Marion Kerr is an actor and writer living in Los Angeles, CA. She was born in Sacramento and majored in theatre at U.C. Irvine and studied in London. She's appeared on "How I Met Your Mother" and pilots for ABC and BRAVO as well as Sabi Pictures' "Heart of Now" and "I F*cking Hate You". She currently appears in a national commercial for Hartford Insurance and recently completed work on three short films. She was also a regular on the award-winning web series, "Vlog Star". She studied filmmaking at the New York Film Academy and and made her writer/director debut with the award-winning feature film "Golden Earrings." For more info about Marion, visit www.marionkerr.com.
What is the current project you are working(and/or promoting)?
I just finished working on a short film called “LINES” about the Bronte sisters, Emily & Charlotte Bronte. Emily wrote “Wuthering Heights” and Charlotte wrote “Jane Eyre”. It was written by my sister, Vivian Kerr and I played Emily and she played Charlotte. It was a real challenge to make an indie film that is also a period film filled with costumes, props, locations, etc but we ran a successful Kickstarter campaign in November and luckily hit over 200% over our goal with nearly 100 backers which made it all possible. A very fun shoot and I look forward to seeing the film. You can see a small sneak peek on set of the film here: http://youtu.be/72D89vU0XYo
What is the casting process like for a director vs being an actor?
It's really just being on the other side of the table. I've been an actor for awhile and standing on one side of the table auditioning 2-3 times a week (if it's a good week), so I'm very used to being over there and giving the director my take on his/her story. I've only been on the other side of the table maybe 7-8 times, and while it's always fascinating, it is a bit strange because I SO feel for each and every actor that comes into the room. I know exactly what's going through their head. But honestly, it is similar in so far as the goal. I want to see them relaxed and focused and ultimately, see their take on my story.
Do you find it's easier to direct actors because your an actor yourself?
I think communication is one of the biggest challenges in life and on a set and that is not necessarily any easier for me than for any other director. I think the difference is that I know my audience, so to speak. Not just being an actor myself but having friends that are actors, I'm aware of the inherent struggles in what actors do and potentially what they could be nervous about. I couldn't say that for say a DP. I'm not a DP. I don't have a lot of DP friends. So I'm not sure precisely what their fears are stepping onto a set. So I'd say, yeah, actors are one of the easiest people on set for me to talk to but I still face the same challenges of any director of getting the performance I want through how I communicate and that's always a challenge.
What was the "emotional environment" like on sets you've been on?
It really runs the gamut. Luckily, I've yet to see a director completely wig out on me, but I've been on sets that are both incredibly hostile and sets that are nearly like family. I've been on sets that are “cold” meaning no one seems to have any connection to the work that we're doing or sets where everyone is so involved and so passionate, perhaps occasionally to the film's detriment. I've started working on TV in the past couple years and I always marvel at what a machine it is. Not necessarily in a bad way, but they have to make a lot of show in a very short amount of time and you're really expected to get on with it, which I sort of enjoy. But obviously, passionate and highly focused sets are always preferred.
If someone dared you to drink pickle juice would you do it?
Of course. I'm a child in many ways.
What's it like working with Zak Forsman?
Well, my answer to this will be biased as I consider Zak a friend so talking about him purely professionally is a bit hard. But to be succinct, he's one of my favorite directors. He is very focused, passionate, aware of the big picture as well as the scene at hand, observant, trusting, willing to take risks & willing to tell you if that risk didn't work out. He also casts extremely well so you're always working with people that add a tremendous amount to the story and are wonderful to work with. He's definitely someone everyone should have their eye on.
How do you handle rejection?
I just try to forget about it because it happens so much in my business that any other way would just kill me. And honestly, actors don't get parts for many reasons, very few of which are in your control. So if I see every time I don't get a part as a rejection of me as an actor, then I've personalized something that may have nothing to do with me. Also, I've now made a habit of forgetting about an audition as soon as I walk out the door. Which for some auditions are really hard, especially if you feel you could have done better. But if I forget about it, then I'm not hurt if it doesn't work out and if I get a callback or the job, then its a pleasant surprise. Though it does lead to the problem where I get a callback a week later and it takes me a few hours to remember what the heck I did in the audition. :)
What is your thought process like when you're writing?
A balance between structure and instinct. I think I write on instinct in terms of pages and then go back and try and put it together in terms of structured story-telling. I very much put myself in the shoes of my characters and try and see the story from their eyes as much as possible. I try to say the words out loud a lot to see if anything sounds false coming out of my mouth. I think dialogue is very hard as far as not making everyone sound like you the writer or make everyone sound interchangeable. That's the biggest challenge for me anyway. So I'll write like 20 pages in a night sort of on instinct and then go back and look at it structurally. Is the point of this scene being accomplished? Does it wander off or take too long for no reason? Is this where I should be at this point in the story? I work from a rough outline usually but a big thing for me is to find the surprises along the way. Either as far as a character or plot point. Just something that sort of unfolds from the story as I'm writing it that was not planned at all. That's one of the things I enjoy most about writing. In the doing of it, it sort of becomes its own creature.
Did you always want to work in the entertainment industry?
Pretty much. I wrote down when I was ten (which my mom kept) that I wanted to be either an actress or a journalist when I grew up. And honestly that's still pretty much true today. I think that's where the writing comes in for me. I've always loved writing and telling stories, so some form of story-telling was always in the works for me. My grandparents were journalists and they inspired me greatly in terms of writing. And I saw a lot of theatre growing up with my parents, so I was very aware from a very young age of actors and the power they had over an audience.
What inspired you to become a filmmaker?
I have a tough time calling myself a filmmaker, honestly. I've made one feature and a few shorts so I've definitely dabbled in that world but I think to call yourself a filmmaker, you have to have a real commitment to it. I have that for acting and writing but I don't need to direct a film every year. And I met so many people while doing my festival run for “Golden Earrings” that are SO passionate about filmmaking and being a filmmaker that I always feel a bit disingenuous giving myself that title.
However, the things that inspires me to make films are the same as writing and acting. Desire to tell a story. “Golden Earrings” is something that had sat with me for awhile and I had always wanted to make it and suddenly the stars aligned in a way that made it possible, so I took the jump. Not really knowing totally what I was getting to. The world of features is VERY different than the world of shorts. And doing the festival thing as a director is VERY different than doing it as an actor. But it was a tremendous learning experience and I met so many wonderful people along the way, it's definitely been a highlight in my education in this industry.
What is the estimated number of projects you have worked on?
Oh man, I have no idea. As an actor, I think I have 20-something credits on IMDB but I've certainly done projects that never ended up on IMDB. I've probably done about 20 or so plays as well. Not really sure. Definitely not enough to satisfy this girl, though. :)
Who is your favorite actor and why?
I think I was 11 when I saw my first film with Katharine Hepburn in it and I became completely obsessed with her. I collected over the years about two dozen biographies on her and read every single one cover to cover. She became my favorite actor and probably still is to this day but I can't exactly tell you why. I'm sure the obvious similarities were part of it. We were both tomboys, grew up very independent and very close to our families. We were both leaders in the sense of spearheading “productions” by essentially forcing friends and family members to perform in plays, films or whatever else we fancied. But I think as I grew up, I admired more her determination, her uniqueness, her confidence and her willingness to take risks as a performer. She never seemed afraid to fail. And when she failed it was in a big studio film for millions of people to see in an industry that does not reward failure. But yet she failed. Many times over. And yet she continued to succeed also. Many times over. And I think there's a bravery in that which gives me a lot of inspiration.
How would you describe the film "scene" where you live?
I live in Los Angeles so it's pretty much the epicenter of the film scene. Everyone, even people not directly in the film industry, are very savvy about Hollywood and know who everyone is and what they've just done and what they're doing next. There is an amazing amount of independent film here, as well as studio films of course. You could really see a new film every night and still not have seen everything that came out that year. It's crazy and sometimes overwhelming. But I love film so I'm really so lucky to call L.A. home and to have the opportunities that I have to see so many amazing films on every level. There are obvious downsides when it comes to producing a film in LA because everyone is so savvy, but as a film lover, I don't think I could ask to live in a better city.
How has social media changed the independent film industry?
I think it's made geography nearly irrelevant. We are all much more aware of each other and can see each others work regardless of where we live. Facebook and Twitter has allowed me to meet SO many filmmakers from all over the world and see their work and talk to them about it. I recently saw a test screening of a feature film by Minnesota filmmaker Phil Holbrook, who I would never have even known about much less gone to his test screening without Facebook. So, it's a great tool as far as connectivity goes. It has down sides as well and can be a total time vampire and suck away your creative energy if you allow it. I also think online relationships are no substitute for sitting down with a person in real life but I think if you are disciplined about it, it can be a really effective way for filmmakers to get their work out there.
What's your opinion on crowdfunding?
Again, my answer to this will also be biased, as I've had my own Kickstarter campaign and recently helped my sister with hers. But as with social media, I think its a wonderful tool. I think it's a good filter to see if people are really interested in your project. I think it makes you ask a lot of questions about your project such as how to market it, etc before your film is even made, which is great. I just think you have to really understand what crowdfunding is before you launch your campaign. I did my Kickstarter campaign 2 years ago so for me, my biggest problem was explaining to people what Kickstarter was and getting them to see that it wasn't a scam and understand the all-or-nothing element. Now, Kickstarter is much more popular and many people have heard of it or used it so the goal now becomes how do you separate yourself from the pack. Why should people contribute to your film rather than the dozen other Kickstarter campaigns floating around Twitter? Kickstarter is not a bottomless well and I think the road is littered with the failed campaigns to prove it, so I think taking time to explore others campaigns and read interviews from successful campaigns can really help people use Kickstarter in the way its designed for – to help you kickstart your project.
What is your opinion on movie remakes and sequels?
I totally get it from a financial perspective. Built-in audience, story/characters that are already written and proven popular with audiences, easier marketability, etc. However, artistically, I don't understand remakes at all as I have yet to see one that has added anything to the original film. Not one. Granted, I've only seen a handful of these films but each one, even if the movie was well made, well-acted & entertained me, I still walk out of the theatre feeling like it was pointless because I TOTALLY ALREADY SAW THIS MOVIE 20 YEARS AGO. So even if you did a “good job” unless you're really adding something substantial to it, it's pointless because it was already done. And now there are so many, it just deadens you. I like a good disaster film as much as the next guy but a few years ago when there were like 3 volcano movies, 2 tornando movies & a ton of “people-running-through-streets-as-buildings-crumble” movies, I just stopped getting any thrill out of it. It's not even amusing. You just kind of want them to stop. I guess that's how I feel about the remakes.
What is your opinion on book to movie adaptions?
I think it's a terrific challenge because they are such different mediums. But the ones I've seen successfully done, the movie is definitely different than the book but in a way that compliments the original story. It doesn't wildly veer off but there are different emphases so it's sort of like watching two versions of the same story. I see so much of what I read in visual images in my head so I've always wanted to adapt a book to a film because I think it's such an interesting challenge. I hope one day to be able to.
I am currently working on the third in the series with protagonist Jake Pendleton. By the close of the final scene in The Savannah Project, Jake was left in a state of confusion. His life and nearly everything about it had just changed. The Toymaker, slated for release on February 14, 2012, picks up where The Savannah Project left off. Jake is still struggling until he meets his new mentor—then things really take off. Jake's character grows in The Toymaker as the story progresses so now, for my work-in-progress, Jake is his own man and ready to get caught up in another tale of mystery and intrigue.
training in writing; it has all been basically self-taught. I do have experience in technical writing, mostly labor agreements though. After I started writing The Savannah Project, I realized I had a lot to learn, so I rewrote and rewrote and rewrote. Writing is a craft you can never be too good at. And it takes plenty of practice to learn the craft.
nothing but destruction. Eddie and Satan are best friends forever, cracking jokes about losers while we pass the blunt. We, the Metal Dudes, help unleash the Book of Pure Evil upon insecure teenagers in a Satanic town, and anyone who uses the Book will get their wishes granted, but limbs get torn and guts get spilled. It’s a horror-comedy that all kids over the age of three should be watching. We’ve got a great cast that includes Jason Mewes as Jimmy, a janitor with some dildo skills who might be the Metal Dudes’ biggest pain in the ass.
genre?
