Tanner Christensen’s documentary “Standout: The Ben Kjar Story” is a showcase for an inspirational story and a welcome option for anyone looking for something different from the mainstream offerings at the multiplex.

“Standout” follows the true story of a young man from Centerville, Utah as he navigates difficult physical and social challenges to chase his passion for wrestling. Ben Kjar was born with a condition called Crouzon Syndrome, which required substantial surgery to his skull as an infant, and contributed to facial characteristics that often drew the wrong kind of attention as he grew up.

Early in the film, we follow the early stages of Kjar’s story as he struggles to reconcile his otherwise normal relationship with family and friends with his reality in public and at school, where his facial differences lead to bullying and other uncomfortable encounters.

Kjar’s reaction to this treatment provides the key to short and long-term success, and as “Standout” moves forward, we watch him become an energetic and popular presence, and eventually channel his energies into junior high and high school wrestling efforts. Most of “Standout’s” narrative is built around Kjar’s wrestling experience, which builds on the traditional underdog ethos as he sets ambitious goals and overcomes the odds to achieve them. But we also get additional information about what has happened to Kjar in adulthood, as it becomes clear that glory on the wrestling mat isn’t enough to solve all of life’s challenges.

On its own, Kjar’s story is inspiring enough to justify a watch, but Christensen’s efforts add a strong element of heart and craft to the final product. “Standout” goes beyond the archival footage and talking heads usually employed to do the heavy lifting in documentaries, and includes various recreations and contextual footage to further engage viewers. And in one unexpected twist of fate, Christensen’s team was able to find a young boy with Crouzon Syndrome to portray a young Kjar in the film.

“Standout” marks Christensen’s first effort as a director after several years as an editor. The film has plenty to offer a wide variety of audiences, but natives of Davis County will enjoy an extra level of appreciation for the film, which showcases familiar settings including Centerville Junior High School and Viewpoint High School, plus familiar faces like Kjar’s high school wrestling coach Bart Thompson. 

Having attended both schools–including a brief stint as a half-cocked journalist covering Viewmont’s wrestling team–it was a challenge to not just get caught up in the nostalgic side of the experience. But nostalgia and personal connections aside–I should note that I’ve known Tanner for many years–“Standout” adds craft and care to a strong story that bodes well for future productions.

The post First-time director delivers with inspirational ‘Standout’ appeared first on Utah.Film.

During the two years I spent as a missionary in Northern Illinois, I would occasionally wind up at an appointment where the investigator clearly wasn’t interested in learning about the Restored Gospel of Jesus Christ. In the best cases, they just wanted to have an intellectual discussion about theology, but often the culprit just wanted to “Bible Bash” and get into a religious debate.

“Heretic” felt like watching the worst-case version of that scenario, and so I found the film oddly relatable. Granted, I never had anyone barricade my companion and I in his basement as part of a sadistic experiment meant to test the reality of the afterlife, but I think you follow my point.

Written and directed by Scott Beck and Bryan Woods, “Heretic” puts a pair of sister missionaries in harm’s way. Sister Barnes (Sophie Thatcher) is the veteran, streetwise and savvy, where Sister Paxton (Chloe East) evokes the naive, wide-eyed wonder of a young woman out in the world for the first time. Their investigator, Mr. Reed (Hugh Grant) seems nice enough, but the sisters only agree to enter his home with the assurance that his wife will be along shortly.

Once the sisters come inside, Mr. Reed starts asking them a series of increasingly invasive and awkward questions about their faith. It soon becomes clear that 1) he probably doesn’t have a wife, and 2) he is no stranger to the general beliefs and history of the Church of Jesus Christ of latter-Day Saints, or at least the routine objections to them.

As the sisters realize they’ve been locked in his home, Reid runs down a list of familiar accusations: church revelation is nothing more than a device of convenience, polygamy was made up to justify extra-marital affairs, etc. It all underscores Reed’s unoriginal perspective on religion in general: they’re all the same, and they all just want to tell you what to do. The real question is what Reed stands to gain from this whole production.

And that’s the real problem with “Heretic.” On the one hand, it’s an exploration of the nature of faith, questioning why we do the things we do. On the other, it’s a horror movie built on a mystery that has to be solved. For a while, Beck and Woods are able to make these parts work quite well; “Heretic” starts off with a solid premise, and for a while it’s able to create some genuine tension. But eventually the story moves on to the more traditional R-rated scary stuff, and once we find out what’s going on in the basement, things get a lot less interesting, and a lot more muddled.

“Heretic’s” best quality by far is the performance of its leads. Grant is masterful as a creepy villain who can manipulate at will, and Thatcher and East match his effort as sympathetic and believable victims. Unfortunately, the second half of the script leads “Heretic” into a no-win situation, and along with some missteps along the way (such as one character’s sudden turn from well-intentioned airhead to hyper-observant super-sleuth), an unsatisfying ending undermines the total experience.

With memories of the celebrated “Book of Mormon” musical ringing in my memory, I arrived at “Heretic” bracing for the worst. What I found got a lot of things right and a few things wrong, and I did appreciate a couple of moments that seemed to evoke real sympathy for the sisters. So I can give “Heretic” credit for trying to be a thought-provoking horror movie, even if its arguments are a little well-trod at this point.

Some may see “Heretic” as an attack on a specific faith, and some may see its subject as a way to connect to some broader discussions on religion in general. I’ll mostly remember it for some creepy performances, and for being guilty of cinema’s most common sin: a weak ending.

—

“Heretic” is rated R for some bloody violence, gore, and vulgar dialogue.

The post Weak ending undermines suspenseful ‘Heretic’ appeared first on Utah.Film.

Five people suddenly wake up from cryosleep in a mysterious underground facility with no immediate recollection of who they are or why they are there. As they get a sense of their roles and situation, not all is as it appears as each person seems to be concealing their own secrets.

Bravo, guys!

Although it is a local, independently made film, there are some very impressive elements. My favorite part has to be the location. The bones of the facility has a cool texture, and it is dressed like a puzzling underground lab. While I don’t usually like intense monochromatic color schemes, the lighting and coloring made the visuals very interesting, adding a lot to the tone. While these were physical tools that built the tension, there’s a great deal of attention given to the psychological side through how scenes are cut together and how sound is manipulated. I watched this one at home, but I imagine experiencing the sound in a theater would be incredible.

The performances were all pretty good—I always love seeing Michael Flynn—except for Curt Doussett whose aggression sets audience suspicions off balance. I really wanted to foster an even distrust with each character, but Doussett came off a little strong, conveniently knowing too much right off the bat. I don’t think it’s his fault but the script’s, because the opening scenes when everyone first gets together are pretty clunky with him being the worst culprit of bad dialogue. The dialogue throughout was awkward, as each character spoke perfectly one at a time like in a play. Natural arguments where characters are speaking over one another would have been more realistic and would have picked up the pacing.

Besides those issues, I love how the script turns on each character like in a game of Clue. In fact, there happens to be a clever scene of characters playing the game in the first half to get them bonding. In addition to Clue, there are many allusions and references that nicely tie into the story and made me an active audience member, constantly guessing what would happen next.

The story itself is unlike anything I had seen before. It makes you feel uneasy like “Ex Machina” and claustrophobic like “10 Cloverfield Lane” with other familiar themes from the genre, but I don’t really want to compare this movie because it does feel unique. The ending is so satisfying and thoroughly enjoyable to see unfold. The only thing that would have made it better was fixing some inconsistencies with injuries and placement in the facility; I think it was intentional, but they looked like mistakes, and it detracted a little from the big reveal when it could have enhanced it.  

All in all, while it isn’t without its flaws, this was a very well-crafted film by people who were clearly passionate about telling an interesting story, which is what I have been craving in modern cinema. And let’s not forget that this was directed by Utah filmmaker Barrett Burgin, filmed in Provo, with a Utah crew! For something of this caliber, that’s a big deal and I hope it does well once it gets a wider release in select theaters June 24^th and VOD June 28^th.

Parent’s Guide: PG-13

More than anything, the tone is what would make this one too scary for young kids with the red lights, a featured pool of blood, and mysterious shadowy figures following the main characters. One of the opening scenes features the silhouette of a nude woman as she leaves her cryochamber, but nothing is ever shown. It wasn’t until one scene with a couple of swear words (including an F-bomb) that I realized there hadn’t been any language in this movie. I wish they didn’t put any in because the few profanities seemed oddly placed in an otherwise fairly clean film. There are also some intense scenes of physical conflict, but there isn’t any gore. Definitely a PG-13 but a comparatively safe one.

The post “Cryo” (2022) is one to keep on your radar appeared first on Utah.Film.

Based on stories in the New (and Old) Testament, “The Chosen” brings to life how Jesus Christ led his followers as they went about doing good. I first thought from the previews that the show would center on all the expected Bible stories, following the life of Jesus–you know, as a “Chosen One.” I was wrong, though, as “the chosen” refers to those who Jesus chose to follow him. The show gives a lot more background on the kinds of lives these characters would have led and how they would have fit into this time period. 

The first season focuses primarily on introducing the apostles and how Jesus comes into their lives, although he is not quite ready to begin his official ministry. In season two, Jesus is now gaining some notoriety in many cities by performing miracles and teaching large crowds all day long. The apostles feel overwhelmed by the duty they feel in protecting Jesus and performing their new roles as a cohesive team. 

A Different Kind of Production

The most important thing to address here that puts all the religious stuff to the side is everything we can analyze about the production itself. “Get used to different” is a popular phrase in this series, but it must be director and producer Dallas Jenkin’s project motto because he is doing everything differently with this show.

This show got a lot of attention originally because it was (and still is) the #1 crowdfunded film/TV project. It came in high demand which gave a high quality show in response with the $10 million it raised. I think this is an interesting fact because it puts the audiences in the executive chair since they are the investors. 

Because of that, there is a strong relationship between the production team and their audience. It is fascinating to see The Chosen’s presence on social media because they are constantly responding to feedback from followers with kindness and passion for what they are doing, as well as documenting all the behind the scenes action. I learn so much about the trials and triumphs of TV show filming from their consistent video and photo updates. If you have an interest in behind the scenes work like I do, check them out!

Since the show was independently created, it also had a similar distribution plan. Their ingenuity continued to shine here by streaming the show on their own app (as well as the app of their Utah-based partners, VidAngel). Instead of charging for the price of a normal streaming service, each episode viewed is paid by those who feel so inclined to “pay it forward.” Appealing to and relying on the generosity of others is how the show came into being, so using that same tactic to fund the streaming site was a brilliant move.

Their ties with Utah doesn’t stop with VidAngel. Season two (and the upcoming seasons) received special permission from The Church of Jesus Christ of Latter-day Saints to be filmed at the Jerusalem set in Goshen, UT. The set is strictly reserved for church use, and many have tried and failed to get permission to film there. And yet, Jenkin’s team was successful, and this change of location really helps add to the immersive experience they strive to achieve. With so many people of different faiths working on this project together, I think it is wonderful that our state has been able to get involved in this innovatively collaborative piece.

From how it came to be, how it is being filmed, and how it is being shared, I think that “The Chosen” is trailblazing new possible paths for filmmakers (especially those religiously inclined) that I hope to see more of in the future. 

Context is Everything

The best word I could use to describe this show is organic. The background they use physically with the set and emotionally in the characterization creates a world in which these well known stories come about so naturally. It gives so much added context to the meaning of the parables and the meaningfulness of the miracles. You can’t help but identify with the characters’ personalities and journeys.

The way they started season two was so clever. They recapped season one through the context of James writing down the characters’ accounts a couple of years in the future. They all have a sort of sadness to them, foreshadowing a day when Jesus is no longer with them. This opening scene helps transition back into the present timeline where we left off with the last season of Jesus teaching to Samaritans.

The whole cast is fabulous, but Jonathan Roumie in particular as Jesus brings something incredible to the table. I did a small research paper on how people reacted to his portrayal which you can check out here. Nearly everyone found him to be very sincere, personable, and respectful.

All in all, that’s a good way to sum up all the characters. While there is humor and some casualness to make the show more real and relatable, it is done in a way that is still very respectful and solemn at all the right moments. Actually, it can pack quite an emotional punch at times.

For me, I binged the whole season in a week, watching one episode right after the other, and I really felt like I was spending the day with someone holy and real. I’m very religious, and this got me thinking of my beliefs at what seems to be a whole new level.

Just as a TV series without the religious context, it’s a great show. The characters and their stories are engaging. There’s more drama and higher stakes in this season which might make it more intriguing for nonreligious viewers. And the messages are so positive, uplifting and simply universal for whatever your religious views may be. I would highly recommend this show to anyone and everyone.

Parent’s Guide

Especially in season two, there are some serious topics touched on although nothing is ever explicit. You see characters in the depths of despair because of disabilities, demons, and the political tension with the Romans. This isn’t a Veggie Tales version of these stories, so parents may have to prepare their children for these struggles. Also, there is one episode (4) that shows men being crucified outside of Jerusalem as characters are passing by. This, again, gives context to the lives of these people, but a man’s hands are hammered in the distance and two others hang, blood dripping on their nearly bare bodies. It could be a little disturbing for young viewers.

The post Why we need to talk about The Chosen Season 2 appeared first on Utah.Film.

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That is the short and direct answer.

If you’d like to keep reading you can. Obviously, there is more content below where I yammer on about why one movie that wasn’t even on my radar caused me to walk away from pretty much the most fun I was having here in the Beehive state, but just know that every word I type from this point on will circle back to that first line.

So, if you don’t want to read about suicide rates, Utah politics, or the propaganda we digest as legitimate news, stop right here. Read that first line again, and then have a happy rest of the day.

If you’re still reading, well, damn. I don’t want to write this any more than you want to read it.

Me leaving KSL.com is one of those death-by-a-thousand-cuts things, and I really, really don’t want to cover each cut. Especially because, each cut should really be its own article, but I’m entirely too lazy to make this some four-part series on the state of the state I live in.

Instead, let’s do it this way. Let me just break this down into bite size, easy-to-read, and especially for my sake, easy-to-write chunks. You read what’s interesting to you and I finally get to put this ridiculous conversation behind me.

The last straw

Like I said above, me leaving all came down to a single movie – “Believer.”

Before finding out I couldn’t include “Believer” in my 2018 Sundance coverage, I barely knew anything about the film. I had some vague idea it involved the band Imagine Dragons, but beyond that, it was just one of the many Sundance documentaries I wouldn’t be writing about this year.

But when a fellow KSL movie contributor mentioned he’d like to add “Believer” to his coverage, we received the following text from our editor:

“I actually meant to bring that up— I don’t think we can do anything on the imagine dragons one. (Since it’s basically him speaking out against the church and we are owned by the church…) we did some stuff on their loveloud concert earlier this year and it ended up causing some issues and kinda being a mess.”

There might be a few ways to read that, right? I mean, looking back on it now, sure it seems straightforward but in the context of brainstorming event coverage, I originally read the message as, “Let’s not cover that one.”

And, let me just stop here for a minute. I need to be very clear that my editor is and has always been supportive of my personal convictions. No matter how you read this “Last straw” section, know that my editor is an amazing person who was only passing on the information she was given. I’ll let her speak to her personal beliefs whenever and wherever she chooses, but I hope no one takes anything said here as commentary on her personal convictions. She was simply the messenger.

That’s all. Back to the story.

I don’t really want to post our entire conversation for several reasons, but I also want to be transparent with how little this bothered me at first. My original reply was, “Well haha, I won’t even touch that. It was nowhere on my radar.”

And that, well, that was almost the end of it.

But as the conversation progressed, my mind kept getting pulled back to my editor’s comment. See, I had been battling the idea that KSL actively censored material for a long time. I had been especially concerned that KSL was spinning any information that looked bad for the church or cutting important details from stories at the expense of victims, if said details in any way contradicted the LDS narrative. I’ll get more into the why of that below, but for this section, just know this was already weighing on me when I said:

“I would just say I’ll take the Utah films but it would be pretty dishonest to not include the imagine dragons one…”

My editor agreed and gave some ideas on how we could cover the Utah angle without touching “Believer” or another film titled “Quiet Angels” – which she also identified as anti-Mormon and pro-LGBT.  Again, I get where she was coming from and I appreciate her trying to balance her marching orders with the coverage we felt best served Sundance. But by the end of the conversation, there was one line she texted that I just couldn’t let go of. She said:

“Lots of touchy politics when it comes to covering anything negative about the church… it’s like the ultimate nuke button of stories.”

To kind of wrap up this section and move onto why all of this was such a big deal to me, I’ll just say I didn’t end up covering anything for Sundance 2018. I wrote my editor about a week later, apologizing and explaining why I wouldn’t be able to write for her any longer, and as always, she was super understanding and supportive.

Believer

You might be wondering at this point, why is “Believer” so controversial?

I have no idea. I still haven’t seen it.

I grew up in a house where I was told Martin Scorsese’s “The Last Temptation of Christ” was the most blasphemous work every created and I should never, ever watch it. When I eventually did see it as an adult, I tried to understand the controversy. The only thing I could come up with was that God had been offended by the number of resources wasted on such a terrible movie.

Since wasting that 164 minutes of my life, I’ve decided never to comment on any controversy surrounding a movie I have yet to see.

The personal aspects

If you know me at all beyond a hello and neighborly wave, you’re probably aware I’ve battled serious depression most of my life. At my worst, suicide was a regularly considered option, and at my best I was still something of an unpleasant lunch date.

While I’ve tried meds, diet, exercise, self-help solutions, and about any other anecdotal offering out there, the only real progress I made in my fight with the illness was admitting to myself that the LDS church is not true.

Without spending too much time on this, I’ll just say I was raised Mormon. I served an LDS mission, graduated from BYU, married in a Mormon temple… all that. But the whole time I was in the faith, I would hear LDS solutions for cosmic quandaries and think, “That’s a pretty unlikely explanation, isn’t it?” Everyone else in my family or in some Mormon classroom would hear the same solution and nod as if the nonsensical answer made perfect sense, so I always assumed there was something wrong with me. I mean, if you’re in a room full of people you love and respect, and you’re the only one not buying that Native Americans are actually Jewish, you’re the problem, right?

You can answer that however you’d like, but my point is, I spent every day of my Mormon life feeling stupid for not totally buying that Earth’s earliest man was a Missouri resident. To anyone in my predicament who has felt like less of a person for doubting, well, the church offers this stunningly helpful advice. “Doubt your doubts before you doubt your faith.”—President Dieter F. Uchtdorf.

I’ve also known people who believe the LDS faith when it teaches your internet search histories can be next to murder. I’ve known women who feel guilty for wanting more of an identity than just being their husband’s wife, and worst of all, the church’s aggressive campaigns against the LGBTQ community leaves children wondering if becoming a suicide statistic would be easier on their families than admitting they’re gay.

In my opinion, the church needs to own this and admit they’re a big part of the suicide problem here in the state. I get there are people who will disagree with that. However, I hope even if you are someone who feels the church is not responsible for Utah having the highest suicide rate in the country, you would at least agree the church shouldn’t be in a position to censor any information that supports the correlation.

Who owns KSL?

To be honest, I have no idea how many people are aware of the fact the LDS church owns KSL.com, KSL radio, KSL Television and a myriad of other news and media outlets. I am also just as uncertain about how many people actually care. Seeing as most of the state of Utah belongs to the LDS church, I would guess residents here place their faith in, well, their faith over that of any mainstream media outlet. As a result, it’s very possible regular KSL readers are this far along in the article still wondering why I left KSL.

To those readers, I’ll just say, I find it concerning that the main source of information feeding through the state of Utah is actually coming from a special interest group pretending to be a legitimate news organization.

Utah’s suicide rate

Here is the crux of the issue. To quote Luke Ramseth of The Salt Lake Tribune,“suicide is the leading cause of death for Utah youths ages 10 to 17. The state’s suicide rate for all ages is more than 60 percent above the national average.”

The LDS church does not actively hide this statistic, and in fact, it’s even starting to put material out to help people better understand the issue. Unfortunately, as mentioned above, they’re also active doing everything they can to distance themselves from any correlation to the statistic. This is why my editor was not allowed to run anything on “Believer,” and this is also why the church’s material on suicide never mentions anything about the threat to the LGBTQ community.

To me, this is especially upsetting. Not only does the church aggressively criticize gay individuals, they pretend the community doesn’t exist when speaking out about the suicide problem here in Utah.

The history of the LDS church and the LGBTQ community

There’s just too much, isn’t there? If you’re unaware of how actively terrible the Mormon church has been to the LGBTQ community, I can’t even scratch the surface here.

Just in very recent history we have everything from church officials asking believers why God would ever create a gay person, to creating policy forbidding the blessing of babies of gay couples, to supporting discrimination laws. If you’re a gay person who believes in Mormon theology, there is no ambiguity concerning your standing in the church.

If you’re really interested in how bad it’s been, I suggest taking a look at this page:

https://en.wikipedia.org/wiki/Timeline_of_LGBT_Mormon_history

To be fair, everyone has a pretty terrible history with the LGBTQ community pre-1950. To save you time, just begin your reading at 1970 when “The church produced Hope for Transgressors,in which apostles Kimball and Mark Petersen offer ideas to leaders about how to effect a ‘total cure’ and ‘bring the lives of [men with homosexual tendencies] into total normalcy’ and ‘help these people recover.’”

My conclusion

I’m pretty tired of writing this post and I imagine you’ve either skipped straight to this section or you’re pretty tired of reading my ramblings as well. So, let me just say, I really love the people I worked with at KSL. I loved our podcast, our endless movie debates, covering live events and also meeting people I would have never met had I not started writing 10 years ago. There is no version of an article like this where I wouldn’t say thank you for every memory and experience I got to enjoy because I was part of the KSL team.

I hope on some level, that helps you realize how painful a decision like this has been for me, but at the same time, how impossible it would have been to stand by an information network that is more propaganda than news – especially one that works hard to present itself as a news only organization.

I don’t know, maybe if I was onboard with the propaganda it would be different. I suspect not. But, maybe if the narrative I was actively writing for had to do with preventing people from feeding sad puppies to snakes, I’d still be there. As it stands now, people are dying, and I personally couldn’t find a way to separate KSL from the problem. In short, go read the very first line of this post for my conclusion.

The post Why I no longer write for KSL appeared first on Utah.Film.

As you may have already heard, the movie was pretty not great, and for most of the film’s 132-minute runtime, I could look around the theater to see people yawning, checking their watch or slumping further into their chair while we all waited for the closing credits.

But there was one moment where — and those of you who have seen the movie probably know where I’m going with this — our local Utah audience took notice. As Paul’s character races toward the starting line of the movie’s finale, he finds himself at the Bonneville Salt Flats.

I can’t remember the details concerning why his character was there, but I clearly remember the previously bored attendees sitting up in their seats and cheering as the camera panned the famous landmark.

It may be the only time in my life I’ve seen an audience applaud a movie’s scenery, but it was well deserved. To director Scott Waugh’s credit, locations tripped through the pointless adventure like cameos in a Muppet movie. And that cameo, the one that made random strangers want to turn to the person next to them for an unrehearsed high-five, was just one of many like-moments where Utah’s striking profile made a movie that much better.

Which got us at the KSL Indie Report wondering — what does it take to get Utah ready for its closeup?

To get answers to that question, and to find out more about resources for local filmmakers, we reached out to Utah Film Commission director Virginia Pearce.

Indie Report: Tell us about the Utah Film Commission.

Pearce: “The entertainment industry is integral to the creative fabric of Utah. The Utah Film Commission was established in 1974 to support the rich legacy of filmmaking across the state. We continue to help build Utah as a brand and to seek out innovative ways to showcase everything the state has to offer.

“We promote the use of professional and experienced local crew, talent, support services and locations, marketing Utah as a destination for award-winning content creation. With almost 1,000 films created in state, Utah has an undeniably deep and lasting commitment to the entertainment industry. The film industry’s contribution to Utah’s economy is evident in the jobs created and money spent locally, with 450 companies, over 4,000 employees and $110 million in Utah salaries.

“One of our focus areas is diversity. Just as Utah’s landscape is unique and diverse, we like to encourage the same with our filmmaking. We usually have a range of productions shooting in state at one time from established national networks (the likes of ABC, HBO and Disney) to smaller local, and sometimes first-time filmmakers. We recently launched a Community Film Incentive Program as a strand of the wider Motion Picture Incentive Program, created in 2011. Our intention was to create a focused initiative to nurture lower budget, Utah-based filmmakers and keep them in state. Ultimately, our mission is to welcome and support talent from all angles, create the best possible content and successfully grow Utah’s creative community.”

Indie Report: Should the Utah Film Commission be the first stop for locals interested in the film industry?

Pearce: “We see our office as a key industry resource. We can connect anyone working on a film-related project with the right people and point them in the best direction in terms of next steps. We often receive calls from locals asking about current productions shooting in state and potential casting and production opportunities. We usually recommend checking out our website (film.utah.gov) as there is a ‘production essentials’ tab, which is regularly updated. Locals can also keep up to date by checking out our news section, including our blog and industry newsletter. We have a new ‘spotlight’ blog series, highlighting local talent, which includes helpful advice for others hoping to break into the industry.”

Indie Report: Walk us through a day in the life of the Utah Film Commission staff

Pearce: “We tend to be in and out of the office quite regularly. While at our desks, we are usually helping with location inquiries, permits and connecting our local crew with opportunities. There is a lot of reactive and proactive outreach, and we often work with teams on commercials and small-scale student film content, as well as larger movies and TV series.

“When we’re out of office, we are visiting sets — and this could be anywhere from Salt Lake, Ogden or Park City, to Moab or the Salt Flats. We also regularly host, sponsor and support industry events. From the annual Sundance Film Festival, where we host a ‘living room’ space, to hosting production assistant workshops, our weeks are usually busy and varied.”

Indie Report: What are Utah’s most popular film locations and are some locations more expensive than others?

Pearce: “Our many red rock locations and our iconic Salt Flats are definitely some of our most popular film locations. We’ve seen these locations used as ‘Utah for Utah,’ as well as to create otherworldly settings (‘Westworld’ and ‘Galaxy Quest’). We do also get a lot of generic location requests. Quaint small-town neighborhoods, urban back alleys that could double as Chicago, and eerie cabins in the woods, for example. Utah’s versatility and accessibility are incredibly unique. Mountains, desert and lakes are all within just a couple of hours from the city.

“In terms of location costs, fees are set by the organizations that manage them and we direct people to speak with representatives of those, such as the Forest Service, state parks or Bureau of Land Management. We have a great page on our site that links to many of the key areas.”

Indie Report: Are there current job opportunities with the Utah Film Commission?

Pearce: “We have a small office and are not currently hiring. We do need volunteers for some of our larger events and recommend watching our website and newsletter for updates.”

Indie Report: How can residents help make Utah even more attractive to filmmakers?

Pearce: “Filmmakers always tell us how friendly and welcoming Utah locals are when they are filming here, which really speaks to our reputation as a film-friendly state. Michelle Manning, executive producer of Disney Channel’s ‘Andi Mack,’ said, ‘I have shot all over the world, but Utah is now my favorite place to film. It’s been a case of home-away-from-home for us and we’re eager to return to Salt Lake City.’

Our crews are hard working, professional and enthusiastic, and I love to see that Utah locals are proud of our locations and our heritage.

Conclusion

If you’re interested in finding out even more, check out the Utah Film Commission’s site at https://film.utah.gov, and for the many great photographers throughout the state, definitely check out the Film Commission’s This is Utahphoto contest going on through the month of November.

The post Utah Film Commission brings Hollywood to Utah appeared first on Utah.Film.

The oft-smiley Cuban-American is one of Utah’s favorite pastry chefs, both because of his Salt Lake City shop on Main Street — Fillings & Emulsions — and also because of his frequent cooking segments on local news stations.

In recent years, the charismatic chef has claimed the American Culinary Federation’s (ACF) State, Western Regional, and National Pastry Chef of the Year awards, and this year, Labrada is looking to bring home Food Network’s title of “Best Baker in America.”

After Labrada sailed through last week’s cake competition, we at KSL.com were able to sneak him a few questions before we tune-in to this week’s meringue challenge.

Tell us about yourself.

Labrada: I was born in Cuba and came to the United States when I was 28 in the year 2000. I learned a lot about baking from both my grandmas and continued to learn from various recipe books. I am not professionally trained but have been learning my trade for years. In 2012 I became ACF Pastry Chef of the Year and in 2013 opened my pastry shop Fillings & Emulsions in Salt Lake City.

What other influences have shaped your cooking?

Labrada: I have had many influences in my cooking, starting with a famous Cuban TV celebrity Nitza Villapol and many other local and national chefs. One of the pastry chefs I admire the most is Chef Diana Fallis from UVU. She shared a lot of her knowledge with me during my tenure there.

You mentioned on your website that a person learns a lot about a culture by the way they celebrate. What did you learn about Utah during your first 4th of July parade in Provo?

Labrada: I was just arriving from Cuba and the difference in the culture was really apparent. The parade was quiet and there was no loud music or people dancing and drinking everywhere. I learned that Utah was a quieter and more modest place than Havana for sure.

You are no stranger to cooking on television. What is different about being on Food Network’s Best Baker in America?

Labrada: This is a competition against eight very seasoned bakers. The stakes are definitely higher.

Sugar has been getting a lot of negative press lately. How do you think that will affect the pastry world in the near future?

Labrada: We will always have pastries. We had the same issues with Atkins, the Gluten Free craze and now sugar. We will find the way to accommodate our product to the market demands. People will always need something sweet. It’s part of who we are, it makes us happy and it brings us together.

What’s the one thing on your menu at Fillings & Emulsions you wish every customer would try?

Labrada: My macaroons, of course! But our meat pies are amazing as well.

This week, Labrada will be facing off against six remaining chefs in both a macaron and baked Alaska challenge. You can check out the episode Wednesday night (Oct. 4) at 8 p.m. and you can also learn more about Labrada on his website.

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When a Utah resident tells a stranger they’re from the Beehive State, said stranger usually replies, “Oh, I hear it’s beautiful there.” When someone asks that same Utah resident about their homeland, the local autopilot response is usually something like, “Well, it’s beautiful.”

These kinds of conversations happen all the time because, as it turns out, Utah is beautiful. But Utah is actually more than that. Utah is weird – in a good way.

From the San Rafael Swell to the Bonneville Salt Flats to Fantasy Canyon, Pando the Trembling Giant and the splendor that is Monument Valley, Utah is, as Ulysses Everett McGill says in “O Brother, Where Art Thou? ” “a geographical oddity.”

This is why filmmakers from around the world send location scouts to Utah when they’re looking for something different. When Gore Verbinski needs a place that looks like Davy Jones’ Locker, or Robert Zemeckis is sending Marty McFly back to the wild west, storytellers know those obscure places they see in their mind’s eye may just be hiding somewhere in Utah’s landscape.

So, this got us wondering – what stories are being told here now?

Thanks to the always wonderful people at the Utah Film Commission, this was a question we knew could be answered quickly. We’ll be reporting more on the great things the Utah Film Commission is up to in a soon-coming article. For now, here’s what the film commission’s Debra Vago had to say about five film and television projects currently being shot in the state of Utah.

The following text was taken verbatim, with permission, from a statement sent out by the Utah Film Commission.

Yellowstone

The anticipated TV series, “Yellowstone,” is now shooting in Utah, having been approved for a state film incentive this summer. Oscar-nominated filmmaker Taylor Sheridan, known for “Hell or High Water,” “Sicario” and the recent made-in-Utah “Wind River,” returns to Utah to direct the show. The series follows the Dutton family, controllers of the largest contiguous ranch in the country, which finds its borders under threat. Luke Grimes, Kelly Reilly and Cole Hauser will star alongside lead actor Kevin Costner.

Sheridan, winner of this year’s Festival de Cannes ‘Best Director’ award for “Wind River,” has cited Utah’s breathtaking scenery, accessibility, and reliable crew as just some of the reasons he chose to return to Utah. The show is expected to generate an economic impact of over $28 million and employ over 300 local cast and crew.

Andi Mack, Season Two

ANDI MACK – Production set. (Disney/ABC Television Group)
PRODUCTION SET

Disney Channel’s “Andi Mack” is currently filming its second season in Salt Lake City. The hit series follows the life of Andi (Peyton Elizabeth Lee) and her family and friends as she navigates the tricky terrain of early teen years. The show’s popularity to date is clear, with season one nearing 40 million views on seven digital platforms. All principal photography will take place this fall, with the production employing over 200 Utah cast and crew and spending approximately $15 million in the state.

Michelle Manning, executive producer of Disney Channel’s “Andi Mack,” said, “I have shot all over the world, but Utah is now my favorite place to film. This show has a special place in my heart and in season one, the cast and crew bond was like nothing I have ever experienced. It’s been a case of home away from home for us, and we’re eager to begin filming season two in and around Salt Lake City.”

Westworld, Season Two

After a successful first season (including 22 Emmy nominations), HBO’s hit western-sci-fi series, “Westworld,”returns to Utah this fall to shoot its second season, set to air in 2018. With an all-star cast and breathtaking southern Utah backdrop, “Westworld” garnered an average of 12 million viewers across all platforms and now ranks as the network’s most-watched first season ever.

The show’s iconic western setting has received much praise, and Jonathan Nolan, the show’s co-creator and executive producer, has spoken about being “drawn back” to southern Utah because of its “landscapes that don’t look like anywhere else on the face of the planet”.

Little Women

Louisa May Alcott’s much loved, coming-of-age tale of sisterhood is being reimagined, with production taking place here in Utah. The independent feature is due for release in 2018 to mark the 150th anniversary of the book’s publication.

Clare Niederpruem, who acted in the Utah-made film, “Once I Was a Beehive,” makes her directorial debut with this modern version of “Little Women.” Niederpruem also co-wrote the script with Kristi Shimek, who was editor on “Once I Was a Beehive”, among other films. The lovable Lea Thompson plays the family matriarch, Marmie, while “High School Musical’s” Lucas Grabeel returned to Utah to play Laurie. This is set to be the latest movie rendition of the classic story, which means a new set of March sisters to fall in love with.

Louisa May Alcott’s much loved, coming-of-age tale of sisterhood is being reimagined, with production taking place here in Utah. The independent feature is due for release in 2018 to mark the 150th anniversary of the book’s publication.

Clare Niederpruem, who acted in the Utah-made film, “Once I Was a Beehive,” makes her directorial debut with this modern version of “Little Women.” Niederpruem also co-wrote the script with Kristi Shimek, who was editor on “Once I Was a Beehive”, among other films. The lovable Lea Thompson plays the family matriarch, Marmie, while “High School Musical’s” Lucas Grabeel returned to Utah to play Laurie. This is set to be the latest movie rendition of the classic story, which means a new set of March sisters to fall in love with.

Behind You

Horror movie “Behind You” is now shooting in Utah County. The homegrown production received a state film incentive under the Community Film Incentive Program, a fund established to encourage up-and-coming, Utah-based talent to keep film projects in the state.

Co-written and co-directed by Andrew Mecham, producer of “Mythica: The Necromancer,” and YouTube Red Original, “A Trip to Unicorn Island,” as well as Matthew Whedon, brother of popular writer/director Joss Whedon. The feature tells the story of two sisters who find themselves in the home of their estranged Aunt and soon discover a dark presence who plans to use the girls to advance its evil purpose.

“We believe strongly in supporting and keeping film jobs in Utah. The majority of our team is local, including 100 percent of our crew. Although this film falls in the horror genre, it is projected to be PG-13, with a positive, uplifting message that love is more powerful than fear,” Mecham said.

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The 2017 Megaplex Theatres Silver Screen Classics series features ten of the most critically acclaimed movies ever made. Each film has been digitally remastered for the state-of-the-art projector and audio systems available at Megaplex. Each week will feature a different classic film.  The Megaplex Theatres Silver Screen Classics series starts the week of September 11, 2017 and continues until the week of November 13, 2017.

Patterned after the hugely successful Megaplex Kids Summer Movie Series, guests will have the opportunity to purchase a punch card good for ten Silver Screen Classic films over a ten week period.  Each punch card costs only $10 per guest and are available for purchase online at http://bit.ly/2017SilverScreen or at participating Megaplex Theatres locations.

“We’ve added more Megaplex locations and more screenings per week to help accommodate the many guests who want to enjoy these spectacular Hollywood films,” said Blake Andersen, president of Megaplex Theatres.  “We are delighted to offer generations of guests the opportunity to see some of the most iconic films ever made on the silver screens at Megaplex Theatres.”

Some of the greatest films ever made, including several Academy Award® Winners for Best Picture, will be shown at select Megaplex Theatres locations for the 2017 Megaplex Silver Screen Classics series.  This year’s schedule includes the following movie titles (film schedule subject to change without notice).

           Megaplex Theatres 2017 Silver Screen Classics

Presented in partnership with Coca Cola, the Silver Screen Classics will be shown twice daily on Mondays and Wednesdays at participating Megaplex Theatres from Logan to Mesquite, Nevada.  Scheduled show times will be at 2:00 p.m. and 7:00 p.m.

Each Silver Screen Classics movie pass costs only $10.  That means adults and children pay the same low price of only $1.00 per movie! Individual movie tickets may be available at the Box Office or Guest Service Desk at participating Megaplex locations for $1.50 each. Guests save 33% by purchasing the ten week 2017 Megaplex Silver Screen Classics Movie Pass over purchasing individual tickets at the box office.

One pass entitles one guest to attend up to ten different classic Hollywood films. All of the features are rated “G,” “PG,” or “PG-13” and are suitable for guests ages 13 and older.

Please check  http://bit.ly/2017SilverScreenInfo or your preferred Megaplex location for specific show dates.

Guests are encouraged to share their comments about the Megaplex Silver Screen Classics series and invite family and friends to participate via the company’s Social Media channels using the hashtag #MegaplexClassics.

*IMPORTANT:  Megaplex Silver Screen Classics movie titles are subject to change without notice. Each guest (adult or child) requires a separate paid admission pass. Visit  https://www.megaplextheatres.com/i/2017SilverScreen for details.

About Megaplex Theatres

Megaplex Theatres operates 17 locations across Utah and southern Nevada with a total of 185 screens, including five IMAX screens as well as a strategic partnership with the Mammoth Screen at Thanksgiving Point in Lehi. Megaplex also operates the only laser projection enabled auditorium in Utah.

Founded by the late Larry H. Miller, Megaplex Theatres are frequently among the top grossing in the nation and recognized as Utah’s favorite movie theatres. In addition, Megaplex Theatres feature regular and large-format movie screens, dinner and a movie gift options, conference and auditorium rental, and an industry-leading guest services team. Megaplex Theatres show times and other group information may be found on the web at www.MegaplexTheatres.com  or by calling (801) 304-4545. Guests are also invited to follow their favorite films on Facebook at www.facebook.com/MegaplexTheatres  and on Twitter @MegaplexTheatre.

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