Meg Messmer Interview

Meg Messmer is an up and coming producer having worked in film, television and on the web.

She began her career working with Dancing Pictures' documentary “Jewel”, and promoted it for its Award of Merit in the Los Angeles Cinema Festival of Hollywood.

Working recently with Mandeville Films, she learned from Founder David Hoberman, recently producing two-time Academy Award winner, “The Fighter,” and the upcoming, “Muppets.”

She has also been working with Gambit Films on the Paramount Lot, who is producing three upcoming indie features, which she saw through to production, as well as nurturing a new post-production company Zero Gravity Media from the ground up.

She is founder of the production company, Mesmerize Films. She was executive producer on “Pigeon Hunter,” which she also co-wrote, the upcoming “Dominic and Maria” which recently sold to Animal Planet for a July release and has numerous projects in development.

Follow her @MeganMessmer and  find her on Facebook.

 

What is the current project you are working on?

I am producing and directing a documentary called, "Dominic and Maria: A Man and His Goose" It's the story about the unlikely relationship between a man and his goose; A love story!

Did you always want to be a filmmaker?

When I was in 5th grade I won the "When I grow up" contest. I wanted to be an animator, but, I kinda stink at drawing.

What inspired you to become filmmaker?

I've always been good at telling stories. I'm a visual learner...so I kinda fell into it. The fact that there are cheaper cameras available that still yield beautiful results just upped the ante. I would've never been able to do this film four years ago.

What is the best thing about being one?

Going on the Price is Right and telling Drew Carey that I'm a "documentary filmmaker." When it came out of my mouth, I thought..."Holy crap....I AM."

What is the worst thing about being one?

Ugh. Watching movies and catching ALL the mistakes! These days, it takes a REALLY good movie to get me to sit through 2 hours without daydreaming about when is the last time my dog went outside and if I turned the oven off.

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

I'm constantly working on projects. Whether it's my production company's or the other three I run with, we're always in development, reading scripts, figuring out how to fix an edit. Plus, I'm a comedy actress, so if you count all those sets, we're talking 200+

Who is is your favorite filmmaker?

This is always a tricky question. Do I say someone obscure to sound smart? Or the "Pop" filmmakers like James Cameron, etc.?

I really like Morgan Spurlock and Michael Moore. Both of them are super cool guys that go balls out on their projects. I love that!

I like Rebecca Miller, Debra Granik, Terrence Mallick. All of them write these amazing stories that are truthful to life, they have their own gritty style, and they ask the audience to challenge themselves. Those are my favorite kinds of films.

How has your life changed since you became a filmmaker?

I feel like I have more control over my life. Instead of watching a movie and rolling my eyes when the zombie gets up the 3rd time after the hero kills him (called it!), I can make something different, unpredictable, and hopefully interesting.

It's also super stressful, especially with a documentary, because the story is never over. Everything that happens to my subject could be the "perfect" story piece. I have to get it! And it has to happen now! There's no re-shoots. With this film, Maria got taken to the zoo and they clipped her wings. All of our previous footage is gold now! We can't go back to re-shoot them flying together.

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

Just start! You learn by making stuff. I never went to film school, but I worked as a PA, AD, AC, Actor, Director. I think you only learn by doing. While I was moving around the furniture in my house, my roommate said what my famous quote will be, "Let's not talk about it, let's just do it." But, somebody probably already said that.

What do you like to do besides filmmaking?

Filmmaking is Life.

No, just kidding, sort of. My husband and I record music. I perform in an improv comedy group at IO Theatre in Hollywood. We like to go cliff-jumping. I take pictures. I love taking camping trips and getting out of LA.

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

I worked at my parents chocolate and ice cream shop. I ate a LOT of free ice cream.

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

Films....Eternal Sunshine of the Spotless Mind, Waking Life, The Machinist, Monsters Inc, Love Actually, White Christmas, FernGully, Good Will Hunting. I'm even giving you the embarrassing ones.

Foreign Films....In America.

TV...I haven't owned one for 9 years. But I like watching episodes online. I'll watch everything once just to know what's in the market.

How would you describe your film education?

On the job.

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

I live in LA. It IS the film scene. :)

How has social media changed the independent film industry?

It's caused the industry to stand on their tip-toes. Everyone's in sprint mode just waiting for what's "next" and then they'll take off. But there's not just one answer anymore.

Mostly, it's helped the lowly filmmaker, like me, actually have a chance to be heard in the world. That's how you got my information, from my Indie Go Go campaign.

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

I know nothing about any scandals. Whoops. I guess I'll do some research.

How does independent film differ from the mainstream?

Indie film is always a passion project, somebody's vision. Sometimes, mainstream scripts get hacked apart by everybody involved: producers, directors, writers, actors, studio heads. They're all worried about something different. It's like 'too many cooks in the kitchen' syndrome. Eventually, it's not the writer's story anymore. And a lot of time, the film suffers because of it.

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

Ben Hur. From what I remember reading, they filmed that crazy huge production, blocking off streets in Hollywood, with 300 sets scattered over 340 acres. It was a gamble for MGM who was going bankrupt. I definitely would've loved to be there for that.

What's your favorite movie quote and why?

"Get your ugly yellow no good keister off my property before I pump your guts full of lead." Home Alone

Why? Because everybody knows it.

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

To FLY. Are you kidding? Sign me up. I already attempt it with skydiving and cliff jumping.

What is your opinion on movie remakes?

I was really offended when they remade the Karate Kid. Nobody replaces Ralph Macchio. Or Mr. Miyagi.

What is your opinion on book to movie adaptions?

The book is always better.

Is there anything else you would like to add?

Thanks for asking me to interview. I'm flattered. And thanks to all the folks who read through this!

More fun times, http://twitter.com/#!/meganmessmer, www.facebook.com/meganmessmerfanpage

Or to follow my film,www.facebook.com/dominicandmaria

 

 

 




Thanks for doing this interview Meg. I'll definitely will be checking out  your film's Facebook page.

Interview Dave Charest

When not acting, playing music or being a loving husband and dad - Dave inspires indie artists to make simple, wicked smaht (yes, he's originally from Massachusetts) changes to their marketing for better results. You should follow him on Twitter And be sure to sign-up for his free Wicked Smaht New Media Marketing Made Simple e-Course.

What is the current project you are working on?

Personally, I'm creating on my first online course - Do Better Online: The Starter Guide to Compelling Web Copy (For people who don't have time for a full-blown course). I'm pretty excited about it as it'll provide people with simple adjustments they can make quickly and build on with each lesson. There's also a hands on component where people get to work with me directly in a members only forum. At the end of the day doing better online boils down to how effectively you can communicate and connect with your message. That's extremely important. Especially today when so many people are using crowdfunding sites to fund their own projects.

In my role as Marketing Director / Producer with Astoria Performing Arts Center, we just finished a revival of Galt MacDermot's musical The Human Comedy. That was a lot of fun. And we had a very successful 4 week run. Galt even came out to the show and he was thrilled with it.

Can you tell me some interesting behind the scenes facts from your show?

The Human Comedy is essentially a story about home and the community you have there. It takes place during World War II where members of this small town are getting drafted and others are receiving notices about the death of loved ones. They all come together to help each cope with loss while still continuing on with every day life. We actually lost a couple of cast members during the production. They didn't die or anything but they were drafted to other productions, one being The Book Of Mormon on Broadway. So in a way we were dealing with our own loss and the need to continue on.

Did you always want to work in the indie industry?

I'm not sure I've always wanted to work in the indie industry, but rather I enjoy working with people who share a system of beliefs - hard work, treating people fairly and pushing each other to achieve goals. Life is a collaborative endeavor. I'd rather be around people who know this rather than waste time with people who come at it from a selfish angle. There are lot of brilliant people in the indie world and thanks to these new media tools there are more ways to find opportunities to shine and share with each other.

What inspired you to create your podcast, New Media Conversations?

As a I mentioned before there are a lot of brilliant people out there. I started the podcast as a way to learn from them but also to introduce them to a new audience. There's nothing better than chatting with people who have something to say.

What is the estimated number of guests you've had on your show?

To date I've had about 22 people on the show. And I've just scheduled about 10 more on a variety of topics such as building an organic community, producing in Hollywood, online engagement and more. There's going to be a lot of great info in these conversations. I'm excited about it.

Who is your favorite filmmaker?

At the moment I'd have to say two come to mind, Darren Aronofsky and Christopher Nolan.

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

This is the advice I give to anyone trying to make it in any business because I believe the fundamentals are always the same: 1. Believe in something 2. Set goals 3. Surround yourself with people who can help you achieve those goals 4. Always be learning

Have you had any other jobs before you decided to create your show?

Oh sure and I still do. Currently I make my money consulting, coaching and selling my guides. But I'm always looking for the right opportunities and people to work with.

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

Let's see American films: Babe (Yep, the one about the pig. And it's Australian-American so I guess that counts as both.) The Departed, Natural Born Killers, Cinderella Man, Ransom, Jacob's Ladder, Election, Happiness to name a few. Foreign films: Life Is Beautiful, Amelie, Cinema Paradiso, Run Lola Run. TV: Arrested Development, The Office (Both), Parenthood, Friends, Weeds, Dexter, Friday Night Lights.

How would you describe your education?

Ongoing. I do have a Bachelor's Degree. But I'm always looking for new things to learn and how they can be applied.

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

I'm in NY so I'd say vibrant. :)

How has social media changed the independent industry?

My belief is that it's extended the network of opportunity. We are the media the now. Create and connect.

How does independent film differ from the mainstream?

From an audience member perspective the stories that get told can be a lot different. I love when an indie makes it to the mainstream. That opens a whole new world for those involved. It can be life changing.

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

Wow. Good question. I'd say Citizen Kane would be pretty great. I'm fascinated with Orson Welles. His whole process would be pretty amazing to watch.

 If you could be any animal. Which would you be?

A tiger. I have no idea why.

If you could have any super power. What would it be?

Teleportation.

What is your opinion on crowdfunding?

I think it's great. But before you give it a go it's important to work on building your networks first. I've seen so many fail because they have no where to go once they start a campaign. Without the right support in place you may never get your project off the ground.

What is your opinion on movie remakes?

Hmm... It's one of those weird things. Sometimes they're good. And sometimes you want to scream.

What is your opinion on book to movie adaptations?

See above.

 

 

 

Thanks for doing the interview Dave. I'm going to check out your podcast, sign up for your course, and follow you on Twitter.

Interview Julie Keck and Jessica King

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Julie Keck and Jessica King, who work and play together as King is a Fink, write and direct movies with small budgets and big stories that are at once familiar, uncomfortable, demented, and exhilarating. Julie's a little bit country; Jess is a little bit shut-the-fuck-up. They don’t mind getting a little dark, and they don’t mind getting a little dirty. This is what makes their movies so fun. Keep up with them on Twitter (http://twitter.com/kingisafink), Facebook (http://www.facebook.com/kingisafink), or their website (kingisafink.com).

Did you always want to be filmmakers?

Nope. Mini-Julie wanted to be an author/astronaut; Lil Jess wanted to be a rock star. As practical kids of practical parents, we pursued traditional jobs in social services and education. Later we explored film as a way to safely (and humorously) explore scary, embarrassing, or awkward trains of thought.

What inspired you to become filmmakers?

A porno. We saw something that was way over our 'line,' and we decided to deal with our anxiety by making fun of it. On film. Via a series of 5 shorts. There's obviously something wrong with us. The first one got into a film festival, and seeing our work on the big screen was very heady and encouraging, so we kept going.

What is the best thing about being filmmakers?

Having something to do other than just eat, sleep, and go to work.

What is the worst thing about being filmmakers?

There's no set or logical way to 'make it.' With other professions, you earn your degree/certification, start at the bottom, get promotions, and, with a lot of hard work, get to the top. With filmmaking, there seems to be a lot of the 'hard work' part and very little of the 'getting to the top' part. The good news is: we have time, we have energy, and we have ideas. We have no reason not to keep on keepin' on.

Who are your favorite filmmakers?

Jessica's is Guy Maddin; Julie's is Almodovar. These can be switched at pretty much any time.

How has your life changed since you became filmmakers?

Our lives have changed in many ways, but the biggest is that we're happier. We had a strong connection to one another before making movies, but now we have a common goal that gives us something exciting to plan and brainstorm together 24/7. We wake up talking about our projects; we fall asleep talking about our projects. We never run out of things to talk about over dinner. It's a great way to live.

What advice can you give to someone else who thinks they might want to make a movie?

Get on it! Be bold. Get an affordable camera, write a short script, and make a movie. Find friends who like to work as hard as you, feed them well for their time and effort, and have fun. Don't be afraid to make mistakes. Do NOT go into debt making them. On your deathbed, you won't regret that week of no sleep or those long hours you spent learning how to use Final Cut; you might, however, regret never giving yourself a chance.

How would you describe your film education?

Watching + experimenting + learning to do everything ourselves + seeing what sticks. No formal schooling.

How has social media affected your film career?

We wouldn't have found any of our current collaborators without social media, specifically Twitter. We met Phil Holbrook on Twitter, which lead to TILT, which lead to pretty much every other collaboration we're involved with today. No, not pretty much...all. All of our current collaborations can be traced back to Twitter.

What are your current projects?

We're lucky to be juggling several projects at the moment. Here are some highlights:

We've teamed up with director Christopher Grimes' 5414 Productions for a friendly fire documentary called A SECOND KNOCK AT THE DOOR (http://www.asecondknockatthedoor.com/). Jess is a writer/producer; Julie is an associate producer. Film festivals have just started calling with acceptance messages.

Our first feature, a thriller called TILT (http://tiltthemovie.com) directed by Phil Holbrook, is in post-production in the masterful hands of editor Jeremy Doyle; we're hoping to unleash it this fall.

Our next feature script is for New York-based indie director Gary King (http://grking.com/) (HOW DO YOU WRITE A JOE SCHERMANN SONG; WHAT'S UP LOVELY).

We're also proud to be working with Chicago-based production company tello films (http://www.tellofilms.com/) on a game show called WHO KNOWS HER BETTER and a play called I HATE TOMMY FINCH which will hit the boards this fall and then be featured on the tello site as a web series.

We have a series of "kinky cuties," short, sex-positive films that are in various stages of play: our first, LIBIDOLAND (http://kingisafink.com/our-films/the-idville-collection/libidoland/), is slated to screen in Sao Paulo, Brazil, this summer; WIGGLE ROOM (http://kingisafink.com/our-films/wiggle-room/) is currently touring with the Cinekink Kinky Film Festival (http://cinekink.com/); and we're in pre-production on our third, a story about a unique reunion.

We're also chomping at the bit to work with documentarian Ruth Leitman (http://ruthlessfilms.com/) (WILDWOOD, NJ; LIPSTICK AND DYNAMITE). She's crazy-busy on tour with her latest project (TONY AND JANINA'S AMERICAN WEDDING: http://tonyandjanina.com/), but we're patient. Sort of.

Should we include our accordion lessons and circus acts here, John, or is there another spot for those?

If you could have any super power, what would it be?

Jessica is much too practical for super powers; Julie wants all of them. If hard-pressed, Julie would like the super power of knowing how to play the banjo really well for just one night so that she could jam with Steve Martin. Pretty please.

Do you believe on life on other planets?

Have you looked at pictures of space lately? Seriously, go to the NASA online image gallery (http://www.nasa.gov/multimedia/imagegallery/) right now, and look at pictures of Saturn's rings and nebulae and the moon's surface and far away supernovas. Our universe is so vast and so mysterious. It'd be arrogant for us to think that no other life exists. Plus, the idea of life on other planets fits with our overactive imaginations.

If you could be any animal, which would you be?

Jess would be a bonobo. Julie wouldn't mind being a turtle as long as Jessica promised not to dig her out of her shell with a pointy stick and eat her.

 

 

Thanks for doing the interview Julie and Jessica. You definitely have a lot of projects going on. I will be seeing Tilt when it comes to a festival near me. I'm going to do a google search on a bonobo because I'm not sure exactly what that is.

Interview Byron Tully of Indie Friendle

 

Byron Tully grew up in Houston, Texas, under the influence of both Baptist preachers and beer joint owners. He attended the University of Texas at Austin. There he met student filmmakers and started working with them on their graduate film projects. Planning to open a liquor store in his hometown after graduation, he heeded his father's advice that he 'do something with his writing' and abruptly left for Los Angeles to pursue a career in film. He and partner Weatherford Bradley produce Indie Friendlie, a weekly television show that spotlights independent filmmakers from around the world. A cigar-smoking vegetarian, he continues to write screenplays and songs and hopes to one day make his own independent film.

What is the current project you are working on? INDIE FRIENDLIE, THE SHOW THAT SPOTLIGHTS INDEPENDENT FILMMAKERS FROM AROUND THE WORLD.

Did you always want to be a filmmaker? ACTUALLY, I WAS GOING TO OPEN A LIQUOR STORE. MY DAD WASN'T THRILLED WITH THAT PLAN AND SAID, "I ALWAYS THOUGHT YOU'D DO SOMETHING WITH YOUR WRITING." TWO WEEKS LATER I WAS ON INTERSTATE 10, HEADING TO LOS ANGELES. I MOVED INTO A VERY DICEY APARTMENT BUILDING IN HOLLYWOOD AND STARTED WRITING SCREENPLAYS.

What inspired you to become involved in the independent film industry? MY PARTNER, WEATHERFORD BRADLEY AND I GREW A LITTLE BORED WITH MOST STUDIO FILMS. NOT ALL, JUST MOST. SO WE STARTED WATCHING FOREIGN FILMS AND SMALLER FILMS, AND WE LOVED THEM. WE TALKED TO OUR FRIENDS ABOUT THE FILMS, BUT THEY'D NEVER HEARD OF THEM. THIS PISSED US OFF. SO, LAST NOVEMBER, WE WERE SITTING IN A COFFEE SHOP AT SUNSET AND VINE, AND WE CAME UP WITH THE IDEA FOR INDIE FRIENDLIE TO GET THE WORD OUT ABOUT INDIE FILMMAKERS AND THEIR FILMS.

What is the best thing having your own show? YOU GREENLIGHT YOURSELF.

What is the worst thing about having your own show? ONCE YOU GET THE GREENLIGHT FROM YOURSELF, YOU HAVE TO FINANCE YOURSELF.

What is the estimated number of projects you have worked on? I'VE WORKED ON PROBABLY A DOZEN FEATURE FILMS IN VARIOUS CAPACITIES.

Who is is your favorite filmmaker? LUC BESSON, THE FRENCH FILM DIRECTOR.

How has your life changed since you became the host of your own show? FILMMAKERS HAVE BEEN SO GENEROUS AND APPRECIATIVE ABOUT WHAT WE'RE TRYING TO DO WITH THE SHOW. MY LIFE IS RICHER BECAUSE I'VE MET AND TALKED WITH THEM.

What is one piece of advice you can give to someone who wants to make it in the movie business? BE POLITE AND MODEST. YOU CAN BE THE MOST TALENTED PERSON IN THE WORLD AT WHATEVER IT IS YOU DO OR WANT TO DO, BUT THERE ARE VERY TALENTED PEOPLE GETTING OFF THE BUS EVERY DAY IN L.A. HOLLYWOOD IS NOT A DOOR YOU BREAK DOWN. IT'S A CLUB YOU'RE INVITED TO JOIN.

What are some of your favorite American films? MATEWAN, BY JOHN SAYLES; CASABLANCA; GODFATHER I AND II; HUD; COOL HAND LUKE; Foreign films? STARMAKER, IL POSTINO, MESRINE, JEAN DE FLORETTE AND MANON OF THE SPRING; EVEN THE RAIN; THE SECRET IN THEIR EYES. Television shows? THE SOPRANOS, MI-5.

How would you describe your film education? INFORMAL, INCOMPLETE, AND ONGOING.

How would you describe the film "scene" where you live? IT'S LA, SO IT'S VERY SUPERFICIAL IN SOME RESPECTS, BUT VERY GENUINE OVERALL. YOU'VE GOT PEOPLE COMING HERE FROM ALL OVER THE WORLD BECAUSE THEY LOVE FILM. IT MAKES CONVERSATIONS EASY TO STRIKE UP.

How has social media changed the independent film industry? IT'S A MIXED BLESSING. IT HAS LEVELED THE PLAYING FIELD WITH REGARDS TO PEOPLE HAVING ACCESS TO MORE CONENT. BUT IT HAS ALSO FLOODED THE PLAYING FIELD WITH A CERTAIN AMOUNT OF CONTENT--AND EVEN MORE HYPE--THAT DROWNS OUT THE QUALITY FILMS THAT ARE BEING MADE. THE AUDIENCE STILL NEEDS GATEKEEPERS AND GUIDES. NOT CRITICS NECESSARILY, BUT SHOWS LIKE INDIE FRIENDLIE THAT CAN WATCH A LOT OF FILMS AND SAY, HEY, AMERICA, WORLD! YOU NEED TO SEE THIS FILM; THIS FILMMAKER HAS SOMETHING TO SAY.

What is the interview process like? IT'S FAIRLY STRAIGHTFORWARD. WE WANT TO KNOW WHERE THE FILMMAKER'S FROM; WHAT INSPIRED THEM TO MAKE THE FILM THEY MADE; WHAT THE FILM'S ABOUT; AND WHAT'S NEXT FOR THEM. THOSE ARE THE BASICS I TRY TO COVER IN A SHORT PERIOD OF TIME. BUT IF THEY SAY SOMETHING THAT RESONATES, THEN I'LL FOLLOW UP AND WHO KNOWS WHERE THE CONVERSATION GOES.

How does independent film differ from the mainstream? INDIE FILMS ARE MUCH MORE PERSONAL. MOST OF THE TIME, YOU AS AN AUDIENCE MEMBER ARE GETTING A VERY INTIMATE GLIMPSE OF THE FILMMAKER'S PERSONALITY. WHAT THEY BELIEVE, WHAT MOVES THEM. WHAT THEY THINK IS FUNNY. WHAT THEY THINK IS TRAGIC. THEY'RE ALSO MUCH MORE PERSONAL BECAUSE INDIE FILMMAKERS DON'T HAVE THE BUDGET TO BLOW UP BUILDINGS, SO THEY HAVE TO ADDRESS RELATIONSHIPS.

You could go back in time and see any classic film being made. Which film would it be and why? I THINK CASABLANCA, JUST TO BE AROUND THE CAST. CONRAD VEIDT, THE ACTOR WHO PLAYED THE NAZI GENERAL WAS A JEWISH IMMIGRANT WHO HAD FLED GERMANY WHEN HITLER CAME TO POWER. SIDNEY GREENSTREET AND PETER LORRE WOULD HAVE BEEN A HOOT TO HAVE A DRINK WITH.

You could be any animal. Which would you be and why? A DOG. ALL THEY DO IS GIVE UNCONDITIONAL LOVE TO OTHERS, AND THEY'RE TAKEN CARE OF THEIR ENTIRE LIVES.

You could have any super power. What would it be? TO BE INVISIBLE. YOU CAN'T FIGHT WHAT YOU CAN'T SEE.

Thanks for doing the interview Byron, I'll definitely let any filmmakers I chat with know about your show. I'll be tuning in.

Interview Tom Dowler

Tom, an ex-pat Brit, studied English Literature at the University of York, where he founded the University of York Film-making Society, and produced, directed and edited more than a dozen short films. He also has a master’s degree in feature film production from Goldsmiths College London. Since moving to the US Tom has focused on producing corporate video work, with an emphasis on making complex value propositions easy to understand. He is co-founder of marriage blog The Long Haul Project

What is the current project you are working on?

Melissa - my wife - and I are working on a couple of different projects. We're making a documentary short called 24 Hours at the South Street Diner about our local neighborhood haunt, Boston's South Street Diner. We're also working on an ongoing feature documentary about marriage called The Long Haul Project (http://thelonghaulproject.com)

Did you always want to be a filmmaker?

I knew from the time I was in college. I founded a student film-making society and went on to do a masters at Goldsmiths College, London in film.

What inspired you to become filmmaker?

I always wanted to be a storyteller, and as a teenager I spent a lot of time catching up on classic movies I'd never seen. It was probably that experience that inspired me the most.

What is the best thing about being one?

The feeling of creation is pretty hard to beat. When a great shot comes off, or you get a great interview with someone, it's a real buzz.

What is the worst thing about being one?

The pay.

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

Around 20.

Who is is your favorite filmmaker?

Scorsese as a director. PT Anderson as a writer (love his directing too, but it's just a little derivative of Scorsese). Also very impressed with Miranda July.

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

Magnolia is my favorite movie ever. I just saw Four Lions and was blown away by it. Chris Morris is a genuine genius.

How has social media changed the independent film industry?

Social media has made it easier for filmmakers to connect with each other, and that can only be a good thing.

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

Probably Star Wars just because of the sheer amount of innovation that took place on set. So many things were done for the first time on that movie. That or Apocalypse Now.

What's your favorite movie quote and why?

"Stop saying that, Withnail. Of course he's the fucking farmer!" because it's a very funny, quotable line in a movie crammed full of funny, quotable lines.

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

The ability to correct out of focus shots in post.

What is your opinion on movie remakes?

I think they're sad but inevitable. I wish Hollywood had bigger balls and took a few more risks. Remakes are safe, but boring bets.

What is your opinion on book to movie adaptions?

They're fine when they're done well, but often they're not. A novel and a film are usually very different dramatic forms, and the only way to adapt a book is to take from it the elements that will work in service of the drama that a movie requires. Too often, adaptations are very faithful to the book, and as a result don't work very well dramatically on screen.

 

 

 

Thanks for doing the interview. I live outside of boston and would be interested in seeing "24 Hours at the South Street Diner".  Keep me posted.

Interview Sid Kali and Wayne Daniells

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Sid Kali (Slice Of Americana Films) teamed up with  filmmaker Wayne Daniells (LiarDice Productions) and visual artist Paul While (Graphic Delusions) to create "PSORO" (http://psorothemovie.com/). Enjoy the interview.

What is the current project you are working on?

Sid: I’m one of the writers and producers of a “mental horror gore” featurette called PSORO. I threw in with UK filmmaker Wayne Daniells and visual artist Paul While on this project. Now viewers are going to get an intense story with the UK as a backdrop and a small mix of Southern California flavor. Using real makeup and prosthetics to pay homage to 80’s horror films with a modern slant is more interesting than doing it with CGI.

Wayne: Intense horror gore featurette titles Psoro (latin for ITCH)

Did you always want to be a filmmaker?

Sid: No. I wanted to make a living is a shorty story writer. I had a high school creative writing teacher that really dug one of my stories. My Pops and friends always liked what I wrote, but it’s always different hearing it from an outside opinion.

Wayne: Ever since I was able to operate a camera I wanted to be a visual story teller

What inspired you to become filmmaker?

Sid: Watching Menace II Society from the Hughes Brothers made me think. Great filmmakers off that one movie. Coming up with good people around me I related to the story they wanted to tell from the outside looking in. I wanted to tell a story from the inside looking out.

Wayne: My father was a great inspiration to me. Always making me watch the makings of movies and studying the film techniques and formulas. This lead to me wanting to bring stories to visual life and entertaining audiences.

What is the best thing about being one?

Sid: The gamble. You invest and hope it pays off.

Wayne: Being able to entertain the masses and reach out to the world

What is the worst thing about being one?

Sid: Paying for health insurance for a family as a self-employed person is an expensive choice.

Wayne: Raising the budget!

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

Sid: The projects that have had meaningful movie distribution are America’s Wildest Bachelor Parties reality series, Consignment, In with Thieves, Fantasy Striptease Private Shows. I still like a short film I did with childhood friend Hollywood Ruben Navarro and Supermodel Joanna Krupa.

Wayne: 10 projects of which consisted of films, music videos, corporate media and art installations

Who is is your favorite filmmaker?

Sid: I have two. Russ Meyer (I like the honesty) and Robert Rodriguez.

Wayne: Hard question, as it would depend on genre, but my respect goes to Robert Rodriguez as he is one of the modern day auteur.

How has your life changed since you became a filmmaker?

Sid: I’m addicted to thinking about scripts I can shoot.

Wayne: Life has stayed the same, although it feels a lot more complete and fulfilling. Nothing better than making something that can be shown forever in time

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

Sid: Kill your ego. Your ego will kill you at the indie film level.

Wayne: Study the greats and learn from them, but form your own style. Stick to the formula and language of film but once you know that, remember you can bend it to fit your needs

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What do you like to do besides filmmaking?

Sid: I am a book junkie that likes to gamble on the horses and play roulette at the MGM GRAND. The host that takes care of things is a rock star in my eyes.

Wayne: Being a devoted father and husband, reading comics and enjoying life

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

Wayne: Surprisingly I don’t watch TV. Most of the films I like tend to be British but I guess funded with American studios, Dark Knight, Easy Rider, The Graduate, all Coen Brothers films. Foreign cinema I love french films ie. Delicatessen and City of the lost children. And Mid 1990’s Hong Kong action cinema such as The Killer and Bullet in the Head. Plus of course the true master of film Akira Kurasawa’s films.

How would you describe your film education?

Wayne: Everything I learned I taught myself. I studies movies in depth with the sound off sometimes, watched makings of and also read a lot of cinematography and lighting techniques. I believe the best way to learn is throw yourself in the deep end and a style of your own will form.

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

Sid: I live in the Inland Empire outside of Los Angeles. As cinematographer Royce Dudley told me…oh shit I can’t say his great line here or people will get pissed.

How has social media changed the independent film industry?

Sid: It’s made PSORO interesting. I’m working with two UK based creative souls. I call Wayne my UK amigo, we will make more movies and Paul is a real master of gore. Wayne and Paul could have went CGI, but these two UK wild men want to go old school blood and gore. Hell yeah!

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

Sid: Not against any other indie filmmakers that go this path. I know money is tight. Slice of Americana Films will never go down that road only to avoid a future fight. The big punch indie filmmakers might not see coming is the crowd fund donations, even for a dollar, some might think they own a part of the movie and you as a filmmaker. There are supporters that want nothing but to see you make your movie.

This could happen. What if your movie was the next hot thing? Every donator would expect something. Crowd funding to me is like Avon. If you have a good movie go to investors, if they don’t bite, then put your own money into it.

What is the casting process like?

Sid: Always act like your one of the PA crew in the waiting room to see how an actor is. When they think you’re a PA see how they treat you. I had one actor with a nasty ego tell the PA they had been there 5 minutes. I apologized for the wait and offered them water. I went to take a piss on that note and asked the casting director on my way not to cast them. In indie filmmaking actors lose their gigs in the waiting room over ego.

How does independent film differ from the mainstream?

Sid: Nobody to answer to. You can take risks on making a movie with the resources you have.

Is there anything else you would like to add?

Sid: Yeah. John if PSORO does not deliver on the visual bang I will have director Wayne Daniells send you a couple of free shirts from the movie. I forgot. SHAAAAAAAW! (inside joke we use)

Thanks Sid and Wayne for doing interview. I hope I can see PSORO sometime. It's an interesting concept. I like how you guys are  going "old school" with the makeup and FX.

John Heimbuch Interview

John Heimbuch is a Twin Cities native and founding member of Walking Shadow Theatre Company. He has written and directed numerous stage plays including The Transdimensional Couriers Union, Drakul, and William Shakespeare's Land of the Dead. His plays have been produced in Minneapolis, New York, London, Fairbanks, Cleveland, and Philadelphia. John is an alumnus of the Lincoln Center Theater Directors Lab, Minnesota State University, and the Perpich Center for Arts Education, and recently received a Minnesota State Arts Board Artist Initiative Grant for theatre. 3 Bullets marks his film directing debut.



What is the current project you are working on?

We're currently in post-production for a short film called "3 Bullets" about two men who witness a violent crime and need to decide whether to ignore it or take action. It's a tight script by John MJS McGuinness with a lot of dramatic tension between the two leads (played by Clarence Wethern and Andrew Sass). I expect post- will be finished sometime this summer after which we will be shopping it around film festivals. And last week I wrote and co-directed an Adventure Serial for Minneapolis' 48 Hour Film Project with team Steeltoe Stiletto.

Did you always want to be a filmmaker?

Secretly. I consider myself a man of the theatre, but I've always found myself drawn to the rigorous narrative structures of film.

What inspired you to become filmmaker?

The concerted effort of my friend John McGuinness. I've always had immense appreciation for film, and am intensely curious about the relationship between audience and art. I've been studying theatre and storytelling since I was 13. Over time that exploration expanded to include games, site-specific art, modern dance, visual art, puppetry, and eventually film. I like art that has a high degree of complexity, and am fascinated by any creation process that requires me to maintain an expanded awareness. After writing and directing some incredibly complicated plays, the jump to film seemed like a very natural transition. But it took a little push to get me there.

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

The same advice I would give to anyone doing anything: Make lots of friends. Learn to recognize talent. Appreciate everyone. Use them well. Don't give up.

What do you like to do besides filmmaking?

I am the co-Artistic Director of Walking Shadow Theatre Company in Minneapolis with my friend David Pisa and my wife Amy Rummenie. I write and direct a number of plays each year. And as a hobby, I also sing for the steampunk rock band Bad September.

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

Films that inspire me include: Adaptation, The Prestige, Pulp Fiction, Gosford Park, North by Northwest, 28 Days Later, Run Lola Run, Raiders of the Lost Ark, Yojimbo, Singin' In the Rain, Vertigo, Monsters Inc, FunnyBones, Kill Bill, F Is for Fake, 22 Short Films About Glen Gould, Touch of Evil, The Maltese Falcon, Amelie, The Third Man, Fight Club, The Talented Mr. Ripley, Unforgiven, The Matrix, The Remains of the Day, The Princess Bride, Exit Through the Gift Shop, The Lord of the Rings movies, Fargo, The Hudsucker Proxy, The Manchurian Candidate (original) - to name a few.

TV shows I like include: Jeeves & Wooster, Firefly, The IT Crowd, Slings and Arrows, Seinfeld, and the Venture Brothers. And there are also four plays that I always go back to for inspiration: Gross Indecency: The Three Trials of Oscar Wilde by Moises Kaufmann, 36 Views by Naomi Iizuka, 1001 by Jason Grote, and Seventy Scenes of Halloween by Jeffrey Jones.

How would you describe your film education?

Self-taught with guidance. I was trained in the theatre and have experience with all aspects of my field (acting, writing, directing, design). I got some subtle and not-so-subtle indications from the world that I should branch into filmmaking, and have pursued it with incredible vigor in the past six months.

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

The Minnesota film scene is really bubbling right now. Lots of independents are being made each year, and we're one of the most competitive cities in the 48 Hour Film Project. Since I started making films I've met more and more people who have an excitement for the artform, and I feel like it's being very well supported by the local community.

What is the casting process like?

I regularly work with actors through my job as a theatre producer, so I tend to reach out to the many talented people that I have personal connection with. We had open auditions for 3 Bullets, and cast Clarence Wethern and Andrew (AJ) Sass from those. Conveniently, I had worked with Clarence on Walking Shadow's production of Neil LaBute's Some Girl(s), and my producer John McGuinness worked with AJ on the film Last Breath. It helps immensely to have that working history with the actors.

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

I'd like to suggest that a better use of a time machine would be to visit the set of my future feature and see how I secured funding. But if I had to choose a film from the past, it would probably be Citizen Kane. I have an immense respect for Orson Welles' career and the way he transitioned through different mediums. I'd love to know how he and his crew made their production decisions.

What is your opinion on movie remakes?

In the theatre world it's quite normal for a script to have multiple, completely different productions - so to me it seems only natural that films should be given the same treatment. That said, I've rarely enjoyed the remake of something as much as I enjoyed the original. There's too much pressure on a remake to be different from the original in order to justify its existence.

What is your opinion on book to movie adaptions?

I think Charlie Kaufman's Adaptation said it better than I ever could. It all comes down to the way different mediums treat stories. Most Hollywood films are pretty rigidly narrative, whereas novels have greater freedom to meander - and often quite a bit of the tone and feeling of the original can be lost in that translation - as well as a lot of depth. But I think there have been some film adaptations that are actually much better than the original material. I certainly felt that way about Election and High Fidelity - which are both books that I love.

Is there anything else you would like to add?

I like to encourage people to think across typical artistic boundaries. As artists the best thing we can do is to recognize the strengths and merits of each medium, and then exploit that medium to its fullest potential.

 

 

 

Thanks for doing the interview. Readers can get more information about the Walking Shadow Theatre Company by clicking here.