Composer Will Bates has composed original scores for a myriad of filmmakers including acclaimed directors Mike Cahill (Another Earth; I Origins; Bliss), Alex Gibney (We Steal Secrets: The Story of Wikileaks; Going Clear: Scientology and the Prison of Belief; Zero Days; The Forever Prisoner), Ry Russo-Young (You Won’t Miss Me; Nobody Walks) and Fisher Stevens (Mission Blue; Bright Lights). 

Bates’ upcoming projects include Dark Sky Films’ Blackout, directed by Larry Fessenden and starring Marshall Bell, which hits theaters (limited run) on March 13th. Notable credits include Craig Gillespie’s Dumb Money; FX’s Class of ’09; AMC+’s Anne Rice's Mayfair Witches; Dean Craig’s comedy film The Estate; Michael Mohan’s thriller The Voyeurs; Michael Tyburski’s drama film The Sound of Silence; Starz's Sweetbitter; and the drama/sci-fi series Away; Netflix’s Golden Globe and Emmy-nominated mini-series Unbelievable; and the thriller limited series Devil in Ohio; SyFy’s hit series The Magicians; the George R.R. Martin produced series Nightflyers; Hulu’s series The Path; Chance; and The Looming Tower; NBC’s Rise; and more. Bates’ recent score for Michael Mohan’s Immaculate, starring Sydney Sweeney, premiered at SXSW on Tuesday, March 12th and hit theaters on March 22nd.

In an interview with Will Bates after the festival, here is what he had to say:
 

Can you tell us about your music background and what led you to film scoring?

WILL: I’ve always wanted to be a film composer. I think I was about 6 or 7 when I sang the entire score of Star Wars to my parents one morning. And once I realized that one man was responsible for all the tunes I’d been humming in my head, I decided I wanted to be John Williams when I grew up. I started playing the saxophone and at about 12 or 13 I got very into jazz. I had a rethink and thought maybe I’d like to be Cannonball Adderley instead. With my buddy Quentin Collins, I started playing in jazz clubs and bars around London from the age of about 14, masquerading as an 18-year-old, wearing my dad’s oversized suits. Then I discovered electronic music and released some obscure dance music on tiny London labels. I later moved to New York and became the lead singer of an Indie Rock band called The Rinse. We toured the US, opened for some big bands, and had a record released in Japan. But generally, we somehow dodged success like skilled ninjas. But all through that time, my lingering first love of scoring remained. The only way I ever learnt to support myself was by scoring commercials, first in London, and fi

Composer Will Bates has composed original scores for a myriad of filmmakers including acclaimed directors Mike Cahill (Another Earth; I Origins; Bliss), Alex Gibney (We Steal Secrets: The Story of Wikileaks; Going Clear: Scientology and the Prison of Belief; Zero Days; The Forever Prisoner), Ry Russo-Young (You Won’t Miss Me; Nobody Walks) and Fisher Stevens (Mission Blue; Bright Lights). 

Bates’ upcoming projects include Dark Sky Films’ Blackout, directed by Larry Fessenden and starring Marshall Bell, which hits theaters (limited run) on March 13th. Notable credits include Craig Gillespie’s Dumb Money; FX’s Class of ’09; AMC+’s Anne Rice's Mayfair Witches; Dean Craig’s comedy film The Estate; Michael Mohan’s thriller The Voyeurs; Michael Tyburski’s drama film The Sound of Silence; Starz's Sweetbitter; and the drama/sci-fi series Away; Netflix’s Golden Globe and Emmy-nominated mini-series Unbelievable; and the thriller limited series Devil in Ohio; SyFy’s hit series The Magicians; the George R.R. Martin produced series Nightflyers; Hulu’s series The Path; Chance; and The Looming Tower; NBC’s Rise; and more. Bates’ recent score for Michael Mohan’s Immaculate, starring Sydney Sweeney, premiered at SXSW on Tuesday, March 12th and hit theaters on March 22nd.

In an interview with Will Bates after the festival, here is what he had to say:
 

Can you tell us about your music background and what led you to film scoring?

WILL: I’ve always wanted to be a film composer. I think I was about 6 or 7 when I sang the entire score of Star Wars to my parents one morning. And once I realized that one man was responsible for all the tunes I’d been humming in my head, I decided I wanted to be John Williams when I grew up. I started playing the saxophone and at about 12 or 13 I got very into jazz. I had a rethink and thought maybe I’d like to be Cannonball Adderley instead. With my buddy Quentin Collins, I started playing in jazz clubs and bars around London from the age of about 14, masquerading as an 18-year-old, wearing my dad’s oversized suits. Then I discovered electronic music and released some obscure dance music on tiny London labels. I later moved to New York and became the lead singer of an Indie Rock band called The Rinse. We toured the US, opened for some big bands, and had a record released in Japan. But generally, we somehow dodged success like skilled ninjas. But all through that time, my lingering first love of scoring remained. The only way I ever learnt to support myself was by scoring commercials, first in London, and finally landing m

Composer Will Bates has composed original scores for a myriad of filmmakers including acclaimed directors Mike Cahill (Another Earth; I Origins; Bliss), Alex Gibney (We Steal Secrets: The Story of Wikileaks; Going Clear: Scientology and the Prison of Belief; Zero Days; The Forever Prisoner), Ry Russo-Young (You Won’t Miss Me; Nobody Walks) and Fisher Stevens (Mission Blue; Bright Lights). 

Bates’ upcoming projects include Dark Sky Films’ Blackout, directed by Larry Fessenden and starring Marshall Bell, which hits theaters (limited run) on March 13th. Notable credits include Craig Gillespie’s Dumb Money; FX’s Class of ’09; AMC+’s Anne Rice's Mayfair Witches; Dean Craig’s comedy film The Estate; Michael Mohan’s thriller The Voyeurs; Michael Tyburski’s drama film The Sound of Silence; Starz's Sweetbitter; and the drama/sci-fi series Away; Netflix’s Golden Globe and Emmy-nominated mini-series Unbelievable; and the thriller limited series Devil in Ohio; SyFy’s hit series The Magicians; the George R.R. Martin produced series Nightflyers; Hulu’s series The Path; Chance; and The Looming Tower; NBC’s Rise; and more. Bates’ recent score for Michael Mohan’s Immaculate, starring Sydney Sweeney, premiered at SXSW on Tuesday, March 12th and hit theaters on March 22nd.

In an interview with Will Bates after the festival, here is what he had to say:
 

Can you tell us about your music background and what led you to film scoring?

WILL: I’ve always wanted to be a film composer. I think I was about 6 or 7 when I sang the entire score of Star Wars to my parents one morning. And once I realized that one man was responsible for all the tunes I’d been humming in my head, I decided I wanted to be John Williams when I grew up. I started playing the saxophone and at about 12 or 13 I got very into jazz. I had a rethink and thought maybe I’d like to be Cannonball Adderley instead. With my buddy Quentin Collins, I started playing in jazz clubs and bars around London from the age of about 14, masquerading as an 18-year-old, wearing my dad’s oversized suits. Then I discovered electronic music and released some obscure dance music on tiny London labels. I later moved to New York and became the lead singer of an Indie Rock band called The Rinse. We toured the US, opened for some big bands, and had a record released in Japan. But generally, we somehow dodged success like skilled ninjas. But all through that time, my lingering first love of scoring remained. The only way I ever learnt to support myself was by scoring commercials, first in London, and finally landing m

Now in its 23rd year at New York’s Museum of Modern Art, MoMA’s Doc Fortnight ran from February 22 through March 7 and presented recent documentary features and short films from new and established artists. As in past editions, Doc Fortnight focused on innovative, experimental, and adventurous filmmaking approaches. The 2024 program included 13 features, six short films, three special seminars on Caribbean productions, landscape films, and a spotlight on Gelare Khoshgozaran, an interdisciplinary Iranian artist working with images of imperial violence now living in Los Angeles.  Except for three world premieres, all of the features had been screened before at international film festivals with numerous global award winning films and debuts. Four films were New York premieres, and nine North American premieres. Doc Fortnight provides a unique opportunity to see films which would likely not be accessible otherwise. The productions selected mirrored a broad spectrum of themes that included, among others, the use of cinema  production for community building in Guinea-Bissau “Resonance Spiral” 2024  Portugal/ Guinea-Bissau, Germany;  observational witness accounts of the Taliban’s rise to power in “Hollywoodgate” 2023, Germany/USA; environmental issues as reflected in the flood of electronic waste in “The New Ruins” 2024, Argentine; interactions between a volcano’s activities and those living under them on “Monism”, 2023 Indonesia/Qatar; a docufictional presentation of the legal absurdities of the emerging city state of Singapore through the fate of one female victim in “Small Hours of the Night”, 2024, Singapore; and Chinese youth locked between despair and hope in “Republic”, 2023, Singapore/China. As suggested by Fortnight’s associate curator Sophie Cavoulacos, “In a moment of continued geopolitical crises, the filmmakers shine a light on individuals confronting systems of power, all the while pushing the field in aesthetically daring new directions”, as evidenced by the documentaries “Silence of Reason”, Bosnia, 2023 and “ Black Box  Diaries”,  France 2024  which are discussed below. The large number of six co-productions selected reflects an international trend. Among sole producing countries were the USA with 3 films and with one production each China, France, Singapore, Indonesia, Argentine and Bosnia. The UK, Quatar, Germany, Portugal, Guinea-Bissau, Belgium, Netherlands, and Finland were partners in co-productions.

SILENCE OF REASON by Kumjana Novakova, produced in 2023, is an extraordinary documentary about mass rapes and ethnic cleansing committed by the Serbian military in and around Foca after they occupied that area, inhabited by a majority of Muslims. Of the 22,500 Muslim residents, only ten were left there at the end of the two-year Bosnian war conflict which lasted from April 1992 to January 1992. The other inhabitants fled, disappeared or were killed. Novakova provides no commentary apart from quoting Hanna Arendt’s request to de-mythologize horrible crimes and relate to them as factual reality-based episodes. Organized mass rape is not a “normal” spoil of war earned by combatants; it is a war crime against humanity. The International Criminal Tribunal of Yugoslavia (ICTY) established in its verdicts the guilt of Serbian military leaders of war crimes and crimes against humanity. Silence of Reason succeeds in establishing the consequence of individuals apparently suspending reason and moral considerations and instead embracing organized mass rape as a normal activity. Novakova provides a complete listing of her sources derived from the archives of ICTV, without identifying the individual women quot

Faith in Film is a boutique film festival and screenwriting competition that takes place in historic downtown Tucson, an area rich in history and culture.

VENUE : The Screening Room in Historic Downtown Tucson

127 E Congress St
Tucson, AZ 85701
United States

Our aim is to forge a film festival and screenwriting competition that will ultimately launch the careers of faith based writers and filmmakers and facilitate established artists in transitioning into faith based films; and to introduce faith based films to mass audiences, ultimately, giving them the same multi platform release schedules and revenue streams that traditional studio films and high end independent films enjoy; and to inspire, showcase, support, and develop writers and filmmakers of all faith’s to make great faith based films that leave others touched, moved and inspired; and filmmakers and distributors empowered to make and distribute more films with an element of faith.

Our screenplay competition accepts feature length scripts (up to 135 pages), short film scripts (up to 50 pages), stage plays, sitcom pilots, and dramatic television pilots.

Our film festival accepts feature length films up to 110 minutes in length and short films (up to 40 minutes in length) in several categories. It is a celebration of filmmaking that allows artists and industry professionals at all levels to come, network, and showcase their work. For many filmmakers it will be the first time anyone has seen their work on the silver screen.

Faith in Film is a Cinema Public House production. We are a US based independent festival company that produces both live festivals and online festivals all over the world.

We accept inspirational films in any genre. Most of our entries are Christian films. However we've also showcased several films from other religions like Judaism, Islam, Buddhism, and Hinduism. We embrace all people from all faiths and everyone is welcome to enter and attend our festival.