This film details the amazing life of Armenian screenwriter Mardik Martin (“Mean Streets,” “NY,NY,” “Raging Bull”), and his improbable journey from Baghdad to Hollywood.

Q: How do you feel about your film screening at the 2009 International Beverly Hills Film Festival?

Mardik:
I love it, it is great and since some of my friends and students might show up. I hope it works out for the festival too. A lot people know me in this town, so hopefully they will show up on time.

Ramy:
We are absolutely elated. Mardik, Evan and I are beyond excited to be in the Beverly Hills Film Festival!

Evan:
We are all excited and proud to be part of your festival, can I bring popcorn?

Q: Can you say a few words about the film?

Mardik:
It took more than 10 years to make. They were following me and shooting everything I did…when I ate, shaved, etc., but mostly they were interested in hearing me talk. This film tells the story of my life. I grew up in Baghdad, but I’m Armenian and when I left to go to the U.S., films became my homeland, American films in particular. I would love to have people see this film so that they can see how far a person comes to see their dreams realized. It took me awhile, first I got a scholarship at NYU and then they paid for my Master’s Degree because my screenplay won an award. I guess luck had something to do with it, but everything I’ve written has either been bought or made.

Ramy:
Mardik Martin may be one of movie-making’s most important screenwriters – and least well-known. The film “Mardik: Baghdad to Hollywood” traces one of the most unlikely journeys in American film history – from growing up in Baghdad to being one the hottest writers in Hollywood.

Evan:
This story is The All American Dream with a Hollywood twist. A kid from Baghdad who would fantasize about movies and movie stars came to America with nothing and achieved greatness! He got to the top of his game by writing the film classics “Mean Streets” and “Raging Bull.”

Q: Any interesting “behind the scenes” items you want to mention for viewers?
Mardik:
We had funny times making this documentary – most of the time, these young people were very respectful, but once they followed me into the bathroom, claiming it was “Cinéma vérité” and I lectured them and I asked them if they had actually had a plan for this. At that point, they were trying to learn how to do the documentary while they were doing it. Imagine not being able to go to the bathroom without a camera in your face…I told them to plan it out. This is what I do, I teach at USC and I’m a script doctor. Making this film was a nice change from reading scripts. As a teacher or a script doctor, I never want to ruin the dream of the filmmaker or writer, I want to give them suggestions, whether they take it them or not. Paper is always cheaper than film, so you have to see if this is worth it before you start to shoot. Nine times out of ten, filmmakers don’t usually get together and say lets make the worst movie possible. You want to be prepared and fix it on the paper than go on the set and prepare to prevent people from waiting. This happened to me on the set of “NY, NY”, actually – it was very difficult, to make this film, because we didn’t have a clear idea of what the ending would be initially and Liza Minelli had a commitment to show in Vegas, so we had to rush to finish it, but we did it!

Evan:
There were many interesting things going on while the camera was off. Mainly, there were a lot of conversations about life. Mardik told us stories and gave us advice not meant for the camera but for our ears only.

Q: Anything else you’d like to add about the film?
Ramy:
Mardik: Baghdad to Hollywood has been an epic journey through Mardik’s story-filled life. Evan and I have been hanging out with and filming Mardik for over ten years. In making this film, we have learned more about story telling and screen writing than any film school can provide. And Mardik has kept us on our toes. We hope audiences will be entertained, educated and inspired by Mardik’s life and his timeless lessons on story telling.

Evan:
This is a film about the rise and fall and rise again of a man’s life. The challenges and choices you make or don't make. You don't have to be in the film business to appreciate this man’s journey…just human.

Q: Why do you think independent film is important?
Mardik:
I started my career making independent or student films, but they weren’t really called that then. In 1964, when Martin Scorsese and I made “It’s Not Just You, Murray” there were no such things as student films, but we all got started in film school. In fact, until “The Graduate” came out, the idea of film school or student films hadn’t really caught on and then the student film, I believe, helped to make the independent film world. I also worked with Martin Scorsese on two independent documentaries, “ItalianAmerican” and “Street Scenes.” I also helped him on his thesis project, “Whose That Knocking on My Door” as a directorial assistant. Johnathan Taplin, Marty and I did “Mean Streets” a long time ago and it is still popular. I get more residuals now for that film than before! “Mean Streets” started out as an independent film and the Warner Brothers bought it after the film was made. At first, they weren’t interested in the script, but after it was made they wanted it. That’s how Robert De Niro and Harvey Keitel all got their big break with that film. At the time it came out, I was teaching at NYU and then moved to L.A. where I did “Raging Bull” and “Valentine.” Now, I’m a senior lecturer at USC. Some of my students have been much more successful than I was, it’s so nice to hear from my students and receive their notes. Some of them hated my guts and said I was such a taskmaster, but they understand later after they receive an award. Then they say thank you!

Ramy:
Without it, we’d only have studio-based films, and that would be a bummer! World audiences expect and consume the diverse stories independent films offer. Mardik’s involvement with “Mean Streets,” “Last Waltz,” and many other independent films, inspired a new generation of independent film makers. And today’s digital age is birthing an even larger mass of independent film makers. So the need for good story telling has never been greater!

Q: Why do you think the Beverly Hills Film Festival is important?
Mardik:
Without film festivals like this one, a lot of films would never get the exposure and you need that exposure – all you need is one person with connections and money - not just the very successful ones, but the middle ones. Film festivals show many types of films, you can’t just learn from the classics, watching all kinds of films, you will learn from the mistakes other filmmakers have made. You should also watch Roger Corman movies—don’t be intimidated by “Rotten Tomatoes” - just learn the process from the mistakes. Sometimes this is better than watching Citizen Kane, because everything in that film is there, it is right and it is done. It’s good to watch movies with a lot of problems to learn. That’s why festivals are wonderful.

Ramy:
Because of its longstanding dedication to independent film makers, and extraordinary city that bears its name.

Q:  Why should people come to the panel discussion?
Ramy:
Mardik is a very engaging teacher, and folks who encounter him in class or panel or Q&A will never forget the experience! We hope folks come to the panel discussion with Mardik and Evan.