Morgan Evans: Writer/Director/Comedian

Morgan "Dangerish" Evans is a writer/director/comedian living in New York City who has reached mild levels of fame after being the first person to successfully embed a YouTube video into a handwritten letter. In addition to being the Touchscreen Segment Producer at The Onion News Network, he sometimes stares for hours on end at a blank wall, writes stuff for The Huffington Post and eats a lot of food. You can follow his Twitter feed here, and learn more about him life-wise here.

What is the current project you are working on?

I’m working on a fifteen (maybe sixteen) episode web series. It’s a very dark/weird depiction of events from my life twisted around and turned into what some people might call comedy. There aren’t any through-lines or overarching plot-points so in that sense it’s quite different from the serialized stuff you see on YouTube or whatever. That being said it’s not like individual sketches or anything either. The best way to describe it is a series of short films that might string together tonally. (http://kck.st/rkbE9V)

Why do you want to have a bunch of different directors direct an episode of the webseries?

The “different directors for each episode” thing was, for me, an attempt at opening up a collaboration with talented individuals who I thought could bring something fresh and interesting to this project. I tried to place an emphasis on female directors for a few different reasons I don’t care to go into, suffice to say this world is a horrible place and more women should be behind the camera.

How do you measure success?

With a success-o-meter. No, I don’t know. I mean, I always have goals, and sometimes, more often than not recently, I will meet those goals but it won’t feel like a “successful” act. It’s amazing how quickly the extraordinary becomes ordinary is how my therapist put it. For example, I was up for two roles on two different TV shows and I got them both. For like two months that was all I wanted, to get those roles, and it was all I thought about, but then when it happened I didn’t really know what to do with myself but like find something else to work towards. I’d measure true success to be when you want something so badly that when you actually get it you can be completely content, but I don’t think that’s really possible. Maybe success is when you get to a point in which you stop caring about “this role or that role or this project or that project” and can just be happy knowing that you’ve done a lot of that shit already. Who knows.

How do you handle rejection?

Poorly.

Did you always want to be a filmmaker?

Not at first. I’ll elaborate in the next question.

What inspired you to become filmmaker?

I sort of started out as a child actor. I always really wanted to be Jim Carrey. When I found out I couldn’t actually be another person I decided I wanted to do whatever it was that Jim Carrey did. This was when I was five. So I got an agent and started doing commercials and stuff, and then I started getting really nerdy about how they made commercials. That’s when I started using my parents’ video camera and screaming at my little brother to hit his marks a lot.

What is the best thing about being one?

You get to scream at your little brother to hit his marks a lot.


What is the worst thing about being one?

Telling people “no”. The thing I hate most is getting asked by someone you respect or are friends with to direct an episode or sketch or short or whatever for them and having to turn them down because you’re working on your own projects or you’re already booked or whatever. It makes you feel like a dick. Who are you to tell this super talented individual who has big enough balls to be out there shooting something that you can’t do his/her project because you’re doing this short next weekend in which dogs talk?

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

Hundreds. My original sort of two-man comedy project “Tim and Morgan” has over 56 videos on our Vimeo. That’s from when I was like 13-18. New York-wise, I’ve P.A.ed or just dicked around on dozens of stuff made by UCB people, which is great and always fun. I’ve also done two pretty successful shorts “Upload” and “The Rest of Caesar” which were a lot of work and are now circulating film festivals, notably The Friars Club Comedy Film Festival and NewFilmmakers NY, respectively. Professional project-wise, not acting, I’ve done two seasons of The Onion News Network, so that’s about it.

Who is your favorite filmmaker?

Ingmar Bergman.

How has your life changed since you became a filmmaker?

I still watch movies and television but now I call them “research.”

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

Listen to the advice of people more successful than me. Or, just, you know, go do stuff. Make stuff. Get involved with The UCB and schmooze your way into an internship and then do that internship so well that they have to hire you. That’s my advice, that’s what I did.

What do you like to do besides filmmaking?

I like to eat food, go to restaurants, brunch hard, drink a lot and read. Also stand up. I really enjoy stand up. Improv is on this list as well.

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

My first-ever paid job was when I got hired as a Web Producer at The Onion. I had been an intern on the TV show for a while, as an assistant to one of the directors (JJ Adler), and after Season 1 wrapped she recommended me to the digital guys because I was such a nerd (As an intern I basically managed and produced the “RECONWALL” which is a 56” fully functioning touchscreen device). Then during Season 2 I was hired on the show like a real person and given the credit “Touchscreen Segment Producer.” After Season 2 wrapped I quit The Onion digital team in order to focus on this series and do festival stuff with my short film “Upload.” If there’s a Season 3 I hope I’d be asked back.

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

American Films:

Every Woody Allen movie. “Real Life” by Albert Brooks. “Terms of Endearment” by James L. Brooks. “Network” by Sydney Lumet. “Woman On The Verge Of A Nervous Breakdown” by Cassavettes. “Duck Soup” by Leo McCarey. “His Girl Friday” by Howard Hawks. Harold Lloyd stuff. “Vertigo” by Hitchcock. “The Apartment” by Billy Wilder. “A New Leaf” by Elaine May.

Foreign Films:

“Fanny and Alexander” by Ingmar Bergman. “The Antoine Doinel Series” by Truffaut (specifically “Stolen Kisses”). “Juliet of The Spirits” by Fellini. “The Orpheus Trilogy” by Cocteau. All that pretentious shit. Oh also “The Rules of The Game” because of course.

Television:

Louie, The Larry Sanders Show, Murphy Brown, The Sopranos, Lost, The West Wing, Peep Show, Seinfeld, Arrested Development. Basically I like your friend’s whole Tumblr account.

Web Series:

Broad City and Duder.

How would you describe your film education?

I’m a screenwriting major at SVA. It’s fine. It forces you to write on a deadline, which you might not be doing otherwise. Career-wise I can say this; every job or industry thing I’ve booked has in no way shape or form been related to my experience at SVA. All The Onion stuff, my work for Huffington Post, any interview I’ve had with Daily Show, Fallon, or IFC has been a direct extension of what’s going on at The UCB theatre here in New York. Film school won’t get you jobs, UCB will. I promise.

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

I’m involved with two very disparate scenes here in New York. There’s the comedy scene in which everyone is shooting their own stuff, sketch-wise, series-wise, whatever-wise and putting it online or showing it at Channel 101 or whatever, and there’s the Toby Talbot Walter Reade Theater scene in which you go see a print of “Seventh Seal” at four in the afternoon and are the youngest person in the theater by forty years. Both are AMAZING.

How has social media changed the independent film industry?

It’s either killed it, helped it, or turned it into something new. I’m not sure. On one hand people might be less inclined to do a feature film or something because they can go make a FlipCam video that satisfies that impulse and put it up on YouTube. On the other hand maybe those people are using YouTube to post a trailer to their feature length movie they shot on a FlipCam. God, I don’t know. I imagine Twitter helps. I follow a lot of movies on there. I follow the Weinstein Company. It’s changing something I guess.

What's your opinion on crowdfunding?

I’m for it. I back stuff all the time. I’m more inclined to back physical projects like “We’re trying to fix up this basement so we can turn it into a stage!” or “We’re trying to fix up this stage so we can turn it into a basement!” than I am films and stuff. Actually that’s not true. I love both.

How does independent film differ from the mainstream?

I don’t know. They both need each other and I think they both take turns setting the standards of where film is headed. ‘Breathless’ wouldn’t have existed had American-mainstream-pulpy-thriller-movies not been a thing, and the ‘Breathless’ remake with Richard Gere wouldn’t have been a thing had ‘Breathless’ not existed. I love bullshit Natalie Portman rom-coms just as much as the next totally immasculated guy, but I also really like those movies where people wonder around a desert for two hours talking about Proust. Both have a place.

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

Probably “Animal Crackers” because it was filmed right up the block from my house. If I’m already traveling through time why bother with space?

What's your favorite movie quote and why?

The awful thing about life is this: Everybody has their reasons. – Octave, The Rules of The Game

Why? It's true.

What is your opinion on movie remakes and sequels?

Make ‘em if you got ‘em.

What is your opinion on book to movie adaptions?

I am for them. I don’t think they “ruin the books” and I don’t get mad when “it isn’t true to the book” because if it was really “true to the book” then they would have just made the movie a book, which they didn’t.

Is there anything else you would like to add?

Yes. If you’re a creative person and terrible at scheduling, calling people, or getting meetings put together production-wise, find someone who wants to be a producer and start working together. The best thing you could do is get someone who is going to hound you about your own project and stop you from getting all “mehhhh” half-way down the line when the ship is full steam ahead, or warp speed ahead, or whatever, I don’t know what kind of ship you’re on. Mine is Matthew Hobby, and he's a genius.

Thank you Morgan for doing the interview. I wish you the best of luck with your webseries. I'll do what i can to spread the word about it.

Suzzanne Cromwell Co-Founder Of Lowell Film Collaborative

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Originally from Houston, Texas, and now living in Lowell, MA, by way of Boston, Suzz's love of film started in infancy, when her father, a projectionist in the Air Force, and her movie-loving stay-at-home mom, used to spend family time together up in the projection booth with Suzz soundly sleeping by the humming projection system. Today, Suzz relishes the arts — as co-founder of the Lowell Film Collaborative (along with her husband, Brett Cromwell), she dreams of owning her own indie movie house wherever she and her love of movies will be welcomed. For now, she’s content to host film screenings WITHOUT a permanent venue in downtown Lowell all out-of-pocket (and with generous donations) as part of her mission to bring a cinematic presence to the City. These events take place ‘guerilla style’ in cafes, auditoriums, outdoor parks, museums, art galleries, in historic buildings, and even on federal National Park property. A past vocal performance major at Berklee College of Music, Suzz is positive that someday she will get the chance to Welcome Visitors To the Movies full-time in her own indie film house, but right now, she’s embracing her community film work as a passionate, part-time, self-funded, side project. She welcomes support from anyone interested in helping to bring film to this part of the Merrimack Valley! Info also at Lowellfilmcollaborative.org

What is the current project you are working on?

To be honest, each film screening we host is its own project, and we’ve got fabulous events on the horizon, starting on October 18 with “Lost in La Mancha,” the 2002 Pepe & Fulton documentary on Terry Gilliam’s tragic, failed attempt to bring the story of Don Quixote to the screen. Our highly anticipated screening of “Of Dolls & Murder” is on October 25, and we’re thrilled to be welcoming director Susan Marks all the way from Minnesota -- it’s an honor for us to have filmmakers at our screenings! We’re also working on a November 17 showing of “Work of 1000,” the inspirational documentary on Marion Stoddart, and finally in December, “Adventures in Plymptoons!,” the new documentary on legendary animator (and one of my personal favorite artists) Bill Plympton. That’s looking to be a HUGE event the first weekend of December with Bill HIMSELF as our special guest as well as director Alexia Anastasio. That’s going to be incredible -- meeting Bill will be a thrill!

How do you handle rejection?

For us, rejection is not getting a good crowd of attendees to our film events. The rejection isn’t personal or overt, but when you work hard at curating films, coordinating publicity, and pounding the pavement to get the word out, you expect folks to come out for an evening of great film. But when the big crowd doesn’t show, you just have to swallow it, and move on to the next event. It’s a disappointment, but we have to believe in our OWN passion for what we’re trying to do here in Lowell and the audience we’re trying to build. It’s also all about the FILM EXPERIENCE, and no matter how many people we have taking in cinema, they’re sure to have a magical motion picture experience because we’re there to welcome them into that world.

What inspired you to become involved in the film industry?

While I don’t have a filmmaking background (my education is in music performance), film in general has played a huge part in my life as I am the product of two parents who are remarkable film nerds, and I say that with PRIDE! My father was a projectionist on an Air Force base in Dover, Delaware -- I was born on that base, and I love it when my mom reminds me of how she used to sit with me up in the projection booth as a newborn, right near the projector. I love hearing that, as I can picture me as a small baby falling asleep to that beautiful ‘tck tck tck tck’ sound of the machine -- it’s a sound you don’t hear anymore, and it’s a sad thing. Growing up, we would have a weekly movie night at our home -- my dad would set up our 16mm projector and a big screen in our living room and we’d watch all sorts of things, including old Disney classics, obscure shorts, B&W animated features from the 30s, or classic films like “Tangier” or “Pal Joey.” I adored seeing Frank Sinatra on screen, so we had a lot of Frank. My family also loves horror, so we’d watch some great classic horror stuff. We owned many of these films, including some Laurel & Hardy flicks. I grew up with those guys, as well as Abbott & Costello. GREAT stuff. Those memories are my touchstone, and I’m 110% certain they’re what inspired me to adore film the way I do, most especially indie and foreign film, given the fluff that Hollywood is churning out these days. The days of the great Hollywood film seem so far away.

What is the best thing about the film industry?

That sense of artistic community. That feeling of discovery. The incredible passion and drive filmmakers and actors have. The STORYTELLING. The sensory & emotional overload. That primal feeling of being in a dark room alongside other like-minded people sharing someone’s onscreen dream or vision. At my core, I’m an obsessed film-goer, so these are all the titillating things that get my juices flowing. It’s the effect a film can have on us deep inside, or the LACK of effect, and the wonder of that. Like other film hounds, I’ve left a theater feeling empty or unchanged or unimpressed
after watching a film, and that’s fascinating to me as well.

What is the worst thing about it?

The sad fact that there are thousands of stories out there to tell, and thousands of storytellers. And they just don’t have the money, support, opportunity, or resources to get that story to the public. I suppose it’s the state of the arts and artists in general, the backwards way of the world where beauty and creativity are at the front of the bus while war & conflict are the popular assholes in the back of the bus. Imagine the POWER & positivity the arts could hold over our societies if that reality was different.

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

If you consider our ‘projects’ hosting our own local film events, then I’d say we’ve screened over 70 films in the last 3 years, and all of that mostly out-of-pocket. AND without a bona fide theater or permanent venue. It exhausts me to think of it! But we’ve had an absolute blast.

Who is your favorite filmmaker?

I’m definitely not alone in this, but Herzog & Bergman hold a big place in my heart. I also know that if I’m watching a Wes Anderson, Larry Fessenden, or PT Anderson film, chances are I’m gonna be blown away. On the flip side, I long to dive into a lot more Cassavetes.

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

For us, hosting film screenings in Lowell has energized our relationship with the community. How could it not? Bringing people together on a regular basis for ANY sort of reason, is going to be rich and rewarding. Especially in film. We’ve made amazing friends, strengthened relationships, AND forged local partnerships along the way while winning people over to the beauty and mystery of Cinema. Its rooted us to our current home -- whatever the future holds, we’re enjoying this journey. We’ve also met incredible, inspiring filmmakers, writers and cast over the past 3 years. We’re proud to say in our case, great film and great audience go hand in hand.

What do you like to do besides running the Lowell Film Collaborative?

Watch movies! Sincerely. That’s what I love to do when I’m not planning film events. Researching, discovering, and watching film, of all sorts. Second to that would be TALKING about film, which I can do incessantly. Watch out if you have me sitting next to you at the dinner table!

Have you had any other jobs before you decided to create the Lowell Film Collaborative?

Working on the Lowell Film Collaborative is my passionate side-gig, and a non-paid one of course. I presently work for the Special Events Office for the City of Lowell and my past jobs included working 20 years for the Disney Company and over 20 years for the Boston Museum of Science. I adore the public and meeting people, so all of these job positions, past and present, quench that thirst. Museum work in particular is incredibly rewarding -- Boston has a stellar science museum!

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

AMERICAN:

“The Day the Earth Stood Still” (1951)

“The Women” (1939)

“The Big Lebowski”

“Dear Zachary”

“Barbarella”

“Star Wars” (its gotta be the original, uncut & untouched)

“Grand Hotel” (1932)

“Sideways”

“Yellow Brick Road”

“Creepshow”

“The Godfather”

“Iron Giant”

“Local Hero”

“The Fortune” (1975)

“Grizzly Man”

“The Comfort of Strangers”

“Creator”

“Planet of the Apes” (1968)

“The Twelve Chairs”

“The Ghost & Mr. Chicken”

“Theremin: An Electronic Odyssey”

“The General” (1926)

“They Shoot Horses, Don’t They?”

“I Want to Live”

“Buck”

“Abbott & Costello Meet Frankenstein”

FOREIGN:

“The Lion in Winter” (1968)

“The English Patient”

“Persona”

“Once”

“Like Water for Chocolate”

“Joyeaux Noel”

“The Legend of Hell House”

“Persepolis”

“Wings of Desire”

“Inside”

“The Host”

“Cold Comfort Farm”

“Snapper”

“Suspiria” (Dario Argento)

“Educating Rita”

“Cries & Whispers”

“Lucia”

“Cinema Paradiso”

“The Wedding Banquet”

“The Innocents”

“Delicatessen”

“City of Lost Children”

“A Night to Remember”

“Brassed Off”

“Impromptu”

TELEVISION:

We don’t watch television shows as we have the Food Channel on pretty much 24/7. Other than that, I’m looking forward to the 2nd season of “The Walking Dead.” If I could, I’d bring back Twin Peaks, Firefly, and some good ole’ Rod Serling.

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

Non-existent! Which is why we do what we do.

What's your opinion on crowd funding?

It’s brilliant, and from what I’ve seen, effective. We’d totally consider it if we ever needed to rally the troops. We’ve supported great crowd funding projects -- it’s an amazing glimpse into the endless talent that exists in the world.

How does independent film differ from the mainstream?

There’s always a sense of unlimited ‘space’ and freedom -- creative breathing room. Indie films immediately shed the familiar confines and identifiable borders inherent in mainstream motion pictures.

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

“The Lion in Winter.” Absolutely. Though this is a tough question! But that film was SO chaotic & maddening, and brilliantly executed and written -- the dialogue is ASTOUNDING, and the performances are mesmerizing and insane. Plus that time and place in our world’s history is so perplexing and vile, I would have gotten a kick out of being on the set, which is probably nothing like I imagine -- all smoke and mirrors most likely. But my god, who could resist wanting to breath the same air as that cast -- Peter O’Toole, Katherine Hepburn, Anthony Hopkins, John Castle, Timothy Dalton. I mean, WOW. The script was so tempered and violent, full of shouts and tears. I would have adored being there every single day to witness the tumultuous rehearsing!

Do you believe in life on other planets?

Oh my, YES. Resounding YES.

Have you been on the set of any of the recent movies that have been filmed in Lowell, MA?

My husband, Brett, was an extra in “The Invention of Lying.” He’s got a fabulous 3-second appearance, which we’re both (tongue-in-cheek) proud of! We did much stargazing during that  production. “The Fighter,” kept to the inner neighborhoods of Lowell and was a pretty closed set, unlike Gervais’ production, so we didn’t get a chance to ‘wonder’ on.

What's your favorite movie quote and why?

“Leave the gun, take the cannolis.” -- it just makes me giggle when I’m having a bad day.

What is your opinion on movie remakes and sequels?

*Sigh* ... what to say about this. It’s a tough call, as there have certainly been some very successful remakes and redo’s. But on the whole, it’s a bit of a drudgery. If I love an original, I’ll usually give the remake a bit of a chance, but lately, there have been some TREMENDOUS dogs out there, don’t you think? I mean, just horrible. No imagination or creative interpretation, nothing new or insightful to add, just pure CGI hell most of the time or weary acting. As far as sequels, I’m a bit more forgiving as I love a good story. It’s pretty easy to see where a chain of sequels is going by the time you hit Part Deaux, though, so you can choose early on to severe your relationship with the saga. I’ll give a good story two sequels if the first installment was stellar.

What is your opinion on book to movie adaptions?

I must confess, my book reading isn’t what it used to be, so I give book-to-movie adaptations a thumbs up. There will never be a shortage of amazing writing, historical or contemporary, so why not take all that creativity and try to harness it onscreen? Sounds great to me! But again, that’s coming from a hard core filmie, not a bookworm.

Is there anything else you would like to add?

I’d like to personally thank you, John, for this opportunity. I’d also like to express to my deep appreciation for anyone reading this -- if you’ve gotten this far and have read my answers to these great questions, then you’ve gotten to know a little bit more about me -- I hope you’ll take the time to reach out and get in touch with me and throw some words of inspiration or share some ideas about what we do. If you’re a budding filmmaker, we’d love to showcase your work here in Lowell, MA -- it’s what makes me rise and face the day!

"Ninjas Vs" Creator Justin Timpane

[caption id="attachment_2126" align="aligncenter" width="203" caption="Justin as Reefer" in "Ninjas vs Vampires"][/caption]

Justin Timpane spent his formative years in the DC area, graduating from Mary Washington University in Fredericksburg, VA with a BA in Theatre. He shot his first college film in 1994, and spent six years as a professional actor in the DC theatre, commercial, and film community. In 2006, Justin stepped out of the opening day showing of Clerks 2 with his wife Kelly and his best friend, Actor Daniel Ross, and made a realization. He had been unsatisfied with scrounging for roles he was unsatisfied with and being part of projects that half the time never were completed. It was at this point that Justin and Daniel went to their local Blockbuster and spent some time looking for the movie that "Hadn't been made, but should be".

That movie ended up being "Ninjas Vs Zombies", which was released in 2008 on DVD throughout the United States. The follow-up film "Ninjas Vs Vampires" was released 2 years later on DVD, VOD, and Netflix Streaming as well as throughout the UK on DVD and iTunes.Now, Justin and his team are responsible for a comic book series, an online radio network of podcasts, and the "Ninjas Vs" movies, which is looking to complete the trilogy in 2012 with "Ninjas vs Monsters".

What is the current project you are working on?

Ninjas Vs Monsters: The Movie ( www.NinjasWin.com )

Why did you decide to make a trilogy?

Its my favorite form of storytelling, in retrospect.. I mean, Star Wars, LOTR, even accidental Trilogies like Nightmare on elm Street 3,4 and 5 or Star Trek 2,3,and 4 - I enjoy the three stories together.. Plus I love this universe and want it to go out with a BANG!

How do you define success?

Setting a goal and achieving it. I know that sounds asinine, but I focus much mor eon smaller successes. I am already successful in the large sense because I get to make movies and I have a pretty happy life at home. So my goals are smaller and more manageable.

How do you handle rejection?

With wine. Lots of wine. Honestly, its part of this business, and I am getting a thicker skin than I ever thought I would. After some time you just get used to it. Its a business OF rejection and readjustment until you achieve that goal!

Did you always want to be a filmmaker?

Not always, but often! It was, from High School on : Actor, Musician, Comic Book Artist, Filmmaker, Actor, Musician, Filmmaker, TV guy, Actor, Filmmaker.. I keep on stumbling on that as the thing I want to do.

 What inspired you to become filmmaker?

Oh, lots of stuff. Ed Sanchez and the "Blair Witch Project", along with "Clerks" and "Evil Dead", first taught me I could do it myself. My buddy Josh made a movie when I was 18, and that was a HUGE thing for me - it inspired me to make my first film, and not too long after, BWP came out, so it was a perfect storm of inspiration. Also, props to fames indie microbudget guys Don Dohler and Joe Ripple, who kind of gave me a boost.

 What is the best thing about being one?

Hands down, seeing your film being enjoyed by a packed house. Nothing like it.

 What is the worst thing about being one?

Asking for money.. that stinks because you have to beg and prod and have your hand out and call in favors and you feel icky.. But you gotta love your film enough to do that. There are generous folks out there, you just have to find them and hope they will believe in your dream!

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

On Film? As an actor, 7 or 8 (not counting Extra or Stand In Work on Hollywood stuff). As a composer only, Two. As a script doctor, two. And then my two College films and my two professional films. What is that? 15 or 16?

 Who is your favorite filmmaker?

Probably Joss Whedon (he's more TV I guess), or Kevin Smith. I also have a fondness for Tarantino and Cameron.

 How has your life changed since you became a filmmaker?

Its busier. I have less money and less time but a LOT of cool friends - I get to meet really cool folks now.

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

Surround yourself with people you can trust and who you love. You will be WITH these people for the next three to twelve months if not more.. so make sure you and they can handle that! Then gather a little cash ( www.NinjasWin.com - sorry.. like I said, it kills your dignity!), a good idea, and get to work!

What do you like to do besides filmmaking?

Spend time with the Fam. I check out almost every Super hero movie, I love Star Trek and I run a podcast Network ( www.EndlightPodcast.com )

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

As an indie filmmaker, I have a day job now! I did do a lot of other Entertainment jobs. The best one was working as a Star Trek alien (Romulan) for three years in full makeup at a theme park, six days a week, 5 months a year.

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

American: Empire Strikes Back, Nightmare on Elm Street, Scott Pilgrim, Aliens, Serenity. Foreign: Drunken Master, Shaun of the Dead, Hot Fuzz. TV Shows: Buffy, Angel, Firefly, Lost

 How would you describe your film education?

I have a BA  in Theatre, and a strong emphasis on Video Editing and music performance and composition.. as  iwas getting that, I made films as a hobby, so my thinking was always kind of there.

What is the casting process like?

We have a big call for two days and see about a hundred or more folks for about six parts. Then we call back about 2 for each part and screen test. We then take those who did well but didn't fit, or who were enthusiastic or were really nice and we see where we can fit them in secondary roles. Its easier now, because most of the good guys have been cast already (sequel) - but the BADDIES.. well thats something else entirely!

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

Growing! In the DC area, there are a NUMBER of indie productions receiving distribution as well as some big companies doing stuff (Discovery Channel and the new "The Firm" series, for instance.)

How has social media changed the independent film industry?

It is easier to keep in touch with fans. For us, they become friends pretty quickly. We are small enough to be accessible and in general our fans have been really cool! Facebook is our SM of choice, although Twitter has some fun advantages. On a larger sense, it has closed the gaps between the film folks and fans. As a fan, I have been able to correspond at least once with some of the Elm Street folks, with Kevin Smith, and have become friends with Blair Witch Creator Eduardo Sanchez,

What's your opinion on crowdfunding?

I'm in the middle of it now! ( www.NinjasWin.com !) It is awesome if you are willing to swallow your pride a bit and ask for help. Its hard to be heard above the masses, so you have to work it EVERY day.. and that is taxing. You just can' wait to get back to MAKING the movies. SO - to whoever is reading this.. check out the aforementioned NinjasWin.com and watch the video.. you'll see exactly why we need to be doing this (facepalms.. calls self a whore.. continues)

How does independent film differ from the mainstream?

That's an excellent question. Non-Studio funded.. but in that case, the entire Star Wars prequel trilogy is an Independent Film.. 20th Century Fox just distributed it.. Lucas funded, wrote, and shot everything exactly as he wanted, for better or for worse. Kevin Smith's RED STATE is a better example. He went out, got money, wrote, produced, and got it made.. and he was DECIDEDLY on the cheap about it. Ours is a lot like CLERKS or Blair Witch.. and most others are too. We're not well-connected enough to get the BIG budget, but we're known enough now to get SOME money.. If Hollywood is "Outback Steakhouse" or "Ruth Chris", we're the little local Diner. Its a riskier proposition, maybe, but infinitely more fun.

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

Star Wars, C'mon.. to see those guys come up with some of this stuff for the first time? Golden.

 What's your favorite movie quote and why?

Clerks 2's line changed my life: "I'd buy the Quick Stop and reopen it myself. That's what I'd do. That's what we should do. " - it was this line that made me say "Lets go for broke and just make movies"

Do you believe in life on other planets?

No. Wish I did.. that would be fun

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

I used to write a comic book for fun (no one has ever seen this) called Z-Strike - and I always wanted to be Telekinetic. Moving stuff with my brain. Maybe because I'm lazy reaching for the remote... or because I want to walk down a hallway filled with windows, then get mad, then have the windows shatter as rock music plays.. sorry got lost in my thoughts there.

 What is your opinion on movie remakes and sequels?

Remakes make me nervous. More often than not they fail and are kind of sucky. But sometimes they are awesome (True Grit, The Ring) - Sequels, however.. I love. I even like bad ones. I would have watched TEN more Elm Streets.. I have a problem when TV shows or Movie Series end. I like that familiarity. But SOMEITMES.. the sequels just improve.. Empire, Godfather 2, Evil Dead 2 and 3, Elm Street 3, Star Trek 2, T2, Aliens, etc..

What is your opinion on book to movie adaptions?

I like them, in general - but I think filmmakers either stray too much or try to adapt the book slavishly, and make a bad movie. The TRUE fan of the book who tells THAT story, but is obsessed not with every detail, but with making the best FILM, will be successful. (Harry potter 2= like the book, but BAD, Harry potter 3  omits stuff but is a GOOD MOVIE)

Is there anything else you would like to add?

Care to guess? You, the reader, are finishing this article and about to move on to the next thing.. BEFORE you  do, we have a video on www.NinjasWin.com where we talk about what we're doing. Give $5, $10, whatever.. there are AMAZING perks - so check it out at least.. it's not very long.. Help us MAKE Ninjas Vs Monsters (oh, and before you go, link that page to your twitter or Facebook!) Thanks so much for interviewing me! It was fun!

Meg Pinsonneault Of Thirsty Girl Films

Meg Pinsonneault is an award-winning, festival screened director and screenwriter in Los Angeles. She is the founder of the independent production company, Thirsty Girl Films, which won the 2010 Filmmaker of the Year award from RAW: Natural Born Artists, as well as semi exclusive content provider for Mubi Garage. Meg is also an avid screenwriter, with 5 features under her belt and a script currently circulating the studio system. Meg's work has been featured on: Film Courage, Film Radar, Mubi Garage, Indiegogo, From Page 2 Screen, Coachella Review, and the forthcoming Stigmedia.
In her spare time, Meg volunteers with the Writer’s Guild of America and the Central Pennsylvania Film Commission as well.  An Emerson College alumni, she is also an award-winning photographer and art director, and published poet. Meg has too many hobbies, but loves them all.

Meg's awards include: Winner 2010 RAW Artists’ Filmmaker of the Year, Merit Award for Animation at 2011 Los Angeles Cinema Festival of Hollywood, Honorable Mention at 2011 Los Angeles International Underground Film Festival, Second Place Winner and Best Editing in Animation from 2011 Los Angeles Arthouse Film Festival, Winner of Best Documentary at 2010 Octaedro Film Festival, 2009 Maverick Movie Award nomination for Best Short Documentary, Third Place Finalist for Moveon.org contest, "Obama in 30 Seconds," Winner of viral marketing concept campaign for AMP Energy Drink, 2008 Bronze Telly Award for Outstanding Art Direction in a Music Video.  To find out more about Meg and Thirsty Girl Films please visit visit http://www.thirstygirlfilms.com

What is the current project you are working on?

I’m currently working on two projects right now. The first is a short period thriller circa 1940 called “Feast of the Foolish,” about a young outlaw lost in the desert who seeks answers about his future from a dark enchantress, but it’s his past he should be worried about. “Feast of the Foolish” was inspired by my love for stylized, high concept films, packed full of saturated visuals and top-notch art direction. “Feast of the Foolish” was successfully financed through the crowd-funding platform, Indiegogo.com. We shot it on the RED One camera in Joshua Tree, CA. It is currently in consideration at many top tier film festivals, as well as independent fests around the world. I’m also working on the feature adaption of this unique period thriller film. For more information, please go to www.feastofthefoolish.com

My second film is feature documentary called "Gwapa (Beautiful)", about is a documentary that follows a poor Filipino family’s struggle for a healthy future and a mother’s remarkable journey to help her three kids with facial deformities. Last January, I, along with my good friend, Sabina Padilla, had the amazing opportunity to travel to the Philippines with Faces of Tomorrow, a non profit organization that provides free surgeries for children with cleft deformities. We documented the Bulabos and Alac families, four children with clefts in total, through their long journey to meet the Faces of Tomorrow team. In a country where children with clefts are often abandoned or shunned from society, Gwapa (Beautiful) follows two remarkable families that refuse to give up. Despite desperate poverty, this documentary depicts a mother’s will to do whatever it takes to give her children the brightest future as possible. Gwapa (Beautiful) is a powerful tale of strength, love, determination, and hope. It’s an experience that changed my life forever and a story that must be told. Faces of Tomorrow will return to the small Filipino island of Bohol and revisit the families for more surgeries, education, and medicine. We are looking for funding to return with the medical mission and to complete the film. We’re launching a crowd-funding campaign on November 12^th with a kick-off party and awesome perks. Gwapa (Beautiful) will be the first full-length documentary to feature the issue of cleft deformities in developing countries. For more information, please go to www.gwapafilm.com

Did you always want to be a filmmaker?

I think I always knew that I wanted to a be filmmaker, but it just took me awhile to fully realize it. My love of filmmaking first derived from my love of acting. From a young age, I participated in many local productions in my hometown of Williamsport, PA. I attended acting programs in both New York City and Boston during the summers. After high school, I was accepted to Emerson College’s prestigious acting program, but I soon realized my true calling was behind the camera. As an award-winning photographer from age 12, the shoe slipped right on. I graduated with degrees in both Film and Screenwriting. I moved directly to Los Angeles where I first acted as a Prop Assistant on commercials and then ran my own Production Design team. I moved onto videography and editing for documentaries and music videos. This quickly led to writing, directing, and producing my own work. I’ve been an independent filmmaker ever since.

 What inspired you to become filmmaker?

I’ve always been a very visual person. My mother put a camera in my hands at a young age. So, I naturally drifted toward photography and videography as a way to express myself. There was always some type of camera in my hand. Likewise, I’ve loved the craft of writing since I was a child, winning poetry and story contests through middle school and high school. After going to college for acting, I quickly realized that I had more to offer the filmmaking process then just appearing in front of the camera. I’ve always been inspired. But when I found filmmaking, the inspiration was finally funneled into the right medium.

What is the best thing about being one?  What is the worst thing about being one?

As a filmmaker, I’m lucky that my career is also my favorite hobby. Most people have a very distinct disconnect between work and play. But artists merge all that together. Filmmaking is an incredibly rewarding profession, but it’s also a ruthless one too. It’s certainly not for the weak of heart. It takes a level of passion and dedication that separates the men from the boys. But the payoff in the end is worth it. Having the ability to share your visions with the world and the world watching them, is truly a beautiful thing.

Do you believe in life on other planets?

Of course. There is far too much evidence to not believe in life on other planets.

Who is your favorite filmmaker?

Yikes. I can’t pick just one. My major influences include filmmakers like Tim Burton, Michel Gondry, Guillermo del Toro, Quentin Tarantino, Jean-Pierrs Jeunet, Darren Aronofsky and The Coen Brothers. Each of these directors continues to create wonderful films that have compelling stories with uniquely stylized visuals that keep their audiences coming back for more.

What is your opinion on movie remakes and sequels?

Honestly, my opinions aren’t good. I feel that remakes and sequels are dumbing down the quality of the films people see these days. I think we can all agree that we’d be better off without Beverly Hills Chiuachua 3 or Saw 7. But because the studios aren’t making as much money anymore, they’re not taking as many risks on original content. Therefore, the public ends up with this bland mix of the same crap over and over again. That’s why independent film is so important. It’s a place where filmmakers can actually make original content.

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

Don’t give up. Keep making things. No matter how small the project, it’s very important to continue honing your craft. Being an artist isn’t easy. Don’t let process get you down. Filmmaking doesn’t happen over night. It takes time. So, buckle up and hang on for the long haul.

What do you like to do besides filmmaking?

I grew up in the Appalachian mountains of central Pennsylvania. Needless to say, I love to get dirty. When I’m not working, which is most of the time, you can find me enjoying the great outdoors. I love to snowboard, wakeboard, surf, boat, and hike. I’m also an award-winning photographer and published poet.

How do you handle rejection?

I don’t let rejection get me down. Being an artist means putting yourself out there. There’s no way you can satisfy everyone. If you let criticism and rejection bother you, then you’ll never move forward with your artistic career. Likewise, I believe that rejection and criticism is just an inherent part of making films.

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

Some of my favorite American films are The Big Lebowski, True Romance, Edward Scissorhands, Be Kind Rewind, Little Miss Sunshine, Shawshank Redemption, Requiem for a Dream, From Dust to Glory, The Goonies, Eternal Sunshine of the Spotless Mind, and Memento.

Some of my favorite Foreign films are Pan’s Labyrinth, Micmacs, Alice, Run Lola Run, Amelie, Motorcycle Diaries, Triplets of Belleville, The Bicycle Thief, City of God, Persepolis, Hero, The Orphanage, Loves of a Blonde, Apocalypto, Red, and In the Mood for Love.

Some of my favorite shows are Seinfeld, Carnivale, Dexter, Sons of Anarchy, Modern Family, Deadwood, Arrested Development, Breaking Bad, King of the Hill, Boardwalk Empire, Home Movies, Treme, Curb Your Enthusiasm, United States of Tara, Walking Dead, Bored to Death, Family Guy, Six Feet Under, Mad Men, Fresh Prince of Bel Air, Game of Thrones, and The Killing

How has social media changed the independent film industry?

Social networking has drastically changed the way the indie filmmaker operates. It has allowed the filmmaker to connect with their audience directly, which is an extremely valuable asset. If you told me 5 years ago that this is how we’d be doing business, I would’ve said you’re crazy! But the truth is, this is where we’re heading, if we haven’t already arrived. When I was in film school, no one prepared me for this. Then again, nobody realized social networking would grow into the monster it is today. Even 6 months ago, I still belonged to the school of thought: Twitter is lame. However, I quickly realized that social networking is just part of the job now. I hear a lot of filmmakers complaining that Facebook and Twitter are too time consuming. But I think they’re looking at it the wrong way. Social networking platforms provide a priceless platform for filmmakers to promote their work and connect with their audience. Not to mention, there is an extremely wonderful and loyal independent film community on both Twitter and Facebook, which makes it even more exciting to be part of the indie movement. Why miss out on that?

What's your opinion on crowdfunding?

Crowdfunding is so many things. It’s wonderful, difficult, inspirational, time consuming, exciting, painful, and everything in between. It offers a way for a filmmaker to get their films made without having to pay investors back. This is a huge deal. As a veteran of a successful campaign, I can definitely say that I love crowdfunding. However, I know a lot of people who don’t agree. When I first started my campaign for “Feast of the Foolish,” I had no idea what I was getting myself into. But I quickly realized that I was in for a tough battle. My time was completely consumed with promoting the project and getting donations. Posting, posting, and posting some more. Crowdfunding is very tough. It’s extremely competitive and dedication is key. Over 20% of all campaigns never get passed $0! If you get over 50% funding, then you have a 90% of reaching your goal. Of those who were successful, every filmmaker was highly accessible in the social networking world.

Author Jemima Valentino

Jemima Valentino is an English 30-something; married to an excessively patient man with two beautiful daughters and an excitable cross-bred mutt called Eddie. She is also a writer of dark paranormal romance, BDSM erotica and modern fiction.

Jemima fell in love with reading and writing as a child but it was only in 2009 that writing became an obsession. After months of procrastination and plucking up the courage, she published 'His Elle' in January 2011 and now has a full blown desire to continue writing.

Buy Links:

Amazon.com - http://www.amazon.com/House-Hundred-Hill-Nephilim-ebook/dp/B005ME377C/ref=sr_1_1?ie=UTF8&qid=1317456926&sr=8-1

Amazon.co.uk - http://www.amazon.co.uk/House-Hundred-Hill-Nephilim-ebook/dp/B005ME377C/ref=sr_1_1?ie=UTF8&qid=1317457013&sr=8-1

Author Links:

Website - http://www.jemimavalentino.com

Blog - http://www.jemimavalentino.blogspot.com

Twitter - http://www.twitter.com/JemimaValentino

Facebook Fan Page - http://www.facebook.com/pages/Jemima-Valentino-Author/232810170090039

What is the current project you are working on?

Well, I have just released my latest book 'The House on Hundred Hill' which is available to purchase on Amazon Kindle, Smashwords and AllRomanceebooks.com. It's also soon to be available in paperback and also for nook on Barnes and Noble. I've been writing it on and off for about a year and even changed the story half way through as I wasn't at all happy with the original version. It's the first in the 'Nephilim' dark paranormal romance, erotica series and I'm just about to start writing the second one. I'd love to see how this series pans out, as I haven't got a clue at the moment! I generally write on the fly and by the seat of my pants - I wish I could be one of these authors that has a clear idea on how the story reaches the end before I start writing. I generally have an ending in mind, and then try and make the rest of it fit! I really don't have an organised mind.

What inspired you to become a writer?

I wouldn't say anything actually inspired me, it's just something that I knew I was always going to do, like you know the sun is going to come up every day. Ever since I was I was a child I've always read a lot, and was incredibly fortunate to have massively supportive parents that never censored my reading - even when they knew I was far too young for some (most) of the books in their library. I guess if anything then this inspired me, reading hundreds of awesome stories that played out in my mind. I've always been a story teller and have a dozen beginnings to a dozen books in my head at any one time. I've now started sleeping with a notepad and pen beside my bed, just in case I wake up in the night with a new idea.

What is the best thing about being a writer?

There is only one answer to this, and that's telling stories that impact my readers, even if it's just in some small way. I'm an emotionally dark writer (or so I've been told) and absolutely love it when readers post reviews of my work that say the story in some way affected them - even if the review is bad!

What is the worst thing about being one?

Writers block. I hate it. For me it manifests in total frustration when I can't get the words out, or my writing is totally awful and I have to start again. Any writer will very probably tell you the same thing. It's a disability.

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

Read a lot and edit a lot. Get yourself a good editor, or at the very least an honest friend or three that will critique your work. Under no circumstances release anything you've written on the internet unless you are 100% sure it's as edited as it can be. Read other work in the same genre and get yourself into the blogging circuit to get to know the book bloggers who will eventually help you promote yourself. You cannot read or edit enough, and that's a promise.

What do you like to do besides writing?

I have two young daughters so I spend as much time with them as possible. I also read (a lot) and am somewhat of an entrepreneur so I have a few little businesses that keep me going asides from writing. I'm just about to start archery course too, so I have an incredibly busy life and always doing something!

Who is your favorite author?

There are a few authors that I love to read, some indie and some mainstream. I don't have a favourite as such but I love Stephen King and have also just read the Hunger Games by Suzanne Collins which is a favourite for me at the moment.

What are some of your favorite books?

Needful Things by Stephen King is my favourite book of all time, but I also love the Adrian Mole series by Sue Townsend, and books by Paulo Coelho. Some of my favourite indie books are Sweet Tooth by Philip Ellis, Comfort Food by Kitty Thomas and The Reunion by Jeff Bennington. I've read so much that sometimes it's hard to remember everything but I am absolutely sure there are more books that I've fallen in love with over the years.... oh yeah, Skallagrigg by William Horwood - that used to be a fave of mine when I was an early teen.

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

Invisibility. How cool would it be to wander around naked and no-one could see you?!

Is there anything you'd like to add?

Just a thank you for hosting me on your blog as part of The House on Hundred Hill book blog tour. I really appreciate it. 

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.