Miles Maker Interview

What is the current project you are working on?

Wow. A simple question that requires a complex answer Lol! As a Consulting Producer, I'm working with the creators of PARIAH (2011) and Focus Features for its theatrical release--working closely with Nicole Butte, the VP of New Media at Focus Features and PARIAH Producer Nekisa Cooper in the areas of audience development, fan acquisitions and social media strategies for the film.

I'm also consulting a new project in development with Streetwise Pictures producer Kim Jackson (Gun Hill Road) and award-winning filmmakers Daoud Abeid & Dahkil Hausif of Sunshowah Films, and as a Producer, I've assembled a collaboration with microbudget Auteur Gary King (Dir.), Hollywood screenwriter Marvin Willson, Casting Director Kacee Devoe (Lee Daniels' camp) and myself for a horror film currently in development.

On the writing side, I'm developing a full-length screenplay entitled, "Killersext" for the cable VOD market--a psychoerotic thriller noir centered around mobile connectivity, extreme social gaming, sexual fetishes and of course, murder Lol!

Did you always want to be a filmmaker?

I wanted to be a novelist! I quickly found I didn't have the staying power for novels (or at least not yet) so I veered toward screenwriting. Writing has always been my passion, but unfortunately a script isn't something to share with the world until it's actually made into a movie. I was becoming impatient with the process having limited access, opportunity & leverage to affect producing decisions, so I ventured into filmmaking on my own out of sheer frustration.

What inspired you to become filmmaker?

My first experience on set was a made for TV movie called "Finish Line" (1989) starring Josh Brolin. I was an extra with a name (Cooper) and I was all over the place in that movie. I was a Journalism major at the University of Oregon at the time, but I was intrigued by filmmaking process. and blown away by the sheer number of people necessary to make a movie. It wasn't until 2005 that I finally took the courageous leap because this business has a mystifying way of making people feel they're never ready or good enough, but as video cameras evolved, the floodgates opened. I rode the microbudget wave with my first short film and never looked back.

How has your life changed since you became a filmmaker?

Like James Brown sang, "Paid the cost to be the boss," I'm the Boss Lol! I call my own shots, create my own opportunities, shape my professional career and pay a heavy price as an industry freelancer. Life is unstable, work is inconsistent, I'm never paid enough and the business is a tough nut to crack, but I Love every minute of it and I wouldn't have it any other way. I feel a whole lot younger than most 42 year-olds  and it feels good to be doing what I feel passionate about.

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

Ask yourself why--then think long & hard about your answer. Define 'make it' and ensure that along the way you're happy doing what you do whether you're a mediocre filmmaker or an Oscar-winning Hollywood powerplayer. Consider professional sports--they're all gifted athletes, but there are very few superstars and we all can't and won't be one. If you truly love the work, you will do it whether you achieve fame & fortune & Hollywood acclaim or not. At the end of the day, we all shoot for the stars and land--well... just hope it's in a soft place Lol!

How would you describe your film education?

Hands-on Lol! All I've ever had was a bowl full of theory. Ironically I've produced films for film students forking out $50K every year at some of the best film programs in NY and I wonder what in the hell they're teaching these kids and why they can't PRODUCE a movie after all that training. Filmmaking is one of those professions where the piece of paper may open doors to work for someone or get your film in a fest but probably won't do much more than that until you prove yourself on some level. I'd hate to be $200K in debt serving coffee on somebody's set when I might have been the Director had I shot a few projects for a mere fraction of that $200K.

What is the casting process like?

Love it! I Love working with Actors. I'm a naturalist when it comes to casting--familiar faces on your project generate attention currency, but the Best Actor is the Best Actor to portray the role in personifying an idea on paper and sharing its humanity to captivate audiences and make them 'feel' something. In some cases, the Best Actor for a role may very well be someone who rolled out of bed last year and decided to become an Actor, but the Best Actors are typically craftsmen who understand the nuance of a performance, the specificity of dialogue and the magic moments in every script and scene. I'm one of those Directors who enjoys being there for every casting session because I'm afraid I'll miss that special something in a performance that pulls me out of my chair and into the moment with an inspirational Actor who 'gets it.'

How does independent film differ from the mainstream?

It's all mainstream actually. Money can make your main more main than my main, but we're all walking down Main Street. People tend to think independent films are only for independent film lovers, but most viewers wouldn't know a good indie film from a studio film minus the familiar faces, opening credits and higher production value in blockbuster films. What I'm saying is if you make a damn good movie nobody really cares if you're an indie or an outie.

What is your opinion on movie remakes?

Hate 'em. They should actually start remaking flops instead of movies that were already damn well executed the first time around. Of course they'll never do that (it would be tough to market them) but flops aren't always flops because the script was bad. Maybe the producers made a good script bad because there were too many chefs in the plot, or maybe the Director was the wrong choice or the film was cast for all the wrong reasons. Hell I believe Catwoman had all the potential in the world but they just didn't execute.

How has social media changed the independent film industry?

We're all brands now. We're all personalities--even those of us who don't have much of a personality in person. We all have a syndicated voice, and some of us are pretty damn good at engaging the industry in conversation and communicating our desires to achieve or objectives. You don't have to be a superstar to make a living as a filmmaker using social media, but you'll never be a superstar without it.

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

New York is the indie film capital of America. It's a place where talent & resources are plentiful and direct access to mentors and influential people is arguably more possible than in Los Angeles, but indies work with little or no money here. New York is a great place to hone your Producer chops and that's exactly what I've done, but I haven't found a way to pay myself for the countless hours I've slaved on underfinanced projects. Profit isn't even the issue here--it's compensation for a job well done. Having said that, I Love New York! It's where I made my start. It's where my heart is, and it's where I'll someday return to live again a whole lot differently than how I'm currently experiencing this city.

 

 

 

 

Thanks Miles for doing the interview.  Readers can follow Miles via Twitter @Milesmaker. Miles is currently crowdfunding for his film "Driven LA".