Today we welcome San Francisco filmmaker Jayson Johnson to talk about his new short film Redress. Jayson shares his heart behind the film and why he decided to tackle the tough issues of race and injustice.
Neighbor is a short film about a homeless man who witnesses a kidnapping in the heart of suburbia. Written and directed by Tony Gapastione, the film deals directly with the uncomfortable issue of human trafficking happening here in the United States.
On today’s episode of Story Punch, we talk with some of the actors behind Neighbor who generously donated their time and traveled to Redwood City to make this project a reality. Along with the director, we’ll hear from actors Bruce Beatty (Straight Outta Compton), Anjelah Johnson (Not Fancy), and Dove Meir (NCIS: LA).
On June 2nd, Patty Jenkin’s Wonder Woman enters the fray of summer blockbuster season. Featuring an iconic character with 75 years of history, the film is a watershed moment for the superhero genre. But why is Wonder Woman such an anomaly and how did we get here?
Ryan A Bell is a digital storyteller and tech lover. As the founder of Summit Live and Head of Studio at VR Scout, he’s usually at the forefront of the latest developments in technology. Today he’s here to talk about making movies in virtual reality and the future of creative entertainment.
On today’s episode we are talking with Gideon C. Kennedy, the Alabama-based writer and co-director of Limo Ride. The film tells the story of a ragtag group of friends who find themselves in over their heads after renting a sketchy limousine during their annual New Year’s festivities
Gideon shares about the genesis of the film, its basis in real life Southern bar stories, and his research into the rite-of-passages narratives.
Cameo Wood is an independent filmmaker based in San Francisco. Combining her passion for artificial intelligence, neuromarketing, and cinema, she recently directed her short film Real Artists based on a short story by Ken Liu. On today’s episode, she shares about the film and how it came about.
Stories can cause us to feel a wide range of human emotions, but they can also be strangely manipulative. If storytelling is designed to lead an audience into an emotional experience, how do we tell the difference between real emotions and fake ones? And how do we make sure to write the real stuff?