"Giant Sloth" Creator Paul Hornschemeier

Paul Hornschemeier is the author of the critically acclaimed graphic novels "Mother, Come Home," "The Three Paradoxes", and the New York Times Best Seller "Life with Mr. Dangerous," as well as the short story collections "Let Us Be Perfectly Clear" and "All and Sundry." His most recent collection, "Artists Authors Thinkers Directors" groups 100 portraits from his art blog "The Daily Forlorn," a featured illustration blog on Tumblr.

His prose and comics have been translated into eight languages and garnered international awards and have appeared in publications ranging from Life Magazine to The Wall Street Journal.
He has taught art and creative writing for The University of Chicago and lectured internationally on art, literature, and modern media.

His animation and artwork appears on IFC’s “Comedy Bang! Bang!”, now in its second season. He recently wrote, directed, and produced a live action short, "Daniel in the Factory," based on his feature script of the same name, and is developing a variety of live action and animated programs for television.

He lives and works in Boston, Massachusetts. He and his wife have a cat. And a kid. The kid really loves that cat.

Websites

• paulhornschemeier.com
• imdb.com
• twitter.com
• dailyforlorn.tumblr.com
• youtube.com

What is "Giant Sloth”?

Giant Sloth is a short animated film. It’s a combination of all my interests, ranging from surrealist filmmaking to bizarre, dusty museum exhibits, to animation from the 60s, to dark comedy, to… well, a lot of things. So let’s just say it’s a short animated film about a museum curator whose life is being pulled out from under him and he’s being dumped into a modern world he’s scared of and has avoided by choice. In response to all this: he starts seeing things, daydreaming, and just generally losing his mind.

How have your previous projects prepared you to make this film?

I feel like my previous projects always prepare for whatever it is I’m currently working on, though that’s never by conscious plan. I stumbled into animation and film, thought those are two things I’ve always loved…

I’ve been writing and drawing graphic novels for over a decade and have been working in animation for the past four years. I did the animation on IFC’s Comedy Bang! Bang! and I write and direct a weekly animated web series on YouTube, Forlorn TV. I’ve also been working in writing screenplays and directing small films for a couple years. One of the (live action) shorts is available through this campaign. So… all of that has fed, in one way or another, into Giant Sloth.

How did you choose your cast and crew?

Casting Paul Giamatti was first. I had the idea for Giant Sloth a while ago, several years ago, I think. But it wasn’t until I started working with Paul and his production company (Touchy Feely) that the idea rose back up in the pecking order of projects. I really just had a treatment about a year ago, so when I wrote the script, I was really writing for Paul. Which was such a huge relief when he responded to the script and wanted to do it.

Jason Mantzoukas was someone I knew through Scott Aukerman, just on a mutual respect level (Jason’s a comic book enthusiast, and I love all his comedy). I had wanted to figure out a way to work with him and his voice is just about one of the best comedic voices out there…

Robert Popper was someone I actually connected with through twitter, again just out of mutual admiration for our work. He and I actually recorded another little film together that I’ll hopefully announce more about soon. After we did that and I still had an opening for the jerky boss, I had to have him in that role. Thankfully he said yes.

Kate McKinnon and I have the same manager. So, that was just a matter of my/her manger handing her the script and Kate liking it enough to sign on. I think she’s THE BEST person to come along on Saturday Night Live in a while.

Although I’m working with Scott on other projects, I was probably the most hesitant to approach him to be in the film, just because he’s such a phenomenally busy guy. The amount of granite-solid comedy content he’s producing right now is just… it’s amazing. I’m assuming he never sleeps and owns at least a couple time machines/clones.

As for the crew, which in my mind is no less amazing than the cast: those are all people that I’ve been insanely lucky to have worked with on either Comedy Bang! Bang! or my own film projects. The talent in that crew is unbelievable. Every one of them is such a creative genius. Sometimes it’s hard to keep up. But I think that’s the job of the director: to hire people who are better than you in their specific department. It only improves the film.

What would you say are the pros and cons to crowdfunding?

The cons are lack of sleep, rising blood pressure… I’m not sure of any real cons beyond that. I think the rewards for backers, that part is a bit hard to figure out when you’re putting a campaign together. If you’re create a tangible product people can go out and use (the new tooth vacuum!… no idea what that would be), I think it’s a little easier, but with an art piece or an experience, it’s a bit tougher. So some of the budget has to go into making physical manifestations of that experience.

But that’s part of the fun too, designing those things to offer as rewards. Or anyway, it’s a lot of fun for me. And that brings me to the big BIG up side of crowd funding: no middle men deciding those things for you. I mean, I suppose kickstarted itself is technically a middleman, but not having any majorly invested entity getting between you and your potential audience (and in fact potentially growing your audience during and after the campaign)? That’s amazing. It’s allowing so many great, bizarre ideas to get off the ground, when before they would have just puttered around and died from lack of finding an audience and lack of funding.

What advice you give to someone who wants to become an animator?

My background is comics, and I think that’s a great place to start if you’re interested in animation or film. Animation and film are certainly their own beasts, but learning how to tell a story with words and pictures sequentially takes a long, long time, and it’s a bit faster to tell a longer story through comics than it is to animate the entire thing. And I think comics gives you a sense of editing, of using the cut to tell the story. In between each panel in comics, you have this sort of cut…

Otherwise, I’d just say that if you want to be an animator: animate. Do the thing you want to do, and do it every day. It’s the only way anyone ever improves. Every day: work at your work.

How has becoming a father changed you as an artist?

I think the biggest thing he gives me is perspective. I don’t think my storytelling or the things I’m drawn to narratively have changed much at all, but the lens through which I perceive my life/work balance is different. My son is a walking manifestation of wonder, and it’s impossible to be around him and not slow down a little and really take time to look at all the amazing small details in daily life. I may have done that before to a degree, but he offers a different sort of calm to the whole enterprise of just being in the moment. And laughing at your own farts, of course.

Is there anything you'd like to add?

Jonas Salk, the creator of the polio vaccine, married Pablo Picasso’s muse, Francoise Gilot. Use that information wisely.

Peter Simeti: The creator of "The Chair" Graphic Novel

Peter Simeti is the publisher of Alterna Comics and is the creator/writer/and co-artist of The Chair graphic novel.
 
You can follow him on twitter @petersimeti

What is "The Chair" about?

The CHAIR's story follows Richard Sullivan, a death row inmate who's been witnessing a lot of his fellow inmates getting tortured and killed at the hands of the prison's insane and sadistic Warden.  Not much has necessarily happened to Sullivan in this prison, but he figures he must be next in line because the prisoner count is dwindling.  With that in mind, he decides he needs to fight, even kill, to survive.  In doing so, he's pushed to the brink of his own sanity and the story just goes from there.

Why did you create the graphic novel?

I created the initial idea of it as kind of an "artist outlet" because I was pissed off after hearing about some psycho that killed a bunch of kids in a daycare or a school.  For whatever reason, the story just hit me at a bad time.  I mean, why on Earth do people do these kinds of things? Anyway, I had created the character of the Warden kind of out of a wish-fulfillment sorta thing.  A character that could do horrible shit to vicious scumbags that deserved it.  The conflict of The CHAIR though, is that we're told that Richard Sullivan is an innocent man on death row and he's in for the same fate that everyone else has been getting.

Why do you want to make a film adaptation of graphic novel?

Aside from the fact that it would just be cool to see great actors bring these characters to life, I think The CHAIR is a story worth telling as it touches on a lot of different themes.  Child abuse, capital punishment, the ethics of torture, the political argument about the humane treatment of convicted killers that didn't get that option to their victims, and mental health - these are all part of The CHAIR's story.  It's not just a straight-up horror film where someone is killing a bunch of unsuspecting group of people that are all too stupid to fight their way out of a paper bag - The CHAIR has a lot of strong psychological elements to it and the characters have a lot of depth.
 

Why use Kickstarter to fund the film?

Because for the most part, there's nothing else like it.  It's a tremendously useful tool to gauge interest in your project (as long as proper word gets out) and it also allows you to gain the interest of people you might have never reached in the first place.

 

Why should people support your project?

Hopefully they support it because they like the story presented!

I'm not looking for pity dollars, haha, I'm not going to say that this project will save lives.

It is what it is - a psychological horror film based on a graphic novel that has a great cast and crew, an entertaining story for fans of that genre, and something that will hopefully take you away for 90 minutes and get your adrenaline pumping!

 
What is the casting process like?

The casting process consisted of reaching out directly to actors and agents and for the most part, 90% of the cast was attached through social media.  Literally, I'd tweet to actors or send them a facebook message to see if they would be interested in coming on board.  Even the actors that respectfully declined, were just so nice about it!  I figured, as long as I'm respectful and honest, the worst that can happen is that they say "no".  We were fortunate enough to attract a lot of amazing actors and talented crew members to this project.
 

How have your previous projects prepared you to make this one?

Comics and film are so different but so similar. In terms of prep and promotion, it's sort of the same. But that's kind of where the similarities end.  A film is just an all encompassing thing. I think that's part of the "movie-making magic" - the fact that people who aren't involved in creating it, will just have no idea whatsoever of how arduous a task it is to create something that you can watch for 90 minutes or more. And then if it's actually something you like or even love, that's even harder to do.  Movies and comics are all about creating circumstances that are exaggerations of reality, sometimes it's an extreme exaggeration and sometimes it's a small one, but it's always *just* removed from realism.  It's a chance to make the impossible, possible - and that's pretty awesome. 

 

What advice would you give to someone who wants to create a graphic novel &/or film?

Well, I think if you're not prepared for the time and energy commitment that it takes (for instance, I get up at around 7 or 8am and work till around 2am or so...) then this isn't the life for you.  You have to be obsessed, on almost a mentally ill level, haha.  You just need to create as much, if not more than, your need to eat or sleep.  There's times that I go to bed and I'm just pissed that I have to because I'd rather get stuff done.  It's that "workaholic" mentality - I hate that that kind of mentality is kind of looked down on so much now though, because it's the mark of a passionate person.  It's not an anti-social thing, it's not a distant person thing - it's a passion thing.  It's someone whose drive is so unrelenting that simple words like "no" and "you can't" don't stop them.  That's who you have to be.
 

Is there anything you'd like to add?

Sure, I'd just like to thank everyone for being so supportive of this film, for the cast & crew that believe in it, for Erin Kohut for doing a great job turning a 22-year-old's comic book prison story into a fleshed out living breathing screenplay years later, and I'd like to say that there's a lot more to come, a lot more awesomeness.  So please check out our Kickstarter, be a part of comic and film history and say hello on twitter @petersimeti and @thechairhorror.  Above all, keep reading comics!

Production Designer TINK

 TINK is a Production Designer for Features and Television, with a foundation in multi-disciplinary design for clients around the globe.

Born in Canada and having lived in Germany, France, Italy, England, Japan, Australia and Singapore, Tink settled in the west coast of North America, dividing his time between Los Angeles and Vancouver, while often working abroad based on project needs.

Throughout his wide spectrum of work, Tink is acclaimed for his originality, quality and timelessness.


What are the current projects you are working on?

I'm about to start on a wonderful feature produced by the same gang that made Juno and Up in the Air. I can't say too much about it at the moment, other than I think it will be quite special - very much looking forward to this one.

What are some of your favorite projects that you have worked on?

There's been quite a few. Spooksville was definitely one. It's a high-quality TV series produced by the inimitable Jane Startz, who has become a great friend, and written with great wit and humor by James Krieg, also now a good friend. Everything about the show was fun, from the design concept, to working closely with James in order to create story opportunities that fit within our world, and of course that world, shot on beautiful Vancouver Island in Canada - gorgeous!

Along those lines, I did a series on Singapore and Australia a couple years ago called Stormworld - created a whole alternate universe for it and traveled to some amazing places in the process. My crews were fantastic and the project was life-changing - so was Spooksville for that matter.

There are other films I have had a great time with, from working with Nic Kalikow, Sean Covel and Chris Wyatt on Concrete Blondes, to both of Tyler Shields' films and also many of the films I designed for Uwe Boll.

What's it like working with Tyler Shields?

I have a deep crush on Tyler, both professionally and personally. He's a pure creative and that fits with me perfectly. Our aesthetic senses are quite similar, as are our work ethic and process. We recently wrapped "Outlaw", his second feature, which is quite beautiful. Keep an eye out for it.

What's it like working with the cast and crew of "Spooksville"?

Love them all. Because we were working in a remote location, kind of in our own "show bubble", we spent a lot of time together and many lasting friendships have come of that. It was challenging budget-wise at times, but the energy and creativity everyone put into it was always exemplary. Big shout out to my Art Director Alyssa King, Set Decorator Terry Lewis, Prop Master Noni Peck, Costume Designer Rebekka Sorensen, plus all our Construction, Paint and Greens crews - they truly did fantastic work.

  How do you come up your designs?

I break down a script and envision the world that it needs to become, then I begin a lot of research and image referencing to build a basis for ideas to design from. Based on that and the practical needs of the script, I then design the required elements. This process is quite satisfying when the projects are creative to start with and the production team allows me to think outside of the box.

What does the old adage "The devil's in the details" mean to you?

Hmmm - I never say that, but obviously it refers to the details are the strength of anything you create and taking care of them is mandatory for a successful project. I pride myself on that work ethic and I work with crew that contribute to that at even greater levels than I sometimes do myself.

Which do you prefer acting or designing?

Sometimes I'm acting when I'm designing :)

I tried acting when I was in university, but realized it wasn't my thing, but I still love being in front of the camera or an audience, as long as I'm able to be myself. I'm actually looking forward to hosting participatory opportunities to promote design and entertainment.

What advice would you give to someone who wants to get into design or acting?

Follow your passion and work your ass off. Research and learn as much as you can - from all different viewpoints. Be great with people, communicate what you want and need, and focus on that. Simple...

What would be your ultimate design be? Assume there aren't any constraints.

Hmm - ultimate always changes, but I would love to design a fully detailed alternate world - complete with a new language in visuals, architecture, costume and word - I've touched on that in some projects, and would love to build upon that.

Filmmaker Sarah Knight and "Vino Veritas"

Sarah Knight is currently developing a romantic drama, In the Land of Fire & Ice, with writer, David MacGregor.  The film will star Academy Award nominee, Shohreh Aghdashloo, as a powerful Kuwaiti CEO who flees from personal and professional pressures to Iceland where she falls in love with a charming Scottish hotel keeper.

Her most recent documentary, Diamonds are a Girl’s Best Friend, is a portrait of Nicole Sherry, Head Groundskeeper for the Baltimore Orioles at Camden Yards – one of only two women in that job in Major League Baseball.  Diamonds  premiered at the Cooperstown Baseball Hall of Fame where it became part of the permanent archives.

Sarah’s previous doc, Hot Flash, about Saffire-The Uppity Blues Women, was nominated for a 2010 Blues Music Award, won the Audience Favorite Award at the 2009 Cinema on the Bayou Festival, and was acquired by Shorts International.

Her adaptation of the bestselling novel, A Yellow Raft in Blue Water, was featured in the 2007 IFP Market Emerging Narrative section, was invited to the 2007 Film Independent Screenwriter’s Lab, and was a second round finalist for the 2007 & 2008 Sundance Labs.  The film chronicles the saga of three generations of American Indian women.  Q’orianka Kilcher (Pocahontas in “The New World”) and Misty Upham (“Frozen River”) will star.

Sarah has won fellowships to the Berlinale Talent Campus, the Rotterdam CineMart Producer’s Lab, and the Tribeca Film Institute’s Tribeca All Access.
Short films include Qiana (director, screenwriter, producer), Abstinence Makes the Heart Grow Fonder (director, writer, co-producer) and the internet cult hit, Survivor in da ‘Hood (director, co-writer).

She directs theatre in New York and Los Angeles.  Credits include An Ideal Wife, based on her adaptation of Oscar Wilde’s “An Ideal Husband,” (Pacific Resident Theatre-workshop space).
Sarah has assisted directors Taylor Hackford and Mikael Salomon and producers Peter Macgregor-Scott and Robert Shapiro.



What is "Vino Veritas" about?

Our story takes place on Halloween night.  Two couples, neighbors and best friends, meet for their annual pre-costume party drinks.  One of them has just returned from Peru where they picked up a truth serum.  They decide to try it and all the things they really think and feel – negative and positive – come out.

This is a story in which, thanks to the effects of a tribal concoction, the characters are stripped of the carefully composed social masks they have diligently fashioned for themselves. The superficial veneer of what passes for civilization is peeled away, layer by layer, to reveal not just personal quirks and secrets, but the primal core that drives so much of our behavior as human beings. Whether the subject is children, faith, sex, death, or the drives and desires that are hardwired into our DNA, this is, finally, a film about what it means to be human.

Why did you want to make this film?

My mom (who has exquisite taste and who often serves as my unofficial development girl) first turned me on to “Vino Veritas” when she saw the original stage play. She fell so in love with the writing she returned for every remaining performance then enthusiastically encouraged me to read it.

When I did, I was particularly taken with the character of Lauren. Much like me, she is an incredibly forthright person who expects those around her to follow suit. I found the portrayal of her coming to terms with the fact that others cannot and often do not wish to do so quite poignant.

As a filmmaker, the challenge of adapting a play set in one location and making it work and move well as a movie also excited me. For research, I looked to several of my favorite pictures, including “Who’s Afraid of Virginia Woolf?,” “Deathtrap,” and “12 Angry Men,” which had done so in various inventive ways.

What was the casting process like?

I did not do any auditions.  I had seen Heather Raffo and Bernard White in separate Off-Broadway plays almost ten years ago but they both had such charisma and chops they stayed with me and immediately popped into my head for the roles of Lauren and Ridley.  I was more familiar with Carrie Preston as a film actor from her stand out supporting turn in “Duplicity” and leading role in “That Evening Sun.”  A New York theatre casting director recommended Brian Hutchison to me.

Why did you choose to distribute the film via VOD?

Our distributor, Gravitas Ventures, will make the film available to some 100 million viewers On Demand and iTunes on its launch date of January 15^th.  That’s an awfully large number of people who will have access to the picture.  And more and more people I know get most of their film viewing through VOD, Netflix, Amazon Prime, iTunes, etc.  I always prefer to watch movies in the theatre, at least the first time I see them.  But I certainly appreciate the continuously growing number of platforms which offer so much content that might have been otherwise lost or missed.

Do you think the world would be better off if everyone was completely honest?

In general I think open communication would solve a lot of problems.  If people were honest about what they really wanted in their lives and weren’t so quick to fall into social norms or what is expected of them just think how different society would be.  Happier overall, I would think.  And in relationships, if people would be honest instead of just automatically doing and saying what they think the other person wants them to, it might provide some wonderful and surprising results.  Personally, I strive very hard to only say things I really mean but to not to the point of being hurtful to others if I can help it.  I’m genuinely curious in what others truly think – just not necessarily what they think about me as I’m neurotic enough as it is!

How have your previous projects prepared you to make this film?

Very early in my career, I worked as assistant to producer Peter MacGregor-Scott for many years at Warner Bros.  Although he was producing $100 million plus budget films, he always approached them as if they were small indies (his background was “Cheech and Chong” films).  He watched every penny and came up with scrappy, inventive ways to solve problems rather than just throwing money at them as is often done at that level.  That was an invaluable lesson as I also produce all of my own work.  After that I assisted director Taylor Hackford.  Being able to be at his side, watching his process from prep through post was immensely beneficial and many of his techniques I now incorporate into my own work.  Directing theatre certainly helped my ability to work with actors.  My experience in the legit world spilled over into “Vino” which I ran as a somewhat anomalous film set.  All four of the actors had theatre backgrounds, as well as film.  I managed to secure six days of rehearsal and required the cast to be completely off book before they arrived on location.  We shot entire scenes in one take which created an amazing energy for the actors on set, almost like what they experience on stage.  I’ve spent the past few years making documentaries.  That helped to further hone my storytelling although it felt terrific to get back to narrative work which is what I enjoy the most.

What's your favorite movie?

“All About Eve.”  I first saw the film when I was about 11 and I never tire of the powerhouse performances, incredibly witty dialogue, and perfect structure.  I think it still stands as the best screenplay ever written.  Only caveat is the dreadful ‘you’re not a real woman unless you can look up in the morning and see your man’ speech Margo Channing gives in the third act.  But I’ve always just chalked that up to a sign of that time.

What's your favorite wine?

I don’t drink wine at all.  Dirty martini is my preferred cocktail.

Is there anything you'd like to add?

Many thanks for interviewing me and featuring the film!!

Filmmaker Sean Langton

 Sean started life out in the armed forces where he was unfortunate to become ill with Post Traumatic Stress Disorder.  After many years Sean came out at the age of 38 and found his passion was in producing film.  Sean's drive behind the company is to make  LGBT themed films by telling strong character driven stories.

As well as making film Sean wishes to make sure the ethos of his company is all about social inclusion and equality.

Sean was commissioned by Ceredigion Mental Health Forum to write a short play Army Surplus about ex-soldiers suffering from PTSD in the NHS. He participated in a collaborative writing project for theatre Town with No Traffic Wardens and his short play Dad was presented as part of Beginnings both for Aberystwyth Arts Centre.

Sean is the driving force behind Trebuchet Films, in 2012 he produced his first short film Legacy which went on to win the Cardiff Audience Choice Award & was a finalist in the Sharpies, Coffs Harbour, Australia.  Legacy received very positive comments and high praise from industry professionals for it content. For his second short Sean co-produced with Charlotte Woodhead & Director Stuart Fryer Ups & Downs.  For this short Sean managed to secure the services of two great and up and coming actors, Bobby Lockwood from the award winning show Wolfblood on CCBC and Edward Ashley from the BAFTA winning show Last Tango in Halifax, BBC ONE.  The film has gone on to be shortlisted for the Van D'ors & and excepted for the Cannes In a Van. It also had three nominations at this years London International Film Festival.

This year Sean produced his first feature film called Cruel Summer a brutal thriller inspired from true events in 2004. The film is currently in post production with the hope of a release in Summer 2014.

Sean now has in development three feature films one a book that he optioned called Cowboys Can Fly by author Ken Smith, Broken Boys a story that Sean himself has penned that already has three very talent young actors attached and has just received a letter of interest from the UK and Republic of Irelands largest LGBT distributor.  And Training Grounds, the story of a fight for survival of a Gay SAS soldier on selection.


What are the current projects you are working on?

There are several projects in development at present, Broken Boys a feature film that looks at the rise of violent homophobia in a world where its more expectable to come out younger, a kind of Gay Romeo & Juliet meets NEDS. We have the three lead cast attached, all excellent up and coming actors with experience in TV and Film.

Then we have an adaptation of a book called Cowboys Can Fly by Ken Smith which Dominic Carver a british screenwriter has just finished the first draft. The story is a lovely gay coming of age set in the countryside in 1960's Britain.

There are a few more but theses are the main ones I'm concentrating on for next year, if we're lucky enough to secure the funding.

Why did you name your company "Trebuchet Film Productions"?

Basically I wanted to call it SlingShot but it was taken, so I thought whats bigger and better, Trebuchet it was. Gives me something to aim for.

Why do you want to make films?

Simples, I love to tell great stories, character driven not special effects. I'm a great advocate of the British Independent Film scene. There is such a wealth of talent in our country in front and behind the camera.

What was the casting process like?

So far I've been really lucky to work with some great talented actors from across TV and Film and its not because I have millions to spend its because when the read the scripts or story the love the characters and story. I think actors love to play different roles they hate being typecast so if you can offer them that they will go that extra mile.

The big thing for me is if I see someone who I think would be great for a role then I find away to ask them. I find them all very approachable and helpful even if it's not for them. So, I guess the lesson is always ask the worst people can do is say no.

What is your opinion on crowdfunding?

I think its amazing! But its that and digital which have changed the landscape of film forever and I think over the next 5 to 10 years we will see even more changes to it. Already in the UK we now have a crowdfunding platform in return for equity now.

What's the indie film scene like where you live?

Like I said earlier we have a wealth of talent, but, its hard. As an indie producer finding money is difficult. We seem to have a culture of wanting to have a film industry but the industry isn't prepared to take a chance on new talent. I'm 47 and only been at this two years and I've had to fight for every scrap to get films made people look at me gone out, because of my age and lack of

experience. But I just use that above my desk I have a motto 'If someone tells me I can't do it. Then its my job to prove them wrong.
 
However, that said around us is an amazing lot of people like that and every-time they get knocked down they get back up again and particularity where I live the scene is very, very supportive of you. Hence I will always offer work on my films to students and others wanting a break.


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

Don't listen to your parents saying 'you can't do 'stuff' to do with art you need a real job'. It is a real job a very satisfying one too. That way I won't of wasted 30 years doing the wrong job. But hey we are all a sum of our experiences, so maybe that's what bought me to this point.

Is there anything you'd like to add?

Yeah, invest in Brit Indie Film! lol
 
Thanks very much for interviewing me for your blog. 

Sean Langton

WRITER DARREN CAULLEY

 DARREN CAULLEY made his New York theatrical debut in 2012 at the Cabrini Repertory Theatre with Very Important Problems, a horrible family comedy. Then in December of the same year, he produced Unhealthy at the HERE Arts Center. An alumnus of New York University, Darren writes plays, comics, and television scripts. He also designs games from time to time. On his site, darrencaulley.com you can read his writing samples, email him, and keep up to date on the most recent news about his projects. 

Please explain what "Unhealthy", Kulak" and "Force" are.

Unhealthy is a play I wrote that Chris Bellant and I produced about a year ago. It's essentially about dependance and what obsession can do to a person. The first half focuses on a young woman (played by Caitlin Kinnunen) desperately trying to find a handle on her life. The second half takes a look at her roommate (played by Allison Scagliotti), who appears to have everything a person could want and who is still struggling to deal with the lives of those around her. It's a very desperate play altogether.

I started working on Kulak last year with a whole bunch of strangers who turned into some of my favorite people I met at NYU. Kulak is a board game where players have to choose between working together to take down an evil Baron or selling out and becoming wealthy by themselves, becoming the Kulak. "Kulak" is a Russian word used to describe a wealthy farmer in Soviet Russia. It's not a very kind word, and Kulak is not a very kind game.

Force is a comic I've been working on for the better portion of this year with Thomas Constantine Moore and Tiahnan Trent. It is about a girl named Rachel who goes from being especially vulnerable and anxious to suddenly having more power than she knows what to do with. Right now we're working out a lot of the kinks with the site and the schedule, so we're taking a hiatus while we plan our next moves. It's a story we're all really invested in and one that we want to tell the right way. So we're not going to rush it out with a product that we're not fully satisfied with.

What inspires you to create plays, games and comics?

Well, plays and comics have always been my favorite modes of storytelling. Both rely a lot on asking the audience to take part in the story themselves, and that always engaged me as a reader and a viewer. I've been writing plays since high school, but it's taken me a lot longer to find my comfort writing comics. It's an immensely complex medium.

As for games, games keep me sane. They always have. I don't know how else to really explain my relationship with games. They're an art form for sure, and in an abstract way (or not, depending on the game) they are another way to tell a story, perhaps the most engaging way.

What is the key to a very successful Kickstarter campaign?

I think it comes down to what you want out of the Kickstarter. If you are using Kickstarter just because you want people's money, potential backers can sense that. They can sense whether you want to produce a quality project and give your backers what you can or whether you just want to use it to make some money easily. I've seen some people try to use it as a store. I've seen those projects fail for that reason.

One of the reasons so many Kickstarters are so successful is that by having one you're saying "If I can't do this right, if I can't do this 100%, if there's not enough of an interest in what I have to offer, then I am okay with getting nothing." That's a powerful statement to make, and if you truly believe that I think that many Kickstarter users really respect that mindset.

Oh, and also before you make a Kickstarter, give to a few. You need to understand what it feels like to be a backer if you want to connect with yours. That's really important.

What was the casting process like for "Unhealthy"? 

Chris Bellant (Maycomb) was attached from the beginning, and I owe the credit for the rest of the cast to my friend, Julia Bicknell, another (incredibly talented) writer from NYU. She is close friends with the two female leads and knew they'd both be perfect in the roles. And finally it was Allison who brought in Josh Breslow, the final piece of the puzzle. 

What causes someone to be obsessed?

You know, something recent I've realized about my work is how much of it has to do with obsession. Unhealthy is certainly the darkest piece I've written and it's also the most directly related to the subject of obsession. Obsession is dark. I think obsession comes from having a particular need that goes unsatisfied for too long. Whether that is attention, friendship, love, power, excitement, anything. When you deplete a person of something fundamental, they tend to latch on to the first trace of it that comes their way, and then they never let go.

How did you chose your collaborators to create "Kulak" and "Force"?

I did not pick my collaborators at all for Kulak actually. Kulak started off with a simple prompt: Make a game that elicits anger. And the people that liked that challenge came together and made Kulak. It worked out very nicely because we have a bunch of people with different backgrounds able to bring a lot to the table. We'll be relying on everyone's talents when it comes time to take Kulak to the next level.

As for Force, well... Force is one of my favorite stories I've had in my mind. And so I picked my favorite people. My girlfriend, Tiahnan Trent is a terrific artist and my exceptional friend Thomas Constantine Moore is my favorite collaborator for anything. We play off each other very well creatively. Unfortunately, despite Thomas being an incredibly talented actor, I've never managed to get him on stage for one of my plays. But I'm planning to change that. 

How is "Kulak" different from other table top games?

Kulak is different mostly because it's imbalanced. At the start of the game there are 24 acres of land between all the players and the Baron starts the game off with twelve of them. Asymmetry is a really difficult concept to pull off in a game, but it is much more realistic. Most game designers want balance, but my teammates and I wanted something that began unfairly. When you only have start off the game so close to defeat and one player is already winning by a large margin, things get tense immediately.  

Why did you choose to have "Force" take place in Seattle?

Force originally was going to take place in New York City, but then everyone decided that too much takes place there anyway. Seattle has a really interesting political climate. Very liberal, very atheist all on the west, and then much less so in the east. Force takes place in a Seattle where godlike beings walk the earth, where people live in fear of the unknown, and where guns are everywhere. It's a very different Seattle than the one that Thomas, Tiahnan, and I grew up in. We wanted a city that knows who it is in the real world, and then we wanted to see what it would take to make Seattle unsure of itself.  

Is there anything you'd like to add?

Right now the two main projects I am working on are Kulak and Trickster, a theatrical anthology of Trickster gods in mythology. So those are the big things to look out for soon. I'm also working with the incredibly prolific Chris Bellant on a project that he's taking the lead on, so I don't know if I can really talk about it. But hopefully, fun things will happen there too! Thanks so much for your interest in my work. It's been a real pleasure to speak with you.


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


Thank You for doing the interview Darren. I was you all the best with Force, Kulak, Trickster and all your future projects.

Filmmaker Derick Martini

Derick Patrick Martini (born December 2, 1976) is an American screenwriter and film director. He is of Italian, Jewish, and Irish heritage. For more information visit his Wikipedia page.

Follow Derick on Twitter @derickmartini

What is the current project you are working?

I'm in post production on a film I directed from a script co-written by me and Bret Easton Ellis called "The Curse Of Downers Grove".

What is your opinion on crowdfunding?

If by crowdfunding you mean 'rounding up a crowd and raising money from said crowd to fund a film', I don't know how I feel about it personally because I haven't done it.  My films have been funded in a more deliberate way, with usually one or two people, or companies financing the film.  The financing end has always made me cringe, and I have successfully avoided dealing with it in most cases.  However, being able to avoid it is just luck and having great producers like Jon Cornick, Michele Tayler and Leonard Loventhal who've  that heavy cross.  I've been able to simply write and direct.  However, in all reality, that luck can't possibly continue in this market and I am prepared to deal with the pains of being more involved with the financing process.  If crowdfunding is narrowed down to a crowd of 6-12 people who will not be hurt financially if they lose their investment, I'd feel pretty good about that.  If the crowd is made up of a group of people who will be hurt financially if they lose their investment, I'm not comfortable with that.  There are many, many safer and less confusing investments than film.  Or, as my friend Leo so succintly puts it, and I am paraphrasing, "the film business and its finances are irrational".

If by crowdfunding you mean 'kickstarter', that frightens me to death.  I've noticed filmmakers out there utilizing kickstarter and I can say this:  they are braver than I!  It's just too public for me, personally.  I have a hard time when I have actors and myself attached to a script with no funding and it's being shopped privately, within the industry.  That always kills me and I try to avoid it as often as possible.  I can't imagine exposing my actors and material in a public manner, looking for hundreds of thousands, maybe millions, of people to invest.  I have nothing against the filmmakers who put themselves out there on kickstarter, like I said it's brave, but it's just not for me.

Why do you prefer using film when shooting your movies?

This is a great question John!  Back to the stuff I love.  Like most filmmakers who prefer film, it's ultimately about the look.  I love the grain that film organically provides and I miss it when its not there.  Grain adds a texture to the end result, the look of the movie, that digital does not.  With digital, you wind up adding grain in post production, imposing it onto the image as opposed to it organically existing as a natural flaw.  On my current film I'm about to do just that because I have to.  We shot it partially on 35mm film and partially on digital for financial reasons and I can't say that I dislike digital because that would be a lie.  I like many of its advantages, I just dislike its seemingly only disadvantage -- no grain.  But the jury is still out on the grain issue and I am withholding judgement because my hope is that my film comes back, with grain, and I won't know the difference between film and digital anymore.

What is the best way to make it in the film industry?

I don't think you ever truly 'make it', John.  It's always going to be from story to story, or movie to movie.  Just a wild guess, but I'd bet all of those filmmakers who seem to have 'made it' all feel like they haven't -- they still have something to prove, or another story to tell.  I think maybe, just maybe, you've made it when you have run out of stories to tell. 

All that being said, you have to start somewhere.  I am a firm believer in making a micro budget feature legnth film to start.  Write your script, keep it simple, fund it just like you would a short film; on credit cards, borrowing, etc, and make it guerilla style.  Today, unlike in 2000 when I dove into film with "Smiling Fish & Goat On Fire", digital is an extremely cost friendly way to make your film.  Festivals are everywhere.  Do your work and then get your work seen, forget everything else.  That is the best advice I can give.

What has been the best moment of your film career thus far?

That's a tough one John.  I can't pin it to one moment and I'd rather not weigh the downs versus the ups, so I'll generalize a bit:  my favorite moments have always been what happen between when I say 'action' and 'cut'.  Working with the actors.

How has becoming a father changed the way you create films?

Becoming a father of two little daughters has definitely changed me as a filmmaker.  Isabella (4yrs. old) and Alexandra (2yrs. old) are starting to curiously pick up dvds I have hanging around the home office, which is really cute until Isabella asks "what is this one about?".  What comes racing to mind are all of the wonderfully dramatic yet very dysfunctional relationships most of my characyers have in common.  That's when I cringe.  I know one day they'll see these films and I'll have some explaining to do.  If I keep going with the darker material, I can always show them "Louis" and have a shot at redemption.  

Why did you decide your create your short film "Louis"?

I didn't.  My dear friend and fellow filmmaker Dan Pritzker said to me one day back in 2006, "Derick, I have an idea…".  Dan is a very creative guy and he is very passionate when it comes to music.  He was telling an origin-like story of Louis Armstrong and how he wound up with his first instrument.  I'm really glad he came to me to help him bring it to life because it is such a rare gem of a film (I can say that without being a complete braggart because Dan directed it, I co-wrote it and did some second unit shooting).  The way he wanted to do it, "silently", is truly is a remarkable idea and a what we wound up with is something I am very proud of.  A convergance of meaningful storytelling through music, sound and image.  It's precious, and that's how Dan chooses to show it, at limited engagements, as he should.

What is your favorite film of all time and why?

This is another tough one John.  I study films obsessively, bad ones, good ones, great ones, which makes it difficult to pick a single favorite.  The films I can view over and over again and still remain engaged by the story while breaking down every angle, edit, lighting cue, sound effect, score cue etc. would be considered favorites, I guess.  But it's a pretty long list and it would still be a strain to pick an ultimate favorite.  I encourage anyone who wants to gain a deeper knowledge of film to study the greats -- Scorsese, Hitchcock, Leone, Truffaut, Chaplin, Kazan, Ford, Capra, Powell, Lucas, Powell, Peckinpah, Nichols, J&E Coen, Cassavetes, Spielberg, Sirk, Coppola, Wilder, Sturges, P.T Anderson, Kurosawa -- take in a variety of styles in all genres, don't limit yourself.  You may find you're only attracted to a single genre and style and that's fine.  Watching these filmmakers' work is a process of learning and discovering who you are as a filmmaker.

Is there anything else you'd like to add?

P.S  After you're done watching all of these filmmakers' work, re-watch Marty's stuff again to set the record in your mind straight ;)