Author M. E. Patterson

M. E. Patterson spent his early years in the picturesque Shenandoah Valley of Virginia before finally heading south to Virginia Tech, where he majored in English with a focus on poetry and fiction writing, and a minor in Digital Design (because building web apps pays the bills better than writing).

From there, he moved on to the west, finally stopping in Central Texas, where he now lives with his wife and an easily-distracted, bright orange dog.




In addition to writing horror, sci-fi, fantasy, and speculative fiction, Mr. Patterson is also an accomplished web software programmer and has been integral in the construction of a number of web applications, both high-profile and unknown, and has a frequently-trafficked blog devoted to the esoteric discussions of that programming field.

Visit his website at www.devils-hand.com

What is the current project you are working on?

With my first book, Devil’s Hand already available, I’ve begun the laborious process of tidying, tightening, and violently cursing at the draft of the sequel. I’ve also written half of the first draft of something completely different: a sci-fi novel set in the near-ish future that will be marketed to both adults and YAs.

What inspired you to become a writer?

I think two forces pushed me in the direction of being a writer. One was the excellence of my senior year English teacher in high school, who, for the first time in my school career, had me engaged with what it really meant to tell a story. The other force was my desire to simply write. I found, upon entering college as a Computer Engineer, that I *needed* to write. I switched to English for my degree and never looked back.

 What is the best thing about being a writer?

Having a certain degree of autonomy is really compelling to me; you only have yourself to impress when you're writing the draft. But most of all, I like building worlds and the characters that inhabit them. The feeling of bringing some unknown place to life and highlighting the people that live and operate there is hard to describe.

 What is the worst thing about being one?

Probably the other side of that same coin. You are your own boss when you’re writing. So if you procrastinate, no one yells at you or holds you to a schedule except you. Sometimes it’s helpful having external pressure.

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

Not sure how to answer this one since I’ve done projects from books to short stories to web-based software systems to logo designs for small businesses. So if you lump ALL the “projects” I’ve done together, it’s probably in the hundreds.

What advice would you give to someone who wants to be come a writer?

Paraphrasing Joe Konrath here (becase I think he nailed it on his blog one day): Read a lot of brilliant stuff. Read a lot of shit. Write a ton. Keep trying and hope you get lucky. Luck goes to those who work really hard. When I tell someone I had my best sales day ever, and they say, “Wow, that was a lucky day, huh?” I usually smile and nod, but really I’m thinking, “I worked my ass off to convince those extra people to buy the book.” It feels like luck when it works. It feels like pointless tedium when it doesn’t. But you’re never gonna get the former without the latter.

What do you like to do besides writing?

I’m a HUGE film buff and spend altogether too much time and money at the Alamo Drafthouse here in Austin, TX. I also a read a ton (big, surprise, right?) Outside of that, I like building web software and gardening.

 Who is your favorite author?

So many to choose from. I think I’m most inspired by Neil Gaiman. From his beautiful stories in Sandman to his more recent works like American Gods and Anansi Boys, he has a magical quality that no one else can compete with. China Mieville is another huge favorite, as is William Gibson.

 What are some of your favorite books?

I think my two favorite books of all time would have to be Hyperion by Dan Simmons and the Sandman comics by Neil Gaiman. Coming in close behind would be The Once and Future King by T. H. White, Harry Potter, Mieville’s The Scar, Gibson’s Neuromancer, and Neal Stephenson’s Snow Crash.

Who is your favorite filmmaker?

Again, I enjoy quite a few different filmmakers and styles. And if you ask my favorite six months from now, I’ll probably give you a different answer. In no particular order, the filmmakers whose films I will pay to see without even looking at critics’ reviews:

Nakamura (not widely known in the US, but Fish Story and Golden Slumber are some of my very favorite films)

Jee-Woon Kim (directed The Good, the Bad, the Weird and I Saw the Devil)

Guillermo Del Toro

Quentin Tarantino

How would you describe your education?

Lots of writers have these great stories about getting kicked out of college, or bouncing around from school to school, or whatever. Mine is far less interesting. I  thought writing was dumb in middle school and high school, largely because I always got A’s without trying. I didn’t realize then that it was because I was actually pretty good at it, comparatively. I went to college as a Computer Engineer because I liked computers and wanted to get into this whole internet thing. Then I realized I didn’t like being an engineer, so I switched to English, got a degree in Fiction Writing/Poetry, and then proceeded to make a living during the day building the same software I would have been building had I gotten the engineering degree.

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

I would be failing if I omitted the original Star Wars  trilogy. I also loved Hellboy 1 and 2, the Kill Bill movies, Up, and the Lord of the Rings trilogoy. Some of my favorites of all time are foreign films, including Fish Story, Golden Slumber, Breathless, The Good the Bad the Weird, and The Chaser. I don’t watch a ton of television, but I have a soft spot for The Venture Brothers, Ugly Americans, Archer, Modern Family, and Castle. And of course Firefly, the best show that was never given a chance to succeed.

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

It’s better to describe the ‘creative’ scene here. Austin, Texas is a hotbed of creativity, from filmmakers (indie and mainstream), to musicians of every stripe, to writers, from comic creators to novelists to bloggers and article writers. It’s inspiring to feel like I’m a part of all that, and I love being in a city that really embraces it.

 How has social media changed the publishing?

I think by now it’s become clear to most folks that social media is the new place to advertise fiction, at the very least. Sure, if you’re one of the top 25 known writers on the planet, you can still get a lot out of side-of-bus ads, book tours, billboards, whatever. But for the rest of us, the audience is waiting in the social media world and it’s just a matter of figuring out how to reach them with your product.

What is your thought process like when you're writing?

I’m more of a “let’s see where this goes” kind of writer. Everything I’ve ever written ended up very differently from what I’d expected when I started. Characters that I’m sure are going to stick around through the trilogy suddenly die halfway through; characters I don’t even like turn out to be so compelling that I rewrite them and they become my favorites. So while I sit down with some notes and rough outlines, I don’t so much follow them as use them as touchstones.

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

Teleportation. No question. If I could just step through thin air and show up wherever I wanted to be right now, my life would be nearly complete.

If you could have any first addition book. Which would it be and why?

I’m not really that into collecting artifacts in that way. To me, the story is more important than the physical object. <shrug>

What's your favorite quote and why?

“I may not have gone where I intended to go, but I think I have ended up where I needed to be.” -- Douglas Adams

Adams had a way of distilling great truths into these simple, funny little quotes. I think that one, in particular, captures both my writing process and the way my life tends to go.

 What is your opinion on movie remakes and sequels?

I have no problem with movie remakes and sequels, though it bothers me that many studios seem to be using them as excuses to not otherwise fund riskier scripts by new writers or with untested stories. Sure, it’s easy to remake Spider-Man again, and it may be a blast, but someone out there has written a bad-ass superhero screenplay about an original character that would be different and new. Sure, maybe wouldn’t sell as much, but it could create a new franchise and end up being huge. Nobody makes franchise-starting movies anymore unless they’re already tied to a property like a successful comic. Those are fun, but I think we’re missing a lot of opportunities for something new.

What is your opinion on book to movie adaptions?

Books can make great movies. And they can make absolutely awful movies. And it’s hard to predict which will be which. The best screenwriters and directors know that they should be using the book as a guidepost to a great screenplay. The worst try to match the book scene-for-scene and usually end up with a boring, muddy mess.

Is there anything else you would like to add?

Nope. :)

Filmmaker John T. Trigonis

A poet primarily, John T. Trigonis has published work in a variety of poetry and literary journals all over the world. In 2007 he was a nominee for a Pushcart Prize in Poetry. He has also self-published a number of free chapbooks, including Fifth Avenue Bomb in the Covergirl Heart, Androids with Angel Faces, Wanderland, and Warehouse City Blues.

Between 1999 and 2006, Trigonis was an active presence in the NY/NJ spoken word/open mic scene, performing his signature “explicitly honest” verse. Since then, he’s taken time away from the written word to focus on his other passion: film.

Trigonis has written and directed seven shorts, including Cerise, Speed Musing, Perfekt, The Hotel Edwards and The Coconut, and a feature-length film. Each film has screened at various film festivals across the world. He also directed the pilot episode of an ongoing web series called Something About Ryan, which won four awards between 2008 – 2010.

He is currently working on a rewrite of a feature-length screenplay A Beautiful Unlife while outlining another dark comedy called Caput.

When not working on his creative endeavors, Trigonis teaches humanities and writing courses at various universities.

What is the current project you are working on?

The current project I’m working on is called Mating Dome, the story about an everyday Joe living in the super sexual utopia of the 22^nd Century where people go to a mating dome, walk around through neon lit corridors wearing only futuristic towels and flash one another to decide whether or not they’d like to “get a room” with each other. The script was written by my good friend and actor in the bulk of my films, Joe Whelski, and I’ll be taking on the roles of director and picture editor on this short comedic film.

How do you handle rejection?

With a bottle of red! Not really, no. As a poet primarily and having been submitting my work to magazines and literary journals for over fifteen years, I learned early on that for every 100 rejections, you might get one or two acceptances. I used to do all the cliché things writers are supposed to do with rejection slips (plastering an entire wall with them comes to mind most) but honestly, that can get too darn depressing. So I tore ‘em all down one day and noticed that on the back of a New Yorker rejection slip––by that time my fourth from the prestigious magazine––the editor had written on the back of it “These aren’t quite right, but I look forward to others.” That was the boost I needed to keep submitting, keep trying to break in. Now when I make a submission, I know that eventually all of the poems will be accepted somewhere, and that helps me to sleep at night and keep paying for the submission costs.

With film and screenwriting, however, rejection’s a bit different for me. The one thing I like about having your screenplay rejected by a studio or agency (and, granted, I don’t submit screenplays as often as my poetry, but when I do, the rejections are epic!), I always receive helpful and constructive criticism. On the flipside, film festival rejections are the most generic there are, and I wish they would cut to the chase instead of leading in with the same old line (“This year we’ve received a record number of submissions...”) I guess because I’ve gotten so accustomed to rejection, I only see the important words, “unfortunately” or “congratulations!”. But what I’ve learned is that with rejection comes eventual acceptance, and there’ll always be a festival that wants your work, just like there’ll always be a poetry journal that likes what a poet has to say, and a studio that will want to see your work lighting up a big screen somewhere, especially in this day and age. That alone makes rejection a bit easier to digest.

Did you always want to be a filmmaker?

Actually, I never dreamed of being a filmmaker. In a lot of ways, I don’t consider myself a filmmaker in its most proper sense. I don’t make films with any intention of one day making money from it, or even getting my work seen by influencers at Sundance, Tribeca or Hollywood. I simply make films when writing a poem won’t suffice because a deeper story needs to be told.

What inspired you to become filmmaker?

What inspired me towards filmmaking was the fact that I wasn’t happy with the finished product of a film that my best friend Alain Aguilar and I made together. It was our first attempt at filmmaking (he was the filmmaker, I was the writer) called Cog, and it was based on an anti-corporate ode I wrote back in my early days of college. It was my first script, and I was proud of it. However, after I saw the final edit, I wasn’t happy with it and thought that I could have done a better job with the edit. So from that moment on, whenever I write something, I make sure to direct and edit it so that I have full control over the finished product. Ironically enough, however, the final edit seldom resembles the final draft, but I’m always happy with the end result due to the intense amount of collaboration that goes on not during the writing or the editing, but through the production itself. Admittedly, I don’t think exceptionally fast on my feet, hence why I’m a writer first and foremost; I therefore rely on the DP (always Alain), the actors, and all the other creative people around me while shooting to make my vision come about in its fullest form…and then some!

What is the best thing about being one?

For me, the best part of being a filmmaker is having a finished product that is a more fleshed out version of what had lived in your head for a long time that you can now share with others and get a message relayed that otherwise might have slept on a page and never touched the hearts of an audience.

What is the worst thing about being one?

Producing is the worst thing for me, which is why I don’t produce my own projects anymore. The older I get, the less and less I care to focus on any aspect of filmmaking that is non-creative (granted, there is creativity in producing, for sure, but not my kind of creativity.) I know, I know…I’ve heard the mantra before “it’s show business!” But as I mentioned earlier, I’m not a filmmaker to break into the industry and start a career for myself; it’s just another form of expression (an expensive one, albeit, but a rewarding one, too!)

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

I’ve worked on probably about ten or so projects altogether over the last ten years. Most of them are mine––Cunnigula, a short script turned feature-length film that I don’t really mention much due to its risqué subject matter, The Coconut, The Hotel Edwards, which marks my first attempt at co-writing and only attempt at co-directing––never do that one again!), Perfekt, Speed Musing and Cerise––but I’ve also worked on two commercial pieces that yielded no real satisfaction but a paycheck, and a sitcom pilot called Something About Ryan, which won four awards at four film festivals. I also DPed on a short film called The Welcoming, written and directed by my good friend Louis Affortunato.

Who is your favorite filmmaker?

My favorite filmmaker has got to be Krzysztof Kieslowski. I’m a foreign film buff, so of course I dig the films of Fellini and Bergman, some of Godard’s work. But Kieslowski is not as well known but definitely just as on point with the big wigs of neo realism and French New Wave cinema. My favorite film of his is White (from his Trois Colours Trilogy).

How has your life changed since you became a filmmaker?

Though you wouldn’t think so by following my tweets and reading my Facebook status updates, but for the majority of my life I’ve been pretty much a solitary person. In high school I hung out with the headbangers, a motley assortment of long-haireds with motorcycle jackets in a school overrun by hip hop culture. By college I took to hanging out with the freaks and theater geeks, but I was always the quiet one, even in those circles, keeping my face buried in my journal. Since I became a filmmaker––actually, since I’d started acting and directing theatrical productions for the Hudson Shakespeare Company back in the late ‘90s––I realized that as an actor you have to be open to discussion, to learning from your director and fellow actors in order to become a better actor, or a more adept director, and ultimately a stronger and more sensitive individual. The poet in me kept me quiet and introspective, but the actor in me––and eventually the filmmaker––brought out the avid socialite in me, now always yearning to discover something new about myself and about everyone else I keep company with in the real world or through social networking.

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

I don’t know what it means to “make it in the movie business,” but I can say for sure that a person should focus all of his or her attention on the story being told, and if possible, make sure that person is in love with that story. If not, scratch it and move on to another one. Filmmaking isn’t like writing a poem; you’ll be living with that footage for a lot longer!

What do you like to do besides filmmaking?

Poetry’s my first and truest love––loved it enough to get an MFA in it! But I also enjoy strumming my guitar, reading French poetry, watching foreign and classic Hollywood films, drinking lots of coffee, lounging around at a street café, teaching humanities and, in particular, world mythology (I almost got a Ph.D in Mythological Studies, but at the last minute I decided to make Perfekt). I also enjoy Taoism and Buddhism, beatnik culture and literature, quiet bars and lounges where I can sip a charming Malbec or other red wine across from an open journal or some fine after dinner conversation, an occasional glass of absinthe, and comic books––mostly silver age stuff, but I’m addicted to Vertigo’s American Vampire series.

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

Of course, and considering filmmaking is not a job for me, I still have jobs. I am a freelance professor (or “adjunct instructor,” as the university administrations label us) and teach everything from creative to college writing and the humanities. But long before that, I worked with my older brother selling French fries at street fairs, carnivals and flea markets from age thirteen until I’d started college and realized that I really don’t want to work this hard with my body, that I’d rather use my mind a lot more. Though I do miss how shoppers would trek all the way from Brooklyn just to get an egg cream made by “The Brooklyn Kid,” as they affectionately labeled me. Good times, but hard work.

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

Oh boy! Some of my favorite American films include anything by Stanley Kubrick and Charlie Chaplin, The Lost Weekend and most other Billy Wilder films, Eternal Sunshine of the Spotless Mind, Theives’ Highway, Donnie Darko, Strangers on a Train and most other Hitchcock films, and the movie that got me started––American Beauty.

My favorite foreign films include Farewell, My Concubine, Mamma Roma, Testament to Orpheus, Yojimbo, Fellin’s 8½, and Sawdust & Tinsel.

 

Regarding TV, I grew up with shows like Quantum Leap, Buffy the Vampire Slayer, and the golden age of sitcoms, including my favorites Family Ties, Growing Pains, and Small Wonder. My best memories of television revolve around cartoons like He-Man and the Masters of the Universe, Transformers, ThunderCats and SilverHawks. Today, however, I don’t watch any shows, mainly because I don’t have DirecTV or any other carriers––truthfully, I haven’t had a signal for over six years! I’ve tried to get into shows that friends recommend, like Californication and True Blood, but they just don’t have any substance for me. Even The Walking Dead, of which I greatly enjoyed the first two episodes, didn’t draw me in enough to rush out and get Cable.

But when I do occasionally (and mostly by accident) catch a little down time in front of a boob tube, I tune into Man v. Food or Anthony Bourdain: No Reservations, or maybe a little Cash Cab, which genuinely gives me much enjoyment.

How would you describe your film education?

My film education consists of watching movies and making them. I’ve never actually taken any film production classes, which is why I’m strictly a digital filmmaker; the last film camera I used was a Super 8 camera I used to shoot some footage of Alain and I in London back in 2001. Most of my movie watching education is due to my Dad. Once we got our first VCR back in the early ‘90s, he cut our Cable and started renting action movies from our local PathMark. My favorites back then were Indiana Jones and the Last Crusade, Death Warrant, and just about anything with Arnold Schwarzenegger and Steven Segal. Eventually, I moved into the realm of “narrative drama” and only now am I catching up on all the Hollywood gems starring Bogie and Cagney that my Dad had seen in theaters but had not thought to share with me. That’s really what’s been making me kick it into reverse with my own work of late; while most filmmakers today focus on the image and which camera to use, I focus on story and trust all that other filmic stuff the filmmakers I surround myself with during a project.

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

In Jersey City…no comment, but I’ll let you know after the First Annual Golden Door International Film Festival of Jersey City makes its debut in October. But the NYC film scene is bustling from what I hear. I’ll admit, I’m not a big part of “the scene” just yet. Of course, the Big Apple has been very kind to Cerise; my latest short film has screened at NYC Downtown Short Film Festival, NewFilmmakers NY, and New York City International Film Festival, as well as Staten Island Film Festival, where it was nominated for three awards. And those are just a few of the many festivals that showcase NYC and international talent. Again, if I were trying to “be” a filmmaker, I’d be working on a lot more projects with other filmmakers so that they might, in return, help me out with my projects. This way, I get to pick and choose the projects I work on, so as not to be forced into working on something that I’m not in love with. As I mentioned earlier, I tried a brief stint at doing film for pay, and I just really didn’t enjoy the projects and at time couldn’t wait for it to be over. That’s no way to start a career or spend a weekend, if you ask me. But through Twitter and Facebook, I’ve met so many people “in the scene” in NYC, LA and beyond, and feel as though I’m a part of something much bigger than any local scene.

How has social media changed the independent film industry?

Social media has made it possible for the ordinary artist to become an extraordinary force, at least where getting one’s work out into the world is concerned, and I think it’s only going to get better from here. If it wasn’t for social networking through Facebook, Twitter, and even simple email, I’d never have been able to crowdfund for Cerise and successfully raise the additional $5,000 I needed to make the film I wanted to make. We even went above that, ending at $6,300 by the time our deadline struck. I also think that if all filmmakers got on board with social networking and all which it encompasses, the independent scene will not only rival the traditional Hollywood model of filmmaking, but I think it has the potential, if played smartly, to overthrow it many years down the line. But that might just be my anti-establishmentarian inclinations coming back from college. I think it gives the underdog the chance he or she deserves to be an alpha dog for a change; yet at the same time it replaces the idea of the alpha dog with a most important aspect: community.

What's your opinion on crowdfunding?

I’m a huge advocate of crowdfunding! Heck, I have a blog series called The Tao of Crowdfundingwhere I offer up some tips and tactics on how to run a successful film campaign like my team and I ran for Cerise back in February of 2010. Similar to my thoughts on social media one day overwriting the traditional models of filmmaking, I think there’s a high potential for crowdfunding to be a major alternative to seeking out investors. In my “all artist, all the time” brain, I imagine a world where people freely give to projects because they believe in them, or because they want to help give a voice to the voiceless, and not because they’ll get back their investment with interest (In short, I believe in a world filled with Gavin Ap’Morrygans!)

How does independent film differ from the mainstream?

I’m a bit torn on this idea. Granted, I don’t watch as many independent films as I’d like, but I think the word “truly” needs to precede “independent” when describing the types of films people like me make, since even the “indie scene” has been overrun by the studio system (good luck getting into Sundance without a name actor or a foot in the door!) I think that a truly indie film is a film with potential. Our stories tend to be more interesting and take more risks than the mainstream, either in terms of narrative structure, visual story, or both. They’ll have problems with lighting, perhaps, and sound almost always (sound is the chimera in all my films that makes me want to drink hard liquor at Nat’s Bar!), but when you watch them, they touch you in a way that Hollywood has forgotten how to. But in a Hollywood film, you’d never lean forward to hear a bit of dialogue that was recorded too low, though you may shudder at the misuse of 3D to either advance character or move the story forward. In a nutshell, I think truly indie film has the potential to be Hollywood. One day. Soon.

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

I love this question! When you asked this during my interview on Cutting Room Floor with Casey Ryan, I said that it would have to be Billy Wilder’s The Lost Weekend, and it still is. I think it’d be awesome to see how a film was made on location back then and compare it to today and see how films (and filmmakers) of the Classic Age and those of the Modern Age differ.

What's your favorite movie quote and why?

I don’t actually have a favorite movie quote (well, maybe “When you’re slapped you’ll take it and like it!” Bogie’s immortal line from The Maltese Falcon, but that can’t really be applied in an advice-giving fashion), but I do have a quote from a book that should’ve made it into the movie version: “A person has to work hard, but a minute of perfection is always worth the effort,” which is a quote from Tyler Durden in Fight Club. In Chuck Palahniuk’s novel, we are introduced to Tyler on a beach standing up some logs of different sizes in a particular shape. He then lies down in a shadowy palm created when the sun hits those logs at a specific angle. It only lasts a minute. All that work for that!? Yes! I apply this idea to everything I do, ever since my girlfriend and the marketing mind behind Cerise Marinell Montales reminded me of this quote when she’d been reading the novel, which is why now I focus on making a script work on the page as best as it can before even thinking about putting together a production team.

And, of course, perhaps the only other quote I’ve lived by my whole life is from the immortal Yoda in The Empire Strikes Back: “Try not. Do or do not. There is no try.” Enough said on this one!

What is your opinion on movie remakes and sequels?

Ugh! At least for remakes, it’s quite simply “Ugh!” Sequels, on the other hand, I can handle only if they’re warranted (and seldom are truly warranted). Great sequels for me include Back to the Future, Part II, The Empire Strikes Back, Spider-Man 2 and The Dark Knight. Remakes are something I don’t understand at all. I mean, I do understand them as a way for Hollywood to keep out the talented and aspiring filmmakers who are bringing with them original material so they can bring back old and dead content instead (Last House on the Left? Really?) And the only real reason is to instill its power on the younger generation by making A Nightmare on Elm Street hip again so they can relate to an old concept in a postmodern age. (Man, I felt so old(-school) writing all that, but truth is truth, I suppose.)

What is your opinion on book to movie adaptions?

Interestingly enough, I’m actually cool with book to movie adaptations, especially if it means skipping out on the book (modern novels, mostly). For instance, I enjoyed The Lord of the Rings trilogy when I watched it in theaters, but I just couldn’t get through the first book, never mind all three. My belief is that if it’s a movie, I’ll skip reading the book and instead read a book that won’t or can’t be made into a movie, to maximize how much media I take in (plus, I find doing both can be redundant and needlessly time consuming when you’re trying to absorb new material and push your own ideas into a lightning-paced world.

Thanks for doing the interview John.   I wis you all the best with the production of "Mating Dome".

Filmmaker Marty Lang

Marty Lang is a Visiting Assistant Professor of Film, Video and Interactive Media at Quinnipiac University, in Hamden, Connecticut. His feature writing/directing debut, RISING STAR, is currently in post-production, and he raised $15,211 for it through crowdfunding on the web site Kickstarter. He is also the Assistant Director of the Connecticut Film Industry Training Program, a nationally-recognized state workforce development program. He has covered film for the New York Times, Filmmaker Magazine, and Film Courage. Follow him on Twitter: @marty_lang.

What is the current project you are working on?

Right now, I'm in post-production on my feature writing/directing debut, a dramedy called Rising Star. It's a story about an insurance adjuster who finds out layoffs are coming at his job. He tries to drink his troubles away the night he finds out, and he meets a free-spirited girl who, over the course of a weekend, makes him reconsider the weight he puts on his job, as opposed to hobbies he has outside of work. Our Web site for the film is www.risingstarmovie.com, and we also have a Facebook page for it at www.facebook.com/risingstarmovie .

We shot it last fall in Hartford, Connecticut, and we're starting music composition and sound editing this month. We're hoping to have it done by the end of the year. I also just started teaching full time in the department of Film, Video and Interactive Media at Quinnipiac University.

How do you handle rejection?

I think I handle it better than most. :) I used to be a journalist before I got into movies, so I'm used to editors tearing apart everything I write. If someone doesn't want to get involved with me on a project, I don't get too upset about it. It doesn't make me smile, of course, but I know now that I can just move onto the next person.

Did you always want to be a filmmaker?

I didn't - I always wanted to be a writer, though. In my middle school yearbook, when I was 13, I wrote that when I grew up, I was going to be a reporter for the New York Times. And when I was 22, the Times hired me as a reporter covering Connecticut. So writing has always been a huge part of my life. I always loved movies, but it wasn't until I was in my early 20s (while I was working for the Times, actually) that I thought I could make a go of it as a filmmaker.

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

I started working in film in 2000, and since then, I've worked on around 75 feature film, short film and documentary projects.

Who is your favorite filmmaker?

Definitely, my favorite filmmaker team is the Coen Brothers. They've been at it for so long, they work with all the biggest stars, and they have such a distinct signature - when you watch a Coens film, whether it's a comedy or a drama, you KNOW it's a Coens film.

How has your life changed since you became a filmmaker?

It hasn't changed too much - I've always been broke, so that hasn't changed. :) I think it's changed in the fact that my life is a little more creative now, and that's something I really love. When I worked corporate jobs, the money was good, but I didn't get any real sense of accomplishment. Since I'm in a field now that's inherently creative, my work deals with being creative, solving problems, and telling stories. I get a lot of out of that.

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

Don't even bother with it if you want to make money. Studios are shedding jobs left and right, and the indie business has never been about getting rich. But if you have a drive to tell stories, to be creative, to collaborate, and to work really, really hard, the movie business might be for you.

What do you like to do besides filmmaking?

I'm a huge basketball fan - I played in high school and college, and I try to play now when I can (and I'm a UConn sports junkie, since I went there). I also like to read, and I love dogs. Especially pugs. I really love pugs.

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

I've done all kinds of jobs - I've worked in construction, as a bouncer, at restaurants, at Blockbuster Video, as a newspaper reporter and copy editor, and in corporate video.

Why did you decide to become a film professor?

After I got out of graduate school, I thought teaching would be a logical next step. Also, I worked as a basketball camp counselor when I was younger, and I really enjoyed working with young people. So Quinnipiac University offered me a chance to teach film, and I jumped at it. I started working as an adjunct professor with them in 2005, and they hired me full-time this year. It's such a fulfilling job - a former student of mine wrote and produced his own independent feature, and another student sold a screenplay he wrote to a production company to be made this year. I really love it.

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

For me, the great American films and TV shows are ones that deal with the state of our country, and the nasty underbelly of the American dream. So I love films like Fight Club and American Beauty and TV shows like Breaking Bad and Shameless. I think City of God is one of the best films ever made. I also love classics like The Godfather and The Deer Hunter ... and I'm a huge fan of The Big Lebowski.

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

The film scene in Connecticut is definitely healthy. We have a 30% tax credit program in this state, so many studio films have made their way here to shoot in the last five years. But it's the indie scene that I think is more vibrant. We always have a number of indie films being shot around the state, including Rising Star last year. We have a strong crew base for those films because of the Connecticut Film Industry Training Program, a workforce development program I help run. The graduates of that program work on almost all the indie films shooting here, and some graduates actually make their own films as well.

How has social media changed the independent film industry?

It's revolutionized the industry. Social media now allows filmmakers to round up financing for a film, build an audience for that film, and let that audience know about the film when it's released so they can watch it. It's such an exciting time to be in indie film - the rules are literally being rewritten, and people making movies now are helping rewrite them.

What's your opinion on crowdfunding?

I think crowdfunding can be a part of any film project, and I think it's something that every filmmaker should do at least once. Don't get me wrong, it's not easy - raising money online for a film is really hard work. You need to be out there, promoting, every day, multiple times per day, and at the end of a campaign, the promoting becomes all-consuming. But the greatest thing about crowdfunding is that you're building an audience of people that truly want to see your work - so much so, they're giving you money to help bring it to reality. I think every film project, big or small, feature or doc, can benefit by that.

What is your opinion on movie remakes and sequels?

I'm not against remakes and sequels in theory, but I really think that if you're remaking a film, you need to bring something completely new to the story that didn't exist in the original. I'm not a fan of something like the Gus Van Sant remake of Psycho, that was literally a shot-for-shot remake. Why do it, then?

As far as sequels, I think that they can be good films, if they're stories that are thought of from the beginning (meaning, when you make the first film, you already have an idea for a sequel that continues the story on). Say what you want about Star Wars, there were nine films planned out, so the story at least was continuous.

What is your opinion on book to movie adaptions?

I love some of them, I hate others. I think that if you're going to adapt a book into a movie, you need to keep the spirit of the book in order for it to be successful. I don't mind story points being changed (for example, the changes to Watchmen didn't bother me), but I think the characters need to be as close to the book as possible. (And I think you need to pick the right type of filming for a story. In the case of Watchmen, I think that was a blown opportunity; if a miniseries was made out of Watchmen, or a trilogy of films, it would've been OUTSTANDING. There was so much material there; some stories, I think, are too big to be made into one movie.)

Thanks for doing the interview Marty. I will do what I can to spread the word about "Rising Star". I am also a big fan of "The Big Lebowski".   I wish you all the best with post production.

Ryan Francis Actor in "ThanksKilling"

Ryan started acting at the young age of 5 years, and has been performing ever since. He played drums in a female-fronted political punk band called Overated for 9-years, before shooting his first full-length film, "Thankskilling". Overated toured all over the Midwest, appearing with bands such as The Riverboat Gamblers, The Misfits, Killola, Strike Anywhere, and many more. During that time, Ryan had a huge interest in film, attending Ohio University in 2005, right after high school, for a short amount of time, working as a sound tech for various college projects. One in particular, called "Pinned", directed by Patrick Norman, was favored by Ryan. He is residing in Columbus, OH where he runs his record label, REF Records, and performs as a nerd-core hip-hop artist that the locals know as "Huge Euge".

What was it like on the set of "Thankskilling"?

Well, set was always a good time! The location we shot at most was Jordan's (dir) fathers home... and it was out in the Middle of Nowhere, OH. Since the cast/crew was very very small, we all became friends pretty quick! So it was just like going to work with all of your buddies. Some nights, after lack of sleep was starting to take a toll, there were times when we'd have to shoot a scene 10 different times because we were laughing so much! I recall the scene when we're all around the campfire, and the baby bunny flies into it. AH! Hilarious. Such great days/nights on the TK set!

What's it like acting with a puppet?

Oh this was fun! I mean, you've got a little shit puppet being treated as an actor. It made it easier to realize how funny the movie is actually going to be. It was MUCH better than delivering dialogue to a green carpet or a steel rod or a football!

Did you always want to be an actor?

Eh, acting has always been a hobby of mine. When Jordan approached me with the idea for TK, of course I hopped on it. If you've seen the film, you can see, acting is not my forte'. However, it's very fun! I'm currently working as a referee (along with my good buddy CHUCK LAMB) for an all-female amateur wrestling league called, "Saturday Night Pillow Fights" based right here in Columbus, OH. Things are looking just amazing! Hey, at least I'm still getting acting gigs after this film! haha!

What inspired you to become an actor?

I've grown up in theater! Acting has always been something fun for me. Just not the passion I used to have. Believe it or not, I had a full ride to a university in Ohio for acting... I turned it down for full tuition at a state school to pursue video production. I think that was the day that turned it around. HOWEVER! I'm still always very eager to work on set! So, if anyone out there, anywhere in the world, needs an ex-Thankskilling actor in their horror-comedy-drama.... give me a call! (seriously!)

What is the worst thing about being one?

Eh, there's nothing too horrible. I hate the fucking makeup. Lets just be honest. Always have.

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

TK is obviously the only one you'll ever hear about... but I've worked with so many different people on so many projects. I just love staying busy.

Who is your favorite filmmaker?

I'm totally old school when answering this question. John Carpenter and Wes Craven could really put on a good horror show in the 70's, 80's, and early 90's. We lack that today. The monotony of remakes is absolutely classless and "Hollywood". All it's going to take is for ONE bright filmmaker, to make another original film. Quit taking gems and remaking them. It's hard to say anymore, though, who I like. Pockets are deep, and greed is way worse. Everyone wants to be the next MIchael Bay. Shut the fuck up.

How has your life changed since you became an actor?

Since Thankskilling, I've met SO MANY cool people! From all over the world. Between emails, and sometimes friend requests on Facebook, I try and stay in contact with everyone! I've met fans from all over the US! It's really pretty sweet. Sometimes, if I'm drunk enough, and its some poor blokes birthday on Facebook, and the sap has his number public, I'll give 'em a call. I mean, I remember being a kid and watching B-horror films... and if some random shitty guy from the movie called me on my birthday, I'd be stoked as fuck. I called one fan... and she was stoned out of her mind. She didn't believe it was me. And I think there's another guy I'm friends with, I'm thinking about swinging by a music venue in a couple of weeks to see his band play because he invited me! It's just really cool how many badass people out there share a passion for horror films! AND these fans are the GREATEST! Shit. Everyone I've met through TK knows who Bad Religion is. And Frank Turner. And No Use For a Name. Good shit guys!

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

It's all about originality. Stop making zombie films. Just. Stop. You're wasting YOUR time and your actors time. Who gives a fuck? Find an ORIGINAL IDEA, write an AMAZING script, and SAVE MONEY!!!!!!!! I recommend Lloyd Kauffmans book, "Make Your Own Damn Movie". It's got some pretty great tips in there about making amateur films.

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

Cloudy with a Chance of Meatballs, Wall-E, Armageddon, Jesus Camp, Catfish, and Texas Chainsaw Massacre. I don't watch a lot of TV, but I've been watching LOST recently on Netflix (Season 3, now)... and I love Law and Order: SVU, Judge Judy, Peoples Court, Doug, Rugrats, Are You Afraid of the Dark, and The Price is Right.

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

Columbus has a good amount of filmmakers here! There are a plethora of projects for people to get into, in any aspect of filmmaking. Genres are widespread! The 48-Hour film fest is a pretty big hit every year, too! I've met so many cool people here locally who have their game faces on. But let's face it. You want the big bucks as an actor? Get to LA or NYC. Don't fuck around locally. Follow your dream! Get out there!

How has social media changed the independent film industry?

Oh, absolutely. It gives people the ability so share an opinion to potentially hundreds of people in mere seconds. It's great for the filmmaker and consumer. It's SO MUCH easier to get your movie out there, however, it requires a more unique marketing scheme in order for people to give a shit about what you're posting about.

What is the casting process like?

Honestly? Haha. Well, for TK, it was an absolute mind fuck. Aka, we shoot in 2 days... for 2 weeks straight... and there was no Kristen. It involved Jordan and I, sitting at a 24 hour doughnut shop late at night, while I sifted through name after name after name in my phone to find someone WILLING to be in it (Thanks Lindsey). So... other than that situation, I don't know. haha.

What's your favorite movie quote and why?

"I wanted to run away that day, but you can't run away from your own feet" - Flint Lockwood (Cloudy with a Chance of Meatballs)

Flint was a nerd. Flint invented "Spray-on Shoes". He couldn't take them off after he sprayed them on, and even when people gave him shit about what he did, he realized that he can't run away from it. They'll be with him forever. And he's just gotta accept that and move on. As the movie progresses, we know that Flint finally becomes comfortable with himself... and ultimately, he's very very happy. Bottom line: Be who you want to be, do what you want to do, and don't let anyone tell you no.

Is there anything else you would like to add?

Just a big thank you to all of the TK fans! Jordan and Kevin are not lying when they say this sequel is being made because of you guys. Trust me. I know how close it got to NOT being made... but you DEMANDED it... and it's really fun to watch from the outside.

Thanks for doing the interview Ryan.  I'm  going to check out your band "Overated".   While I'm at it I'll rewatch  the original TK. I'm looking forward to the sequel.

Filmmaker Bernardo Villela

For news on Bernardo’s upcoming projects you can visit http://www.miller-villela.com/ or if you just want to chat with him you can follow him on Twitter: @BernardoVillela




What is the current project you are working on?

I am currently in pre-production on a horror feature entitled All Hallows’ Eve, which I wrote. I have also toyed with the idea of a micro-budget chamber drama, which I also wrote as an alternative to the former.

How do you handle rejection?

 

I try not to focus on it too much, and move on to the next opportunity.

Did you always want to be a filmmaker?

It wasn’t always a conscious notion but I believe so, yes. In Junior High School my friend and I would discuss films and frequently complain about not finding anything good to watch." We’d say things like “You know what would make a great movie?” and go on from there. One day I just started writing the ideas down. It didn’t occur to me for a while that it was something I could actually pursue, so it was quite a natural thing.

 What inspired you to become filmmaker?

 

It goes back to that same time and place where I’d either watch movies or think about making one. That was the initial idea was to just write them. I was hooked on writing and writing screenplays and from then on once I put my finger on that passion I knew it’s what I wanted.

 What is the best thing about being one?

 

The creation. To be more specific the evolution of creation from taking to notes to writing a script to the meetings about the film to figuring out how to do certain things, to principal photography, to the edit. I know it sounds like I said everything but it’s really the journey I enjoy most; bringing a concept to fruition.

 

 What is the worst thing about being one?

 

Waiting for the next project to start.

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

As a director I’d say the safe bet there is nine. There are a lot of exclusions taken into account when coming up with that number (projects shot in film school, projects solely for upload on YouTube and so on) basically what it boils down to is seven shorts and two television commercials.

Who is your favorite filmmaker?

 

Oh, that’s a hard one. I’m afraid I’d forget one. I’ll name a few and they’re each a bit different. The first filmmaker I remember searching for in video stores by name was Hitchcock. I love Bergman. I’ve always loved Spielberg, even more so after taking a course on him in college. My favorite, out of the New Wave, is Truffaut. I have an affinity for Argento. I could probably go on and on. I’m always seeking inspiration anew.

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

 

Stick with it, don’t stop pursuing it. There are plenty of stories out there of those who’ve gotten their breaks later on. Don’t give up.

 

 

 

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

 

I try not to draw too much of a distinction between foreign films and American films. Each nation will have its own aesthetic, of course, but I like to watch and learn from as many different cultures as I can. I have a particular fondness for Hungarian cinema Satantango and The Annunciation being two of my favorite films I’ve seen from that nation. While on my blog I do have an annual film award, where I like to single out the best I’ve seen, I haven’t made a comprehensive list of my all-time favorites. Some of the films I have at one time or another cited as a favorite would be Who Framed Roger Rabbit?, My Girl, Milk Money, Artificial Intelligence: A.I. and Citizen Kane but I also love films like Psycho, Winter Light, Cinema Paradiso, I could just go on and on and on.

 

I don’t watch as much TV as I used to but of shows currently on the air I love Modern Family, R. L. Stine’s The Haunting Hour and Game of Thrones. Some of my favorite shows of all-time regardless of format are Family Guy, ALF, Seinfeld, Pit Pony and Alfred Hitchcock Presents.

How would you describe your film education?

Long and varied. I went into college very green with regards to the technical aspects of filmmaking both creatively and crew-wise. As I said before it was sort of a natural thought: “Why couldn’t I study that?” I was always very interested in the arts but wasn’t one of those kids who grew up shooting and editing my own Super 8 and video pictures. I was a commuter traveling a great distance so when I went to Fairleigh Dickinson University-Madison I took a lot of electives and got grounded in theory. I took most if not all the courses they had to offer in that regard. Finally, when the commute caught up to me I transferred to C.W. Post- Long Island University. With a little help I was able to do a crash course in all the production courses, which I had done few of, and got a very well-rounded six year undergraduate education. I’m sure I’m not the only one and I no longer say that with a knot in my stomach and a grimace on my face because I think if I hadn’t I’d be worse off for it.

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

 

Where I live in at the moment, it’s virtually non-existent. If and when my feature gets started, if it does shoot locally, we’d be re-invigorating the scene. The Delaware Film Office doesn’t even produce a production guide anymore so it may be necessary to lean on Pennsylvania and the GPFO for support. Obviously, I hope that’ll change but it’s not in the cards right now.

 How has social media changed the independent film industry?

 

I think its likely changed things for the better. Democratization seems to be the modus operandi of most of the advancements of the computer age. People can crowd-fund, they can promote, they can contact people and spread the word about their project better than ever before and there is perhaps more of an opportunity to get out there and make a splash. I think it’s rather exciting and the possibilities seem limitless.

 

What's your opinion on crowdfunding?

 

It’s not a method I’d be comfortable using myself but I don’t begrudge anyone doing what they feel necessary to make their project happen.

 How does independent film differ from the mainstream?

 

It’s obvious it differs in terms of budget and other reasons, but it shouldn’t. It should all be about the story. Regardless of whether one is salaried, and what that payment might be, professionalism should be paramount. All things serve the film and anything less is unacceptable, whether on a shoestring or blockbuster budget.

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

 

Wow, that’s a great question. I could answer it any number of different ways but if I can only pick one I just might have to say Casablanca. Simply due to the stories I’ve read about what a living organism that film was while it was in production, the script was constantly in flux and always being tweaked yet the end result is so polished and brilliant. That would’ve been a sight to behold.

 What's your favorite movie quote and why?

 

To pluck one favorite quote out of all of the films I’ve loved, to single out as the best, would be impossible. What I will do instead is cite a quote by Lillian Gish in The Night of the Hunter, which I think best describes my storytelling approach, my voice as some would call it: “You know, when you’re little, you have more endurance than God is ever to grant you again. Children are man at his strongest. They abide.” I pick that over something like John Hughes’ famous quote “I don’t think of kids as a lower form of the human species” because it’s in a positive place. In my writing I frequently feature characters who are children and the point isn’t necessarily “Kids are people too” but they’re better, stronger and more evolved in certain cases, Suffer the Little Children notwithstanding but there’s enough gray area in that movie that I can likely twist it to fit that logic too.

 What is your opinion on movie remakes and sequels?

I try and take each of those films on a case-by-case basis as I do not like to deal in absolutes. Therefore, I consider would I want to see a sequel to that film or should that film be remade but do not cast aspersions on either as a whole.

Sequels have been a part of film since time immemorial. What I do ask is that a story be done, sequels can happen whether you leave ample room for them or not but tell the story before you to its conclusion. Similarly, I wouldn’t say I’d never work on a remake I’d just have very different criteria for picking that project than most: I’d seek out a film that just missed greatness, or had a lot of potential and want to fine tune it.

 

What is your opinion on book to movie adaptations?

Considering that the film I directed just out of college, Suffer the Little Children, is an adaptation of a Stephen King short story, of course, I am fine with adaptations. I was very grateful to be allowed to make that film under his Dollar Baby program. I would not be averse to doing another adaptation someday. Adaptations, similar to sequels and remakes, are nothing new. It’s a much different process for both the viewer and the writer. However, it is a creative endeavor it’s not merely transcription but transformation.

Filmmaker Eva Sweeney

[caption id="attachment_1799" align="aligncenter" width="214" caption="Photo Credit: Sara MacFarlane"][/caption]

Eva Sweeney was born with a condition called cerebral palsy, which means that she cannot walk, speak, or use her muscles in conventional ways. She uses a power wheelchair to get around and spells out what she wants to say on a letter board. She requires assistance with everything from eating to communicating. Sweeney got her BA in gender studies from Occidental College in 2008.

What is the current project you are working on?

I’m making a documentary about the relationship between people with disabilities and their aides. It focuses on on my personal experiences and that of another woman with Cerebral Palsy named Allison Gray. The film also provides insightful interviews with the people who have worked for us. This is my first film.

Why did you want to make this documentary?

I am very disheartened by the amount of stories that just focus on the negative aspects of having attendants. While I understand that that aspect is very important to show, their needs to be more of a balance between negative stories and positive stories. I hope my documentary gives another perspective.

How do you handle rejection?

Because of my disability I have always been told “You can’t do...”. Rather than say okay and just give up I use that as a challenge. I have the same view when people say “you know nothing about film making etc.” It fuels me!

Did you always want to be a filmmaker?

No. But I’ve always liked telling stories.

 What is the best thing about being one?

Well hopefully, being able to give people a new perspective on something they have never thought of before.

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

This will be the first complete film I have worked on. But I have a well known blog called The Deal with Disability where I capture peoples reactions to me ( being non-verbal, using a powerchair and having aides) on film. I’ve been doing that for several years.

What do you like to do besides filmmaking?

I’m an advocate for disability rights. I also free-lance write for various magazines and websites. I love dogs and enjoy taking my labradoodle Bailey to the dog park.

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

Yes. I am a free-lance writer and have contributed pieces to several magazines and websites. I also travel the country giving workshops on disability.

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

My all time favorite television show is Six Feet Under. I think everything about that show is just brilliant! -From the writing to the cinematography to the acting.

 How has social media changed the independent film industry?

Social media has made it way easier to promote smaller independent films. Almost everyone has a facebook now. So that’s a great way to keep your fans up to date on all of your projects. Also social media reaches a larger audience versus just your home town or personal circle of friends.

What's your opinion on crowdfunding?

I wouldn’t be able to make my current project without crowdfunding. I think it’s a great way for independent artists to get their ideas made into realities.

Thanks for doing the interview Eva. I wish you all the best with your documentary. I'll be sure to spread the word about "Joy Of Aides".

Documentary Filmmakers Tom and Sumner Burstyn

Sumner Burstyn is an independent film producer and writer based in Auckland New Zealand. Her most recent film, This Way of Life, won a jury prize at the prestigious Berlin Film Festival, the two top documentary awards in New Zealand and was shortlisted for an Oscar and has sold to numerous countries. Her documentary One Man, One Cow, One Planet has won numerous awards and screened in 18 countries. She has previously worked as a journalist, winning Best Columnist of the Year award at the 2004 Qantas awards.

Tom Burstyn CSC, FRSA is an Emmy nominated filmmaker with 30 years experience as a cinematographer. He trained at the National Film Board of Canada as a documentary maker, before moving into feature films. Tom directed the multi-award winning This Way of Life, One Man, One Cow, One Planet and If Brains were Dynamite You Wouldn’t Have Enough To Blow Your Nose. He also directed Flash William about a hermit filmmaker in the Rocky Mountains. Le Patriote about a milestone nightclub in Montreal and Profiles in Rock a series of profiles of rock legends including Super Tramp, The OJ’s, Cool and Gang, Chic, Earth, Wind and Fire, the Bellamy Brothers and Smokey Robinson.

What is the current project your working on?

Yolanda's Last Portrait: https://www.facebook.com/pages/Yolandas-Last-Portrait/138288412897040
see attached card.

Why is it important to be socially conscious with regard to the people you film?

They are real people with real lives and every time you point a camera at someone it alters their lives. For us it would be unconscionable to take away a film about them and not return something to them. so we share profit and do other things to assist.

How do you manage a balance between filming and giving privacy to the people you film?

This is an excellent question. In the end we always come down on the side of privacy. So there have been times when we've captured something that would be amazing in the film but have decided not to use it because it would affect someone in a negative and unwarranted way.

How do you handle rejection?

Good question too - basically we ignore it - in the sense that we consciously turn away from it and focus elsewhere. Rejection is outside your control so there's no point in giving it any thought beyond 'oh bugger.' And we've had lots of it so this is our coping mechanism. The hardest one was making it all the way to being shortlisted for this years Oscars (top 15 films) but not getting a nomination. We really wanted our film to be nom'ed. Oh well. Next.

Did you always want to be a filmmaker?

Sumner: No. I'm a control freak and I was a columnist and journalist and so it was a pretty natural progression to producing film.

Tom: Yes - from about 12 years old. Started out as a documentary maker in Canada at the National Film Board, got sidetracked into commercial films and the Hollywood dream and found my way back to documentary and making films I'm really proud of.

 What inspired you to become filmmaker?

Sumner: It's way more fun than being a print journalist and it feels as though images on screen underpinning a profound story can really affect change.

Tom: In my blood. Never ever wanted to be or do anything else. Worked for free for years till I got some experience.

 What is the best thing about being one?

Tom: Being an artist. Telling stories.

What is the worst thing about being one?

Sumner: Lack of money. Having to beg

What is the estimated number of projects you have worked on?.
Tom: well over 100

Sumner: 4

Who is your favorite filmmaker?

Tom: Bertolucci, Tony Gatlif, David Lean

Sumner: Ridley Scott

 How has your life changed since you became a filmmaker?

Tom: I've always been a filmmaker

Sumner: I'm learning to view the world in a more visual way. And we've given up holidays, a nice car and house in return for the privilege of making films.

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

Sumner: Shut up and shoot. When I was a journalist people were always saying - oh I love to be a writer and I'd always think - well writers write. That's how you become a writer. It's a little more difficult to be a filmmaker - more time, more money, a broader vision, more collaboration - but if it's what you really want to do then you'll find a way.


What do you like to do besides filmmaking?
Sleep, read, grow veggies, walk, drink coffee - not necessarily in that order.

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

Tom: parking cars while shooting stuff for free to get started as a teenager.

Sumner: event's manager, business owner, journalist, parent.

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

Tom: Five Easy Pieces. (City of Industry - but then I would say that). Foreign: The Conformist. Boston Legal

Sumner: Bladerunner. Foreign: Besieged. The Good Wife

 How would you describe your film education?

Tom: On set apprentice and work experience

Sumner: Work experience

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

Interesting question. Auckland has a great little industry. It's lively. There's lots of young filmmakers coming up, there's a few old hands, an active festival scene. There's definitely a developed film making community here.

 How has social media changed the independent film industry?

I can only speak for our experience but yes totally. This Way of Life came alive on Facebook and we've managed all our releases via the very active facebook family that has gathered around the film. almost 8000 people so far.

What's your opinion on crowdfunding?

It takes a lot of work but if you are dedicated it is a great way to raise funds and the start your film family - get your key audience involved with a sense of ownership in your film right from the beginning.

 How does independent film differ from the mainstream?

No fucking money. Way more integrity. Focus on story, story story, heart, and authentic characters over Angelina Jolie.

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

Bladerunner. Because it explores issues of identity and belonging and I think identity is the existential crisis of our time. And this is actually the subject of a documentary we have in early production: Search for the Gentleman Racer

 What's your favorite movie quote and why?

"I'm sort of an orphan," Daryl Hannah's Pris in BR. Because I think that's how most of us feel. This is the liquid modern age where identity is no longer fixed and must be found over and over and this one quote foretold our current society.




What is your opinion on movie remakes and sequels?
Mostly don't like them and don't bother with them and anyway in our independent film world no one is doing them. They're mainly a financial investment scheme for the idea-free.

What is your opinion on book to movie adaptions?

I'm sure some can be good but I'm struggling to think of any other than Slaughterhouse Five. It was brilliant.

 

 

 

 

 

 

 

Thank you Sumner and Tom for doing the interview.  Thanks to you I got to see This Way of Life. It was interesting seeing how the Karena family lived and dealt with the hardships and joys of live. I lhope I can see your next film Yolanda's Last Portrait when it is completed.