Director Biography – Emily Dean (ANDROMEDA)

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Emily Limyun Dean is an Asian-Australian-American currently based in Los Angeles. Emily holds a Bachelor of Arts First Class Honours in History from the University of Sydney, and studied Animation at California Institute of the Arts.

Emily began making short films at age 12 and storyboarding professionally at age 15. In 2012 her short film Forget Me Not was nominated for an Australian Academy Award (AACTA) for best animated short, and was included in the Australian National Film and Sound Archive’s Permanent Collection.

Emily trained in the Story Department at Pixar Animation Studios, and has since worked in the Story Department at Warner Bros on The Lego Batman Movie (2017) The Lego Movie Sequel (2019) and Scoob (2020). In 2017 Emily worked alongside renowned cinematographer Chung-hoon Chung (Oldboy, The Handmaiden, It) as a Visual Consultant on the live action sci fi thriller, Hotel Artemis, directed by Drew Pearce (Mission Impossible: Rogue Nation) and starring Jodie Foster. In 2017 Emily also wrote and directed her live action debut, the sci-fi drama short Andromeda.

Emily is represented by Verve and managed by Brillstein Entertainment Partners.

Director Statement

Diverse, female-driven, action-adventure genre stories are my jam!

By femalefilmfestival

The irony of this festival is that its goal is to not be around in 5 years time. To eventually not be relevant because there is zero need to have a festival geared for female talent and female stories because the stories presented in Hollywood and around the world are a balanced showcase of the human experience from both sexes. Our goal is to achieve a lot of success and then fold into oblivion simply because there is no need for this festival. This festival was created by the FEEDBACK Film & Writing Festival as a simple reaction to a strong need to showcase female talent from around the world in a more profound way. When putting together the weekly festival, the administration noticed a lack of a female presence in the stories being shown at the festival. A classic example and analogy to the frustration is how the festival noticed that even the smaller roles in a screenplay were written for a man to play. There was zero reason for this in many stories. How a police officer, or a political campaign manager, for example with 3-4 lines in a screenplay was a "HE" character. Why? And these are the screenplays written by the winners! The talented one who have obtained agents and have began/beginning their careers as a writer.

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