Thursday, July 7, 2011

INTERVIEW WITH GEORGE PAPPAS, AUTHOR OF NOVEL MONOGAMY SUCKS



What is the current project you are working on?



My latest novel Monogamy Sucks is an explicit and frank exploration of a Long Beach, Calif. man’s mid-thirties lust crisis and his ensuing sexy, intriguing, humorous journey into the swinging lifestyle. I describe it as real life erotica or reality fiction. The story unfolds in the form of a fictional diary by my book’s protagonist Jake Dalmas, who is seeking answers to deal with his growing disillusionment with conventional relationships and most specifically -- monogamy. During the course of the novel, Jake discovers some misconceptions about swingers and new aspects about himself. It is funny, shocking at times, and above all – painfully honest.

I am also editing my next novel about Internet sex and dating that is coming out later this summer on Lazy Day Publishing. It has an interesting celebrity angle I can’t reveal. I am also writing a paranormal erotica story for a print anthology out in Oct. entitled Indulgence featuring a talented group of Lazy Day Publishing authors. I have also started a sequel to my novel Monogamy Sucks, which I’m hoping to have out by Summer 2012.

 Did you always want to be a writer?

I’ve always dreamed of being a writer. The act of storytelling fascinated me from an early age. I wrote my first novel called Jake’s War by hand at the age of 15. During my teens and early adulthood, I wrote a number of short stories in the Science Fiction genre, which was my first love as a reader.

 What inspired you to become writer?

Really everything. I am really attracted to off beat and unusual stories and aspects of life that reflect the humor, and ironic twists and turns that mark our existence. I can find inspiration in everything and anyone.

Growing up I remember being inspired with stories of other worlds and the way books can transport a reader to another place or time whether real or fictional. I knew that eventually I was going to attempt stories myself, but I lacked the confidence for a long time. However, I still had these story ideas, characters and even whole scenes burning in my imagination and they had to get out at some point. I just didn’t think it would take this long.

What is the best thing about being a writer?

Best thing about being a writer is being able to explore and express your emotions, your notions about life and experiences through the written word. Having all these ideas, stories locked inside of us without having an outlet would be a sort of living hell. Even though the process is painful and daunting at times -- it is all worth in the end. There is a deep satisfaction when readers of your work are able relate to your experiences and respond to your characters and stories in ways that you never imagined. The joy of being a writer goes far beyond the glamorous notion of the “writer’s life.” Many of us would (and still do!) write even if our books never made a cent. I wrote my first three novels while working at time consuming and draining day job at public relations firms. I have to write. It is as necessary as breathing to me, and it is truly the best job I’ve ever had since it never seems like a job to me.

 What is the worst thing about being one?

Overcoming doubts and fear and developing a confidence in your work so that you will not take criticism personally and allow it to stunt and hold back your vision and dreams.

When we write, we are sharing our deepest and darkest feelings and experiences. These form the inspiration and grist for our literary creations. So we are truly exposing ourselves when we put ourselves out there and share our work. It is something every writer must face.

Also creative droughts can be tough to handle, too, but I have been able to avoid that lately.

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

I have completed three novels -- Letters From Cyberspace (which I self published in 2001), Monogamy Sucks, and my next novel, which comes out later this summer. I have also finished a draft of a paranormal short story for an erotica print anthology called Indulgence, which will be released on Lazy Day Publishing in October.

 Who is your favorite author?

That is really a hard question to answer. I couldn’t pin it down to one. I would have to say Henry Miller and Anais Nin. They are like the yin and yang for me. They both created two sides of the same erotic story for me -- for men and women. Miller and Nin are incredibly brave and erotic authors who dealt with erotic subjects in a time where it was not only frowned upon, but also illegal in many countries including this one. Yet their works have stood the test of time. Miller’s Tropic of Cancer and Nin’s Henry and June

are my particular favorites. Miller’s prose is more blunt and outspoken than Nin’s yet neither shies away from exploring sexual desire and mysteries of love and passion. Their truthful writing is remarkable. I say this humbly, but I had in mind when I started my novel that I would try to write a modern version of their novels. I am still very curious what would they think about the modern uninhibited sexual world that we live in where almost every erotic scene known to man and women is at our fingertips through the Internet. Has some kind of mystery been lost? This is what my character Jake Dalmas asks in the first chapter of my novel.

How has your life changed since you became a writer?

Well, I’ve always been a writer in one way or another. But my life has recently changed in that I have become a full-time author and I am very driven to bring out as many books as I can over the next five or ten years. I feel I have wasted too much time sitting on my recent novel Monogamy Sucks (12 years!!) and my next novel that comes out later this summer. I now finally feel confident enough to truly pursue my writing dreams and explore many other ideas for books that I have put off.

 What is one piece of advice you can give to someone who also wants to become a writer?

Share your work online. Writers should embrace the immediacy of the Internet as a beneficial means to expose their work and develop their own audiences rather than wait around to be discovered by an agent or publisher. That’s the future of publishing – do it yourself -- whether the publishing industry wants to acknowledge it or not.

What do you like to do besides writing?

I’m obsessed with films and music. So I watch a lot films and have a very eclectic tastes in music.  I also read a lot and enjoy concerts, the ocean and traveling.

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

I was a journalist for a number of daily newspapers in southern California. After leaving the newspaper business in the mid 1990s, I worked at public relations agencies as a publicist.

What are some of your favorite books?

Some of my favorite books and authors, include the aforementioned Henry Miller (Tropic of Cancer, Tropic of Capricorn), and Anais Nin (Henry and June, her diaries). But I also have been inspired by Charles Bukowski (Women, Post Office, all of his poetry), Bret Easton Ellis (American Psycho, Less Than Zero), Armistead Maupin (Tales of the City) John Updike (Couples), Kurt Vonnegut (Slaughterhouse Five), Joseph Heller (Catch-22), among others. Each of them bravely and uniquely explored controversial sexual and societal issues in a frank, unsentimental manner exposing truth and hypocrisy alike. I treasure novels that truly take me on a journey and challenge my preconceptions about life.

How would you describe your education?

I earned a journalism degree at Cal State Long Beach and minored in English literature. That’s my official education, but my true education has come from life and work. Life is the true classroom for any writer.

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

I don’t really know much about the writing scene where live in Orange County, Calif. I have discovered through Twitter an incredible and supportive community of writers, publishers and readers. It bodes well for my future books and writing career. I no longer feel so isolated as a writer. You could say I have found my ultimate writing scene online.

How has social media changed the publishing film industry?

Social media is profoundly changing the entire entertainment industry, including films, books and music.

The next best selling writer or literary star more than likely will be found on the Internet and not in the usual places such as writer workshops or universities. The Internet and Twitter is truly bringing democracy and opportunity to the once closed off book industry.

Look at Amanda Hocking.  She was discovered through her blog and now has a prosperous writing career. Stories like hers have been an inspiration for many of us writers

What is your thought process like when your writing?

I try to get down a first draft as soon as possible. I give myself modest goals each time I write such as writing a couple hundred words and before I know it I have written a lot more than I thought I would. I think the real work is done in the editing, but I can’t do that until I get down my original vision for my novel or short story or project.

You could be any animal. Which would you be?

A bird, possibly a falcon, since I would enjoy the ability to fly far above the Earth anytime I chose to.

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

Well, X-Ray vision might be fun for obvious reasons. LOL.  I must admit I am not a fan of superpowers. I remember an episode of the Twilight Zone where some aliens came down the Earth and gave a character great strength and then later great intellect. In both cases, the character in the piece misused the powers he was given. So there is a down side even to superpowers. Now, that I think about it -- a superpower that makes one of immune to writer’s block and critic’s barbs might be nice.

What is your opinion on book to movie adaptations?

If movie adaptations are handled by a screenplay writer and director who care about the source material, it can be a very rewarding experience for everyone involved, including the audience. However, more often than not that has not been the case. Books and movies are completely different mediums. Films offer more condensed stories it being mostly a visual art form. Books primarily rely heavily on dense description, dialogue and more in depth story telling and background. Some books are easier to adapt than others, but it is never a simple process. I look at them as completely different animals. A lot books have been made into the movies, but only a few come to mind such as the Godfather, L.A. Confidential, Shawshank Redemption, as matching or even surpassing the original book.

Thanks for doing the interview George. I'll be sure to let people know about your book.  Keep me posted on your next book. Maybe we could do another interview when you've finished writing that book.

Interview Amit Mehra




 

People underestimate the power of fantasy..imagination. They give too much importance to the way things are....instead of the way they can be" - Amit Mehra

Screenwriter, Filmmaker from Mumbai, India. Detailed resume and other details on IMDB - http://www.imdb.me/amitmehra

Amit's a screenwriter, director based in Mumbai (earlier Bombay), India's city of dreams or Bollywood as we know it in the west. He's been working for the past 20 years across the films, television and advertising industries in India. Post completing his film schooling from XIC where his student film "The Shroud" starring Rahul Bose won the best student film award, he assisted several celebrated Indian filmmakers like Pradip Kissen, Bobby Bedi, Debaloy Dey, Rakyesh Mehra in feature films & advertising commercials & worked with iconic Indian news channel & personality NDTV's Dr. Prannoy Roy for their Election Analysis series.



In 1994, A visionary producer Pranav Bhasin gave him his first break as a director with cult black humour based TV satire "Mat Halla Macha" which was also conceptualized by him. Amit went on to create several television shows for one of the first Indian satellite channel JainTV and National broadcaster Doordarshan. Many of these shows were also directed & produced by him. In the late nineties, he launched his own production company, where besides TV shows, they also made some documentaries, ad films, corporate films for various large multinational companies and Government agencies. In the last 6-7 years while his production company AMP ANGLES has created a niche for themselves in corporate advertising films, Amit in his personal capacity has been developing feature film scripts for various producers. One of his script 'Karma: crime, passion & Re-incarnation" was produced as an English film by an A list Indian film producer Vivek Singhania in 2008. The film after premiering at Cannes, went on to win awards at several film festivals including Best feature at Marbella, Spain. In the beginning of this year, AMP ANGLES decided to diversify into features films production and as precursor to that, they have produced a short feature tentatively titled 'Everybody Hurts" that just completed principal filming in small town of Bhopal in India. "Everybody Hurts" is a psychological drama written and directed by Amit, that they will be taking to all major film festivals across the world.



You can connect with Amit on Facebook and know more about his Film "Everybody Hurts" here : http://t.co/JIKPWxE





What is the current project you are working on?

Amit: I have just finished the principal filming of my first short feature "Everybody Hurts", (working title), as a screenwriter & director. The film's producer is Ms.Semanti Sinha Ray. It is a psychological drama set in the small town of Bhopal in a central state of India called Madhya Pradesh. Though the film unfolds as suspense story, it essentially revolves around a larger social reality of how every man has become an island amidst the densely populated sea of humanity. Currently the editing and other post related work is in full swing. We plan to take this film to all major film festivals across the world. This production also marks the beginning of our production house, AMP ANGLES's, foray into narrative feature films production. So far we have mostly been producing corporate advertising films & documentaries.

Did you always want to be a filmmaker?

Amit: Yes. Growing up in New Delhi, India during the 80's, we had very little recreational options apart from sports and movies. I wasn't particularly interested in sports but was blown away by the magic of cinema. Thankfully my parents and extended family were always avid film watchers so we were always going to theatres or watching films on TV. But my major addiction to films and the fascination started with the advent of video cassette players. My dad also had a stake in a large video library and one of our neighbours used to frequently travel abroad and get plenty of videos of great Hollywood and British films for me. So by the time I was a teenager I had already seen a huge amount of Indian and English films and was clear in my head that I wanted to grow up and be a filmmaker. In fact I wrote my first amateur script at the age of 6 or 7 but only shared it with my mother and a couple of people in the family. I would also design posters of imaginary films on my house walls and stuff. So, films was pretty much the only thing in my universe that interested me. films and music...

What inspired you to become filmmaker?

Amit: When I was still a pre-teen, I would often badger my older cousins Alin & Robin to narrate me stories of films that I was not allowed to watch because of my age. Films like Godfather or some James Bond films. I still remember during my sleepovers at their house, we would often sleep in the open air terrace and before sleeping, as we lay there looking up at the clear starry summer sky, my cousins would relate these amazing scene by scene narratives of the great Hollywood or Bollywood films they had seen while I would try to imagine the world of these movies. That was my first inspiration to be a filmmaker...to be able to create these imaginary worlds with these wonderful characters. Then I watched two films that sealed my fate...Sholay and Star Wars. Sholay till date remains probably the best Indian film ever made and Star Wars we all know. I was so mesmerized by the effect these two films had on me as a child that I just did not want to leave the world of these movies. In my head I stayed inside those movies for the longest time. So you can say, my cousins, Ramesh Sippy (Director of Sholay) and George Lucas inspired me to become a filmmaker.

What is the best thing about being one?

Amit: I would say the best thing about being a filmmaker is to get a license to fantasize and make people fantasize. Fantasy to me is the best part of our reality. It's often the only uniqueness that separates us from other animals...we often underestimate the power of fantasy...imagination and give too much importance to the way things are, instead of the way they can be.

What is the worst thing about being one?

Amit: I still have to discover a real down side of being a filmmaker or a downside that is unique to a filmmaker, except that perhaps we tend to get a little self obsessed or egoistic. Also, the career graph can be much more volatile than most can handle.

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

Amit: In the last 20 years, I have worked on quite a few projects of various scales and genres in different capacities across Films, Television and Advertising industries in India. Probably more than 60-70.

Who is is your favorite filmmaker?

Amit: Can't name one. Apart from Ramesh Sippy and George Lucas, It would have to be Alan Parker, Steven Spielberg, Martin Scorsese, Francis Coppola, David Fincher, Tim Burton, Woody Allen, Ridley Scott and a great Indian filmmaker Gulzar (whose films are as lyrical as the music in his films). He is also one of the finest lyricist/song writer we have. He hasn't made a film in a while, actually neither has Ramesh Sippy. I wish they would. I am also a great fan of the early films of Manoj Night Shyamalan.

How has your life changed since you became a filmmaker?

Amit: In my head, I was always a filmmaker, so in that sense, life has not been any different since I officially became one. Maybe now I day dream less and actively do something about realizing them more...

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

Amit: First of all I am in no position to give advice, if at all I need it more than anyone else. That said, it's always good to not answer your own questions, just go fearlessly wherever your heart takes you and the answers will come to you....the mystery will get unlocked....hopefully.

What do you like to do besides filmmaking?

Amit: Listening to music and travel. I love all kinds of music but mostly retro. I love some of the Brit bands from the 80's like Duran Duran, Frankie goes to Hollywood, Sting, Robbie Williams. Huge fan of U2 and then there's always Sinatra, Louis Armstrong, Abba, Mamas & papas on my playlist. I listen to Indian film music more than other forms of Indian music but I am trying to develop an ear for that too. I love traveling to smaller unknown towns. I love meeting strangers in a place which is new and strange to me. It's almost always exciting. I also love still photography - as in I am good with my Iphone..

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

Amit: Not really. Always worked in films, TV, Advertising or related industries. Once, many years ago, I came very close to giving it all up and starting a business of office automation products of all the things. I even got cards printed but I think that lasted like 2 days. Then once, during one of my many low phases, I almost got into the food business but that too lasted just a few days. I don't think I have a life beyond movies and music. That's all I know in this life, maybe in the next I can be a chef. I am a huge foodie.

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

Amit: I grew up on American films so there are plenty apart from the ones I have already mentioned. I like political thrillers like "The Manchurian Candidate", spy movies like "Bourne Identity" and sucker for all science fiction films. I loved what JJAbrams did to "Star Trek". Manoj Night Shyamlan's "Signs" is another favorite of mine. I also watch a lot of American Television shows like "Lost", "24", "Damage", 'The Wire", "Sopranos", "Entourage" to name a few. The show that I would never miss is "Curb your enthusiasm" or anything that Larry David does and "Simpsons". I also liked a show called "Huff"...I don't know why it didn't last beyond couple of seasons. It was pretty good. Steven Spielberg's "Taken" and "Band of Brothers" were great mini series. "Heroes" and "Prison Break" started well but lost their way post initial seasons...

For last two odd years or so, I have been trying to watch a lot of world cinema. It's really addictive and to be honest, some of the European and Asian films are probably the best work I have seen in recent past. Specifically, I am greatly impressed with South Korean Cinema. They are probably making some of the best films these days. Filmmakers like Bong Joon-ho and Kim ji-woon amongst others. I am also discovering the marvelous Japanese cinema through the films of Takeshi Kitano. I am also discovering our own great master filmmaker Satyajit Ray. I have no idea why I didn't watch his films earlier. Amazing stuff there.

How would you describe your film education?

Amit: I did go to a formal film school XIC here in Mumbai during the early 90's which was great but my film education started much earlier when I was still a kid. Watching films and discussing it with friends who love films is the best way to educate yourself about cinema. Like people working in different streams of science, a filmmaker too, is always a student...things are always changing and sometimes faster than you can learn them and on the other hand some of the basics remain the same but some times it can take a life time to learn those as well. 40 years of watching films and 20 years of working in them has taught me just a fraction of what I would like to know about cinema. That's how vast a universe it is or maybe I am slow...

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

Amit: I live in Mumbai. The hub of the Hindi film industry or "Bollywood" as popularly known. So the scene is as "filmy" as it can get. Almost one in every five people you meet have some or the other connection with films. We have plenty of theaters, some very good ones with world class standards. Most of the films being exhibited are either Indian films of various languages or Hollywood films. We seldom get world cinema or art house films in the regular exhibition circuit. That said, there are a few film societies and clubs that keep hosting festivals and screenings of such cinema. People in India are equally passionate about movies and cricket. These two have remained the main source of entertainment for the longest time and I don't see that changing soon. Of course with the power of faster internet connectivity, the delivery systems may change, evolve...

How has social media changed the independent film industry?

Amit: Social media, especially Youtube, facebook and twitter has given a much needed boost to the independent filmmakers in India who were getting rather isolated. Today they have found their voice and an audience. Unlike the west, in India, till a filmmaker becomes hugely famous or successful, there are no ancillary systems, agencies to support or nurture them. The filmmaker is pretty much on his own. He not only has to create the content but also sell it, market it and manage his career, create his own brand, popularity and visibility. There are no agents, talent managers for filmmakers, script writers or other technicians. So, before the advent of social media, a lot of such bright and talented voices never got heard or seen. Today the scene has changed. Social media has truly empowered the independent filmmakers to showcase their work and build an identity for themselves - right from the early stages of their careers. There are a lot of Do It Yourself digital filmmakers in India today, who are writing, shooting, editing and uploading films all over and to great response from their audience. The smaller costs and quicker turn around time has helped. This has also resulted in some recognition in mainstream media and some of these filmmakers have also achieved success within more traditional film industry. However, this is still a developing story but one that has a lot of hopes pinned on it.

What's your opinion on crowdfunding?

Amit: I think Crowd funding is a great idea but vulnerable to scams and because of that risk, it may take longer for it to become a real option for a large number of filmmakers. Especially new filmmakers whom the general public have not heard of. Integrity and trust issues will always be tested on these platforms but for this to become a regular source of funding, people need to see the fun side of investing in non traditional, emerging economies. This calls for change in psychographics, social dynamics and spending patterns. Also, how people perceive value in art in general and films specifically. As filmmakers, we need to be ready to accept a larger number of direct shareholders in what is essentially a very intimate creative process. At some point these shareholders may expect more than just a shout out and freebies or a chance to be associated with a film project as this is different than say simple donations or charity. The filmmakers will have the burden of educating the shareholders to the unique nature of film business. It's not easy but it is a way forward. And a good one at at that.However, these will be some of the challenges crowd funding will face. But like all good ideas, this too should be tested and tried instead of debated and the right answers will show up sooner or later.

What is the casting process like?

Amit: There is no pre-set standard casting process in India, so I can only speak for myself. At this time, I cast essentially on two principals - best skill set match with the character and easy to work with. At some point, I guess I may have to go beyond these two parameters and look at more commercial aspects like star status, popularity, producer's best friend but I am really hoping I do not. Casting is one of the biggest challenges in front of Indian cinema. We have very few popular actors and it creates a major crunch in more ways than one. The reason we have few popular actors is because we are not giving enough chances to new talent. The reason we are not doing that is because we are not casting right and for the right reasons. All famous stars at one point were nobodies but we seldom remember that. We've got to cast more with our own conviction rather than someone else's.

How does independent film differ from the mainstream?

Amit: Again, I may not the right person to answer this because, a film, I do not differentiate on that basis. For me a great film or a bad film can come out of any corner of the industry. For me I think the process from script to screen is what essentially differentiates an Independent film from a mainstream. In India, mainstream is always associated with more formulaic content, big famous star cast and more traditional narrative but that is changing. Independent cinema in India is essentially the new wave of what was known in the 70's, 80's as the parallel or art house cinema with newer faces, low budgets, off beat storylines and experimental narrative but this too is changing. I think cinema on the whole is going through transformation, much like our society, so I would say wait and watch this space.

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

Amit: It would have to be Star Wars, Sholay, Breakfast at Tiffany's, Sound of Music, Doctor Zhivago, Godfather and Apocalypse now. I think these films involved the kind of film making that formed the basis of processes involved in making films of those genres since then..and also because I always wanted to live on the sets of these films.

What's your favorite movie quote and why?

Amit: "may the force be with you" .....do I need to tell you why? But apart from being a Star Wars fan boy, I also think it was a great line that gave hope....

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

Amit: Invisibility. I like to watch...

What is your opinion on movie remakes?

Amit: Not the greatest idea but some do it well and some of it are fun too but only some.

What is your opinion on book to movie adaptions?

Amit: It's great for me as I do not read much so I have no pain process involved of seeing my favorite chapter being chopped off. That said, once a teacher in my film school said that only make those subjects into films that can only be films, not a radio show, play, painting or a book. Not many books lend themselves well to visual storytelling but they are a great source for rich dramatic material and characters.

Is there anything else you would like to add?

Amit: Nope. Except, pl do keep a lookout for our first film "Everybody Hurts" if you visit film festivals during the festival season of 2012....that is if the world does not end by then.

 

 

 

 

 

Thanks for doing the interview Amit. I hope I will be able to see "Everybody  Hurts" when it comes to a festival near me in 2012.

Tuesday, July 5, 2011

Interview Sheri Candler



Sheri Candler is an inbound marketing strategist who helps independent filmmakers build identities for themselves and their films. Through the use of content marketing tools such as social networking, podcasts, blogs, and online media publications, as well as relationship building with organizations and influencers, she assists filmmakers in building an engaged and robust online community for their work that will help develop and sustain their careers.

Sheri was involved with festival promotion for 2010 Slamdance official selection "YELLOWBRICKROAD;" 2011 Sundance and SXSW short film official selection “The High Level Bridge,” which achieved a broadcast distribution deal from CBC and was viewed over 100,000 times in the Sundance Youtube Screening Room; press outreach for feature documentary “Ride The Divide” which utilized a unique hybrid distribution strategy partnering with LiveStrong and mountain biking organizations; and social media/organizational outreach in the US for the theatrical release of feature film “Undertow (Contracorriente),” Peru’s official submission for 2011 Oscar for Best Foreign Language Film.

You can follow her on Twitter @shericandler, find her on Facebook Sheri Candler Marketing and Publicity and read her blog www.shericandler.com

What is the current project you are working on?

I always have multiple projects going on, sometimes they are long term and some are very short, like consultation only. In the short term, I am working to formulate the promotion of a book I coauthored called Selling Your Film Without Selling Your Soul Presented by PreScreen which is a case study digital book due out in September 2011. I have 2 other books I am a part of, also digital books though one might become physical. The first was released on July 1 called The Modern MovieMaking Movement featuring knowledge and advice from 10 experts in independent film. It is a free ebook. The second is an anthology of Ted Hope’s Hope for Film blog and will be coming out this summer both in digital and in physical print.

Did you always want to work in the film industry?

No, when I was very young I wanted to be a ballet dancer and trained for it for over 16 years. That didn’t happen through a variety of events but I still love to dance and have recently gone back to taking class. When I entered college, I thought I would study journalism but discovered my university had a film and television department so I switched over to get a BA in Broadcasting and Film. Though I had to take courses in both, as well as radio, it became apparent that I didn’t have a forte in filmmaking. I went down the broadcast track instead. I also took marketing and advertising courses in school, but didn’t like it so much at the time. It wasn’tuntil I lived in the Russian Far East city of Vladivostok that I took my marketing education back up again and when we moved to London, studied for a certification in Marketing, Advertising and PR. I worked as the marketing manager of a broadcast equipment manufacturer in charge of the European, Middle East and African territory so  marriage of both things I had studied.

  Who or what inspires you?

I am inspired by courageous people. People who do not sit by and wait for something to happen or something to change. When I was younger, I used to be quite the rule follower and believed that if you were “good enough,” great things would happen to you. I don’t wait for that anymore. I believe you make your own luck through hard work and I am inspired by people who also see the world that way.

What is the best thing about marketing independent film?

Talking to people. Most people think marketing is pushing out a message, basically interrupting people by shouting at them until they do something, buy something. I don’t see it that way. I think you pull people to you by giving them information, knowledge, solutions to problems they have. With indie film, I think marketing is about making people feel an emotional connection to the material and to the artist by being in direct contact with them. When they are emotionally invested, they want to support it.

You won’t have to push them into something or chase people down and badger them to death. It takes a while to do marketing this way, most don’t have the patience and time for it. But I do and I love it and those people will stick with the artist and her work far longer so whatever time is spent doing this is far more effective than starting over again and again and spending lots of money to get attention from most people who will never do what you ask.

 What is the worst thing about it?

Honestly, it is all the myth that surrounds the industry. The myth of the overnight sensation. The myth of films making lots of money, as in box office results. Those results never take into account how much was spent to buy that outcome. And then dealing with artists and executives who buy into those myths and hold them up as truth and measure all things by it. I think we would all be better off to know what real success looks like, accept what is real instead of fabricating an image that is almost impossible to achieve.

No one wants to hear that though, it is more comfortable to perpetuate the idea of success and hide behind a feeling of accomplishment that “my film got distribution” so it was a success. Nevermind that many such films never repay investors or lead to any form of sustainability to the filmmaker. I am not interested in the myth, I want to hear about artists who experience success however modest and are able to keep going. The definition of success is to bring in more money than one is spending and to be able to do work that you love.

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

Lost count really. Sometimes I only offer consultation, sometimes I work for only a limited time, like during one festival campaign. Sometimes the work is ongoing like with a documentary I am working on with producer/director Dawn Mikkelson called Smooch which will take maybe years to complete. I have only been working in film marketing for two and half years, first with a film festival and then with filmmakers and artists directly. I see this as an advantage because I am not entrenched in the traditional way of doing things. I can see how the landscape is changing more easily than someone who has become accustomed to policy and legacy. I can adapt faster because I am not protecting an old business model. I also have worked with musicians and authors, not just filmmakers. The principles of marketing for them is the same as with films and filmmakers though.

 Who is your favorite filmmaker?

I love Tim Burton. I don’t love every film he has made, but I love his style, his creativity.

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

A lot of things changed in my personal life around the time I started working with indie film. Let’s say it was a time where I could start over to do anything I wanted to do and I chose to do this. I don’t feel I am part of the “industry” and I don’t aspire to it. I want each filmmaker to be their own studio and build a team of collaborators around them with similar goals. I want to work with those teams but only the ones I feel have similar goals and beliefs. I don’t take on every project because of a paycheck. In fact, many times I give advice for free just because I want to see something succeed that I believe in and I know that generosity will come back to me. It always does in some way either through money or opportunity or accomplishment.

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

Stop trying to make it in the business. YOU are the business so educate yourself in all aspects of it. Stop waiting for permission, stop waiting to be “picked’ and championed. People champion those who are similar to themselves and offer value so figure out who your champions could be and make yourself useful to them in some way.

I can’t stand the whiners, the complainers, those who say they’ve done all they can to network with no success. I say you’re networking the wrong way then, you’re looking for a savior and people can sense that about you.They can sense the helplessness, the weakness. No one wants to be your savior. Prove that you are capable of saving yourself, or elevating yourself and align with others who have that same outlook. People are pleased to help someone they know is valuable. Be valuable and worth helping. Prove your worth because everyone has worth inside of them.

What do you like to do besides marketing?

I love alternative music and discovering new bands. I take ballet class for exercise. I like taking my kids for a walk on the beach with the dog. As I said, marketing to me is about connecting with people either online (which is the majority of what I do) or in real life and I couldn’t do it well if I didn’t like finding and speaking with people, sharing resources with them.

Have you had any other jobs before you decided to become involved in marketing and the independent film industry?

Yes, I was an on air news announcer in Moscow Russia

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

TV shows: Nurse Jackie, Weeds, United States of Tara, How I Met Your Mother

American films: Hard Candy, Timer, Before Sunrise, Before Sunset, Inception-I also love Rockumentaries no matter what the music

Foreign: A Room With a View, Let the Right One In

 How would you describe your film education?

A few courses in university taught me that I wasn’t a filmmaker, just a film lover

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

Non existent where I am now. In LA, there is a scene of course, but not for indies necessarily. It feels like everyone there is just biding their time to go do studio work. The scene online (where I spend most of my day) is very lively with lots of filmmakers doing creative things and experimenting with lots of different business models. Those are the ones I am most interested in.

 How has social media changed the independent film industry?

The internet first and then social media have changed the world. Where it used to be that you either were stuck in your local area or had to physically move to meet new people, we now have this virtual way of meeting all kinds of people with any interest you can imagine, globally. It used to be just a few people held power over changing minds, influencing, now anyone is able to do it on their own; anyone can have their views heard, anyone can find kindreds, anyone can influence.

Of course, this has just made it a lot more difficult to rise above the noise and unfortunately people feel like the solution is to just shout louder and louder. My view is to whisper, concentrating only on those who want to hear from you. If you only concentrate first on those few, more and more will seek you out. You don’t need to shout, but you do need to be patient and satisfied that reaching a few very passionate people will be more effective than screaming at the large but uncaring masses.

It has also made it far easier and cheaper to distribute work on a global scale. Those who devote their time to figuring out how to harness this power of free distribution coupled with reasons and ways people will support you will do very well for themselves in a sustainable way. I don’t think large corporations will be the guides to figuring this out. Many monoliths will perish in this time. It will be the tiny guy with little lose and the ability to adapt quickly who will have the huge advantage here. Stop looking for huge success stories, at first there will be very few, but that doesn’t mean small success should be discounted. Change starts small and gains momentum. Stop waiting to only join in when the momentum is a full speed, you’ll only be run over that way.

What's your opinion on crowdfunding?

I think it is wonderful. You can’t do it successfully if you don’t have a network so build a base first. I think we’ll start to see more and more “name” people use it too, not for raising money necessarily but for gathering audience and word of mouth ahead of a project release. Many indies don’t even think of crowdfunding being used for this, only for money. That’s a mistake. Get that emotional as well as financial investment in early and cultivate it.

How do you choose which filmmakers you will offer your services to?

Ha, you’re making me sound like a high priced call girl! I no longer solicit offers, they come to me. I live what I preach in that I pull in work instead of going out and finding it. I evaluate where in the process they are and what they need to be done. If they haven’t done any audience building and they are now ready for distribution, my advice is spend some ad money really quickly and lots of it. Make sure you have some good reviews and get the film out as quickly as possible everywhere. You likely only have the money for one big push in this case, no use in windowing.

My methods are slow, effective but slow, and someone who is ready to distribute now doesn’t want to wait, doesn’t want to know they will probably have to do this work for a year before they see significant sales. No distributor wants that either. They all say they use social media to find audience, but they use it incorrectly. They use it as free advertising and bother people. They use it only for taking and rarely for giving. It isn’t effective for that mindset.

The best projects for me are the ones in preproduction or development. I am working at the moment with Jon Reiss to train filmmaking teams on how to do this work themselves. Training for PMDs (Producer of Marketing and Distribution) to be able to make confident decisions on marketing and distribution, how to connect effectively with audience, what tools to use, what distribution platforms are open to them and making connections with those companies well ahead of release. We also write plans, research the audience and we can implement for you but that is pretty costly for most filmmakers. Not every project is going to be a personal fit for us as people, but most projects can benefit from having training. I say a fit for us as people because to be effective at social media marketing, you have to be able to connect authentically to the audience. You can't pretend you are interested in what they are interested, you can’t insert yourself in their communities if you really have no feeling for them. There are just some topics I have no personal feeling for and I wouldn’t be a good person to implement audience building for those. But I can train someone who is passionate about a subject to use tools effectively, to think about alternative content to create, to cultivate an audience. If this is something your readers are interested in and they have budgeted for marketing and distribution and left adequate time for training and implementation, contact either of us.

 How does independent film differ from the mainstream?

If you are speaking about independent film as opposed to studio, then it is only where the money to make it comes from. But I think you mean the stories.

I see independent film for a narrow niche audience. A small group you will delight with your story. Studio films want to delight on a mass scale, their stories are often cliché, benign. In order to please the greatest number, you have to be benign. The best indie films have a distinct point of view, they don’t wish to please everyone and that’s ok. This is particularly true for low budget, no star projects.

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

I’m the worst about being on set. It seems like it will be exciting, but to me it is boring. I do like to watch documentaries about the process or hear about it in short chunks on blog posts though.

 What's your favorite movie quote and why?

It is from The Incredibles-Edna Mode says something like “I never look back darling, it detracts from the now.” Many people call me out on not acknowledging what worked in past systems and migrating it into the future. I feel like the whole system needs reinvention, is being reinvented now. To cleave on to the past and try and make it work in the new system doesn’t work and slows everything down. Sometimes to progress, you have to forget everything you knew and start anew. It’s damn frightening though.

I am sure as I get older and more comfortable, I will have to read this and remind myself to keep reinventing. Reinvention never happens when you are comfortable with the way things are.

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

To make dreams come true…and people would have to live with what they wished for. LOL!

What makes a film marketable?

A clearly identifiable audience.

 What is your opinion on movie remakes?

I’m ok with that. You are talking to someone who likes to see reinvention! I would like to see original material though, not the same story retold.

What is your opinion on book to movie adaptations?

If they are being touted as book adaptations, then I think that is what they should be, true to the book. If they are only inspired by the book, then it’s ok to expand the material or make the story fit the medium of film.

Is there anything else you would like to add?

I have a digital book coming out in September called Selling Your Film Without Selling Your Soul Presented by PreScreen-Case Studies in Hybrid, DIY and P2P Independent Distribution http://www.sellingyourfilm.com/ .

I’m really excited about it because it will be the first book of its kind in digital format with video interviews, URL links to tools used and source material, the ability to connect the content to social media. And I think it is one of the first books to really give the real deal information on the new models of distribution with budgets, spend, revenue numbers. This information is almost impossible to find anywhere. We have even had some projects decline when they found out all that had to be revealed to be included in the book. It seems like the whole industry would rather be in denial or perpetuate myth than own up to the truth, to really let people see what success looks like in indie film. We wanted to uncover that and celebrate those courageous filmmakers who are bold enough to experiment, gather their own audience, find a good path to distribution for their work and not being dependent on someone else to make it happen for them.  I can’t wait for every filmmaker in the world to have a copy. At least one version (a pdf text only version) will be completely free for everyone globally. There will be no excuse not to have this information that way.

We have all agreed now that there will be a physical copy version too, but it will release at a slightly later date as we are concentrating on the digital version first to make it the best it can be. As we advocate in the book, we are self distributing the book because all of the authors (Orly Ravid and Jeffrey Winter from The Film Collaborative, Jon Reiss and myself) are very in touch with the independent filmmaker community worldwide, better than a publisher would be able to reach them. It doesn’t make sense to abdicate our rights to reach a world we are in touch with directly.

 

 

 

Thanks Sheri for doing the interview. Everyone check out Sheri's book when it comes out in September. I agree with Sheri, Let The Right One  is one of my favorite foreign films.

Miles Maker Interview

What is the current project you are working on?

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

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

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

Did you always want to be a filmmaker?

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

What inspired you to become filmmaker?

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

How has your life changed since you became a filmmaker?

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

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

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

How would you describe your film education?

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

What is the casting process like?

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

How does independent film differ from the mainstream?

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

What is your opinion on movie remakes?

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

How has social media changed the independent film industry?

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

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

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

 

 

 

 

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

Interview Alison Parker



What is the current project you are working on?


I'm currently in pre-production on a short film called "Jake & Jasper: A Ferret Tale".  It's about a young boy who is struggling to cope with the death of his mother, and finds solace with a ferret named Jasper.  It stars Connor Stanhope who played Young Lex Luthor on the TV Series "Smallville".  It's probably one of the first films ever to show ferrets in a positive light.  This is a great story and I can't wait to share it with the world.


Why have ferrets gotten such a negative image in the media?


I think it's because the people that are making these films don't have any experience with ferrets.  If they did, I doubt they'd portray them as aggressive animals. It's unfortunate, but it's just the way it is.


What do you want people to know about ferrets?


Ferrets are incredibly loving, playful, smart and funny creatures.  They make great pets.  I have two ferrets, Frisco and Falcor.  Frisco really likes to be held and will fall asleep in my arms.  It makes it difficult to get work done sometimes, but its very cute.  They play fetch, they wrestle, they do the 'weasel war dance' which is when they jump around in delight, thrashing their heads about and making cute noises.  That's also called 'dooking'.   I teach them tricks, they sleep together in a hammock.. I could go on and on.  That being said, having a ferret is a big responsibility and people should do their research before running to the pet store to buy one.  There are too many ferrets in shelters right now because people couldn't handle the work it can take, or afford the vet bills if they get sick.


How much does it cost to have a ferret in a film?


I don't actually know what it would normally cost.  The ferret I'll be using in Jake & Jasper is my little guy, Falcor.  He's free, if you don't count all the treats I must use to bribe him to do tricks and perform on film.


Did you always want to be a filmmaker?


I always knew I wanted to be in either the music industry, or the film industry.  My first dream was to have my own record label, actually.  So I went to school for audio post production.  It was there that I learned how to do sound for film.  My two loves collided at that point and I decided to be a sound engineer for film.  Then I got tired of doing the sound on other people's films, so I decided to start making my own.

What is the best thing about being a filmmaker?

Everything.  I spend my days coming up with story ideas, finding the people I need to make it happen, working with actors, going to wrap parties, screenings, and learning more and more as I go.  I get to be creative, I get to make people laugh, make them cry... It's the best 'job' in the world.


What is the worst thing about being one?


I have no social life.  But maybe that's just me.


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


A bajillion.  Roughly.


Who  is your favorite filmmaker?


Robert Rodriguez.  I love his films, and his story is truly inspiring.  Any aspiring filmmaker needs to read his book "Rebel Without A Crew", about how he made his first feature film for only $7000 and it launched his career.  He was a dreamer, and so am I.  I didn't need to read about his experience to know that I would succeed if I just followed my dreams, but it certainly helped knowing that.


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


It's a really common thing that all filmmakers say, but it's true.  Go make a film.  Then figure out what you could have done to make it better, and make another one.  And then another, and another, and another.  Until you die.


What do you like to do besides filmmaking?


I like to play with my ferrets, watch General Hospital, go to concerts, travel, play guitar...  And of course, watch lots and lots of movies!


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


Sadly yes but you gotta do what you gotta do.  I worked at a call center for 6 years for a cell phone company.  I've worked for Subway making sandwiches.  I've worked at a laundromat.  Thank God that's over haha.


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


I really love animal movies.  Films like Free Willy, The Never-Ending Story, Where The Wild Things Are, Homeward Bound... but I also love movies about drugs, sex and violence.  Now if only I could combine the two...


How would you describe your film education?


As I touched on earlier, I have a diploma in audio engineering, but when it comes to film, I learned by doing.  I never went to an actual 'film school'.  From what I hear, it's not worth the money.


How has social media changed the independent film industry?


Without social media, I probably would only have raised about $20 for my film.  As it stands, I've raised over $3200 of my $10,000 fundraising goal on IndieGoGo.  I also get a lot of film contacts and crew members through Facebook.  It's much better to get someone that is a friend of a friend, then to put an ad on Craigslist.  I get rental clients for my Red MX camera through Facebook, too.  So, a lot.


What's your opinion on crowdfunding?


It's awesome!  Thanks to crowd-funding, I will be able to have a large variety of animals in my film "Jake & Jasper: A Ferret Tale".  I LOVE animals, and so does the actor Connor Stanhope.  There's a scene where he runs away to a forest and encounters many wild animals, like a skunk, a wolf, a rabbit, an owl, a fawn, etc.  Animals are expensive to get into films though, and there's the added cost of the animal wranglers as well.  My fundraising campaign on IndieGoGo has been very successful in raising the money I'll need to get all the animals on my wish list.  It's also established a large fan base for the film during pre-production, which is pretty cool.  People are asking me when it will be on Netflix.  I haven't made the film yet!


What is the casting process like?


Well normally you'd go through a series of auditions and callbacks.  But with this film, I already knew who I wanted to play Jake.  A friend of mine is friends with Connor's Mom, and emailed me to make sure I was aware of his talent.  I watched his demo reel and was blown away.  This kid is amazing.  And then I met him and introduced him to my ferrets.  They developed an instant bond.  So I've got this amazing young actor, who loves animals as much as I do, and loves Falcor the Ferret (who plays Jasper).  I also hand picked the actress who plays his sister, Jesse.  Her name is Laci Mailey and she is one of the best actresses I've ever met.  She was the lead actress in a feature I produced last year and when I saw her audition, she actually made me cry.  I was dying to have a chance to work with her as a director.  So casting this film has been a dream so far.


What's your favorite movie quote and why?


"A gun rack... a gun rack. I don't even own *a* gun, let alone many guns that would necessitate an entire rack. What am I gonna do... with a gun rack?" - Wayne's World.  Why?  Because it's hilarious.


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


I'd like to be able to light my entire body on fire like that guy in The Fantastic Four.  That way, any time a mosquito tried to bite me, I'd just yell "Flame On!", and he's toast.


Is there anything else you would like to add?


Yes.  This film is my dream film and I would like to ask anyone reading this to please consider making a donation to my fundraising campaign on IndieGoGo.  Please go to http://www.indiegogo.com/Jake-Jasper-A-Ferret-Tale and take a look at the perks.  The more you give, the more you get.  Be sure to watch the promo video there too.  It explains exactly what your money will be used for.  It's funny, too.

[vimeo http://vimeo.com/25619366]

And finally, thank you to the many, many ferret owners who have donated to this film already.  I know what this film means to you.  I promise I won't let you down.

Monday, July 4, 2011

Hayden Blades Interview

Hayden's love affair with the arts spawned when he was a mere tadpole, drawing and painting for as long as he can remember. He picked up his first video camera in grade school. Haphazard skits with his friends, in the basement of his Kentucky home, soon turned into full-fledged productions. In high school, Hayden's infatuation only grew as he worked and studied as a theater techie, building sets, staging lights and tailoring costumes behind the scenes of several large-scale theater productions at the Youth Performing Arts School.

In 2000, Hayden moved to phoenix Arizona to develop his design and animation abilities in college, and met David Matteson. Hayden and David instantly hit it off, and began working on many projects together. Hayden received his bachelors degree in multimedia art in 2003, and worked with Casey Moore to help finalize his documentary feature, Finding the Future. After writing, directing and shooting The Heaviness of Here with David, and winning the Best Cinematography award at the 2006 Phoenix Film Festival's "Dead of Winter" competition, they caught the eye of Stephen Krystek, and Synthetic Human began.

Hayden has used his eye for detail and composition as gaffer, lighting the scenes, and assisting in the direction of photography for all Synthetic Human films, though his talents refuse to end in the visual arts. Hayden is a competent music composer, scoring many scenes from Synthetic Human's arsenal of short films, and producing experimental albums with Jarod Anderson. His attention to dramatic visual pacing, and his ear for sound design, netted him awards for Best Editing and Best Sound Design at the 2009 Project Twenty1 Film Festival in Philadelphia for the film Pattern: Response.

http://synthetichuman.com/about/

What is the current project you are working on?

Synthetic Human Pictures is producing a short film I wrote a few years ago called A Stray. We've been in pre-production since April, mostly working on the screenplay - we have many talented artists in SHP and I got a lot of help from Charlie Steak, who is a fine writer and has a strong background in theater, as well as a little help from everyone in our tight knit, little family. Lately, we've been scouting locations and really adapting a sort of marketing campaign to help slingshot us into production.

Did you always want to be a filmmaker?

I wouldn't say I always wanted to be one, but from an early age I've been really invested in the arts. I was drawing and painting since I can remember and have always loved music. I couldn't have been much older than 5 or 6 when I would sit up and watch Amadeus on repeat for 6 hours. I think the music entranced me as much as the visuals. Anything with a strong musical identity to accompany the visuals would always sear into my memory, things like Grease, Thriller, and even Flash Dance - but I think there was something else to that one, that kept me coming back as a kid... the art direction. Yes, that's it.

What inspired you to become filmmaker?

It is difficult to pinpoint that bit of time when one's mind clings to the idea that there is something actually bigger going on behind what is seen on screen. I think I attribute the visual style of films like The Fly, Predator or Batman, these exciting, highly stylized films, as something that really made me think about actual production, as a youngster. Films like Bertolucci's Last Emperor or even some of Scorsese’s work, had a realism to it that would kind of blur that line to me, as if it were a documentary, or something I suspected could have actually been happening. I think this is a testament to those directors abilities in a lot of ways though.

I think films like Kubrick's The Shining, Lynch's Blue Velvet, or Lyne's Jacob's Ladder, the films that kind of bridged that gap in this way that heavily uses the language of film, and abstract concepts that sort of speak to the narrative - these are the ones that really shook me. Of course back then I didn't really understand it very well, but it was always so fascinating. I kind of enjoyed that space where I couldn't completely wrap my head around these ideas, but it was so apparent that there was something more going on, something to chew on. It impressed me because I would take these ideas home with me, and think about them long after watching the film. Luckily I had parents that were also artists and into film and never really censored the films I would watch.

What is the best thing about being one?

I suppose there are two things.

The intangible idea of exploring something that I don't wholly understand myself, I think is a really satisfying thing. There is all this easily accessible information out there, more so now than ever, that builds this sort of facade of intellect. You can jump on the internet and geek out on wikipedia or reddit for hours, and absorb all these interesting bits of information, but whether it is genuinely valuable is often questionable. I believe you can achieve something genuine in exploration, not just about the world around you, but about yourself. To me, a treacherous hike into a canyon, discovering your limits, venturing out into unknown places alone, all these things kind of remind me of making a film. It is tough work that comes with a lot of pitfalls, but when you have completed something, when you get back to the top of the canyon alive, there is a sense of personal accomplishment instilled in you that you can't shake. It is at one point humbling, but also empowering.

Then there is also the tangible: families that you build when you work together on a single goal, relationships that never would have happened otherwise. You really build strong bonds when you are closed in with twenty other people on a set for days at a time.

What is the worst thing about being one?

Stress.

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

I have worked on about 12 or 13 shorts and one feature.

Who is is your favorite filmmaker?

It is difficult to pin down a single director, but Stanley Kubrick is usually my goto with this question.

How has your life changed since you became a filmmaker?

Unfortunately I don't make films professionally, so I have a lot less money.

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

This is definitely not something I feel adequate giving advice about.

What do you like to do besides filmmaking?

I watch a ridiculous amount of films. I make music. I listen to a lot of music. I make art. I look at a lot of art.

I also play a mean game of scrabble.

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

I am a graphic designer, I do freelance and I also work for an internet marketing company.

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

American:

Stanley Kubrick's 2001: A Space Odyssey (does it count if it was shot in England?)

The Cohen brother's Barton Fink

David Lynch's Mulholland Drive and Blue Velvet

Anything by Terrance Malick, his films get progressively better!

Roman Polanski's Chinatown

Francis Ford Coppola's Apocalypse Now

Martin Scorsese's Taxi Driver

Foreign:

Andrey Tarkovskiy's Stalker

Michael Haneke's Cache

Lars Von Trier's Epidemic

Roman Polanski's Repulsion

Chan Wook Park's Oldboy and Thirst (Bakjwi)

Fritz Lang's M

Andrea Arnold's Red Road

Television:

Breaking Bad

Curb your Enthusiasm

How would you describe your film education?

I've learned a lot more from making and watching than I have in a film history class.

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

Things are pretty alive in Phoenix right now, it seems like the city is really trying to build on their outlet and venues for the arts, and a lot of business from our California neighbors has been spilling over into Arizona the past several years, in big part due to our plethora of versatile locations. The one feature I was a part of in Phoenix, Jolene, the majority of the crew came from California and we probably shot in and around the city to play as nearly a dozen different cities. In contrast it also seems like anyone in Phoenix who wants to take film seriously moves to California anyway, so theres sort of this constant flux that never stabilizes to secure Phoenix as any kind of recognizable film hub.

How has social media changed the independent film industry?

I think Social Media is greatly effecting the world of marketing more than it is anything else. I know you say "Film Industry" here so marketing is included, but I think there is a huge difference between the art of making film and the art of marketing a film. Luckily SHP consists of other designers, Stephen Krystek and David Matteson who are designing and marketing geniuses, so I think this helps us greatly in that department. Still, it is an amazing resource and a good, worldwide venue to get the word out, but it is also something that has to be used with care, and not just thrown around. Users, and potential investors and people like this are much smarter now, I think the sense they get of whether your heart is into something and you're not using this potential connection as means to merely a financial end, is much more fine tuned than it was even a year or two ago. You need to engage, to be clever and passionate, to give gifts and not be in it for reciprocity.

What's your opinion on crowdfunding?

I think it takes a lot more work, skill, passion and effort to go about funding this way, and to be successful at it, but if these are things you possess, it is the way to go. Where studios and big financiers (these traditional ways of funding films), are a lot more difficult to come by, and it more relies on your abilities to network, the luck to know the right people and be in the right place at the right time and all of these things. Then again, if you have the talent, and the craft to focus your talents, the opportunities I think will eventually rear themselves.

What is the casting process like?

We are actually trying a few different routes for this production. Usually we put together some well thought out character descriptions and post everywhere online that may get to actors in the area. We have auditioned 40-50 people for the same role before, from aspiring actors to professionals who have been in the business for years. It is always a pretty draining experience, because I respect anyone who has the guts to stand up in front a several strangers with a camera and put themselves out there, and it is inevitable you are going to have to say "no" to most of them. What I have found is that if you actually call back the ones you believe have something great to offer and tell them personally they didn't fit the role, but you love what they brought to the table, they respect you a lot more for it.

As far as the process it self, Synthetic Human Pictures is a group who all have aspirations for directing and writing and doing anything creative, so it really comes down to the director of the film. Sometimes it may be a very group oriented thing and we try to make everyone as comfortable as possible, and sometimes it may simply be a one-on-one with someone the director thinks may be a good fit for the role.

How does independent film differ from the mainstream?

I have only worked on independent film, but I can imagine that on one end of it, there is sort of this freedom in independent film that isn't allowed when you are utilizing big money, because you will have producers, eyes in the sky that will prohibit things that can potentially increase the budget. That freedom is also eaten up by lack of money in the independent world, though, so it inevitably creates constraints - all this means is that you have to be clever, find a workaround. In either case you are essentially a slave to the money.

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

I think for the time, 2001: A Space Odyssey was like nothing that had ever been made. Techniques were used that were so unique and forward thinking. The film was shot two years before we even landed on the moon for christ sake! And to see how Kubrick works would have been like nothing else. I got to see Kier Dullea and Gary Lockwood talk about their experience on the set, at last year's Comic Con, that was a rather thrilling experience.

What's your favorite movie quote and why?

I believe visuals speak stronger than words. Maybe someone actually said this in a movie once, but I'm just saying that now.

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

Invisibility.

I have always had this strange fascination with voyeurism, not in the sense of it being something strictly sexual, but in the idea of watching someone in their pure form. I think when you introduce an outside person to someone in a room, there is this instant social veneer that appears in both people, and everything they do and say are dictated by this. I think some of the best actors are able to shed this, and that's what makes them so intriguing to watch. I've always had this interest in that, and maybe that is where some of my interest in cinema comes from, as well. The concept always seems to show itself in my work, in any case.

Are you a fan of theatrical knife throwing?

Not particularly. It is difficult for me to see why someone would want to subject themselves to one of those spinning wheels, sspread eagle, while another throws knifes at them. I'd like to meet that character and find that out though.

What is your opinion on movie remakes?

I think it is valid, and I think Lars Von Trier's Five Obstructions can explain much more eloquently than I can why that is. I think a lot of people are jaded by the concept of remakes because there are so many bad ones out there that are designed to bring old or foreign films to a new demographic that doesn't like black and white, and/or subtitles. It is that fundamental intention, which is ultimately projected in the film. It is either a true artistic endeavor, or simply a means to produce money. A good audience can sort of innately sense this, I think. So many things are remakes in this post modern environment, every story has been told, but if an artist sees a film he wants to remake because he sees a unique perspective, and there are ways to show something that lives inside of that artist through that particular starting point, who is anyone to say that is wrong?

What is your opinion on book to movie adaptions?

Completely valid. One thing filmmaking offers is its robustness as an art form, you can take from all aspects of life and incorporate it into film, the end result is always the film itself, and that is art. I find that I often get into the argument of whether the book was better than the movie. Some people say the book is always better, and of course it is always subjective, but I think what it comes down to is that they are incomparable. They are two completely different forms of art. It's like saying "that dance is much better than that architecture."

Is there anything else you would like to add?

I would just like to thank the Synthetic Human Pictures crew for being so supportive and being there as a family. I feel very fortunate to know these guys!

 

 

 

Thanks for doing the interview. We'll have to play an online game of Scrabble
sometime.

York Shackleton Interview

Born and raised in Southern California, York Shackleton took up snowboarding and skateboarding at age 10. By 19 he was on the professional snowboarding circuit, where he wowed legions of young fans and popularized a move called the "rodeo flip." Inspired to tap into the commercial aspect of the sport, York and a friend started the company groove snowboards. In the late 1990s, York took his tricks in front of the camera, appearing in several national commercials for Mountain Dew and Taco Bell. York got his first taste of straight acting the next year, when he turned up alongside Dominique Swain as a teenage skater in Johnathan Kahn's "Girl".

York's movie career began in earnest when he landed a lead role in Emilio Ferrari's "White Out" (at his very first audition, according to Ferrari). While the film was almost universally panned, York received high marks from critics and audiences for his turn as "a cocky king of the mountain" Kelly Powers. Ferrari was so pleased with York that he wrote a part for him in his next film, "I Know What You Did Last Winter".

After appearing in several Indies and the MTV series "Undressed", York crossed over into mainstream circles with his directorial debut. "Las Paraditas", a feature documentary exposing the violence and corruption that surrounds the prostitutes of Tijuana. In 2005, York wrote and directed the critically acclaimed cult film, "Kush" Starring William Atherton, Mike Erwin and Lyn Shea.

What is the current project you are working on?

I just finished a film in Portland Oregon called Street with Laura Ramsey and Toby Hemingway. It's all about runaways living the street life. Some pretty hardcore stuff actually.

Currently I have just completed a script for my next feature film "Urban Struggle" about Jerry Roach the owner of the Cuckoos Nest. A west coast punk rock club in Costa Mesa, Ca. The club was only open from 78 to 81 and was home to the start of slam dancing. But in those few short years so many things were born inside this little club in orange county that still live on in the mainstream today. Recently we premiered a documentary on the subject called We Were Feared at the Newport Beach Film Festival.

Have you ever been to York, Maine?

No I haven't! But I've always wanted to.

Did you always want to be a filmmaker?

I think it was pretty much always inside me. Probably my dads fault.

What inspired you to become filmmaker?

As a filmmaker so many things inspire me daily on so many different levels. I just started doing it one day and I keep pushing myself everyday since to get better and better. Sometimes the least expected moment can be the most powerful inspiration of all so I just try to be present and let it come to me now.

What is the best thing about being one?

For me it's the opportunity to create something unique and entertaining that people choose to sit and enjoy. Especially in a day where the choice is all in the hands of the viewer. I really appreciate the chance to move people on an emotional level.

What is the worst thing about being one?

Making movies takes an enormous amount of drive and commitment and can be very frustrating at times but for now I still enjoying everything I get to do. Theres something to be learned from both the good and the bad.

Who is is your favorite filmmaker?

Stanley Kubrick

How has your life changed since you became a filmmaker?

When I was younger and just starting out there was a lot of fear and mystery as to what to expect from trying to make a movie but now that I've done it a few times I feel so much more educated and confident.

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

You just have to get out there and do it. Remember it's all in the story so create something that can realistically get made with what you have access to around you and if the story holds up then you should be fine.

What do you like to do besides filmmaking?

At this point in my life nothing really. Its pretty much all I'm every doing.

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

I'm not sure if you'd call them jobs.

How would you describe your film education?

A little of this and a little of that. I've been pretty lucky to meet a lot of great writers and directors over the years and each one has opened my eyes to so many different ways of doing things. I'm still learning and I think I'll always be.

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

It's Hollywood. It's the heart of it all.

How has social media changed the independent film industry?

It's made it possibly for every filmmaker to get there content out there and be seen. I think it's very inspiring. The Internet has opened a lot of doors, some that aren't even seen yet.

What is the casting process like?

Casting is it own, very unique part of the filmmaking process. For me I try to build on screen relationships and chemistry as well as give the audience visual personalities that are engaging and enjoyable to watch.

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

Read minds and fly around obviously.

Would you ever live on a farm?

For sure. Somewhere by Mt. Hood.

What is your opinion on movie remakes?

I'm not a big fan of remakes in general but if done right they can capture the hearts of the modern audience just as the original did in it's time.

What is your opinion on book to movie adaptions?

Depends what book.

Is there anything else you would like to add?

For more information on current and upcoming projects got to: http://endurancepictures.com

Thanks for doing the interview. I'm definitely going to check out your production company website. Hope you'll come back and do another interview when "Urban Struggle" is ready for distribution.