Friday, July 29, 2011

Interview with Sean Hackett

Below is my interview with Sean Hackett.

What is the current project you are working on?

I just finished a small project that is part of a bigger project with the family of Robert Altman. It doesn't have a title yet and will probably be out this winter. It was myself, Robert Edgecomb (who shot One Big Holliday for My Morning Jacket), Josh Polon (who shot/edit/produced Jay Duplass's award-winning documentary Kevin), and Daniel Williams (who is the Sundance Labs' sound guy and did the sound for Homecoming) traveling around the Tennessee / North Carolina countryside to follow legendary singer/songwriter Danny Darst. Danny is a bit of a ghost, so we never had any planned agendas. We were constantly leaving the bar or dinner table to capture what he was doing. He's very different than other musicians you'd meet in Nashville. He reads Plato and listens to Mozart and sifts through old junkyards looking for antique parts.

I'm also starting a project this fall in the midwest and preparing for that. All while doing a lot of work on the distribution side of Homecoming.

Did you always want to be a filmmaker?

To say I never wanted to be a journalist, FBI agent, graphic artist, or something practical would be a lie. But I can tell you that I've always loved filmmaking and always hoped that somehow the cards would be right for me to become one. I read as many interviews w/ directors or writers as I can. Jeff Goldsmith's Q&A was literally my motivator / film school. One thing that you often hear from directors is that they remember their first film they saw in Theaters. I have a notebook filled with other director's firsts. For me it was Top Gun. I was 3 but I remember everything. Missing the first two minutes and having to sit in the back (my parents could only afford the Dollar Theatrers) . I remember dancing in my seat to "Shake My Nerves and You Rattle My Brain". I remember crying and having to leave the theater with my dad when Goose died. I remember the Brucheimer-esque sex scene. I remember my uncle losing his wallet between the seats. I remember eating at Fuhrs cafeteria and trying to understand the Cold War while eating fish sticks. I love how movies are ways to see other peoples Daydreams or Imagination.

What inspired you to become filmmaker?

Being an only child that lived in an older residential area, I often laid on my stomach and drew on printer paper from his old job. I often created sequels and crossover sequels to films or cartoons I loved. My parents weren't artists to say the least (my mom was a Med Tech and my dad was an accountant) but I think they knew pretty on that I loved to be imaginative. When I was the right age, around 10-11, they surprised me with a vacation to Disneyworld in Florida. At the MGM Studios they had a tour of the animation department and I heard what "Storyboard Artisits" did and through out gradeschool I sort of wanted to do that. I was almost too involve with becoming a storyboard artist for a long time. When my friends thought about asking out girls in junior high, I thought about going to an Animation Camp ran by Disney....and maybe finding a cute girl to make out with there...but mostly Animation Camp.

What is the best thing about being one?

In one word. Everything. Every part of the process is like getting to travel to a new, awe-inspiring location that you've only seen in postcards. I really love assembly a cast and crew and collaborating with them. There are these moments where you're watching a scene being filmmed and then part of your brain switches on and says "15 years ago you were doing this in your backyard with Jack Smedile and Patrick Clark". And the crew I have worked with, you sort of get that electric feeling ...the same way you do with Rookie Atheletes , that their potential is worth jumping on the bandwagon for. You want to succeed because you want them to succeed and vice versa.

Writing a story is a personal journey for me. It's a marathon made up of confessions and childhood yearnings with characters I have had in my head for years. And then there's editing, which I feel like I do with a kindred spirit like Kate Hackett. She's sort of the compliment to everything I feel weak about and yet she and I have the same passions and frustrations that it takes to make a quality film in the editing room. Having legelnds like David Kitchens & Ben Zaria or Art Freed & Bruce Goodman who have worked with the very best directors in Hollywood take on your film so it's made for theaters even better. But the finishing touches... like having Gingger Shankar (the award winning composer from Sundance hit Circumstance) show up to a recording session with a terrific harpist and turn your independent into a major - i still get goosebumps with that. I dunno... it's all priceless.

What is the worst thing about being one?

I mostly worry if the project i'm working on can advance myself and my crew to getting more chances to make films. I'm always have this fear that I'll be working at an Enterprise Rent-A-Car in 2-5 years.

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

Probably over 50 if you include short films. I've done a bunch for AFI, UCLA, and USC over the years. In terms of features, probably 10?

Who is is your favorite filmmaker?

I was at the bar the other night and forced to say one and one only. So... it's Cameron Crowe. I picked him 1A over 1B , Alfonso Cauron because he's written all of his screenplays. Crowe tells these magical, personal stories that relate to everyone in the audience. I root for his characters more than any other filmmakers. His pacing ,editing, music, and dialogue is an explosion of American Cinema that can't be replicated. The common argument is that visually he's not up with Scorsese, Kubrick Spielberg, or Terrence Malick or as bold as someone like Robert Altman, Alfred Hitchcock, or PT Anderson - but every film he's directed has had an epic, visually stunning scene. And I think with him, he doesn't always strive for every scene to be masterful because he captures us with those 5 or 6. All of his screenplays are just hypnotizing to me, even some of his darker stuff.

But to add to the list in no order at all..... Richard Linklater (Before Sunrise/Sunset = Top 10) , Andrew Stanton , Brad Bird, Pete Docter, JJ Abrams, Robert Redford, Jason Reitman , David Fincher (first boss) Hal Ashby , Rian Johnson , Shawn Levy, Robert Zemeckis (who needs a comeback) , Woody Allen, The Coens, Guillermo Del Torro, , Jay and Mark Duplass, Zach Weintraub, Lucas McNelly

How has your life changed since you became a filmmaker?

I feel more self-assured with making the decision to move to LA and try to get to the point where I am directing films. Whether Homecoming was good or bad, I'm trying my best to make sure my next film is a solid follow up. I'm probably more mellow. For some reason I also really crave Del Taco's 49 cent bean and cheese burritos alot since I became one.

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

Ask other directors questions. Work with directors. The one part of my career that was a changing point for me was working with Jay and Mark Duplass. We're different directors cinematically, but they took a lot of time to teach me the perfect recipe of Ambition and Patience without being a douchebag. From big to small scripts they genuinely thank and love their cast and crew. Both of them have this contagious personality that carried off with me to other projects.

What do you like to do besides filmmaking?

I love journalism. My grandfather was a journalist and I'd like to write articles for a movie blog or something like that. I approached GordonandtheWhale.com with an idea that I think they liked, I just need to find time to do it. I also garden and cook. My blackberries are incredible this year.

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

I worked at a Best Buy in college. I also ran a football website for CBSSportsline.com while I was in high school. That's a story that I need to write.

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

All Time Favorite : Back to the Future

Gradeschool: Jurassic Park (saw it 15 times in theaters), Dumbo , Ferris Bueler’s Day Off , Quiz Show , Indiana Jones and the Last Crusade.

High School : The Graduate, Good Will Hunting, The Good, The Bad, The Ugly, Say Anything, North By Northwest, M*A*S*H.

College: Y Tu Mama Tambien, Before Sunrise/Sunset, Big Lebowski, The Last Detail, Finding Nemo, Almost Famous

Post : Puffy Chair, All The Presidents Men, Children of Men, Brick, Little Miss Sunshine, Half Nelson, Nashville

TV Series = Twilight Zone, LOST, West Wing, Community Modern Family (they are first comedy series i really loved) , Friday Night Lights , and guilty pleasure is Deadliest Warrior or maybe Dawson's Creek Season 1 and half of Season 2)

Foreign Films = I digg French New Wave a lot. Japanese Animation and French Animation is almost always in my Netflix Que. I thought the Illusionist was quite cool. Probably the last one I saw.

How would you describe your film education?

Inspiration / Writing - Q&A with Jeff Goldsmith. http://www.theqandapodcast.com/ . Jeff is actually from my hometown and one of the nicest, funniest people I've met. He used to run Creative Writer Magazine but started his own thing. I never had money for film school after College. Not even night classes. But since I've moved here

I've listened to his stuff. He gets everything you need to get a chip on your shoulder and tell yourself to writer as well as get you into the heads of some of the top up and coming writers.

Directing - I worked in development on mid-to-major studio films. Production on small independent films. And Post Production with mid-sized independent films.

The studio jobs (Sony , Jerry Bruckheimer) paid my bills, but on weekends I would run around town working on short films for AFI, USC, UCLA. That's how I learned about what is needed for sets. I didn't really direct my first short film until 3 years. I'd volunteer to do everything from casting to PAing to 2nd AC / 2nd ADing on them. I mostly watched other people make mistakes with their parents money before i felt confident to make my own.

Producing - I got an HVX-200 off of craigslist for $1000. I served as a producer on alot of peoples shorts and even features by offering the camera / my apartment for the credit. Usually i was a one man craft service, equipment , grip , location manager...but all of those moments helped me appreciate producers and their thankless jobs. It's also awesome helping out other up-and-coming directors get off the ground.

Watching Films - I see two movies a week in theatres and a lot on Netflix Streaming. I ran a short film festival where I got to meet other great filmmakers.

Scripts - Also I read a lot of scripts - luckily Homecoming helped me sign w/ Chris Davey of Media Talent Group. He's a fantastic manager and he and his assistant have gotten me the chance to read a lot of blacklist and up and coming screenplays. I read about 1 script a day, usually in the afternoon.

News / Critics - most of my brain fart time is spent reading about 20 different news websites. I send letters to the writers if I like their work. Most people writing reviews or articles do it out of the passion of film, so a letter can make their week. Film Criticism / Journalism is a part of Filmmaking in my mind. They are the Oracles of what audiences or maybe more importantly what "word of mouth" audiences want and hate.

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

I live in LA, but my next project is going to be in the Midwest. As far as LA goes, I've been cynical myself but I don't think Studios or Development is as evil as The Player or Barton Fink or Movies That Hate Hollywood put out. One of my really good friends is a Studio Executive for Fox named Missy Foster. She's passionate about character pieces and has that same charisma that the old studios days of Disney used to have. And it's not just her. It might be my generation and the few ahead of me and it might be PIXAR or BAD ROBOT, but collaboration without "drama" is sort of on a silent comeback. That being said, I think a lot of people get jaded by studios because they are waiting for the right studio executive to read their screenplay and make it into the next summer blockbuster. I personally feel that that's very unrealistic. I plan to keep making low budget character pieces until a studio sees my vision and wants to give me a shot on something. It could be 2 years it could be 5. Do I want to shoot studio films? Sure. But it's been proven that good films can be made with great crews outside of the studio, so why I should I restrict that opportunity?

In terms of Orlando, Nashville, and now The Midwest... their film scenes are getting stronger. Social Networking has helped. Technology of Cameras has helped. I personally love to shoot extreme wideshots of amazing looking exteriors aka free production value. People in small towns embrace that, whereas everyone in LA is pretty savvy and are immune to the magic of a film crew moving into their neighborhood. There's something strong about a crew moving to a location outside of their hometown. You sort of create a mini Army Unit where working on a film is a lifetime experience rather than a 9 hour job.

How has social media changed the independent film industry?

I had a conversation with someone the other day about how every friend that I've made out here has happened because of an e-mail or facebook and now twitter. I think Kickstarter and Demand It are terrific tools. AMC Theatres is open to films being streamed off of a server and into Hometown Screens. Youtube , Hulu , Netflix Stream are all parts of everyone's vocab.

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

The creators of Kickstarter will probably have a chapter dedicated to them in the history books of new millennium. And they deserve it. Yancey Strickler's legacy has barely scratched the surface but it's going to revamp small business into the next era of the economy. This goes beyond films. The chance to help others start their own business is what we need more of. We used to rely on the super wealthy and banking system to create our visions - and when they decided that we were too costly to make products and chains domestically they went to China and India and other 3rd worlds. It's the one way we have right now to bring our company back. One of my favorite memories of last year was seeing the girl get her own shaved ice company started through Kickstarter. Mark Bell is doing some so admirable with it too, trying to restart Film Threat to pay his writers by using Kickstarter. It's part very old school, with a new age twist. We used to build our neighbor's barn. Now we can build their dreams.

In terms of movies, it's impact has already started. Sundance had a film or two that was fully funded by KS. I'm sure 25% or more will be KS funded next year. My next film will be Crowdfunded, on the simple account that I know that when I was 16 the chance to produce a short film for a weekend of busing tables would be the best investment ever. I also sort of hate the wait game with making low-budget films. There's usually that guy with $100,000 that is and isn't in. It's a lot of frustration that isn't needed at all.

In terms of everything else... I don't know if I'm caught up on Crowdfunding Scandals yet? I know about the Four Eyed Monsters kid and thought he was tackling something too big again. He's an ambitious kid, but a little bit of a self-proclaimed indie messiah. He had a whole From Here To Awesome project that blew up really bad. And he always has a ton of bad karma around him - stuff gets stolen and he cries about it on the net. I was a bit stunned to see him go around DYI days and pitch a new idea. His heart is in the right place, but I don't think that he's the type of mind that could conceive an idea for the one-cure-all for independent filmmakers. I've heard he spent that money on his Burning Man weirdness but no one has verified that? So I'm just going by the fact that he had a project that never finished. But who is to say that that's his fault or the investors fault? Major films the people who come up with a movie have a bond company create a competition agreement for the project/film. Kickstarter doesn't really have that, so your trust in the person you invest in. If they don't complete...maybe you have the right to punch them really hard in the face ? But then they'll cry again on camera.

The only other scandal was about Quasi Celebrities joining Kickstarter. Some people who had hot tempers blew up about it. From a business perspective Kickstarter has been mostly filmmakers supporting other filmmakers and family members supporting other filmmakers. To get press on KS and the average follower of Colin Hanks or Moby look at that site means that more non-aquintances will be interested in your project. It's actually very brilliant. My best advice is to just research the project and be careful with investments?

What is the casting process like?

You always want to be the star maker and not star breaker. Casting is a ton of fun because you get to meet the next potential star. My first job had me making 50 page databases of actors, actresses, writers, director for a great guy named Mike Medavoy. After that I created a never-ending spreadsheet that i keep names of actors/actresses that I think have "it". I got to have first hand experience that "it" with Homecoming / Brea Grant. To me the "it" is a person who's more than an actor / actress. A lot of talent in this town can be over fixed with being famous or getting told their attractive. I like an actor or actress that I can talk about life with. The more emotionally intelligent an actor is the more relatable they can get with the audience. If Brea wasn't an actress should could easily make it as a history professor or who knows, a soldier? I was telling an actress the other day that the final two people who came down to playing Estelle in Homecoming were Brea and another actress. The other actress was a full-time nurse and a writer/comedian. The actress who played Lindsay (my character's ex-girlfriend), Christina Bach Norman, in the film is actually a Lawyer for the state of Florida. Tom Fox Davies is a musician and jack of all trades. So I guess I like people who aren't tunnel vision about one career.

How does independent film differ from the mainstream?

I'm not sure it does? Independent film usually means that it wasn't by a studio. Mainstream means that it's generally likable or made for the broadest audience possible. I don't really like that there's an "independent cinema genre" or "indie crowd". I'm not saying that I don't appreciate supporters of independent cinema, but the one thing

that both the studios and independents are guilty of doing is taking audiences for granted. Coming from the Midwest, I was a huge product of that assumption. I remember seeing Memento, Before Sunrise, and Hedwig and the Angry Itch at my hometown Arthouse with kids that played on the Football team and loved The Rock and Twister.

A huge amount of directors from this summer started out in independent film. The fact is that stories are only as good as their storyteller. Studios make great movies. Non-studio funded films turn out to be great movies. Both have things that aren't people's tastes.

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

Charade. It has Audrey Hepburn , Carey Grant, Walter Mathieu , and James Coburn and was filmed in Paris. I've always been in love with Grant's classic banter mixed with Hepburn's quick wit. Other than that, I'd probably love having a Martini with Sean Connery, a flask with William Powell and Myma Loy , a cigar with Alfred Hitchcock, a cigarette with Rod Serling, and a thick joint with Kubrick.

What's your favorite movie quote and why?

Walter Sobchak: That rug really tied the room together, did it not?

I quote Coen Bros movies a lot. Lebowski is my most quotable. I also have a t-shirt that says "I'm your Huckleberry" from Doc Holliday, Tombstone.

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

I'd like to have the Flash 's powers. That way I could write a screenplay and lose my beer gut in a mater of minutes...

What is your opinion on movie remakes?

I'm going to say something crazy...but here goes. I think problem isn't that studios are making them, i think the problem is that studios aren't developing them correctly. They don't need time, but they need notes, they need fresh eyes who will bluntly point out the elephant in the room. The problem with successful franchising is that everyone who was part of it, thinks they were a huge reason for it and by that belief they believe that they should infact get more power to make it even better. That's when things sort of get messy. As much flack as studios get, some of our favorite films took tens years to make because Producers / Studio Execs saw that they needed more time. I read the first Script to the Hangover and had it been the shooting script it wouldn't have been a success. The first Pirates and first Matrix took years to make with tons of rewrites. Pixar has reshot a lot of their films because of lack of satisfaction. Every movie should strive to put us into unique moment with relatable characters. A great movie is a great first date. The second date is always anticipated, but sometimes you look too far long-term to make it memorable.

What is your opinion on book to movie adaptions?

My main point on remakes or book adaptations is that I want them to give me something more than what the book gave me. I applaud when a director or writer will use the material to make a movie rather than try to cram a book into a 2 hours of film footage. Jurrasic Park is an excellent film, but some people hate that they left out parts from the book. But that's because Jurrasic Park was written to be a novel and not a movie. I see no difference between what Spielberg did with Jurrasic Park than what Nolan did with Batman or Fincher did with Social Network (or Speilberg did to JAWS) Nothing on film will ever triumph over your imagination's vision when reading a novel. That's why people will always hark on filmmakers breaking canon.

Is there anything else you would like to add?

Just that my last film Homecoming would love to play in your home town. We're looking for people to DEMAND it at http://tinyrul.com/demandhomecoming . If you're a filmmaker, inspire the Underdogs. If you have any questions e-mail me @ seanhackett@gmail.com

Thanks for doing the interview Sean.  keep me posted on your vurious projects.

Filmmaker Andretti Dante

Andretti Dante was born in San Antonio, TX he first found his love for films when he saw the film Back To The Future at the early age of 7 years old. Andretti would go on to play sports as a child but was always fascinated with films. Once in high school Dante would find his true calling when he joined his high schools television program ECTV. That is when Andretti would start to gather his skills as a filmmaker. He would write, shoot and edit all his short films, television shows and music videos himself. Editing with a 3 VCR set-up Dante says "With all this new technology it makes it so easy now to edit. I love editing I personally don't see how any director doesn't edit their own films."

After graduating high school Andretti would later attend film school at Full Sail University in Orlando, FL. After graduation Andretti went on to work for Fox News in San Antonio, TX where he became a key member in the San Antonio Spurs pre-game and post game shows, as well as directed numerous local commercials. Andretti left Fox News to focus more on film making, where he then moved to Southern California, and within a years time of been there he directed over a dozen music videos, wrote, directed, and produced multiple webisodes (Muzik Nation and Urban Legendz).

Andretti also wrote, produced, and directed his first straight to DVD feature film called “Streetz Keep Callin Me”. Andretti currently has in development and production "Exit 13", "Zombies vs. Scarecrows", "The Religion(film trilogy)", "When The Smoke Clears" and the highly anticipated "Book Of 1,000 Deaths".

What is the current project you are working on?

Currently I'm working on a few projects, I have EXIT 13, THE RELIGION, DECEPTION and LIES, SENDING OUT THE CLOWNS and I just wrapped up WHAT IF. But the main thing on the board is EXIT13.


 
Did you always want to be a filmmaker?

Since the second grade I wanted to make movies, I use to think I would have to be an actor to break in to hollywood. So that why I have a huge background in acting because I took it very serious from second grade all the way up to college.

 
What inspired you to become filmmaker?

Once I saw Back to the Future I knew I wanted to make movies for the rest of my life.

 What is the best thing about being one?



The ability to create, tell stories and do what you love.




 
What is the worst thing about being one?




The worst thing would have to be being judged, but at the sometime you want that satisfaction of someone else approval of what you created so its a give and take situation.




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




Hahaha I lost count a long time ago, I been doing this for 17yrs. I make it easy in 2009 I shot over 100 music videos that's just music videos not all the other stuff I done in 2009. So I couldn't even begin to say a number but its easily in the thousand range plus.



 Who is is your favorite filmmaker?



I'm gonna get bashed for this but Michael Bay, Tony Scott, John Singleton, Kevin Smith and Joseph Kahn. Michael Bay and Tony Scott for their color correction and lighting styles plus camera angles and movements. John Singleton for his ability to make black films crossover to all walks a life. Kevin Smith for his great way of capturing great dialogue and keeping things simple but big at the same time. Last Joseph Kahn he is the MASTER of music videos no one does music videos better than him. I hope one day I can make a music video half as good as his worst video.



 How has your life changed since you became a filmmaker?



My life has changed drastically, I meet so many people from all walks of life its a beautiful thing. I'm just a kid from the ghetto of San Antonio who had a dream of making films and I worked hard to get out of there and make something of myself. I mean even doing this interview is huge too me. I would never guess someone would be interested in what I had to say. I just feel blessed and enjoy these moments because I know how hard I worked and its cool too see people like or have interest in what I say and do.




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

I actually get asked this a lot and I tell everyone the something. Its the NIKE slogan "JUST DO IT". I mean literally grab a camera grab some friends write a short film and shoot it with your friends. You don't even need a fancy camera or lights just make it work with what you got and keep doing it every month do a new one. Before you know it people will be watching and you will build your fan base while perfecting your craft.

 What do you like to do besides filmmaking?



I LOVE sports as I played them my whole life since I was 5 years old. I'm a die hard NBA fan love it too death. I like to play video games hang with friends. I keep it really low key because if I get time too myself I usually take advantage of the down time and just chill.



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

Oh yeah I probably had over a 100 different jobs lol, working other jobs reminded me that I was born too do filmmaking because I cant keep a regular job to save my life. Haha I've worked everywhere from McDonald's to Target, warehouse jobs, movie theatre, to being a soap inspector, I was a DJ. I've had some crazy jobs in the past. But a little of all of them help inspire characters and different elements in my movies. It makes writing characters so easy when you know so many different people.

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


AMERICAN FILMS: Lost Boys, Back to the Future, Requiem For A Dream, Above The Rim, Poetic Justice, Domino, Bad Boys 1-2, Transformers 1 and 3, Transformers(animated movie), GrindHouse, Dusk Till Dawn,Pulp Fiction, Scream of Fear, Death Wish, Sin City, Running Scared, Fight Club, Friday the 13th 1-3, Nightmare on Elm St., Predator, etc.


FOREIGN FILMS: Martyrs, Fish Tank, Kidulthood, Adulthood, 4321, City of God, City of Men, Gomarrah, Shottas,


TELEVISION SHOWS: The Wayans Bros., SKINS(UK version), Sugar Rush, Entourage, Weeds, Dexter, The First 48, Sportscenter, Martin, I think that's enough I will name movies for days.

 How would you describe your film education?




I would think I'm highly educated in filmmaking from how long I been doing it. But its always room to grow and learn new things because technology grows and changes so fast.



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

Hahaha well I live in Hollywood so you can ONLY imagine what its like, you have your fakes and snakes, your never gonna make it, the ones that are past their prime but still think they got it and your humble hard working people who just love the art form. I just hope I never fall into that way past my prime field and if I do I hope someone pulls me back to reality.

 How has social media changed the independent film industry?

It has changed the game TREMENDOUSLY because now you can get your film out too so many different people. By just sitting at your computer and with the click of a button. It's a huge plus for indie film and just a beautiful thing to witness.


What's your opinion on crowdfunding?

I think crowdfunding is a great thing when not abused. I also think its starting to become more and more misused. I remember a year ago doing a campaign and it was so different then it is now. Just a year ago people were embarrassed to do a crowd funding campaign now I see those same people always doing them. Its more accepted now. But I think some people misuse it by only going to these resources and not outsourcing to other places to try to get money. But I think it's a great thing I will continue to use it but only when it's really need it.

 
What is the casting process like?

The casting process is fun and draining, it just depends on if you have great actors coming in or if you get 4 or 5 hours of duds. But its always cool to find that new actor/actress that just blows you away and its perfect for the part your casting. That's the most beautiful part of casting.

 How does independent film differ from the mainstream?

First and the biggest thing is the budget your average mainstream film is about 15 million dollars while your average indie flick is about 15 thousand dollars. HUGE gap difference but I think the most important part is the freedom to tell the stories we want to tell. it more on what they think you want to see instead of trying something new and innovate.

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

I would have to go with Star Wars, because I would want to just soak up that whole vibe on the set and see in person if everyone there realize how big what they were creating was gonna become. I'm a average Star Wars fan not crazy about like other people but I like it and too see how  so many people lives it touched and how many generations it has lasted and still will last. That's something I would love to be apart of that process.

 What's your favorite movie quote and why?



"I'm here trying to squeeze a dollar out of a dime and I ain't even got a cent" - DJay from "Hustle and Flow"



 What is your opinion on movie remakes and sequels?

I hate remakes for the most part some is okay, but some of the classics like Karate Kid and Red Dawn don't touch them just leave them alone. Sequels I think most films should be a trilogy just so you can really showcase these characters you develop a lot more. Yes you can develop them in an hour and a half. But sometimes they're developed so well you want to see them more so why not have a part two and three.

What is your opinion on book to movie adaptions?

I think its cool but you know majority of the time they're not gonna get it right. But hey the Harry Potter and Twilight films seem to do alright so I can't be mad at them.

  Is there anything else you would like to add?

Yes I would like to Thank you for having me on your blog, also would like to thank everyone who took the time to read this interview and I would like for everyone to say a pray for my close friend Andrew Dean's sister who is in the hospital. We all hope you get well Candace and sending prays out world-wide too you and your family. Thank you - Andretti Dante







Thanks for  doing the interview Andretti. Good luck with "Exit 13" and your other projects. I send out prayers and positive vibes to Candace and hope she gets well soon. Please help out Candace by going to http://www.facebook.com/notes/candi-swaggfan/read-about-candices-current-situation/105599732871665

Filmmaker Rebecca Davis



Rebecca Isbill Davis is a filmmaker based out of Greenville, SC. She holds a Bachelor's degree in Film from Bard College and a Master's in Entertainment Business from Full Sail University. She has 10 years of on-set experience. In the past year, Rebecca has completed two short films. She produced MJ Slide's "The Saving," and wrote and directed her own short film, "Paradox in Noir." She is currently in pre-production for a web series entitled "Twilight of the Gods." In her spare time, Rebecca enjoys playing music and singing and making things, mostly out of duct tape.

What is the current project you are working on?

I'm working on "Twilight of the Gods." It's a web series that's a modern-day adaptation of the same Norse mythology Richard Wagner used for his epic Ring Cycle operas.

Did you always want to be a filmmaker?

No. The first thing I wanted to be was an FBI agent. Ever since I visited the FBI building in Washington D.C. And that was the plan up until about Junior year in high school.

What inspired you to become filmmaker?

Actually, it was probably Tim Burton. He was the first director whose style I could really identify film to film. It made me realize how you could express yourself through the medium, and, being both a visual artist and a musician it seemed like the right fit. It combined everything I loved to do.

What is the best thing about being one?

Filmmaking makes me feel TRULY free. I can imagine whatever I please, without limits or rules.

What is the worst thing about being one?

It costs. A LOT. And I have to get very creative in funding productions.

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

I'd say 12 or so. Every role from PA to Camera Department to Wardrobe to Producing/Directing and Writing. I've done a little of everything!

Who is is your favorite filmmaker?

Orson Welles or Jean-Luc Godard. Maya Deren was pretty badass. Werner Herzog is crazy, but pretty awesome. Coen Brothers and Christopher Nolan are fun.

How has your life changed since you became a filmmaker?

I have far less time. But I feel much more fulfilled.

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

Just start making films. Write. Shoot. Shoot all the time. Crew other's films whenever you can. Network yourself! Just keep moving forward. And shoot! I learn something new each and every day through one part of the creative process or another. Eventually, I'll figure it out!

What do you like to do besides filmmaking?

I play the piano and the ukelele. I call myself Geekelele and play really geeky songs. In general, I'm a nerd.

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

I still have another job! But, no, I have always seen filmmaking as my career. I have an impressive retail resume, though.

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

Call me cliche, but "Citizen Kane" blows my mind every time. "Wait Until Dark" still gives me chills. Also in my upper ranks: "Silence of the Lambs," "Butch Cassidy and the Sundance Kid," and "Blade Runner."

As for foreign films, pretty much anything Godard has made, especially "Breathless" and "Alphaville." I also love Japanese cinema. Kurosawa's films are amazing.

And since I'm doing the whole series thing now I have to cover the TV shows! I'm pretty much straight sci-fi/fantasy when it comes to television. "Doctor Who," "Star Trek," "Stargate SG-1," "Battlestar Galactica," "Firefly," "Torchwood…. need I go on? I also love British Comedy ("The IT Crowd," "Ab Fab," "Spaced"…)

I could go on about this all day.

How would you describe your film education?

I studied film in high school through a public school program at Greenville, SC's Fine Arts Center. I attended Bard College and graduated with a degree in Film and Electronic Arts. I also graduated from Full Sail University with a Master's in Entertainment Business. I have been working on sets from college on. I also aspire to go back to school for my doctorate in Film History.

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

Small, but ambitious. A lot of people in the area want to get more involved in filmmaking, but many are not quite sure how to go about it. But the upstate of SC has some amazing resources and locations.

How has social media changed the independent film industry?

Social media is the reason I could move back to my hometown from NYC and still make films. It has singlehandedly grown the independent film community to the global effort that it is today. I have never known so many people that I've never met in real life. Social media has opened so many opportunities for alternative ways of funding productions, screening them, and distributing them. It's really amazing how the industry has changed in such a short period of time.

What's your opinion on crowd funding?

Having just successfully funded the pilot ep of TOTG, I have to say I'm a fan. But make no mistake, pulling off a successful campaign is pretty much a full-time job on its own. You have to put the time in to get the results back. Toka Kokan. Equivalent Exchange.

How does independent film differ from the mainstream?

The answer to this question largely depends on your definition of the two terms. I'm going to go for the more cerebral definitions instead of the cut and dry ones for my answer.

I think most people don't know what independent film really is. I think the internet is changing that slowly. Mainstream films are products, plain and simple. Some of them are pretty neat. Some of them actually have some substance. But they're products in which every detail has been determined based on how much money it could bring in. Take the inverse of that and you get indie film. Indie films are made because a group of people wanted to express something. And sometimes some of them make a profit.

This is not to say that, hands down, indie films are better than mainstream ones. I've seen my share of poor indies as well. In fact, I think that this very question is one of those argument starter questions that they wouldn't let you ask in elementary school.

But that makes it fun.

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

"Citizen Kane", of course. Not only is the cinematography unbelievable, Orson Welles was larger than life.

What's your favorite movie quote?

"Six years ago, I looked at a picture of the world's greatest newspaper men. I felt like a kid in front of a candy store. Well, tonight, six years later, I got my candy -- all of it." -C.F. Kane (Orson Welles) from "Citizen Kane"

What is your opinion on movie remakes and sequels?

I think they are relied too heavily upon. Some of them are lots of fun, but I'm concerned that it has made story-tellers lazy. That being said, my series is a sort of remake/adaptation itself. I think sometimes you can remake a film in a really compelling different way by taking it and really making it your own. When it feels like a straight remake, though, it feels like a waste.

What is your opinion on book to movie adaptions?

I'm very open to them. And I'm definitely not as picky as some about staying true to the book. Books and movies are completely different mediums. Some things that work in books just don't translate to film. Sometimes it takes making concepts more relevant to a mainstream movie audience. I remember plenty of instances where I saw a movie, found out it was based on a book/comic/etc, and then rushed to find and devour the source material. Sometimes an adaptation can open the door for a whole new audience for the book. It's a symbiotic relationship, really, even if liberties are taken in the shift from book to movie.

Is there anything else you would like to add?

I'm really enjoying figuring out how to get a web series off the ground. I think the transition to web-based entertainment is the way of things, and I'm excited to get going on this project. It's been a steep learning curve, but totally worth it. Look for the pilot episode mid to late September.

 

 

 

 

Thanks Rebecca for doing the interview. Good luck with you webseries. Please send me a link to the pilot when it is on the web.

Thursday, July 28, 2011

Actress/Writer Shannon Carter



This fiery redhead is no stranger to the film scene. With acting credits such as "The Social Network", "Bride Wars", "Surrogates", "The Invention of Lying", and "What's Your Number" this actress is a starlet on the rise! Since an early age, Shannon has shown a strong passion for acting. She began mimicking films and TV commericals at the tenger age of three. Throughout her childhood, whenever aske...d what she wanted to be when she grew up, she would reply with the same answer "an actress"!

Her first acting gig came when she was just in high school. She auditioned for the play "Bus Stop" that was being put on by a local community theater. It was her first audition and not only did she get the part but she was the first to be cast! By far the youngest cast member, Shannon was able to learn the ropes and seek advice from her adult co-stars. After "Bus Stop" she then starred in two student films, "The Keeping" and "Still" where she played the female lead in both. Soon after, the film industry in Boston exploded. Shannon was getting work left and right on major Hollywood films. She was specifically sought out to be cast in the "Social Network" as a final club girl and as the Renaissance Bride in "What's Your Number". Some of the actors and directors Shannon has worked with include Anne Hathaway, Kate Hudson, Jesse Eisenberg, Jennifer Garner, Anna Faris, Chris Evans, Ricky Gervais, Kevin James, the late Gary Warnick and David Fincher.

In 2008 Shannon teamed up with director Jessica Cook and her independent film company Astropiano Films. Cook cast her as the lead in her debut film "Sunblocked" which Shannon would ultimately produce and head marketing and promotions. Shannon joined Cook and the rest of the cast and crew on the red carpet for its Harvard Square premiere. The film was a success with premiere tickets selling out in less than two weeks. That spring "Sunblocked" embarked on a New England tour showing at venues such as UNH, The Historic Hawthorne Hotel in Salem, Ma, and Connecticut College. The film is now prepping for film festivals. Currently, Shannon is producing a new film for Astropiano Films titled "Mark of the Dog Rose" which she will also star in.

Not only a talented actress, Shannon is also a gifted writer. She wrote the screenplay for "Mark of the Dog Rose" in less than two months in what would take most writers a year. In her spare time Shannon does a little modeling, haven struck poses for photographers and companies including Sarah Borten of "My Big Hair Day" , wedding dress designer Michael McDonald, and the Frances Ray Jules Salon to name a few. For "Bride Wars" Shannon appeared alongside Anne Hathaway and Kate Hudson in numerous major magazines including People and Entertainment Weekly, as well as newspapers including The New York Times, USA Today and the Boston Globe. With a budding career on the rise, this young actress is on her way to Hollywood stardom

What is the current project you are working on?

"Mark of the Dog Rose"

Did you always want to be a filmmaker/actress?

Yes, I have wanted to be an actress for as long as I can remember. Since I was three-years-old, I would mimic TV commercials and movies.

What inspired you to become filmmaker/actress?

I think what really inspired me were movies in general. I love movies! I get so lost in the story plot and wish I was there. Actors can go places and do things in films that you can't do in real life. It's like magic. I also had a love for the camera growing up (laughing). I pretty much dominate the family home movies.

What is the best thing about being one?

Seeing yourself on the big screen! Its surreal! Also, just being on set and having fun with everyone.

What is the worst thing about being one?

Acting is fun, but it's a lot of work too. I don't think people realize how much work really goes into making a film. A thirty second scene can take 12 hours to film, its exhausting.

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

I have worked on 8 full-length feature films, but about 15 film projects in total.

Who is is your favorite filmmaker?

Oh gosh, I don't think I really have a favorite. I definitely like Peter Jackson and Tim Burton. I think they both have such beautiful and creative methods for directing and when you watch their films you know they directed it.

How has your life changed since you became a filmmaker/actress?

I have gained so much experience and still cannot believe some of the big names I have worked with. It's pretty cool when someone mentions a famous actor or director and I can say "oh yeah I worked with him/her". I was also recognized a couple of times for being in "Bride Wars" and the "Social Network", which I was totally taken aback by.

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 or be discouraged, just keep at it!

What do you like to do besides filmmaking/acting?

I love reading! There is nothing more relaxing than snuggling up with a good book. I'm also a big fan of traveling and have been to a bunch of really cool places. My favorite was London. I really enjoy writing too and cannot believe my first screenplay "Mark of the Dog Rose" is going to be brought to life.

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

Oh yes and I still do. Saddly, it takes quite a bit of time and luck to be able to reach the point where you can do filmmaking as your full-time job.

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

I have so many favorite films it's really hard to name just a few. For TV shows I love Dexter, Law & Order SVU, True Blood and Family Guy.

How would you describe your film education?

When I was in high school I took a few acting classes on weekends in Boston, but I think most of my education really came from first hand experience being on sets.

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

Boston has come a long way and is really coming into its own as major film community. Not only do we have numerous Hollywood productions being filmed here, but we have a fantastic indie film scene. There is a lot of talent here and I think it is only a matter of time before the rest of the world takes notice.

How has social media changed the independent film industry?

Social media makes it so much easier to promote your projects. It's free and has the potential to reach a wide market. I am on Facebook ten times a day working on film related stuff and I know other fimmakers who are too. I personally don't really use Twitter but I know filmmakers/actors who are on there quite often promoting their work.

What's your opinion on crowdfunding?

I think it is a great method for fundraising. We got a good chunk of our budget from Kickstrater in addition to our fundraiser we held back in the spring. Ask any filmmaker and they will tell how important fundraising is. Movies cost a lot of money and no matter how much you raise you can always use more. Crowdfuning sites are great because aside from promoting, they are really a low maintenance way to raise funds and filmmakers usually have enough on their plate with pre-production work so its a huge help!

What is the casting process like?

Every audition is different. Usually you will be given some lines and you act them out for a table of casting directors and a camera. For "Surrogates" we worked with one of the stunt coordinators for the film. They had mats all over the floors and auditioned us in small groups. It was really fun.

How does independent film differ from the mainstream?

The biggest difference is that independent films usually have very small budgets. They work with little to no money and to be able to make a film on that is an amazing accomplishment. I also think indie filmmakers aren't afraid to take risks, because they aren't worrying if their film will top the box office.

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

The Wizard of Oz. It was one of my favorite movies growing up. The set was beautiful and the costumes amazing.

What's your favorite movie quote and why?

I love Joan Cusacs' monologue at the end of "The Adams Family Values". It was awesome! I have used it for a couple of auditions before.

What is your opinion on movie remakes and sequels?

I hate remakes for the most part, because I feel that a lot of Hollywood filmmakers will try to go for shock value or just sign on a big name instead of focusing on making it a good unique film. They almost never do the original film justice. Sequels can go either way. Some sequels are awful and unnecessary, but others turn out better than the first film.

What is your opinion on book to movie adaptions?

If the director does it right and sticks to the book than I am a huge fan. I love reading and there are so many times where I find myself saying "This should be a movie". Most of my favorite films where books before they were films.

Is there anything else you would like to add?

Thank you John for taking the time to interview us! Please check out the "Mark of the Dog Rose" Facebook page and I actually now have an actress Facebook page as well (www.facebook.com/shannoncarteractress). You can also follow "Mark of the Dog Rose" on Twitter. Thank you!

Filmmaker Christopher Grimes



Christopher Grimes and Leigh Cavich-Grimes started 5414 Productions in 2008 with the goal of building a small, independent production company focused exclusively on documentaries that deal with complex issues in public policy from both a macro and micro perspective.  5414 Productions is co-located in Chicago and Washington D.C.

With experience in both government and politics as well as a Master's degree in Public Policy & Administration from Northwestern University, Christopher brings a unique set of real world and research skills to his directorial debut, A Second Knock at the Door, 5414 Productions' first feature-length documentary.





What is the current project you are working on?

A. 

A couple of months ago we completed our production company's first feature-length documentary, "A Second Knock at the Door."  I have been working on ASKATD for over two years and it tells the story of military families dealing with the loss of loved ones to friendly fire.  This documentary explores several key incidents in which the families of the fallen were forced to embark on a quest for the truth after the Army attempted to bury the true cause of death within the "fog of war."

For ASKATD we travelled the United States talking with the families of soldiers killed by friendly fire, military experts at the US Army War College, and members of the press including Barton Gellman, Contributing Editor at Large of Time magazine.  The documentary is going to premiere at Vegas CineFest this August and then we plan on having a robust screening schedule across the United States this fall and winter.

Did you always want to be a filmmaker?

A.

I have always been fascinated with the complexity and relationship of public policy, government, and the general public.  While I did participate in some filmmaking endeavors (screenwriting & producing) in my early 20s, I ultimately decided to focus on teaching political science and history at community colleges and working on political campaigns.  It did not take me long to realize what I most enjoyed about teaching was making public policy, through the use of real world examples, interesting to 18 year olds.  Ultimately that discovery lead me back to documentary filmmaking.  At the end of the day, a good doc is bringing public policy to life for a much broader audience and if I kept 18 year olds interested for two+ hours, I figured I had the ability to make a decent film.

What inspired you to become filmmaker?

A.

Basically two people.  The first was Joe Reno.  He has been involved in the filmmaking game for 20+ years and encouraged me in the early 2000s to join him on a few projects and then ultimately helped convince me to take on the challenge of turning a Master's thesis on friendly fire into a feature-length documentary.  Joe is a Producer on ASKATD and has always been available for advice, opinions, and support right from the beginning of the process.

The second is Charles Ferguson, director of both "No End in Sight" and "Inside Job."  While I have never met Mr. Ferguson, I loved both of his documentaries and respect his journey from professor to director.  When I saw the outstanding job he did with "No End in Sight," it gave me the confidence to take on the same challenge.  While I would never compare myself to him, he is producing work that not only inspires, but also convinces me that the public is interested in complex examinations of topics related to public policy.

What is the best thing about being one?

A.

The creative process.  A film is self-contained.  You basically see the whole path of life from birth until the end when you take on the challenge of making a film.  At the beginning of the process, I think you have certain expectations of where you will end, but you really have no idea.  This is especially true with documentaries.  You will get certain people that will agree to sit down with you and you will be disappointed that some will not.  Some interviews will go well and some will not.  Ultimately, all of these things mean you are forced to be flexible and more importantly creative.  I really enjoy that part of the process.  We are just beginning the research into a new project and it is so exciting to start down a road in which we have now idea were where we will end up.

What is the worst thing about being one?

A.

You may hear this a lot, but the hardest thing for me is raising the money for a project.  Most of our projects require a good bit of travel and that can get expensive, but I think if you really believe in a project and people are convinced that you will see it through to the end, it really is not as hard as people may think.

In terms of making a documentary, money can never be the excuse for NOT getting in the game.  You may not be able to travel the country for interviews, but interesting people and topics are all around you.  Everyone has a story to tell, so find a topic with a local flavor, put an ad in Craigslist for a person with a decent camera that is looking for experience (thus will work for free), set up some interviews, and start making a documentary.  Everything will probably go wrong the first time, but who cares, you are learning the process and the next one will be the big break!

In the new world of crowding funding (We raised over $6000 for post-production expenses on ASKATD), you have even more tools to get you where you want to be.  As an example, check out the crowd-funding campaign that our collaborating partners on ASKATD, Julie Keck and Jessica King (www.kingisafink.com) & Phil Holbrook came up with for their movie, Tilt, on Kickstarter. People will support good projects with creative crowd-funding campaigns, so get started.

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

A. 

Collaboration.  When you get in a room with people that you trust and who also believe in the project, it can be an amazing experience.  It is not easy to agree on cutting locations, interviews, or early in the process, whole concepts/ideas, but when you decide to collaborate with other filmmakers you are explicitly trusting their judgement (and they are trusting you) over the course of the process.  As much as you may love an interview, if the rest of the team doesn't really agree, it is probably in your best interests to make the cut.  If you are not willing to trust their judgement then either you are not a very good collaborator or you are working with the wrong people.

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

A.

Since I have been watching a lot of documentaries the past few years…outside of David Simon's superb work on The Wire and Treme, these are my favorites: Enron: The Smartest Guys in the Room, No End in Sight, When the Levees Broke, Inside Job, Murderball, Capturing the Friedmans, Man on Wire, The Trials of Darryl Hunt, The Fog of War, Lake of Fire, and Spellbound. 

How has social media changed the independent film industry?

A. 

I have a lot of friends involved in independent filmmaking and a few simply refuse to get in the social media game.  I think that it a huge mistake!  Almost any successful career is built on connections and I think this is particularly true with independent films.  In the past, I am not sure that there really existed a "place" where one could find people independent filmmakers across the country.  Social media, and Twitter in particular, has totally changed the dynamics of independent filmmaking.  I think some people fail to realize that connections can move way beyond tweeting each other.  We were introduced to our collaborators on ASKATD, Jessica King and Julie Keck of King is a Fink, on twitter around October of 2010 and in less then a month we are all traveling to Las Vegas for the world premiere of the film!  This was a real, durable, and fantastic connection that ultimately made ASKATD a much better film.  Get involved!  It is well worth the time and effort.

What's your favorite movie quote and why?

A. 

"I coulda been a contender." - On the Waterfront (1954)  The only way to live without regret is to take your shot.  If you want to be a filmmaker then make a damn film.  In my mind it is the only way to really learn the process.

Thanks Chris for doing the interview. I will be sure to spread the word about your film "A Second Knock at the Door."

Interview With Screenwriter Robert Pilkington

Robert Pilkington is a screenwriter and the author of www.HeroesAreBoring.com, a blog about writing for the big screen while no one's paying attention. He's worked in the Boston film industry for the past 4 years, doing everything from reading scripts to freelance commercial work. He's currently seeking representation.

You can follow him on Twitter @HeroesAreBoring 

Did you always want to be a screenwriter?

Well, I always wrote and at some point it just clicked that it should be for film. I always loved movies. I admired actors and directors... but man, that stuff is too hard. If I need my story to have a car plunging off a bridge while a couple realizes they really love each other as the chick goes into labor (and a unicorn saves them), I just want to write that down. I don't want to figure out how to actually physically make it happen.

What inspired you to become screenwriter?

Don't know if it could be narrowed down to a specific thing. It was the combination of always wanting to write, being encouraged to do it, and being involved with other stages of filmmaking. Have you ever been on set? It's pretty miserable. You're either waiting around to move something heavy, or in a panic trying to organize everything. At least for right now, the screenwriting/development stage is where I feel like I can do the most.

Who is is your favorite filmmaker?

Kubrick. The Coens. Hitchcock. Those sound stupid to say, though. It's like saying you like the Beatles. I have to say that if Martin McDonagh keeps it up, he's probably one glorious film away from making a distinct impression on me. Probably a gun-shaped impression, but an impression just the same.

I'd like to be able to cite some favorite indie filmmakers, but I feel like that's a difficult thing to define. If I'm seeing it in a theater, that means its distributed by a studio? Does that not make it "indie" anymore? Tarantino? Lucas? Lynch? Bueller? I just don't know. And honestly, who cares? Just watch the movie.

What do you like to do besides screenwriting?

I like to... be interviewed? IS THIS A TRICK QUESTION?!

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

Ha. And after, too. I was a script reader for a bit and that was really fascinating. You learn a ton about writing when you're reading absolute garbage. Screenplays so bad that you imagine you'd need some kind of Clockwork Orange apparatus to get anyone else to read them. It was wonderful, recommended for all wannabe screenwriters.

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

"American films". Sounds like sorta a naughty phrase. Miller's Crossing is one of my favorite films. Pollock. Raging Bull. This year I really enjoyed Hesher. I thought that was a hell of a script.

I have a few favorite foreign films. The Lives of Others is on my shelf. As is The Piano Teacher. And Olmi's Il Posto. And The Rules of the Game - fantastic film. I just saw Incendies, too, which I'm sure will make my year's top 10 list. And The Wire is my favorite television show... with Mad Men coming up a close second.

How would you describe your film education?

Formal education was at Boston University's Film and Television program, which was a blast for me, but the education is ongoing. If you're in a creative field and you're not continuing to learn stuff, then... what in God's name are you doing?

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

Frustrating. There's a lot of interest to make indies in Boston, but little precedence or organization to do so. There are talented people here, but it always feels like a scramble. My attempts to work with local producers and directors have been derailed by creative differences and funding issues, things that should have been sorted before I ever put pen to paper. But people do make films here. It's all about finding the right project and collaborators - which, I imagine, is the same as anywhere else.

How has social media changed the independent film industry?

"I suppose? It’s hard to think of something that social media hasn’t changed. Rocks, maybe? Rocks seem pretty much the same.

I believe in it. That's why I have Heroes are Boring. You hone a voice, throw it into the void, and see who smiles at it. It's really feeling your way through the dark, but I totally dig the power of Twitter, Facebook, Tumblr, and the like. It's no surprise that indie filmmakers wanting to reach a niche audience do too.

What's your opinion on crowdfunding?

I've seen it work, but don't know about a lot of the ins and outs. You're basically asking people for donations, right? Nine out of ten homeless people would probably agree that this is pretty effective. I bet there's a poor soul out there right now crowdfunding a sandwich. Doesn't mean the sandwich will be any good.

How does independent film differ from the mainstream?

Simply put: you can tell a greater variety of stories in indies. Mainstream films have the capability to cast a very wide net for ticket sales, so they want to make sure that whatever they're producing is inviting enough to fill that net. Indie filmmakers don't have such a big net, know there's gonna be a niche audience, and can do whatever they want with the story. There's no focus groups or test screenings for indie film. There's no "tracking" interest in an indie film. The ending can be sad. The hero can be a non-white guy. Animals can be killed. You can run the whole gamut of Hollywood no-nos.

And indie film is supposed to be more honest because of this, but I don't feel like that's not the case either. Hollywood and independents produce, at least by my count, identical percentages of empty films.

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

Star Wars? So I could sabotage the production and "write it" myself (and nab the merchandising rights). Hmmm... time-traveling art pirates. You're welcome, Hollywood.

What's your favorite movie quote and why?

Wow, impossible to answer. We'd be here all day if I go into this, there are just too many. Off the cuff though, I was recently reminded of a back and forth from The Life Aquatic with Steve Zissou.

Festival Director: The shark an endangered species at most. What would be the scientific purpose of killing it?

Steve Zissou: ...Revenge.

Perfect line. Perfect delivery. And while it's so funny, it also reveals a bit of where Steve's head is at. Good writing is always doing several things at once.

What is your opinion on movie remakes?

They should probably decrease but I get why they they get made so often. The amount of money and effort that goes into a studio film is tremendous. If you can guarantee a large audience just based on the pre-existing brand a project already has, then it removes a lot of the risk. It's keeping a lot of mortgages paid (and that's fine), but not particularly helping the art form either.

What is your opinion on book to movie adaptions?

I always here a lot of people complaining about this and it baffles me.

America has been adapting stories for film pretty much since it's had film itself. "The Great Train Robbery" is an adaptation. "The Godfather" is one. "Apocalypse Now". "Gone with the Wind". "The Wizard of Oz". "2001". As someone who writes original material for the screen, sure, I want to see spec scripts get made (and they should get made), but I don't hear a lot of people bitching about those movies I just mentioned.

Is there anything else you would like to add?

No, but I'd like to subtract some stuff. Where's the question for that?

 

 

 

 

Thanks for doing the interview Robert. I'll spread the word about your blog www.HeroesAreBoring.com

Producer Leslie Wimmer Osborne

 

 

Leslie Wimmer Osborne is co-president of Conspicuous Pictures and works in Special Programming for Paramount Pictures. She has produced the indie thriller FAVOR – currently in post-production and written and directed by her husband, Paul Osborne - and the acclaimed documentary OFFICIAL REJECTION about the film festival circuit. She is also developing television content for Conspicuous Pictures.

In her spare time, Leslie enjoys skeet shooting, training ferrets as covert military assassins and baking.

What is the current project you are working on?

Just wrapped filming on our independent feature FAVOR and am gearing up for post-production. Also starting to pitch some television programming ideas.

What is it like to work with your spouse?

I really enjoy working with Paul. He is very intelligent and creative, and has a specific point of view which makes his films interesting. Plus he's a funny guy so he's always making me laugh. And he gives good back rubs.

How do you balance being a mom and being a producer?

By accepting that sleep is something I don't get much of these days! Also, I try to maintain boundaries. When I'm working, I give 100% of my attention to that; and my kid gets 100% of me when it's his time. I think being able to fully focus on what I'm doing at the time enhances all aspects of my life.

Did you always want to be a producer?

No, I started out wanting to...wait for it...ACT. I did plays and musicals as a child and went to school to study acting. It wasn't until I started working for a studio out of college that I realized I am a detail-oriented person who has a knack for organization. What I like about producing is that it's a good mix of the creative and the organizational. Plus I like being in-charge!

What inspired you to become producer?

Necessity. There were projects I became aware of that interested me so I took over the producing responsibilities in order to facilitate them getting made.

What is the best thing about being one?

Getting things done! I've always been the type of person who likes making lists and crossing off tasks, so I enjoy the sense of accomplishment. Also, assembling and working with a team of creative people who share a collective passion on a project.

What is the worst thing about being one?

Having to ride and sometimes let go of folks who aren't upholding their responsibilities.

Who is  your favorite filmmaker?

I don't have a favorite filmmaker per se but I do tend to be drawn to a specific type of film. I really enjoy the smaller or off-kilter films which have an 'indie' feel to them - even if they are a studio release. For instance, I love Mike Nichols' THE GRADUATE; or Hal Ashby's HAROLD & MAUDE; or Jason Reitman because of JUNO and UP IN THE AIR. I'm also drawn to foreign cinema because it tends to be very character-driven, like A MAN AND A WOMAN by Claude Lelouch or JESUS OF MONTREAL by Denys Arcand.

How has your life changed since you became a producer? 

It's definitely become busier. But in a fulfilling way. I also have to sign a lot more stuff now.

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

Don't wait around for someone to hand it to you because that rarely happens. Go out, do it yourself and make it happen!

What do you like to do besides producing?

Sleep....

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

I've already mentioned some of my favorite American and foreign films. My favorite TV shows currently are COMMUNITY, MODERN FAMILY, COUGAR TOWN and 30 ROCK - again with the 'off-beat' sense of humor. (Plus, I want Tina Fey to be my best friend.) I'm also addicted to reality TV - anything ranging from PROJECT RUNWAY to THE BACHELOR to HOUSE HUNTERS INTERNATIONAL. Love love love it!

How would you describe your film education?

Expensive (I went to USC).

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

I live in Burbank which is as 'scene-y' as you can get. Most of the major studios in LA are there, as well as many, many production companies. I live down the street from THE TONIGHT SHOW.

How has social media changed the independent film industry?

It's provided a free marketing platform that reaches a wider audience than previous tactics could. Or put more plainly, it's turned us indie filmmakers into bigger whores.

What's your opinion on crowdfunding?

I think it's a terrific new resource that supports the arts at the most fundamental level. People can contribute to see the art they want made. Or contribute to make the art they want to see. Sheer brilliance.

What is the casting process like?

Although it can be tedious watching the same scene over and over, it's exciting when a performer takes a character somewhere unexpected and makes them a living entity. I find it inspiring.

How does independent film differ from the mainstream?

Moulah. Or lack thereof.

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

XANADU.

It's my favorite film of all-time and I wanted to be Olivia Newton-John in the early 80's. I still kind of do, actually.

What's your favorite movie quote and why?

"No representation without taxation" - Capt. Hilts (Steve McQueen) from THE GREAT ESCAPE. Hilts is so drunk he misquotes the saying.

What is your opinion on movie remakes?

Generally not a fan.

What is your opinion on book to movie adaptions?

Thumbs up.

Is there anything else you would like to add?

Yes. Tina Fey, I was serious about the BFF thing. Call me!

 

 

 

 

Thanks for doing the interview Leslie.  I loved "Official Rejection". I hope to see "Favor"  when it is at a festival near me and/or on DVD.