Jordan Rozansky Co-Creator Of "Can't Get Arrested"

Jordan Rozansky is a comedy writer and producer currently working as a script consultant for Dark Trick Films and DarkFire Television. He has written and executive produced five sketch comedy videos and a five-episode web series.

What exactly is  "Can't Get Arrested" about?

Can’t Get Arrested stars Dave Coulier and Jodie Sweetin from Full House playing versions of themselves.  The series starts off with the paparazzi manipulating a story about Jodie, which Dave and Jodie realize can be turned into a positive, helping them get acting work.  Throughout the series they orchestrate media events for themselves and others with the goal of kickstarting careers that have fallen on hard times.

What was the casting process like?

Casting was really easy.  Dave and I developed the show knowing that he and Jodie would star in it.  Once the series was outlined we talked about a lot of names for guest stars and we landed on Dennis Haskins, Candace Cameron Bure, and Kato Kaelin.  Once they committed we wrote episodes around them.

After that there were only a few parts left to fill.  Blake Goza and Eric Moneypenny play the paparazzi guys and they’re so hilarious in the series.  Blake and Eric are friends of mine and luckily they were both available the week of our shoot.  The remaining two roles are the news reporter roles, which went to Stephanie Allynne and Olev Aleksander.  I had seen Stephanie do a bunch of live shows and I think she’s so funny.  I emailed her to explain the show and her role and I was really excited that she said yes.  Olev is a friend of our director, David Odio.  David assured me that Olev was funny.  He was very right.  Both Stephanie and Olev were amazing.

We never had to do any auditioning or anything like that.  It was as simple as calling people we think are funny and hoping for the best.  It was a very smooth process.

Why did you decide to create "Can't Get Arrested"

I got in touch with Dave about a sketch I wrote and I was hoping he would act in it.  Dave read it and liked it, but he thought we would be better served making a series instead of just a one-off sketch.  From there we started pitching ideas back and forth, settling pretty quickly on the Can’t Get Arrested idea.


How do you measure success?

Financially.

How do you handle rejection?

I handle rejection well.  If I write scripts and make videos, I’ll do my best to make sure they’re good, but that’s really all I can control.  Once I put something online, it’s up to others to judge.  If people like what I’m doing, that’s great.  If people hate what I’m doing, that’s okay too.  David Odio (Can’t Get Arrested director) and I were reading and laughing at horribly mean comments on our videos the other night.


Did you always want to be a filmmaker?

I’ve always loved comedy but I never really considered writing until after college.  If I could write sitcoms for the rest of my life, I’d be very happy.

What inspired you to become create a webseries?

It was really more Dave’s idea than it was mine.  I had made a few sketch comedy videos, but the idea of doing something a little longer with more of a story was definitely something that interested me.  I don’t know that I would have done it though had Dave not suggested it.

What is the best thing about creating a webseries?

I just like making stuff.  I’m very happy any time I get the opportunity to produce a video, and with this being my first web series, it was a great learning experience.  I think Can’t Get Arrested turned out well, but I know that whatever I work on next will benefit greatly from lessons learned on this project.


What is the worst thing about creating one?

Getting views on the series is arguably the most important thing we have to do, but it’s definitely not something I enjoy or know much about.


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

I’ve worked on set for a few projects and I work in development for a film and TV production company, but in terms of my own stuff, I’ve written/produced five sketch comedy videos and Can’t Get Arrested.

Who is your favorite filmmaker?

Here’s a pretty boring answer: I love David Fincher, Woody Allen, and Martin Scorsese.  I’m also watching closely whenever David Wain, Jody Hill, and Richard Ayoade do anything.

How is "Can't Get Arrested" funded?

Coulier and I split the costs to make the show.  We knew it would be a relatively inexpensive shoot and we didn’t want to give up any ownership of the show.

How has your life changed since you created "Can't Get Arrested?

It’s the same, but with less money.

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

Find talented people you like to work with and go make something.  Making videos is a lot of trial and error.  If you make something and it doesn’t turn out well, you don’t have to show it to people. As long as you learned something that can make your next project better, it will have been worthwhile.


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

I work as a script consultant for Dark Trick Films and DarkFire Television.  I’ve also done some PA and AD work on various sets, but I haven’t done that in a while.

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

My favorite movie is Groundhog Day.  The best foreign film I’ve seen recently is Four Lions, but that’s just British, so it’s barely foreign.

Here’s a list of TV shows I love: Community; Arrested Development; Peep Show; Parks and Recreation; The Larry Sanders Show; Garth Marenghi’s Darkplace; Mr. Show; Eastbound and Down; Bored to Death; The Wire; Breaking Bad; Mad Men.

How would you describe your education?

I have an English degree, which is most helpful for feeling good about myself when I read something with grammatical mistakes.


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

Space Jam, for obvious reasons.


What is your opinion on movie remakes and sequels?

I’d say I’m pro-sequel and anti-remake, but that’s not always true.  I think there’s a place for both sequels and remakes, but there’s probably too many of each.

What is your opinion on book to movie adaptions?

Book to movie adaptations have given us The Godfather, The Silence of the Lambs, and the Twilight series, so mark me down under the “strongly in favor” column.

--------------------------------------------------------------------------------------------------------------------------------------------------------------------

Thank you for doing the interview Jordan. I really enjoy the series and will do what I can to spread the word about your show.

"Virgin Alexander" Writers/Directors Charlotte Barrett and Sean Fallon

Writers/Directors Charlotte Barrett and Sean Fallon met during their first film production class at New York University’s Tisch School of the Arts. Charlotte grew up in San Antonio, Texas. Sean grew up Saratoga Springs, New York where Virgin Alexander was shot. Virgin Alexander is their first feature film.

What is the current project you are working(and/or promoting) on?

We have been on the festival circuit for the last 9 months with our first feature film, Virgin Alexander.  It’s a comedy about a 26 year-old scrap hauler who is about to be evicted from his house. In a last ditch effort to save it from the bank, he turns it into a brothel. The response to the film has been terrific. We’ve won Best Film at the Las Vegas Film Festival & Black Hills Film Festival, Grand Jury Award & Audience Award for Best Film at the DC Independent Film Festival, and The Best of the Fest Award at the Illinois International Film Festival. We won Outstanding Achievement in Editing at Visionfest in NYC. We were also the Opening Night Film at the Orlando Film Festival where our lead actor, Rick Faugno, won Best Performance and the entire cast won Best Ensemble.

You can see the trailer at www.virginalexander.com

What is the casting process like?

The logline to our film is about a virgin who turns his house into a brothel. It’s easy to read the script as just a sex comedy, but we were completely uninterested in making a sex comedy. We wanted to make sure that the film was being represented to actors and their representation in the right way, so we cast the film ourselves. We would meet with all of the actors, usually over coffee, to talk about the film. While auditions can be important, it was more important for us to talk with the actors and make sure everyone saw the film the same way. You’ll be spending long hours with on set with the actors, so being able to communicate is key. The only actor we cast without meeting is Rick Faugno who plays Alexander. We saw Rick perform as Frankie Valli in the musical Jersey Boys and knew he had to be Alexander. Even though Frankie Valli is nothing like Alexander (Frankie is quite confident with the ladies), Rick’s performance blew us away.

We were blessed with our casting. We definitely got a better cast than we pitched our investors. We are a tiny independent film with a large ensemble cast. We thought we would have 2 actors from either NYC or LA and the rest would be local hires. Getting to work with such talented and experienced actors as Bronson Pinchot (Perfect Strangers & True Romance), Paige Howard (Adventureland), Mika Boorem (Blue Crush & The Patriot), David Dastmalchian (The Dark Knight), Joe D’Onofrio (Goodfellas), & Elizabeth Masucci (Shame) was a dream. In the end it came down to the script. They all loved the script and wanted to make this film.

 

What was the "emotional environment" like on set like on set?

We try to create a fun and safe environment for our cast and crew to work in. Just because a scene/dialogue worked in the script doesn’t mean it’s going to work on set. And if that’s the case, we would much rather blame the writers (us) than the actor. We’re more than willing to change a line or a scene to make it better. We’re going to get credit/blamed for it anyway, so if it’s a good idea who cares where it came from. One of the nice things about not having much money to make a movie is that everyone is working on the project because they want to be there.– nobody is in it for the money. So we try to keep everyone happy, well fed and working hard on something they can be proud of.

How do you define success?

No clue. As long we get to make another movie we’re successful.

How do you handle rejection?

Rejection is just part of the process. You’re going to hear “no” a lot more than “yes.” Like any creative endeavor, some people are going to love it, others are going to hate it. Don’t take anything personally, just move on and keep working.

Did you always want to be a filmmaker?

This is where we separate:

Sean – As long as I can remember I wanted to make movies, but it wasn’t until I was 10 that I realized that there was such a thing as a filmmaker. Terminator 2 had just come out and I was obsessed with it. The script was released as a book and my parents bought it for me. I couldn’t make heads or tails of the script, but that was how I realized that some guy named James Cameron made the film and not Arnold Schwarzenegger. That was my introduction to the filmmaking process and it clued me in on why the movies Schwarzenegger made with Cameron were better than his other films.

Charlotte –  I didn’t know I wanted to make movies when I was a kid. I always loved movies, but making movies never seemed like an option. It wasn’t until I took an intro to film class at Middlebury College in Vermont that I realized this is what I want to do with my life. That same semester I applied to transfer to NYU.

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

We wrote a bunch of scripts before the opportunity to make Virgin Alexander came along. Everyone wants to make their first script. You worked so hard on it and you love it. But it’s probably for the best that it doesn’t get made. We find it best after we finish a script (including it’s many rewrites), to immediately start writing the next one. We want to spend the rest of our lives being filmmakers, so no idea is precious. If something doesn’t work out, move on to the next.

Who is your favorite filmmaker?

How about filmmakers? Just off the top of our heads and leaving many others out: Michael Powell & Emeric Pressburger, Ernst Lubitsch, John Ford, Jean Renoir, Charlie Chaplin, Werner Herzog, Preston Sturges, Buster Keaton, Robert Altman, Agnes Varda, David Fincher, Paul Thomas Anderson, Jonathan Demme, & Curtis Hanson.

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

Just keep working, don’t get distracted.  All that matters is the work. Let the rest take care of itself. And be nice to everyone.

What do you like to do besides filmmaking?

Going on hikes with our weimaraner, Luna. Check Virgin Alexander’s facebook page for photos of Luna: https://www.facebook.com/pages/Virgin-Alexander/135623536471849

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

Sean - The jobs we’ve had have been to support our goal of being filmmakers, we never had other careers. When we moved to LA we got jobs that would allow us to focus on writing. Many people get jobs on set as PA’s and while that’s a great way to make contacts, we knew that after working a 14 hour day we would have no energy to write. So Charlotte was a dog walker and I worked in the machine room at a movie marketing company. I basically had to copy DVD’s of new trailers all day, but because there was a lot of electronics in my room, I made people think the job was really hard and complicated, so I was left alone. I had about an hour of actual work each day and would spend the rest of the day writing and on the phone with Charlotte talking over whatever script we were working on.

How would you describe your film education?

We met when we transferred into NYU’s undergrad film school. We were sitting next to each other at our very first film class. We’ve been collaborating ever since. Film school was great but we really focused on continuing our education after school- watching movies, reading about movies and learning about story telling. One of the reasons we love filmmaking is because there is always more to learn.


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

I Know Where I’m Going, The Red Shoes, A Matter of Life & Death, The Lady Eve, The River, City Lights, The General, Cleo from 5 to 7, Singing in the Rain, How Green Was My Valley, Stroszek, Grand Illusion, Barry Lyndon, The Searchers, The Social Network, There Will Be Blood, and Hoosiers. We could keep going but will stop there.

And for TV: The Larry Sanders Show, The Wire, Arrested Development, The Daily Show, & Colbert Report.

What's your opinion on crowdfunding?

We’ve never done crowdfunding, but it seems like a good idea. We’ve always wondering how it works in regards to the SEC. Making movies, while an art, isn’t a non-profit. It’s a business. There are many steps you have to take to protect yourself and your film. We don’t know how that works with crowdfunding yet.

How does independent film differ from the mainstream?

Is there a difference? Maybe just budget. All films are trying to communicate to an audience. If being an independent film means your film isn’t mainstream, than what is Virgin Alexander? We’re certainly not a Hollywood film. We have a lot of people that worked on the movie for free, you’re not going to find that in Hollywood. But we’re also a commercial film (at least we hope we are). We want the film to have a large audience, large enough to allow us to make a 2^nd film. In our opinion, it’s just budget that separates indies from Hollywood. Indies can be mainstream (the first Paranormal Activity) and Hollywood films can be esoteric art projects (Solaris, for example).

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

Sean – Buster Keaton’s The General because I have no idea how they made that film. Silents are amazing. They have such a can do attitude, create such amazing sets, and feature incredible stunts all with a camera that weighed 500 pounds.

Charlotte- I would love to see how they made Singin’ in the Rain in the height of the musical heyday at MGM. Betty Comden and Adolph Green wrote such a funny satire of Hollywood while working in a list of hit songs from the 20’s Arthur Freed either wrote or had the rights to. And it would it be amazing to see Gene Kelly and Stanley Donen collaborate on set. Not to mention Donald O’Connor’s incredible “Make em’ Laugh” number and Debbie Reynolds learning to dance for the production! Ridiculous.

What is your opinion on movie remakes and sequels?

It depends on the remake and the sequel. Terminator 2 was amazing. Toy Story 2 and 3 were great. Ben Hur was a remake of an early silent film. But then there’s You’ve Got Mail and Lubitsch’s Shop Around the Corner. The remake is nice but it’s hard to improve on perfection.

What is your opinion on book to movie adaptions?

They can be great, just don’t be married to the source material. Movies and books have different structures, so what works in a book won’t work exactly in a movie. A great example is Jaws. The movie is really different from the book. If Spielberg had stuck to the book, the movie wouldn’t be nearly as good as it is – plus, Richard Dreyfuss would have died (sorry for the spoiler).

 

Is there anything else you would like to add?

Thank you for having us and thank you for supporting independent film! Please check out the trailer to Virgin Alexander at www.virginalexander.com & join us on facebook: https://www.facebook.com/pages/Virgin-Alexander/135623536471849

& twitter: www.twitter.com/virginalexander

Filmmaker Don R. Lewis

[caption id="attachment_2506" align="aligncenter" width="640" caption="John Beck, Dane Andrew and his dog Rascal with Don Lewis"][/caption]

Don R. Lewis got his start in film as a volunteer at the Sundance Film Festival. This experience ignited his love of film and sent him on a journey that included over ten years as a writer/editor at Film Threat as well as AA degrees in screenwriting and film production from College of Marin, a BA in screenwriting from Cal State Northridge and a Masters in Cinema Studies from San Francisco State. Aside from producing two award-winning short documentaries (“Stringers” in 2006 and “Drag King” in 2008) Don was Co-Producer on “The Violent Kind,” a sci-fi/horror film that premiered at the 2010 Sundance Film festival.

Don was born in Napa, CA but raised in Petaluma where he still lives today with his wife, daughter and dog Igby.

 

John Beck is a multi-media journalist who has worked for numerous Bay Area outlets over the past 15 years.

He got his start covering breaking news for Bay City News wire service where he met a rag-tag band of late-night video freelancers who became the subject of the 12-minute documentary “Stringers.”

After posting video interviews on the Press Democrat website back in the late ’90s (the dark ages of the Internet), he eventually began producing a weekly video called “60-Second Weekend” that was the most watched web series in the New York Times Regional Newspaper Group.

A graduate of Florida State University, he earned his M.A. in creative writing at the University of New Mexico. He has won multiple Peninsula Press Club awards and the 2002 American Association for Sunday and Features Editors award for best A&E feature.

What is the current project you are working on?

My latest project is a documentary I Co-Directed with John Beck on the 2010 “World’s Ugliest Dog ® Contest” called “Worst in Show.” In it, we followed 4 competitors in that years contest and get to know them and their ugly dogs. We also found out the contest is much, MUCH more competitive than we thought and many of these owners do not like each other or get along. It ended up being a lot like the mockumentary “Best in Show” which we didn’t see coming from the get-go. But through all the crazy characters and in-fighting, a touching and amazing story of animal rescue comes through which was also totally unplanned and amazing. It’s available now on DVD here: http://worstinshowmovie.com/)

I also co-produced an awesome horror film called “The Violent Kind” which is now out on DVD, blu-ray and on-demand in many markets. It played Sundance in 2010.

How do you handle rejection?

Badly. I do everything you’re not supposed to do at first; take it personally, think my project sucks, get pissed at whoever rejected us. You don’t usually get a reason so you’re left to your own devices on why it happened and for me, I always regress into a 3^rd grader again and think nobody likes me and I should go pout in the corner.

Then, after a day or 2 of feeling sorry for myself, I buck up and kind of come out swinging. For instance, for whatever reason “Worst in Show” didn’t make it in to too many film festivals. I really don’t know why but I suspect it’s one hour run time might have hurt us and the fact that it really plays better to a crowd and when programmers are watching it, they’re usually alone at a computer or their TV, and they miss the total experience. This was really, really frustrating to me as I’ve been a writer at Film Threat for over a decade and have covered tons of festivals and got to know programmers. Plus “The Violent Kind” had played Sundance and a bunch of other festivals and I know a ton of people through that. Plus, I did some short docs that won awards and both John (my co-director) and I thought this would be our big stage. It didn’t happen so the stuff in that first part of the answer did.

But soon we both got really inspired to say “fuck you guys then” to these festivals who rejected us and take the movie on the road ourselves, ala Kevin Smith with “Red State.” Kevin is a big, big inspiration to me and at the time he was doing Sundance and all that “Red State” insanity happened it was the same time we were getting a different kind of shaft from a major industry. I totally felt his frustration with the “system” and how it worked (or, didn’t) and rather than stew or pout, I followed his lead and we decided to do it ourselves. I should also note I harbor NO ill will towards any festival that rejected us as it all worked out great for us in the end. I look forward to hanging out at these festivals and seeing my programmer friends as the 2012 festival season gears up. Anyway…

We took the film on an 8 city tour and did it by teaming up with local animal rescues or shelters who agreed to help us promote the film to their mailing list and supporters. We then sold advertising that played before the film to local pet stores and restaurants that were near the theater we booked. The advertising usually paid for our travel expenses and offset some of the theater rentals and the experience was really cool. Not every screening was a smashing success but we learned a TON and had a lot of fun bringing the film to niche, pet loving audiences. Plus, we did it ourselves. Any success or failure was due to our choices and that felt really empowering.

We got a TON of press on the tour in print, internet, radio and TV and I honestly believe we wouldn’t have received as much if we were in film festivals. We also were fortunate enough to be accepted to the San Francisco Indie Fest, Oxford Film Festival and the Kansas City Filmmaker Jubilee where we won Best Documentary. All these things created buzz and got people talking and without them, I don’t think we would have got distribution for the film. It’s out now on DVD and supposedly will soon be on-demand and various internet outlets through Breaking Glass Pictures.

To get back to the original question about handling rejection, all of the above absolutely would not have happened if we hadn’t been rejected from film festivals. You can either take it lying down and go back to the drawing board or think outside the box and push the film you made because you believe in it.

Did you always want to be a filmmaker?

Yeah, I always did but never admitted it until about 15 years ago. As a kid I was such a movie freak and a monster freak as well. I obsessed over the Universal Monsters as well as all things Spielberg and Lucas. Throughout my life I was always such a big movie geek but it never really hit me that I could do that too until that whole early nineties indie film explosion happened.

 What inspired you to become filmmaker?

Aside from all the amazing films I experienced in theaters growing up (“Star Wars” trilogy, “Indiana Jones” trilogy, Spielberg’s unheralded run) that early 90’s indie film explosion changed my life. “Clerks,” Reservoir Dogs,” “Swingers,” “El Mariachi,” “Sex, Lies and Videotape.” These were weird, cheap little movies that sparked an interest in me beyond the spectacle of the big budget movies I also loved. Hearing Tarantino rant about his inspirations opened so many doors to movies I’d never heard of. You have to remember too—the internet wasn’t as fully formed then so the world was a lot smaller to a small town kid. Now all these films and filmmakers are at your finger tips as are message boards where you can share information. It was just really eye opening for me at that time.

A year or 2 after the “Clerks” and “Reservoir Dogs” year at Sundance (1992?), I became a volunteer there and volunteered there for 10 years. It was extremely inspiring to see all these great indie films, hear Q&A’s, meet filmmakers and meet fellow film enthusiasts. I highly recommend attending film festivals as a volunteer to all aspiring filmmakers. Volunteering is a great way to attend on a budget and get to meet a lot of cool people who share your passion. Being at these festivals inspired me to become a filmmaker.

 What is the best thing about being one?

Good question. For me the feeling of starting and finishing a project that is as difficult as a film is, is an amazing feeling. I’m lucky to have my partner John because we push each other and have strengths in different areas so we compliment each other. As a person, I have trouble finishing things so seeing a project through from start to getting it out into the world is a great feeling.

With our short docs, it was NEAT to play all the festivals we played and to be in a Q&A with other filmmakers. Being such a film festival fan and getting to be on the other side is a great feeling as well. Obviously being on-stage at Sundance, the festival that means so much to me and was kind of my film school for so long, was an amazing, amazing experience.

What is the worst thing about being one?

As noted, I don’t take rejection well (at first) and it stings. Sad to say but we’re being honest here. I think I’m over it now but I’ll let you know after my next project gets kicked around the block a few times.

It’s really expensive and time consuming and there’s no guarantee of ANYTHING. You may never finish, you may never get the film seen, you may find you have no story like you thought you did. All of these things happen frequently and for something as time and energy consuming as filmmaking, that’s a tough road to hoe.

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

I’d guess 5-6 overall. I live in Northern California and there hasn’t been a lot of bigger projects around for me to be involved in. I feel really fortunate to have been in the right place at the right time with the right things to offer “The Violent Kind.”

Who is your favorite filmmaker?

There’s a lot for different reasons. My top five in no order would be Billy Wilder, Steven Spielberg, Hal Ashby, Cameron Crowe and Stanley Kubrick. Ask me next week and that might change but those are my go-to guys.

How has your life changed since you became a filmmaker?

Well here I should come clean and say, I’ve always had a day job. Where I live in expensive Northern California and with a wife and small child, it would be impossible to live solely as a filmmaker. Just wanted to throw that out there in case people think I’m strictly a filmmaker.

That being said, my life has changed because I may actually make money doing something I love as “Worst in Show” sees release. My film writing for Film Threat has always been for fun and for trips to festivals and our short docs cost us more than we’ll ever recoup on them, but they were great calling cards.

Having to do the movie tour and everything ourselves has drastically altered the way I think of film distribution and film festivals and festivals are something I’ve given a huge chunk of my life to promoting, covering and taking part in. I love (LOVE) the film festival experience but am starting to wonder what the point of them is. I think an evolution is eminent.

I also showed a lot of people that I’m capable of an artistic endeavor. Almost all of my friends are either drunks or musicians. The drunks always thought I just disappeared from the pub for a few weeks every year and the musicians were always creating and trying to share their thoughts with the world. I found it cool to show I could create something awesome to share with the world and the support of my friends and colleagues was a great feeling.

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

Don’t. Ever. Stop. Trying. If one door slams in your face, find another one. If that one slams, buy a saw and some wood and make your own door.

What do you like to do besides filmmaking?

Hang out with my wife and daughter, watch Giants baseball, write, watch movies.

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

Oh man, so many to mention. I’d say “The Apartment,” “The Last Detail,” “Vertigo,” “The Searchers,” “The Shining.” I don’t watch a ton of TV but I loved “Northern Exposure” and “Twin Peaks.” I love “Mad Men,” “Dexter,” “Louis.” I’m going to sound like an American asshole here but I’m just not a huge fan of foreign films. I do love Lars von Trier though.

How would you describe your film education?

I have a bachelors degree in screenwriting from Cal State Northridge and I’m moments away from finishing my masters in cinema studies from San Francisco State.

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

It sucks, badly. I hate it in fact. I think because it’s so expensive to live here people can’t really afford to make films. I’ve never really felt there was a real San Francisco film scene or at least not one I’m interested in per se. Sure, there’s San Francisco based filmmakers, but I wouldn’t say there’s much of a scene. Then there’s Pixar and Lucas but that’s more tech oriented.

 How has social media changed the independent film industry?

Well, at first it was awesome because you could share your work and market directly to people. Now there’s SO MUCH noise on the internet, it’s hard to cut through that. Although I’m an active twitterer (@PetalumaFilms) and we have a facebook fan page for “Worst in Show” (https://www.facebook.com/WorstInShowMovie) I have very, very little faith in the power for these to really help with anything. It became abundantly clear to me during my crowdsourcing for “Worst in Show” that twitter is extremely narcissistic and no one really pays attention to what each other are saying…unless a twitter argument takes off or some kind of funny meme catches on. Facebook is a little more personal I guess.

Again, it might be me taking rejection badly, but during our crowdfunding I received VERY little support from twitter and I have over 1000 followers. Same with facebook, but not as extreme. If each of my twitter followers had gave $1, we would have reached our goal coupled with the other investors. I usually post once a week to twitter to have people join our fan page and maybe one person has. Lame.

What's your opinion on crowdfunding?

I love it. I think people want to help creative people succeed and this is honestly the easiest and most fruitful way for a filmmaker to receive help. We always need money and crowdfunding sites make it easy for us to get it.

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

Probably anything with Werner Herzog directing Klaus Kinski. Just because their fights are so legendary and the locations they shot at were so insane. It would have been a blast being there.

 What's your favorite movie quote and why?

I like when Shirley MacLaine’s Fran Kubelik says “Shut up and deal” to Jack Lemmon’s C.C. Baxter in “The Apartment.” It’s just so….perfect and sweet and concise. I also love the movie “That Thing You Do!” and the line “Shame on me for kissing you with my eyes closed so tight.” That’s just such a sad and painful moment eloquently written.

What is your opinion on movie remakes and sequels?

Meh, I’m not an across the board hater of them, I just hate remakes for the sake of remaking for more cash. I find it hard to believe some films can be improved on as well. Why not just re-release them in theaters and let people discover something cool that was right under their nose all along?

What is your opinion on book to movie adaptions?

I’m a big fan typically if I was a fan of the book. I enjoy looking at choices filmmakers and screenwriters make to adapting to the big screen. Much like remakes or sequels, I’m not a fan if the movie sucks, but I like looking at them side by side.

Is there anything else you would like to add?

I just hope filmmakers will start thinking outside the box and find new ways to get their films out there. Why pay a film festival $50 to judge you and allow you access when you can take it out to a few cities and MAKE money? I also hope people will buy our film at http://www.worstinshowmovie.com

Filmmaker Rose Kelly

What is the current project you are working on?

I am beginning production on a feature film Delora and my book of short stories, Shorter Than The Wick, is coming out later this month. Also, I am just now finishing up post on a feature, The Perfect Crime so keep an eye out for it.

I am also finishing up the first season of Happy Meal, a fun web show.

How do you define success?

Being able to tell stories with as much ease as filmmaking allows. I don’t believe success is a number in a bank account but a freedom to do what one loves.

How do you handle rejection?

Having been rejected in almost every medium I have simply learned to keep getting on with whatever it I was looking for permission to do. Don’t give rejection a chance to stop you, plunge on through and make something.

Did you always want to be filmmaker?

Yes, I was making film projects for as long as I can remember. I made my many siblings act in my silent films when I was little, which were always rather dark and horrified my parents.

What inspired you to become a filmmaker?

I have a slightly insane need to tell stories; to show my little slice of the world through film. In fact I wake up with whole films in my head, down to lighting and camera angle sometimes. I have found I have a very bossy subconscious.

What is the best thing about being one?

Learning to let go of any fear about being out of your comfort zone. In my films, because they are no-budget indie projects, I end up doing the jobs of a dozen crewmembers and have learned to do the best I can even when I’m well out of my comfort zone.

What is the worst thing about being one?

Trying to make so many varying conflicts work. It can be immensely stressful to get locations, equipment, actors and crew all together for the right days of shooting. I shot my first feature in a week and would never recommend that to anyone. You really have to find your limits and push through them without breaking down that love of filmmaking that got you started on the project.
What is the estimated number of projects you have worked on?

About 10, more if I go back to film school and count all those short films.

Who is your favorite filmmaker?

Stanley Kubrick. If I died while on an acid trip and went to heaven that’s what it would look like.

How has your life changed since you became a filmmaker?

Well I’d say it leaves you with a lot less free time. But it has made me see the world in a wonderfully creative light. Every little thing in the mundane journey gets to be so much more interesting.

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

Don’t ever assume you’re going to “make it”. You probably won’t become the next big director or actor. But if you love filmmaking do it for the passion and work continuously.

What do you like to do besides filmmaking?

I write and edit an online magazine, ICitizenmag.com. And I enjoy traveling around Europe when I can, especially if it involves pastries.

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

Yes, I worked in marketing and web design.

How would you describe your film education?

I got a BA with a minor in film production in SoCal (Southern California). But mostly what I learned that has proven useful has been from on the job training. Throw me in with a tank of sharks and I’ll learn to make sushi really quick.

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

I really like What Dreams May Come and 2001. Both for the reason that they are unique in their visual style.

Walking dead and anything Sci-Fi I’m happy to watch. I am a hardcore nerd (much like a Jumbo Shrimp) and yell at the TV as often as possible. I loved Star Gate Universe before it got canceled, TJ’s baby… nooo…….

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

Rather disorganized but with a few really wonderful people who I enjoy working with.

How has social media changed the independent film industry?

Well it has given indie filmmakers the chance to get seen, to be heard of. I think it has also caused a bit too much background noise, which can hinder a really strong community of social filmmakers. We tend to be rather cloistered because of the small world that is indie filmmaking in most towns so social media can also be wonderful in learning about what other people are striving towards in film.

What's your opinion on crowdfunding?

I think crowd funding can be great. But I always say that you should make the film you can now. Most films go over budget and over schedule so trying to put all those eggs in one basket of funds from crowdfunding can be a bit of a way to shot yourself in the foot down the line.

How does independent film differ from the mainstream?

Independent film is more about telling the story at hand. The people that work on these films do so because of love for the art form or the tale to be told. There’s a deeper sense of community than you would get from working on a mainstream film.

Also, I think the stories that get made with indie film are more complex in their depiction of humanity’s flaws and humor.
You could go back in time and see and film being made. Which film
would it be and why?

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

The labyrinth, solely so I could convince Jim Henson to hire me and grope David Bowie.

What is your opinion on movie remakes and sequels?

Hey, even multi-millionaires need to pay their mortgages and harem of dragon blood prostitutes so I’m all for them.

What is your opinion on book to movie adaptions?

Hard to do. A book is such a different medium to work with. The length and ability to create within the reader’s mind will almost always fall flat when you try to adapt them to the screen. I prefer mini series because they allow for the tone to be better set than a book to film adaptation would.

Is there anything else you would like to add?

Please check out my web shows at youtube.com/nueverpublishing. We’ve got two shows right now and are getting ready to shoot two more next year. As well as the second seasons for both shows.

Author Elizabeth J. Kolodziej

A year after Vampyre Kisses came out Elizabeth J. Kolodziej makes her way back into the author scene with the second book for the The Last Witch Series, Werewolf Descent. Currently, Kolodziej (pronounced KO-LA-G), is working on many different short stories for anthology books. Along with the third book for The Last Witch Series being under way. Kolodziej continues to travel and study the folklore of vampires, werewolves and witches in the hopes of expanding her knowledge and her stories.

What is the current project you are working on?

Currently I am working on the third book in the Last Witch Series, Witch Devotions. The second, Werewolf Descent ended with a huge surprise at the end that the fans are buzzing about so I’m trying to get it out ASAP. Along with novellas, anthologies, and all the other work I have to do.

How do you handle rejection?

I move on or I complain to my friends until I can’t anymore. Haha. It’s never easy to deal with rejection but one of my rules is never read a review less than 3 stars because it’s just going to discourage you. Also, just because one person says no doesn’t mean another won’t say yes. It’s life and you have to have thick skin in this industry.

Did you always want to be a writer?

Not exactly. I had always wrote stories since I was little but I never really thought that was what I wanted to do with my life. I never knew what I wanted to do even though it was apparently right in front of me. When I finished Vampyre Kisses I thought “What now?” and publishing became the idea. From there it just all fell in to place an I found this to be my passion in life. I couldn’t live with out it

What is the best thing about being one?

Two things, the people you meet! I love how people think I’m “famous” when I’m really in the small leagues. I talk to them and they get thrilled. I love that because it makes them happy. Then there is the fact of accomplishing a piece of work and all the pride you have in that work.

What is the worst thing about being one?

Deadlines and writers block. Enough said.

Who is your favorite author?

Tamora Pierce. I started writing my first novel (when I was 13) after I read her books. They inspired me and I have her to thank for that.

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

Please, please, please get your book professionally edited and research this business first. This isn’t an easy industry and it takes a lot of time out of a person, whether you are starting out or not. You will never just write the stories and make the money. You will be a marketer, a promoter, do signings, so on and so forth. Make sure this is what you love to do.

What is your opinion on book to movie adaptions?

That’s tough. I think when you read the book and really love it you are most likely going to hate the movie. This is because they take liberties with the movies and can’t fit everything from the book. You have to look at the movie almost like another universe (think comic books). Personally, I can’t stand it if they do it to a book I love, but if I haven’t read it I don’t know the difference.

Is there anything else you would like to add?

If I have interested you at all please come to my site www.vampyrekisses.com. I am always up for offering free advice on anything and everything I know about. If I don’t know about it I probably know someone that does.

Interview With The Creator of Igor's Lab

Igorslab is dedicated to all things horror, with a spotlight on independent horror makers from films to toys. We try to get exposure for those films that might others wise not see the light of day by the big websites and bring horror fans some independent gems.

 

What is the current project you are working(and/or promoting) on?

All my attention now a day other than my real job is igorslab.com. I and a few friends have been trying to get the site together to inform people who visit the site about a lot of the indie horror stuff out there as well as the main stream horror related stuff.

How do you define success?

Success to me is defined by the ability to make people aware of something they might not have known about and at the same time make a living with something you love to do. I think we are at the awareness stage, but we are nowhere close to the making a living stage.

How do you handle rejection?

Rejection is a part of life. The only thing you can do is learn from it and try to fix your approach for the next time around. The key is to keep trying.

What inspired you to create "Igor's Lab"?

I have always loved horror films and would voice my opinion on other horror sites, but it was my brother who started a Nerd blog that got me thinking I should start a horror blog and share what I enjoy about horror. It is a creative outlet for me also. We do video reviews about horror films that are fun and it is a good way to keep in contact with old friends.

What is the best thing about creating a blog?

Meeting a lot of cool horror makers from movies, to comic, etc. Hearing from people that they know the website and we turned them on to a movie they would have never discovered. Being invited to screenings or getting screeners, going to different horror related events with access I wouldn’t normally get.

What is the worst thing about creating one?

The worst thing about a blog is hurting someone’s feelings when writing a review about a film that you did not enjoy. We try to take into account the films budget and all the variables, but sometimes a film is so bad you can either not write it up or say what you feel about the movie and warn people what they can expect.

What is the estimated number of projects you have showcased on your blog?

Wow, it has to be in the thousands and we haven’t really been around that long.

Who is your favorite horror filmmaker?

That is a good question, I am a zombie fan so I am a big George Romero fan, even though some of his Dead films were disappointing, but DAWN OF THE DEAD is my favorite film. There are a lot of great horror directors out there, but Romero would be my favorite.

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

It will take up a lot of your time and if you have a girlfriend or wife make sure they are supportive or else your relationship will be in trouble. If you are going to do a blog be yourself, write about what you want to write about and don’t worry about negative criticism.

What do you like to do besides blogging?

I am a sports fan, so I watch a lot of sports and I am a big gamer, so if I am not logging I am playing some LEFT 4 DEAD with friends on the Xbox.

How would you describe your film education?

I am just a horror fan that has watched a lot of horror films. I did not go to school where I can break down every aspect of a film, I guess I can, but in my own way and that is how I write.

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

American Films: Dawn of the Dead, The Exorcist, Evil Dead, Dale & Tucker Vs Evil. Foreign: I Saw The Devil, Audition, Rec. Current TV: The Walking Dead, American Horror Story and hopefully Remains.

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

I live in NYC so there is a lot happening here with the different type of film festivals, conventions, dark art galleries and meet ups, that the horror scene is very much alive here. There are some indie film makers shotting stuff here, Troma is based here and a few indie labels are around the area.

How has social media changed the independent film industry?

It has definitely been very helpful for me to find those movies, it sometimes takes a lot of research to find them, but sometime you find them by visiting something similar to it or seeing a tweet from someone about a film. If marketed right social media can propel a indie film into the spotlight, they are great avenues to get the word out to your core audience.

How does independent film differ from the mainstream?

Budget is a big thing between Hollywood and Indie, but indies have no restrictions. The indie filmmaker makes the movie he envisions, where Hollywood is all about profits. Don’t get me wrong there are some good Hollywood horror films, but the Hollywood big wigs don’t care bout the films and even if the director does, unless you a big name director, the studio controls the film. Indie films, even though there might be some issues with production value, they are giving us what they want.

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

Night if the Living Dead, because it is such a historic horror film. It was an independent horror film that ushered in a whole new horror genre with Romero’s idea of a zombie. That film to me it is the perfect indie horror film.

Do you believe in life on other planets?

I won’t dismiss it, the universe is huge, but I don’t know if there are Aliens visiting the planet or anything like that.

What is your opinion on movie remakes and sequels?

I really hate remakes, even though some of them are really good, I just can’t believe there are no original ideas out there that we have to remake a films. Also, some of the films they choose to remake make no sense. As far as sequels again some films sequels are good, but Hollywood only really makes a sequel to make money off of it. Do we really need that many Saw movies, No, but Hollywood sees the dollar signs and will kill a franchise for that extra buck.

What is your opinion on book to movie adaptions?

I think some of them are good, but it is hard to adapt a movie into an hour & a half film, when you know it will take three hours to make a proper adaptation of the book.

Is there anything else you would like to add?

Support independent film, comics, music, etc. There are a lot of indie horror makers out there that put out good stuff and they are in the game for the love of horror and not the money.

Author Regan Black

Regan Black writes action packed paranormal and urban fantasy novels so readers can savor a fantastic escape from the daily grind. Raised in the Midwest and California, she now lives with her family in the South Carolina Lowcountry where the abundance of history and legend fuels her imagination. Experience a Regan Black adventure at Amazon, Barnes & Noble, Smashwords or your favorite online retailer. You can keep up with Regan at her website: ReganBlack.com, on twitter @ReganBlack and on Facebook.

What is the best thing about being a writer?

For me, it's working in my jammies. Just kidding. A little. Having a flexible work schedule and being able to work anywhere are the better, more accurate answers about why I love being a writer. The absolute best part is being able to make things up and tell stories that sweep readers away for a fabulous escape from reality.

Some days that means I'm in my silly Mickey Mouse sweats until noon, other days it means I'm working while waiting on carpool or running other errands for my family. People don't always understand, though, if they knock on my door at noon and I'm in fuzzy slippers and sweats that I've actually put in five or six hours of work already.

What is the worst thing about being one?

That flexibility I mentioned? It's a double edged sword. It takes discipline and time to create a writing habit in order to stay productive in this business. Excuses are easy to come by, as is the tempting voice of denial that you can take today off and make it up tomorrow.

What advice would you give to an aspiring writer?

I like to advise aspiring writers on two points. First, write! It sounds simple but it's not. If you're serious about producing any kind of written work, you must make time for your craft daily. I'm a firm believer that the more you write (with the right support) the better you get at the writing.

Secondly, I always tell writers to learn what your strengths are and use them. If someone hands out the same topic to fifty writers, there will be fifty unique responses to that topic.

Everyone is unique, everyone has a skill or talent or perspective that sets them apart. Find what that is for you and then follow it with everything you've got.

When I was starting out an author asked me what I was writing when the words were flowing effortlessly. I admitted it was pretty dark and edgy stuff. She looked me in the eye and said, "Good! Go write that." I did and that book became Justice Incarnate, my first sale and the beginning of my Shadows of Justice series.

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

Published and unpublished? Counting short stories, but not blogs? ;) I'd say 21 novels, novellas, and shorts, give or take a project. I've also been involved with four separate blog launches which requires creating content and technological things I'd rather forget.

How has social media changed the publishing industry?

I believe social media is also a double edged sword. It's wonderful in the way it helps writers connect with readers as well as each other. But it can really steal quality writing time - if you let it. I think it's a hard lesson everyone learns in their own way, and a situation every writer copes with differently.

As far as the effect on publishing, social media has been a boon in accessiblity. It's great being able to spread the word and reach thousands of people in a short amount of time, with just 140 characters (to use twitter as an example). For publishers who understand how to interpret the data, social media can be an effective tool to bring a writer or a book to the forefront of any genre.

Additionally, social media allows writers to target their message to readers who share their interests. It allows writers, no matter how they're published, to reach their audience and interact with them. Creating those niche connections, developing that word of mouth momentum, is invaluable for developing a loyal fan base.