Once again, we are thrilled to partner with Tribeca All Access for our November DocuClub. The screening will take place on Wednesday, November 18, 7 p.m., at the Tribeca Cinemas, located at 54 Varick Street (corner of Laight, on block below Canal). You can take the 1, A, C, E, trains to Canal Street.
We will screen a rough cut of BEIJING TAXI by Miao Wang. The feature-length documentary vividly portrays the ancient capital of China going through a profound transformational arch. Through a humanistic lens, the intimate lives of three taxi drivers thread through the morphing city of Beijing confronted with modern issues and changing values. Though each faced with their own struggles with modernity, the three characters radiate a warm sense of humanity. With stunning imagery of Beijing combined with a contemporary score rich in atmosphere, the audience experiences a visceral sense of the common citizens’ persistent attempts to grasp the elusive. Its society is living through enormous contradictions adjusting to a new capitalist system from a Communist-ruled and educated society. BEIJING TAXI uses the Olympic games as the backdrop for the film. The Olympics is the biggest metaphor and China’s coming-out party to mark this era of China in transition. Candid and perceptive in its filming approach and highly cinematic and moody in style, BEIJING TAXI takes us on a lyrical journey into fragments of a society riding the bumpy roads to modernization. Though the destination is unknown, they continue to forge ahead.
Born and raised in Beijing, Director Miao Wang immigrated to the United States in 1990. Her first documentary, YELLOW OX MOUNTAIN, has screened at over twenty festivals, received a Best Short Film Award and a broadcast on WNET Thirteen. Wang has worked as an assistant at Maysles Films, and has edited documentaries for PBS and programs for National Geographic. For BEIJING TAXI, Wang has received grants from the Sundance Documentary Fund, the Jerome Foundation, and the New York State Council for the Arts. She has participated in the IFP Filmmaker’s Lab, Tribeca All Access, and Independent Film Week and currently splits her time between New York and Beijing. BEIJING TAXI is her first feature-length documentary.
Producer Ivana Stolkiner was born in Argentina, and moved to New York in 1998. After graduating with honors from Hunter College’s film program in 2004, Stolkiner assisted the producers of Kartemquin Films in several award-winning documentaries–MAPPING STEM CELL RESEARCH: TERRA INCOGNITA, MILKING THE RHINO and IN THE FAMILY, among others. She has assisted Engel Entertainment in films for the Discovery Channel and National Geographic, and has also served as an associate producer at Pacific Street for the documentaries IN DEBT WE TRUST and BEYOND WISE GUYS.
Editor Sikay Tang received her film training with Spike Lee’s production of JUNGLE FEVER (1991) and MALCOM X (1992). A year later, during the making of her first video, Tang began her interest in film editing. Her editing credits include the documentaries CHISHOLM 72: UNBOUGHT AND UNBOSSED (2004) by Shola Lunch, and THE GOOD SOLDIER (2009) by Michael Uys and and Lexy Lovell. Tang works as a film and video editor and lives in New York City.
Our moderator will be Adella Ladjevardi, Grants Manager at Cinereach, a not-for-profit organization that facilitates the creation of films that “challenge, excite, innovate, offer new perspectives and inspire action.” Most recently, she was the Associate Producer for 2009’S MY NEIGHBOR, MY KILLER, a documentary feature by Emmy-award winner Anne Aghion. Ladjevardi was also Associate Producer for the four-hour cut of acclaimed filmmaker Jennifer Fox’s 2008 documentary mini-series FLYING: CONFESSIONS OF A FREE WOMAN, broadcast on the BBC and SBS; and served as the Distribution and Outreach Manager for the educational and non-theatrical markets for FLYING’s six-hour version. Prior to working with Fox, Adella worked for three years in marketing and publicity at documentary film distributor Icarus Films. She was also Associate Producer of Tanaz Eshaghian’s 2002 short doc I CALL MYSELF PERSIAN: IRANIANS IN AMERICA, broadcast on PBS and screened at MoMA’s Documentary Fortnight. Ladjevardi received a BFA in photography from the Rhode Island School of Desig
Admission is free for current DocuClub members and $6 for non-members.
If you plan to attend, please RSVP to [email protected]
Membership is an annual $50 and it includes free admission to all DocuClub events. It takes five minutes to join online at www.artsengine.net/store/#tools_consul.
DocuClub is Arts Engine’s monthly film screening series of works-in-progress documentaries. For more info, please go to: www.docuclub.org.
The Independent Filmmaker Project (IFP), the nation’s oldest and largest organization of independent filmmakers, has teamed up with The Fledgling Fund to award the first Outreach and Engagement Grant for Social Issue Documentaries to The Way We Get By. The $10,000 grant was made possible through the generous support of The Fledgling Fund.
The award was given to support a discreet part of the film’s larger outreach and engagement plan -specifically, to support three community screenings around military bases that have had the highest casualties and rate of suicides, PTSD cases, and domestic violence. These three community screenings will also highlight the companion web-based Returning Home Project, as well as inform and educate audiences relevant to the film. The film will be broadcast on P.O.V. tonight. Click here for the broadcast schedule.
IFP grants are open to projects selected to participate in its other programs, Independent Film Week or Independent Filmmaker Labs. In order to be eligible for the Outreach and Engagement Grant for Social Issue Documentaries, filmmakers first apply for the Spotlight on Documentaries program, and upon being accepted, were notified of their eligibility. Sign up for IFP’s newsletter here to stay on top of all opportunities and deadlines.
For more information on the other grant finalists or on IFP, click here.
The Road Ahead: The First Green Long March will be screening Thursday November 12th at Bryant University as part of their China Seminar Series. Producer, Michael Raisler will introduce the film and be present for a Q&A session following the screening. The film is being screened in collaboration with the Golden Jasmine Chinese Film Festival (which is a partner of the Rhode Island International Film Festival) and the Department of Science and Technology of Bryant University. For more details on this free event click here.
The film will also be screening Thursday November 19th at Colgate University. Producer Michael Raisler will be present for a Q&A session following the screening. For more details on this free event, click here.
My father is the king of coupons. If there’s a deal, he’s there. If there’s a sale, a sample, a miniature bottle of shampoo left unattended on a cart in a hotel, he is thrilled. So, being my father’s daughter, I too am tickled pink at the thought of discounts and free stuff. And the best way to obtain these wonderful free things? Well, make a movie, of course.
As someone with years of practice convincing people to hand over their goods, I thought I’d share some tips for how to get your artistic little hands on as many free things as possible. So, from the girl who learned from the very best:
1. Have something tangible. Print some postcards, or fancy looking business cards or make a prospectus (remember, you can acquire some of these things for free too). Having something to show for your project means a. it’s real, b. you’re serious, and c. they can’t forget about you.
2. Pick targets wisely. Do a little research and find out who donates to other films, arts organizations, groups related to the topic of your film, etc. Or find out if your parents/rich uncle/roommate’s cousin/lead actress knows the guy who owns (fill in the blank). And go to places you frequent, places you make the products you LOVE. It’s easier to ask for something when you can faun all over it. Businesses want to keep their most loyal fans the happiest, so keep that in mind. And another word of advice: try to avoid giant corporations because they already give a percentage of their profits to someone else. And you’re an indie filmmaker, so find other indie people to help you out. They will understand what you’re trying to do and are more likely to be supportive because of it. If you’re filming in a location outside of New York City or LA, find places that are local and proud of it. If you sell your film as something good for the community, they’re more likely to get onboard with free things and word of mouth. So, once you have your list of places to hit up…
3. Pick your times wisely. You’re going to want to speak with the manager or owner. If you waste your pitch on the hostess, you’ll feel foolish when she tells you she’s “going to find the manager,” but really you hear her laughing about you to her friend in the kitchen. So, figure out when the person in charge will be in. What time is that? Probably before the “dinner rush.” That being said, don’t prance yourself into a restaurant at 8:30pm on Saturday night and expect anyone to listen to you. If the place looks crazy busy, go back another time. Same for if the place is empty. You don’t want to ask for free things when the place isn’t making any cash. And it’s more awkward to walk out with a rejection when you’re the only one there too.
4. Know what you want and what they get in exchange. If you want a meal for fifteen people Friday afternoon, tell them (but make sure you’re asking for things at least three weeks in advance!). If they ask how they can help and you don’t have an answer, a. you look pretty lame, b. they’re quickly losing interest, and c. you feel like a fool. Start your pitch telling them you’re looking for donations, but give them the chance to ask what exactly that means. This engages them in a conversation. Much easier to trap them this way. But also know what they’re getting in return. Credit on your awesome film that will be distributed to millions of people the world over and your crew will just LOVE their product and buy it all the time. And you LOVE their product and will continue to be a diehard fan, especially if they give you boxes of their treats for nothing. And you’ll add their company’s name to your website. It’s a win-win! You feed/house/dress/impress your crew and they have a new marketing outlet that costs them next-to-nothing.
5. Practice your pitch. Even if you’re only practicing with yourself in the mirror or to your goldfish, it’s good to be prepared. It’s scary to ask a stranger for a hand out (remember asking the scary neighbors on the corner with the big German Sheppard to buy cookies and popcorn for Boy/Girl Scouts?) Just remember, you don’t have a huge organization behind you this time, so you really have to sell yourself and your film. Now, once your pitch is perfected, you’re good to go.
6. Dress the part. It’s okay to look like a bum on set, but no one’s going to want to hand over free things to you if you don’t look professional. Their donation is an investment. They are marketing their product through your film, both in your credits and on set to your crew. If you haven’t showered, they won’t expect that you’re going anywhere with your film or career and they’ll assume your crewmembers probably smell too.
7. Remember the name of the person you spoke with. Write it down when you leave. Even if the manager/owner wasn’t in, know who talked to you. This way, you can call/email the person in charge and say, “Yes, I spoke with Emily at your (insert store name) on Sunday and she told me I should contact you about…” It makes it more personal, proves you actually went to the store and you can make it sound like you and Emily are best buds. And why wouldn’t you want to donate to your best worker’s filmmaker friend. It’s just a couple baked goods, right? (wink wink).
8. Don’t be shocked by rejection. Have something to say if they tell you “no.” Don’t cry, don’t pout, don’t tell them to go to hell. Just tell them very nicely that you understand, and it’s no big deal. Then ask if you could just put some postcards out on the counter. Most likely, they’ll let you lay out some postcards. You get some free advertising space and it won’t be so awkward leaving, because you still got something out of it. And, you can always boycott them for the rest of your life, too… (just kidding… or am I?)
9. Follow up. Even if the person you spoke with told you that the whole premise of your film sucks, email them anyway. Thank them for taking the time to meet with you. You can always hit them up again next year when you make a film, or send them a nice little update when your film wins the Academy Award. (Remember, living well is the best revenge.) If the person did offer you something, thank them in the email/phone call and reiterate what you think the agreement was. It’s important you’re both on the same page so a. they don’t think you’re ungrateful and b. you can plan accordingly. Give them a date that you’re going to call/email them again to check in. If you don’t remind them about the meal they’re donating, don’t expect it ready when your PA shows up in a month and a half. Show some respect – they’ve got more to worry about than your movie (I know, it’s shocking) and while they’re happy to help, they’ll appreciate a reminder and think you’re uber-professional.
10. Give them the credit they deserve. If someone donates to your film, whether it’s cash or props or locations or food, etc. send a thank you note. Try to plan ahead and have some thank you notes on set so your cast and crew can all sign it. Not only does it make you look really thoughtful, but it’s more likely to end up on the wall of the restaurant/café/main lobby, etc. This means more free publicity for your film! Then make sure to email an update about the film during post-production. People who don’t work in film don’t understand how fricken long post can be. They’ll assume you forgot about them and tear down your awesome thank you note and light it on fire. Well, maybe nothing that extreme, but you’ll look rude. Remember, they helped make your film possible; the least you can do is keep them in the loop. Let them know when the film will be ready. Then invite them to the premiere, screening at your mom’s place or send them a DVD. Everyone loves seeing their name in the credits. And if your film – I’m sorry, WHEN you’re film plays in festivals or finds a distributor, let them know. Remember, they want people to see their logo or name. If your film plays to sold out audiences the world over, they’re not only happy for you, but they a. now have some bragging rights and will tell their friends (who might just buy a DVD!) and b. they know they’re getting free advertising. This way, when you make your next film, they might give you five cases of soda instead of two.
By following the ten steps/rules above, I have acquired donated things for my film Wild Birds from: Comfort Suites, Pop Chips, A-Treat Beverages, Wild Flower Café, XL Graphics, Boylan’s Bottling, Company, Chipotle, Hub Wilson Photography, Yocco’s, Cold Stone, The Goosey Gander Restaurant, Civic Theatre of Allentown, Sal’s Pizzeria, Foo Joy and Gallery Bar. You can visit the “Thank You Page” on the Wild Birds site with links to these awesome people’s websites.
These methods are tried and true and the above donations not only make my film possible, but they also make my father, the Coupon King, proud. Remember, the best things in life are free!
RFF 2010 Fellow Courtney Hope recently graduated from New York University’s Tisch School of the Arts with a degree in Film & Television. While a student at NYU, she wrote and directed several short films. Hope’s thesis film Sex & German Grammar, which was awarded the prize for Best Cinematography at NYU’s Fusion Film Festival, also screened at the Southside Film Festival and the Palm Springs Shortfest. Hope has also shown films at the London Super Short Film Festival and the Reed Media Festival, and took home a prize at the 2007 Southside Image Over Words competition. Hope recently completed her first independent short, Another First.
Here I stand outside a building in the West Village, staring at a door without a knob. I look up at the building. How am I supposed to get in? Fortunately, someone’s leaving the building as I stand looking perplexedly at the door.
“First time here?” he asks.
The Man holds the door open and I slowly step into the building. Now what? The Man holding the door notices my confusion – or awkwardness – and asks whom I’m there to see, as if I’d just stepped into a doctor’s office.
“Jeremy.” Should I give his last names too? Who is this guy anyway?
I don’t see any stairs. What a strange place I’ve just walked into. Must be some sort of trap.
“The stairs. They’re through there. Just go straight back and they’re on your right.” This guy must think I’m an idiot
“Thanks.” I follow the stranger’s directions and walk down a hall covered in movie posters. Aha! Stairs! I climb the staircase until I reach an open door. Is this it? I step through, my boots stomping into the room. No one. Great. It was a trap. Where am I? I peak around the corner and see a woman. She, like everyone else apparently, can tell I have no idea what I’m doing or where I am.
“Hi. Who are you looking for?”
“Jeremy?” Ugh. I should just go home.
“Oh.” She gestures to a half-wall from which Jeremy pops up. We shake hands.
“Yeah, I didn’t even hear you come in.”
Great, now he thinks I’m some creep who slithered into the building.
“Well, you have a very confusing entrance…” Oh boy. Why am I so awkward?
I follow Jeremy into what looks like a living room in the office and sit. Maybe I should have brought coffee so I’d have something to do or hold or just to give the general sense of importance. Too late. No coffee. No prop. Just me in this chair with a copy of my script, which I pull out of my bag only to find the edges have begun to curl. Great.
“First of all, congratulations on the grant. It’s really a great program.”
“Thank you,” I try to muster my confidence.
“So, tell me about your film.”
Oh no. Pitching. That’s the worst.
“Well, my film is about two little girls who run away into the woods from an abusive home to be wild.” I wonder if it sounds convincing anymore. I must have said this exact sentence about a thousand times by now.
Jeremy asks where the story came from, how I envision the film looking, and some basic production questions. The standard questions, for which I have my well rehearsed answers.
“So tell me about the gun in your script.”
“Oh, well, what about it exactly…” Uh oh.
“Why is it there?” Never a good sign.
I explain that the gun is an extension of the father, that it represents that you can never really escape your upbringing, but it’s how you use what you’ve lived through that tells who you are, blah blahblah.
“It seems that you don’t really need it.”
Um… What? That’s what the whole movie’s about… I’m not really sure how to respond to this.
Jeremy explains that he could show me at least 40 student films with a gun. Ouch. Well, this isn’t a student film, so… Then he asks me again what the film is about.
“Two little girls who run away into the woods from an abusive home to be wild.” Same thing I said before.
“If that’s what the film is about, then you need to focus on that. The gun’s kind of distracting.”
“Oh. I guess…” I am thoroughly impressed. This guy’s good.
“Maybe they take something else from their dad that they can fight over, but there are other ways to show their relationship, I think.”
Jeremy gives me some suggestions about what other props might come from the sort of home the girls come from that are a bit more neutral than a gun. He casually mentions that raining night exteriors are probably also unnecessary. This also being a large part of the draft, it takes a minute to digest all this.
To make an already long story short, Jeremy wanted me to rewrite most of the script, but without losing what the film was really about. And he understood the film as a story about sisters who are pushed to do something drastic. So, as I left the office (much easier to exit than enter), I wasn’t sure how I really felt about this Jeremy character. I agreed that the film needed some simplification, but his suggestions seemed a bit extreme.
While thinking about the notes Jeremy gave me, I started scratching some notes on my crinkled copy of the script. After replacing the gun with a lighter, transforming the father into a mother, and turning night into day, I realized that maybe he had a point. The film is character driven, and inherently dramatic without all the extras I’d written in.
The most important thing I took away from my meeting with Jeremy wasn’t anything he said, or even how to open a door without a knob, but rather, I realized that the only way to make a film is to surround yourself with people who really care about it enough to tell you when it sucks. When Jeremy forced me rethink my script, I realized that the notes from my producer and editor and production designer all were crucial to making the film. If others aren’t invested in the script, no one will invest in the finished film either. One of the most important things for any filmmaker to do is to listen, take advice, and adjust the script instead of simply explaining away the problems that exist. There’s no such thing as a finished script until it’s picture locked.
RFF 2010 Fellow Courtney Hope (mentored by Jeremy Kipp Walker) recently graduated from New York University’s Tisch School of the Arts with a degree in Film & Television. While a student at NYU, she wrote and directed several short films. Hope’s thesis film Sex & German Grammar, was awarded the prize for Best Cinematography at NYU’s Fusion Film Festival and screened at the Southside Film Festival and the Palm Springs Shortfest. Hope has also shown films at the London Super Short Film Festival and the Reed Media Festival, and took home a prize at the 2007 Southside Image Over Words competition. Hope recently completed her first independent short, Another First. Courtney’s RFF Film, Wild Birds, is about two young sisters who enter the woods determined to be “wild.” As the story unfolds, we begin to understand what they are running from, and see the power dynamic between them shift as the younger sister develops second thoughts about their plans.
My RFF short documentary, Love Lockdown, was inspired by a radio show on Power 105.1, New York’s hip hop station. On Sunday nights from 10pm to 2am, DJ Cherry Martinez turns her show over to New York’s prison population, offering an opportunity for loved ones of prisoners to profess love and support through radio shout-outs. I wanted to tell a story about one or more couples and their love and commitment during this type of separation, and began my search by sitting with Cherry during the radio show on several occasions.
After the women gave their shout-outs, the DJ would transfer the call to me and I’d explain the documentary I was working on. While pre-screening women over the phone, I was looking for someone who sounded open and friendly and who was sincere and passionate about her relationship with her loved one. I was looking for a good love story, so when a girl would talk about her partner in a sincere and loving way, I felt I had a good character.
I found many compelling potential subjects in the women who called into the show, and when the I started the Reach Film Fellowship, I was in the process of trying to narrow my options down and make a choice. I was very excited to meet my mentor Annie Sundberg (The Devil Came on Horseback). I hoped she could help me sort out this and a few other big-picture decisions I was facing with my film.
Annie is a very busy woman (working on many of her own film projects), and I know her time is valuable, so I wanted to present my ideas to her in a clear, concise manner and be very focused when discussing the difficulties I was having. At our ﬁrst meeting I found Annie to be very nice and truly interested in my project, and I liked her practical way of thinking. She advised me on the budgeting of my ﬁlm and encouraged me to save as much money for post-production as I could, given that I work in production (as a documentary DP) and can do a lot of that labor myself.
One of the first things we addressed together was the struggle I was having choosing who my main characters would be. I know how important it is to chose characters your audience will feel a connection with, and that they are likable and expressive enough to carry an entire story. I was leaning towards one woman in particular, Shashonna, because she had a great personality and an interesting story, but I was afraid to commit. I could have searched forever in uncertainty, but Annie reassured me that my ﬁrst instincts were correct and to stick with the woman to whom I felt most connected. I took her advice and it has helped greatly.
The more I began to focus on Shashonna, the more confident I was that I had made the right decision. I had only 7 days to shoot my previous documentary, Sanza Hanza (about a group of young men who are train surfers in Soweto, South Africa), and following teenagers that were being chased by cops was very difficult. In Shashonna I had found a local story where I could shoot as much as I needed and develop a real relationship with the person in my ﬁlm over time. She actually lives across the street from me so I can shoot her any time a situation arises, and it is also easy just to hang out as friends. We have developed a great relationship this way, and I have also been able to capture intimate moments with her and her children. By sharing an inside look into her life and how she struggles to keep her family together, I hope to make my film stronger and develop a deeper connection with the audience.
Similar to the struggle Anthony described in his earlier blog post, I was also having trouble narrowing down and focusing on a limited number of story/thematic threads to follow. When telling a story on relationships and prison there are many potential angles of focus: the amount of effort, time and money it takes to be in contact with a prisoner or the long-term effects of family contact and how it can help a prisoner through his bid. I could also pose the larger question of why so many young men in America are in prison. All these things are interesting but were not necessarily the story I wanted to tell. Talking with Annie (as well as observing Shashonna’s life closely) helped me hone in on the emotional center of my story, and it became very clear that rather than looking to larger sociological questions, I would focus on the communication between loved ones and prisoners, especially through the radio show itself.
I also found RFF’s workshop on Post-Production with editor Jeff Marcello (Planet B-Boy) to be particularly helpful. We got into the details of how different editors approach documentary storytelling, which helped me think through and identify some of the qualities I could search for in my own editor. For example, I learned that some editors like to work from transcripts while others don’t. To me, because my film is so focused on communication, using transcripts seems to be the most thorough way of putting a story together, so that was one work habit I wanted in my editor. I was also introduced to a ﬁlm called October Country by Cinereach grantees Michael Palmieri and Donal Mosher. The editing in this film was emotional and very stylized, and I decided I wanted my ﬁlm to achieve a similar tone.
Looking ahead, I’m focusing on telling my story in the best way possible. Getting access to courts and prisons will be essential for me to document the prisoners’ perspectives in contrast to that of women on the outside. This is likely to be very challenging because courts and prisons usually shoot you down right away; never taking “no” for an answer will be key.
RFF 2010 Fellow Nadia Hallgren (mentored by Annie Sundberg) is a director and cinematographer from the Bronx, NY. Her camera credits include the Academy Award nominated and 2008 Sundance Grand Jury prize winner, Trouble the Water. Hallgren has shot for a variety of directors, including Michael Moore and Morgan Spurlock, and she has traveled over five continents making films and working with prominent figures such as Dan Rather, Desmond Tutu, Britney Spears and Cameron Diaz. Her first short, Sanza Hanza, screened last year at Slamdance and SilverDocs.
A huge congratulations to Cinereach grant recipient OCTOBER COUNTRY, a documentary film co-directed by Michael Palmieri & Donal Mosher. Their film about Mosher’s upstate-NY family just received 5 nominations for the 2010 Cinema Eye Awards!
The Cinema Eye Honors for Nonfiction Filmmaking recognize and honor exemplary craft and innovation in nonfiction film. Cinema Eye’s mission is to advocate for, recognize and promote the highest commitment to rigor and artistry in the nonfiction field. The Cinema Eye Awards Ceremony will be held January 15th 2010, at The Times Center, New York City.
Rooftop Films is accepting entries for their 2010 Summer Series
Submit your movies! We are currently accepting submissions for the 2010 Rooftop Films Summer Series. Submit your films and videos now and participate in one of the most unforgettable, unique, filmmaker-friendly, independent film events in the world! You can submit directly to us by downloading the submission form here or you can submit via Withoutabox.
The 2010 Summer Series will run from May through September and will feature more than 200 daring new films, all screened outdoors, in front of big, loyal audiences in parks, on boats, and on rooftops overlooking the greatest city in the world. More than 25,000 people attended Rooftop screenings in 2009, making it one of the biggest festivals for underground films in the world. We show films of all genres, formats, and lengths, as long as they’re daring, creative, and unique.
Earlybird: $9 – December 5, 2009.
Regular: $15, ($10 for WAB members) – January 15, 2010.
Late: $20, ($15 for WAB) – February 15, 2010.
Without A Box Extended: $20 for WAB members – March 1, 2010
Plus, if you submit a work to Rooftop Films you automatically get 2 free tickets to any Rooftop Summer Series show (an $18 value).
You can mail any submissions to: Rooftop Films / PMB 401 / 285 Fifth Avenue / Brooklyn, NY 11215
If you have any questions regarding submissions, please email program director Dan Nuxoll at: submit * at * rooftopfilms * dot * com.
Underground Movies Outdoors