Interview Jeanne Bowerman

 Jeanne Veillette Bowerman is the Co-Founder and moderator of the weekly Twitter screenwriters’ chat, Scriptchat, and a regular columnist for Script Magazine and Write On Online. She’s written several spec scripts, including the adaption of the Pulitzer Prize-winning book, Slavery by Another Name, with its author, Douglas A. Blackmon, senior national correspondent of The Wall Street Journal. More information can be found on her website, Ramblings of a Recovering Insecureaholic.

What is the current project you are working on?

I always have multiple projects in the works. For the last three years, my main focus has been the pursuit, and finally the writing of, the adaptation of the Pulitzer Prize-winning book Slavery by Another Name. But even during that time, I wrote a short film, a comedy feature, and a vomit draft of a novel.

Did you always want to be a writer?

Hell, no. For years my father and one of my college professors encouraged me to write, but I was young, naïve, and couldn’t imagine anyone would want to read what I had to say. Instead, I ran a motel and restaurant for 15 years and was miserable. It wasn’t until I turned 40 that I finally pursued writing. Yes, I admitted I am over 40. Funk that.

What inspired you to become a writer?

When I was in high school, I wrote poetry – the teenage angst kind. It was liberating to get my feelings on paper, even if I never shared them with anyone. But my motivations now are different. Now I want people to read my words to both move them emotionally and to get them to think about something in a new way.

What is the best thing about being one?

When people say, “Wow, you really touched me with that story.” Or when they share how because of something I wrote, they made a life change or perhaps reached out to someone from their past. Those are the reactions I want. Even with my Script Magazine Balls of Steel column, which is nonfiction, people tell me they’re inspired by my journey and have changed some of their own choices, or opened their minds to new ways of approaching the industry. It’s not that my way is the right way; it’s just a different way. In the end, everyone has their own path, but if I can inspire them to take another step toward their goal, it humbles me.

What is the worst thing about being one?

Not getting paid for the countless hours I work.

How has your life changed since you became a writer?

I smile a lot more and have a greater sense of peace and direction.

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

Listen to feedback. This medium is about collaboration, and the very first step to making a movie is having a great script. Nail that sucker before you ever show it to anyone. The ONLY time you have full control over it is before it’s submitted to a producer. Therefore, the only way you can have any guarantee your words won’t be changed endlessly is if you nail that script to begin with. So do your job. Write well. Then… be patient. I can’t stress the need for patience enough. This is a long-haul career.

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

I managed a motel and restaurant for 15 years. That is an experience I’m still twitching over… and where my tequila addiction started. After the motel, I took five years off to be a full-time mom. But once I hit 40, I realized I was a stay-at-home mom but had no kids at home. I feared my brain had gone into atrophy. A friend convinced me to try medical transcriptioning, which I did for a year… until I got fired for challenging the intelligence of one of the doctors. Oops. But if I could find that doctor today, I’d thank him. It was his bitchslap that pushed me to pursue what I really wanted to do… write.

How would you describe your film education?

I went to Cornell and trained in hotel and restaurant management. I only took a few writing courses there, but knew it was in my blood. When it came to screenwriting, I learned by just jumping in and doing it. I wrote with several writing partners, which is an extremely valuable experience, but I also write alone. There’s something to be said for writing solo and owning your work… and your mistakes.

Last year I took the Screenwriting U Pro Series, which was an amazing experience. I’ll continue taking classes with them in the future, but for now, I just want to be in my cave and write. I think a lot of people get stuck in permanent student mode, when, in my opinion, the best way to really learn writing is to just shut up and do it. At some point you have to take all those lessons you’ve learned and apply them.

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

I live in the country in Upstate, NY, but am fortunate that we have an incredible film community here. Being only two hours north of NYC, many filmmakers have second homes in my small neighborhood. We even have a growing film festival, Film Columbia, which attracts some incredible talent and independent/foreign filmmakers. I’m extremely fortunate.

What's your opinion on crowdfunding?

As Executive Producer of gone Elvis, I did a Kickstarter campaign with the writer/director, David Newhoff. I’ll be honest; I have mixed feelings about it. It’s humbling having so many people believe in a project they’re willing to open their wallets, but there’s also a lot of responsibility that comes with it. Some filmmakers abuse it and go to the well too often. When I write my upcoming short film, I’m going to try it without fundraising and shoot it Lone Gun Manifesto style (a form of filmmaking where you do it with zero budget… coined by Clive Davies-Frayne @filmutopia). After I do that, then I’ll probably have a clearer picture of the differences and which I prefer.

What is the casting process like?

David handled the bulk of casting decisions for gone Elvis, but he’d call me when he had a part that needed filling. I brought him several people from my circle that he loved. The fun part though was watching them act during the shoot. I have a deep respect for actors.

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

Any Katharine Hepburn film, starting with Bringing Up Baby. Kate is my hero on so many levels.

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

To be invisible. Imagine all I could learn about people that way! It would be a writer’s dream resource. But since I don’t have Harry Potter’s invisibility cloak, I’ll have to stick with being a voyeur at Panera. I heard the manager is bedazzling me a cape.

What is your opinion on movie remakes?

I usually hate them. I have yet to see one that compared to the original. There are so many wonderful spec scripts out there, yet Hollywood does remakes instead of taking a risk on something new. As a writer, it’s very frustrating.

What is your opinion on book to movie adaptations?

In general, they don’t always work. A film version can rarely compete with the reader’s imagination. It has to be a special kind of book that has cinematic elements for it to be pulled off right. I just adapted the Pulitzer Prize-winning book, Slavery by Another Name, with its author, Douglas A. Blackmon. This wasn’t a typical adaptation. The book is an historical exposé of slavery post Civil War and spans seventy years of history. We took only a slice of that history and brought it to life. I learned an enormous amount on that project. I have no doubt adapting another author’s work has forever changed me as a writer. I’d recommend every screenwriter try adaptation once… but make sure you have the rights to the book first.

Is there anything else you would like to add?

Every writer needs a support system. For me, that’s my Scriptchat family, starting with our treefort of co-founders, Zac Sanford, Jamie Livingston, Kim Garland, and Mina Zaher. I can’t imagine my life without them. The past two years have been nothing short of miraculous for me. I couldn’t do what I do everyday without their support.

 

 

 

 

 

Thanks for doing the interview Jeanne. I’m a big fan of  Scriptchat. I will check out Slavery by Another Name.   Everyone should check out gone Elvis.

Interview Nathan Cole

Nathan Cole has been writing screenplays for the past decade, all enjoying success in screenwriting competitions, but never quite making their way to the big screen. THE WATERHOLE, a semi-autobiographic story of unhealthy relationships and budding alcoholism, has been a passion project of Nathan’s since arriving in Los Angeles. The film was released on DVD on March 29, 2011.

Nathan worked for the Motion Picture Association of America for eight years in several capacities, from helping to develop relationships between the studios and international filmmakers and governments. He is currently employed at an anti-piracy company while developing future film projects at KR7 Productions.

What is the current project you are working on?

I am polishing several new scripts and trying to decide which one will be our next project. The tough choice is whether to make the film I would prefer to or try and make something more commercial. My partner, Daniel Menahem, and I both would like to get to a place where we could make a living doing this and the lure of the more commercial project is becoming compelling.

Did you always want to be a filmmaker?

I have always loved film but for a long time I never really thought I could become a filmmaker, especially living in Reno, NV. Even if I didn't think I could work in film, I knew I wanted to do something creative for a living, something that became more evident while getting a degree in Political Science and planning to go to Law School. One of the major themes of The Waterhole addresses is that time in my life that many go through of trying to decide what you should be. Eventually this led me to film.

What inspired you to become filmmaker?

We had one independent theater in Reno that I would go to religiously and once it became evident that these guys were making films their own way with whatever means necessary I decided to write a script, which after much polishing became The Waterhole. The fact that filmmakers like Kevin Smith, Edward Burns, Jim Jarmusch, Hal Hartley and Steven Soderbergh were making these really original and personal films and getting recognition for it was truly inspiring to me.

What is the best thing about being one?

Bringing something completely made up, or in this case, mostly made up to life. The whole process is so amazing, all the little things that need to come together to get the story onto the screen. In addition you get to work a wide a variety of very talented people and interact with other filmmakers that share this really cool bond. It is very rewarding and it is also incredibly difficult.

What is the worst thing about being one?

First and foremost it is getting the film funded. There is no easy way and even if you can do it cheaper, usually cutting costs means lessening the effectiveness of the film. The other really challenging aspect is anyone one can write a script and make a film, but not everyone can make a great one. Trying to write something that really delivers and then translate that into a high quality film is extremely difficult. I think a good filmmaker will always push it be better, to push the art form further and tell a story that has meaning.

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

One. The Waterhole took me ten years to get made and almost four years to get to DVD. I do not recommend people trying it this way, but on the other hand, if I had given up I would have never gotten the film made. If nothing else, I made it the way I wanted and am very (well, mostly) happy with the results.

Who is your favorite filmmaker?

I really don't have a favorite. I love all the great filmmakers and appreciate all the different approaches they have. I love technical filmmakers like Fincher and Nolan for current filmmakers or Lean and Hitchcock for classic filmmakers. I love the real original voices like the Coen Brothers and Kubrick and I really love the filmmakers that push the form like Soderbergh and Malick, or ones that have this vast knowledge of film and exploit it to great effects like Scorcese and Tarantino.

How has your life changed since you became a filmmaker?

Not much has changed. I still have to be a dad and a husband, keep a day job and try and find a way to get the next film made. It has been a wonderful experience though and I have met some great people and done some really fun things.

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

Get into it any way possible and never give up. And by that I mean take whatever job or internship you can to get on a set or at a production company and keep at it. It is not easy, and it can take forever, but you have to at least try and then work hard. One last thing, play to your strengths. Just because filmmaker “A” did it one way doesn’t mean you can do it that way. Maybe you can, but know what you do best and then let that lead the way.

What do you like to do besides filmmaking?

Drink beer and play guitar.

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

Many, currently I work for a company that provides anti-piracy solutions to the major film studios. It is no where near as exciting as filmmaking, but at least I still get to visit the studios and work in the business.

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

My favorite film is probably Raiders of the Lost Ark. It to me embodies the magic and escapism of film, with smart writing and grittiness to balance the more fantastical elements. I love so many films though, regardless of origin. I am not an expert on foreign films, but watching a film by Anontioni or Godard from a filmmaker’s perspective is very liberating. So many foreign films work on their own terms and it is very exciting, if not frustrating at times. As far as TV, I doubt there is a show better than The Wire. It is so good, and deals with so many great characters, themes and social observations it is almost it’s own work of art. It almost transcends all other filmed fiction.

How would you describe your film education?

Watching films, reading about films, talking to people who know much more than I do about films.

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

I live in LA, so the town is one big film scene, but mostly one that is not accessible to me. Thanks to people like Dave and Karen from Film Courage and the many friends I have made on Twitter it does feel like there is a great group of indie filmmakers joining forces on the fringes. It is very exciting.

How has social media changed the independent film industry?

It has provided a tremendous amount of access and interaction, which is great. I think it just adds another dimension to some of the processes, but at the end of the day it doesn't change the core things that make a film.

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

I am in favor of any filmmaker doing whatever it takes to get their film made, but having said that I find crowdfunding an unrealistic solution on the whole. It for the most part generates too little money (I feel most films can be made for much cheaper than most are, but I have seen many films that would have benefitted from a budget.) and the crowdfunding space is getting too oversaturated. My Twitter feed is overrun with requests for money. I would love to help, but it is getting to the point where I am starting to tune it out completely. [Note to crowdfunders – please do not ask for my support if you have not given my project any. Not to be a jerk, but really? Where is the motivation there? You are the only person with a special personal project?]

What is the casting process like?

Casting is incredibly fun and the first time you get to see the script come alive. We really wanted to get good actors that were talented but not have to deal with high asking prices or egos. We had a very long audition process as a result but I know that we got some great actors.

How does independent film differ from the mainstream?

More people see mainstream films. Literally that is it. There are far more bad indie films made than bad mainstream films, you just never get to read about them. That is a fact. A great filmmaker can work on an indie film or a mainstream film and produce something of merit.

What's your favorite movie quote and why?

This is a quote about film, not from a film by William Goldman that gets repeated to death but deservedly so: "Nobody knows anything." It really says everything you need to know about the film business. For an actual quote from a film I would pick just about anything from Barton Fink.

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

Super self-calming ability.

What is your opinion on movie remakes?

I hate remakes to the core and the only ones that I think might interest me is to make a bad film and try and turn it into a great film. I am not a person of violence, but if you are a producer that thinks a remake is a great idea, I will punch you in the face. To avoid being a hypocrite I exclude certain remakes from my comments, like True Grit, but otherwise I think it’s just lazy.

What is your opinion on book to movie adaptions?

Do the book justice, but remember the film can never be the book, so make the film come first.

Is there anything else you would like to add?

If you want to make a film, do not just try and re-create what you have seen before. Learn what makes a great film great, a bad film fail and try and do something original.

 

 

 

 

Thanks for doing the interview Nathan. I've heard nothing but good things about "The Waterhole". I'm planning on watching it ASAP.

Interview With Jack Perez

                                                             

Jack Perez is a 20-year veteran of the motion picture and television industry. He's directed nine feature films, two television movies, pilots for two hugely-successful series, second unit action sequences, network specials, behind-the-scenes documentaries and hit reality tv shows. He's written screenplays for television and film, is the recipient of awards for both writing and directing, and has received the critical praise of Roger Ebert,  Harry Knowles@Aint it Cool News, drive-in critic Joe Bob Briggs, Fangoria and Film Threat magazines, the LA WEEKLY, the Austin Chronicle and the New York Times.

Mr. Perez graduated with honors from New York University's Department of Film and Television. His senior thesis film was the most award-winning film at the 47th Annual NYU Film Festival, winning six categories including Best Director. After writing and directing the notorious cult feature film "AMERICA'S DEADLIEST HOME VIDEO" ( drive-in critic Joe Bob Briggs awarded it the Best Film of 1996), Perez was hired by Sam Raimi & Universal Studios to direct the pilot for the popular television series, "XENA: WARRIOR PRINCESS".

Following, Mr. Perez directed two acclaimed feature films: "THE BIG EMPTY", a revisionist private eye tale which competed at the AFI International Film Festival (winning the W.G.A.'s Best New Writer Award); and the black-comic thriller, "LA CUCARACHA", which was honored with the Best Feature Award at the Austin Film Festival and was released theatrically to excellent reviews - incl. Harry Knowles' Aint It Cool News, the LA WEEKLY and Roger Ebert. Paramount Pictures released the special edition DVD.

In recent years, Perez directed "WILD THINGS 2" for Sony/Columbia, and wrote and directed the MTV horror send-up, "MONSTER ISLAND".  He also wrote and directed the camp sci-fi spectacular and internet sensation, "MEGA SHARK VS. GIANT OCTOPUS!"

He presently wrote & directed the hit Adult Swim video game, "POLAR BEAR PAYBACK" and directed his new comedy-thriller, "SOME GUY WHO KILLS PEOPLE", executive produced by John Landis.

What is the current project you are working on?

DEEP BLUE SEA 2 for Warner Bros. Writing and directing. It's an opportunity to do the kind of hyper-extreme shark action I would have done on MEGA SHARK VS GIANT OCTOPUS had I had a decent budget.

Did you always want to work in the film industry?

Always. I was a super 8 kid in the 70's. Pouring blood over my sister's head, making stop-motion animated monsters like my heroes, Willis O'Brien and Ray Harryhausen. STAR WARS sealed it for me like so many others. Saw it the week it opened in '77 at the Chinese Theatre.

What inspires you?

Great writing. I can write, but I appreciate really fine writing. A great screenplay that I have a chance to direct (as it was with Ryan's script SOME GUY WHO KILLS PEOPLE) turns me into a maniacal movie-making crusader.

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

Getting to work.

What is the worst thing about it?

Not getting to work.

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

Fortunately quite a few since 1990, when I first came to Hollywood. Let's see - 9 feature films, 2 TV movies, 1 TV pilot (for XENA: WARRIOR PRINCESS), 4 seasons of reality television (including the first two seasons of TEMPTATION ISLAND), 4 second unit directing gigs and innumerable behind the scenes documentaries (which is how I got my start).

Who is your favorite filmmaker?

I have 2 toppers: Sam Peckinpah and Alfred Hitchcock.

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

I've never been happier and never more miserable.

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

Be certain it is the only medium or form of artistic expression that exists for you. If you can do your art any other way it'll likely be easier and a whole lot cheaper. Welles said at the end of his career, "Moviemaking is 90 percent hustling and 10 percent filmmaking - and that's no way to spend a life." Hard words, but true. Film has to be IT. Or don't pursue it.

What do you like to do outside of the industry?

Not much. Do work on the house, try not to drive my wife insane. Being a film director is like being a drug addict. You're ALWAYS hunting for your next fix.

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

I was a clean-up boy at a local bakery and a busboy at Chi-Chi's Mexican Restaurant.

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

Hitchcock's NOTORIOUS, REAR WINDOW and SHADOW OF A DOUBT. Peckinpah's BRING ME THE HEAD OF ALFREDO GARCIA. Robert Aldrich's VERA CRUZ (which made Peckinpah and Leone's westerns possible). Foreign Kurosawa's SEVEN SAMURAI and HIGH & LOW; Fassbinder's ALI: FEAR EATS THE SOUL; Fellini's AMARCORD. TV?

No shows - we keep it tuned to Robert Osborne and Turner Classic Movies.

How would you describe your film education?

At NYU I was always shooting. Or watching great movies, either in class or at the revival houses in Greenwich Village. It was alive and inspired. But you can also do that without film school. Get a Netflix account - watch a ton of amazing movies and go shoot.

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

It's Hollywood. I don't really do the scene thing much.

What is the casting process like?

Super-important. Stressful. And joyous when you find the right actor for the part. Also, I've learned from experience that if you make a slip in casting, it'll haunt you forever - so cast carefully. The look of an actor is way less important than what's behind their eyes.

What is your opinion on movie remakes?

Nine times out of ten - utterly useless.

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

THE WILD BUNCH. I'd love to observe Sam Peckinpah going through that incredibly intense process - realizing such a personal and epic vision. Also REAR WINDOW - would love to stand on that incredible set!

How does independent film differ from the mainstream?

Mainstream has more money, more shooting days and way more creative interference. But I'd rather have less money and time and more creative control any day of the week.

 

 

 

 

Thanks Jack for doing the interview. I'm a fan of "Mega Shark VS Giant Octopus". I'm sure I'll see "Some Guy Who Kills People" when it comes to a festival near me.

Interview with Kim Garland

Kim Garland is a screenwriter from Hell’s Kitchen, NYC, and a co-founder of Scriptchat. Through her production company, City Kid Films, she is currently in pre-production on a short film, “Vivienne Again,” a supernatural thriller she is writing and directing.

She received her Bachelor of Arts degree from Columbia University’s Writing Program and worked in book publishing at Random House and in development at Braven Films.

You can contact her on Twitter @kim_garland, Facebook Vivienne Again (short film) and read her blog at www.kgarland.com 




What is the current project you are working on?

“Vivienne Again” – a short film

I wrote the script and will be directing for the first time!

It’s the story of a woman who wakes from the dead in a funeral home and with the help of one of the funeral home employees, tries to figure out who killed her and how she can get her revenge.

I’m working with an amazing producer, Roberta Munroe, who is an award-winning filmmaker, producer, author and former Sundance shorts programmer. As a first-time director, and having not gone to film school, I’m thrilled to have someone with so much passion and experience on my team. Not to mention, we’re having a great time working together!

We’re shooting in NYC this August and I couldn’t be more excited about this film.

Did you always want to be a writer?

Actually, I always wanted to be an actress ;) When I started college after high school, I was a Theater major, but life got in the way and I had to drop out of school.

I’d always written though but never considered pursuing it as a career.  It wasn’t until I decided to go back to college that I’d become committed to writing and majored in Creative Writing.  It still wasn’t a straight path from there to today, but I started the journey and have never stopped.

 What inspired you to become writer?

Simply put: Reading.  I’ve always been a voracious reader, and while it took me a while to see writing as the flip side of reading, when I needed to take stock of my passions to try and find a career, books and writing were at the top of my list.  A close second though was movies and if you combine writing and movies… that’s how I find myself in screenwriting today.

What is the best thing about being one?

Writing is a surprisingly accessible calling. You don’t need lots of money or special equipment or a team of helpers to sit down and write. It’s therapeutic, creative and enlightening. And it's a great excuse to develop a rich fantasy life for yourself and not have people think you’re (too) crazy!

 What is the worst thing about being one?

Getting paid.  And I don’t mean that in a flip way.  We all need to pay bills and when you want to invest all of your talents and efforts into something that so few people are willing to pay for, you have to build your life around compromise.

I’m not one of those people who can say I have to write because I’m not good at anything else.  I’m actually quite good at a number of things – things that even pay well – and that’s when you know you have no choice, when you turn down a “good living” to write.

Why did you decide to create Scriptchat?

Five of us created Scriptchat because we were looking for a screenwriter’s water cooler on Twitter and didn’t find one. Writing is lonely work and breaking into the movie business is daunting, so bringing as many of us together as we could, who were all in the same boat, seemed like a great idea.

There’s so much that can be said about Scriptchat – too much for this interview – so I’d recommend anyone wanting to know more to visit the Scriptchat site [www.scriptchat.com] and to reach out to the other founders as well. They are four amazing people and I’m so lucky to have them as my colleagues and my friends: Jeanne Bowerman, Jamie Livingston, Zac Sanford  and Mina Zaher.

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

I worked as a hotel desk clerk for a number of years before returning to college (and boy, the stories I have from those jobs!), then after college I worked in book publishing and then co-founded a website design and development company.  Through all of those jobs I wrote, but it wasn’t until the last five years that I’ve been pursuing writing as my primary career.

What is your opinion on movie remakes and book to movie adaptions?

I have no automatic aversion to either but I think remakes should be measured against a very high bar since the story has already been told as a film – there should be a really good reason to make it again in that same format.

Books-to-movies seems like a natural progression of telling that story since such different things can be done in books and in movies.  I’m always a sucker for the movie version of books I’ve read and my expectations tend to be pretty in check about adaptations so I usually enjoy them.

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

The power to freeze time for everyone but me. I could then get all of the writing done I want and never have to miss out on any other parts of my life.  While time was frozen though, I might also rob banks, cut long lines and see what’s really under those kilts, but, you know, I’d mostly use the power for writing.

Thanks for doing the interview Kim. I'll be sure to spread the word about “Vivienne Again”.  I hope I get the chance. to interview the other founders of Scriptchat as well.

Moonie Garcia Children's Author

Moonie Garcia went to school to become a graphic designer only to realize she didn't want to do art that way so she quit. While moonlighting as a graphic designer she spent the following years dancing and acting in community theatre. Moonie married and began a family at age 25. Dancing and acting came to a halt, but she continued to do illustrations here and there. When her third child started first grade she finally had time to focus on her own projects. It took her 3 years to complete "Sela" and about 2 years to finish "Sela and the Ragamaroo". Somewhere in between she started waking up at night, sneaking down stairs and writing until she and decided to keep a notebook by her bed and scribble her sleep.

What is the current project you are working on?

I'm finishing up the sequel to my first book, Sela.

Did you always want to be a writer?

No. I've written poetry throughout my life, but I always identified myself as a visual and performing artist.

What inspired you to become writer?

My kids. I love children's books. Reading to my kids is one of the greatest pleasures I had in being a mother. Creating one for them was like a “Bucket List” item for me.

What is the best thing about being a writer?

Like painting and illustrating, it allows me to show the world what I see inside my mind.

What is the worst thing about being one?

The occasional writer's block.

Who is your favorite author?

Edgar Allen Poe. I love the juxtaposition of the dark, horrific subject matter and the beautiful language he used to describe it.

What are some of your favorite books?

Where the Wild Things Are by Maurice Sendak, The Gashlycrumb Tinies by Edward Gorey and The Spider and the Fly by Mary Howitt and Tony DiTerlizzi.

What is your thought process like when your writing?

I almost always write when I wake up in the middle of the night. I'll start to get a stream of phrases that progress into full sentences and I scribble it down in the dark. I'm really half asleep only slightly guiding my thoughts to make sense. Then, I refine it later on when I'm fully awake. I guess you can say I sleep-write?

You could have any book in the world. Which would it be?

My third book. Then it'll already be done!

You could be any animal. Which would you be?

A cat. I appreciate their independence and sense of adventure.

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

Telepathy/telekinesis. That way I'll know exactly who the bad people are and I can “dispose” of them without getting my hands dirty.

What do you think "Curious George" is so curious about?

Why he's the only monkey in the city who has a full coat of hair?

What is your opinion on book to movie adaptions?

You definitely loose a lot of the story in the movie versions, but it is fun to see the great visual affects from movies like Harry Potter or Lord of the Rings.

Is there anything else you'd like to add?

I've started a project on Kickstarter.com for a series of paintings titled, Apples & Monsters. The paintings will illustrate and include poems I've written in the past year..

 

 

 

Thanks Moonie for doing the interview. I wish you the best of luck with your Kickstarter campaign. 

Interview with Michael Palombo founder of Fans Of Film

What is the current project you are working on?

Fans Of Film is always my top priority project and always ongoing, but I do try and balance myself as a producer, filmmaker, actor, camera, sound anything I can do to help the indie film community here in New Mexico.

My current project outside of Fans Of Film is my 1st short film for me to direct with a producer (Tinkstone Productions in association to Fans Of Film Studios) and also under a new media Sag contract for web distribution. Crista Bergmann is an LA sag actor now a New Mexico resident, and the very talented and soon to be sag eligible Ron Weisberg will be the only actors for this romantic dramatic comedy "written by Ron Weisberg" title in works.

Did you always want to work in the film industry?

Wanting to work and choosing to work in the film industry was not something I wanted do or intended to do, it just happened, like being and artiest or being born "destiny"

I did have an interesting experience when I was 19 and hitched my way out to CA to see a Dead concert in Long Beach. Ended up staying for while living on the streets, sleeping on park benches, that’s when I got pulled off a park bench by a casting director that was running around trying get more background ppl for an armed robbery that was being shot up the street from my comfortable park bench, long story short I ended up working for another three weeks for 20th Century Fox. It was great experience, got feed well, got a big fat check and caught the next bus home to New Mexico, didn’t think about film for 20 years, then Hollywood came to New Mexico and re-sparked my interest and that’s another story.

What inspired you to create the Fans Of Film?

I saw a need and had the time to do something about it, really out of habit of working that way, I see something that needs be done, I do it. That’s one of the things I love about indie film making is the freedom to step up and help a grip a gaffer or even an actor, not so much on the bigger budget projects where you stay in your own department and just talk to your key person.

I saw the movement online in 2008 after working with a filmmaker that discovered a video platform that you could load any size video and then charge ppl to watch, at the time I was very interested as somebody that was already publishing to youtube. Then I discovered Twitter and the need to help others share their video’s and project, a new passion was born and I became obsessed in sharing on Twitter.

Who is is your favorite filmmaker?

I don't have a favorite filmmaker but I do have a favorite director which has been for many years Steven Spielberg, but as I have discovered a deep love for independent film, so have I gained lots of favorite independent filmmakers online self publishing and being successful, such “John Paul Rice” for sure one of my favorites filmmakers online, it's been an honor to follow his carrier and be his Twitter friend over the last two years.

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

Don't give up your day job and find a boss the will work with you(-: No really just do it! you'll know if it's for you, the addiction comes fast, and if your talented, always on time, no ego, hardworking you will go far in what ever part of film you get into.

Have you had any other jobs before you decided to become create and/or become involved with Fans Of Film?

I'm going to answer this question candidly because it is a bit of a personal question and one that is complicated. In 1995 I was diagnosed with spinal ailment that was causing so much sciatica pain that I couldn't work. After two years of not working and doctors, I felt my life was over, not to mention a divorce, rock bottom bro.

Three miracles happen in my life at that time, one I found my teacher, two I found a hobby and three the government started giving me check for my disability. The hobby was blowing glass and it became healing part of my life, as did my teacher, who just so happen to be a martial art teacher for over 20 years at the time, and was willing to work with me in trade for two water color portraits paintings that he put more value on than I did at the time. So I trained with him for over 5 years without ever paying "A True Saint, Thank You Sir"

How would you describe your film education?

No formal training just a lifetime of experience is the best explanations, pain, suffering, drama, trauma and the rest has been just a willingness to get involved, work a lot for free.

It really all started when I started making video's of my glass blowing, and posting them on a Youtube channel, I don't really visit the channel much anymore at http://www.youtube.com/beadmanglass but I know some of the video's have over 12,000 views.

That spiraled into getting involved in the growing film scene here in Albuquerque in 2007, where my 1st experience was with a Duke City Shoot Out, a local film event that involves making a film in 4 days. Wow what a way to break in, had no idea it could get so bad, upon the 3rd day of eating sugar from the limited craft services that was provided and taking way to much shit for working free, I lost my shit and walked off. The next year I knew what I was in for and ended up on the winning team with a credit for boom, the film was called "Food For Thought" written and directed by Will Hartman, since then I've been working as a camera opp and now directing my 3rd short film.

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

Hollywood came into New Mexico in a big way when the tax incentives where good, as many as 30 films being shot in and around New Mexico at any given time, now maybe 3. New Mexicans were making money in many different ways, and ppl that had never been on a set in their life were finding themselves on Hollywood sets being forced to learn, it was like a gold rush.

I think we know the way that story goes, if you don’t it goes like this, gold goes away and the native ppl lose their jobs and lose their homes. There is a good side to this story and that's for the workers that got left behind, more independence was born and ppl where inspired to make their own films, giving birth to new filmmakers and local independent producers .

There is an independent film movement here that has come from both filmmakers that where here before Hollywood and here after, and for those it's great time to be a filmmaker in New Mexico. As long as you know who the scavengers/sharks are, you can still find great opportunity's to break into the film industry here in New Mexico without getting burned.

How has social media changed the independent film industry?

Well it sure as a lot of filmmakers looking and going to the web, in my opinion it's been a tough pill to swallow for most filmmakers, just to much work, I wanna just make films, what is a PMD, my film is to good for the web, holding for a deal that does not come for most.

For those that have been brave and did the work, are finding their audiences through social media, and the filmmakers that are managing their film rights, multi platforming their films, with as many websites that a filmmaker or PMD can manage, are finding success for their films.

The end result for these hardworking brave filmmakers taking their films to web is forcing new models and ways that will for ever change the history of film making and the way it's distributed and consumed.

How does independent film differ from the mainstream?

Almost like night and day with a a lot of grey areas(-:

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

"The Cameraman" Buster Keaton 1928

 

 

 

 

 

 

 

Thanks for doing the interview Michael. I appreciate your candor. I'm also a big fan of the guys  at No Restrictions Entertainment. I'll be sure to tell any filmmakers I interview about Fans Of Film. Reader's can learn more about Michael by visiting his website here.

Interview with Wonder Russell: Actor, Writer, Singer and Runic Games Diva

Wonder Russell is an actor, the Minister of Culture for @RunicGames, Falcor guardian, organic & vintage enthusiast, and proud Seattleite. She produced and acts in "Connect To" (2011) and is the writer/producer and actor in her current project, "The Summer Home." ” Connect To has been accepted into the Seattle True Independent Film Festival, Dances With Films Festival,  The Park City Film Music Festival, and 1 Reel Festival at Bumbershoot. “Connect To” has won two awards for score and achievement in filmmaking."


What is the current project you are working on?

First of all, thank you so much for asking me onto your blog! It's really an honor. :)

Right now I'm working on a short film called THE SUMMER HOME. I wrote the first draft and sent it to my friends, married directors Kris and Lindy Boustedt, who are completely awesome, by the way. They are passionate storytellers who also have a great sensitivity when working with actors. I was biting my nails that they'd think it was a terrible, amateurish screenplay, but instead we met for tea and they said they wanted to direct it. And we went from there! Right now that project is in post, and my next project is actually written and directed by Kris and Lindy, a feature film called THIS IS OURS. I play one of the lead characters, Sandy. We start filming in August, and I'm really excited to be on a feature again.

I'm working on a webseries called THE COLLECTIBLES that shoots next month - it's Superfriends meets The Office, and the script is so awkwardly funny. It's by one of my favorite directors, Todd Downing, who is generous enough to cast me for the second time as a superhero.

I'm also writing a commissioned short screenplay, but I'm having trouble nailing down a story I really love.

Did you always want to be a filmmaker?

No. I always wanted to be an actor! But I danced around my passion believing my own fears and the fears of others who told me that it was a dead-end career, narcissistic and frivolous at best, at worst a breeding ground for Future Alcoholics of America. When I was younger I constantly wrote plays and cast my brother in multiple parts. I went to film school. I majored in Communications, logging years of work in radio, journalism, theatre, and television. After college, I worked for a big production company as a Production Coordinator. I often cried in the car on the way to work because the job was so thankless and stressful, and all I wanted was to be on set, not to be able to see the set from my office. I kept thinking that if I could just work alongside of actors, I'd be happy enough, and also safe from making a poor career choice (acting). It's only been in the last two years that I turned that misconception around: my dream and my passion of acting are my priority, and I will support them with my producing and filmmaking experience!

What inspired you to become filmmaker?

Oh gosh. I'm inspired constantly by true filmmakers, both in the indie scene like Gary King, and on the big screen like JJ Abrams. I'm inspired by movies that bring me to tears or get under my skin for days at a time. I feel the pull of that magic. I crave it. They create these beautiful, transporting microcosms that sometimes feel more real than real life. Moments of beauty, moments of great heroism involving great personal sacrifice or risk, and the simple yet primal forces of relationships all inspire me to explore and transcribe. I remember my Dad telling me that Star Wars was great because at its heart, it's all about family. As I get older, I see how true that is. Epic and fantastic stories are most resonant when they deal with personal relationships. I find that the essence of the overlooked, every day things fueling great deeds and great films to be very inspiring.

What is the best thing about being one?

Well, I'm barely one now, haha! Though I aspire to be! I think I will consider myself a filmmaker when it support me as a career. Some may think that's a poor way of thinking but to me it just means that I have a goal, and that goal is a sustainable career.

The best thing, though, is partly the collaboration, and partly personal vision. It's deeply satisfying to have your personal vision fulfilled, and knowing you put in the blood, sweat and tears, or maybe just the credit card miles, to bring it out of concept and into reality. The materialization of dreams and deeply held hopes is very moving and powerful. And, addictive.

Nothing happens in a vacuum though, and the collaborators you meet on your journey who not only foster and midwife the vision but also add to it with their own greatness are invaluable. It's easy to see why people work together over and over. Like a family, you share common goals and values, and also develop a working shorthand. That's atypical of most day jobs and businesses where life and work are separate, and collaborators are more likely to be competitors.

What is the worst thing about being one?

Not being able to pay the bills. Going into debt for dreams. Becoming frustrated and disillusioned when you feel like you've wasted your time (this usually goes away pretty quickly though!) Collaborators who don't put the work in and leave you pulling your hair out.

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

As a filmmaker, if you count student films (and I will because the number will sound much more important to you thereby justifying this interview) I've produced, written, and/or directed seven short films. But really, we probably will only count the last two projects, CONNECT TO and THE SUMMER HOME. Connect To is still on the festival circuit and has won two awards, and I'll start submitting The Summer Home by Fall. Whee!

As for just the number of projects I've acted in, I literally have lost count. A bajillion. I used to do theatre projects back to back, and when I made the transition to film, I literally said YES to every opportunity, because it was the perfect time to learn and take risks. I still prize learning on the job and taking risks, but I have a lot more to offer now than I did when I worked on student films.

Can you tell me some interesting behind the scenes facts about a your film?

By the time I felt guilty enough to ask for permits for some of the locations on our Connect To shoot, the person in charge of the process for Seattle was on vacaction. In fear and terror, we ninja'd some high traffic areas including a park and a rest stop. At the rest stop we were very conspicuous - we were shooting in and around a huge charter bus, had 3 cameras, and some 20 extras. At on point, a police officer pulled alongside the bus and motioned for the bus driver to roll down the window. My stomach did a flip flop and I thought we were going to get kicked out. "What are you doing?" he asked the bus driver. Before I could make up an outrageous fabrication, the bus driver replied with innocent confidence, "We're makin' a movie!" I waited for the hammer to fall, our permits to be requested, and for us to retreat in shame. Instead, the officer nodded like that was perfectly natural, and drove on. We were incredibly lucky.

Who is is your favorite filmmaker?

Ridley Scott. Wes Anderson. Martin Scorsese. Steven Spielberg.

How has your life changed since you became a filmmaker?

Actors give me their cards. That's both humbling and weird. I wish I could help them all.

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

Just do it.

What do you like to do besides filmmaking?

I am a voracious reader. I read on planes. I read all of The Girl Who Played With Fire in a day between two airports. I'm addicted to Patrick Rothfuss. I just finished The Passage and Unbroken. The latter is by the incredibly talented Laura Hillenbrand, whose singular writing style is deliciously cinematic.

I used to sing and play guitar almost constantly, but it's so difficult to do that and make films. Creative endeavors I've been involved in such as being a singer-songrwriter, acting in plays, or producing and acting in films require a huge time commitment not only to the work, but to the community in order to stay informed and relevant. After 5 years of writing, singing, and recording in Spokane WA and San Francisco, I finally released my CD for digital distribution, here: http://www.cdbaby.com/cd/wonder1

I take classes when I can - improv, on-camera classes, solo performance classes. I love throwing parties. I hang out as much as possible with my dog Falcor, who is one of my best friends and also my obsession. I prowl Etsy. I download recipes I never make. Am I rambling?

I try to write and when I can't write, I try to "fill the well" by going on Artist Dates with myself and finding the balance between work, films, and me-time. These days if I have an evening free, I hoard it all to myself as a mini staycation.

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

Ha! I still have a job! I work full time at a game design company, Runic Games, who are incredibly patient with my furious ambitions.

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

Everyone has too many favorites to list and it often depends on what the soul needs at the time. I actually only own a very few films on DVD because it's so easy to rent them or get them on Netflix, and I hate storing extraneous things. So here is my tiny and complete collection: Army of Darkness. Chariots of Fire. Blackhawk Down. Legend. Casablanca. The Departed. Children of Men. Singin in the Rain. Dark City.

TV shows I find particularly fascinating are Arrested Development, the Wire, Dexter, Mad Men, and Dr Who. I also loved Coupling and the British version of The Office. As far as Hulu, I love Community and Modern Family. Nothing else really keeps me coming back - except True Blood but only so I can be both intrigued and repulsed for the next couple of weeks. But I much prefer the books.

How would you describe your film education?

A patchwork quilt. I often forget that I do have years of formal education - internships at Tyne Tees Television in Northern England, news broadcaster for AM radio and Production Coordinator/journalist for the student paper in Juneau, Alaska, graduate of the New York Film Academy on the Universal backlot, which was an incredibly intense experience, and as a Production Coordinator on several low budget (1-3 million) films. When we lived in Thailand I shot a documentary about it on my family's camcorder, and then cut it for free on an Avid in exchange for interning at a production company back in Alaska. I'm lucky to know a lot of different sides of this business and have experience that ranges from cutting 16mm on a Steenbeck flatbad, negotiating travel arrangements and security for above the line talent, and freezing my arse off on a student filmmaker's set in the woods in early Winter without even a pocket warmer.

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

Stubborn. In spite of the lack of Seattle film incentives, people make films. We're small enough that reputation among filmmakers and actors can make or break your next job- which is an important lesson in itself. People are hard working, quick to help others, and obsessed with promoting Seattle through high quality indies. I love that.

How has social media changed the independent film industry?

Man, I don't really know. Social media was already around by the time I stopped treating the film industry like an untouchable holy grail conferred on a lucky few. I can tell you how it's changed me, though. It's made me very aware of a network that I never knew existed. It's introduced me to huge resources of information by filmmakers, for filmmakers. It's spurred on this revolutionary spirit that I think we all feel, of seizing our destiny and making our own opportunities.

What's your opinion on crowdfunding?

I think crowdfunding is natural, vital, and relevant. It's not the future, people. It's here. It already IS practically traditional. Learn to use it. And what that really means is, make something great and find the audience for it. That's a formula that's been working for a long time - it's just the venue that's changed. And when you do crowdfund your first project, be humble, work hard, expect nothing, and give back wherever you can. Check out Joke & Biagio's experience happening right now - it's history in the making.

What is the casting process like?

Wow. Well there are two sides to that table and different experiences on both. I've been a part of both and neither is easy. As an actor, I like being able to do the work, and I beat myself up if something goes wrong. There was a very recent audition I had that I absolutely loathed myself for afteward, because I kept screwing up my imaginary eyeline to people who weren't there. I also got feedback from the casting director that I was "creepy," which made me flustered because I couldn't tell if that was good or bad, given the character. I'm sure it didn't seem as bad to people in the room but I was pissed that I let those elements get to me.

On the other hand, I've had auditions that felt like walking on air, and I knew I brought something special. That usually happens when I'm lucky enough to read with another actor.

Being on the other side of the table is a tricky treasure hunt. It actually makes me slightly uncomfortable, but I also haven't had much experience with it. Watching people struggle is very painful, and you have to see a lot of that before you find the actors who own the room. More reason to cast myself! ;)

How does independent film differ from the mainstream?

I think this definition is very nebulous at this point, and it's easy for people to put a number on it, like "indies are made for this amount and nothing more. Anything above that number is mainstream." Which is ridiculous. If you have 5 million of your own dollars and make a movie and screen it yourself, that's an indie. It's the DIY spirit realized on a professional level. That's the level I want to work at - I have little desire to be a part of the indies that look like indies, if that makes sense. As far as mainstream, generally that's taken to mean something made from within the studio system. I'm not a snob, though. I would be happy to work in/on a mainstream movie. But I know that my greatest creative freedom will probably always be derived from the films I make myself.

It's also a tricky situation for actors who get their start in indies. The bottom line is that we still want and need a sustainable career, and some level of mainstream is necessary to establish that. Indie actors don't make enough to pay the bills just by acting. It'd be nice to work consistently on SAG features where pay isn't deferred. That's not the level I'm at now, but I know what I want and what I'm aiming for.

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

Wizard of Oz. I'd knock out one of the Lollipop Guild and steal their part. Then I could go back and watch myself now. Or Gone with the Wind. I'd slap Scarlett a few times and then apologize to Olivia De Havilland. Or maybe Paleface so I could see my great Aunt Jane Russell onscreen with Bob Hope. I'd be ecstatic!

What's your favorite movie quote and why?

I don't have one! My family and I use hundreds of quotes as inside joke shorthand - mostly from old movies like "White Christmas."

My favorite quotes are actually related to acting. One is by Anne Bogart: "Do not assume that you have to have some prescribed condition to do your best work. Do not wait." I also sometimes tell myself, If you build it, they will come. I also have this by my desk at work: "Leap, and the net will appear."

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

The power to make others say, "Yes." :)

What is your opinion on movie remakes?

Just don't screw up my childhood.

What is your opinion on book to movie adaptions?

Read the book, THEN see the movie.

Is there anything else you would like to add?

THANK YOU SO MUCH! :) People can follow me on twitter @bellawonder


I'd be thrilled if everyone would tune in to Film Courage on July 17th at noon. I'll be on the show! :)

 

 

 

 

Thanks Wonder for doing the interview. I hope to see "Connect To" at a festival near me. Keep me posted on "Summer Home" I'll be sure to spread the word about both of your films. I'll be tuning in to Filmcourage on July 17th.