Meet The Creators Of "The Compound"

Jill has always been a little weird - a characteristic enthusiastically verified by her family. Because of this, she's always into something interesting. She attended MassArt with concentrations in filmmaking and fine art and began work in the film industry in 1998, working predominantly as boom operator, grip, gaffer, storyboard artist, or production assistant on commercials and a number of feature, documentary, and independent films in the Boston and New York City areas. She began studying biological science at Northeastern in early 2010 and, since last December, has been working for a small accounting firm while working on creative projects whenever possible. She has two children, two kittens, and a fish that has lived three years (and change) beyond the usual life expectancy for its' species. She's a science and movie geek, and can't think of much she'd rather do than shoot zombies in the head.

Sean is much more quiet about the fact that he's a geek, but he sure is one. He wears a baseball cap a lot to try to blend in, but his resistance is futile. His intelligence, mixed with a seemingly endless supply of enthusiasm and optimism, creates an environment perfect for the growth of truly amazing ideas and solid fulfillment of goals. He graduated from UMass Amherst with a Political Science degree in 2004 and has worked primarily in the financial services field during the years since. His hobbies include whitewater rafting, playing softball, watching dorky TV shows, getting into fierce debates, and watching people play pretty much any sport ever created ever. He's also a pretty good shot. The zombies won't like him much.

What exactly is The Compound?  

The Compound is a sports facility where people can come, arm themselves with paintball pistols, and shoot zombies in an environment that makes it feel as though the player is experiencing a real zombie apocalypse. 

 

What inspired you to create The Compound? 

After having a random epiphany about the game itself, we were excited over how insanely fun it would be to play.  We then thought, rather than just playing it ourselves, we should create a place where everyone can get the experience. 

 

What safety measures will you take to make sure everyone has a safe, but scary time while at the compound? 

All players and employees wear the types of safety gear recommended or required by the state; players get military-style helmets and goggles that provide proper safety while fitting perfectly into the apocalyptic environment, and employees (zombies) wear safety goggles underneath their masks.  Employees can also elect to wear chest protectors underneath their garments, since it's likely that some players will miss when aiming for the head. 

 

What are some of your favorite zombie movies?

Jill: Dawn of the Dead; 1978, Shaun of the Dead; 2004, Army of Darkness; 1992, Night of the Living Dead; 1968, Zombieland; 2009.

 

Sean: Dawn of the Dead (old and new), 28 Days Later (I know not technically a zombie flick but still), Dead Alive (Peter Jackson is a freaking genius. Never see it if you’ve eaten in the last day or so).

 

What are some of your favorite books that feature zombies?

Jill: World War Z by Max Brooks is my favorite, though I wish the book had some sort of solid ending..it just kind of stopped.  I couldn't really get into Pride and Prejudice and Zombies by Jane Austen and Seth Grahame-Smith, though I tried valiantly. 

 

Sean: Just finished World War Z. Anything that makes me think about something like a zombie apocalypse in real world terms is fantastic. I actually started looking at the world and the way we do things differently (how could you clear every inch of a continent? Mind boggling).

 

How would you survive a zombie outbreak?

Jill: I would hope I’d have a large enough store of ammo, a solid place to be, and enough food to last until I can figure out how to grow food hydroponically!  Cut a hole only big enough to shoot through in a couple of walls and call it a day. 

 

Sean: Depends on the type. If you have slow movers you get some guns and some ammo and a close up melee weapon and just make sure that if you have to fight off anyone up close you have your eyes, mouth and nose covered (and pray you have no small cuts you didn’t notice). Fast movers? Who knows? Might be time to kiss your loved ones and your a— goodbye.

 

If you were a zombie, what kind of zombie would you be?

Jill: A flaming, gurgling, frighteningly slow zombie.  I wish I could say I'd be a fast-mover, but that's just not accurate. 

 

Sean: Hopefully not a long lived one. Jill has explicit instructions to put one in my head if I ever get turned!

 

Do you think the zombie Apocalypse will happen in 2012?

Jill: Nah. Not unless it's happening at The Compound!

 

Sean: Maybe, if the aliens have left anyone alive, and the pole shift hasn’t put everything under water, and that rogue planet doesn’t smash us into little pieces. But if CBS renews 2 Broke Girls I for one would welcome our new Zombie overlords.

 

Have you read Max Brook's Zombie Survival Guide?

Jill: I have. Well, I've read most of it and skimmed some parts.  I have the accompanying set of flash cards as well - they're fantastic.

 

Sean: Reading it now actually.

 

Do you like the T.V. show "The Walking Dead"?

Jill: The first season was fantastic.  Frank Darabont is one of my favorite directors and zombies/horror one of my favorite genres, so the first season was the best of both worlds for me.  I haven't made up my mind about the second season yet.  I'll probably watch it and just cross my fingers that it lives up to the first season.

 

Sean: Love it. First season was over too fast. Thank God the new season starts soon.

Filmmaker Lee Fanning

A 25-year-old native of Hartselle, AL, Lee Fanning has pursued an interest in film and video production for the past 11 years. Fanning founded Wonder Mill Films with Benjamin Stark in Fall 2006 and the two have had several short films screen at festivals throughout the southeast. Fanning is a 2007 graduate of the University of Alabama and is married to Costumer Designer Peyton Fanning. A Genesis Found is his feature-length debut.

What is the current project you are working on?

We’ve just released our second feature film, THE NOCTURNAL THIRD, which is a slow-burn neo-noir thriller that I produced and Benjamin Stark, who produced A GENESIS FOUND, directed, so that’s been keeping us pretty busy at the moment.  Initially, we’re doing a completely DIY release of the film. We’ve offered a limited time free stream of the film on our website, hosted a public screening in our hometown along with a couple of house screenings, and released it via some VOD options and as a Manufacture on Demand DVD available at Amazon.  We also have plans for a city tour of it, along with A GENESIS FOUND, as a double bill “mini-festival” in Winter 2012.

In addition to the distro chores for that feature, and of course the never ending distro chores for A GENESIS FOUND, Ben and I have just recently worked out a new arrangement for our next feature, an even more run-and-gun effort, with him directing and me writing.

And personally, I'm focusing more on just writing in general, for the time being-- what I've kinda realized about myself in the past year is that I love movies, but I'm not exclusively a movie guy-- I want to work in a number of mediums, and realistically, I don't think filmmaking will ever be my sole source of income, especially since I want to remain a regional storyteller for the foreseeable future.  But I don't want to have a "day job" for the rest of my life, so I've decided to take some steps towards a "legitimate" freelance writing career.

Currently, I'm focusing specifically on juvenile fiction.  I'm getting to do a number of things, but the most fun is developing, with my wife, a "funny animal adventure novel" with active illustrations, kind of like a text based graphic novel with a far smaller number of illustrations, that's in the spirit of Floyd Gottfredson's Mickey Mouse comic strip and Carl Barks' Uncle Scrooge tales.

How do you handle rejection?

I've always handled rejection pretty well, actually.  In high school, I really started getting serious about focusing on my writing and filmmaking ambitions, and sent off short stories, poems, songs, and movies to countless magazines, festivals and contests.  I used to save every rejection letter I got (which was plenty-- I'm not sure I ever did get published or screened in high school) and post it on my bedroom wall, as kind of a constant reminder that I've got plenty to learn.  I don't do that now, but I do still save every rejection letter I get, and they've rarely "rocked my world", but rather inspired me to try harder.

Handling a sense of self-prescribed "failure", however, has proven quite an adversary in the past year or so.  Distributing A GENESIS FOUND has been a struggle.  The film has been such a major force in my life the past three, almost four, years, it’s hard to keep going when you’re constantly trudging uphill, especially when I had some what unrealistic expectations about how natural a process distribution should have been.  It threw me for a loop—I battled some discouragement and depression, lost some focus, and have been struggling, it seems, for the past year trying to make up for the lost time and regain the energy I had when we were shooting.

I’m still not satisfied with the success we’ve had with the film, but it’s improving, and I now feel content to move my primary focus on to other things.

Did you always want to be a filmmaker?

I always wanted to be a writer, as long as I can remember.  Growing up, I was raised a comic book fan, and a Star Wars fan, and those were kinda the “gateway drugs” I suppose.  As far back as I can remember I’ve been coming up with characters and stories and worlds.  I’ve always been a little impatient about it too.  One of my more endearing memories growing up is drawing comic book covers, but never drawing or writing the rest of the comic, just trying to get the whole story out in a single image (in the sensational style popular in the Silver Age).  I did that for years and years and years, utilizing the same characters, with crossovers, mini-series, “events.”  I even had an imprint when a friend of mine wanted to bring in his own characters!

I suppose I’ve always had that “director” instinct—I used to organize clubs in school and kinda dictate who got to be what when we played on the playground.  I remember getting frustrated when I had a plot in mind for whatever we were playing and the other kids started adding in things I thought were ridiculous—like we were playing Super Heroes and one kid decides to be a wrestler.  But I didn’t really “discover” my love of film, or think about it legitimately as a way to spend my time, until late-Junior High, and didn’t commit to it until Freshman year of high school.  I can vividly remember the moment I said to myself “I want to be a Film Director.”

 What inspired you to become filmmaker?

Love of storytelling.  I have an interest in the technical and design aspects of filmmaking, but a lot of that interest is kinda forced and learned.  I mean, realistically, you have to force an interest in those aspects to be a worthwhile filmmaker.  But the only reason I’m willing to put up with them, along with all those logistical problems you have to face, is because filmmaking is such an exciting, natural means of telling a story.  I love a lot of different storytelling mediums, and they’re not really “comparative”, but how you can tell a story with film is the most exciting and challenging to me.  The power of a little shadow, a couple of cuts and a smooth performance is mesmerizing.

 What is the best thing about being one?

Getting to tell stories in the most exciting and popular medium of our time.

 What is the worst thing about being one?

Making it a reality.  Finding money, being smart about distribution, organizing logistics, working around impossibilities.  It’s gratifying on a different level, but it is nothing but frustrating to the part of you that just wants to tell a story.  There’s a reason the industry developed a studio system that emphasizes specialization and collaboration.

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

Oh man, a lot, I’m happy to say!  I’ve lent a hand to a lot of great productions, but only produced two features, one of which I also wrote and directed.  I think I’ve produced and/or directed about 9 shorts (that I’ll claim at least).

 Who is is your favorite filmmaker?

Orson Welles.  He was a once-in-the-history-of-the-medium kind of talent that changed everything. Probably the only young master of the medium ever (even Spielberg didn’t hit full stride til his 30s, despite how great Jaws is).  More young filmmakers should make a serious study of his life and work, instead of just texting through Citizen Kane in Film History 101.

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

Find out, as quickly as you can, what part of the process satisfies you, and build a plan—a very realistic plan—on what you need to do to make doing that for a living a reality.  In example—I know all I really enjoy about the filmmaking process is storytelling, and it makes the most sense for me, right now, to work a non-directly related day job and pursue films “on the weekends.”  I can do it anywhere, so I haven’t had to relocate to a more industry-centric location.  But, if you want to be a production designer, or in the wardrobe department, or something like that, relocate to where there’s more industry (not necessarily LA) and pursue opportunities there.  Unless you’re making your own opportunities, you need to relocate if you’re serious about it.  Hopefully it won’t be that way forever (that’s part of what I hope to help remedy), but that’s how it is right now.

What do you like to do besides filmmaking?

I love writing, and telling stories in numerous mediums.  Honestly, I could probably live a happy life without making films, so long as I was telling stories in some way.  I also enjoy consuming stories, collecting animation DVDs, and following Baseball and College Football.

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

I’ve had ONLY other jobs, as I’ve yet to make a dime making movies.  Currently, I work as both a freelance writer and an IMAX projectionist to pay the bills.

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

I LOVE animation.  I watch probably a 70% to 30% cartoon to live action ratio.

Favorite Films?  The Third Man, Fantasia, Star Wars, F for Fake, The Dark Knight.

Foreign wise, I’m a big fan of Herzog, Hayao Miyazaki, and of course the greats like Kurosawa and Lang.

I mostly watch television cartoons.  Big fan of Hanna-Barberra and Filmation.  Huge fan of Bruce Timm’s DC Animated Universe that ran through the life of several series when I was growing up.  Also can’t go wrong with good stories of the strange and fantastic: “The Twilight Zone”, “Star Trek”, “Kolchack” and “The X-Files”.

 How would you describe your film education?

Mostly, I learned by doing.  I’m an alum of the University of Alabama (roll tide roll), which is where I met Ben and a lot of the other collaborators I worked with on my first professional films.  I had a great mentor there, filmmaker Aaron Greer, and the program is a great place to get a solid, useful telecommunication degree.  But most of what I learned there came from developing short films with other students outside of class, on projects that were entirely self-generated.  I do have to thank the University’s resources, however, for all the equipment they let us “borrow.”

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

Non-existent?  Haha, no, there’s actually a good associate-base of filmmakers in North Alabama (though most of the Alabama “scene” is in Birmingham), and Ben and I try to keep one foot in the door with them.  Networking has never been my strong suit, however, and outside of occasional projects, I rarely interact socially with filmmakers from outside of my immediate circle.  Of course, I rarely interact socially with filmmakers from inside that circle, but that’s just living in the sticks.

 How has social media changed the independent film industry?

It’s fundamentally changed recruiting and promotion.  I’ve met crew members via social networking—I’ve known others who’ve used social networking to line up their entire cast and crew.  Film is a collaborative medium, and therefore it is all about networking—and with social media, you can develop relationships and contacts in a fashion that was unprecedented ten years ago.

I mostly have used social media as a promotional tool, and promoting my work to potential audiences and to other filmmakers.

It addresses needs that have always been in the industry, but helps to make them obstacles that are much easier to overcome now than they have ever been before.

What's your opinion on crowdfunding?

I think crowdfunding is a great concept, and it does work for some people, but I don’t have enough experience with it yet to give anything but a speculative opinion.  We used a little crowd funding to help with some distro funds for THE NOCTURNAL THIRD, with fairly underwhelming results, but frankly we didn’t need much money and our approach was rushed and under-calculated.

I am planning on utilizing crowdfunding strategies to help gauge interest in the book I’m currently working on, a little further down the line.  I’ll probably also use this experience to gauge whether or not crowdfunding, if strategically executed, can function as a reliable fundraising outlet for feature projects.

 How does independent film differ from the mainstream?

I once saw this great article at the parody website “The Onion”, titled “Low-Budget Film Panders Just As Shamelessly As Big Studio Feature”, which is great pointed commentary and right on the money.  In my opinion, there are good intentions, and there are bad intentions—good movies and bad movies. From an audience standpoint, there is no difference between the big and small, only between what’s genuine and what isn’t.

Obviously, from a production standpoint there are differences, and the discrepancy between the size of each types budgets have led each to develop, typically, different aesthetics, visual techniques, styles, and approaches.

But a good film is still a good film, and a bad film is still a bad film, and I don’t really care how much money was used to make it.

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

THE GOLD RUSH.  It was my grandfather’s favorite film and it looks like Charlie was having a whole lot of fun making it.

What's your favorite movie quote and why?

"Now this has been standing here for centuries. The premier work of man, perhaps, in the whole western world, and it’s without a signature: Chartres. A celebration to God’s glory and to the dignity of man. All that’s left, most artists seem to feel these days, is man. Naked, poor, forked, radish. There aren’t any celebrations. Ours, the scientists keep telling us, is a universe which is disposable. You know it might be just this one anonymous glory, of all things, this rich stone forest, this epic chant, this gaiety, this grand choiring shout of affirmation, which we choose when all our cities are dust, to stand intact, to mark where we have been, to testify to what we had it in us, to accomplish. Our works in stone, in paint, in print are spared, some of them for a few decades, or a millennium or two, but everything must finally fall in war or wear away into the ultimate and universal ash. The triumphs and the frauds, the treasures and the fakes. A fact of life. We’re going to die. “Be of good heart,” cry the dead artists out of the living past. Our songs will all be silenced – but what of it? Go on singing. Maybe a man’s name doesn’t matter all that much." - Orson Welles, F FOR FAKE

I love this quote because it came towards the end of Welles’ life, and is delivered almost as if it’s as much a revelation to him as it is his audience.  It’s also a lament that speaks volumes, and still resonates as a concern for artists working today.

 What is your opinion on movie remakes and sequels?

Neither bother me.  I tend to be more receptive to sequels, unless a remake is really called for or is really original in approach.

I think sequels can afford storytellers a lot of great opportunities.  Obviously, when the filmmakers can’t see beyond the monetary aspirations their executives are going after, you’re usually going to get something pretty shameless and uneven; but, I’m not of the school that views sequels as inherently evil.  It’s really up to the filmmakers, what respect they have for their work and what their money men allow them to do.

What is your opinion on book to movie adaptions?

I’m fine with them.  Whatever inspires the filmmaker and provides a good story.  Just be aware that the film and the book are different interpretations of a shared story, and the mediums aren’t inherently comparable.  I think the phrase “the book was better” is perhaps the dumbest criticism of any film I’ve ever heard.

Filmmaker Michael Bekemeyer

Michael Bekemeyer is a writer/filmmaker living in Orlando, Florida and will spend most of his time talking about movies, going to see them, or thinking about making them. His newest short film, GUSH is currently in post production.

What is the current project(s) you are working on?

Well, the project I am working on is a film called GUSH. It's a really short film about a crime of passion. I'm using it as a way to immerse myself back into filmmaking after a long time away from it. Not that I haven't been filmmaking, but have been concentrating on writing a lot and I've been doing some experimental things, but nothing truly narrative in a few years. I have missed it and with this, I feel like I am back where I belong, in a big way.

What does success mean to you?

Success means a lot of different things to me. There is money, which is nice. There are awards and accolades and those are really good too. There are basic, everyday successes too. Things like getting out of bed in the morning, eating right and exercising. Then, for me there is the success of focus and working on something you created and pushing through until it's finished. So, you can actually be successful in your bedroom writing a script on your laptop. Anyone can be successful it just depends on their perspective and outlook on life.

My most successful moment as a filmmaker was the first time something I directed moved an audience member emotionally. It was such a foreign thing to me and it is obviously something I want my stories to do. But, when I first heard that something I made had had moved someone to tears and think about their life. I was equally moved by the person's experience. It was in that moment I knew what it felt like to be a good filmmaker.

Not that I became good in that moment, because I feel like I have a lot more to accomplish before I describe myself as a good filmmaker. But it gave me a taste of what good directors must feel like when they go to work in the morning. It's an addictive feeling that I have experienced a couple times in my career. I equate it to what comedians, or musicians must feel like when they get on stage in front of an audience and give the performance of a lifetime.

How do you handle rejection?

Rejection is awesome! Don't you think so? Just kidding.

Rejection is tricky because it's inevitable and in a way it's a right of passage for all creatives. You get rejected and it's a fact of life. Maybe your script is bad and it really needs to be rejected because you need to go back to work on it and go back through it with a fine toothed comb. And in that case, I hate to say it, but you have earned that rejection. We have all been there. I have done that and it doesn't feel good, but if you take it for what it is, as feedback from the universe you can turn it into a positive.

But, you have to take rejection with a grain of salt because it is also very subjective. It depends on the perspective and personal tastes of the person reviewing your material. Maybe your script or film is a sexually charged drama and the person reading it is not as enthusiastic about sexual content as you are. That person is Pre-disposed to not liking your script. It could be brilliant, the best thing ever, but that person is not going to like it no matter what.

So much of this stuff is up in the air and relies on people's personal likes and dislikes, that it's hard to know when your material is being rejected because it truly isn't ready for prime time, or if it is rejected because it doesn't fit the personal tastes of the person whose desk it landed on. My advice is to take rejection lightly until you start hearing the same feedback from multiple sources. Then, it's something to really consider.

Did you always want to be a filmmaker?

No. I started out as a musician. I played trumpet and it was my first love. But one day a friend of mine called and asked me to help him out on a film project he had going. It was all downhill from there. Though, I had always been a kind of writer and have always lived in some unreal dreamland, where my imagination wanders and wants to be in charge. It had never articulated itself in that way. I have always had a great love for movies, all the way back to when I was a kid.

 What inspired you to become filmmaker?

I remember the first movie I saw that went beyond me just liking movies. It was the Martin Scorsese remake of Cape Fear. Something about watching that movie made me want to make movies. I had to be a part of it and I wanted to be Martin Scorsese so bad. He's the first director I wanted to be like when I grew up.

 What is the best thing about being one?

Working with other brilliant people. Since it's a collaborative culture, you get to work with people who are awesome at what they do and in turn they loan their abilities and expertise to your project. It's an honor and a blessing to be the guy who gets be a part of a scenario that affords people from all different kinds of skills and educations and experiences to come together as one unified front to tell a story.

People like the composers, the cinematographers, actors, editors, make-up artists, special effects, they all are brilliant geniuses in their chosen paths and part of the fun for me is the synergy that comes with having the right person in the right position at the exact right time. When you have synergy, instead of 1 + 1 = 2, you get 1 + 1 = 3. It compounds in a way that any one person by themselves would never be able to accomplish in an eternity of trying.

The director gets a lot of undue criticism in my opinion, but I also think that the director gets a lot of undue praise. I think what makes a good director is not being the genius with all the answers. What makes a great director is someone who recognizes the genius in others and surrounds them self with as many other brilliant people as possible.

You're the director. We get it. But the mind that feeds on itself goes undernourished. You can learn so much from sitting and talking with people about what they dream about, what they are passionate about, what they are good at and I feel like I'd be a fool to run things as a dictatorship. I prefer a utopia of creativity. That's how I like to direct. I wasn't always good at doing that. I used to guard my ideas like sunken treasure. The film suffers for it, I think.

Too many people think director means you get to tell people what to do, which is a part of directing. But an even bigger part of directing is knowing when to shut up and get out of the way. Take actors, for instance. If you've done your job and cast the right actors for the roles you had to fill, directing them is easy. In fact, I've realized that the more patient I have been in casting the right actors over the years, the better a director I have become. It's experience, sure. But, it is also holding out and waiting until you find the right person for the gig.

Hopefully you cast people that were right for the part because of their skill set, sensibility and understanding of the character. They already get it. So your job as the director turns into fine tuning and keeping and eye on the overall big picture. Your job as the director is NOT to give line readings and control every aspect of the picture, scene, performance as if you are the only one who knows what they are doing.

 What is the worst thing about being one?

It's so damn expensive. That and time. I get these overwhelming creative bursts where I have an idea and want to make it right now. And part of becoming a better filmmaker has been me learning to really consider the projects I want to take on as a director. Because to do them right, you have to live with them for a while and that's a good thing because you don't move in with your mistress, that cute little project that you think about every now and then. You move in with the project you want to dedicate your life to.

That's hard and I think the digital revolution has been amazing at making it easier for people like me to get things made and to experiment and tell stories. But, it has also been not so good, because I can just grab a camera, go out there and start shooting stuff without having taken the time to consider even why I am making the thing. Normally, when I have rushed into something, I have realized later that it was just to make myself feel better, a digital masturbation of sorts.

So, time in that regard is a good thing. But, the amount of time it takes us to gather the troops, figure out the budget and get the band back together is very frustrating because once you do figure out the project you want to marry yourself to, you want to move on with that as quickly as possible. But things take time to grow and develop.

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

A few short films, an unfinished feature film that I'm still working through the editing process, a short documentary, an experimental documentary series called :60 of Life that I used as a way to get back into expressing myself visually. And we have GUSH, that we're working on now, another short film in the early writing stages and sometime next year we're planning another feature film, currently titled The Spiraling.

Haha. So how many projects is that? I lost count.

 Who is your favorite filmmaker?

Tough question... I have a hard time picking a favorite because I love a lot of movies and a lot of filmmakers. I see a movie I like and there is an instant respect for that filmmaker. But, if I got pushed into a corner and was forced to answer, I'd say my top three are Martin Scorsese, Paul Tomas Anderson and Quentin Tarantino. All masters of their craft, but in different ways, with different, totally unique perspectives on the world and that makes all of their movies fantastic works of art that I feel are a must see.

 How has your life changed since you became a filmmaker?

Well, my life is totally different than it was when I set out to make movies 20 years ago. There are the regular developments of being married, having kids, then divorce and all of that miserable, angst life stuff that will eventually and probably already has crept into my writing and perspective on the world.

Filmmaking has made me the person I am today. It has forced me to come out of my shell and read and learn and research different topics and know as much as I can about the world and human nature too. I have had to force myself to be comfortable with asking people for help, money and resources. The person sitting here and answering these questions didn't even exist 15-20 years ago, 5-10 years ago, or perhaps even yesterday. We are different today because of yesterday. Hopefully that means we are growing, but only time will tell.

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

To be an artist, you have to be willing to reveal yourself to an audience and be unflinching about it. You can't be worried about what they might think of you, or if they are going to like you or your work. In many ways, Shakespeare said it best when he said, to thine own self be true. You just can't get caught up with what people think you should do with your films, or try to be anyone other than yourself.

The other thing I always tell people is that you can't compare yourself to the genius masters that you admire. If I sat around comparing myself to Martin Scorsese, I'd never make anything, because in my mind there is no way, I'll ever live up to him and his movies. I cannot make a Martin Scorsese picture because I am not Martin Scorsese. I can only be myself and I can only make a Michael Bekemeyer film. And in turn, Martin Scorsese could never make a Michael Bekemeyer film. Nor would he want to because he is Martin Scorsese. If you want to know how to be great...be yourself. No one else can bring the perspective to a story, project or film that you can. They have their own unique brilliance inside of them, I have mine and you have yours.

Work hard to be the best you can be at what it is you want to do. Trust your own unique  insight into a story. Grab a camera, get a crew, cast some good actors and make something new. And do it over and over again until you get it right. So much easier said then done. Isn't it?

What do you like to do besides filmmaking?

I talk to people. I like to hear people talk about their own passions and gifts. It inform as my writing, but ultimately just feels good to hear someone else's view on the world.

Also, I have a daughter and I am slowly turning her into the perfect movie buddy. I'm teaching her how to appreciate movies and trips to the theater.

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

Well, I've done all kinds of things outside of the industry. But inside the industry I've worked mostly as a video editor and a creative. Writing, producing, shooting and editing things for video and television. Sometimes with a big crew, sometimes all by myself.

Outside of the industry, I've delivered pizza, worked in asphalt, Blockbuster Video. I sent a couple of years teaching TV and video production. But for the most part, I've been lucky to work professionally in the industry for a good chunk of the 17 years I've been pursuing it as a career. Nothing has quite reached the tip-top for me, which would be working and being paid to be a writer and a director of motion pictures.

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

I'm horrible at picking which are my favorites of anything. But here are a few off the top of my head... American films: It's A Wonderful Life, Forrest Gump, Pulp Fiction, Raging Bull, The Usual Suspects, Casablanca, Chinatown, The Maltese Falcon.

Foreign films: Battle Royale, Truffaut's, Jules and Jim, John Woo's Hard Boiled, The Diving Bell and the Butterfly.

TV shows range from The X-Files, Lost, (the new) Battlestar Galactica, Mad Men, Breaking Bad, Seinfeld, Modern Family. All in all, I watch way too much television.

 How would you describe your film education?

I went to school to learn production and it was there I learned the basics, like how to turn a camera on and off, how to edit and light a set. But, my film education is all in the films I have made. And from the DVD director commentaries I have listened to, the screenwriting books I have read and from learning what not to do from the insurmountable number of mistakes I have made along the way. So, I guess you could say that it's been a melting pot of information and everything in my life has brought me to this one moment. You can't really put a finger on it.

 How has social media changed the independent film industry?

Social media has completely changed filmmaking for me. James Pero, the producer of my current film and next two projects is someone I met on Twitter. I raised awareness and funding for GUSH through building awareness on Twitter and Facebook. The composer Rob Gokee is someone else I met on Twitter and have actually never met him in person. Since I don't live in LA, I have been able to make connections and expose myself to people of like minds all around the world. And that means a lot to me because it's a community of people I would otherwise never have the luxury of meeting.

What's your opinion on crowdfunding?

Crowdfuning is awesome! We raised $1,050 for GUSH in about 6 days. That helped pay for food and gas for the cast and crew and took a huge load of of me. Because in DIY filmmaking and short films, often times the financial weight of the film falls on the director.

 How does independent film differ from the mainstream?

Hopefully the difference is that the people who make independent films can tell stories that have not been filtered through corporate America. The is absolutely nothing wrong with being a big business and trying to make money off of your chosen line of work. But, if you're making something independently and outside of the corporate structure, hopefully you are bringing something new and unique to your film and not just trying to make something that wants to be something that it isn't.

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

Man, that's a tough one. You have to say Citizen Kane, don't you? So many of the things we do today were basically invented on that film. Things that had never been done before. Hopefully I would have been on the side of Orson Welles and supported his vision as a director, but I wonder if I would have just decided he was a crazed lunatic, like everybody else. So, it would be that, or one of the Hitchcock movies, like Vertigo.

 What's your favorite movie quote and why?

I don't know... Let's just say pretty much anything from The Big Lebowski, from Joel and Ethan Coen. Brilliant dialogue.

 What is your opinion on movie remakes and sequels?

I am not 100% opposed to them, by any means. But, I think that there are so many things that you cannot put your finger on when a movie is good, or becomes a classic. My rule of thumb is that if you think a movie is worth re-making just don't, because there was something special about that film in the first place and you are most likely about to ruin it.

One of the few re-makes I have ever seen and liked as much as the original was Cape Fear and that was Martin Scorsese. If you're not Martin Scorsese, don't try a re-make. That's a decent rule of thumb in my book. Just because a movie was popular 20 years ago does not mean it needs to be made again. Please leave it alone.

What is your opinion on book to movie adaptions?

I think novels are incredibly difficult to adapt. Sometimes they can be done well and sometimes they aren't. It depends an awful lot on the screenwriter's ability to invent scenarios within someone else's universe. To be able to make things up in the spirit of the book, while brining their own voice to the script as well as serving as an interpreter of sorts. Not easy. Much respect goes out to the filmmakers that have done that kind of work well.

Is there anything else you would like to add?

Go forth. Be fruitful and make a movie. Be yourself and tell good stories. This of course, is the task at hand every single time you step behind the camera. It's much easier said than done, nut very very rewarding.

Writer/Director Greg Marcks

Greg Marcks has worked as writer/director for the past ten years, writing scripts for Lions Gate, Summit, DreamWorks, and Sony Pictures TV. He has directed two feature films, 11:14 and Echelon Conspiracy, working with stars such as Hilary Swank, Edward Burns, Jonathan Pryce, and Martin Sheen. His  Florida State MFA thesis film Lector won a Student Academy Award. 

What is the current project you are working on?

I am currently preparing to make You Don't Love Me Yet, an indie drama based on the novel of the same name by author Jonathan Lethem. I adapted the screenplay and will direct.

Did you always want to be a filmmaker?

As a teenager I started making short videos and writing and performing sketch comedy. When I went to college I aspired to write for television but my focus quickly shifted to filmmaking and feature screenwriting as I began making short 16mm films. By the time I was 18 I knew I wanted to be a filmmaker.

What is the best thing about being one?

The best thing about being a filmmaker, and especially about being a writer/director, is the ability to impose a personal vision on the telling of a story. Whether you are making a studio or an independent film, there will always be an imprint on the material that is unique to your individual personality and artistry of expression.

What is the worst thing about being one?

The worst thing about being a filmmaker is the lack of stability it can create in other areas of your life. In modern entertainment, filmmaking is largely a freelance endeavor, which means that in addition to being creative you must also excel at being an entrepreneur and managing the ups and downs of your career. It's a highly competitive field, and those who persevere do so because they really love the work regardless of how the final product is ultimately received.

How would you describe your film education?

My film education is constant and ongoing. With over 115 years of film history behind us, there is always a new movie to watch. I started educating myself as a teenager working in a video store, then as a college student in the university film library, and now as an adult going to revival houses and scouring Turner Classic Movies and Netflix. I watch at least a movie a day, and almost always something I haven't seen before. It's important to see a lot of films in order to have a strong sense of what filmmakers have done before so that you can place yourself and your work in both a historical and creative context.

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

If I could have a super power it would be to refresh myself without sleep. That would free up another 33% of my time for making and watching movies!

Editor/Director Kate Hackett

Kate Hackett is an independent filmmaker based in Los Angeles.  She recently co-produced and designed a series of films for Portals, a multi-media concert featuring violinist Tim Fain.  Portals is a Philip Glass premiere, with other collaborators including Leonard Cohen, Benjamin Millepied, and Nico Muhly.

A 2009 graduate of the UCLA Production/Directing program, Kate is the recipient of multiple awards for her short films as a writer/director, including the James Bridges Award, the Carole Fielding Award, the Deluxe Thesis Award, the FujiFilm Graduate Thesis Award, and the Hollywood Foreign Press Award for Excellence in Directing.  Her first multi-media piece was a series of art films for the concert Ask Your Mama at the Hollywood Bowl, featuring the Roots and soprano Jessye Norman, which she co-directed with composer Laura Karpman.  She also designed and directed films for The One-Ten Project, a new work commissioned by the Los Angeles Opera.  Her work as a director and editor has been presented on CBS News, the Los Angeles Magazine website, the Carnegie Hall website, the PBS Newshour Website, and indieWIRE.  She has edited two independent feature films, Homecoming, by director Sean Hackett, and Stealing Summers, by director David Martin-Porras. You can find out more about Kate at kate-hackett.com

What is the current project you are working on?

Right now, I’m touring with a series of films that I directed for PORTALS, a multi-media concert featuring violinist Tim Fain.  It’s a Philip Glass premiere, with films inspired by the poetry of Leonard Cohen, and video choreography by Benjamin Millepied.  It premiered at Symphony Space in NYC on September 24^th, 2011.   

 

I’m also enjoying following HOMECOMING, a feature film by director Sean Hackett and edited by me, make its wonderfully successful tour through the festival circuit.  That’s part of the joy of being an editor—you get to sit back after you’re done and watch the film have a life of its own.

Did you always want to be an editor/director?

Almost everyone in my family is in the arts, from my great-grandmother, who was a California Plein-Air painter, to my sister, who is getting her PhD in Art History, to my mom and dad, who both work teaching and directing theater.  So I guess I just grew up assuming that I would be involved in the arts in some way, and film was the art form that called to me most.   

What inspired you to become an editor/director?

I think I may have control issues.  I love the purity of taking all one’s messy surroundings, and condensing them into that one box that is the film frame.  

 What is the best thing about being one?

Getting obsessed with whatever your current project is. 

 What is the worst thing about being one?

Getting obsessed with whatever your current project is. 

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

Too many to count.  I went to film school and we all had to work on one another’s projects. 

 Who is your favorite filmmaker?

Lately I have been inspired by the lives and work of people like Anita Loos, Mae West, and Ida Lupino, all of whom brought strong female voices to the screen in classic Hollywood. 

 How has your life changed since you became an editor/director?

Ever since I’ve started to work professionally, I’ve become much more disciplined as an artist.  I’ve learned to treat creating something as my job, instead of waiting until I become inspired. 

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

I am a strong believer that the best thing a young artist or filmmaker can do is to work on finding his or her individual voice.  Better to fail on your terms than to succeed on someone else’s.  

What do you like to do besides editing/directing?

Hmm.  Pretty much the same as everyone.  Friends, family, food…

 Have you had any other jobs before you decided to become an editor//director?

Bartender, secretary, bookstore employee.  All excellent jobs for people watching. 

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

Favorite Films: Lady from Shanghai, Rosemary’s Baby, Dead Man, Nights of Cabiria, and recently Dogtooth.  Favorite Television Shows: The Prisoner, Twin Peaks, The Sopranos. 

 How would you describe your film education?

 

My college, the University of St. Andrews in Scotland, didn’t have an official film program at the time, but it did have a wonderful student run theater society called Mermaids.  I started by doing plays there, and made short films informally with friends. 

 

I used those short films as my reel, which got me into UCLA for grad school.    

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

LA is a wonderful place to live if you love movies, because so does anyone else.  On any given night you can see a premiere of a foreign film, a classic revival, or a new release in some of the most state-of-the-art venues in the country.  Great directors give Q&A’s all the time, and you can meet 10 people working on screenplays just by going to Starbucks.  It really is an industry town, which can be overwhelming at times, but also very inspiring. 

How has social media changed the independent film industry?

Last night I attended a premiere of my multi-media directing work, and then was able to get an instant response from the audience via Twitter.  It’s terrifying but also very exciting.  The relationship between the filmmaker and the audience has become much more personal and immediate. 

 What's your opinion on crowdfunding?

I haven’t had the opportunity to give the crowdfunding thing a try yet, but I’m definitely open to it.

How often does timing affect artistic vision when editing a film?

 

I think timing and artistic vision are synonymous.  The director and the editor have to make sure the pacing of the film fits the mood of the story and is true to the emotional life of the characters. 

 

How does independent film differ from the mainstream?

I think the line between independent and mainstream film has become increasingly blurry in the past few years.  It’s frequently the same people working in both worlds, and there are poor, mediocre, and excellent films made at all budget levels.  

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

Vertigo.  I love the beautiful, hyper-real, seductive yet dangerous world that Hitchcock creates in this film, and it would be amazing to see the wires, as it were, that went into the construction.   

What's your favorite movie quote and why?

“Everybody has a heart.  Except some people.”—ALL ABOUT EVE  That movie definitely deserves an award for the most and best one-liners.

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

I would love to be able to read minds.  But only for a week or so to see what it was like.  It could get really awful after a while. 

Do you believe in life on other planets?

The truth is out there.  No, seriously—didn’t they just find a planet that is potentially viable to support life?

What is your opinion on movie remakes?

Have at 'em.  I don’t think a bad remake can ever take away the power of a great original.  And in a few rare circumstances the update is actually better!

 What is your opinion on book to movie adaptions?

The best book to movie adaptations are the ones where the film writer and director are willing to create something that is in the spirit of the book, but manages to present a new take on the material.  

How has computer technology affected the way films are presently edited?

With analog editing you had to plan and conceptualize the way that you would cut a scene before you actually physically cut it, because making changes was so much more labor intensive.  Now it’s so easy to try something out, and throw it out if it doesn’t work, while still saving the old version.  It’s two very different mental processes, like writing versus improvising music, but lots have things have stayed the same in terms of what feels good structurally to an audience.    

 Is there anything else you would like to add?

Thank you John for such an interesting and extensive interview!

Filmmaker Carlton Grooms

Carlton Grooms is a short filmmaker and the editor of the island focused travel blog, Coastlines & Tan Lines™[http://www.coastlines-tanlines.com]. He produced his latest book, "Portraits of Our World" after a one year trip around the world. He is the founder of Conch Republic Bikinis, as well as a former Naval Aviator. Carl led the business development of all Hong Kong Disney hotels and restaurants for Walt Disney Attractions. At last count Carl has visited 53 countries. He has run with the Bulls in Pamplona, braved the highest bungee jump in the world in South Africa and is an ultra-marathon runner. He holds an MBA from the Wharton School at The University of Pennsylvania.

What is the current project you are working on?

There are always a series of ongoing projects occurring, each in different stages. As a short filmmaker, I release new work 2-3 times per week. To keep that pace I have to be thinking a month or more in advance. The vast majority of my projects occur in the Caribbean which requires an additional layer of complexity.

My largest current project is trying to secure a consulting position with Tommy Bahama Group as their first ever Rumologist. This might not sound like a filmmaking position but it will have a major and positive impact for me. First, it will assure additional funds with which to continue my efforts. Second, it will allow me to travel to more destinations in order to make more short films. Lastly, as an island expert, the position further builds my credentials giving my films a broader audience.

I am most excited about a project I've just started, it represents my most ambitious work yet. I have been invited to produce a 30 minutes documentary on the 1902 all wooden Schooner, The Coral. She was built in England and has a long storied history. She has recently returned to the Caribbean for refit from South Africa. I am following her progress over the coming months to climax at the Antigua Classic Yacht races in April where I will finish the film as she is racing as she was built to do.

How do you handle rejection?

Rejection never really bothers me. As an independent I continually press forward and stay surrounded by positive people. I believe in my path and genuinely enjoy what I do, which allows me to not question my choices regardless of what other people think.

Did you always want to be a filmmaker?

No, it found me. I am a former Naval Aviator, which is what I always wanted to do. I flew off of aircraft carriers and had the time of my life. Unfortunately it couldn't last forever. Only in the past few years have I found film. I took a trip around the world for a year with my wife and kids and produced a still photography book called, "Portraits of Our World". We are using the profits to build schools in Africa. When this project was completed I was wanting more than just shooting stills, that's when motion became the obvious next choice.

What inspired you to become filmmaker?

It is with great fortune that I get to travel and live the life of adventure that I do. Filmmaking is the most immediate and obvious way for me to share this back with the world.

What is the best thing about being one?

I get to tell stories and share the adventures of my daily life. The creative outlet and personal reward see even my most simple work being watched motivates me to jump out of bed and get to work on the next project.

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

In the past past three months alone I have released over 20 shorts.

What do you like to do besides filmmaking?

Writing is a core touch stone for me. Often on my travels I split my coverage between short films and writing. I shoot a lot of still images to accompany my writing. As a story teller I think you need to be a good writer if you hope to produce an entertaining film.

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

Countless! I am a former Naval Officer, I helped build Hong Kong Disney as a former executive there. I was CFO of a major internet broadcasting company, President of a Swiss defense finance company and CEO of a creative firm. The need to focus has never seemed to occur to me. That said, I am very happy with where I am now at and imagine I'm doing what I am meant to do.

How would you describe your film education?

Self taught. I have made and continue to make all the ridiculous mistakes that this entails. I shoot a lot, make mistakes a lot and release a lot all with obvious flaws in order to improve.

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

Sarasota, Florida has a building and increasingly respected film festival each year. We draw both major named actors and directors all the way to screenings of shorter independent work. I would say for a small town we are very lucky.

How has social media changed the independent film industry?

I don't think you can be successful in this industry without learning/knowing/practicing social media daily. You must have a strategy and work the strategy. I use Twitter multiple times a day to drive followers to Facebook. I use FB and G+ to drive followers to my blogs or to where my films are being hosted and shown and use the films to show my next (and hopefully larger) projects what I can do.

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

Star Wars. The level of technology, creativity and vision it took to create at that time with such limited tools speaks volumes to the genius not only of George Lucas but to the team that surrounded him.

Do you believe in life on other planets?

Yes.

What's your favorite movie quote and why?

"I love the smell of Napalm in the morning" - Apocalypse Now.

I used to fly jets for living. As a former Bombardier I loved smelling the mix of jet fuel in the air and the gym locker room stench of the cockpit mixing in my nostrils. Good times.

What is your opinion on movie remakes and sequels?

As a former Disney guy I have to agree with Walt on this one. Movies are meant as creative works of art. Walt frowned on sequels because he wanted to bring his best and new creative effort each and every time. Remakes are more in a gray area for me. After all, most stories or story lines have been explored at some point in history, maybe the setting is new, the subjects different, but the thread is there. Given the correct team remakes can be a wholly new creative effort in my opinion.

Anything else you wish to add?

I am very excited about working exclusively with Video DSLR now. After many discussions with Canon I settled on the Canon 7d. I use the Canon 1Ds Mk III for stills but it doesn't shoot video. As I own most every pro lens for the later camera I now have the ability to be super creative with my available glass on my motion shoots.

Recently I sold and re-invested completely in this setup and could not be happier. As I travel the Caribbean and often shoot with no, or a very small crew, this setup is lightweight and high power. Often I edit in the field with Apple's newest Mac Book Air, which I find runs Final Cut X (yes I use it and like it) just fine. Sometimes I release simple work directly from the field as well. This whole new setup has made my life easier, my work noticeably better and brought the many more positive reviews.

Writer Charles Skaggs

Born in Youngstown, Ohio, Charles Skaggs began reading comic books at the age of five and has never stopped since. After growing up in Medina, Ohio, he graduated from the University of Central Florida in Orlando and joined the amateur press association TITANTALK, which was devoted to characters from DC Comics’ various Teen Titans series. Charles’ involvement with the APA introduced him to his future wife Lori and several lifelong friends, including future editor Michael McCalister.

In 1999, his first professional short story, “Doctors Three,” was published by Pocket Books as part of the STAR TREK: STRANGE NEW WORLDS II anthology, edited by Dean Wesley Smith. This story was selected as one of “The Top Ten Dr. McCoy Stories You May Have Missed” by Star Trek Communicator magazine and was featured in Voyages of Imagination: The Star Trek Fiction Companion by Jeff Ayers.

Charles’ recent work includes writing several GENERATOR REX stories for CARTOON NETWORK ACTION PACK from DC Comics and writing for the Daily Planet newspaper included with the SMALLVILLE complete series DVD collection set from Warner Home Video. When not obsessing over the television series Doctor Who, he also writes the blog DAMN GOOD COFFEE...AND HOT!, which can be found online at http://charlesskaggs.blogspot.com.

What is the current project you are working on?

Something I’m pitching to DC Comics that I can’t go into specific details about yet, unfortunately.  All I can say is, it’s a complete reimagining of one of my all-time favorite characters and I’m really hoping it gets approved.

What inspired you to become a writer?

I just seemed to have an aptitude for it.  I took a number of English and creative writing courses in high school and college, but didn’t view it as a true passion until I joined TitanTalk, an amateur press association of fans devoted to DC Comics’ various Teen Titans characters.  In TitanTalk, I was surrounded by a number of very creative and enthusiastic fans that encouraged me to write all types of stories.
 

What is the best thing about being a writer?

The best thing for me is being able to make my own contribution to a property that’s been established or creating something from the ground up.  I love coming up with characters and trying to figure out what makes them tick and what they need to do to move the story along.
 

What is the worst thing about being one?

The worst thing is probably time.  If you’re serious about writing, you obviously need to devote time in your day to actually do that writing.  If it’s not time that could be spent with your family and friends, then it’s time you could be spending on yourself.  This gets even trickier when specific deadlines are involved, but a true professional finds a way to make the deadlines a priority and still keep up with daily life.


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

I’ve done countless amateur projects over the years but in terms of being professionally published, I’ve written one short story, four newspaper articles and four comic books with hopefully more to come.  I know there should be more, so if anyone has any openings for paying writing gigs…

What advice would you give to someone who wants to become a writer?

Two very simple things – READ and WRITE as much as you can.  Read novels, short stories, movie and TV scripts, comic books, whatever you can get your hands on with a plot and study them like crazy.  Take note of how the story is structured and how each character’s dialogue flows.

 

Also, if you’re not working on a specific project, I recommend writing some form of journal on a regular basis.  One of the reasons I started my blog DAMN Good Coffee…and HOT! about a year ago was to keep myself in the constant flow of writing.  The more you write, the more you’ll evolve as a writer.  Oh, and dialogue can be a bit rough even for established writers, so try reading your character’s dialogue out loud and if it doesn’t sound natural to you or someone else listening, then it probably isn’t.

What do you like to do besides writing?

As you might have guessed, I’m very big on comic books and currently read around forty titles from various publishers per month.  I’m also a big fan of film and television and as anyone who knows me can verify, I have a very unhealthy obsession with the TV series Doctor Who.  I read novels ranging from science fiction to espionage to fantasy and I’m a pretty avid (and perhaps also masochistic) follower of the Cleveland Indians, the Cleveland Browns, the Ohio State Buckeyes, the Cleveland Cavaliers and the Columbus Blue Jackets.  Thankfully, I can share some of these with my wife, which makes life a lot easier.


Who is your favorite author?

I’d have to say Douglas Adams, writer of the Hitchhiker’s and Dirk Gently books, who was my first big inspiration as a writer with his brilliant sense of humor and imagination.  My other favorites would have to include Neil Gaiman, Grant Morrison, Warren Ellis, Peter David, Sir Arthur Conan Doyle, Sir Ian Fleming, Joss Whedon and Steven Moffat.


What are some of your favorite books?

With Douglas Adams as my favorite author, it should be no surprise that The Hitchhiker’s Guide to the Galaxy is my all-time favorite book.  I’ve read it at least four times now and still find it as entertaining as ever.  Some of my other favorites are Peter David’s Imzadi, Neil Gaiman’s Stardust, H.G. Wells’ The Time Machine, Ian Fleming’s James Bond novels, and Jim Butcher’s first Dresden Files novel Storm Front.

Who is your favorite filmmaker?

Hmmm…Good question.  If we’re talking an overall body of work, I think right now it’s probably Quentin Tarantino.  Like many people, I was first introduced to his work with Pulp Fiction, but Reservoir Dogs, Kill Bill Vols. 1 & 2, and Inglorious Basterds are just incredibly distinctive, entertaining movies.  I’d also rank Christopher Nolan right up there, along with David Lynch, Tim Burton, Steven Spielberg, Sergio Leone, and David Fincher.

How would you describe your education?

Pretty standard.  I grew up in the small town of Medina, Ohio, where I received a solid education during a time when you didn’t have to worry about guns or gangs.  Then I did two years of college, majoring in business, until my family and I moved down to Florida where I received my Bachelor’s.  I could’ve gone for an English degree instead, but I knew that if I didn’t want to scrape by making minimum wage month after month, I needed a degree far more appealing to the real world.

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

Apart from the films I listed above, my all-time favorite movies are Star Wars, The Empire Strikes Back, Superman (1978), Ferris Bueller’s Day Off, the original Indiana Jones trilogy, Die Hard, the Back to the Future trilogy, and more.  As for foreign films, I’d say Sergio Leone’s The Man With No Name trilogy starring Clint Eastwood, Crouching Tiger, Hidden Dragon and The Seven Samurai.

 

TV shows…Well, there’s Doctor Who, Doctor Who and oh, yeah…Doctor Who.  Okay, maybe you could throw Twin Peaks, The Prisoner, Babylon 5, the BBC version of Life On Mars, Northern Exposure, the first five seasons of Lost, the first two seasons of the Battlestar Galactica remake, Star Trek: Deep Space Nine, Firefly, the first five seasons of Buffy the Vampire Slayer, the BBC version of Being Human, the first five seasons of The X-Files, and the first five seasons of Mystery Science Theater 3000 in there as well.

Why is Doctor Who so cool?

Apart from bow ties, fezzes and Stetsons you mean?  In my opinion, Doctor Who is cool because it’s structured in such a way that you can go anywhere you want, any time you want, and tell any kind of story imaginable.  And apart from some of Steven Moffat’s recent episodes, anyone unfamiliar with the series could potentially jump on during any given story, start watching and not feel completely lost.  But I think Craig Ferguson, host of CBS’ The Late, Late Show, summed the series up best when he described it as “intellect and romance triumphing over brute force and cynicism.”  Even with all the death and destruction that goes on in certain stories, it’s still pure optimism and adventure wrapped up in a dimensionally-transcendental blue box that can travel anywhere you’d like.  If that’s not cool, I don’t know what is.

 

What are your thoughts on the big reveals in episodes seven and eight of season 6 of Doctor Who?

I absolutely loved “A Good Man Goes to War,” but felt “Let’s Kill Hitler” was a bit rushed and needed more time to breathe even though it was still enjoyable.   With everything we know at this point about Madame Kovarian and River Song/Melody Pond, and a lot was dumped on us in “Let’s Kill Hitler,” I’m wondering if Melody’s genetic material is the key to the overall Big Bad story masterplan that Steven Moffat appears to be crafting since he took over as showrunner.  We still don’t know who that sinister voice was that took over the TARDIS in “The Pandorica Opens” and said “Silence will fall” and I find it very intriguing that the Anglican Marines appear to use an Omega for their identifying symbol.  So as an old-school Whovian, I have a theory that Madame Kovarian wants to bring back Omega from the antimatter universe (which, presumably, he still resides in after “Arc of Infinity”) and has used Melody’s timey-wimey Time Lord DNA as the genetic basis for Omega’s resurrection.  It’s just a theory, mind you, so we’ll see how right I actually am.

Let's say you could write an episode of Doctor Who. What would the plot be?

Hmmm, I’d love to say but I’m keeping that secret for now in case I somehow manage to write for IDW’s Doctor Who ongoing series or a Big Finish audio adventure someday.  Just know that it’ll be very timey-wimey with a good amount of nods to the series’ history.

Who is your favorite Doctor and companion?

Although my earliest exposure to Doctor Who was a few Tom Baker stories, I’m a diehard Peter Davison fan.  All of them are just brilliant in their own ways, but I rank David Tennant, Matt Smith, Tom Baker, Patrick Troughton and Paul McGann among my favorites.

 

As for companions, you almost have to say that Sarah Jane was the definitive companion.  Although somewhat limited during her time with the Doctor by the writing, Sarah Jane was allowed to evolve and find an entirely new generation of fans.  Other personal favorites include Jamie, Ace, Leela, Peri, Martha, Captain Jack, Charley Pollard and Lucie Miller from the Big Finish audios, and of course, The Brigadier.


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

I don’t really think there is one, or if there is, I’m not part of it.  There are a good amount of writers here in Columbus, but apart from seeing one another at conventions or the occasional party, I think it’s mostly social network interaction via Facebook and Twitter.  Everyone seems very friendly toward one another, which is great unless they’re secretly talking about me behind my back…


How has social media changed the publishing?

I’d have to say it’s opened up the ability to access writers, artists and editors like never before.  Living in central Ohio, I would usually get the chance to talk with comics creators only at conventions unless I happened to know one or two personally.  But with Facebook and Twitter, there are so many more opportunities for interaction.  You get to know professionals better, for good or bad, and as long as you don’t come off like a complete jerk, they can get to know you better as well.  It also gives creators and companies direct contact with their core audience, which only helps spread awareness.


What is your thought process like when you're writing?

It sometimes depends on the type of story I’m writing, but I tend to think very cinematically.  I picture scenes in my head as if I was watching them up on the screen, which helps when you’re writing comics and need to describe to an artist how characters are positioned.  I generally have music that relates to the story’s tone playing while I write, almost like a soundtrack playing during my “movie” that helps keep me focused on the setting.


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

Super-speed.  The ability to move, think and react at accelerated speed is one of the most underrated in comics and with the amount of the things I typically do in a given day, is practically a must.

If you could have any first edition comic book, which would it be and why?

Action Comics #1, the first appearance of Superman.  This comic defined everything else that came after it and as someone who was also adopted by a kind and loving couple and raised to always do the right thing, Superman became such an identifiable part of my life.

What's your favorite quote and why?

I’m partial to the Ferris Bueller’s Day Off quote “Life moves pretty fast…If you don’t stop and look around once in a while, you could miss it.”  Yeah, it’s a bit trite, but so many people are wrapped up in their daily existence that they often don’t appreciate the things going on around them.  I used to be one of those people, focused solely on my hobbies and interests that I never bothered with the outside world.  It took a life-changing event to get me to refocus my priorities and start making the most of the precious little time we all have.

What is your opinion on movie remakes and sequels?

I’d prefer to see something original instead of going back and remaking everything, but sometimes it’s justified.  Take the Coen brothers recent remake of True Grit for example, which resulted in a superior film to the 1969 version starring John Wayne.  Sequels, meanwhile, make sense as long as the quality is comparable to the original and especially on the rare occasion when the sequel actually surpasses the original.  The Empire Strikes Back is better than Star Wars, The Dark Knight is better than Batman Begins, and Star Trek II: The Wrath of Khan is light-years better than Star Trek: The Motion Picture. 

What is your opinion on book to movie adaptations?

Yes, there have been a number of films where the film version doesn’t come close to the novels on which they were based, but there are times when the film versions improve upon the books.  Anyone who’s sat down and read J.R.R. Tolkien’s Lord of the Rings trilogy and then watched the Peter Jackson films should know that Jackson did a masterful job reworking Tolkien’s saga and making it flow.  Harry Potter and the Order of the Phoenix is another good example, where director David Yates took what I feel was one of the worst Harry Potter books, stripped out J.K. Rowling’s indulgent excess, and crafted it into one of the best Harry Potter films.  This is just my opinion, but each of Rowling’s last four books could easily lose 100 to 150 pages and become much better novels.

Is there anything else you would like to add?

To anyone who gets frustrated trying to break in as a writer or something creative, don’t give up on your dreams.  Yes, everyday life may take over and unexpected things may happen that sidetrack you, but as long as you have talent and the right bit of luck at the right time, things will work out eventually.  I was exactly where you are for more years than I care to remember, so if it can happen for me, I firmly believe it can happen for anyone.