Author JRD Skinner

J.R.D. Skinner is a writer, podcaster, and ne'er-do-well, from Toronto, Ontario. For unknowable reasons, he releases fiction thrice weekly at FlashPulp.com, and spends an inordinate amount of time telling children things they shouldn't know.

What is the current project you are working on?

Flash Pulp - an attempt at a modern take on the classic serial tales which were once pushed at the newspaper stands, or broadcast over radio. Three to ten minute tales, thrice weekly.

What is the best thing about being a writer?

There's a lot to love: there's an inherent joy in knowing you've entertained someone else, as well as a weaver's satisfaction in spinning multiple threads into a greater whole. That said, the best part is probably the utter freedom to operate within a universe of my own creation, without having to worry about anyone else storming through my sandbox and kicking over my castles.

What is the worst thing about being one?

Utter creative freedom is also probably the worst thing about being a writer - any failure is only my own.

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

I've published short pieces elsewhere, and have a trail of dead podcasts in my wake, but this is my first project of this scale.

What do you like to do besides writing?

The usual symptoms of a fiction-flinger, I suppose: Reading, vigilantly attempting to find myself in strange adventures, wrangling children, trying to come up with something clever to post on Twitter, and delving into the wilderness.

Who is your favorite author?

Tough question. I'd say, at the moment, that it's Ambrose Bierce. His ability with an abrupt opening, and an almost journalistic presentation, continues to astound. I've rarely seen such a perfect blend of literary and genre tendencies. It's a bit of a rotating fight between Bierce, Joseph Conrad, and Graham Greene though.

What are some of your favorite books?

Spook House, which is probably the mountaintop I recently aim for the most;

Heart of Darkness, or, really, all of Conrad's Marlow stories - I've never been able to shake his framing narrator, and I've never encountered an author whose personal temperament I so closely identify with (well, racism aside);

Finally, The Devil in the White City, as I love Erik Larson's style, and the juxtaposition of the book's threads are built like a master's waltz.

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

Truthfully, I derive a lot more camaraderie, encouragement, and enjoyment, from the writers I interact with online than the literary aspirants I've met locally. There are too many Frank McCourt/John Updike/Joyce Carol Oates/(and even) Charlaine Harris imitators sitting around in critique groups, daydreaming that a fictionalized version of their own life story is going to win them a fat advance from a large publisher.

How has social media changed the publishing industry?

I think it's too early to be entirely sure - the old methodologies of pushing paper to convenience-store racks, and chain bookshops, are petering out, but I believe that's a larger symptom of the web as a whole. People claim that literacy is dying, but the majority of our interactions on the net are text-based, and, as such, my feeling is that we're simply waiting for The Next Big Thing. Maybe it'll eventually be Nook/Kobo/etc, but it's too soon to tell. In some ways, we're in the "A box that brings pictures and sounds to your living room? Fah, it'll never work."-phase.

With that said, though, social media has become the route by which the nuggets of genius that are out there become discovered and recommended. Our project, as nontraditional as it is, would have no following if it were not for the fine folks who spread the word via Twitter, Google+, or Facebook.

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

When I'm writing a Flash Pulp piece, the process is almost invariably the same: In my trusty notebook, I've jotted every idea that occurs to me. If I'm watching a documentary on giant marsupials, and I'm suddenly hit with the concept of a mounted Giant Sloth cavalry, it goes in the book. When it's time to actually sit down and write, I review the ideas in the hopper and see what seems to have some meat on it, or if a couple of ideas might combine into a larger plot-spine.

Once I've got a bee or two buzzing in my bonnet, I break the story down with a simple diagram. On the left side of my notebook page I draw a line with three sets of brackets along its length, and a second line 2/3rds of the page to the right. First act is the first bracket, etc, with free-floating items on the far side of the right-bar. I may have to go through two or three iterations of my plot diagrams before I've moved everything from the far right and into one of the act-brackets, but, due to the tight schedule we're on, I have no margin to find myself a thousand words into a story only to realize I've a better idea on how the tale might flow, or that I've missed a critical detail.



Novel plotting, which I'm still fairly new at, I assail the same way, but with a series of nesting act diagrams. Once the overview of the novel is complete, I break each section into chapters, then each chapter into its own mini three-part outline.

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

I kid you not, this is actually something I've drilled into all of my children, should they somehow encounter a wish granting machine: There's only one power that means anything, and it's hyper-intelligence. Want to be invisible? Be smart enough to build an invisibility cloak. Want to be nearly indestructible? Be smart enough to build powered armour. Want x-ray eyes? You get the idea.

If you could have any first addition book. Which would it be and why?

It's not terribly ancient, nor likely valuable, but I'd love to have a first edition of Graham Greene's Ministry of Fear. All of Greene's work taught me about the fine line between social message and entertainment, but none so much as Ministry of Fear.

Filmmaker Hasani Walker

Hasani Walker is an independent animator and filmmaker working in Phoenix Arizona.  Born in 1983 He has spent most of his life pursuing a creative career working with sculptures and illustrating.  At the age of ten he began a twelve-year apprenticeship with airbrush artist Dave Lucero.  In that time he grew his skills in painting, illustrating, sculpting and storytelling.  With the help of Dave Lucero Hasani created his first comic book title “2050” at the age of thirteen.  Later on with the encouragement of his mentor and the film work of Henry Selick, Hasani began storyboarding a stop-motion film project based on Edgar Allan Poe’s poem “The Raven”.  Hasani created the storyboard at the age of fourteen; however he wouldn’t find the equipment to make his first film until two years later while attending Central High School.  In his high school’s AV room he found a camera and editing programs to help film first project.  In a years’ time Hasani worked alone on building puppets, sets, and animating a 13 minute film.  He finished his film with enough time to premiere it to the school on October, Friday the 13^th.

After creating his first film Hasani sketched plans for other films that proved to be too ambitious for what he had at the time.  These projects include a feature based on Edgar Allen Poe’s “Masque of the Red Death”, a Christmas feature, and a series of original ideas.  Hasani still keeps all of his planned films in folders and books until he can find funding for each of them.

Five years after completing “The Raven” Hasani returned to animation with a three-minute short about a girl putting on her face in the morning.  The short was titled “Snip” and took six months to complete.  This film would go on to play in film festivals such as the San Tan Film Festival in Arizona.  After completing this film Hasani pursued his degree in animation at the Art Institute of Phoenix.  Here he learned how to work in traditional animation and computer animation.  While attending, he also completed three more short films including “Mirror” and “They Forgot”.  His third film at the art institute was his first time directing a group of animators rather than working solo.  This film was titled “Tailypo”, based on a folktale about a man who is stalked by a creature near his cabin.  The film would take close to a year to complete.  After completing “Tailypo” it screened to his school and later played at the “Stop motion magazine Film Festival”.

Hasani Graduated the Art Institute with the praise of his teachers and a group of animation connections.  After graduating he picked one of the many projects he placed aside years ago.  The project is called “The Grim”, a coming of age story based on Red Riding Hood after the wolf incident.  With the help of his animation friends and Kickstarter he has found funding and a small crew to help begin on creation of this new venture.  Currently Hasani is looking for employment in the creative industry as an animator, illustrator, or assistant while working Pre-Production on “The Grim”

What is the current project you are working on?

I’m working on “Hasani Walker’s the Grim”, a coming of age story based around Red Riding Hood.  It’s an animated project that’s being written with the same sensibility of a live action drama.  It’s a project I’ve wanted to do since around 2001 and I have many sketches of characters and other concepts from over the years. Not until recently did I find the funding and a small group to help me create it.  We’re using a number of different techniques from computer animation to puppetry and miniatures to bring the story to life.

How do you measure success?

I measure it by how pleased I am by my work and what I produce.

How do you handle rejection?

After any rejection I typically try to move on as best I can with the idea.  I have a number of films that I’ve placed on hold due to them being too ambitious or not being able to find funding.  I try my best to never end hope for an idea completely.  Just put it aside for another day.

Did you always want to be a filmmaker?

Not exactly a filmmaker but I always wanted to be involved in something concerning storytelling and creativity.  As a kid I hoped to become an animator and I also wanted to make comics.

What inspired you to become a filmmaker?

It was the work of Henry Selick that started my interest in filmmaking.  I had made figurines as a hobby for years; after seeing Selick’s work with stop-motion on MTV and his first directed feature “The Nightmare Before Christmas” I became interested in making films with my own figures.  Along with this inspiration I had the motivating words of a mentor who taught me to work for what I wanted no matter how hard it seemed.  Without his encouragement I probably wouldn’t have taken on the challenge of making a 13 minute stop motion film based on Edgar Allen Poe’s “the Raven” as my first film.

What is the best thing about being one?

Whenever I have an idea, or an interesting dream, I have the ability to bring it to life and share it with everyone.  It’s a great feeling knowing that whatever I imagine can become my next film project.

What is the worst thing about being one?

Along with being able to present my ideas I do present myself to heavy criticism.  I’ve had a few ideas where I wonder to myself if anyone other than me would be interested in seeing this.  Fortunately it seems there are others who have the same taste in stories as I do.

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

I’ve worked on close to seven projects so far.  All have been animated and not all were directed by me.  At first I worked alone on my own stop-motion films, but soon I was able to experience working with a group on a 2D animated film titled “Little Bully”.  I cleaned frames on a few scenes for that film.  After that I mostly worked with a group starting with my next directed project “Tailypo”.

Who is your favorite filmmaker?

I have a number of favorites starting with Henry Selick who started my interest in making films.  I still follow his work and watched his last film “Coraline” a number of times.  His films typically have a dark sense to them while still being amazingly colorful with characters that all have great personalities.  I love when a film ends and I feel like the characters still live on.  Along with Selick I also enjoy the work of Brad Bird (Iron Giant) and Don Bluth (An American Tail).

How has your life changed since you became a filmmaker?

Not by much actually, but I’ve always been involved in a creative field.  Before making films I was heavily involved in an art studio working on airbrush paintings and amateur comics.  Though I’m still very small in filmmaking I’ve found that the group I have working with me now is basically the same as when I was in the art studio as a kid.

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

I had the pleasure of meeting Don Bluth (Director of “All Dogs go to Heaven” and “An American Tail”) once and I asked him the same question.  What he told me was that making films, especially animated ones, is never easy.  It’s a great struggle and you will fail, and people will tell you to stop, but you have to keep working at it no matter how hard things get.  The end result is always worth it.  He was completely right.

What do you like to do besides filmmaking?

I do a lot of sculpting.  I currently have about 48 sculptures right now and countless others I’ve sold at art shows and given as gifts.

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

I have, though I wasn’t very well suited to them.  I’ve held jobs at about three call centers and after that time I’ve learned that I don’t really belong in a call center.  The time I spent sitting in one place while saying the same thing into a phone constantly was a dizzying experience.  Anyone who can actually perform that job deserves a lot of credit.

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

I have a number of favorite films, but if I had to choose I’d say “Who Framed Roger Rabbit?” is a film I can’t help but watch more than once after I see it.  “A little Princess” by Alfonso Cuaron, “Coraline” from Henry Selick, “Iron Giant” by Brad Bird, and the “Secret of Nihm” by Don Bluth.  When it comes to television shows, my favorite from when I was younger was “the Maxx” on MTV in the early to mid 90’s.

How would you describe your film education?

I went to school for animation at the Art Institute of Phoenix where I learned much on creating animated films from people who worked on films like “Anistasia” and the series “Star Trek the Next Generations”.  With their help I’m able to storyboard and plan films by industry standards. I also learned a great deal from film commentary, making of books, and behind the scenes footage.  Typically I won’t buy a film unless it has behind the scenes documentaries.

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

Here in Arizona I’m able to find groups of filmmakers but in my experience these groups have been hardtop find.  With animation groups it’s an even greater challenge.  I’ve only come across 2 stop-motion projects here and both were short-lived without being finished.  I believe the film scene is greater in other areas of Arizona that I’m not near, and I’m sure that with time it’ll grow.

How has social media changed the independent film industry?

It’s simpler to connect with others in the industry.  I can also work with others at a great distance.  In all I believe social media has helped a great deal with film projects.

What's your opinion on crowdfunding?

I believe crowdfunding helps bring projects to reality that wouldn’t be made otherwise.  Currently it seems difficult to get funding at a studio for a film unless you’re creating a sequel, prequel, or remake to a film franchise that already shows to have a large following.  With crowdfunding people have hope that though they may not be a big name director they can still find funding for their original ideas.

How does independent film differ from the mainstream?

Mainstream films tend to often have limitations.  At times the mainstream film can become something of a long advertisement.  Independent films have the freedom to explore any story they’d like without any limitations and requirements.

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

Probably “Who Framed Roger Rabbit?”.  I enjoy animation and mixed media.  Watching the work filmmakers and animators went through to combine animated characters with live action would be amazing.  It’s also the kind of effect that a major studio will most likely never do again.  Today everything is composited with computers and I’ve even seen test footage of Roger Rabbit as a CG character, but this just isn’t the same.  The people who worked on the first film had to be dedicated and I’d love to see that dedication.

What is your opinion on movie remakes and sequels?

Movie sequels and remakes have been around for a while, However I wouldn’t feel strange about them if there weren’t so many.  I believe nearly all the films coming out are some kind of remake.  We even have directors making remakes of their own work now.  I can understand a director loving a story and wanting to show their take on it, but when the movie has nothing to offer except hoping to gain the audience the original already has, it seems unnecessary.

What is your opinion on book to movie adaptions?

When I read a book I can’t help but to imagine it as a film, and bringing a book I enjoy to life is something I’d like to do someday.  However it does seem like a fairly difficult job to take.  If the book has many fans there’s already a large group who has an established idea of what the film should be which can be limiting on what you’re able to create.  Along with this fans want everything in the book to be in the film.  When you have a 500 page book that would translate into about an 8 hour movie, so I can understand making cuts, but with them you would need to withstand angry fans.  You’d have to trust in the end result of what you’re making.

Filmmaker Andrew Jones

Andrew Jones has written and directed two independent feature films 'Teenage Wasteland', which he also produced, and 'The Feral Generation' which both won awards on the UK festival circuit. He has also written four feature film scripts for companies based in America, Canada and Italy. In 2010 Jones set up the production company North Bank Entertainment in his hometown of Swansea in South Wales. He has most recently produced and co-written 'Night of the Living Dead: Resurrection', a British version of the 1968 classic. Future projects include producing 'The House on the Edge of the Park Part II', to be directed by 'Cannibal Holocaust' director Ruggero Deodato, and a biopic of Charles Manson entitled 'Manson Rising'.

What is the current project you are working on?

I'm currently in post production on a film I produced 'Night of the Living Dead: Resurrection', a British version of the 1968 zombie classic.

How do you measure success?

In the film industry the only measure of success is financial. You have to make money for investors and distributors to be considered a success and to get more work. Investors and distributors often don't even give a shit if you've made a good film, as long as they can market the basic concept and get bums in seats that's all they care about. When I first started I was a pretentious idiot determined to be a rebellious artist. I considered success to be making films that tackled social or political issues, which is why I made gritty dramas early on. But that kind of material is not commercially succesful, and there's no point me being creatively happy with a film that makes no money because I won't get the chance to make any more. You have to play the game or you've got no chance of making it. No one lasts long in the film industry if they fail to realize filmmaking is a business and you need to make money for people. So the only way I can measure success is if I look back in years to come and feel that I managed to balance my artistic integrity with good business sense.

How do you handle rejection?

When you first start it hurts. But it's the reaction to rejection that separates the men from the boys. It always made me more determined to prove people wrong and keep pushing forward. After a while you get used to criticism and realize that any art form is subjective, one person's opinion doesn't neccesarily mean the world. One man's shit is another man's champagne and for every person that doesn't like what you do there's always another one who appreciates your work. One thing you need to get used to when you're trying to get films made is rejection, because you'll get alot of people saying No before someone says Yes. A thick skin is the most valuable tool in a filmmakers' arsenal.

Did you always want to be a filmmaker?

I always loved films but I never thought it would be possible to become a filmmaker myself. It seemed too far out of reach.

What inspired you to become filmmaker?

The mid nineties independent film scene in America. Kevin Smith's 'Clerks' and Larry Clark's 'Kids' came out and they were low budget character based movies. I watched those films and the characters and stories were very relatable. I felt like I could make movies like that, drawing from my personal life. Then with the accessibility of digital technology suddenly anything was possible.

What is the best thing about being one?

For me the biggest satisfaction is seeing so many people working hard to make your vision a reality. A film starts out as an idea in your head, writing is often such a solitary process. So to then find a team of people who believe in your idea and are willing to work hard to make it a reality, that's a tremendous thrill. Being on location shooting a film is wonderful. It's hard work but when you have the right group of people, which I have been fortunate to have on all my projects so far, the carmaraderie of living and working together as you make the film is so enjoyable.

What is the worst thing about being one?

Dealing with egotistical arseholes with no self awareness. There are so many people out there who think that because they have worked on a film they are really hot shit. It gives them a baffling sense of entitlement and they treat other people as if they are beneath them. I'll never understand that mentality. Working on a film is not curing cancer, filmmakers and actors should appreciate the fact they are lucky to be doing something millions of other people would love to be doing. When you're working on low budget projects I'd recommend that every filmmaker tries to get to know everyone involved before they start shooting. If your instinct tells you someone is going to be a pain in the arse then drop them, even if they are good at their job. Low budget is all about a group of people making sacrifices and pulling together for a common goal, so there's no room for self involved drama queens who throw tantrums if someone doesn't wipe their arse for them. It's not worth the hassle and just one dickhead can ruin the morale of everyone on set.

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

So far I've written and directed two indie features, produced and associate produced three indie features, and worked on about four features as a writer.

Who is your favorite filmmaker?

There are so many but I particularly appreciate the influence of Wes Craven. I know he's had a few misfires in the latter part of his career but his early work taught me that Horror is the perfect genre for filmmakers to comment on social issues and human behaviour in a way that can appeal to the masses. Look at the original 'The Hills Have Eyes'. That was a really powerful story about how the most civilised people can become the most savage when we are stripped of everything we care about, but packaged in a low budget horror film. I also love John Carpenter, in the 70s and 80s he was one of the most innovative and original filmmakers around. As for the way a filmmaker presents himself, I'm a big fan of Kevin Smith because he is one of the only filmmakers who truly connects with his audience on a personal level by going out and meeting them at Q&As. The candid way in which he discusses his career and the problems he has encountered on his films is a big help to up and coming filmmakers.

How has your life changed since you became a filmmaker?

I've been doing this for about six years now and it's been a learning experience for me, and it will continue to be. It's been a real thrill to become friends with some of the actors and filmmakers who I grew up watching, and drawing on their experience has been a huge help. But I still have to work hard to get jobs in the industry because I haven't made anyone any serious money yet. Once I make a film that achieves some level of commercial success then I may find that process a little easier. At the moment I'm just working my way up the ladder like many others.

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

Take risks. There are so many talented people out there but not all of them make it and that's because they don't take risks. Talent is only a small piece of what you need to suceed. You can take film courses and go to film school but there's no substitute for getting out there and making a movie. That's where you truly learn how to be a filmmaker. On my first film I used money from a day job to finance it and I shot it at weekends. That's what I think all new filmmakers should do. The film you make might be shit but you can learn from your mistakes and do better next time. That's what it's all about, learn by doing. And remember that you've never truly made it until you can look back on a body of work that features both artistically and commercially succesful films.

What do you like to do besides filmmaking?

I'd like to say I work at a homeless shelter or do charity work, but when I'm not working I just sit around the house and scratch myself.

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

I've had a wide range of jobs. I've done alot of work with my father's painting and decorating business. That was a nice gig because my old man is my best friend and it's always great to hang out with him all day. I've done some really shit jobs too such as being a cashier in a petrol station, a barman and loading crates in a warehouse. The warehouse one was the worst because the boss was a total prick. Whenever I need to write a character who is an arsehole I just think of that guy. I know working a day job while trying to make it in film can be depressing but everyone with ambition has to pay their dues before they achieve something. Nothing in life worth having ever comes easy.

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

All the best television comes from America. I particularly love 'Dexter'. That show is so willing to go into dark territory, you'd never get a show like that being made in the UK. TV companies over here are too shit scared of Ofcom and those ultra conservative idiots at Mediawatch to push boundaries. As for foreign films, it would be fashionable and artsy to say I love Truffaut or Godard but their films are fucking boring. Everyone is thinking that, but they feel they're obligated to like them because they get name checked as legends. I'd take old school Italian Horror over that dull artsy crap any day. Lucio Fulci is a particular favourite of mine.

How would you describe your film education?

I didn't go to film school so I've learnt by doing. My first film 'Teenage Wasteland' was rubbish but I learnt how to direct on that film. Then on the second film 'The Feral Generation' I learnt how to work with proper financing and a professional crew. I got a huge insight into the business side of the industry. That film taught me the difference between an artistic vision and a commercial one and the changes I needed to make in order to marry the two together. I'm in a pretty good position now where I've just finished producing a feature that was not only creatively satisfying but that also has a chance of commercial success. It now feels like I'm entering a new phase where I'll be producing more than directing.

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

There's something very special happening in South Wales right now. There was always alot of filmmakers around making short films, but those filmmakers have really honed their craft now and everyone is starting to make that move into features. Credit for starting that must go to a brilliant filmmaker called Gareth Evans, he took a risk and put alot of his own money into a feature film called 'Footsteps'. He has since moved to Indonesia and achieved worldwide success with the feature films 'Merantau' and 'The Raid'. But he inspired alot of people here in South Wales and now we have talented filmmakers like James Plumb, SJ Evans, Keri Collins and Tom Betts all making that move into features. James Plumb directed 'Night of the Living Dead: Resurrection' and I saw him come into his own on that film. He'll be making a big splash in the industry over the next few years. The main goal of my company North Bank Entertainment is to bring regular feature film production to Wales and utilise new talent. I hope to be able to produce features for alot of up and coming directors over the next few years.

How has social media changed the independent film industry?

I think it helps filmmakers promote and get their films seen. Twitter is a great way to instantly get information out to millions of people. Of course the flipside of social media and all the internet message boards are the keyboard warriors. People whose only reason for living is to be cynical about everything. For a filmmaker you have to be careful not to buy into that. We've experienced the good and bad side of the internet on our current project 'Night of the Living Dead: Resurrection'. On the one hand we've got alot of excitement going for the film through internet articles but on the other hand we've also been subjected to alot of online criticism because some people think we're just another soulless horror remake. I got involved in one discussion on a message board and what you realize is that the people who spew hatred don't want to have a constructive discussion about the film industry. What they really want is to tell you to go fuck yourself because it makes them feel better about themselves. It's so easy to do that anonymously. But on the other hand, if filmmakers wants to use the internet to promote their film then they must accept that there will always be hateful people lining up to shit on what they do. Best thing is to not buy into the criticism or the praise and just get on with making films.

What's your opinion on crowdfunding?

I've never tried it so can't speak from experience. It seems to have worked for other people, so anything that can help indie filmmakers get their films made should be supported wholeheartedly.

How does independent film differ from the mainstream?

It's a whole other world. In the mainstream they're making films with big budgets and as a result of that you have films made by commitee. You have financiers or studio executives giving creative input on the project, and I guess that's fair enough when you consider the amount of money they are putting into a film. But the one part of the mainstream process I will never understand is the test screening and focus groups. Usually those groups are made up of teenagers and looking back on myself as a teenager I would have spouted a load of uninformed crap if someone had asked me how to make a movie better. Test screen to see how the collective audience reacts to the film, but don't ask them how to make the movie better.

In the independent world, which is all I have personal experience of, we are always working with modest budgets. Of course you're still obligated to make the investors' money back, but they tend to leave you alone to make the film. In the UK we have the EIS scheme, which allows investors to get significant tax benefits, so that helps attract private equity. As long as you have the EIS scheme in place and a planned route to market then you don't get interference in the creative process. Of course the tough part is distribution. At least when you're subject to the confines of a big budget studio production you know the film will be released and they'll spend millions on marketing it. Even if you get distribution for your indie film, which is difficult enough, it's hard to find a distributor willing to spend alot of money on marketing. A release can come and go without much public awareness.

The funniest thing is seeing what some people define as an "independent" film. There's so much stuff that gets financed by the American studios or by corporations over here that get classified as independent film. Those films are not truly independent and it's ridiculous they're classified as such when they've been financed by a corporation.

I think the ideal situation for any filmmaker is to be in a position where you could get big budget gigs, then use the proceeds to make smaller indie films. Steven Soderbergh has done that, he makes big budget fare like 'Ocean's Eleven' and then he is able to make something that's a labour of love like 'The Girlfriend Experience'. Alot of sucessful directors now follow that 'One for them, one for you' pattern and it's the dream position to be in for any filmmaker.

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

John Carpenter's 'Halloween'. It's a masterpiece, It would be fascinating to see how they managed to take such a low budget and create a classic that has continued to resonate with audiences for decades. I've seen a bunch of documentaries about the making of that film but that's no substitute for actually being there.

What's your favorite movie quote and why?

Jack Nicholson's line from 'As Good As It Gets': "Sell crazy somewhere else, we're all stocked up here". I often say it to Jehovah's Witnesses who knock my door.

What is your opinion on movie remakes and sequels?

With our film 'Night of the Living Dead: Resurrection' we have a brand name title that is internationally recognized so I was able to get that film financed far easier than the new, unknown titles I was seeking investment for. That's why the current climate is so remake heavy, we're in tough financial times so both mainstream and independent investors are looking for less risk. A known title that has already made money is less risk than backing something new. I know that frustrates alot of film fans, but all those remakes are making money and as long as they do the current trend will continue. Personally, I have no problem with remakes if they take the basic concept of the original film and try to do something different with it. I know alot of people hated Rob Zombie's 'Halloween' remake but I totally respect him for doing something different and giving the film his own voice. As for sequels, I actually love them. Growing up in the 80s and loving horror movies, most of the new releases I saw were sequel entries in the big franchises like 'A Nightmare on Elm Street' and 'Friday the 13th'. Granted, a sequel by definition is always going to be inferior to the original. But if you set the original aside and try to embrace the sequel on it's own I think it can be fun to see returning characters and a continuation of the story.

What is your opinion on book to movie adaptions?

I think the most pointless thing people say about a movie adapted from a book is "the book is better". Of course it is! In a book a writer is able to give so much added depth and back story because they have no time limits. In a movie you have, on average, 90 minutes to tell a story so when you're adapting a book you need to minimize the sub plots and concentrate on the heart of the story. I have written a screenplay adapted from a novel and you have to be so clinical in the way you approach the material. What works in a book doesn't always work cinematically, so no matter how faithful you try to be to the themes the film will always be a diluted version of the book.

Is there anything else you would like to add?

My production company North Bank Entertainment has been set up to support new talent so any up and coming filmmakers out there who want to sample the world of low budget filmmaking then get in touch through my website. I'm always happy to hear from people.

Filmmaker Vincent Rocca

Vincent Rocca is a self-taught filmmaker. His formal education consists of a weekend film school, after which he hammered out a 92 page script and the movie "Kisses and Caroms" was born. Since then he has worked steadily in the entertainment industry. In addition to the 14 titles Vincent has distributed into the marketplace, he has also produced a few features, ghost written a few Hollywood scripts, and penned the 334 page book, Rebel without a Deal, which chronicles how a High School dropout made his first movie in five days for $11,000 and got it distributed by Warner Bros. where it grossed over $1,000,000.00.

What is the current project you are working on?

GalsPanic. It's about a shy, flat cheated girl with a fear of water who must compete in the BIG breasted world of wet t-shirt contests in order to save her Grandmas tavern from a religious nut.

How do you measure success?

The philosophic answer would be, "Happiness is the greatest measure of success," but that would mean crack addicts are the most successful people in the world.

So I'm gonna go with Money. I know people say money doesn't buy happiness, but I rarely meet depressed rich people. In fact, usually the people who swallow a bullet are broke. So, I'll stick with money.

How do you handle rejection?

The greatest trait a producer can possess is the ability to eat shit with a smile.

In the entertainment business, rejection is a fact of life. You need to handle it the same way you handle oxygen. You breathe it in, let it out and move on.

Did you always want to be a filmmaker?

Yes. When I was 5 years old I saw the shower scene in "Stripes." Completely naked girls pranced around on the big screen. I had seen porn before, but that was on a small television. This was larger than life. I told my brother I wanted to be an editor just so I could see the raw footage. Then he explained the crew got to see it live. It blew my mind.

What inspired you to become a filmmaker?

Spring Break college coeds! My friends and I filmed the craziness on Lake Havasu and launched an adult video company.

Soon, I realized if we remove the sex and add some funny dialog we'd have a movie. With the help of Dov SS Simens 2 day film school, "Kisses and Caroms" was born, and for lack of a lesser word, I became a "Filmmaker."

What is the best thing about being one?

It's great to create something out of thin air, and see it come to life, but the greatest reward is the experience of watching others be entertained by this thing you conjured up.

What is the worst thing about being one?

Crotch Rash! Most of the time, while filming, you don't have time to shower. You spend 20 plus hours in the same pair of underwear, your sweaty legs chaff and you start to develop a rash. That sucks!

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

50 plus. Most never see the light of day.

Why did you want to write your book "Rebel Without A Deal"?

First, for the money! Then, for the sanity.

When I set out to make, "Kisses and Caroms," I wasn't sure we'd be successful, so I documented the process on video and in text. I thought if we failed with the feature we'd have a making of doc, like, "Lost in La Mancha," and a book, like. "Rebel without a Crew."

Ultimately I excreted my movie making stresses on paper and in the end I had written a book like no other. Rebel without a Deal is a true producers bible, that not only documents the entire filmmaking process from script through screen, all the way to financial statements, but also details the mental mind fuck you must endure to get a movie on the shelves of Wal-Mart.

Who is your favorite filmmaker?

I admire any filmmaker who takes their life savings and puts it on the line in pursuit of their dream. But to narrow it down, I'll go with Kevin Smith. He helped me out tremendously. He even contributed over 40 pages of humorous conversations to my book as we discuss how his journey with "Clerks" and "Red State" relates to mine with "Kisses and Caroms."

How do you NOT love a guy like that?

How has your life changed since you became a filmmaker?

I have a pool and live behind a 10' gate. I also do a lot of lunches.

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

Get off your ass and do it. Know your audience and make a film that is marketable to them. Include nudity, guns, and a car chase.

Or go to college and become an entertainment attorney.

What do you like to do besides filmmaking?

I dabble in Real Estate and construction. I recently built an 8 person home theater with a 10' screen and THX 7.1 surround sound. Which means I also watch a lot of movies.

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

Salesman.

How would you describe your film education?

Two days with Dov SS Simens. Lots of commentaries and books. Read, "Rebel without a Deal" for a crash course.

What are some of your favorite American films?

American Beauty, Good Will Hunting, Shawshank Redemption, and the greatest trilogy of all time, Back to the Future 1,2,3.

Foreign films?

Life is Beautiful, Human Centipede.

Television shows?

Amazing Race, South Park, Family Guy, except the gags that are over 3 minutes and beat to death.

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

I'm in So Cal, so I'd say it's pretty hot.

How has social media changed the independent film industry?

The internet and social media has given us direct access to our audience. Now we just need to figure out how to fully utilize that. Those that are front-runners become the next pioneers, the next Clerks, Blair Witch, Paranormal Activity.

How does independent film differ from the mainstream?

Mainstream film knows exactly who its consumer is and makes movies that entertain that base. If indies paid more attention to this, there would be many more successful indie flicks.

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

The "Stripes" shower scene. Or maybe the first time that Delorean hit 88.

What's your favorite movie quote and why?

Sometimes you just gotta say, "What the fuck, make your move." - Risky Business. Don't all our greatest adventures start out this way?

What is your opinion on movie remakes and sequels?

They are great. Hollywood makes movies that cater to an audience. They have the money, and it's not like if they weren't re-making Footloose, they'd give the money to me. So, What the fuck, let 'em remake and sequel everything. Schindlers List 2, Titanic 2.

What I'm really excited for is when they start basing their remakes on remade movies. Can you imagine a remake of Gus Van Sant’s shot-for-shot remake of Hitchcock’s original Psycho? Wow! That would be fantastic.

What is your opinion on book to movie adaptations?

Again, catering to an audience is great. The Potter flicks are cool, but I wish they would have stayed true to Grisham's The Firm. That ending is way better on paper.

Is there anything else you would like to add?

For more witty insanity buy the ultimate indie filmmaking producers bible, http://www.RebelWithoutADeal.com

Review Of "Followed"

Director/Producer James Kicklighter was nice enough to send me a digital copy of his short film “Followed”. This short film is based on the short story by award winning author Will McIntosh.

The film stars  Erryn Arkin, Edith Ivey and Abigail de los Reyes. Peter (Arkin) is a college professor who is followed by a young girl. The young girl (Reyes) happens to be a zombie. In the world of Followed zombies are commonplace and are treated as second class citizens. There are people believe zombies should have the same rights as the living and those who don’t.

Peter tries to understand why this zombie is following him. It’s understood that zombies follow people who have something to hide. I don’t want to give to much away. I really enjoyed the film. Followed has a great message and I feel the acting was great. Miss. Reyes did a wonderful job as the zombie girl. Her performance was very nuanced.

“Followed” IMDB page

Trailer  for “Followed”

Interview with Mr. Kicklighter

Ryan Scafuro: Co-Producer and Director Of Photography On The Documentary "Bending Steel"

[caption id="attachment_2185" align="aligncenter" width="640" caption="L to R: Ryan Scafuro, Chris Schoeck, Chris Rider, Dave Carroll"][/caption]

Ryan Scafuro is a director of photography living in Brooklyn, NY.  Along with co-founder Dave Carroll, Ryan runs the full service production company Sixkiller NYC (sixkillernyc.com).  They both have been working in the television and film industry for over 15 years, and Bending Steel (bendingsteelmovie.com) is their first feature length documentary film.

What is the current project you are working on?

I am currently Co-Producer and Director of Photography on the feature length documentary Bending Steel, a story about Chris Schoeck, a Queens, NY man who is training to be an oldetime strongman.  We have followed Chris for the past 10 months as he struggles to overcome personal adversity, become accepted within the strongman community, and find his place in the world through this unique activity.  The film is being directed by Dave Carroll.

How do you measure success?




It may be cliche, but I consider a project to be successful if in the end it is something I am happy with, and if it is something that other people can get enjoyment from. Bonus points if those people are outside of my circle of friends and family.  That and money, lots and lots of money.  Scrooge McDuck diving into the pile of gold in the opening to Duck Tales kinds of money.

How do you handle rejection?




I keep a box full of old phones that I smash.







Did you always want to be a filmmaker?

I am still not sure if I want to be a filmmaker.  Other careers I would have chosen first: cosmonaut, marine biologist, lead singer of the Clash, poo farmer.  Not necessarily in that order.

 

What inspired you to become filmmaker?

When I was in 6th grade they had a afterschool program at the high school television studio, and the teacher showed me that one wipe transition where the woman does a cartwheel and I was like oh shit that is cool.  I'm sorry if I've lost most of your readers by now.

 

What is the best thing about being one?

Telling stories.  I'm not much of a writer, and I definitely can't draw, so filmmaking has really allowed me to tell stories in a way I would never be able to otherwise.  Did I get that one right?  I feel really good about that answer.




 

What is the worst thing about being one?




I was going to make a "how much time do you have" joke but then I realized I can't really think of many bad things at all.  It's something I sincerely enjoy.  Funding films can be a bit stressful.  Have I mentioned we are currently fundraising for our feature length documentary called Bending Steel?  You can donate here:




http://www.kickstarter.com/projects/sixkillernyc/help-finish-bending-steel-a-feature-length-documen







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




How many times have you sneezed in your life?

 

Who is your favorite filmmaker?




I've always LOVED David Lynch.  He can evoke the feeling you get from a dream like no other director I know of, and that is something that is really amazing to me.  From a documentary standpoint I've always liked the early verite films by Frederick Wiseman, and of course the Maysles brothers.  Errol Morris' Mr. Death is one of my favorite documentaries.  He's created an extraordinary style throughout his career which I feel like is embodied perfectly in that film.




I think all of those filmmakers have been influential in the way we have crafted Bending Steel.  We feel like we've found a unique approach that combines the traditional verite style with some very highly produced and stylized elements.

How has your life changed since you became a filmmaker?




Right now all I'm talking about is twisting horseshoes and bending nails with my hands which I'm sure has annoyed most of my friends to the point of not wanting to hang out with me until this film is finished.

 

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

Try to find a job where you can save some money but don't have to work much.  Then take that money and make a movie.  Repeat.







What do you like to do besides filmmaking?




I like taking pictures of my dog and posting them on facebook until people delete me as a friend.

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

Oh wait, you think I'm a filmmaker?  Well this is awkward.

 

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

Anything with Bill Murray.




I don't know do Robert Rodriguez movies count as foreign films?




The Wire.

 

How would you describe your film education?




I studied television production at Emerson College in Boston, which was separate from their film school. I actually wasn't even permitted to take classes that were part of the film school.  So I guess you could describe it as "something that I was never allowed and will always be bitter about."

 

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




I know Rooftop Films started in Brooklyn, and has become a really great organization over the past 15 years or so.  There is a new indie theater in the Williamsburg neighborhood called the Nighthawk that I've heard really great things about and am excited to check out.  I honestly can't say that I am actively involved in the film "scene" but I know it exists which must count for something.

 

How has social media changed the independent film industry?




It's become a HUGE help with promotion.  Right now we are actively promoting Bending Steel through our Facebook page (http://www.facebook.com/pages/Bending-Steel-A-Documentary-Film/192032960849713) and on Twitter (http://twitter.com/#!/BendingSteelMov).  (You don't have to like our facebook page or follow us on twitter but if you've read this far you might as well right?)  




We have reached audiences that we would have never been able to otherwise, and updating people on the progress of the film throughout all the stages of production has been a blast for us.







What's your opinion on crowdfunding?

It is the best thing that has happened to filmmakers who have emptied their pockets during production and need additional funding for finishing costs.  Have I mentioned we are currently running a kickstarter campaign to do just that for Bending Steel?  You should probably check it out!

http://www.kickstarter.com/projects/sixkillernyc/help-finish-bending-steel-a-feature-length-documen

 

How does independent film differ from the mainstream?




Oh man that's like a trade show seminar question.  Charlie Rose interviewing Martin Scorcese kind of thing.

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




This answer probably changes every few months but right now it is Master and Commander because I've been obsessed with the Patrick O'Brian books over the past couple of years.  I mean how awesome would it be to stand on the deck of the HMS Surprise as the drums beat the men to quarters?  Nobody is going to relate to that answer are they.

 

What's your favorite movie quote and why?

Nick Cage as Sailor in Wild at Heart: "This here jacket represents a symbol of my individuality and my belief in personal freedom." Because goddamn it is a nice jacket.

 

What is your opinion on movie remakes and sequels?




Two words.  Police Academy.  Take that how you will.

What is your opinion on book to movie adaptions?




A Clockwork Orange ruled.

Is there anything else you would like to add?




All joking aside, I am sincerely grateful for the opportunities I have had in my life that have led me to being able to make a feature documentary like Bending Steel.  I have learned so much about the industry from people I have worked with, and I have learned so much about life from friends and family, all of which have helped me be a better filmmaker, and more importantly a better person.  The experience of having someone open up and share their most intimate moments and feelings with you, on camera, just because you are willing to LISTEN is one that nothing can compare to, and the responsibility that goes along with that is a great one.  I will never take that responsibility lightly, and truly hope that comes through in our films.  We are super excited to finish Bending Steel and be able to share it with everyone, it's been an amazing journey so far.

www.ryanscafuro.com

Filmmaker Marc Buhmann

What is the current project you are working on?

My current project is a feature film version of a web series I did called "Genrefinity". It was supposed to be seven episodes and we had planned to shoot all of them in 2009. But then my son was born, and the actors had other things going on in their personal lives, so we only managed to complete four over a two year period. Scheduling conflicts was the main reason for this.

How do you measure success?

I would say success is doing what you love. I love filmmaking and telling stories. I love helping breath live into characters. In that respect I feel very successful. It would be nice to focus on filmmaking exclusively, but I haven't achieved that yet.

How do you handle rejection?

They say in this business you need a thick skin, and that's very true. My first feature film got some very good reviews from indie critics, while viewers on Netflix and whatnot blasted it. You can't read too much into it though. There will always be people who like your work and others that don't.

Did you always want to be a filmmaker?

No. I originally wanted to be a computer programmer but during college I realized I didn't want to sit in front of a computer all day working code.

What inspired you to become filmmaker?

After I realized I didn't want to get a computer science degree I was trying to figure out what to do with my life. During a break I sat down and watched The Abyss. This was in '96. I had seen it in the theater but it never had left much of an impression, but for some reason during this second viewing I was inspired to pursue filmmaking. I now consider the special edition one of Cameron's best works.

What is the best thing about being one?

I love the idea of creating a world. It can be identical to the real world, or you can make it wholly unique and strange. Working with talented people to bring this world and the characters that inhabit to life is such an amazing and gratifying feeling it's hard to put into words.

What is the worst thing about being one?

I absolutely hate the development stage. Primarily trying to find funding. It's something you're never taught how to do and is a very complicated process. I was always told after you successfully complete a feature film it gets easier. Not so. At least not in my experience. Though the recession could be to blame for that since it was in 2008, and it was at this time I started working on finding funding for my second feature film.

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

Of my own released projects nine and that includes my feature and short films. I have helped on a lot of other projects though.

Who is your favorite filmmaker?

I have several. James Cameron is a big one. He's probably the best at directing action films. You have a lot of directors who use close shaky shots to try and create action, but Cameron has this amazing ability to just pull back and let you see things in long shots and they are much more effective than not seeing what's going on in close-up. David Lynch is another. His stuff is so creepy and beautiful to look at. I think one of the most artistic directors at the moment is Darren Aronofsky. While it wasn't a box office winner for him, The Fountain is probably one of the most brilliant films of the past decade.

How has your life changed since you became a filmmaker?

It really hasn't. I still have a day job because filmmaking doesn't pay the bills. I've lived in the same home with my wife since 2005. The only big difference is we've had one son with another on the way.

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

Keep at it. You will be discouraged and want to quit, but if you're truly passionate about filmmaking keep at it. Write if you can or do shorts. Just keep at it.

What do you like to do besides filmmaking?

I like all forms of entertainment. Music, computer games and television. Reading. But most of my free time these days is focused on spending time with my family.

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

I've had several different types of day jobs but for the last eight years I've worked as a freelancer. This allows me more free time to pursue filmmaking when I want.

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

I've already mentioned The Abyss and The Fountain. I love Amelie. Lynch's Twin Peaks was brilliant except for that middle portion of season two. I'm in the "love it" came with Lost, and I think Fringe is probably one of the best shows on television now.

How would you describe your film education?

I went to Columbia College in Chicago. I'd say it was a typical education. Most of the instructors worked in their fields so that was really helpful.

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

That's hard to say since I'm not really involved in that scene. I sort of do my own thing. It's nowhere near as big as LA or New York, but we do have a lot of talented filmmakers and actors here.

How has social media changed the independent film industry?

Social media allows for indie filmmakers a greater chance of getting their work out there. It's still really hard to interest people who are used to big budget Hollywood pictures to low budget films, but with social media makes it a little easier to have your work discovered.

What's your opinion on crowdfunding?

I like the concept of it, and we're trying it for our current project. (Kickstarter campaign is still going on at http://kck.st/nTSG44.) The big appeal is that you don't have investors or distributors to answer to. People invest in your project because they believe in what you're doing and want to be a part of it and not from a business standpoint. They believe in what you're doing and your only responsibility is to not disappoint them, but you can make your film any way you see fit.

How does independent film differ from the mainstream?

The only major difference is indie filmmakers don't have to play it as safe as mainstream films because we're not working with $100+ million budgets. Very few mainstream films are willing to challenge the audience because they have so much invested in their projects. As a low budget filmmaker I have more freedom to try and challenge the audience, and try and create something unique.

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

Touch of Evil without a doubt. I would love to see how Wells directed that opening ten minutes as a single shot with cameras of that era.

What is your opinion on movie remakes and sequels?

Sequels are okay if they are expanding on the original story and not there just to capitalize on it. Remakes are just stupid. Not only is it an insult to the original film and the talented people that made it, it also shows a complete lack of creativity on the part of those remaking it.

What is your opinion on book to movie adaptions?

If it can be done well I have no problem with it. I even worked with an author in adapting one of his books, and while it was looked at by some people in the industry it never happened. The main reason for this was because in the third act the stories focus shifts to a secondary character for a while and they didn't like that. But in the context of this story it worked and I wouldn't change it. Not to say I'm even remotely like Hitchcock, but it's sort of like Janet Leigh in Psycho. She was the biggest name in that film, and what does Hitchcock do? He kills her off in the first forty minutes completely throwing the audience off. We weren't doing anything that bold, but it was necessary for the character in the adaptation to become secondary for a time.

Is there anything else you would like to add?

Support indie filmmakers because that's where you're going to find truly original content. It may not have the gloss of Hollywood, but they can be much more rewarding.