Interview Nathan Cole

Nathan Cole has been writing screenplays for the past decade, all enjoying success in screenwriting competitions, but never quite making their way to the big screen. THE WATERHOLE, a semi-autobiographic story of unhealthy relationships and budding alcoholism, has been a passion project of Nathan’s since arriving in Los Angeles. The film was released on DVD on March 29, 2011.

Nathan worked for the Motion Picture Association of America for eight years in several capacities, from helping to develop relationships between the studios and international filmmakers and governments. He is currently employed at an anti-piracy company while developing future film projects at KR7 Productions.

What is the current project you are working on?

I am polishing several new scripts and trying to decide which one will be our next project. The tough choice is whether to make the film I would prefer to or try and make something more commercial. My partner, Daniel Menahem, and I both would like to get to a place where we could make a living doing this and the lure of the more commercial project is becoming compelling.

Did you always want to be a filmmaker?

I have always loved film but for a long time I never really thought I could become a filmmaker, especially living in Reno, NV. Even if I didn't think I could work in film, I knew I wanted to do something creative for a living, something that became more evident while getting a degree in Political Science and planning to go to Law School. One of the major themes of The Waterhole addresses is that time in my life that many go through of trying to decide what you should be. Eventually this led me to film.

What inspired you to become filmmaker?

We had one independent theater in Reno that I would go to religiously and once it became evident that these guys were making films their own way with whatever means necessary I decided to write a script, which after much polishing became The Waterhole. The fact that filmmakers like Kevin Smith, Edward Burns, Jim Jarmusch, Hal Hartley and Steven Soderbergh were making these really original and personal films and getting recognition for it was truly inspiring to me.

What is the best thing about being one?

Bringing something completely made up, or in this case, mostly made up to life. The whole process is so amazing, all the little things that need to come together to get the story onto the screen. In addition you get to work a wide a variety of very talented people and interact with other filmmakers that share this really cool bond. It is very rewarding and it is also incredibly difficult.

What is the worst thing about being one?

First and foremost it is getting the film funded. There is no easy way and even if you can do it cheaper, usually cutting costs means lessening the effectiveness of the film. The other really challenging aspect is anyone one can write a script and make a film, but not everyone can make a great one. Trying to write something that really delivers and then translate that into a high quality film is extremely difficult. I think a good filmmaker will always push it be better, to push the art form further and tell a story that has meaning.

What is the estimated number of projects you have worked on?

One. The Waterhole took me ten years to get made and almost four years to get to DVD. I do not recommend people trying it this way, but on the other hand, if I had given up I would have never gotten the film made. If nothing else, I made it the way I wanted and am very (well, mostly) happy with the results.

Who is your favorite filmmaker?

I really don't have a favorite. I love all the great filmmakers and appreciate all the different approaches they have. I love technical filmmakers like Fincher and Nolan for current filmmakers or Lean and Hitchcock for classic filmmakers. I love the real original voices like the Coen Brothers and Kubrick and I really love the filmmakers that push the form like Soderbergh and Malick, or ones that have this vast knowledge of film and exploit it to great effects like Scorcese and Tarantino.

How has your life changed since you became a filmmaker?

Not much has changed. I still have to be a dad and a husband, keep a day job and try and find a way to get the next film made. It has been a wonderful experience though and I have met some great people and done some really fun things.

What is one piece of advice you can give to someone who also wants to make it in the movie business?

Get into it any way possible and never give up. And by that I mean take whatever job or internship you can to get on a set or at a production company and keep at it. It is not easy, and it can take forever, but you have to at least try and then work hard. One last thing, play to your strengths. Just because filmmaker “A” did it one way doesn’t mean you can do it that way. Maybe you can, but know what you do best and then let that lead the way.

What do you like to do besides filmmaking?

Drink beer and play guitar.

Have you had any other jobs before you decided to become a filmmaker?

Many, currently I work for a company that provides anti-piracy solutions to the major film studios. It is no where near as exciting as filmmaking, but at least I still get to visit the studios and work in the business.

What are some of your favorite American films? Foreign films? Television shows?

My favorite film is probably Raiders of the Lost Ark. It to me embodies the magic and escapism of film, with smart writing and grittiness to balance the more fantastical elements. I love so many films though, regardless of origin. I am not an expert on foreign films, but watching a film by Anontioni or Godard from a filmmaker’s perspective is very liberating. So many foreign films work on their own terms and it is very exciting, if not frustrating at times. As far as TV, I doubt there is a show better than The Wire. It is so good, and deals with so many great characters, themes and social observations it is almost it’s own work of art. It almost transcends all other filmed fiction.

How would you describe your film education?

Watching films, reading about films, talking to people who know much more than I do about films.

How would you describe the film "scene" where you live?

I live in LA, so the town is one big film scene, but mostly one that is not accessible to me. Thanks to people like Dave and Karen from Film Courage and the many friends I have made on Twitter it does feel like there is a great group of indie filmmakers joining forces on the fringes. It is very exciting.

How has social media changed the independent film industry?

It has provided a tremendous amount of access and interaction, which is great. I think it just adds another dimension to some of the processes, but at the end of the day it doesn't change the core things that make a film.

What's your opinion on crowdfunding and recent crowdfunding scandals?

I am in favor of any filmmaker doing whatever it takes to get their film made, but having said that I find crowdfunding an unrealistic solution on the whole. It for the most part generates too little money (I feel most films can be made for much cheaper than most are, but I have seen many films that would have benefitted from a budget.) and the crowdfunding space is getting too oversaturated. My Twitter feed is overrun with requests for money. I would love to help, but it is getting to the point where I am starting to tune it out completely. [Note to crowdfunders – please do not ask for my support if you have not given my project any. Not to be a jerk, but really? Where is the motivation there? You are the only person with a special personal project?]

What is the casting process like?

Casting is incredibly fun and the first time you get to see the script come alive. We really wanted to get good actors that were talented but not have to deal with high asking prices or egos. We had a very long audition process as a result but I know that we got some great actors.

How does independent film differ from the mainstream?

More people see mainstream films. Literally that is it. There are far more bad indie films made than bad mainstream films, you just never get to read about them. That is a fact. A great filmmaker can work on an indie film or a mainstream film and produce something of merit.

What's your favorite movie quote and why?

This is a quote about film, not from a film by William Goldman that gets repeated to death but deservedly so: "Nobody knows anything." It really says everything you need to know about the film business. For an actual quote from a film I would pick just about anything from Barton Fink.

You could have any super power. What would it be?

Super self-calming ability.

What is your opinion on movie remakes?

I hate remakes to the core and the only ones that I think might interest me is to make a bad film and try and turn it into a great film. I am not a person of violence, but if you are a producer that thinks a remake is a great idea, I will punch you in the face. To avoid being a hypocrite I exclude certain remakes from my comments, like True Grit, but otherwise I think it’s just lazy.

What is your opinion on book to movie adaptions?

Do the book justice, but remember the film can never be the book, so make the film come first.

Is there anything else you would like to add?

If you want to make a film, do not just try and re-create what you have seen before. Learn what makes a great film great, a bad film fail and try and do something original.

 

 

 

 

Thanks for doing the interview Nathan. I've heard nothing but good things about "The Waterhole". I'm planning on watching it ASAP.