https://redmilkroe.com Rob Rice Fri, 10 May 2024 22:17:23 +0000 https://redmilkroe.com en https://redmilkroe.com/WAY-OUT-AHEAD-OF-US Thu, 28 Oct 2021 17:32:14 +0000 Rob Rice https://redmilkroe.com/WAY-OUT-AHEAD-OF-US WAY OUT AHEAD OF US 2022.&nbsp; <img width="1920" height="1013" width_o="1920" height_o="1013" data-src="https://freight.cargo.site/t/original/i/368de3fca302e25b35fa44b48a5292854a789ab8e32f5322865e80bd623d3db1/Kstill28-2.jpeg" data-mid="123113960" border="0" data-scale="96" src="https://freight.cargo.site/w/1000/i/368de3fca302e25b35fa44b48a5292854a789ab8e32f5322865e80bd623d3db1/Kstill28-2.jpeg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/6fcdbc826321a8f2ea4cdfdc65cdebbb7067fcb08923facf6d7b0d16111d5976/WayOut_FilmStill_4k.jpg" data-mid="122966663" border="0" src="https://freight.cargo.site/w/1000/i/6fcdbc826321a8f2ea4cdfdc65cdebbb7067fcb08923facf6d7b0d16111d5976/WayOut_FilmStill_4k.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/780159e6f27b7d577c95a68caba34e483a9979f57a7701478a72a5b907375b04/Kstill17.jpg" data-mid="123114247" border="0" src="https://freight.cargo.site/w/1000/i/780159e6f27b7d577c95a68caba34e483a9979f57a7701478a72a5b907375b04/Kstill17.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/b76746b7b5c10e1c8e7bb390125d13de17177b94b0d55b2227874c2384d01492/Kstill27.jpg" data-mid="123114251" border="0" src="https://freight.cargo.site/w/1000/i/b76746b7b5c10e1c8e7bb390125d13de17177b94b0d55b2227874c2384d01492/Kstill27.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/2a767ce67d85d57e167db8b2c15ce184fd90ca5a0b46b6eff9997a79a81b5580/Kstill11-2.jpg" data-mid="123114245" border="0" src="https://freight.cargo.site/w/1000/i/2a767ce67d85d57e167db8b2c15ce184fd90ca5a0b46b6eff9997a79a81b5580/Kstill11-2.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/a1e2cde182521769d44492691d21dd64ef18b751c26db975f5ff46a57f389118/Kstill23.jpg" data-mid="123114249" border="0" src="https://freight.cargo.site/w/1000/i/a1e2cde182521769d44492691d21dd64ef18b751c26db975f5ff46a57f389118/Kstill23.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/c7be97ebc7591e6f1b9bbd947a28556a6c9c10bfad285489daebaac70ab1d748/KStill1-1.jpg" data-mid="123114243" border="0" src="https://freight.cargo.site/w/1000/i/c7be97ebc7591e6f1b9bbd947a28556a6c9c10bfad285489daebaac70ab1d748/KStill1-1.jpg" /> <img width="1224" height="792" width_o="1224" height_o="792" data-src="https://freight.cargo.site/t/original/i/cbefe513f1ee8d11a83c29ce4eb775209f3114765682b04314e68aac360d4b46/EPK_APR511.jpg" data-mid="123114054" border="0" src="https://freight.cargo.site/w/1000/i/cbefe513f1ee8d11a83c29ce4eb775209f3114765682b04314e68aac360d4b46/EPK_APR511.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/ba38a70b0e0edefafff5a23e14ba836ad3b68b0df7f78b9ac8f1a9831265f045/Kstill26-1.jpg" data-mid="123114250" border="0" src="https://freight.cargo.site/w/1000/i/ba38a70b0e0edefafff5a23e14ba836ad3b68b0df7f78b9ac8f1a9831265f045/Kstill26-1.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/f81b49164e828694aa363f206ade1ae05fad8bd67a404df8f9cbf3def756ac6f/Kstill12-1.jpg" data-mid="123114246" border="0" src="https://freight.cargo.site/w/1000/i/f81b49164e828694aa363f206ade1ae05fad8bd67a404df8f9cbf3def756ac6f/Kstill12-1.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/66ed66002a1080e1d4e99cc53d4d3e7e32cfb0b5bc9f0f65df4370334d087dc4/Kstill22-1.jpg" data-mid="123114248" border="0" src="https://freight.cargo.site/w/1000/i/66ed66002a1080e1d4e99cc53d4d3e7e32cfb0b5bc9f0f65df4370334d087dc4/Kstill22-1.jpg" /> <img width="4096" height="2160" width_o="4096" height_o="2160" data-src="https://freight.cargo.site/t/original/i/702e6895d2fdd0e8dd5b395275dc00c692dee2a62d4c1e11898b0fbba1b58c02/Kstill18-2.jpg" data-mid="123113961" border="0" src="https://freight.cargo.site/w/1000/i/702e6895d2fdd0e8dd5b395275dc00c692dee2a62d4c1e11898b0fbba1b58c02/Kstill18-2.jpg" /> ---------------------------------------------------------------------------------------------- Screenings: World Premiere FIDMarseille - July 2022 Compétition PremierCompétition GNCRCompétition PRIX RENAUD VICTOR Filmfest Oldenburg - Sept. 2022 German Premiere Actoral - Oct. 2022Festival of Art and Comteporary Writing UNDERDOX - Oct. 2022 Closing Night Film New Hampshire Film Festival - Oct. 2022 Grand Jury Award - Narrative&nbsp; U.S. Premiere REDCAT - 2022LA Premiere 46th Sáo Paulo IFF - Oct. 2022 New Directors Competition South American Premiere American Film Festival - Nov. 2022 Spectrum Competition Polish Premiere RIDM - Nov. 2022 International Features Competition Canadian Premiere Black Canvas 7 - Aug. 2023State of the World&nbsp; Mexican Premiere&nbsp; Canal 180 - Nov. 2023 Portugese National Broadcast ICA London - coming Spring 2024 Beyond Interpretation Institute of Contemporary Art Public series Press: Senses of Cinema MovieMaker POV PERSONA Cinema AquiFID interview ... synopsis A man keeps his terminal illness a secret from his daughter so he doesn’t spoil her plans to move to the city. The actor who plays the father has this illness in real life. He and his wife, who plays the mom, have been married for 25 years and have raised each other's kids from previous relationships together, but have never had a child of their own - so in the film we cast an actress to play the daughter they never had, but always dreamed of.We intended for this horizontally produced, community project to contribute to the re-materialization of political aesthetics and to through its process forge a working-class cinematic vocabulary in common.&nbsp; ...written and directed by rob rice cinematography &nbsp; &nbsp; &nbsp; by alexey kurbatov produced&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;by matt porterfield produced&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;by rui xuproduced&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;by rob rice produced&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;by mark staggs starring&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;tracy staggsstarring&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;mark staggsstarring&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;nikki deparis... Runtime: 87 minutesLanguage: english4k 5.1 IMDB Letterboxd <img width="1350" height="2000" width_o="1350" height_o="2000" data-src="https://freight.cargo.site/t/original/i/86e85eb83154c2baa6ab026715d1f87df8956557b81a2a5fef6d3bc0d88020d7/WayOut_Poster2000.jpg" data-mid="122968211" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/86e85eb83154c2baa6ab026715d1f87df8956557b81a2a5fef6d3bc0d88020d7/WayOut_Poster2000.jpg" /> poster. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; by version industries. director’s politics - Process I chose a collaborative, participatory process, as opposed to pursuing some kind of observational documentary or fiction fully stylized as realism, to challenge the fraught contradictions of a film presented as faithfully portraying a community while couched in the POV of the outsider-filmmaker. By hybridizing our biographies, we embraced the change my presence made in the fabric of the place. The intention was that, once the explicitly surreal and acted sequences intervene, the fact of their participation, and the kind of relationship it means we have, would elevate the film from a portrait to a testament. I bet that, like with any artist, we would get the most insight into their condition through their creativity. Conventionally, people are reduced to documentary objects at worst, subjects at best, but rarely are they agents. That agency is what our process sought to restore, through an explicit embrace of fiction and interest in the dynamics of performance. Sympathy ultimately naturalizes otherness, so we opted instead for solidarity. This horizontally produced, communal filmmaking process was an incubator for raising an aesthetic language in common. We believe that it’s possible to be intellectual without being academic, and that everyone is smart if you know how to listen to them, and as such, a real, re-materialized filmmaking politics is one that presents conversation between people, not about them, and leaves behind structures of mutuality that weren’t there before, and that live on long after the crew is gone. director’s politics - Product The US is the home of an obscene inequality in wealth, granting differential access to survival in a nation of surplus. In the shadow of this outrage, we need to make hidden, everyday, working-class American stories visible. I want the film to stand as a counter-narrative to the right-wing political currents that try to claim working-class white people as inherently symbolic of their cause, or the sanctimonious liberal idea that they’re all irredeemable vulgarians. In this cinematic landscape, so saturated by cliché, where are the leftwing titles? What does thier absence do to our political imagination? Where are the films that see this world as Debs and A. Phillip Randolph did; a site of deep fissures, but that hide profound potential solidarities, organizable around shared experiences of ruthlessness at the hands of creditors, employers and police? As neoliberalism has generalized immense precarity for everybody, maybe people are ready to finally trade in the wages of whiteness for class consciousness. I’m not naïve enough to think this will happen easily, but I’m sure it won’t if nobody offers an alternative story. ... director’s statement&nbsp;Obscure a place as it is, the time I’ve spent in Daggett has fundamentally changed who I am. It’s an unconventional, sometimes funny, always complex community where people have been forced to develop eccentric, autonomous and very beautiful ways to survive in the face of the world’s most perverse and indifferent political economy: America. I have to tell this story, of the town and of my experiences in it, to bring an audience to bear witness to something that would otherwise remain invisible. This film is fiction. Much of the script is based on the lives of the (non)actors, but just as much is based on my own life. I not only depict what I saw there, but the eyes I was seeing it through, as a way to invoke a more complicated and yet more faithful image of the experience. A note on the construction. The real Mark and Tracy have been married for more than twenty-five years and have helped to raise each other’s children from previous relationships. However, they have no children together. So, in order to open our process up to a dynamic and flexible imaginary space, I introduced a professional actor (Nikki DeParis) to play the daughter they never had. Mark’s illness however, though different from how I portrayed it, is very real. I chose to set up the film this way, as opposed to pursuing some kind of observational documentary or fiction fully stylized as realism, to challenge the old contradictions of a film presented as faithfully portraying a community while situated in the POV of the outsider- filmmaker. By mixing our autobiographies, we embraced the change my presence made in the fabric of the place, instead of trying to deny it. The intention was that, once the explicitly surreal and acted fantasies intervene, the fact of their participation, and the kind of relationship it means we have, would elevate the film from a portrait to a testament to who they are. I knew that, like with any artist, we’d get the most insight into their condition through their creativity. Nikki, whose own raw process is on display, unlocked and made visible so many details of the place, even before we began shooting. By giving me an outlet to really wield the story as a director, she helped me to channel my inspiration, the debts I owe to Apichatpong and Lucrecia Martel and Bi Gan and Pasolini, through the aesthetics of this process. Her presence enabled me to include my own story, to invoke my father’s mortality and my mother’s resilience and my own growing up, alongside theirs, so that by the end the everyday objects of their lives became almost ceremonially potent symbols of my own. ... film politics statement&nbsp;There’s a Keeanga-Yamahtta Taylor quote that sums up a lot of what I believe about the real power of choosing who to spotlight on screen. Talking about American media culture, she writes: We end up with a distorted view of American society – society looks richer, healthier, whiter than it actually is – life almost always looks easy – the effect is to convince ordinary people that their problems are their own. The American Dream mythology actually exists to justify its inverse – just as all success is attributable to personal responsibility, so are all failures. The more the lives of ordinary people are excluded, the more the American dream seems possible. As is so succinctly said there, the exclusion of working-class American stories from the narrative landscape congeals in our cultural imagination to form a picture of the country that does not include how most people live. I cannot think of a more powerful mission for narrative practice; to burst the bubble that insulates wealth from its outght-to-be-obvious vulgarity. However, unfortunately, so much of the (especially American) cinematic tradition that showcases the working-class is mired in either 1) an aesthetics of extraction that packages these lived experiences for an outside, upper-class gaze, or 2) right-wing ideology. In the second case, “working-class” is a rhetorical stand-in for white, and they’re conjured&nbsp; without complication and instrumentalized as a means to further racist ends. In the first case, we end up with supposedly sympathetic but ultimately distancing portrayals of class that cast it as inescapably alien. People are reduced to objects at worst, documentary subjects at best (subjects of a regime), but rarely are they agents.&nbsp; This agency is precisely what our participatory process tries to restore, and with an explicit embrace of fiction and interest in the dynamics of performance, we hope to create a space where we center our subjectivities. It allows us – Mark, Tracy, Nikki and I – to reflect on our own stories, and to get to know each other well enough to borrow each others’. Instead of the distance that sympathy creates, or the false stylings of objectivity, we made something in solidarity and communion with each other. ...crew bios Rob Rice – Filmmaker – He/HimRob Rice is a filmmaker from western Massachusetts. Before changing careers, he completed an M.S. in Neuroscience at Tulane University and worked as an engineer in CRISPR genetics at the Broad Institute of MIT and Harvard. He is currently living in Los Angeles, where he graduated from the MFA Film Directing program at CalArts, and where he was selected to attend the 2019 Flaherty Film Seminar as a Fellow. His work explores the personal and political economies of catastrophe and communion in America. His feature debut, Way Out Ahead of Us, premiered at FIDMarseille in the summer of 2022. Matt Porterfield – Supervising Producer – He/HimMatt has written and directed four feature films — Hamilton (2006), Putty Hill (2011), I Used to Be Darker (2013) and Sollers Point (2018) — all set in his native city of Baltimore. His work is in the permanent collections of the Museum of Modern Art and the Harvard Film Archive and has screened at the Whitney Biennial, the Walker Arts Center, Centre Pompidou, Cinematheque Française, and film festivals such as Sundance, the Berlinale, San Sebastien, Rotterdam, BAFICI and SXSW. In summer 2014, he wrote and directed his first narrative short, Take What You Can Carry, with a grant from the Harvard Film Study Center. It premiered in the Shorts Competition at the Berlinale in 2015 and screened at Lincoln Center’s second annual Art of the Real series. The following year, he co-produced and co-wrote Gaston Solnicki’s first fiction feature, Kékszakállú, in Buenos Aires, Argentina. His most recent short, Cuatro paredes, was released by MUBI in 2021. As a producer, Matt has participated in IFP’s No Borders, Cinemart, FIDLab, the Berlin Coproduction Market and the Venice Production Bridge. Matt is a Creative Capital grantee, the recipient of a Wexner Center Artists Residency, and a Guggenheim Fellow. He teaches screenwriting, critical theory and film production at Johns Hopkins University. Currently, he is based in Tijuana, Mexico. Rui Xu – Post-Production Producer – She/HerRui Xu is an LA-based creative producer. She started her career, while pursuing her Producing MFA at CalArts, as a producer on Richard Van’s Hieu, which premiered at the 72nd Cannes International Film Festival. Rui’s first producing role on a feature project, Freddy Teng’s World of Tales, won the MPA Award at Beijing International Film Festival in 2019. The film, starring Lee Kang-sheng, recipient of the Golden Tiger Award from the Rotterdam Film Festival and lifelong collaborator of Tsai Ming-liang, is now in post-production. Alexey Kurbatov– Director of Photography – He/HimAlexey was born in Vologda, Russia, where he worked as a photographer before moving to Moscow to attend the School of New Cinema as a cinematographer. In addition to our film, he shot Detours, directed by his wife Ekaterina Selenkina, which was selected to premiere at the 2021 Venice Critic’s Week. He had just completed these projects when he passed away unexpectedly in January of 2020. Colyn Cameron – Composer – He/HimColyn Cameron is a Canadian experimental musician who has released two albums on Vagrant Records as the acclaimed indie-pop outfit Wake Owl, and one solo album, Sad &amp; Easy. He has done extensive touring and performing and has been nominated for a Canadian Juno award. He has done composing work for independent films and had songs licensed in TV shows and commercials. He’s currently working on another solo record and collaborating with musicians from a range of traditions on joint scoring projects. ... cast bios Nikki DeParis – She/HerNikki DeParis was born in New Jersey. She moved to Los Angeles in 2015, where she earned a BFA in Acting from the CalArts School of Theater. After graduating, she secured the starring role in the premiere presentation of Ashley Rose Wellman’s Hot Tragic Dead Thing at the Blank Theater. Recently she performed the English language dub for the character Amparo on HBOMax’s Veneno. Mark Staggs (also contributed as a Producer) – He/HimMark was born and continues to reside in Daggett, CA, where he is the president of the board of the Community Service District and sitting member at the Silver Valley Unified School District. From age four to fourteen he and his family lived deep in the desert, three miles from the nearest road, without electricity or running water. Now a father and grandfather, he has worked in construction and towing throughout his adult life, and at one point owned and operated dozens of 25-cent candy vending machines around Barstow. Tracy Staggs – She/HerTracy Staggs was born in Fontana, CA and moved to Daggett when she was 16. She takes pride in her work as a custodian at the Silver Valley High School. Privately, she is an avid fan of popular culture, with an encyclopedic knowledge of film, television and music. Because her grandmother is still alive, and her children from a previous marriage have recently had children of their own, she enjoys the rare honor of being both a grandmother and a granddaughter. ... about the film In 2017, I drove from Boston to Los Angeles over the course of a week, leaving my old and frustrating life in the labs of MIT behind, headed for film school. About a hundred miles from LA, I pulled off the highway to get gas and stretch my legs in Daggett. Though it appeared completely abandoned, something affected me about the little town. After a few uneventful return trips where I encountered nobody (though one time, standing at an abandoned intersection, I heard a trumpet blurting out weird sounds that I was sure were some kind of taunt, but I could not for the life of me locate whoever was playing them), a waitress at trucker’s diner gave me Mark’s phone number. I’d lamely explained that I was interested in the history of the place, the mining. She shrugged and said, “I don’t really know what you’re talking about but here’s someone, if anyone will indulge you it’s him. His name is Mark Staggs.” He pulled up fifteen minutes later and threw open the front passenger door. Because the power was out that day and the only available A/C was in the car, he drove me around with the whole family in tow, never asking what I was doing there, just excitedly pointing out various landmarks. Every once in a while, with no warning, we’d veer off the road onto some desert two-track, jostling along toward obscure hieroglyphics and abandoned mines. Hours later he dropped me off, saying, “next time you come out I gotta show you the Daggett Ditch!” And just like that there was a next time. I went back, again and again until I was splitting my time between LA and Daggett, staying on their couch, meeting everyone in town, learning about all the intricate dramas and comedies in their orbit. A few months later, I was starting to organize ideas into a script. Eventually I presented them with this idea to make a film together and to bring an actress in. We shot for four days at a time from October 2018 to May 2019 (with some additional shooting in early 2020 completed four days before Alex passed), for a total of 40 production days with a crew of 6-8, and then a dozen or so other trips with just Alex to shoot in a more stripped down, reactive style. Each time we would have a certain number of pages to do, scenes we had prepared and rehearsed and bought props for, but then we would also inevitably make something up in the moment. Many ultimately critical scenes came from this kind of spontaneity. Because we had this model where we’d come home for a week or two between shoots, I could watch the footage and react to it, devising new directions and fixes and storylines until ultimately the film became wildly different from the initial script. My relationship there is very much ongoing. In the past few years, unrelated to the film, Mark and I have judged the community Christmas light competition, sold worms and carp on craigslist for his father, moved people in with their boyfriends and then out again, cleaned the dead owls out of a water tower, and flown my own parents out to finally close the loop. Ultimately, the project feels like just one of a million things we’ve done and, fingers crossed, will get to do together. https://redmilkroe.com/OTHERWISE Sat, 30 Oct 2021 17:22:42 +0000 Rob Rice https://redmilkroe.com/OTHERWISE OTHER FORMS OTHER PROJECTS OTHERWISE&nbsp;OTHER FORMS OTHER PROJECTS OTHERWISE https://vimeo.com/user34518939 FUTURE FILMS: ARCADIA THE BUSINESS LANDSCAPE MUSIC VIDEOS: &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; <img width="1342" height="826" width_o="1342" height_o="826" data-src="https://freight.cargo.site/t/original/i/26bc7c1f2647c3f2f9f94fb9cf2faf4a19f1f863bd39d838a1bfc0669fff6327/Screen-Shot-2023-10-31-at-11.49.23-AM.png" data-mid="210691234" border="0" src="https://freight.cargo.site/w/1000/i/26bc7c1f2647c3f2f9f94fb9cf2faf4a19f1f863bd39d838a1bfc0669fff6327/Screen-Shot-2023-10-31-at-11.49.23-AM.png" /> Stream music video &nbsp; for Colyn Cameron’s single, off “Freehand” dir/edit/prod dp. Madison Rowley <img width="1202" height="712" width_o="1202" height_o="712" data-src="https://freight.cargo.site/t/original/i/3db2ac532634de91da31862b65a8a6d4d4d9d6433d0af4431faef591bb925178/Screen-Shot-2021-10-30-at-12.16.00-PM.jpg" data-mid="210691232" border="0" src="https://freight.cargo.site/w/1000/i/3db2ac532634de91da31862b65a8a6d4d4d9d6433d0af4431faef591bb925178/Screen-Shot-2021-10-30-at-12.16.00-PM.jpg" /> Loss For Words music video for Colyn Cameron’s single, off “Sad and Easy” Read more... director, editor dp. Ellington Tynes <img width="2880" height="1800" width_o="2880" height_o="1800" data-src="https://freight.cargo.site/t/original/i/2bbfa6f4e4c1b1b8add5ff33817e125708307c23d14fb2c625a601ea0e1491f3/Screen-Shot-2022-04-11-at-5.35.58-PM.png" data-mid="210691233" border="0" src="https://freight.cargo.site/w/1000/i/2bbfa6f4e4c1b1b8add5ff33817e125708307c23d14fb2c625a601ea0e1491f3/Screen-Shot-2022-04-11-at-5.35.58-PM.png" /> Faultlines music video for Colyn Cameron’s single, off“freehand” director, editor,dp. <img width="2214" height="1510" width_o="2214" height_o="1510" data-src="https://freight.cargo.site/t/original/i/3e913d8ca12460c15c85ea859535a1218b322a2f0dba4c4a064bb2405488498b/Screen-Shot-2023-10-31-at-11.45.15-AM.png" data-mid="210691231" border="0" src="https://freight.cargo.site/w/1000/i/3e913d8ca12460c15c85ea859535a1218b322a2f0dba4c4a064bb2405488498b/Screen-Shot-2023-10-31-at-11.45.15-AM.png" /> Formaldahydemusic video for Sadie White in collaboration with Advik Beni co-dir, editor, co-dp. FORMER COLlabS: 🧠️NATURE📿️🧿️MOLMETAB🤮️ WRITING: Article "For Eric Trump, or anyone with a dad who talks about being a business man"Review of Denis Cote's Curling for CINEMA QUARANTINOInterview with Larry FessendenClose Read of Frank Bidart's "History"Review of Knight of CupsReview of Where's My Roy CohnReview of The LobsterReview of Green Room PHOTOS: <img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/afa63b3c6e72987acde68b36594c2abd5f224fc56a9dda6ce812ca1d0777616e/008_29a-1.jpg" data-mid="129979440" border="0" src="https://freight.cargo.site/w/1000/i/afa63b3c6e72987acde68b36594c2abd5f224fc56a9dda6ce812ca1d0777616e/008_29a-1.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/f10e986051f7da7adfe415c908f66713264d845cc54919503491725f692182a3/000074480019.jpg" data-mid="129979432" border="0" src="https://freight.cargo.site/w/1000/i/f10e986051f7da7adfe415c908f66713264d845cc54919503491725f692182a3/000074480019.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/71c11d1f045efca10a4655b3f1242f1c8749fa74aa2f421232eea4b72f219d02/000009760029-1.jpg" data-mid="129979433" border="0" src="https://freight.cargo.site/w/1000/i/71c11d1f045efca10a4655b3f1242f1c8749fa74aa2f421232eea4b72f219d02/000009760029-1.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/bd552fcfa5b735f1da43e9a3688cec2fb2f4633548418b708fdffb7dc2a4f301/000009770028-1.jpg" data-mid="129979434" border="0" src="https://freight.cargo.site/w/1000/i/bd552fcfa5b735f1da43e9a3688cec2fb2f4633548418b708fdffb7dc2a4f301/000009770028-1.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/5286373a0151bb791c05edb6efacc9b84365d0ec2a834a68024f19575b6d6f41/000009770020.jpg" data-mid="129979435" border="0" src="https://freight.cargo.site/w/1000/i/5286373a0151bb791c05edb6efacc9b84365d0ec2a834a68024f19575b6d6f41/000009770020.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/1d804f1c23cfb5f36c44b2bb6765d6803959bea4d76afab03422044ecb80686b/000009790022.jpg" data-mid="129979436" border="0" src="https://freight.cargo.site/w/1000/i/1d804f1c23cfb5f36c44b2bb6765d6803959bea4d76afab03422044ecb80686b/000009790022.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/cc7218f25280157e3818004f44fe07b2bfa5e75779f9ef655c0d302cafafcefd/000009790001.jpg" data-mid="129979437" border="0" src="https://freight.cargo.site/w/1000/i/cc7218f25280157e3818004f44fe07b2bfa5e75779f9ef655c0d302cafafcefd/000009790001.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/a98c043d60a44030512a9a8ed54ad165d4933570a311a4ef904241c265aca4c1/000009780024.jpg" data-mid="129979438" border="0" src="https://freight.cargo.site/w/1000/i/a98c043d60a44030512a9a8ed54ad165d4933570a311a4ef904241c265aca4c1/000009780024.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/f7e47487585fc90f4015e217fc0fb7400ceb48bf5aa1cc19c7e503dfe4ccf0f7/000009780035.jpg" data-mid="129979439" border="0" src="https://freight.cargo.site/w/1000/i/f7e47487585fc90f4015e217fc0fb7400ceb48bf5aa1cc19c7e503dfe4ccf0f7/000009780035.jpg" /><img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/1597c068bcfcbcd35b068caa292f0a71845150f32660c4a4d77bf760293dc3bc/037_0a-copy.jpg" data-mid="129979443" border="0" src="https://freight.cargo.site/w/1000/i/1597c068bcfcbcd35b068caa292f0a71845150f32660c4a4d77bf760293dc3bc/037_0a-copy.jpg" /><img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/dae63e28ffebda82076ad17c3bbb6794a7fab293f9d4d3aa6fc7bde0ffb1ef48/034_03a-1.jpg" data-mid="129979444" border="0" src="https://freight.cargo.site/w/1000/i/dae63e28ffebda82076ad17c3bbb6794a7fab293f9d4d3aa6fc7bde0ffb1ef48/034_03a-1.jpg" /><img width="3072" height="2048" width_o="3072" height_o="2048" data-src="https://freight.cargo.site/t/original/i/d9922766ff06bcc59f2e0ee148a80e1d31f02b8ef39922cf9522981f5ed1ca3b/032_05a.jpg" data-mid="129979445" border="0" src="https://freight.cargo.site/w/1000/i/d9922766ff06bcc59f2e0ee148a80e1d31f02b8ef39922cf9522981f5ed1ca3b/032_05a.jpg" /><img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/445b615f8e8f553508183c519c0ec460a7cd7a4abc8b58aac2c66bfc9d388801/000009760037-1.jpg" data-mid="129979431" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/445b615f8e8f553508183c519c0ec460a7cd7a4abc8b58aac2c66bfc9d388801/000009760037-1.jpg" /> https://redmilkroe.com/Arcadia Thu, 28 Oct 2021 17:32:14 +0000 Rob Rice https://redmilkroe.com/Arcadia ARCADIA&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; A prestigious but exhausted sea-floor cartographer joins the crew of a fiber-optic cable ship for a costly voyage across the Atlantic. As they get further from land, she drifts away from her duties and, with a nudge from a nihilistic and mischievous cable laborer, she begins to sabotage the expedition; first by installing a tap on the cable and soon, drunk on the data flow, by radically reworking the software they depend on to navigate. Finally feeling alive, she’s rendered the boat and everyone on it profoundly lost, or, according to her, on the verge of a major new discovery.a film by rob ricestory by rob rice and adam wand View the EPK view visual / conceptual references:&nbsp;https://www.are.na/robert-rice/arcadia-4afgcmdpkcy <img width="2304" height="1728" width_o="2304" height_o="1728" data-src="https://freight.cargo.site/t/original/i/81b369fdede6adf09c3f5d8a71aaf00ff1bc5ec192b421f2c957beddaca4d99f/ArcPoster-Txtr.png" data-mid="123145585" border="0" src="https://freight.cargo.site/w/1000/i/81b369fdede6adf09c3f5d8a71aaf00ff1bc5ec192b421f2c957beddaca4d99f/ArcPoster-Txtr.png" /> <img width="500" height="503" width_o="500" height_o="503" data-src="https://freight.cargo.site/t/original/i/8a8fda49b35dfd1940b0ce97551f6eaa8e0bb1ca4feb809ae1075da81d155c68/1974-CANTAT-2-Map_s.jpeg" data-mid="123145582" border="0" src="https://freight.cargo.site/w/500/i/8a8fda49b35dfd1940b0ce97551f6eaa8e0bb1ca4feb809ae1075da81d155c68/1974-CANTAT-2-Map_s.jpeg" /> <img width="2474" height="1512" width_o="2474" height_o="1512" data-src="https://freight.cargo.site/t/original/i/bb5393dcc6ea552f3afa07858413774129539cf90633560c769c88439e94f407/MR_1.png" data-mid="123145540" border="0" src="https://freight.cargo.site/w/1000/i/bb5393dcc6ea552f3afa07858413774129539cf90633560c769c88439e94f407/MR_1.png" /> <img width="11714" height="8491" width_o="11714" height_o="8491" data-src="https://freight.cargo.site/t/original/i/227cb69e65a41ba94f8df6781ee8d6b743babb896b78914d9d44bf6ef52f58a9/SpecmAPS.jpg" data-mid="123145502" border="0" src="https://freight.cargo.site/w/1000/i/227cb69e65a41ba94f8df6781ee8d6b743babb896b78914d9d44bf6ef52f58a9/SpecmAPS.jpg" /> <img width="2390" height="1610" width_o="2390" height_o="1610" data-src="https://freight.cargo.site/t/original/i/219a59676e4a5beb4ef2947b6d3c0cfe5b165eac64b67c5219126bbe2b5e5d95/MR_7.png" data-mid="123145543" border="0" src="https://freight.cargo.site/w/1000/i/219a59676e4a5beb4ef2947b6d3c0cfe5b165eac64b67c5219126bbe2b5e5d95/MR_7.png" /> <img width="2476" height="1626" width_o="2476" height_o="1626" data-src="https://freight.cargo.site/t/original/i/1a32a40bc8ac41f348eb6d34a4111bc7aeb79742582dfaf349af13f05c4d1c59/MR_6.png" data-mid="123145544" border="0" src="https://freight.cargo.site/w/1000/i/1a32a40bc8ac41f348eb6d34a4111bc7aeb79742582dfaf349af13f05c4d1c59/MR_6.png" /> <img width="1616" height="1060" width_o="1616" height_o="1060" data-src="https://freight.cargo.site/t/original/i/39978659bb5d4e22a25246bbcd59a26d4b63acf76216233be55a7cc179319887/MR_3.png" data-mid="123145549" border="0" src="https://freight.cargo.site/w/1000/i/39978659bb5d4e22a25246bbcd59a26d4b63acf76216233be55a7cc179319887/MR_3.png" /> <img width="2628" height="1658" width_o="2628" height_o="1658" data-src="https://freight.cargo.site/t/original/i/c761eb456b293a4f39b2df10c5ba8d2eb9562a33ef4fc00cc68133407f84a6d0/MR_8.png" data-mid="123145542" border="0" src="https://freight.cargo.site/w/1000/i/c761eb456b293a4f39b2df10c5ba8d2eb9562a33ef4fc00cc68133407f84a6d0/MR_8.png" /> <img width="1104" height="804" width_o="1104" height_o="804" data-src="https://freight.cargo.site/t/original/i/f375fdbbbe3bfdddb2a310cc777a850a56d328b4b1a01f3a3e85852dbaac0706/Screen-Shot-2021-06-07-at-4.35.57-PM.png" data-mid="123145564" border="0" src="https://freight.cargo.site/w/1000/i/f375fdbbbe3bfdddb2a310cc777a850a56d328b4b1a01f3a3e85852dbaac0706/Screen-Shot-2021-06-07-at-4.35.57-PM.png" /> <img width="1080" height="804" width_o="1080" height_o="804" data-src="https://freight.cargo.site/t/original/i/20bbe62430aed30e6eadc209ff563fe17477c6ca1e0a37b88fc0d2953c0e097d/Our-land-1280x953-1080x804.jpeg" data-mid="123145566" border="0" src="https://freight.cargo.site/w/1000/i/20bbe62430aed30e6eadc209ff563fe17477c6ca1e0a37b88fc0d2953c0e097d/Our-land-1280x953-1080x804.jpeg" /> script in development Director’s Statement The thrill of this film lies in bringing a subtle, mischievous, quixotic humor to deeply felt modern subjects like dread about the future and the confusing mismatch of material and representation in a highly online world. The fiber-optic cable ship is a fascinating setting; unfamiliar, extremely hi-tech, and yet still soaked in the past, from the political histories of ocean commerce to ancient sea mythology, it’s situated perfectly at the nexus of where we have been and where we are going. And that’s what Sarah is worried about, like so many people are, trying to find some stable sense of the future. She can’t figure out if it’s apocalyptic and terrifying or exhilarating and full of potential New Worlds. &nbsp; &nbsp; Though their external environment is vital to the narrative and on paper may be the film’s focus, the most core ideas play out internally, in the relationship between Roithamer and Cane. They each have something the other needs – she has theory and he has practice, one like a map and the other the land itself. But even more fundamentally, they need each other as people, both having defined themselves in relation to the future and both secretly wondering if maybe the other attitude is correct. By the end, it’s not about who is right, it’s about having someone else there with you, whichever way it’s going to go. Though these ideas are laced through their relationship, neither of them can discuss them directly. Actually, quite the contrary, much of their exchange is heavily filtered through a shared bleak humor, a kind of morbid laughter dangerously adjacent to tears that, despite their varying conclusions about the future, they’ve both necessarily developed as a crutch under all that weight. &nbsp; https://redmilkroe.com/Business-Landscape Thu, 28 Oct 2021 17:32:14 +0000 Rob Rice https://redmilkroe.com/Business-Landscape The Business Landscape &nbsp;&nbsp; A film about rogue cowboy capitalists, the materiality of the internet, business park architecture so large and so indifferent to the human presence that it’s like a land formation, brothel owners in Bitcoin bunkers, water rights, wild horses circling server farms, and the continuity of displacement and dispossession from the gold rush times to today, when tech entrepreneurs sling the tantalizing and mythological New, which turns out to be more of the Same Old Thing. <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/cd693588710ec01784b1bdb9d24ea1cb5007bef250f5be37fbc904ef4dcbaf17/000074480010.jpg" data-mid="123154928" border="0" src="https://freight.cargo.site/w/1000/i/cd693588710ec01784b1bdb9d24ea1cb5007bef250f5be37fbc904ef4dcbaf17/000074480010.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/e4b6502a7a7fbaedb8a9a3641b7397fb9d31e34b7133200a98d2b1e3b56ef69f/000074490026.jpg" data-mid="123154913" border="0" src="https://freight.cargo.site/w/1000/i/e4b6502a7a7fbaedb8a9a3641b7397fb9d31e34b7133200a98d2b1e3b56ef69f/000074490026.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/df5506c69119e28d70d2b6bda808d8b93124768fdfd7031fa0056e2968bfa823/000074490014.jpg" data-mid="123154898" border="0" src="https://freight.cargo.site/w/1000/i/df5506c69119e28d70d2b6bda808d8b93124768fdfd7031fa0056e2968bfa823/000074490014.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/e02091e92eee00d0b583bba8973e80b4bc786303931354a72f31951454777aaf/000074490021.jpg" data-mid="123154912" border="0" src="https://freight.cargo.site/w/1000/i/e02091e92eee00d0b583bba8973e80b4bc786303931354a72f31951454777aaf/000074490021.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/57c1e64819db5aee889050fa0a730b6c2a1e6119031784939570efe16839a3bf/000074490018.jpg" data-mid="123154899" border="0" src="https://freight.cargo.site/w/1000/i/57c1e64819db5aee889050fa0a730b6c2a1e6119031784939570efe16839a3bf/000074490018.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/cf83cef6e006ad9a40be1cb3b4f57edf17fbf8c94574d666c551d3acf05b2640/000074480013.jpg" data-mid="123154929" border="0" 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data-src="https://freight.cargo.site/t/original/i/1d81614c6400e359f18d44caa04f0493cbde395f3ada138e37f2ce9e67bd5597/000074480018.jpg" data-mid="123154932" border="0" src="https://freight.cargo.site/w/1000/i/1d81614c6400e359f18d44caa04f0493cbde395f3ada138e37f2ce9e67bd5597/000074480018.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/0b0f114ac3213163d546396452812c6179bad271eb45040ed2fabf3569b77d08/000074480019.jpg" data-mid="123154936" border="0" src="https://freight.cargo.site/w/1000/i/0b0f114ac3213163d546396452812c6179bad271eb45040ed2fabf3569b77d08/000074480019.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/bdf6d0f1be6bf4e6e1f19007da4a98a2eb77394ff6a65a3ba02bb96923f553e6/000074480002.jpg" data-mid="123154925" border="0" src="https://freight.cargo.site/w/1000/i/bdf6d0f1be6bf4e6e1f19007da4a98a2eb77394ff6a65a3ba02bb96923f553e6/000074480002.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/78c30ed965033cee94e6795f5a2d6c7734048372d4bf1369d23c5ef57ee0e90e/000074480001.jpg" data-mid="123154924" border="0" src="https://freight.cargo.site/w/1000/i/78c30ed965033cee94e6795f5a2d6c7734048372d4bf1369d23c5ef57ee0e90e/000074480001.jpg" /> <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/61badef0280f428cc0491694beb4c1e4a3dc9ce1cd619bf3b6b18d3b8cb832d9/000074490034.jpg" data-mid="123154918" border="0" src="https://freight.cargo.site/w/1000/i/61badef0280f428cc0491694beb4c1e4a3dc9ce1cd619bf3b6b18d3b8cb832d9/000074490034.jpg" /> feature doc in pre-productionlooking for partners view the full pitch deck BACKSTORY/CONTEXT: In the early ‘90s, a colorful Nevada brothel owner named Lance Gilman and his partner Roger Norman, a supposedly illiterate billionaire with a “savant-like ability to look at a mountain and know how many truckloads of gravel it will be once we blow it up,” purchased 100,000 acres of desert land in the poorest and least populated county in Nevada, just east of Reno. It’s now home to their Tahoe Reno Industrial Center (TRIC), and within it some of the largest structures in the world – the Tesla Gigafactory, a Switch data storage center called “the Citadel” – and the proposed site of six private smart cities that seek to administer their own autonomous government via the blockchain (bill permitting this, the first of its kind, is currently in front of the Nevada house). In the early days, Lance attracted tenants with the billions he’d won from the county in property tax abatements – today they’re attracted because he’s been elected to head the county commission. This anything-goes business landscape has set off a “tech gold rush” into northern Nevada, where the Silicon Valley companies finally ready to give up the charade of social responsibility are given a cowboy’s welcome. To keep up with demand, Lance is currently eying possible locations for a second park. Northern Nevada was once the home to another gold rush. Silver, actually. In 1859, the discovery of the Comstock Lode ignited a massive influx of settlers into the region. They built Virginia City (where Mark Twain was born) and carried out a brutal colonial campaign against members of the Paiute Nation at Pyramid Lake. That conflict ultimately came to an end when the Tribal Council was able to negotiate for partial water rights with the settlers. That same Tribal Council negotiates with Lance today, for rights to water that he wants to cool the servers at Google, and to fill the batteries at Tesla. https://redmilkroe.com/Ponderosa Sat, 30 Oct 2021 20:00:08 +0000 Rob Rice https://redmilkroe.com/Ponderosa PONDEROSA&nbsp; TRIBECA U.S. NARRATIVE COMPETITION 2026 STARRING JACK DYLAN GRAZER, ALEXIS BLEDEL AND BILL CAMP. <img width="1944" height="2880" width_o="1944" height_o="2880" data-src="https://freight.cargo.site/t/original/i/4910d6671c84c9d443b5ff53901fd9c11c90376b2960940b00fa46bb746ebeda/PONDEROSA_POSTER.jpg" data-mid="248270084" border="0" src="https://freight.cargo.site/w/1000/i/4910d6671c84c9d443b5ff53901fd9c11c90376b2960940b00fa46bb746ebeda/PONDEROSA_POSTER.jpg" /> Written and Directed by Rob Rice Produced by Megan Pickrell and Matt Porterfield EP Jeremy Garnder, Declan Morgan, Kristal Grueveski, Steve Holmgren, Eugene Sun Park, Jason Matsumoto DP Barton CortrightPD Madeline Sadowski EDIT Mina Kim Fitzpatrick SOUND Arjun G. Sheth MUSIC Curtis Green POSTER Version Industries Contact: ponderosa@42west.com ARE.NA <img width="1000" height="797" width_o="1000" height_o="797" data-src="https://freight.cargo.site/t/original/i/baa7e1f38d6748fcf6e71e52d4973f101a60fac52fcfebfd774bf77fb6e767ae/Curtain.jpeg" data-mid="148074116" border="0" src="https://freight.cargo.site/w/1000/i/baa7e1f38d6748fcf6e71e52d4973f101a60fac52fcfebfd774bf77fb6e767ae/Curtain.jpeg" /> ...is a terrifying bunuelian comedy about ideological reproduction and some cathartic ways to sabotage it. When the buffet where Zeke’s mom works closes down, he’s forced to entertain the advances of a rich regular who seems strangely set on becoming his dad. <img width="1000" height="798" width_o="1000" height_o="798" data-src="https://freight.cargo.site/t/original/i/6098a85367cd6afa6c8c49bc68ebd60fb3fff6a5a9c244fefbd234e92bf18c50/VAL1_SULTAN_Suburban_Street_In_Studio_2000-1000x798.jpeg" data-mid="148074119" border="0" src="https://freight.cargo.site/w/1000/i/6098a85367cd6afa6c8c49bc68ebd60fb3fff6a5a9c244fefbd234e92bf18c50/VAL1_SULTAN_Suburban_Street_In_Studio_2000-1000x798.jpeg" /> <img width="2500" height="1978" width_o="2500" height_o="1978" data-src="https://freight.cargo.site/t/original/i/dc063729652f10658233bb2c2881f9476eff20c4471844bc78a8dffbc762d6ab/032_StrangersPassing.jpeg" data-mid="148074120" border="0" src="https://freight.cargo.site/w/1000/i/dc063729652f10658233bb2c2881f9476eff20c4471844bc78a8dffbc762d6ab/032_StrangersPassing.jpeg" /><img width="1000" height="797" width_o="1000" height_o="797" data-src="https://freight.cargo.site/t/original/i/795dcac7c9a6fa24c2dea6d1b0b66c1dc0b0b374f08acb4a6ce2a1574991f277/sensing-man.jpeg" data-mid="148074118" border="0" src="https://freight.cargo.site/w/1000/i/795dcac7c9a6fa24c2dea6d1b0b66c1dc0b0b374f08acb4a6ce2a1574991f277/sensing-man.jpeg" /><img width="1200" height="967" width_o="1200" height_o="967" data-src="https://freight.cargo.site/t/original/i/47bc7fa50fc66069db062d72d4319c0a5e4f60d6cf4ed642a8783146c911a016/SULVAL2002_Bankbox1_BackyardFilmSet-1200x967.jpeg" data-mid="148074117" border="0" src="https://freight.cargo.site/w/1000/i/47bc7fa50fc66069db062d72d4319c0a5e4f60d6cf4ed642a8783146c911a016/SULVAL2002_Bankbox1_BackyardFilmSet-1200x967.jpeg" /> https://redmilkroe.com/Loss-For-Words Sat, 30 Oct 2021 19:17:51 +0000 Rob Rice https://redmilkroe.com/Loss-For-Words Loss For Words &nbsp; Song by Colyn Cameron Film dir. Rob Rice / dp. Ellington Tynes / prod. Xavier Hamel / starring Yuan Lingxi and Colyn Cameron / edit Rob Rice / lettering by Kirsten Bauerwith help from Frank Lucatuorto, Doore Jang and the good people of Needles, CA premiere on boooooom https://redmilkroe.com/PRODUCING Fri, 10 May 2024 22:17:23 +0000 Rob Rice https://redmilkroe.com/PRODUCING PRODUCING&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; (ETC)&nbsp; *******************************************<img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/2c0e7d15bb8f158a54a0e0ad5f55dc54849c7771d93473642676c182387d012a/_1200x800_family_1-76-3-1.jpeg" data-mid="210691677" border="0" src="https://freight.cargo.site/w/1000/i/2c0e7d15bb8f158a54a0e0ad5f55dc54849c7771d93473642676c182387d012a/_1200x800_family_1-76-3-1.jpeg" /> FAMILY PORTRAIT dir. LUCY KERRrt 73’ premiere LOCARNO 2023 Boccalino d'Oro for Best Director dist. Factory 25 co-producer, co-writer prod&nbsp; Megan Pickrelldp.&nbsp; &nbsp;Lidia Nikonova <img width="3996" height="2160" width_o="3996" height_o="2160" data-src="https://freight.cargo.site/t/original/i/51fce0eb9dd815397022bf7b9bea9b464a4c0a701bb49bef26eadd2c817a156c/XEMP_STILL_109.jpg" data-mid="210691798" border="0" src="https://freight.cargo.site/w/1000/i/51fce0eb9dd815397022bf7b9bea9b464a4c0a701bb49bef26eadd2c817a156c/XEMP_STILL_109.jpg" /> CHRISTMAS EVE IN MILLER’S POINTdir. Tyler Taormina rt 106’ premiere CANNES 2024 dist. IFC producer prod&nbsp; &nbsp;Krista Mintodp.&nbsp; &nbsp; Carson Lund <img width="1300" height="949" width_o="1300" height_o="949" data-src="https://freight.cargo.site/t/original/i/7b0c728ead772f675c2d7c0f5420f0a455905bd4b11d8f148e5ab069f79af4d0/large_big_room-temperature-02_o_1henp6v3p14msv3i1dpcgd0176b8.jpeg" data-mid="210691922" border="0" src="https://freight.cargo.site/w/1000/i/7b0c728ead772f675c2d7c0f5420f0a455905bd4b11d8f148e5ab069f79af4d0/large_big_room-temperature-02_o_1henp6v3p14msv3i1dpcgd0176b8.jpeg" /> ROOM TEMPERATURE dirs. Dennis Cooper and Zac Farely&nbsp;premiere LAFM 2025&nbsp; assistant directordp. Yaroslav Golovkin <img width="1902" height="1080" width_o="1902" height_o="1080" data-src="https://freight.cargo.site/t/original/i/42b3d04b52933192c22046e54ad90f0d99d3504802dcf20449bbbb4780781094/Screen-Shot-2024-05-10-at-3.52.00-PM.png" data-mid="210692145" border="0" src="https://freight.cargo.site/w/1000/i/42b3d04b52933192c22046e54ad90f0d99d3504802dcf20449bbbb4780781094/Screen-Shot-2024-05-10-at-3.52.00-PM.png" /> MOTHER YOU HAVE NOT DIED YET...dir. Advik Beni PREMIERE INFO COMING SOON!!!! producer prod w/ Nehal Vyas https://redmilkroe.com/CV Sat, 30 Oct 2021 19:34:23 +0000 Rob Rice https://redmilkroe.com/CV https://www.imdb.com/name/nm11356011/?ref_=nm_mv_desc <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/d8d70a2312ebc57a971b002731d37d912ba51f4a06a88f2a5396c38b96e8fa81/DSC02720.jpg" data-mid="123155203" border="0" src="https://freight.cargo.site/w/1000/i/d8d70a2312ebc57a971b002731d37d912ba51f4a06a88f2a5396c38b96e8fa81/DSC02720.jpg" /> Master of Fine Arts Film Directing California Institute of The Arts Master of Neuroscience Tulane University Bachelor of Neuroscience Tulane University https://redmilkroe.com/Main-page Thu, 28 Oct 2021 17:32:15 +0000 Rob Rice https://redmilkroe.com/Main-page PONDEROSA.&nbsp; --- &nbsp;WAY OUT AHEAD OF US.&nbsp; --- &nbsp;PRODUCING.&nbsp; --- &nbsp;OTHER.&nbsp; &nbsp; &nbsp; <img width="2048" height="1364" width_o="2048" height_o="1364" data-src="https://freight.cargo.site/t/original/i/4ddc88d782d3541e36ac850a9073af2623363acff5782dd0f0ce1055fdc2dcb3/Asset0038.jpg" data-mid="123128617" border="0" data-scale="84" src="https://freight.cargo.site/w/1000/i/4ddc88d782d3541e36ac850a9073af2623363acff5782dd0f0ce1055fdc2dcb3/Asset0038.jpg" /> https://redmilkroe.com/Upcoming-Films Thu, 28 Oct 2021 18:25:09 +0000 Rob Rice https://redmilkroe.com/Upcoming-Films UPCOMING FILMS &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; <img width="1080" height="536" width_o="1080" height_o="536" data-src="https://freight.cargo.site/t/original/i/2ef6db9ee34857dc2321b12a9fddfe3a0763565e597f92acbb14dbcd0c92fe45/Picture1.jpg" data-mid="123142548" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/2ef6db9ee34857dc2321b12a9fddfe3a0763565e597f92acbb14dbcd0c92fe45/Picture1.jpg" /> Ponderosafeature fictionpre-production A terrifying Buneulian comedy about right-wing ideological reproduction and some cathartic ways to sabotage it. When the buffet where Zeke’s mom works closes down, he’s forced to entertain the advances of a rich regular who seems strangely set on becoming his dad. Read more... ------------------------------------------------------------------------------------------------------- <img width="582" height="422" width_o="582" height_o="422" data-src="https://freight.cargo.site/t/original/i/a5bfb8ad6abcfe1940c9436dec65a4eeaa5ca900e8e5906ab2ba4547cadc345f/SpecmAPS-5.jpg" data-mid="123141689" border="0" data-scale="100" src="https://freight.cargo.site/w/582/i/a5bfb8ad6abcfe1940c9436dec65a4eeaa5ca900e8e5906ab2ba4547cadc345f/SpecmAPS-5.jpg" /> ARCADIA feature fiction in pre-production A disaffected academic cartographer sabotages the costly fiber optic cable voyage she’s on, convinced she’s about to discover a new continent.&nbsp; Read more... <img width="3130" height="2075" width_o="3130" height_o="2075" data-src="https://freight.cargo.site/t/original/i/1268b4018ef09873cbc5803b8452daddab57d24d8af8d7b987bf0509f25667d8/000074490026.jpg" data-mid="123140615" border="0" src="https://freight.cargo.site/w/1000/i/1268b4018ef09873cbc5803b8452daddab57d24d8af8d7b987bf0509f25667d8/000074490026.jpg" /> Business Landscape&nbsp;feature docpre-production Bitcoin bunkers, brothels, server farms, visionaries, water, the desert, the future, the past, and the promise of an apocalypse-proof economy. Read more...