Filmmaker David Baker

David was born in Scotland in 1966. His father was a movie fan, so he spent a lot of his childhood watching US blockbusters in the cinema. When the VHS market exploded, he also became a fan of US indie personal and exploitation genre films.

He moved to London in his twenties to study acting. He took part-time classes at the Lee Strasberg Studio, but he gained most of his experience from working on student films, and micro budget feature films.  To learn more about David and his films visit http://davidpaulbaker.posterous.com


What is the current project you are working on?

I am at the post production stage of SCREEN. A horror thriller about a group of people that are found dead in front of a drive-in movie screen. It was shot in Oklahoma in July. Financed from online crowd funding, and a lot of help from the people of Tulsa, Cleveland, and a filmmaking couple who I became friends with online.

How do you handle rejection?

haha! I was an actor for years in London. That was a great foundation for filmmaking. Being an actor is all about dealing with rejection. Even if you are good. Rejection does not even touch me anymore, I have too much self belief in what I am doing. I am human of course but I deal with it well.

Did you always want to be a filmmaker?

No. Acting was my passion. Then I started to write scripts, then that progressed to making things happen for myself. Now the passion for filmmaking has taken over the acting. Although I still plan to do some acting on other films too.

What inspired you to become filmmaker?

I just wanted to be in charge of my own destiny. I was a massive fan of movies, but I can honestly say I never really thought about making my own until about twelve years ago. Until I started writing scripts. Even then, I never thought about directing.

 What is the best thing about being one?

The best thing about working towards being a filmmaker for a living, is the fact that you never really know what is around the corner. It's very challenging, and its a life of problem solving, but I like that. The thought of my life mapped out in front of me in the same job is not attractive to me. I'm sick. I like impossible odds!

 What is the worst thing about being one?

Incredible sacrifices for years in your life, in many areas, and no guarantees that your life will be good at the end of it. You don't pursue it for the money.

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

This is my third feature film. I acted in many short films and low-budget features in the past.

 Who is your favorite filmmaker?

I don't have one favorite filmmaker. My tastes also change a lot. I don't like many filmmakers I used to like. On a whole, I guess I like filmmakers that evolve. Most don't, they get the taste for Hollywood money. I like filmmakers like Eastwood, and I like how George Clooney juggles personal films with Hollywood. I also like guys like Steve Buscemi. I also like versatile filmmakers. You couldn't really pidgeon hole Kubrick. In terms of Hollywood directors, I like Ridley Scott's versatility. I am watching more foreign films in the last few years, when I get the time.

 How has your life changed since you became a filmmaker?

Like I said before, sacrifice. 7 days a week focus for years. Its only after 12 years I am starting to get meetings with the people that could say yes to a decent sized budget movie. I was never this broke, but my life is better because I have potential ahead. In the past I had more of an income but no hope of being a filmmaker for a living. It's very very tough, but I have gotten tougher along the way.

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

If your goal is to "make it", go do something else. The guys that made the "Blair Witch" "Made it", but drifted as fast as they arrived, like many filmmakers. You have to live it and breathe it, and not even think on whether you will make it. You do it because you have to do it. They key is to get good at what you do, and that takes years of writing, making cheap films, learning every area of the biz, and getting stronger and more focussed. Then, and ONLY then, you MIGHT have a chance of doing this for a living. Put it simple, making it is not the toughest part, doing it for the rest of your life is. So it better be a real in your blood passion.

What do you like to do besides filmmaking?

If you don;t spend 24/7 on pursing this career, you are bullshitting yourself. I don't do anything else. I guess that's sad, but I am on a mission in life, so focus is paramount.

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

Around 200 jobs. Most in London in my acting days. Waiter, dishwasher, factory working, you name it. A clown that scared the crap out of kids! I have had a life before I started writing. I met a lot of characters. It helps a lot!

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

I like well made big blockbusters from "Jaws" to the "Dark Knight", but I especially like character driven small films. I like the work of guys like Abel Ferrara, Darren Aronofsky, Paul Thomas Anderson. The Coens. I guess I am a fan of filmmakers who make personal films, but who also wrap them in a Roger Corman genre package. Tarantino does that, but I am not a big fan of his work over the last few years. I watch very little TV. About 1 hour a week.

 How would you describe your film education?

When I was an actor in London, I spent a lot of time in film school productions. Watched a lot of other budding directors, then I would go to all the London indie cinemas several times a week. Watched all the classics in every genre. I was there for ten years. My main film education was throwing myself into the deep end and doing it. My first movie was shot on film all over the world, and I had never even made anything. So my film school was that first movie. I am a big believer in just doing it, making mistakes, learning. Also, educating myself in EVERY area now, as you have to have a biz head too today.

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

I don't know, I don't involve myself with it. We have a Scottish funding body who fund all their favorites. Then we have a lot of moaners who complain they can't make a film, then we seem to have a new wave who are getting off their backside and shooting. Which is great. Now we have Hollywood shooting in Glasgow because of tax breaks. A lot of the films made here are still very issue drive, social realism, award agenda. I do my own thing. I was brought up with US movies and indie films, so I don't identify with the Scottish film community.

 How has social media changed the independent film industry?

It has obviously let filmmakers connect with potential audiences. I think it's a huge mistake to think we all have "fans" though. You build "fans" when you have a body of impressive work. But I think people support people. It's also helped to demystify a lot of crap. I remember when it was all a closed shop. Nobody would share their experience here because people want you to think many areas in the film industry are extremely skilled. Specialised! Well, they are not! Filmmakers sharing their experiences globally have managed to throw all that bullshit up in the air.Its also much easy to get access to casts, crews, music, locations, you name it. On my first film, the web was only a bulletin board. I am lucky enough to see when we didn't have all this technology and way to connect. I remember when it took half an hour to download a picture! My point is, people need to remind themselves we have it all here. We can do anything we want, but the key is to be great at what you do now. And driven.

What's your opinion on crowdfunding?

I have a love hate relationship with it. I don't care whether you are just asking for money on tweets, or you have all the best content you are pumping out, it still comes down to one thing, you are saturating communities with your project. You have a cap out! Which is tough when its full of campaigns.However, crowd fund has made SCREEN happen. My ideal type of crowd funding is when you get to the point you build up a community of people who like your work, and who WANT to know about your work. You then email them direct, show them your new project, and see who wants to throw in a few bucks. If you can get thousands of supporters that way, without having to saturate timelines, then that's the ideal kind of crowd funding. LIke Robert Greenwald done with his Iraq documentary. Went back to his mail list to fund the next one. I think it would be even possible to raise millions of you build a big enough fanbase over the years.

 How does independent film differ from the mainstream?

Well at one time "indie film" used to stand for something else. Quality, individual, offbeat, original etc. Now it just means EVERYBODY! So the term independent film really doesn't mean much to me anymore. There's just as many bad indie films. For me personally, my vision of indie film is a cross somewhere in the middle. Not navel gazing Sundance agenda films, but not Hollywood formula. Like I said, I like films like "The Wrestler" "The Hurt Locker", where they are indie films but they are still accessible to a lot of people. I personally want to do character driven films like I loved from the 70's.

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

Damm, I think films sets are the most boring places in the world if you are not working on them, keeping busy. Theres so many. Maybe "One Flew Over The Cuckoos Nest" I would like to be a patient that's hitting a punchbag with a stick! Or Maybe Stars Wars. I would have a big smile on my face, laughing at the crew who think Lucas who is making a pile of shit! I would tell him, "Its going to be alight George....In the first three flicks anyway! Until you get rich and fuck it all up!" Theres some movies and songs, pieces of art, pop culture, that seem as if they were destined to happen. It would be cool to be around that in a time machine. Especially when people are going, "Aww no, you can't do it this way!" "What is he doing?"

 What's your favorite movie quote and why?

Mean Streets. I fell in love with indie films after seeing this film 25 years ago. I identified with that world growing up in a rough area in Scotland, then living in rough areas in London."You don't make up for your sins in church. You do it in the streets. You do it at home. The rest is bullshit and you know it"

 What is your opinion on movie remakes and sequels?

I don't care about remakes if you are remaking movies from many years ago. They can do with an update to a new generation. Nothing wrong with that, even if the original is a classic. However, I hate remakes when say a european film was only made a year before, and they remake for an US audience. I don't like that. On a whole, I couldn't really give a shit! I see Hollywood's side. I can understand why they have to go with a project that has a ready-made fanbase if they are spending a $200m. We can make smaller original films too now, so I don't have a strong opinion about remakes. Especially when people moan,  but they go and buy the ticket for a remake!

What is your opinion on book to movie adaptions?

Again, I see why they take the option of making movies from books, because of the ready-made market. And again, I don't see why people moan that "Ohh, the movie is not the same as the book, or as good. How could it be, the movie you have in YOU'RE head is as a reader is YOU'RE movie. Your imagination. So you can't really win there.

Is there anything else you would like to add?

A little unashamed promotion here. Please check out my campaign folks! I need to complete my post production. Thanks!  http://www.indiegogo.com/screen?a=164336&i=addr

Below is a slideshow of behind the scenes pictures from "Screen"

[slideshow]

Filmmaker Katherine Brooks

Katherine Brooks ran away from her small town home in Louisiana to pursue a career in television and film when she was just 16 years old; with only 150 dollars to her name, Katherine slept in her car in the parking lot of a Hollywood motel.

Now, a decade later and with 14 years of experience in the film and television industry, Katherine has directed some of television's hottest shows and has recently finished filming her second movie, Waking Madison, in New Orleans.

Katherine's extensive list of film and television credits include three seasons of the Emmy-Award winning show "The Osbournes", the highly-acclaimed show "Newlyweds" starring Jessica Simpson, and MTV's groundbreaking "The Real World". She helmed MTV's "There and Back", the latest season of "Meet the Barkers" with Blink182 drummer Travis Barker, and directed and produced "The Simple Life" starring Paris Hilton.

Katherine moved into directing feature film several years ago, after gaining critical praise for her short films, Finding Kate and Dear Emily. Dear Emily can be seen on the compilation DVD entitled Watching You. Since then, Katherine's work has been screened at over 100 festivals around the world and she has garnered dozens of awards, including "Emerging Filmmaker Award" at the Italian Film Festival and the "Grand Jury Prize" at the Chicago Film Festival.

Katherine's first feature film, Loving Annabelle (writer/director), starring Erin Kelly, Diane Gaidry and Academy Award nominee Kevin McCarthy, made its premier at the prestigious Cinequest Film Festival in 2006, and won both the "Audience Award" and "Best Actress Award" at Outfest. Other awards for Loving Annabelle include "Best Feature Film" at Melbourne Film Festival (2006), Barcelona Film Festival (2006) and Atlanta Film Festival (2006), and the "Jury Award" at Paris Cinema Festival (2006); the film picked up six audience awards and four jury awards over the course of its six-month festival run. Loving Annabelle was released on DVD in December 2006, and soon became the number one selling film of its genre.

Katherine wrote and recently finished shooting her second feature, Waking Madison, a film which stars Sarah Roemer, Academy Award-nominee Elisabeth Shue, Will Patton, and Golden Globe-winner Frances Conroy. The film explores the journey of a young woman suffering from multiple personality disorder.

In addition to her impressive history in film and television, Katherine is a member of the Directors Guild of America (DGA). In 2007, she was a Jury Member for Samsung Fresh-Films, the largest teen filmmaking program in the USA, and was the recipient of the LACE Award for Arts and Entertainment, which honors women who have made a difference in the entertainment community.

What is the current project you are working on?

I just wrapped shooting a documentary called Face 2 Face where I traveled the country and met 50 random facebook friends.

What are the upsides and downsides to human interaction?

The upside is connecting and not feeling isolated and alone in the world. The downside is taking things personal when someone you have interacted with hurts you in some way.

How has social media changed the independent film industry?

It has allowed more people to get their work seen and allowed fans to interact more with the artist.

How do you handle rejection?

It makes me want to work harder to prove them wrong.

What does success mean to you?

living with integrity and being proud of the work I do.

How have horses helped you?

They ground me and remind me there is so much more to life than we will ever know.

Did you always want to be a filmmaker?

Yes. I used movies at a very early age to escape and to feel. My dream of making them never changed.

What inspired you to become filmmaker?

Life and film. The magic and power movies have. The power to change us and to open us to things we may have been closed off to before.

What is the best thing about being one?

Sharing your work with others and watching how it effects them.

What is the worst thing about being one?

The amount of hours you have to work.

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

As a director, around 20. As a camera person, assistant, producer.....more than 50.

Who is your favorite filmmaker?

Cameron Crowe

How has your life changed since you became a filmmaker?

I think I have always been a filmmaker, so yes and no.

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

No just means they don't understand. Never give up. Work harder than everyone else and make sure that whatever you are doing you put your entire heart and soul into it.

What do you like to do besides filmmaking?

Be in nature, travel the world and spend as much time with friends and animals as I can.

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

I worked as a trail guide on horseback, waitress, I had to dress in a chicken suit once WHICH SUCKED in the Louisiana heat.

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

American - Almost Famous, The Shawshank Redemption, Sunset Blvd., Finding Nemo

Foreign- Farewell My Concubine, Aimee and Jaguar, La Vie en Rose

TV - Kitchen Nightmares, Intervention, Hoarders

Documentaries: Stevie, Jesus Camp, Born Into Brothels

How would you describe your film education?

I quit high school and never went to film school. My education was life experiences and learning to share those experiences through moving pictures. I watch all the commentaries on every movie I watch and I also read screenplays as much as possible. I educate myself by watching those who I feel have mastered the craft and how they did it.

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

I was in Los Angeles for 17 years and I would describe that as quite horrific and competitive. I now live in New Orleans because of the tax incentives for film and also because the community or artist there is more about the work than the fame.

What's your opinion on crowdfunding?

I don't know what that is. let me google......okay, yes, well.....if you can do it, I think it's great.

How does independent film differ from the mainstream?

Mainstream is more about creating a product that you know will sell to the masses where Indie is more about telling the story the way you want and not worrying about the "product" aspect of it.

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

Sunset Blvd. for sure! What an amazing film and amazing actors. It would have been a trip watching them.

What's your favorite quote and why?

Be the change you wish to see in the world - Gandhi ---- I believe when we change the reality inside of us it reflects in the world around us. I have tested this theory and found it to be true.

Do you believe in life on other planets?

Yes

Do you ever wish you had a super power? If so, what would it be and why?

No

What is your opinion on movie remakes and sequels?

If they are good and unique, I like it. If they suck, I don't care much for them.

What is your opinion on book to movie adaptions?

Same answer as above.

Is there anything else you would like to add?

Go out and make movies!

Filmmaker Beau Batterson

Beau Batterson is an independent filmmaker out of Waterloo, IA.  After graduating from Full Sail in 2005, he's spent the last six years working in various aspects of film and video production.  His latest project, 'BOO!', is a spooky children's tale about three trick 'r' treaters who stumble upon a haunted house one Halloween night.  The writer and producer of the award-winning film, Batterson is currently fundraising at indiegogo.com/BOOmovie to raise more capital for festival entry fees.

What is the current project you are working on?

Right now I’m working hard on raising funds for BOO! to be seen in more festivals.  BOO! is the kind of movie I liked when I was a kid, it’s weird and spooky but enjoyable for the whole family.  As of now, it’s only been screened at the Cedar Rapids Independent Film Festival, and it won the Gold Eddy for a Student Short Form.  Once we end our fundraising campaign on Halloween night, we’ll start submitting to more festivals.

How do you handle rejection?

Rejection is always tough, especially for an independent filmmaker.  When your budget is next to nothing, you end up wearing a lot of different hats.  With BOO! first and foremost I’m the writer and producer, but I’m also the editor, the unit production manager, first assistant director, second assistant director, craft services, transpo, hotel, etc.  When you’re that invested, and your film gets rejected, it’s hard to not take it personally.  But you have to find a way to say “this is why this happened, and this is what I’ve learned from it.”

Did you always want to be a filmmaker?

Somewhere there is a video from 1989, when my dad bought our first video camera, of a four-year-old Beau in He-Man pajamas telling him we need to make a movie.  I have always wanted to be a filmmaker.

What inspired you to become filmmaker?

The earliest memory of realizing that films were made, and didn’t just exist, was watching some behind the scenes footage from ‘Who Framed Roger Rabbit.’ There was Bob Hoskins interacting with floating guns and hand-cuffs and what have you, but the final product had him wrestling with Roger and hiding him from the weasels.  That was when I discovered “movie magic,” and I’ve been inspired ever since.

What is the best thing about being one?

The best part of being a filmmaker, which also produces the most anxiety, is watching your final product with an audience.  Especially an audience that has no other investment in the film other than they want to be entertained.  You can show your film to your friends and family, and they’ll laugh or jump and tell you its great, but there’s nothing like watching complete strangers react, and react appropriately, to your work.  It’s amazing.

What is the worst thing about being one?

Money.  Money is always the hardest part, especially for an independent filmmaker.  Working multiple jobs trying to support your family while keeping your dream alive.  It’s not easy.

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

My IMDb page only lists about six different projects, but really I’ve done so many films both in school and more professional stuff that I've lost count.  I’ve done everything from feature films to shorts, music videos, documentaries, ghost hunts, weddings and funerals.  And in probably every department.

Who is your favorite filmmaker?

Usually my favorite filmmaker depends on the day.  Any filmmaker willing to take a risk is my favorite filmmaker.

How has your life changed since you became a filmmaker?

Life probably would have been easier had I chosen a more stable career.  I do a lot of freelance film work, and there are times when I’ll have multiple projects piling up, and then I won’t have anything for months at a time.  Had I chosen to be something like a bank teller, where I knew my hours for the week, knew where and when I would be, knew where my next paycheck was coming from, life would be just dandy.  But I wouldn’t be happy.

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

It’s a lot of work and a lot of sacrifice.  You’ll have to work when the work comes, which means you might have to miss some things.  Weddings, birthdays, etc.  It’s long days, weird hours, and only other filmmakers will understand why you do it.  But if you can surround yourself with people that support you, you’ll be alright.

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

Probably the best job I had before becoming a filmmaker was working at my hometown movie theater.  I was seventeen, working with some of my best friends, getting paid next to nothing.  But I got to see all the movies for free, which is really all I wanted.  Also, free popcorn.

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

My tastes in things are a little everywhere.  I think Pixar currently makes the best films, not just animated films. Kind of like we strived for with BOO!, Pixar just makes great movies, not just movies for kids or movies for animation fans.  But I also love Japanese horror.  Probably because they’re not afraid to alienate the lowest common denominator by being too bizarre.

How would you describe your film education?

Formally, I went to Full Sail in Winter Park, FL where I received my Associate Degree in Film and Video Production.  It was a great time, I had some great experiences, and met a lot of great people.  In addition to that, I’ve learned so much by being on sets and working with other filmmakers like BOO!’s director Adam Orton.

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

The Iowa film scene at the moment is pretty rough.  For a while, it was thriving.  We had a big state tax incentive that allowed lots of films to be produced in the state.  However, it was poorly managed, and resulted in numerous shady production companies milking the state for millions of dollars.  After that, the program was scrapped, and now all the films are going to either Michigan or Louisiana.

How has social media changed the independent film industry?

Social Media has been the best thing to happen for no-budget films.  With Facebook and Twitter, you can promote your film to so many more people than you could have ten, even five years ago.  With social media, we’ve been able to promote our IndieGoGo campaign to hundreds of people, and have raised half our targeted funds in just two weeks.  We have six more weeks to go.

What's your opinion on crowdfunding?

My experience with crowdfunding has been great so far.  We’re attempting to raise a relatively small amount, only $600, and mainly from friends and family.  IndieGoGo has allowed us ways to get the word out about BOO!, gave us a means to collect the money, and do it all from the convenience of a computer.  The downside of this is they take a percentage.  A fairly small percentage, but its still money that could be used for our film.

How does independent film differ from the mainstream?

Independent film allows filmmakers to take chances.  It allows films to get made that are a little out-of-the-box, that maybe don’t appeal to the lowest common denominator.  Mainstream movies have to appeal to everyone.  It’s why love stories and comedic relief are shoe-horned into action movies made to sell toys.  Don’t get me wrong, there is a place for those movies, but independent film is where art gets made.

 

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

There a couple of different movies from the late eighties I would have loved have been around, but as a kid.  I’ve always wanted to dodge the train from Stand by Me.  I would have loved to be a Goonie.  I would have killed to be in the Monster Squad.  And it would have blown my mind to be The Navigator.

What's your favorite movie quote and why?

“To infinity and beyond!”  I know I’ve already disclosed by love for Pixar, but that line is just a powerful statement about film and animation.  There is no place we can’t go, there is nothing we can’t do, and if we work hard and keep dreaming, we can get there.

Do you believe in life on other planets?

There has to be life on other planets.  It would be naïve of us to think that in the vastness of the universe, that Earth is the only planet with intelligent life on it.

What is your opinion on movie remakes and sequels?

I’m all for a sequel if there’s more stories to be told.  I firmly believe that Indiana Jones had more adventures in him after Raiders of the Lost Ark.  But his story was tied up, and The Last Crusade should’ve been his last crusade.  Remakes are fine because they bring old stories to new audiences, and some movies deserve to be remade.  True Grit is a great old movie that more people are aware of now that has been remade.  But A Nightmare on Elm Street is just as scary as it was in 1984, and it didn’t need terrible CGI.

Is there anything else you would like to add?

Support independent film, and support local film.  One of the best ways you can do this is by going to an actual video store, especially independently owned ones, and renting a movie.  Forget Netflix, forget Redbox.  Those things are killing independent film.  Or, if you want a more specific way to support independent film, go to indiegogo.com/BOOmovie and support our film!  Even donations as little as $5 are greatly appreciated.

Thanks for doing  the interview Beau. I'll help spread the word about "Boo" I hope to see your film at a festival in Boston.

Actress Andrea Shreeman

Andrea began acting professionally at age 15 in summer stock theater at Mill Mountain Playhouse in Roanoke, Virginia. She was a founding member of No Time, a sketch troupe still performing on the campus of George Washington University (now under the name Recess). She made over 75 appearances as various characters with The Standard Deviants, an educational comedy team currently airing on PBS.  Andrea has written and performed 7 one-person shows including Bambi’s Box which received glowing media notice and a win at 15 Minutes of Fem. She appeared on the second run of Comedy Central’s Make Me Laugh alongside comedians Scott Larose and Rick Overton. In 2008 she served as Director of Fundraising on the Sundance Award-Winning Documentary, Fuel.

Andrea co-wrote the feature film, It's a Good Day to Die, with Actor/Writer Gregor Collins. She posts a new 10 minute audio blog each week about the experience of self-producing her film at:http://bit.ly/10mintues.

Andrea holds an MFA in Acting from USC, has studied extensively with acting coach Larry Moss and is a Writers Boot Camp graduate. She tweets under the handle @fearlessactress.

What is the current project you are working on?

Putting together my first feature film, It's a Good Day to Die.

Did you always want to be an actress?

Yes.

What inspired you to become an actress?

The need for attention. Then, Saturday Night Live and 70's films that were rooted in story and character (before they had explosions) like The Champ and Kramer vs. Kramer. Then, Lily Tomlin.

What is the worst thing about being one?

Intense competition, frequent rejection and the very odd balance of being the audience's most valued part of a project and the producers' least valued part of the project.

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

75

Who is is your favorite filmmaker?

Hal Ashby

How has your life changed since you became an actress?

Well, I've always been an actress so perhaps the question is, how has being an actress changed my life...

What do you like to do besides acting?

Yoga. Travel. Drink. That last one is a joke.

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

Relationships. Make friends. Help them out. Get involved and stay in touch.

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

Butch Cassidy and the Sundance Kid, The Royal Tannenbaums, Kick Ass

Foreign: I'm not well versed but The Diving Bell and the Butterfly was devastatingly wonderful.

TV: Once you see "The Wire" you will know that no other TV show has ever been as good.

Have you had any other jobs before you decided to become an actress?

No. My first professional job was as an actress in theater. I remember in second grade when they asked us to come dressed as the job we wanted to be, I dressed as an OBGYN. Another girl dressed as a hooker, I remember her orange boots. It is my hope that she also found another viable choice of professions along the way.

How would you describe your film education?

Privileged.  Fresh out of grad school I was hired by Renee Taylor and Joe Bologna as their personal assistant.  I typed all of their scripts as they created them.  They hired me as "assistant to the directors" on a feature film, put me in that film and that got me my SAG card.  I worked lots of different positions on shorts and features over the years, including casting and art department.  I also produced a friend's 18 minute directing debut which won lots of awards.  And I worked as Director of Fundraising on FUEL which won Sundance in 2008.  That was an amazing experience because the film was 85% finished when I came on board, it was a masterpiece in the making and raised $ by itself.  I went with FUEL for the full 2 week Sundance experience, behind the scenes.  That was invaluable training!

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

I live on planet earth. Everyone has a camera and a Youtube channel. In Los Angeles, I would describe the film scene as "bifurcated" - it includes those who are in the industry, and those who are trying to get in the industry.

What is the casting process like?

Repetitious. The most important thing is to stay present. To stay in your body and to own the room. To me, the thing that makes this work most, is to let my character lead. That way, it’s not about me, it’s about the art


What's your favorite quote and why?

My favorite quote of all time is a quote from my dad. He used to say very often, "Andy, don't be a dick."

It's good advice all around.

Do you believe in life on other planets?

Yes. Frankly, I'm tired of the human/American self-centered point of view. Everything is alive and everything has an intelligence. Animals are as smart as we are, many, smarter. If they weren't, they'd all be extinct by now seeing as it seems to be our mission to destroy everything non-human, including the environment. I'm pretty resentful about being alive at one of the stupidest times/places in human history. But I'll keep living and creating in the hope that my participation will eventually matter enough to make a dent in our stupidity.

Do you ever wish you had a super power? If so, what would it be and why?

No, but maybe I should. My super-power would be to ignore all judgment, including my own.

What is your opinion on movie remakes and sequels?

Seriously, why are you pushing my buttons?

What is your opinion on book to movie adaptions?

Almost always a winner.

Is there anything else you would like to add?

Making movies is a gargantuan task. I'm grateful for the indie community that I've connected with on Twitter who supports one another and helps get the word out. There are a lot of resources out there, but the best resource is YOU. As the goddess Nike said, "Just Do It!"

Thanks for doing the interview Andrea. I like your  audio blog. It's concise and informative. Keep me posted on the progress of your film  It's a Good Day to Die.

Filmmaker Justin McConnell

For over 10 years, Justin McConnell has run his media production and development company, Unstable Ground, Inc., out of Toronto, Ontario. As a swiss‐ knife production solution, Justin is a highly experienced writer/director, editor, compositor/broadcast designer, camera operator and producer.

Justin splits his time between three faces of his company – as a producer/director of feature films and home entertainment (The Collapsed, Working Class Rock Star, Skull World, The Eternal), in providing a growing list of high profile clients with every production solution available (Anchor Bay Entertainment, Universal, Warner, Rhino Records, Mindpress), and as a producer of recorded live entertainment, DVDs and music videos (Oceano, Kataklysm, Necrophagist, Dog Fashion Disco, etc.).

With over 8 years of intensive camera operation experience, Justin has been involved in productions on 4 continents (with shoots in Russia, China, Australia and North America), and has a dynamic “do anything to get the shot” attitude. His high‐ energy style, technical knowledge and keen eye for the cinem production value to everything he works on.

With a flexible and intuitive attitude toward all his work, Justin has built a reputation for delivering high quality production/post to fit any experience and available crew to meet any demand. Follow  Justin on Twitter @UnstableGround.

What is the current project you are working on?

I'm working on four at the moment. The first is THE COLLAPSED (www.thecollapsed.com), which we're finishing up special features for the release, and touring at festivals. Secondly, SKULL WORLD (www.skullworldmovie.com), a feature-length documentary I currently have in post-production. Third, ramping up development of our feature THE ETERNAL (www.theeternalmovie.com), targeting production to finally happen in Spring 2012. Finally, I'm in early development on a fairly notable horror series, but can't say more about that. It's one of those things that may end up happening, or may not, but still takes a sizable amount of time out of the schedule. Also, a bunch of client work with my company Unstable Ground (www.unstableground.net)

How do you handle rejection?

In what way? Festivals, fans, emotionally? It's an odd question. Sometimes festival programming doesn't make a lot of sense, but you take it all in stride. I have a fairly good sense of my work, and it's value as a whole with a given festival/crowd. Knowing your audience/programmer ahead of time can help prepare for the inevitable 'no' or dismissal. You just learn to let it roll off the cuff, and focus on the festivals and audiences that do want to see your work. With THE COLLAPSED, being our first narrative film of any notoriety, and the state of the current festival scene (lots of fests are now dumping grounds for those middle budget, but still huge features that used to have guaranteed releases), I feel very fortunate for the festivals and theatrical play we did get. The film is tiny. Our next one will be bigger and more of an accessible 'crowd-pleaser', so should be more of a lock with the audiences that may have passed us the first time around.

Did you always want to be a filmmaker?

No. I'm sure when I was a kid I wanted to be an astronaut, contract killer, firefighter, Scorpion from Mortal Kombat, a cyborg, and leader of a world-class top secret military installation involved in international espionage. Up until I was 14 I kind of wanted to be a Criminologist. But I think film was always there, hovering behind my head, waiting to pounce. Starting back when my dad used to show me movies like 'Monster Squad' and 'Critters', then later sneak me flicks like 'Alien', 'Creepers (aka Phenomena) and 'Predator', it was hard not to get the taste for it. At around 15 it all changed - I dove headfirst into cinema, and horror, never looking back.

 What inspired you to become filmmaker?

I think I covered that in the last question. My dad lit the fuse, I carried the bomb the rest of the way. I'm still waiting for it to go off the way I imagined, but I'll get there.

 What is the best thing about being one?

There are a lot of perks that raise up throughout your career, depending upon how open you are to new experiences, and how adventurous you decide to be. I'm kind of a jack of all trades - editor, shooter, director, writer, producer, post supervisor, broadcast design, graphic design. Because of this, I've been able to survive decently (though sometimes less so) from what is basically an artwork and medium I love, and that's something I don't think I could even quantify. My work has also had me travel the world a fair bit before turning 30 (which at the time of writing, is in three weeks). Film/media has brought me to Russia, China, Germany, Australia and all over North America. It's broadened my horizons, and even when it's at it's worst, it's still the only thing I want to do. That, and the great people you meet through your career. I can count many of my colleagues as my closest friends as well, and wouldn't trade that for anything.

 What is the worst thing about being one?

Everything else. People will complain about so many things in this business, and most of the time, they're justified. Between the asshole-shark sales agents swimming the distribution channels, waiting for young filmmakers to chum the water with their naivite (not all of them are like this - my current sales agents at Raven Banner are great), to the dwindling money on every level of the game. It's the wild west out there now - everybody is making far less money all the way down the line, and on the independent scene, things are beyond tough. Films are selling at a fraction of their original MGs (minimum guarantees), or no money at all. People are investing hard earned cash to see zero return in a market that 10 years ago was flourishing. There is a way through, but the old formulas are no longer working, and original ideas are far more risky than rehashed, tested product. It'll be interesting to see where it all goes.

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

I don't think I could come up with an accurate list. From the tiniest promo video to features, I'm always working. I could probably safely say hundreds. As for actual film work that I've directed/written/produced, I think it's 2 narrative features, 2 documentary features, 5 short films, and about 20 music videos. Plus 7 un-produced screenplays at this point, 2 of which are in active develpment. But that doesn't include anything I worked post on, or worked on in some other capacity.... or any number of commericals, docs, etc. that my name isn't even officially on. I work freelance, and it never stops.

 Who is your favorite filmmaker?

I can't pick one. There's DNA strands from countless in my work, and picking one would do a disservice to scores of others. I can give a short list, which will be in no way comprehensive: John Carpenter, Frank Henenlotter, Guillermo Del Toro, Dario Argento, Wes Craven, Larry Cohen, Adam Mason, Christopher Nolan, Sam Peckinpah, Christopher Smith, Neil Marshall, James Gunn, George A. Romero, Fred Dekkar, The Coen Brothers, Peter Jackson, James Cameron, Sam Raimi, Alejandro Jodorowsky, Joss Whedon, Spielberg, William Friedkin, Bobcat Goldthwait, Jan Svankmajer, Robert Rodriguez, Takashi Miike, Ryuhei Kitamura, Don Coscarelli, Xavier Gens, David Cronenberg, Chan-wook Park, Jee-woon Kim, David Lynch, Paul Schrader, Martin Scorsese, Stuart Gordon (and Brian Yuzna), Michale Soavi..... see? And I'm not even halfway done. We don't want to be here all day.

 How has your life changed since you became a filmmaker?

Well, if you want to be in any way successful, film kind of has to become your life. After enough time, it's the world you live in. I'm lucky enough to have seen my career truly build, and you start to notice the little things that come along with that. Screenings, networking, contacts that you never thought you'd have. If the 15 year old me were to look through my cell's contact book at the moment, I'd probably have a heart attack (though that would probably be more from seeing an iPhone in 1996). Just getting to meet the legends and artists you grew up absorbing, and talking to them on a level plane, is kind of mind-blowing. And this is still early days.

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

Close your eyes. Picture yourself 10 years in the future. In this hypothetical future, you are living in a shitty one-bedroom apartment, have a few semi-noticeable projects under your belt, and people are starting to take notice. But you're broke, behind on rent, hugely in debt, and it'll be months or perhaps years before you see any real money from your endeavors. You've spent most of your time trying to reach your goal, and do at least one thing for your career every day. You cancel plans with friends to stay in and work, balancing multiple projects at once, trying to meet more than one deadline. You have emails coming in from many different people, each of them wanting you to make them the priority, and you have a mountain of work ahead of you. Now open your eyes. Did you just picture a dream or a nightmare? That's indie filmmaking. You better have thick skin, and be prepared to work at it for years, to strive to be the best at all times, and to never cease. If that sounds like too much work, and if you think you're on the road to quick riches, then give up now. Go be a doctor, lawyer, prostitute or bartender. You'll make more money. And as a prostitute, at least you'll be able to tell who is fucking you.

What do you like to do besides filmmaking?

I write a fair bit, but I guess that ties into the main career. As, I'd assume, would watching movies, or even playing video games for that matter. I read a lot. I've taken up Box Wars since shooting a documentary on the Canadian chapter leader Greg Sommer/Skull Man. I used to play in a band, until I badly injured my wrist. I run a short film festival here in Toronto (Little Terrors, co-promoted by Rue Morgue Magazine). But, when all is said and done, despite anything I do outside the umbrella, film is my life.

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

I've had a ton of jobs earlier on, while I was also working at being a filmmaker. You don't ever become one. You either are, or you aren't. I've been a fine dining waiter, bartender, hotel porter, short order cook, Subway sandwich artist, department store employee, video store clerk (naturally), computer technical repair advisor, range safety officer, Army Cadet instructor and teacher (though that was teaching film, at Trebas Institute).

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

We already crossed this bridge with the director question right? I could go on for days listing that. Part of my job I consider to be 'research', which means I watch anything that even remotely appeals to me.... which turns out is a lot. I've seen every notable British TV show under the sun (favorites are 'Ideal', 'The Inbetweeners', and... yeah, could on for ages).... I'd have to say take a look at my director's list, and go from there. I can say what my most influential films are though. 'Monster Squad' for introducing me to the love of the monster movie, and 'In the Mouth of Madness' and 'Wes Craven's New Nightmare' for getting me interested in messing with narrative structure and atmosphere. There is so much great film in the world, and the only way to discover it is to obsessively research, and track it down.

 How would you describe your film education?

Mixed. I actually learned far more outside of school than I ever did enrolled in college or university. I spent exactly 6 weeks in classes at York University's film program before the TAs went on strike, so dropped out and took my money elsewhere. Then I ended up at the Trebas Institute, which was alright. Film schools are really good for pointing you in the right direction, but it's up to you as an individual to follow the path to the end. It was being thrown right into the fire cutting commercials for Universal Music, Warner Music, etc. that I learned, and fast. I had to, or I would have lost my job.

What is the casting process like? 

That all depends on the project. Generally for us so far it's been very fast, since we just don't have the money or time to do the whole "days of casting plus callbacks" thing. On THE COLLAPSED we did 3 days worth of casting, then selected the best of who came out to audition. On a larger project you take more time. When dealing with already established actors you generally have to approach their agents with a 'pay or play' offer before they'll even consider the project. Sometimes you get lucky and can get through to 'talent' directly, but that's rare.

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

A powder-keg waiting to explode. In the last two years, the following indie genre films were produced/are upcoming in Southern Ontario (to the best of my recollection): Monster Brawl, Exit Humanity, Neverlost, In The House of Flies, If A Tree Falls, Vs The Dead, Devil's Night, Android Re-Enactment, Abolition, A Little Bit Zombie, Dead Genesis, Medium Raw: Night of the Wolf, The Last Temptation of Rosalind Leigh, and of course our own film, The Collapsed. The common thread through almost every single one of these titles is that they were made independent of government money. There's a groundswell of genre production going on here unseen since the early days of Cronenberg and Bob Clark. It's very cool to be a part of it.

 How has social media changed the independent film industry?

It opened everything up. The studios are now competing for fans right alongside indies that have a fraction or no marketing budget. With the right idea, the right placement, and the right timing, Twitter, Youtube and Facebook could turn you into an 'overnight sensation'. The possibility of exposure and the avenues of pursuing it are broader than ever before. Not only that, but filmmakers can connect directly with fans on a level never before seen. Just look at social media friendly directors like James Gunn - his web persona has given him a Grateful Dead style following that his films alone would only hint at. The fact that his films are also great is just a bonus.

What's your opinion on crowdfunding?

It's a great idea in theory, and it has worked in practice, but only for those people with projects worth funding. It's great for people that already have an established fanbase, and it's cool that it launches a bunch of smaller scale projects, but it doesn't work for everyone. Personally, the idea that I have go out and mail a bunch of prize packs to people every time they give me $10 is a bit of a pain in the ass, as well. Doesn't mean I won't embrace it in the future, but I'd rather just produce and finance through traditional means, whenever possible. It is the way of the future, and sort of leads to a true entertainment democracy, but for now, it's not really my bag.

 How does independent film differ from the mainstream?

Less checks and balances. Usually far less people giving their 'two cents' on the finished product. Although originality and groundbreaking cinema is possible in the mainstream, the lions-share of truly revolutionary cinema will always come from the independents. Those that don't have anything to lose, and nobody to really answer to, will always feel the benefit of having their hands free to do something different. With the mainstream, those films aren't just the director's product - they're basically being co-directed by a room full of suits giving constant studio notes. It can strangle the life out of the creative process, causing a script to have to fit a number of beats and elements that are shoehorned in to meet a particular formula. 'Saw' and 'Insidious' writer Leigh Whannell wrote a great article on his blog about that, while he was writing and making 'Dead Silence'. I think the independent stays truer to the artform as a whole, and mainstream is more of a carefully designed product: test screenings are the prototype phase.

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

Rocco Never Dies - The End..... I mean, tough question. My answer is actually something newer, and basically mainstream, but I would have loved to have been on set. 'Hellboy 2', particularly the 'Troll Market' sequence. Del Toro's flick is so filled with insane images straight out of my childhood dreams, I would have just loved to be in that environment. I'm an unashamed lover of monsters and creatures (another thing I get from my dad), and that set was just monster utopia. That or the Midian sets on 'Nightbreed'. It's weird, I want to go back with some kind of film geek answer, some all important art film... but forget it. I love my monsters.

 What's your favorite movie quote and why?

Either from 'In The Mouth of Madness': "Reality is just what we tell eachother it is. Sane or insane could easily switch places... if the insane were to become the majority, you would find yourself locked in a padded cell, wondering what happened to the world.".... or from a book, 'John Dies at The End': "The greatest trick the Devil ever pulled was convincing the world there was only one of him."

Do you believe in life on other planets?

Yes, but I'm not sure I fully believe in the traditional notion of aliens, the abductions and stuff like that. We'd be stupid to think we were alone... I just think a highly advanced species capable of inter-stellar travel would have better things to do than probe the human rectum, light our cows on fire, or make circles in our crops. Though, that could just be them getting bored. They did find arsenic-based life in that lake in California last year, so that was pretty interesting, to put it lightly. And what about the notion of life on our planet, out of phase with us? Of innerspace? The idea that reality isn't vast, it's thick, world's stacked on worlds. String theory, endless possibility. I guess the point is, I'm open to anything, I'm just not sure I fully buy the popular myths.

Do you ever wish you had a super power? If so, what would it be and why?

I kind of wish I had super metabolism. Otherwise, I'm happy being a lowly human. Besides, they only talk about the successful superhero accidents. Nobody talks about the guy who ends up with Hummingbird Pelvis or the ability to stop time, but only while defecating. I'd probably end up trying for invisibility or super strength, and end up with something useless.

 What is your opinion on movie remakes and sequels?

They have their place, but are over-saturating the market right now. Everything is a remake or sequel or adaption of some vague property that made a couple of bucks 20 years ago. Some of the remakes boggle the mind too - we don't really need a remake of The Thing, or Straw Dogs, or Evil Dead. There's no real point, the originals still hold up. There are some films that could be redone and still be good, but they are few and far between. It's getting kind of ridiculous. Battleship? Yeah.... I have a feeling Hungry Hungry Hippos is just around the corner. Though, to be honest, if treated as a horror movie, it could be effective: hippo's are the deadly, dangerous asshole of the animal kingdom (another thing not many talk about).

What is your opinion on book to movie adaptions?

Books are a great source to adapt to a film. I find myself far more excited by book adaptions than remakes or sequels. I awaited the release of the 'Watchmen' movie like a 12 year old kid. I'm very much looking forward to Don Coscarelli's take on 'John Dies at the End'. There are a couple of Dean Koontz novel's I read when I was a kid that I'd love to see as movies (specifically, 'Darkfall'). I got really excited by the prospect of a 'Dark Tower' series of films, lost my excitement, and now it seems the project is dead. When Del Toro finally gets his chance to make Lovecraft's 'At the Mountains of Madness', I'll be there opening day. Books excite me, and I read so many that would make fantastic films.

Is there anything else you would like to add?

Not really, this was a lot of questions. Like usual, I've gone longwinded enough. I'm just thankful for all the support and interest so far, and promise to keep working to bring film's I'd want to see to the general public as a whole.

Graphic Novelist Al Davision

Al Davision was born in 1960 with severe Spina – Bifida. He survived 21 operations by the time he was 8 years old, and 5 murder attempts by his father.  Drawing and his art kept Al sane during those tough times. Al holds a 5th degree black sash in Dian QI Tao Gung Fu and a 1st degree black belt in Karate-Do-Shotokai. He married Maggie and they moved to Coventry and opened up “The Astral Gypsy”. “The Astral Gypsy” is a book shop and illustration studio. For more information on Al and “The Astral Gypsy” visit
 http://www.astralgypsy.com/

What is the current project you are working on?

There are two, first: Blood-Light. It’s written by Alexander Finbow and lettered by Todd Klein. The story is set during the English Civil War, kind of a ‘Oliver Cromwell meets True Blood.’ This is being published by Renegade Arts Entertainment next year. http://www.renegadeartsentertainment.com/_blog/News/post/Blood_Light_graphic_novel_moves_into_production/

The second project is my own self-published graphic novel The Alchemist’s Easel: A Rough Guide to Drawing the Unconscious.’ This is part autobiography dealing with a bout of temporary blindness I experienced, part dream diary, and part ‘how to draw book’, that explores the drawing techniques that grew out of my experience of being blind. I’m funding the limited edition hard back of this through Indigogo a fantastic funding platform. People can contribute to your campaign, and get ‘perks’, anything from a sketch, or copy of the book, to original art depending on the level of contribution. As of this writing, we are about a third of the way there.

What inspired you to become create your graphic novels?

Drawing comics was my first form of communication. I spent a lot of my childhood in hospital as I was born with Spina – Bifida. I was drawing comics to communicate with nurses in hospital before I learned to talk, and before I even knew that there were such things as comics.

What is the best thing about creating a graphic novel?

Freedom to create whatever you want in the case of your own work. When working on someone else’s project it’s bringing their vision to life as best you can.

What is the worst thing about creating one?

In terms of self publishing it has to be formatting the book for the printer, always a hard slog. On other peoples projects, it’s probably the lack of editorial control you have.

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

I’ve lost count, I’ve been doing this for over thirty years!

Who is your favorite graphic novelist?

Impossible to reduce it to just one: Neil Gaiman, Alan Moore, Jiro Tanaguchi, Moebious, Katsuhiro Otomo, Bryan Talbot, Edmond Baudoin, Alex Toth, Melinda Gebbie, Will Eisner, Jack Kirby, Jill Thompson, Mike Carey… the list goes on.

How has your life changed since you created your graphic novels?

Hard to say since I’ve been doing it most of my life… but being an artist, a writer isn’t something I decided I’d like to do, it’s something I have to do.

What is one piece of advice you can give to someone who also wants to make it as a graphic novelist?

Have something to say, practice saying it all the time, work hard, and develop the confidence to sell yourself, promote your skills, but make sure those skills are the best they can be at any given time. Never think you are ‘there’ you can always improve, develop a hunger to keep improving.

What do you like to do besides creating graphic novels?

I love films, watching them, and making them. I have been practicing Martial Arts for over thirty years and hold a fifth degree black sash in Diang-Qi-Tao gung-fu. You can see a demo here:http://www.youtube.com/watch?v=IQc1tD-30Js I translate this experience into fight choreography for theatre and my film projects. I read as much as I can and listen to music all the time.

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

It’s always been comics or graphic novels in one form or another.

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

Off the top of my head:

TV: The Wire, Fringe, Spiral (French), Wallander, (the original swedish version) The Killing, (the original Danish version) Doctor who, Torchwood. Criminal Minds, Nikita, (new series) Fallen Skies, Battlestar Gallactica, (new series) Caprica, Walking Dead, X-Files, True Blood, amongst many others.

Films: Kagamusha, Enter the Dragon, Citizen Kane, Memories of Murder, Mother, Hannah, Ong Bak trilogy, Cat People, (original) Throne of Blood, The Matrix, Doctor Strangelove, The Bride with white hair, Sands of Time, Akira, Ghost in the Shell, Perfect Blue. amongst many others.

How would you describe your education as a writer?

Self taught.

How would you describe the creative “scene” where you live?

Great indi-film scene in my town, less so for comics.

How has social media changed your industry?

From a marketing point of view, dramatically!

What’s your opinion on crowdfunding?

Well, I’m new to the concept, but so far my first campaign on Indigogo is going well, and I think it’s an intriguing approach to getting your project out there. I’m receiving lots of positive feedback from contributors and it’s building an audience for my work. I haven’t discovered a down-side to it so far.

How does independent film differ from the mainstream?

I think the difference used to be clearer, budget and creative control, the line blurs these days, I have a hard time thinking of ‘The King’s Speach’, as an indi film, but thats how it’s described.

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

Not so much a graphic novel, but I’d have loved to be there when George Herriman came up with, and began working on Krazy Kat.

What’s your favorite super hero quote and why?

I apologise if I’m mis-quoting this, it was from Black Panther: Jungle action by Don McGregor and Billy Graham, a conversation between Tchalla (The Black Panther) and his wife: ‘Lovers don’t need critics’, and in reply ‘Critics don’t need lovers.’

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

To ask for any more would just be greedy.

What is your opinion on movie remakes/sequels?

Some I can’t see the point of: ‘Psycho’ for example, but then again the recent remake of True Grit was a big improvement, and to be fair, they did go go back to the novel rather than just remake the first movie. Generally they suggest a lack of ideas, but not always. I do however dislike the trend of remaking foreign language films instead of giving the originals a wider release in the first place: The Ring, The Grudge, Let the right one in, being obvious examples. As for sequels, same thing, some are pointless, or just bad, others are better than the originals. I’d like to see sequels to classic stories, something different, rather than just an attempt to cash in on a success. I think a sequel to the recent version of Jane eyre could be very interesting.

What is your opinion on graphic novel to movie adaptions?

Graphic novels should be accepted as a medium in their own right not just as fodder for movies. If you are adapting then I’d like to see more non-superhero graphic novels adapted, like Road to Perdition, a history of Violence, Ghost World and American Splendour. As for the Superhero genre, I think Captain America is the most successful of the recent bunch.

Do you believe in life on other planets?

I recently watched a series by Brian Cox called Wonders of the Universe, and that just reinforced my view that the odd’s of Earth being the only planet with life in the universe(s) is miniscule.

Is there anything else you would like to add?

Thanks to everyone supporting my Indigogo campaign (http://www.indiegogo.com/The-Alchemists-Easel), and good luck to all the other creative folks out there pushing the envelope, and oh yeah, I’m not a royalist, but if we have to have a queen why can’t it be Amanda Palmer?

Author Genevieve Valentine

Genevieve Valentine’s fiction has appeared or is forthcoming in Clarkesworld, Strange Horizons, Journal of Mythic Arts, Fantasy Magazine, Lightspeed, and Apex, and in the anthologies Federations, The Living Dead 2, The Way of the Wizard, Running with the Pack, Teeth, and more.

Her nonfiction has appeared in Lightspeed, Tor.com, and Fantasy Magazine, and she is the co-author of Geek Wisdom (out in Summer 2011 from Quirk Books).

Her first novel, Mechanique: A Tale of the Circus Tresaulti, is forthcoming from Prime Books in May 2011. You can learn more about it at the Circus Tresualti website.

What is the current project you are working on?

At the moment I'm playing around with expanding the world of my short "The Nearest Thing", which I feel is a story with more to tell.

How do you handle rejection?

I cry violently, print out and make several photocopies of the rejection, and burn them one at a time in a ceremonial cistern while drinking orange juice straight from the carton. Or, accept it as part of the process and keep going, but the first one sounds better.

Did you always want to be a novelist?

I always wanted to be a storyteller, for sure; novels and short stories are a good medium for storytellers who like to stay inside and work alone.

What is the best thing about being one?

Staying inside and working alone.

What is the worst thing about being one?

The horror of the blank page, when you believe the book could be perfect so long as you don't actually start anything.

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

Professionally, I've written about forty short stories and several novels, including my first published novel, Mechanique [http://www.circus-tresaulti.com]. If we count all those X-Files spec scripts and Star Trek tie-in novels I wrote in high school, the number of projects gets closer to about eight hundred thousand.

How has your life changed since you became a novelist?

I get paid slightly more for my crippling self-doubt than I did before I was published.

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

Learn how to deal with crippling self-doubt.

What do you like to do besides writing books?

Way back in the mists of time, I enjoyed Argentine tango, but that's a pastime that requires serious upkeep, and it's fallen by the wayside in the last year or two. However, I have an obsession with movies and TV (always have), and really good movies and really awful movies each have equal appeal, even if for different reasons. Rare is the night when I don't want to watch a movie or four.

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

Yes, and I still do! I think quite a few writers have a day job that actually pays their bills. I've temped for film studios, worked in event planning, managed the take-out counter at a restaurant, among other things.

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

This week? (I'm just saying, this is a list that changes with the tides.)

Old and new favorites include The Warriors, The Deep End, the original Prime Suspect (let's not talk about the American remake), Blood and Sand, Homicide: Life on the Street, Downton Abbey, Soapdish, Galaxy Quest, and sometimes Besieged.




What is your writing process like?

It depends on the piece and what I want out of it. I tend to set aside interesting pieces of information and come back to them later if I think there's a story idea, but I've also sat down with a character or a single line of dialogue or a particular image and started from nothing.

I tend not to outline very much on the first draft, which means that there's a lot of outlining and fixes in the second draft. Someday I hope this pattern will self-correct, but I've been waiting a long, long time.

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

Well, I'm lucky enough to live in New York, so the literary scene is plentiful. Like most subcultures, it can sometimes look a little bit like a high school and the various cliques that come with it, but for the most part I think it's one of those subcultures that has something for everyone, and even if it doesn't, you're already in New York and there are ten great restaurants in a three-block radius where you can soothe your sorrows.

How has social media changed the publishing industry?

Vastly. It's put authors front and center with readers, booksellers, and publishers - which is great for some authors, and daunting for others.  However, like any tool, it's only as useful as you make it, and the prevalence and popularity of social media in the publishing industry means that a blog post can start a movement, or a hasty Tweet can sink a book deal. I participate in some aspects of social media (I have a Twitter and a Facebook and the rest), and I enjoy it, but it all moves so fast and does so much that I've gotten used to feeling a little behind the times.

What's your opinion on crowdfunding?

It's definitely an interesting venue for artists and audiences to interact directly, but not having had a lot of experience with it either way, I'd have to withhold any really blistering opinion until I know it better.

How does independent film differ from the mainstream?

Man, that's a loaded question! I'd venture to say that, in general, an independent film has the opportunity to be a more cohesive artistic endeavor, because there's less direct studio involvement, and, presumably, fewer rounds of Focus Group Bingo. However, no one makes an independent movie hoping it won't be seen, so there's always the idea that you have to make a movie the public is willing to see, which is something that a filmmaker has to keep in mind whether they like it or not. Not that independent films can't be challenging and smart, because obviously they can, but we're in an age of the blockbuster, and that makes the field a bit cutthroat for indies, I'd imagine.

(The public, I like to think, is actually fond of smart movies - Winter's Bone got nominated for Oscars! - but The Smurfs still got made and then it topped box office numbers for WEEKS, so I don't know what evidence I could possibly provide to counteract that fact.)

You could have any first edition book. Which would it be and why?

Herodotus, The Histories, one of the most delightful history-books-slash-gossip-columns of them all. How could you turn that down?

What's your favorite quote and why?

I actually had an opportunity recently to examine this, because like most geeks there are a thousand quotes I use daily as shorthand for other things ("Pierre, you shouldn't have come!" from Singing in the Rain is surprisingly handy in the era of bad cell phone reception), but when I had the opportunity to co-author Geek Wisdom, which is all geek quotes all the time, I got to submit a list of favorite quotes and the philosophy that lurks behind them. I still use a thousand quotes a day, but the one in the book I might be fondest of is by Sherman Alexie:  "The world is only broken into two tribes: the people who are assholes and the people who are not."

What is your opinion on movie remakes and sequels?

The thing is, as much as Hollywood grinds sequels into the dust (and does it ever), and as much as it's addicted to remakes, no matter what (and is it ever), if you had asked anyone about the wisdom of remaking Batman after Batman & Robin came out, they would have told you that remaking Batman was absolutely the worst idea anyone on the planet had ever, ever had. Then we got Batman Begins. And in case anyone was still arguing about the value of sequels, we got The Dark Knight, which is the exception that both proves the rule and means that a dozen awful sequels got greenlit that week. (Whoops!)

Though something to keep in mind is that a remake works best when the original is flawed in a way that can be challenged or subverted; a grimmer Batman made more sense than Ridley Scott's rumored remake of Blade Runner does. (Just saying, RIDLEY.)

What is your opinion on book to movie adaptations?

As a vast generalization, I think they're an extremely interesting experiment every time. Beyond that it's a case-by-case basis. I definitely have a soft spot for films that are in dialogue with their source material in addition to just adapting it (think The French Lieutenant's Woman), or movies that stand alone as films with just enough of the source material that audiences get interested in the book.

Direct adaptations can sometimes backfire (the quality of the Harry Potter movies often works in inverse correlation to their fidelity to the books), so there's always a danger in trying to just film the book, rather than truly adapt it for film. But, honestly, there's also a little thrill every time the BBC announces another straight-up, beautifully-cast period piece adapted from a classic novel, so clearly my principle and theories only hold up until you fill it with good thespians with great cheekbones; then it's a free-for-all.

Is there anything you would like to add?

 

I really do have an insatiable appetite for bad movies, which is a tragedy I track on my blog [http://www.genevievevalentine.com].

Thank you for doing the interview Genevieve. If you ever do a book signing in Boston let me know.