[/caption]Don R. Lewis got his start in film as a volunteer at the Sundance Film Festival. This experience ignited his love of film and sent him on a journey that included over ten years as a writer/editor at Film Threat as well as AA degrees in screenwriting and film production from College of Marin, a BA in screenwriting from Cal State Northridge and a Masters in Cinema Studies from San Francisco State. Aside from producing two award-winning short documentaries (“Stringers” in 2006 and “Drag King” in 2008) Don was Co-Producer on “The Violent Kind,” a sci-fi/horror film that premiered at the 2010 Sundance Film festival.
Don was born in Napa, CA but raised in Petaluma where he still lives today with his wife, daughter and dog Igby.
John Beck is a multi-media journalist who has worked for numerous Bay Area outlets over the past 15 years.
He got his start covering breaking news for Bay City News wire service where he met a rag-tag band of late-night video freelancers who became the subject of the 12-minute documentary “Stringers.”
After posting video interviews on the Press Democrat website back in the late ’90s (the dark ages of the Internet), he eventually began producing a weekly video called “60-Second Weekend” that was the most watched web series in the New York Times Regional Newspaper Group.
A graduate of Florida State University, he earned his M.A. in creative writing at the University of New Mexico. He has won multiple Peninsula Press Club awards and the 2002 American Association for Sunday and Features Editors award for best A&E feature.
What is the current project you are working on?
My latest project is a documentary I Co-Directed with John Beck on
the 2010 “World’s Ugliest Dog ® Contest” called “Worst in Show.” In it, we followed 4 competitors in that years contest and get to know them and their ugly dogs. We also found out the contest is much, MUCH more competitive than we thought and many of these owners do not like each other or get along. It ended up being a lot like the mockumentary “Best in Show” which we didn’t see coming from the get-go. But through all the crazy characters and in-fighting, a touching and amazing story of animal rescue comes through which was also totally unplanned and amazing. It’s available now on DVD here: http://worstinshowmovie.com/)I also co-produced an awesome horror film called “The Violent Kind” which is now out on DVD, blu-ray and on-demand in many markets. It played Sundance in 2010.
How do you handle rejection?
Badly. I do everything you’re not supposed to do at first; take it personally, think my project sucks, get pissed at whoever rejected us. You don’t usually get a reason so you’re left to your own devices on why it happened and for me, I always regress into a 3rd grader again and think nobody likes me and I should go pout in the corner.
Then, after a day or 2 of feeling sorry for myself, I buck up and kind of come out swinging. For instance, for whatever reason “Worst in Show” didn’t make it in to too many film festivals. I really don’t know why but I suspect it’s one hour run time might have hurt us and the fact that it really plays better to a crowd and when programmers are watching it, they’re usually alone at a computer or their TV, and they miss the total experience. This was really, really frustrating to me as I’ve been a writer at Film Threat for over a decade and have covered tons of festivals and got to know programmers. Plus “The Violent Kind” had played Sundance and a bunch of other festivals and I know a ton of people through that. Plus, I did some short docs that won awards and both John (my co-director) and I thought this would be our big stage. It didn’t happen so the stuff in that first part of the answer did.
But soon we both got really inspired to say “fuck you guys then” to these festivals who rejected us and take the movie on the road ourselves, ala Kevin Smith with “Red State.” Kevin is a big, big inspiration to me and at the time he was doing Sundance and all that “Red State” insanity happened it was the same time we were getting a different kind of shaft from a major industry. I totally felt his frustration with the “system” and how it worked (or, didn’t) and rather than stew or pout, I followed his lead and we decided to do it ourselves. I should also note I harbor NO ill will towards any festival that rejected us as it all worked out great for us in the end. I look forward to hanging out at these festivals and seeing my programmer friends as the 2012 festival season gears up. Anyway…
We took the film on an 8 city tour and did it by teaming up with local animal rescues or shelters who agreed to help us promote the film to their mailing list and supporters. We then sold advertising that played before the film to local pet stores and restaurants that were near the theater we booked. The advertising usually paid for our travel expenses and offset some of the theater rentals and the experience was really cool. Not every screening was a smashing success but we learned a TON and had a lot of fun bringing the film to niche, pet loving audiences. Plus, we did it ourselves. Any success or failure was due to our choices and that felt really empowering.
We got a TON of press on the tour in print, internet, radio and TV and I honestly believe we wouldn’t have received as much if we were in film festivals. We also were fortunate enough to be accepted to the San Francisco Indie Fest, Oxford Film Festival and the Kansas City Filmmaker Jubilee where we won Best Documentary. All these things created buzz and got people talking and without them, I don’t think we would have got distribution for the film. It’s out now on DVD and supposedly will soon be on-demand and various internet outlets through Breaking Glass Pictures.
To get back to the original question about handling rejection, all of the above absolutely would not have happened if we hadn’t been rejected from film festivals. You can either take it lying down and go back to the drawing board or think outside the box and push the film you made because you believe in it.
Did you always want to be a filmmaker?
Yeah, I always did but never admitted it until about 15 years ago. As a kid I was such a movie freak and a monster freak as well. I obsessed over the Universal Monsters as well as all things Spielberg and Lucas. Throughout my life I was always such a big movie geek but it never really hit me that I could do that too until that whole early nineties indie film explosion happened.
What inspired you to become filmmaker?
Aside from all the amazing films I experienced in theaters growing up (“Star Wars” trilogy, “Indiana Jones” trilogy, Spielberg’s unheralded run) that early 90’s indie film explosion changed my life. “Clerks,” Reservoir Dogs,” “Swingers,” “El Mariachi,” “Sex, Lies and Videotape.” These were weird, cheap little movies that sparked an interest in me beyond the spectacle of the big budget movies I also loved. Hearing Tarantino rant about his inspirations opened so many doors to movies I’d never heard of. You have to remember too—the internet wasn’t as fully formed then so the world was a lot smaller to a small town kid. Now all these films and filmmakers are at your finger tips as are message boards where you can share information. It was just really eye opening for me at that time.
A year or 2 after the “Clerks” and “Reservoir Dogs” year at Sundance (1992?), I became a volunteer there and volunteered there for 10 years. It was extremely inspiring to see all these great indie films, hear Q&A’s, meet filmmakers and meet fellow film enthusiasts. I highly recommend attending film festivals as a volunteer to all aspiring filmmakers. Volunteering is a great way to attend on a budget and get to meet a lot of cool people who share your passion. Being at these festivals inspired me to become a filmmaker.
What is the best thing about being one?
Good question. For me the feeling of starting and finishing a project that is as difficult as a film is, is an amazing feeling. I’m lucky to have my partner John because we push each other and have strengths in different areas so we compliment each other. As a person, I have trouble finishing things so seeing a project through from start to getting it out into the world is a great feeling.
With our short docs, it was NEAT to play all the festivals we played and to be in a Q&A with other filmmakers. Being such a film festival fan and getting to be on the other side is a great feeling as well. Obviously being on-stage at Sundance, the festival that means so much to me and was kind of my film school for so long, was an amazing, amazing experience.
What is the worst thing about being one?
As noted, I don’t take rejection well (at first) and it stings. Sad to say but we’re being honest here. I think I’m over it now but I’ll let you know after my next project gets kicked around the block a few times.
It’s really expensive and time consuming and there’s no guarantee of ANYTHING. You may never finish, you may never get the film seen, you may find you have no story like you thought you did. All of these things happen frequently and for something as time and energy consuming as filmmaking, that’s a tough road to hoe.
What is the estimated number of projects you have worked on?
I’d guess 5-6 overall. I live in Northern California and there hasn’t been a lot of bigger projects around for me to be involved in. I feel really fortunate to have been in the right place at the right time with the right things to offer “The Violent Kind.”
Who is your favorite filmmaker?
There’s a lot for different reasons. My top five in no order would be Billy Wilder, Steven Spielberg, Hal Ashby, Cameron Crowe and Stanley Kubrick. Ask me next week and that might change but those are my go-to guys.
How has your life changed since you became a filmmaker?
Well here I should come clean and say, I’ve always had a day job. Where I live in expensive Northern California and with a wife and small child, it would be impossible to live solely as a filmmaker. Just wanted to throw that out there in case people think I’m strictly a filmmaker.
That being said, my life has changed because I may actually make money doing something I love as “Worst in Show” sees release. My film writing for Film Threat has always been for fun and for trips to festivals and our short docs cost us more than we’ll ever recoup on them, but they were great calling cards.
Having to do the movie tour and everything ourselves has drastically altered the way I think of film distribution and film festivals and festivals are something I’ve given a huge chunk of my life to promoting, covering and taking part in. I love (LOVE) the film festival experience but am starting to wonder what the point of them is. I think an evolution is eminent.
I also showed a lot of people that I’m capable of an artistic endeavor. Almost all of my friends are either drunks or musicians. The drunks always thought I just disappeared from the pub for a few weeks every year and the musicians were always creating and trying to share their thoughts with the world. I found it cool to show I could create something awesome to share with the world and the support of my friends and colleagues was a great feeling.
What is one piece of advice you can give to someone who also wants to make it in the movie business?
Don’t. Ever. Stop. Trying. If one door slams in your face, find another one. If that one slams, buy a saw and some wood and make your own door.
What do you like to do besides filmmaking?
Hang out with my wife and daughter, watch Giants baseball, write, watch movies.
What are some of your favorite American films? Foreign films? Television shows?
Oh man, so many to mention. I’d say “The Apartment,” “The Last Detail,” “Vertigo,” “The Searchers,” “The Shining.” I don’t watch a ton of TV but I loved “Northern Exposure” and “Twin Peaks.” I love “Mad Men,” “Dexter,” “Louis.” I’m going to sound like an American asshole here but I’m just not a huge fan of foreign films. I do love Lars von Trier though.
How would you describe your film education?
I have a bachelors degree in screenwriting from Cal State Northridge and I’m moments away from finishing my masters in cinema studies from San Francisco State.
How would you describe the film "scene" where you live?
It sucks, badly. I hate it in fact. I think because it’s so expensive to live here people can’t really afford to make films. I’ve never really felt there was a real San Francisco film scene or at least not one I’m interested in per se. Sure, there’s San Francisco based filmmakers, but I wouldn’t say there’s much of a scene. Then there’s Pixar and Lucas but that’s more tech oriented.
How has social media changed the independent film industry?
Well, at first it was awesome because you could share your work and market directly to people. Now there’s SO MUCH noise on the internet, it’s hard to cut through that. Although I’m an active twitterer (@PetalumaFilms) and we have a facebook fan page for “Worst in Show” (https://www.facebook.com/WorstInShowMovie) I have very, very little faith in the power for these to really help with anything. It became abundantly clear to me during my crowdsourcing for “Worst in Show” that twitter is extremely narcissistic and no one really pays attention to what each other are saying…unless a twitter argument takes off or some kind of funny meme catches on. Facebook is a little more personal I guess.
Again, it might be me taking rejection badly, but during our crowdfunding I received VERY little support from twitter and I have over 1000 followers. Same with facebook, but not as extreme. If each of my twitter followers had gave $1, we would have reached our goal coupled with the other investors. I usually post once a week to twitter to have people join our fan page and maybe one person has. Lame.
What's your opinion on crowdfunding?
I love it. I think people want to help creative people succeed and this is honestly the easiest and most fruitful way for a filmmaker to receive help. We always need money and crowdfunding sites make it easy for us to get it.
You could go back in time and see any classic film being made. Which film would it be and why?
Probably anything with Werner Herzog directing Klaus Kinski. Just because their fights are so legendary and the locations they shot at were so insane. It would have been a blast being there.
What's your favorite movie quote and why?
I like when Shirley MacLaine’s Fran Kubelik says “Shut up and deal” to Jack Lemmon’s C.C. Baxter in “The Apartment.” It’s just so….perfect and sweet and concise. I also love the movie “That Thing You Do!” and the line “Shame on me for kissing you with my eyes closed so tight.” That’s just such a sad and painful moment eloquently written.
What is your opinion on movie remakes and sequels?
Meh, I’m not an across the board hater of them, I just hate remakes for the sake of remaking for more cash. I find it hard to believe some films can be improved on as well. Why not just re-release them in theaters and let people discover something cool that was right under their nose all along?
What is your opinion on book to movie adaptions?
I’m a big fan typically if I was a fan of the book. I enjoy looking at choices filmmakers and screenwriters make to adapting to the big screen. Much like remakes or sequels, I’m not a fan if the movie sucks, but I like looking at them side by side.
Is there anything else you would like to add?
I just hope filmmakers will start thinking outside the box and find new ways to get their films out there. Why pay a film festival $50 to judge you and allow you access when you can take it out to a few cities and MAKE money? I also hope people will buy our film at http://www.worstinshowmovie.com
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