This week on The Indie Magazine Podcast, we get to chat with Nikki Carmela Peters and Alexander Thomas Reinhard, the duo behind Eternal Film Productions. They discuss their chance meeting, astrological alignment, shared birthdays, love for horror, and their new genre: cinegoth. We talk about inspirations and lessons in their years producing, writing, and directing shorts, and what they’re working on these days. They both have fascinating minds, ‘the knack’ for bringing their ideas to life, and they were so fun to have on the podcast.
We wrap up the episode as Madison and Tristan discuss what we’ve seen recently. Madison talks about Hero (2002) with Jet Li and the masterful choreography on display, as well as rewatching Guy Ritchie’s The Gentlemen (2019) and we all might need to step up our fashion game. Tristan talks about two Oscar contenders, Society of the Snow (2023) and Zone of Interest (2023), and how he preferred the former’s style to the latter, but both are heavy watches that need some serious reflection afterwards.
For anyone interested in writing, directing, and producing their own work, this is an episode you won’t want to miss. Enjoy, share with friends and family, and stay tuned as we continue to bring you interviews with good people working on great projects!
Check out the reel and a few shorts from Eternal Film Productions:
Eternal Film Productions
- Eternal Film Productions Homepage
- IMDB – Eternal Film Productions
- YouTube – Eternal Film Productions
- Instagram – Eternal Film Productions
Eternal Film Productions is more than just a company – it’s a testament to the boundless power of love and creativity. Alexander Thomas and Nikki Carmela invite you to join them on a journey that transcends genres, blurs boundaries, and unlocks the true essence of storytelling. Through their shared passion and unbreakable bond, they’re rewriting the rules of both art and love, one frame at a time.
Alexander Thomas: A Lens to the Soul
Meet Alexander Thomas, a visionary artist whose lens captures moments in a way that’s both profound and poetic. With a background steeped in photography and cinematography, Alexander’s creative eye breathes life into visuals that leave a lasting impact. His ability to find beauty in the ordinary and unveil hidden narratives has shaped the very essence of Eternal Film Productions.
Nikki Carmela: A Symphony of Talents
Enter Nikki Carmela, a multifaceted creative force driven by a profound love for storytelling. From the captivating world of musical theater to the intricate artistry of special effects makeup, Nikki’s talents know no bounds. Her journey through the realms of directing has granted her a unique perspective that enriches every project she undertakes.
Love and Artistry Intertwined
What began as a professional collaboration quickly blossomed into a deeper connection. The lines between their creative pursuits and personal affections blurred, forming a partnership that’s as authentic as it is inspiring. The love they share fuels their creative fire, infusing their work with an intimacy that resonates with audiences.
Eternal Film Productions: A Vision Realized
From their shared dreams and artistic ambitions, Eternal Film Productions emerged. The decision to blend their talents, perspectives, and aspirations into a unified creative endeavor became the foundation for an enterprise that would craft unforgettable stories.
Nikki Carmela Peters
- IMDB – Nikki Carmela Peters
- Instagram — Nikki Carmela Peters
- LinkedIn – Nikki Carmela Peters
- Backstage – Nikki Carmela Peters
Nikki Carmela is an extraordinary blend of creativity, imagination, and emotion, making her an influential force in the world of filmmaking, artistry, and visual storytelling. Born with synesthesia, Nikki possesses a unique ability to see colors and shapes associated with sound and music, influencing her artistic expression in profound ways. Her work continues to inspire and leave an everlasting impact on all who have the pleasure of experiencing it.
Alexander Thomas Reinhard
- IMDB – Alexander Thomas Reinhard
- Instagram — Alexander Thomas Reinhard
- LinkedIn – Alexander Thomas Reinhard
- ShareGrid – Alexander Thomas Reinhard
Alexander Thomas has always had a love for film, literature, and music. From a young age he developed a love of story telling, eventually to pursue a degree in screenwriting from Arizona State University. After spending several years touring the United States, photographing bands on festivals like Mayhem Festival and Warped Tour he forayed into music videos and short films, eventually winning the Silent House Short Film Festival in 2013.
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News:
Georgia Lawmakers Move to Limit Nation’s Largest Film Incentive
- https://variety.com/2024/biz/news/georgia-tax-credit-limit-proposed-1235902683/
- “After studying the issue for the last eight months, Georgia lawmakers unveiled a proposal on Wednesday to limit the state’s lucrative film and TV tax incentive.”
- “Georgia has the largest production tax credit in the country, with $1.24 billion in credits certified last year. Over the last decade, soundstages have sprouted up around Atlanta and hundreds of productions have come to the state, including “May December,” “Black Panther,” “Stranger Things,” and “The Walking Dead.””
- “Four officials, including the lieutenant governor and the House speaker, unveiled legislation on Wednesday that would limit the amount of credits that can be transferred in a year. The bill would also establish modest requirements to claim the full amount — 30% of in-state production costs — instead of the 20% base.”
- “Stephen Weizenecker, an Atlanta entertainment attorney who focuses on film incentives, said the new bill shows that lawmakers are trying to walk a middle ground.”
- “Most production companies are not based in Georgia and do not pay state income tax. They sell their film credits, at a small discount, to Georgia companies and wealthy individuals who do have state tax liability. A recent audit found that 97% of film tax credits are transferred to another party before they are redeemed.”
- “Credit redemptions have declined since 2020 due to the pandemic and a delay in utilization caused by a new auditing requirement. But projections in state audits and budget documents show that the amount of credits expected to be redeemed in 2025 and beyond would again exceed the limit in the bill.”
- “The bill would also raise the spending threshold to qualify for credits from $500,000 in annual production activity to $1 million per project.”
‘Spider-Verse’ Directors on What to Expect From Third Movie and Demanding Respect for Animation: ‘Without It, Everybody Hurts’
- https://variety.com/2024/film/awards/spider-verse-directors-animation-sequel-1235902657/
- “In case you didn’t know, animation directors are also auteurs. According to Yahoo Finance, the global animation market reached more than $400 billion at the end of 2023. That was up from $391 billion one year before. And yet, animated projects are not automatically covered by the WGA, are separate from the DGA, and are consistently overlooked for their filmmaking achievements.”
- “Thompson wants to see animators invited to join WGA and DGA. “It should have been from the beginning,” he says. “There are many complicated reasons why it isn’t, but at some point, the WGA, DGA, and studios must accept that. They’re also creating a barrier entry for filmmakers who would love to use this medium but won’t because of the lack of WGA and DGA representation.””
- “Before “Across the Spider-Verse,” Thompson worked in various animation departments on television series such as “Star Wars: Clone Wars” and for films such as “The Emoji Movie.” Dos Santos has also worked in various animation and art departments for series such as “The Legend of Korra” and executive producing “Voltron: Legendary Defender,” directing several episodes of both.”
- “Powers, a playwright and former journalist, garnered his first Oscar nomination for adapting his play “One Night in Miami” (2020). The same year, he co-directed Pixar’s “Soul,” which won two Academy Awards for best animated feature and original score.”
- “It’s bad enough the film was passed over in categories such as visual effects and original score, but the medium that already has difficulty garnering the proper respect from the Hollywood industry is being screwed over in its own category.”
‘Moana 2’ Was Supposed to Be a Disney+ Series. Why It’s Hitting Movie Theaters Instead
- https://variety.com/2024/film/news/moana-2-used-to-be-disney-plus-series-theaters-1235902293/
- “In 2020, during the peak of the entertainment industry’s love affair with streaming, a follow-up to Disney‘s animated hit “Moana” was destined to become a television series for Disney+.”
- “But like the movie’s shapeshifting demigod Maui, who traverses the seven seas with the eponymous Polynesian warrior, the project has transformed into something entirely new. In a surprise move, the follow-up to “Moana” has been retooled into a feature film, which is set to debut in theaters on Nov. 27.”
- “It’s a boon for cinemas after last summer’s strikes forced studios to postpone plenty of blockbusters to 2025 and beyond.It also signals Disney’s renewed excitement for the big screen at a time when Hollywood has started to prefer the economics of selling movie tickets to a business model that was all about trying to steal Netflix’s thunder. “Moana 2” joins the studio’s upcoming “Alien” spinoff “Romulus” and 2022’s horror film “Barbarian,” as well as Paramount’s “Mean Girls” movie musical and psychological thriller “Smile,” as projects that were commissioned for streaming but ultimately scored exclusive theatrical releases.”
- “After much trial and error (and plenty of time during the pandemic to experiment), traditional studios — and some streamers — have mainly deduced the best financial value is found in releasing movies exclusively in theaters. A theatrical-first debut is seen as generating awareness and buzz to fuel revenue from secondary windows, such as home entertainment, DVD sales and eventual Disney+ debuts. That’s not to mention all the ancillary goodies — every consumer product possible, from dolls, nightgowns, water bottles and slippers, has Moana’s face on it — that come with making a kid-friendly film.”
- “Disney routinely debuts an animated movie around Thanksgiving, but it no longer has a flawless Turkey Day track record. Recent holiday releases, such as 2023’s “Wish” and 2022’s “Strange World,” were massive disappointments. Meanwhile, 2021’s “Encanto” didn’t become a viral TikTok sensation until the musical fable landed on Disney+ more than a month later. Those misfires were contrary to pre-pandemic hits like 2013’s “Frozen” and its 2019 sequel, as well as 2018’s “Ralph Breaks the Internet” and 2017’s “Coco.” Analysts believe part of the problem is that several COVID-era Pixar movies skipped theaters to prop up Disney’s new streaming service and inadvertently trained audiences to watch family-friendly movies at home.”
- “Disney CEO Bob Iger shared on the company’s latest earnings call that “Moana 2” was modified into a movie after executives were wowed by the early footage. “We were impressed with what we saw and knew it deserved a theatrical release,” he said.”
- “Though Auli’i Cravalho isn’t returning for the remake, she and Johnson are reprising their voice roles in the animated “Moana 2.” Not all of the original talent is revisiting the island of Motunui. Disney veterans John Musker and Ron Clements (of “The Little Mermaid,” “Aladdin” and “Hercules”) passed directing duties to first-time director Dave Derrick Jr., whose animation credits include “Raya and the Last Dragon” and “Encanto.””
- “The sequel reportedly begins as Moana receives an “unexpected call from her wayfinding ancestors” and must “journey to the far seas of Oceania and into dangerous, long-lost waters for an adventure unlike anything she’s ever faced.” At the box office, Moana faces a similarly unpredictable and frequently perilous environment.”
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Check out more articles from our hosts, Tristan and Madison, before you leave. Thanks!
