Cedar Sherbert

GestureDown SherbertCedar Sherbert is an enrolled member of the Iipay Nation of Santa Ysabel. He holds an MFA in film production from the USC School of Cinematic Arts, where as an undergrad he earned a Bachelor of Arts in Comparative Literature.

Cedar is currently adapting a short story by Joyce Carol Oates as well as a feature-length autobiographical project and television pilot co-authored with journalist Matthew Fleischer.

 

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Cedar Recommends

Anyone who’s spent a block of days at any film festival knows that despite an event’s name or reputation or pedigree, in the end it’s all something of a crapshoot: the mid-afternoon film that you go in knowing nothing about, a few hours later becomes the film you can’t stop talking about; the hot-ticket number with a line around the block might elicit little more than a shrug and a few polite adjectives that night over drinks. You know what I mean.

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FICG in LA at OUTFEST 2015!

It’s the second year of the partnership between FICG in LA and Outfest, the venerable L.A.-based LGBT film festival, and I’d been asked to write about it while knowing little about the whys and hows of the collaboration and not much more about Outfest. I have friends and colleagues who’ve been lucky enough to screen there over the years and have attended a few parties, but little beyond that. Considering the recent (and long overdue) legal and cultural victories surrounding marriage equality, however, it was clear that my sparse knowledge and attendance of the festival really had no excuse, so an invite to catch the L.A. premiere of Peter Greenaway’s EISENSTEIN IN GUANAJUATO, co-sponsored by FICG in LA, was accepted enthusiastically.

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FICG in LA at NALIP Media Summit

 

FICGinLATired, cranky, sweaty. Tired as it had been a rough night’s sleep, one of those nights where, for no apparent reason, sleep becomes elusive and you spend the night tossing, turning, watching the black of night slowly become the bluegray of morning. Cranky as, while I was waiting to be overtaken by sleep, someone was slithering beneath my car and stealing its catalytic converter (didn’t know the precious metals they contain makes them an attractive target for thieves. I do now). Sweaty as, now that driving wasn’t an option, my bicycle had to carry me on this sweltering day from errand to errand before I was to arrive at the Egyptian. I knew it was the opening night of NALIP’s annual conference and that FICG in LA, the wonderful arm of FICG that the even more wonderful Hebe Tabachnik had brought me into last year, was joining forces with the formidable NALIP, whose presence in this town is a lifeline to so many, and Hebe herself was to receive some form of formal recognition. What that all meant I had no idea. A few last minute additions to the schedule meant it was going to be a full evening, and Hebe was nowhere to be found.

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There’s nothing to lose and everything to gain

There’s nothing to lose and everything to gain -  June 19,2015

At some point in every filmmaker’s journey, he or she becomes all too aware of the setbacks that are filmmaking’s own death and taxes: the rush of production leads into intense days spent at the home editing setup where the film comes together…And. Then. It. Stops. The challenges of post-production hit you. The film is there but the resources aren’t.

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