hot film market at the moment. The year\u2019s feature from Korea is A Legendary Fighter, from the same producer as our runaway hit from Korea last year. A Legendary Fighter is a martial arts fight film much like the old school Jackie Chan or Bruce Lee films. Great fight scenes capped off with excellent music. The Korean short Time to Eat is powerful but told delicately and subtly.<\/p>\n

India: The feature is The 137 Auditions of Avrahaam Yaakob, the story of one man\u2019s quest to be the perfect actor. Most people have been exposed only to musicals and big dance routine films from Bollywood. This film has no singing, no dancing: just superb acting and a great story\u2014worth discovering deeper roots to Indian cinema. The Indian short, The Grasshoppers Live Here is so sweet and beautiful. It\u2019s one of our shortest films this year but with big impact.<\/p>\n

Taiwan: We had so many great submissions from there it was very hard for our team to choose. Last year we opened with a film from Taiwan that got a standing ovation. This year we bring No. 76 Horror Bookstore, a top-shelf horror movie from the same studio as last year\u2019s opening film. It\u2019s scary\u2026 if you\u2019re a horror fan, you\u2019ll devour this movie. If you\u2019re not a horror fan and you watch this, you may have a hard time sleeping. The LGBT-themed short from Taiwan, Swingin\u2019 is brilliant\u2014nothing short other than the run time.<\/p>\n

Singapore: Two shorts this year. Henchmen will show Saturday night, it\u2019s a funny and gory play on traditional action movie clich\u00e9s. Next is called After Noon, a sensitive look and a young man discovering his sexuality.<\/p>\n

Kazakhstan: I\u2019m so pleased to have a film from Kazakhstan. Like most people, my knowledge of the country isn\u2019t vast- even less their cinema. But Sweetie You Won\u2019t Believe It is such a zany and hilarious mix of genres that the audience won\u2019t believe it either. It\u2019s like a cross between early Coen Brothers and From Dusk Till Dawn. A perfect Saturday night movie- shocks you one minute, makes you laugh the next. I want to discover more films from the region.<\/p>\n

Italy and France: Rarely have I seen a film from either place that didn\u2019t right away identify the origin and leave me cinematically enthusiastic. These films both live up to those expectations.<\/p>\n

MLP:<\/strong> With CoVid restrictions, how\u2019s the guest list shaping up?<\/p>\n

MJ:<\/strong> We have few interesting guests this year too. A number of filmmakers from Japan. More overseas guests would attend if the Japanese border were open. We are showing a film called Meguru Goes Around Comes Around, a film made in Japan by a filmmaker from Myanmar who has since been arrested. He is being held in Myanmar. After the film, a journalist will be on hand to talk about his situation.<\/p>\n

We will also have Lun*na Menoh, an LA-based fashion designer and artist who was born and raised in Moji! She\u2019ll be allowed into Japan because she still carries a Japanese passport. We are showing a documentary about her \u2014 she\u2019s excited to premiere here in her native hometown. She\u2019s going to speak after the movie. A fun and awesome lady\u2014 I\u2019m looking forward to meeting her.<\/p>\n

As I mentioned, Sunday morning, we will have our family movies. This year we have an added feature, our last film in that block will be a stop motion Lego movie. The director will be here and will have a workshop after the screening where kids of all ages can make a stop-action movie with him on stage. It\u2019ll be so fun for anyone who wants to participate or has an interest in animation.<\/p>\n

MLP:<\/strong> For the foreign language challenged, can viewers expect Japanese and English subtitles?<\/p>\n

MJ:<\/strong> Yes. That\u2019s correct. Most non-English language and non-Japanese films will be subtitled in both English and Japanese. Most English movies will be sub-titled in Japanese, and all Japanese movies will be subtitled in English. I say \u201cmost\u201d because we make the Japanese subtitles in house at Rising Sun. However, we require some files from the filmmakers to translate the film correctly. If the assets from the filmmaker are in order and received in time, we can add the Japanese subtitles.<\/p>\n

It\u2019s a two-way street. Kitakyushu isn\u2019t a huge city and doesn\u2019t have the demographics of a place like Tokyo. Most festivals in Japan don\u2019t burden themselves with the expense of translating subtitles into Japanese. But I feel we can reach the widest audience possible with the subtitle options we offer. I think we open up to a bigger audience by adding Japanese subtitles to films and English subs to Japanese films. Also, since our jury is scattered over three countries (including Japan), if any film wants a chance to compete at Rising Sun, it has to have subtitles.<\/p>\n

MLP:<\/strong> So how much will it cost the public to attend?<\/p>\n

MJ:<\/strong> To see a film at Rising Sun will cost \u00a51,000 for a few shorts followed by a feature film. Some films include workshops or on-stage talks with filmmakers for no extra cost. JR high-aged kids and younger are free with a paying adult, and on Sunday at the family film block and animation workshop, all kids get free popcorn.<\/p>\n

A side note\u2026 there will be on-site food vendors in the courtyard to complement the amazing menu and full bar of Brick Hall.<\/p>\n

Suppose someone is interested in attending more than a couple of screenings. In that case, they can buy a festival pass for \u00a55000, giving them access to attend any films they want, after parties, and any additional workshops.<\/p>\n

Tickets and passes will be on sale on our website through Peatix and also available on-site at the festival.<\/p>\n

The price is reflective of wanting to reach the widest audience possible. I\u2019m excited about the movies, and I want people to discover them and be a comfortable and memorable experience. The venue is so accessible, has parking. For those who prefer the train, it\u2019s a 4 or 5-minute walk from Moji station, which is 1 stop away from Kokura. Mix that convenience in with its comfortable and classy atmosphere and reasonable price, and it becomes open to anyone. That\u2019s what cinema should be. It\u2019s for everyone.<\/p>\n

Off the record, you need to try the pizza at brick hall you\u2019ll love it.<\/p>\n

MLP:<\/strong> I\u2019ll be there! Do you think maybe we have a wrap?<\/p>\n

MJ:<\/strong> I believe so. Thanks!<\/p>\n

MLP:<\/strong> The pleasure is all mine!<\/p>\n

The festival runs between November 5 ~ 7, 2021<\/strong>
\nhttps:\/\/risingsunfest.com\/<\/a><\/p>\n

 <\/p>\n

Event listing on Fukuoka Now<\/strong><\/p>\n

Rising Sun International Film Festival<\/a><\/p><\/blockquote>\n