Filmmaker Ryan Levin

Ryan wrote and produced the independent film, Some Guy Who Kills People, a dark comedy starring Kevin Corrigan, directed by Jack Perez and executive produced by John Landis.  Ryan is currently writing on the Cartoon Network show, The Problem Solverz.  He has written on the shows I’m In The Band and Scrubs, has consulted on South Park, and has sold animated pilots to 20th Century Fox and Comedy Central.  He was also invited to pitch jokes and ideas to Sacha Baron Cohen (Borat, Da Ali G Show) for Cohen’s film, Brüno.  Ryan wrote and directed the short film,The Fifth, which screened at over 60 film festivals worldwide, and garnered a myriad of awards along the way.  He also wrote and directed the horror-comedy short film, Tour de Fright, after winning financing from Boost Mobile’s “Create The Next Horror Villain” Contest.  He is currently working on a screenplay based on this short film, and developing random TV projects.  


What is the current project your working on?

I'm currently working on a Cartoon Network show while promoting my feature film, SOME GUY WHO KILLS PEOPLE, an independent dark-comedy I wrote and produced. In addition, I'm trying to develop TV shows and finish a screenplay that is taking me waaaay too long to complete.

Did you always want to work in the film industry?

No, I didn't discover a desire for writing until I was 25, and that was strictly TV writing. It wasn't until 2007, when I wrote and directed a short film called THE FIFTH for fun. From there, I decided to turn that short into a feature, and ever since, have been finding myself much more interested in writing features than I ever imagined. But I still love writing for TV shows, while trying to develop my own.

What inspires you?

The most boring answer in the world: great writing. Every so often, I'll read a book or watch a film or TV show that reminds me how effective great writing can be. How one can be emotionally altered by the experience of great writing. And while I almost always think, "I'll never be 10% as great as that writer," it inspires me to try. I guess, wrapped up in that, is a certain level of inner competition. Can I become a better writer than I am now? The answer, of course, is yes. Then the question becomes, "How?" And the answer is, keep writing.

Also, the cocktail of fear, lurking failure and insecurity has a wonderful way of getting me to the desk to write.

What is the best thing about working in the film industry?

The flashes of inspired writing I get about once a month. Sometimes they last for a week, sometimes a day, sometimes five minutes. But the rush is like a drug. At the same time, writing something that makes a theater full of people laugh... that's a rush that's hard to top.

What is the worst thing about it?

The fact that you feel you can always be doing more to further your career. There is no 9-5 element to the creative process, even if you're a writer who says I will only work from 9-5. Writing is a lifestyle, not just a career. I can't speak for everyone, but writing can take over my life, and, unfortunately, it often does. I'm constantly worried that if I'm not writing now, then I'm missing some job opportunity, that I'm missing the chance to write something great. Also, I am an extremely slow writer because writing helps me think. So it's not until I've spent a few hours writing that I really start to find my groove (if I find it at all). However, life does not allow me to write several hours EVERY DAY, even though I wish I could. Plus, no matter what I'm doing -- playing tennis, walking the dogs, unicycling -- the chances that I'm thinking about writing in some capacity are about 99.9%. The .1% is when I'm sleeping, and that really can go either way, too.

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

A very tough question to answer because I don't know what defines "a project." I've written several screenplays, a myriad of TV pilots, a web series, several short films, numerous writing samples (ie, non-script samples that one can submit for TV jobs), produced TV scripts, one produced film, and a whole hodge-podge of other crap that will never see the light of day. I've written some of these things to get a specific job; some I've written as a sample that shows "Here is what I can do;" some I've written to try to sell, etc. The number of these projects that have or will see the light of day is depressingly small. But each "project" has helped my writing in some way, even if I don't exactly know how.

Who is your favorite filmmaker?

Not sure I have a favorite filmmaker because I can't think of anyone that has knocked it out of the park (for me) every time. I would say my favorite writer is Martin McDonagh, an Irish playwright, who also wrote and directed the film, "In Bruges." When the Coen Bros. hit it, they're tough to beat. I'd be lying if I said Fellini because I get bored too easily. My favorite filmmaker might be the documentarians, Errol Morris, Joe Berlinger & Bruce Sinofsky because I can't think of a movie they've made that I didn't either enjoy a lot, or go nuts over.

On TV, Vince Gillgan's "Breaking Bad" is my favorite drama ever ("The Wire" and "Epitafios" from Argentina are both in the mix), while the golden years of "The Simpsons" essentially defined comedy for my generation.

How has your life changed since you became involved in entertainment industry?

It's become an obsession. And not in a good way.

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

That all depends on what area of the movie biz interests them. For those with creative aspirations, the key is to do what you want to do, over and over and over again, both to get better, and to eventually land on the right person's radar. Do it for free, and do it a lot. While doing this, you likely will need a survival job, so why not immerse yourself as much in the film/TV world as possible -- intern at a production company, get a PA or writers assistant job, help out a make-up artist on an indie film. Develop relationships, learn how the system works, and, on the side, pursue your true ambitions.

If you want to be on the business side, find the places that create the type of material that resonates with you, and get in the door -- as an intern, an assistant, etc. If you can't land exactly where you want, get in somewhere, and know you won't be there forever. People are constantly moving from one company to another, and you will, too.

Whether you enter the creative side or the business side, I guarantee that you will not end up exactly where you thought you would. Just get yourself on the board, and let the die take you in all sorts of directions

What do you like to do outside of the industry?

Sports. I will play any sport -- from tennis to wiffle ball to flag football (some a lot better than others). I'm not one of those people who loves sports enough to watch an Iowa State-Montana football game on Saturday afternoon, but when my teams play, or the NBA, NFL or MLB playoffs roll around, I'll watch, no matter who's playing. And the last thing I do before I get in bed every night is watch Sportscenter.

I love running, reading, playing board games, going to heavy metal concerts, playing with my dogs, hiking, and, of course, spending quality time with my fiancee. I love the occasional trip to an amusement park, too.

Have you had any other jobs before you decided to work in film?

Assistant talent agent, waiter, improv teacher, GED tutor, busboy, after-school teacher, dog kennel shit-picker-upper, horrible theater acting. I'm probably leaving some out.

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

Oh, Jesus Christ.

American: Halloween, Seven, Dumb & Dumber, Waiting for Guffman, Spinal Tap, Best in Show, Three Amigos, Beverly Hills Cop, Better Off Dead, Coming to America, Godfather, Usual Suspects, My Father The Hero (checking to see if anyone reading this), Paradise Lost 1 & 2, American Movie, Thin Blue Line, In Bruges, Ace Ventura: Pet Detective, Psycho, The Shining. I know I'm leaving out hundreds that should be on this list.

Foreign: City of God, The Staircase, The Vanishing, Pan's Labyrinth, Let the Right One In

TV: Breaking Bad, The Wire, The Simpsons (back in the day), Modern Family, Epitafios, Arrested Development (Season 1), Damages (Season 1), Friday Night Lights (Season 1, and then random other seasons). I used to loooove Wings, but it's not funny now. I guess that's how I feel about most older shows -- they don't hold up for me.

How would you describe your film education?

Film education? Not sure I have one. I've read books, watched a lot of good and bad movies, made some shorts and watched Jack Perez shoot the feature that I wrote/produced. Beyond that, I have no film education.

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

I live in LA, so it's not a scene. It's the whole damn movie.

How has social media changed the independent film industry?

It's a double-edge sword. I absolutely hate spending time on Facebook and Twitter when I'm trying to promote my film because that's time I could be writing. Using these social media tools for promotion is like having a full-time job, but one for which I'm completely unskilled. I like reading hilarious tweets on Twitter, or following a link to a great article, or getting a great movie suggestion, or meeting people on-line and then in person... but because I'm on there to pimp my film, it feels like pushing a boulder up a hill where my reward is X number of followers, 1% of whom may consider buying my film once it's available.

However, without Facebook and Twitter, how the hell would I spread word about my movie (outside of festivals)? I suppose I would have gotten the trailer out there, and gotten some interest off that. The situation is that there are so many indie movies out there, and somehow, some way, you need to stand out from all the noise (I don't mean "noise" in the derogatory sense; just the noise generated by all the other filmmakers pushing their own projects). Despite my film getting some great reviews, and great receptions at festivals, and knowing there is definitely a demo that will eat this film up, I still haven't figured out how to break through and achieve the desired "buzz." People in the indie film genre world likely know about, or have heard something about it, but that has not translated to Facebook "likes" and Twitter "followers," numbers I never thought I'd give a shit about. But I do, because I know buyers do. Actually, I should care about these numbers because some of these people are fans who have really supported the movie, have told friends about it, and will buy it when it's available.

Facebook and Twitter are not all bad -- not by a long shot. I've met some great people on-line, and then in person, and that's "real." That means something to me. And I like being able to post behind-the-scenes videos on Facebook, or throwing out random thoughts on Twitter, and I always find cool articles from the people I follow on Twitter... so there is a big upside to social media

What's your opinion on crowdfunding?

I have no personal experience with it, but I think it's a simple and ingenious idea. It's also inspiring and uplifting to think that people are willing to give money to total strangers because they truly believe in a project. Yeah, the prizes play a role, but I can't help but feel it's a sign that music, film, etc audiences have appetites that are not being satiated by the mainstream, but they are finding projects on the crowdfunding sites that really appeal to them. So much so that they are willing to pay to make them a reality. Of course, I'm quite curious to see how the projects that get their money from crowdfunding turn out. I believe the film, Absentia, got its money from crowdfunding, and it's tearing up the fest circuit. But are most of these projects being seen to completion? Are they delivering on what was promised? Are they good? Are they satisfying the strangers who paid to make them happen? In the next year or so, we should start hearing about more crowdfunded projects that go on to succeed in their respective areas, and truly stand out. As for all the others that raise the money... well, I'm curious.

What is the casting process like?

I absolutely love it. One of may favorite parts of the process. For me, I spend X number of years writing a script, often times with certain actors in mind that could play each role. Sometimes those actors are pipe dreams; other times they're just friends who I can't wait to see play the roles. But to watch good/great actors come in and read your material and bring out things you never knew were in the text, that's just plain cool. And fun. To see all the different ways one can read the same line, or interpret the same character. As someone who spent a while studying acting, but never got very good at it, I just love watching good actors read anything, let alone my material.  Having only done one feature, it was surreal to see actors for whom I had the utmost respect giving life to words I jotted down at some point. Then, on top of casting for each role, you need to cast for the whole movie -- the entire ensemble. If you're casting a family of 4, you can't just pick the four best actors. You need to find the actors that can act, and that will look like a family. I get so frustrated when I see films (indie or mainstream) with 2 actors or actresses that look the same -- family members, a group of friends, etc. Even if I can keep track of who is who, it's just a waste. With all the great actors out there, why cast two people who look the same and usually end up blurring together?

How does independent film differ from the mainstream?

The two biggest differences are (no surprise) creative and financial.

There are so many different types of indie films in terms of what makes them indie. Sometimes the director has final word. Sometimes it's the person who put up the money who gets to call the shots. Or, in my case, it was me -- the writer/producer. I obviously listened to everyone around me, and usually realized I was wrong and they were right, but in the end, I had final say. That situation does not exist in the studio (mainstream) system.

If, hypothetically, I sold my script to a studio, it would likely bear no resemblance whatsoever to what I sold them. It would become a teenage comedy about a kid who gets beaten up and then defeats all his bullies in a dance contest. But when made independently, that script will be the blueprint for the movie, and the finished product will be what the director, actors, producers and crew decide through their collaboration. Not what the execs decide.

Yes, certain directors can do whatever they want and keep the studio execs at bay throughout the process, but even before that step, the script that the A-list director is working on has probably been re-written by 12 different people (which, I can only guess, has rarely, if ever, made a script better). Rewrites are essential. Input from other writers and non-writers is invaluable. But to run it through that many writers... I'd have to guess you start to get diminishing returns.

My guess is that even the top non-directing writers in Hollywood do not have much (if any) say in the final product. Their job is done, and maybe they've moved on to another project. Obviously, there are exceptions -- where a studio film is made exactly the way the writer/director wants it. But then once they're thrilled with the final cut, I'm sure they end up hating the poster or trailer or something. The more cooks in the kitchen, the greater chance one will throw in way too much nutmeg.

You could go back in time and see any classic film being made. Which film would it be and why?

One of the Ernest movies.

What's your favorite movie quote and why?

I'll give you two very different ones (again, my apologies for not quoting Robert Towne or Paddy Chayefsky):

"'I come home one day and the house is empty, and I mean completely empty. She even took the ice cube trays out of the freezer. What kind of a sick bitch takes the ICE CUBE trays out of the FREEZER?" -- Gib (Tom Arnold) from True Lies.

Should my favorite quote be from a James Cameron script? Probably not. But I just pretend that line was improvised or written by someone else.

I also love, "Become vengeance, David. Become wrath." -- John Doe (Kevin Spacey) in Seven.

His plan has worked perfectly and he's in total control of the situation, despite being handcuffed and bound for a lifetime in prison. He's telling Brad Pitt's character exactly what he wants, and he knows Brad Pitt will not be able to resist falling right into the trap. Plus, it sounds bad-ass.

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

Either flight, or the power to be creative on cue. They'd both eliminate a lot of headaches.

Is any publicity good publicity?

I don't think a movie being ripped to shreds by every critic is good for that movie. I might argue that any controversy is good publicity.

What is your opinion on movie remakes?

The only remake I've ever see that's better than the original is Ocean's 11. I heard Let Me In is almost as good as Let The Right One In but I can't imagine it's better. The only reason I could fathom doing a remake (finances aside) is if it's a completely different (and better) interpretation of the original. There are just too many good scripts not being made that to do a remake without adding anything original... well, it's a shame.

What is your opinion on book to movie adaptions?

I'm all for for them, as long as the movie is good.

Is there anything else you would like to add?

I'm a nobody. I think I've said far too much already.

 

 

 

Thanks for doing the interview Ryan. I saw the trailer and it looks awesome. Readers please check out the  website for"SOME GUY WHO KILLS PEOPLE".  Join the fan mailing list. Don't forget to click the Facebook "like" button while your there.