League Of S.T.EA.M.-Q+A with Nick Baumann and Trip Hope

About the League of S.T.E.A.M.

The League of S.T.E.A.M. is a talented group of artists, performers, and inventors who take their audience back to a time of intrepid adventures, bridging the gap between the supernatural and the scientific; they are monster hunters from the Victorian era. The group is best known for their award-winning web series The Adventures of the League of S.T.E.A.M., which chronicles the group’s comedic monster-hunting misadventures. The League of S.T.E.A.M. specializes in interactive entertainment, performing with a fusion of fantastic technology, interactive demonstrations, and theatrical trickery, and their live events showcase a mesmerizing array of fully functional gadgets and props meticulously designed to enchant and entertain audiences of all ages. Their mission is to create unforgettable entertainment, telling their stories through a unique mix of interactive live shows, a popular web series, audio podcasts, and interactive fan club, and more.

Official Web Site: www.leagueofsteam.com

Facebook: www.facebook.com/LeagueofSTEAM

YouTube Channel: http://www.youtube.com/user/LeagueOfSTEAM

SteamGeeks Podcast: http://www.steamgeekspodcast.com/

Twitter: https://twitter.com/LeagueOfSTEAM

Why was the “League of S.T.E.A.M.” created?

Nick: The League was created as a way to focus the creative energy many of us had stored up and needed a project to focus our talents on. The four original creators started a loose idea of the League 4-5 years ago as a costume group for a large Masquerade party. From there we got asked to come other parties and eventually started getting hired to entertain crowds at various events. Other friends from various parts of my life then joined and we grew from there and began to focus our ideas in actual shows and then the web series!

Trip: The League of S.T.E.A.M. has always been a passion project. It was created by artists who wanted to create awesome costumes for an amazing masquerade ball in Hollywood called The Labyrinth of Jareth. Our founders, Nick Baumann, Robin Blackburn, and James Lavrakas, along with others – had the idea to attend this big event as steampunk ghostbusters. The men went with ghosts hunting packs fashioned in a steampunk homage to The Ghostbusters proton packs and the ladies of the group went in historically accurate Rococo & Victorian style glowing etherial ball gowns. The spectacle was a huge hit at Labyrinth and The League of S.T.E.A.M. was born. We started getting requests to dress up for events. Many of us are in the entertainment industry, so expanding into a web series and an entertainment troupe that does live shows was an organic process for us.

What is the casting process like?

Nick: We have so many options to explore and stories to tell with our current 11 characters that the League itself is not adding characters at this time. However for our web series, either we write certain parts for friends and actors we know would be great for the part or we find actor friends that we think will fit a part well.

Trip: The casting process for The League of S.T.E.A.M. itself was a group of creative friends and artists joining together. We feel very fortunate that within our group we’ve got professional prop fabricators, costumers, leather workers, craftsmen, sculptors and filmmakers. We were truly blessed in how we just came together with a shared love for steampunk and outrageously fun projects.

As far as casting for the web series goes, any cast member outside of The League are usually friends, acquaintances, or people within the steampunk and geek-centric community. We were very fortunate to have connections with Doug Jones (Hellboy, Falling Skies), Grant Imahara (Mythbusters), Robin Thorsen (The Guild) and Lisa Foiles (All That), all of whom guest starred in Season 2. We also had an open casting call for many cameo roles – we sent this out to the steampunk community and our friends and fans. More than 75 of them can be seen in our episodes.

http://www.youtube.com/watch?v=7oBWgbDrGmo

What was it like working with Panic At The Disco?

Nick: Pretty cool! They are a great group of guys, super friendly and very talented. The production crew they work with is top-notch and very professional and run a great efficient set.

Trip: An absolute pleasure!

What is the key to a successful Kickstarter campaign?

Trip: Getting friends, family, and community involved. Generally your Kickstarter campaign is only going to be as successful as the community you can reach out to – unless you’re incredibly fortunate enough to have a product that has instant mass appeal. We’ve tried to enlist all our fans and the steampunk community. We’ve encouraged them to share on social media and to donate. We’ve asked all our steampunk artist & musician friends to donate awesome rewards. And rewards are important. You want to make your backers feel like not only are they contributing to a cool project, but they are going to get something tangible that they will enjoy. I also think it’s cool to offer your backers exclusive behind-the-scenes content that no one else will get to see…and that’s what we’re offering. Even if someone only donates $1, they’ll get to see what we’re up to as we create Season 3.

How is season 3 going to be different?

Trip: Season 3 will have new adventures, new story lines, it will introduce new characters and monsters, there will be cool new gadgets and costumes, new locations – we hope to really raise the bar across the board!

How do the live shows differ from the web series and podcasts?

Nick: Podcast is very casual just us as the real people and artist chatting. The web series is the stories of the characters on their adventures and within their world. Live shows give the audience a chance to interact with the League and learn up close and personal about the gadgets and gear - see, touch and feel them work! We have various live shows we can do, some are stage shows the audience can watch and come on stage and join in but my favorite is when we are down in and interacting with the audience in our walk around bits. We can wander the crowd and get into all sorts of shenanigans!



Trip: Live shows bring the audience into our world! They get to interact with our monster hunting gadgets, our cast, and sometimes even the monsters! We bring people up on stage to act out their favorite monsters and they can experience getting caught with our net gun. We shock willing ‘victims’ with our shock prod, which is powered by baby electric eels. We do fun and exciting skits – such as a Tesla vs. Edison boxing match – to determine who is the king of electricity.

What’s been the most interesting fan interaction?

Nick: Well…one of my favorite was last year at the World Steam Expo. A man and his family visited for the first time to any Steampunk event - they had not even dressed up yet…to be honest, it was Dad's birthday and I think the family liked Steampunk but mostly all went along to the Expo for the Dad. In any case, he was super excited to run into me in the vendor hall and proceeded to shout out, loudly, all weekend, every time he saw us, “How excited am I!”, “It's the League of STEAM!”…it was very cute, something you might expect from a child, he was filled with that child like wonder and delight, it was very genuine! That night at a big dance party we hoisted him up in the air in a chair and sung and danced with him for his birthday…that was memorable.

Trip: We’ve had a lot & I think the coolest interactions have been when we meet our fans and they become our friends at conventions. However, we did recently have a fun experience with a fan at Dragon Con who we brought up on stage to act out his favorite monster. He was dressed up as The Joker and began preaching like an corrupt televangelist – he had the entire audience in an uproar of laughter & we netted him and had to drag him off stage. He was quite hilarious!

Describe each League member in one word?

Trip:

Nick Baumann – (Crackitus Potts) – Madcap-Genius

Robin Blackburn – (Lady Ameliorette Potts) – Empathic

Sheyne Fleisher – (Ellie Copperbottom) – Social-Butterfly

Glenn Freund – (Coyote) – Jack-of-all-Trades

Andrew Fogel – (Baron von Fogel) – Master-of-Details

Trip Hope – (Albert Able, Esq./Executive Producer) – Friendly-Workaholic

Russell Isler – (Thaddeus / Zed, The Zombie Butler) – Brewmaster

Duane Matthews – (Jasper Mooney) – Wise-Wordsmith

Katherine Walsh – (Katherine Blackmore) – Crafty

Conrad Wright Jr – (Sir Conrad Wright III) – Lovable-Goof-ball

Is there anything you’d like to add?

Trip: We LOVE you for donating to our cause & we’re grateful to you for being an Associate Producer!

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A Message from The League of S.T.E.A.M. -

Our Kickstarter project is OVER! Thanks to your generous contributions of fans, friends, and family - we raised $30,842 - 123% of our goal, and enough to let us bring you more of our monster hunting adventures, including a musical episode AND a rock monster!

To everyone who donated, shared the link, or offered us encouragement - THANK YOU! We couldn't do this without your help, and we're eternally grateful for your support.

You can check out the kickstarter project for Season 3 here:

http://www.kickstarter.com/projects/leagueofsteam/adventures-of-the-league-of-steam-season-three

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Thanks so much for doing the interview Nick and Trip. I look forward to season 3. I hope the league comes to Boston at some point. I'd LOVE to see a live show.

Actor/Director Lee Wilkof

Lee Wilkof was born and raised in Canton, Ohio and attended The University of Cincinnati. He originated the roles of Sam Byck in Assassins and Seymour in Little Shop of Horrors, later earning a Tony Award nomination for the 2000 revival of Kiss Me, Kate. Lee appeared as The Wizard in the San Francisco production of Wicked, a role in which he previously played on the First National Tour of the show, and has appeared in numerous television series (Ally McBeal, Curb Your Enthusiasm, The West Wing, Hart to Hart among many others) and films ( School Of Rock, Private Parts, The Grey Zone, This Boy's Life). Lee currently lives in Brooklyn, NY with his wife, painter Connie Grappo, and their dog Floyd. Their daughter Perrie, a pastry chef, currently resides in Columbus, Ohio.

Please visit www.kickstartLee.com to learn about Lee's latest project "No Pay Nudity"

What is "No Pay Nudity" about?

No Pay Nudity is about Lester Rosenthal, aka Lawrence Rose, middle-aged actor living in New York City. Divorced, and estranged from his daughter and his father, he’s almost finished, both financially and emotionally. He relies on the support of his other actor friends, Herschel, Andrea, and Stephen who face down their own demons with lots of hope, a little alcohol, and tons of humor. On the verge of packing it all in, Lester returns to his hometown in Ohio to play The Fool in King Lear where he reconnects with himself and what’s important to him as a son, a dad, a friend, and an actor.

Why did you decide to make this film?

I decided to make the film because it's a story I know about. Part of it is my desire for an audience to see beyond celebrity and stardom which has poisoned our culture. But what really motivated me was coming to terms myself with what defines success. Winston Churchill defined success as "moving from one disappointment to the next without losing enthusiasm."

What was the casting process like?

My casting process was calling up my friends, or if I didn't know a particular actor, finding someone who did and sending the script to them. Whenever we went through an agent, we never heard from them again. A film like ours, with a small budget has no incentive for an agent. But if we got the script into the actor's hand, they always responded positively, always with tremendous enthusiasm, because actors relate to our script, regardless of where they are in their careers. Because it's about yearning. All actors yearn. Everybody yearns.

Why did you choose Kickstarter to finance the film?

I hired a lawyer, created an LLC, and put together a business plan hoping to get investors for our film. Frankly, very few folks responded. Maybe because I'm a first time director. Kickstarter was getting a lot of attention and i like the idea of it, and decided to try it that way. I'm deep into it, and find it an emotional roller coaster, but incredibly exhilarating, and am extremely moved by friends' and strangers' incredible generosity.

How will your background as an actor help you as a director for "No Pay Nudity"?

I've been on film sets, and television sets for nearly 40 years. I'm comfortable in that environment. I am extremely collaborative and realize i have serious limitations when it comes to the technical aspects of filmmaking. So I will rely on a strong crew. But i feel very comfortable talking to actors and have fairly good communication skills. That's where my experience as an actor will be very valuable.

Has Broadway changed over the years?

Broadway has changed along with our culture. Spectacle shows are more popular. And a show without a "star" is almost unheard of. Often these stars come from television or film, and often these stars have very little stage experience. That's the biggest change I've seen. Also audiences have changed. Theater to a lot of people is like a trip to Disneyland. It changes my experience as an actor acting for them.

If you could play any role what would it be?

Specifically I have always wanted to play Tevye in Fiddler on The Roof. Also would like to play Willy Lowman in Death of a Salesman. Love playing lowlifes, hillbillies, outlaws. People on the fringes. love that.

Do you have any advice for aspiring actors or directors?

To the aspiring actor I suggest if one is doing it to become a "star" that's a mistake. Becoming an actor is a process. It deserves work and paying dues and training and then practice. I cant' speak to aspiring directors except to probably do that for the right reasons, because you want to tell a story. It's not about "you," it's about the audience either as an actor or a director.

Do you have any favorite independent films?

I love so many independent films…a few come to mind…Welcome to The Dollhouse, Mean Streets, Stranger Than Paradise…so many directors of note in the late 20th century Martin Scorcese, David Lynch, Todd Solondz, Quentin Tarentino…their early films were independent. Incredibly vital, brave, and unique. I will steal from them if I am fortunate enough to make No Pay, Nudity. I'm not ashamed to admit it.

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Thank you Lee for doing this interview. I wish you all the best with "No Pay Nudity" and future projects.

Practical FX Artist Alec Gillis

Alec Gillis was born in Orange County, California. At the end of a childhood spent devouring sci-fi and special effects movies like the original Planet of the Apes, he found work at Roger Corman's New World Pictures in 1980. There, he worked along side future genre notables such as Gale Anne Hurd, Robert and Dennis Skotak, Rob Bottin and James Cameron. By 1983 he had finished UCLA film school and began working for famed makeup artist Tom Savini on Friday the 13th Part 4: The Final Chapter.

In 1985 he met Creature Legend Stan Winston and worked on Invaders From Mars, Aliens, Predator, Leviathan, and Monster Squad, among others. In 1988, along with Tom Woodruff, Jr. Alec formed Amalgamated Dynamics, Inc. Their first feature film was Tremors, followed by Alien 3 (Oscar nomination), Death Becomes Her (Oscar win), Mortal Kombat, Jumanji, Starship Troopers (Oscar nomination) , The Santa Clause franchise, the Spider-Man franchise, the Alien vs. Predator franchise, Wolverine: Origins, X-Men: First Class, The Thing (2011).

Alec is also a 3 times published author, and his pictorial sci-fi book, which James has called, 'a visual masterpiece', has been optioned by MGM. He has directed numerous short films, Second Units, Creature Units and has written many scripts including the science fiction epic The Seventh Tear, currently in pre-pre-production.

He is the father of 4 daughters and lives in Los Angeles, California.

Why did you create Amalgamated Dynamics Inc?

Tom and I had worked for Stan Winston for a while, and when he decided to direct he stopped taking jobs. His plan was that we'd only work on his movies. That would have been fine if we were really busy, but there just were far less opportunities suddenly, and we were sad not to be working with people like Cameron and Zemeckis anymore. Stan was extremely loyal and he was keeping a handfull of us on payroll despite having no jobs. we thought maybe we'd get off his payroll and strike out on our own.

What is "HARBINGER DOWN" about?

On one level, it's about the crew of an Alaskan trawler trapped with a creature on board. On another level it's about giving fans an experience they felt they didn't get with THE THING (2011). On yet another it's to show the world that Practical FX still have a valid place in modern filmmaking.

Why use practical effects?

There's a tangible, visceral, intimate, tactile quality to practical FX. If you know how to design, build and direct it, it can be unbelievably impactful and emotionally satisfying. It's also 3 to 6 times cheaper than digital. This isn't about wanting to suppress digital FX, it's about standing up for our art form.

How did you get such a great team together?

The crew of ADI has been honed and built over 25 years. The Harbinger Down team of the Skotaks and Pat mcClung are guys I started with at Corman's over 30 years ago. They're guys I looked up to. Guys that taught me a lot of tricks. Taught me an appreciation for in-camera FX. And they're our friends!

What do you want your legacy to be?

There's way too much yet to be done to talk about legacies!

What makes your Kickstarter different from others?

Well, we're not the above-the-line Hollywood bigshots who have lots of traditional options. We're struggling artists. We have an art to save. Hopefully people see something worth saving when they watch the pitch vid.

What are some of the perks of the campaign?

Some of the prizes are blast. The death scene where you get to keep your dead body  We have miniatures for sale, an awesome pice of prop Soviet space wreckage, creatures of various sizes, your own death effect, and of course all the standard stuff like script copies, downloads. Oh, and Lance H. will do a recorded message for you too!

What movies inspired you to make the film?

ALIEN and Carpenter's THE THING. Twin pillars of sci-fi horror!

How does it feel to win an award?

Stan Winston used to call them bowling trophies. Still. being a good bowler is cool!

What's one thing you wish you could tell your younger self?

Lose the center part in the hair. Oh, and don't rely on the studios to make your dreams come true. Savior self!

Will you talk about any shenanigans you've seen while working on a production?

Check out our youtube channel!

A Video's worth 1000 words! http://www.youtube.com/watch?v=CP5Kq4DG0kU&list=UUbhiVDWG8wgg3v9cuH6DqEA&index=6

Is there anything you'd like to add?

Support Harbinger Down! Do it for the monsters!

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Thank You Alec for doing the interview. I wish everybody on the Harbinger Down team all the best.

Filmmakers Ian and Esh Nelms

Writer/ directors Ian and Eshom Nelms are two brothers from California's central valley, who grew up with napalm sunsets and miles of endless farmland. They built raced-out Volkswagens, team-roped with their Dad and on hot summer days, tubed the St John's River. It's this upbringing that inspired the backdrop of their latest feature film, "Lost on Purpose."

What is "Lost On Purpose" about?

It’s really about where we grew up and the people who live there, but this synopsis will probably give people the best sense of what to expect.

“Fueled by gin and pure determination, Elizabeth James struggles to keep her dairy farm from being swallowed up by the region’s domineering co-op. To help with the workload, she’s hired five renegade ranch hands. Together they fight for love, pride, family, and their vanishing way of life.”

What was it like growing up with so much farmland around you?

It was nice, actually.  It’s definitely a slower paced lifestyle, but it really is a place filled with some of the hardest working people on the planet.  Farms and crops are 24/7 jobs, and they’re pretty thankless professions.  We really wanted to highlight that lifestyle and bring some awareness to it!

Why choose to self distribute the film?

There were quite a few reasons, but mainly we wanted to present the film a certain way and the distributors we spoke with wanted to present it in a very different way.  One example: they wanted to put a cast member on the cover who was only in the movie for 3 minutes and act as if she was the lead, because she won an Oscar last year.  We understand it, they’re out to make as much money as possible, and of course money is nice, but we want the film released in the same spirit it was made.  It’s a love letter to our hometown and we want to preserve that integrity.  Changing the title to make it appear in a VOD queue earlier, and slapping faces on the cover to mislead viewers into thinking it’s a different type of film just doesn’t fly with us.

What are the pros and cons of working with your brother?

Lol.  That’s a great question.  Some people can’t work with their siblings, but fortunately we have pretty similar taste.  All of our battles are fought and decided in the writing room.  When we step out to shoot, we’re 99% in sync with what we want to see.  I’d say the biggest pros are that we can bounce ideas off each other and motivate each other.  The biggest cons, maybe that every idea you come up with doesn’t get put into the material, but that’s not always a bad thing.  Some of those ideas were probably crap, and needed to be tossed.  We feel pretty lucky to be able to work together.  When we both like an idea, then we know it’s probably a pretty good one.

Why use Kickstarter?

Kickstarter gave us a unique opportunity to reach out to people and present our ideas and passions for the project. We looked at a few other options, and for us, Kickstarter had the best format.  We like the all or nothing mentality, it definitely parallels making film and art. There’s no half-ass in creating, you can’t fail anyone but yourself, so why should fund-raising be any different.

Why do you think your campaign was successful?

We’d like to think it’s because the film is interesting and exciting, and that people are galvanized by personal stories with a lot of heart.  We’re sure there are quite a few people that feel that way, but we also know plenty of people who just really wanted some cool signed schwag.  Lol.  Honestly, it’s probably a combination of the two.  I think the people who backed us really feel a kinship with the story and us as filmmakers, and want to support a passion project and get some cool rewards in the process.

What was the casting process like?

It was a teeter-totter.  We’d get a cast member, then a little more financing, then back and forth until it was fully cast and funded.  James Lafferty was the first person to come on board.  He read the script and said he was “in.”  We started raising funds the next day.  It was pretty carefully cast.  We really believe that if you get the right person in the roll, then half the work is done, and we can’t say enough about the people we worked with.  They all stepped up to the plate for pennies on the dollar and just swung for the bleachers.

How did you pick your crew for the film?

The key positions were pretty homegrown.  Johnny Derango was a producer on the film and the DP.  We’ve known Johnny for about ten years, and he brought in a great camera, lights, and grip crew.  Michelle Lang was our set producer.  She did a lot of the heavy lifting during production and found a lot of our other key crew members. Our amazing production designer, Nathan Carden, was suggested to us by another filmmaker friend of ours.  Catherine Velosa, costume designer, came from our hometown.  She was a friend of a friend and mainly worked in theatre, and she came on set and just fit like a glove.  My Mom was the caterer, cooking 3 meals a day for 30 people.  It was pretty intense, but by the end we all really felt like a family.

Were there any on set shenanigans?

Sure, I mean, we stuck 5 guys in a house with an endless liquor supply.  It was definitely a recipe for shenanigans.  We wanted to give the guys a real feeling of what it would be like to have a ranch hand lifestyle and they definitely made a go at it.  Lol!

Can you recommend indie films and/or campaigns to check out?

A friend of ours, Dan Prostak, who worked his tail off on “LOST ON PURPOSE” is doing an Inidegogo campaign for his short film, “UNDER A BLACK VEIL,” it’s a psychological thriller.  Very driven, talented guy.  I say definitely check it out!  Overall, personally, we’re really excited about this time in film.  There’s never been a better time to create or release a film on your own.  The production value that can be achieved on a low budget is just astounding, and the ability to reach and deliver a film to an audience has never been more readily at our fingertips.

Is there anything you'd like to add?

The musicians we worked with on the film were just incredible.  Bands, “ALL THE REAL GIRLS” led by Peter Donovan and “LOST ON PURPOSE” (who’s name band leader, Will Vanderwyden, graciously allowed us to borrow for the film) were amazing collaborators.  We wrote scenes to music they’d already created and they wrote songs to scenes we’d written.  It was a very inspirational process.  We’re just fortunate enough to be friends with Peter and Will.  They’re some of the first people we met after moving to Los Angeles, and we’ve been friends and working together ever since.  We’d encourage anyone excited about good music to seek out their other albums and websites.  Such talented guys!

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Thanks for doing the interview guys. I look forward to seeing "Lost On Purpose" when it comes to a theater near me.

Producer Nadia Bassett

Hailing from South Africa, Nadia Bassett married Canadian actor Rick Howland and now lives in Toronto.  With over a decade of experience in running her own event production company TLATSOI (The Long And The Short Of It), her skills translate well in the film industry and Nadia successfully produced her first award winning short, “Underwritten” in 2011.

“Underwritten” was made for the international competition, the 48 Hour Film Project.  As they put it, “A wild and sleepless weekend in which you and a team make a movie - write, shoot, edit and score it - in just 48 hours. On Friday night, you get a character, a prop, a line of dialogue and a genre, all to include in your movie. 48 hours later, the movie must be complete. Then it screens at a local theater the next week.”

Nadia passionately supports the movement to bring PWD (Persons With Disabilities) to the fore in film and television – both behind and in front of the camera.  She believes that stereotyping PWD serves nobody, and she strives to make entertaining and captivating work that present new ways for audiences to think about PWD.  There are wonderfully talented directors, producers, editors, actors, animation artists, etc. that are PWD and anyone who ignores these individuals, is missing a truly special experience – it's a privilege I have had and I cherish. “I want the projects I work on (story, acting and the filmmaking) to be so outstanding that the disability becomes invisible to agents, casting directors, distributors, broadcasters and eventually viewers.  It will be a brave few that support the inclusion of PWD in film and television, but I look forward to sharing the ride with them, one project at a time.”

You can follow Nadia on Twitter @virtuallynormal

What is "Underwritten" about?

In this heartfelt award winning western heist romantic comedy short film, a rich railway owner schools his naive son in insurance when a porter is accidentally kidnapped during a train robbery by an unwitting employee and his persuasive wife. It's a happy ending for all but one.

Th rules and structure of the 48 Hour Film Project meant we had to use four elements provided by the organisers in our film.  It had to be a Western or Musical featuring a character named Chrispian Woods (a Passenger Attendant/Porter) and the mandatory prop was a magnifying glass, and somewhere in the film we had to use the line of dialogue "What's your recommendation?".   Some would think that having to include mandatory elements is too restrictive, but for a competition with a tight turnaround time, it actually provides great boundaries.

Why did you want to do a "48 Hour Film Project"?

For years preceding the making of “Underwritten” Rick and his friends had been talking about making movies, and I had over 15 years of production experience.  So when I arrived in Canada from South Africa, I ambushed them and just signed us up for the competition. It was a “put your money where your mouth is” challenge.

There were many reasons not to do it but I’m a firm believer that in all aspects of life, if you don’t just do it when an opportunity arises, you may never do it and then you have to live with regrets.  We really had nothing to lose except sleep which is overrated anyway.

I also felt strongly that making a film this way would be a make or break experience.  We all thought we wanted to make films and were talented enough to do it, but could we actually?  This competition tests your skills and endurance without the pressure of budget, time and resources so it was an ideal experiment.  And fortunately for us, it was affirming.

What is the independent film scene like where you live?

In Toronto, Canada it’s vibrant! There are many gutsy filmmakers here that are passionate about their art and are finding non-traditional ways to raise funds, rope in friends and get their films made.  I take my hat off to anyone with that drive and resilience.  In South Africa it’s probably even more exciting as even though South African filmmakers face many more challenges, they are able to find ways to and use their initiative to harness the energy of Africa and its peoples to make outstanding films.

What does it feel like when your film wins awards?

It feels really good, and it’s a real motivation for doing more!  I think being recognised by peers and audiences is very important (if not critical) to creative people.  On the other hand, the competitive perfectionist in me cringed at the minor imperfections and although I wanted the overall award and a screening at Cannes, this wasn’t the film that would take us there.  I know that when a film I produce get’s to Cannes, it’ll be the perfect film and the perfect timing.

What's it like to work with Bernie Henry and Stephen Simeon?

Bernie and Stephen are extremely generous and talented people – it was a treat to work with them.

Stephen (our cinematographer) has had many years of experience in photography and also DIY which meant that when he came on board, he naturally built a camera jib right?! Well he did, and it worked – check out the sweet action in our opening shots and the “Oh Boy Pie” scene.  The beautiful lighting in the film was Stephen’s touch, and it has received compliments from professional DOPs.

Bernie (our editor) is a true artist – a musician, an actor, a videographer, a writer and an editor.  Editing is at the tail-end of filmmaking and often carries the most pressure, Bernie handled it, and us, really well even when the power went out and he lost some edits, he regained composure after some choice words, and got straight back on the horse.  It was also great watching him and Anita Beaty work on scoring and editing the film together as they calmly managed to ignore the intensity of the looming deadline.

What's it like working with Rick Howland?

Is that a trick question?   Rick was Underwritten’s co-writer and director and also my husband and best friend.  I knew going in that there were risks to working with family and friends on a project like this, but I honestly believed that we all needed a creative shove and that we were solid enough to withstand the blows.  Rick and I differ which is probably what makes it work so well, he is the vision engine that drives creativity and excites people and I am the analytical risk assessing do-er that makes those sometimes crazy ideas and people all come together.

Rick was really supportive and not a diva at all, he listened and gave input and never took any guidance, suggestions or critique personally.  He worked hard at balancing the director’s vision with the producer’s constraints.

On a personal level, I was impressed by the quality of this film – I thought it would be good, but was really blown away by the quality of the final product.  That success is attributed to everyone involved.

What is the key to a successful "48 Hour Film Project"?

Planning!  I needed to know exactly how the weekend would run so I could plan and put everything in place to make it as enjoyable and stress free as possible which would ultimately give us the best chance of success. My questions were, how long would it take to write a script, what resources would we need, who was available and willing to be on the team, what technical equipment would we need, what risks and challenges would we potentially face, etc.  So the best way was to do some dry runs. We had the production, writing, editing, camera and directing team (i.e. the 4 of us) come together to do a dry run.  We pulled 4 fictitious elements from a hat and wrote a script, did a story board and drafted a props and cast list.  We realised that if we didn’t put deadlines to each element, any delays would have a knock on affect and put the editor under pressure.

We sourced some shooting locations and actors ahead of time and had them on standby so we could craft the script to what we had available.

The dry run exercise was really valuable as we made decisions on roles and responsibilities and those carried through to the actual competition weekend so everyone was clear on their contribution.

In addition to the planning and our talented creative team, the fact that we had access to a phenomenal cast and crew that were so generous with their time, for free, made it that much easier to make the film.

What independent film should everyone see (besides "Underwritten")?

"Sex After Kids" of course.  And follow Jeremy LaLonde on twitter @LaLondeJeremy, he’s a real treat.

Searching For Sugar Man – not only is it a great film with a subject close to my heart, but the fact that they ran out of funds and didn’t give up makes it a must-support film.  Read the amazing story at http://movies.yahoo.com/blogs/2013-oscars/malik-bendjelloul-talks-oscar-nominated-movie-searching-sugar-013547675.html

How was being a producer on "Sex After Kids" different from being a producer on "Underwritten"?

Very different!  My credit on "Sex After Kids" is an “honorary” one – as the film was crowd funded, those that contributed a certain amount were credited as Associate Producer.  Jeremy LaLonde is one of those gutsy filmmakers and supporting his projects is investing in Independent Film as a whole. It’s important for all Indie filmmakers to support one another, there’s plenty of room for everyone in the industry – and the more Canadian filmmakers make it here and internationally, the better for us all.

Is there anything you'd like to add?

I would recommend entering the 48 Hour Film Project to anyone starting out in film, or those of us who need a fresh kick in the pants.  It’s a weekend you will never forget!

I would also like to thank those bloggers and journalists and new media supporters who discuss and promote Indie Film/Filmmakers, it’s sincerely appreciated so keep it up.

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Thank you so much for doing the interview Nadia.  I really appreciate your passion for independent film.

Producer MICHAEL BROCKHOFF

MICHAEL BROCKHOFF is a non-fiction producer with hundreds of hours of programming to his credit. He has a unique talent for solving creative and logistical challenges while pushing the quality of the content and production values beyond the expected parameters. Michael has been instrumental in expanding the programming slate of many production companies and creating shows for networks like TLC and National Geographic Wild.

Photos by Kevin Kane

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Why did you decide to make the documentary "Bronies: The Extremely
  Unexpected Adult Fans of My Little Pony"?



When I found out about this group of fans called Bronies, I was fascinated. I wanted to know why adults, and adult men in particular are fans of a show made for little girls. I knew the general public would also be fascinated and thought a documentary could offer them insight to the phenomena.

Why was the title changed from "Brony Con: The Documentary"?

As our crowdfunding campaign became successful, we expanded the scope from just the East coast BronyCon convention to Brony conventions and Bronies around the world. The title "Bronies: The Extremely Unexpected Adult Fans of My Little Pony" is more inclusive and indicative of what the viewer will see in the documentary.

How did Tara Strong, Lauren Faust and John de Lancie become involved
with the project?

John de Lancie was my entry into the Brony world. I've known John for years. He was telling me about voicing the character Discord and how he found out about the Bronies. I suggested that we create the documentary and everything started from there. John was able to bring Tara Strong and Lauren Faust on board which was great since John and I were just being introduced to the fandom and Tara and Lauren had then involved all along.

Why do you think the show "My Little Pony: Friendship Is Magic"
appeals to adults?

There are a number of reasons adults love the show. They seem to appreciate the modern animation style and fully developed characters. One thing we discussed in the documentary is the fact that the messages you find in the show about friendship and how to be a good friend is something anyone of any age can appreciate and use.


How did making your other documentaries prepare you to make this one?

My background is in non-fiction television which can be a different than feature-length documentary film making. I was able to bring skills to the project that helped us make the film faster than most independent documentaries without compromising quality.

Why use Kickstarter to fund the documentary?

Rather than asking a third party financier or network to take a chance on an unknown subject, we thought Bronies themselves would like the idea of the documentary. The support was overwhelming and a great luxury that not all filmmakers have.

What do you say to people who criticize the "My Little Pony" fandom
and/or the documentary itself?

For those who criticize the fandom, I would ask them to first watch the documentary. The film will give you an understanding of why the fandom exists and what it's about. I would argue that society needs the messages of the show and it's a great thing that it's being embraced by a the fans. For those that criticize the documentary, I would ask them to keep in mind that a film can not be all things to all people. We set out to explain the phenomena of adult men who like My Little Pony and that is something we did in an entertaining and respectful way.

Do you have a favorite pony?

I tend to like Pinkie Pie the most. Of the main six ponies, she is the silly fun one and she makes me laugh every time I see a clip of her.


Is there anything you'd like to add?

For those who want to see the film, head over to bronydoc.com were we have a number of options from digital download to Blu-Ray and DVD discs.

[caption id="attachment_3290" align="aligncenter" width="300"] Photo Credit: BronyCon: The Documentary via Kickstarter[/caption]

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Thanks for doing the interview Michael. I'm very new to the fandom. I've only seen a few episodes. I think the show fun for all ages. I'm going to watch the documentary ASAP. I think Rainbow Dash is my favorite pony.

Filmmaker Nick Peterson

Nick Peterson (Director/Writer/Producer) graduated from the prestigious Experimental Animation program at The California Institute of the Arts (Calarts).

Straight out of school Nick’s film “MuM” was accepted into the 2000 Sundance film festival and received numerous awards including a student Emmy. At that same time, he began working in the visual effects industry as a producer on high end national commercials, feature films such as CHARLIE’S ANGELS 2, and THE RING, and the TV shows “CSI:Miami”, and “HOUSE | MD”. In 2006 Nick wrote and directed the feature film DARK MIND, starring Christopher Masterson (“Malcolm in the Middle”), Lyndsy Fonseca (KICK ASS, “NIKITA”) and David Deluise. The film won several awards and secured domestic distribution and multiple foreign sales.

Nick has directed commercials for many clients including, CVS, Ford and Chrysler. And his latest music video has reached over 7 Million views on youtube in just a few months of release. Nick also recently finished the multiple-award winning short film “DRAINED” he directed and produced along with Jon Heder (NAPOLEON DYNAMITE, BLADES OF GLORY)

Nick currently lives in Los Angeles CA

What is the current project your working on?

I'm currently raising the funding we need to produce the short film and video game for "The Visitant" Starring Amy Smart, and Doug Jones as the Demon.

How do you think making your previous films will help you make "The Visitant"?

Every time you make something --  anything -- in film you're a little bit smarter.  I'm hoping that I've got enough smarts in me by now to make this thing really awesome.

How did Jon Heder, Doug Jones, Steve Wang. and Amy Smart become
involved with the film?

It was all kinda just putting people together that we know. Jon Heder and I have been friends for a few years now, and He knows Doug Jones, and I know Steve Wang, and Steve and Doug know each other. So once we put our heads together it all kinda made sense.  Amy got involved because we just love her work. Jon and I reached out to her and she said yes!

Why did you choose Kickstarter to fund your film?

Unlike  feature films, shorts don't make any money, and that doesn't give you many if any options of places to go to make short films. But with Kickstarter we can offer rewards to people that you can't get anywhere else and make something really great.

What was it like to be interviewed by "Ain't It Cool News"?

It's kinda like being on the cover of Rolling Stone, but for geeks.

What are the elements of a good horror film?

Feeling dread for your characters. If you don't feel for the characters and want them to live, you won't be scared.

How has technology changed the independent film industry?

It's allowed a bunch of really great things to happen. But it's still hard to make a good film, and talent will always rise to the top.

Which do your prefer making short or feature films?

I like features more cause I dig the marathon and being busy for long stretches at a time.  Shorts are like music videos, they're fun cause you can have a lot more freedom to make what you want and they're over fast so you can afford to do them for no money.

Is there anything you'd like to add?

I'm just grateful people let me make this stuff and I hope I can continue to do it for a long, long time

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Thanks for doing the interview Nick. I saw "Drained".  It was different & the images really stuck with me. I hope to see "The Visitant" at a festival near me and play the game.