Shirley came to love the movies because she was prohibited to watch them. There used to be a movie on television on Saturday night but the children were bundled into bed for the Sunday church service. She was scared to be on the wrong side of angels when they separated the wicked from the just on Judgement Day. The first film she saw happened to be ‘The Angel’. She was watchful, covering the television screen with a dark cloth and peeping in, so the escaping light wouldn’t betray her. The film showed her the benign side of the angles that the Bible had warned her against.
Interested in how cinema can give form to the many faces of the human imagination, Shirley began to make movies. She has directed documentaries for the Guardian, Al Jazeera English and Doordarshan India. Her work is supported by the Sundance Institute, Bertha Foundation, Filmmaker Fund, PMA WorldView and Asian Cinema Fund. She has been a fellow of the Sundance Institute, Cluster of Excellence “Asia Europe in a Global Context”, Goethe-Institut and TasveerGhar.
One winter night, Amit sneaked out of his grandparent’s home in the village. They were screening a movie in the school’s courtyard to celebrate a wedding. He crawled inside the white wedding tent to find his friends, plumes of smoke, and a huge screen lit with images. In the morning, Amit’s grandmother found him sleeping, wrapped in the lose flaps of the tent. She pulled him out of the swathes of canvas and touched his forehead for signs of fever. He was fine and was punished for his indiscretion. All afternoon, Amit worked on compost being prepared to plant mango saplings. Since then, Amit has found the musty smell of the compost indelibly intertwined with his first memories of cinema, rooted deep in his grandmother’s mango orchard.
Amit Madheshiya is a photographer and filmmaker. His photographs have won awards from World Press Photo and World Photography Awards, and have been shown in solo and group exhibitions worldwide. He is a fellow of the Sundance Institute, Goethe-Institut, India Foundation for the Arts, Arts Council of England and the University of Heidelberg.
Shirley and Amit founded Cave Pictures in 2015. The Cinema Travellers is their first feature length film production.
Four-time Emmy award winning and composer of the Grammy award winning album, Ask Your Mama, Laura Karpman maintains a vibrant career in film, television, videogame, concert and theater music. Her distinguished credits include the hit series Underground, where she collaborated with Rapheal Saadiq and John Legend, scoring Kasi Lemmons’ Black Nativity, Spielberg’s miniseries Taken, the Showtime series Odyssey 5 and Masters of Science Fiction (both Emmy-nominated). She has received two GANG awards and an additional nomination for her videogame music which has been performed by orchestras internationally. Commissioned by Carnegie Hall, Karpman collaborated with soprano Jessye Norman and The Roots on Ask Your Mama, a multimedia opera on a text by Langston Hughes, which received its sold out premiere at Carnegie Hall in March 2009, and its West Coast premiere at The Hollywood Bowl and was revived at the Apollo Theater in Harlem. The recording received three Grammy nominations and won two awards. Karpman is looking forward to the premiere of Wilde Tales, a children’s opera commissioned by the Glimmerglass Festival. She has been awarded a grant from Opera America to develop an opera with NY Times columnist Gail Collins called Balls! based on the match between Billie Jean King and Bobby Riggs. She has served as an advisor for the Sundance Documentary Lab, and is a new member of the Academy of Motion Pictures. She is proud to be the president of the Alliance for Women Film Composers.
Juilliard-trained composer Nora Kroll-Rosenbaum, born New York City, collaborates with radical filmmakers and ingenious musicians on scores that include Nikole Beckwith’s Stockolm, Pennsylvania (Sundance), Nancy Kates’Regarding Susan Sontag (HBO, Tribeca), Deepti Kakkar & Fahad Mustafa’s Powerless/ Katiyabaaz (Berlinale, Tribeca), Michael Urie’s What’s Your Emergency, and Thabo Wolfaardt’s Joburg (Telluride). Her commissions include the London Symphony Chorus, San Francisco Symphony, Seattle Symphony, and fellowships from the Sundance Composers Feature and Doc Labs. Her latest work includes producing and mixing Laura Karpman’s 2016 Grammy-winning album Ask Your Mama, and on the television series Underground.
The first "grown up movie" Pete Horner saw in the theater was The Empire Strikes Back. But it was actually the NPR produced radio play of the Star Wars saga that was his primary experience of those films, stories told entirely with sound. But for most of his childhood, movies were simply entertainment. It wasn't until a formative summer at music school that he stumbled into a different kind of movie, Wim Wenders Wings of Desire. He showed up late and was completely confused by the plot, but recognized that there was something more going on in this film than in the Indiana Jones movie he saw the previous week. It was his first understanding that film could explore the same depths of emotion and human experience as music, his passion to that point.
Pete went on to study percussion and music recording at the Cleveland Institute of Music, but returned to film and discovered the musicality of film sound at American Zoetrope working as a sound editor on Apocalypse Now Redux, and a 5.1 remix of The Conversation under the mentorship of Walter Murch. His film education continued as an apprentice in Murch's picture department on Jarhead. He returned to sound working with Murch as sound designer and mixer on Francis Coppola’s Youth Without Youth and mixer on Tetro.
In 2007 Pete joined the rebels at Skywalker Sound and discovered a community of sound artists that embrace the full range of filmmaking, from blockbusters to indie art films. Pete has mixed and/or designed 16 films that have premiered at the Sundance Film Festival including Hellion, Rich Hill, 20 Feet From Stardom, The Queen of Versailles, and Upstream Color which won a Special Jury Prize for Sound Design. In 2012 he designed and mixed Philip Kaufman’s Hemingway and Gellhorn, for which he won an Emmy. Recently Pete finished work on Jurassic World, Best of Enemies, Romeo is Bleeding, and Life Animated.
As a child, growing up in New York City, Jonathan loved to watch Million Dollar Movie, a local TV show that ran the same feature film twelve times in a week. He would watch each movie as often as he could, eight or nine times; he was never bored. Many years later, as an assistant film editor for the documentary, Streetwise, he watched over a hundred of hours of dailies, feeling that what he was viewing was a mass of incoherent, irredeemable fragments. Seeing editor Nancy Baker create an indelible form from this chaos made him understand that non-fiction film editing could be a true art form, an art form he wanted to devote his life to. Repetitive viewing--so much a part of the editing process-- was an activity he had already learned to value as a child; a way to absorb the essence of the many films he watched on Million Dollar Movie.
Jonathan Oppenheim’s editing credits include Paris Is Burning, Sister Helen and Oscar nominee, Children Underground. He edited and co-produced the second film in Laura Poitras’ post 9/11 trilogy, The Oath, a psychological portrait of Osama bin Laden’s former bodyguard. He was the co-editor of William and the Windmill, winner of the 2013 Grand Jury Prize at SXSW, which, through the lens of a single relationship, looks at the unintended consequences of providing help to the developing world; and he was the editor and co-producer of Before and After Dinner, a film about Andre Gregory, avant garde theater director and co-star of My Dinner with Andre. He also edited the critically acclaimed feature documentary, Arguing The World, an exploration of the intersecting lives of four New York Intellectuals spanning six decades, which received a Peabody Award.
Movies have been Manoj's indulgence since he was a child. He remembers saving up money to watch them with friends. When he was 11 years old, Manoj found his way to Bombay and saw his first movie on the big screen. Life became bigger! The heroes were bigger and so were their battles. Manoj knew he had to work in the movies. His career as a colorist started with the first Digital Intermediate (DI) project in India for Harry Baweja’s Qayamat in 2003 at Prime Focus. Following this, were a series of blockbusters like Black, Guru, Sarkaar, Chak de India, Jodha Akbar and Shaitan, to name a few. As a colorist, he has worked his magic on more than 75 feature films.