John Heimbuch Interview

John Heimbuch is a Twin Cities native and founding member of Walking Shadow Theatre Company. He has written and directed numerous stage plays including The Transdimensional Couriers Union, Drakul, and William Shakespeare's Land of the Dead. His plays have been produced in Minneapolis, New York, London, Fairbanks, Cleveland, and Philadelphia. John is an alumnus of the Lincoln Center Theater Directors Lab, Minnesota State University, and the Perpich Center for Arts Education, and recently received a Minnesota State Arts Board Artist Initiative Grant for theatre. 3 Bullets marks his film directing debut.



What is the current project you are working on?

We're currently in post-production for a short film called "3 Bullets" about two men who witness a violent crime and need to decide whether to ignore it or take action. It's a tight script by John MJS McGuinness with a lot of dramatic tension between the two leads (played by Clarence Wethern and Andrew Sass). I expect post- will be finished sometime this summer after which we will be shopping it around film festivals. And last week I wrote and co-directed an Adventure Serial for Minneapolis' 48 Hour Film Project with team Steeltoe Stiletto.

Did you always want to be a filmmaker?

Secretly. I consider myself a man of the theatre, but I've always found myself drawn to the rigorous narrative structures of film.

What inspired you to become filmmaker?

The concerted effort of my friend John McGuinness. I've always had immense appreciation for film, and am intensely curious about the relationship between audience and art. I've been studying theatre and storytelling since I was 13. Over time that exploration expanded to include games, site-specific art, modern dance, visual art, puppetry, and eventually film. I like art that has a high degree of complexity, and am fascinated by any creation process that requires me to maintain an expanded awareness. After writing and directing some incredibly complicated plays, the jump to film seemed like a very natural transition. But it took a little push to get me there.

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

The same advice I would give to anyone doing anything: Make lots of friends. Learn to recognize talent. Appreciate everyone. Use them well. Don't give up.

What do you like to do besides filmmaking?

I am the co-Artistic Director of Walking Shadow Theatre Company in Minneapolis with my friend David Pisa and my wife Amy Rummenie. I write and direct a number of plays each year. And as a hobby, I also sing for the steampunk rock band Bad September.

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

Films that inspire me include: Adaptation, The Prestige, Pulp Fiction, Gosford Park, North by Northwest, 28 Days Later, Run Lola Run, Raiders of the Lost Ark, Yojimbo, Singin' In the Rain, Vertigo, Monsters Inc, FunnyBones, Kill Bill, F Is for Fake, 22 Short Films About Glen Gould, Touch of Evil, The Maltese Falcon, Amelie, The Third Man, Fight Club, The Talented Mr. Ripley, Unforgiven, The Matrix, The Remains of the Day, The Princess Bride, Exit Through the Gift Shop, The Lord of the Rings movies, Fargo, The Hudsucker Proxy, The Manchurian Candidate (original) - to name a few.

TV shows I like include: Jeeves & Wooster, Firefly, The IT Crowd, Slings and Arrows, Seinfeld, and the Venture Brothers. And there are also four plays that I always go back to for inspiration: Gross Indecency: The Three Trials of Oscar Wilde by Moises Kaufmann, 36 Views by Naomi Iizuka, 1001 by Jason Grote, and Seventy Scenes of Halloween by Jeffrey Jones.

How would you describe your film education?

Self-taught with guidance. I was trained in the theatre and have experience with all aspects of my field (acting, writing, directing, design). I got some subtle and not-so-subtle indications from the world that I should branch into filmmaking, and have pursued it with incredible vigor in the past six months.

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

The Minnesota film scene is really bubbling right now. Lots of independents are being made each year, and we're one of the most competitive cities in the 48 Hour Film Project. Since I started making films I've met more and more people who have an excitement for the artform, and I feel like it's being very well supported by the local community.

What is the casting process like?

I regularly work with actors through my job as a theatre producer, so I tend to reach out to the many talented people that I have personal connection with. We had open auditions for 3 Bullets, and cast Clarence Wethern and Andrew (AJ) Sass from those. Conveniently, I had worked with Clarence on Walking Shadow's production of Neil LaBute's Some Girl(s), and my producer John McGuinness worked with AJ on the film Last Breath. It helps immensely to have that working history with the actors.

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

I'd like to suggest that a better use of a time machine would be to visit the set of my future feature and see how I secured funding. But if I had to choose a film from the past, it would probably be Citizen Kane. I have an immense respect for Orson Welles' career and the way he transitioned through different mediums. I'd love to know how he and his crew made their production decisions.

What is your opinion on movie remakes?

In the theatre world it's quite normal for a script to have multiple, completely different productions - so to me it seems only natural that films should be given the same treatment. That said, I've rarely enjoyed the remake of something as much as I enjoyed the original. There's too much pressure on a remake to be different from the original in order to justify its existence.

What is your opinion on book to movie adaptions?

I think Charlie Kaufman's Adaptation said it better than I ever could. It all comes down to the way different mediums treat stories. Most Hollywood films are pretty rigidly narrative, whereas novels have greater freedom to meander - and often quite a bit of the tone and feeling of the original can be lost in that translation - as well as a lot of depth. But I think there have been some film adaptations that are actually much better than the original material. I certainly felt that way about Election and High Fidelity - which are both books that I love.

Is there anything else you would like to add?

I like to encourage people to think across typical artistic boundaries. As artists the best thing we can do is to recognize the strengths and merits of each medium, and then exploit that medium to its fullest potential.

 

 

 

Thanks for doing the interview. Readers can get more information about the Walking Shadow Theatre Company by clicking here.

Interview Mahogany J. Slide

Mahogany J. Slide, a 18 year old independent filmmaker and native of Greenville SC who just recently embarked on her directorial career. Inspired by a lifelong fascination with art, writing, and self expression she took the plunge into the world of filmmaking, both feet forward. She’s a self proclaimed nerd, lover of classic and modern science fiction, and has a passion for quality filmmaking well beyond her years. You can find her on Twitter @MJ_Slide. Check out her  production company website www.junkinkfilms.com

What is the current project you are working on?

Two actually. Co-writing and producing my first feature film under a collaboration with the Director of Photography from my debut short THE SAVING and rewriting a feature length sci-fi period thriller screenplay I've been working for some time now entitled Jersey Noise. 

Did you always want to be a filmmaker?

No, I was one of those kids who tried on pretty much every profession before the age of 12. Architect one month, Astronaut the next. Though through it all my passion for storytelling and photography never wavered.

What inspired you to become filmmaker?

My personal love of sceenwriting. A story that wouldn't leave me alone. And The Guerilla Filmmakers Handbook by my mentor Chris Jones.

What is the best thing about being one?



The power to take the story and images in your head and create something that so many different types of individuals can enjoy. The ability to force people outside of themselves and to consider new perspectives.

What is the worst thing about being one?

The long hours, the stress, the caffeine addiction, the constant struggle for perfection, knowing you'll never really achieve it, and the balance of being a filmmaker and still having some form of a life to speak of.

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

4 or 5. I work a lot more projects then that but generally in consultation positions or screenwriting analysis.

Who is is your favorite filmmaker?

Oh dear heavens, that's a tough one to answer. Honestly I don't think I can settle on one. My favorite old school Director is Orsen Welles for Citizen Kane, New-ish Director, Stanley Kubrick for A Clockwork Orange and 2001: A Space Odyssey. Current Director, Joe Wright for Pride and Prejudice, Atonement and my favorite, Hanna and Indie filmmaker Gary King for his film What's Up Lovely.

How has your life changed since you became a filmmaker?

Vastly. I work in entirely different social circles now or more accurately my social circles have expanded. My days and nights have gotten longer, I juggle two jobs instead of one and my boyfriend is getting quite used to our dates getting interrupted by important phone calls. 

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

Be passionate, know your stuff, and don't be afraid to stand for what you believe in. Have a tough skin, learn to take advice and love what you do with your whole being. People notice the difference and they are drawn to someone who truly cares about their craft.

What do you like to do besides filmmaking?

I read a lot, garden, collect samurai swords and nerdy infographics for my office wall, make homemade soap, hang with friends and looks like l might take up fencing come next semester.

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

Ran a home business for a while selling custom designed handmade soaps. Taught me a lot about connecting with others and tailoring a product to fit the needs of my client base.

Have you met many other teen filmmakers?

Yes, quite a few. All are at various levels of experience with many differing visions on what makes a good film. Its always interesting to strike up discussions with filmmakers in my age range.

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

American films, love Serenity, Memento, Pride and Prejudice, You've Got Mail, To Kill a Mockingbird, Braveheart and a whole lot more.

Foreign Films, The Girl with the Dragon Tattoo trilogy, Let the Right One In, Au Revoir Les Enfants and What Time is it Over There?

Television shows, Firefly, Battlestar Galactica, Terminator The Sarah Connor Chronicles, Iron Chef America, Mythbusters.

How would you describe your film education?

Entirely self taught. I have never taken a formal film class or screenwriting class in my life. Its all been things I've picked up from first hand experience or learning from those who have come before me and along side me.

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

Its an odd one to say the least. I think a lot of people have really great intentions where I live as far as wanting to make indie films but sometimes they spend a lot of time talking about it with ideas that are a bit outdated. My hope is the fresh blood and new ideas filtering in from the younger generation coupled with the older generations' knowledge of the industry and both groups willingness to embrace the indie film mentality instead of trying to bring big budget films to the area might help put my hometown on the map.

How has social media changed the independent film industry?

Oh very much so. I wouldn't be having this interview with you if I hadn't been on twitter. Its opened up the world to multi state, country or continent collaborations that wouldn't have been possible ten years ago. Everyone is more accessible and whole communities can be formed online. Crowdfunding itself would be no where close to half as successful as it without the use of sites such as twitter and facebook.

What is the casting process like?

Varies per film. For my last short, it was a pretty straightforward process. Posted a casting call online for my two leads. Went through the resumes that looked promising, called them out to audition, chatted for a while just about themselves as people and then discussed ttheir insight into who they thought the character was as a person. From there I choose the best performances coupled with the best backstory insight and cast my leads.

How does independent film differ from the mainstream?

Independent obviously comes with a smaller price tag and usually a lot less hype but what sets it apart of me is the fact that the stories told I generally find more personal and there are a lot of neat ways to connect to the people behind the creations. I look to indie film because it's constantly trying to come with ways of telling the stories they need to tell in a effective and generally thought provoking manner. Its the finger print films I love, where you can see everything wasn't perfect and it wasn't some “factory” made, big whig approved blockbuster converted to 3D in Post-production. I'm not saying all mainstream films are like that and I'm not saying they're aren't a whole lotta crappy indie films out there but that was the reason I was attracted to the medium in the first place. The work is genuine and without pretense.

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

Citizen Kane for sure even though from what I've read/watched/heard Welles was rumored to be a real Nazi on set.

You could be any animal. Which would you be?

Red tailed Hawk.

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

Telekinesis.

What is your opinion on movie remakes?

Unless the film happens to be as terrible as the first Incredible Hulk please leave well enough alone for a good ten years or so. I know so many talented screenwriters with just mind blowing stories to tell but Hollywood is content to rehash and or “reboot” the same ideas. I can't wrap my head around it. In the end, to them its about making money. I think its high time they decided it can be about both quality stories and the bottom line.

What is your opinion on comic book adaptations for film?

I dig comic books to begin with. Film adaptations are mostly a hit and miss for me. Best one I've seen so far in my opinion is Scott Pilgrim Vs. The World. They'll continue to make em so I've resigned myself to the fact.

 

 

Thanks for doing the interview. I want to let everyone know Mahogany will be writing an article for filmcourage.com about her recent trip to the Seattle True Independent Film Festival.

Interview Erika Street

Erika began her film career at the Emmy-Award winning studio, Log In Productions, where she acted as associate producer and production manager, and gained experience working on documentaries that address a need for social change. Her directorial debut, The Closure Myth, was broadcast nationally on LinkTV and internationally on AlJazeera English. Other documentary credits include production assistant and soundperson for films by the Academy Award-nominated Nomadic Pictures, the Today Show, National Geographic, Discovery Canada and NBC's Life Moments. Erika is a former winner of the CINE 5 on 5 for 5 pitch session; and has acted as a production manager and producer of environmental radio programs and podcasts. She is currently an MFA candidate in Film Production at Boston University. You can learn more about her work at http://www.InsideStoryFilms.com

What is the current project you are working on?

I’m currently in preproduction for a short film called Inside. This fiction film interweaves three stories about coping with isolation. The project was inspired by memoirs by prison inmates – specifically “Walking Home” by Greg Goodman and “Walla Walla IMU” by Arthur Longworth. For the script, I adapted these memoirs and wrote a third story about a prison guard.

While writing the script, I did a lot of research and corresponded with the original authors. During this time, one thing that struck me was the restorative effect that writing seems to have for many people who are incarcerated. So in addition to making the film, we’re creating an outreach program for Inside that includes a prison writing blog and a web site with profiles of organizations that use writing and literature as tools for restorative justice.

I’m really excited about the project and have a great team of people helping to make it a reality. You can learn more about the project at http://www.InsideFilmBlog.com

Did you always want to be a filmmaker?

I actually planned to be a large animal veterinarian first.

What inspired you to become filmmaker?

My love of photography was what eventually led me to filmmaking.  The short version of a long story is that, after college, I was lucky to receive an internship with documentary filmmaker, Slawomir Grunberg. I contacted Slawomir hoping to take still photos for his films, but after spending more time at his studio, I fell in love with the whole process of filmmaking. Soon I learned to edit and to record location sound, and I began working for Slawomir full-time. It was wonderful experience.

What is the best thing about being one?

There are so many things that it’s hard to choose just one! One of my favorite things about filmmaking is that it no two days are the same and I get to meet and work with incredible people. While making a documentary, I get the opportunity to step into worlds that I might never otherwise experience.  I get to learn something new every day, and am honored that people share their stories with me. Filmmaking is also wonderful because it allows me to use both sides of my brain – it requires creativity as well as technical ability.

Who is your favorite filmmaker?

To be honest, I am not a film buff at all, so this is a hard question to answer.  I became a filmmaker mostly because I enjoy the process of making films. I would much rather make something than watch something, and I grew up rarely watching tv. Grad school was the first time that I began to learn any kind of film history and was introduced to films like Tarkovsky’s “Mirror” and “Hiroshima, Mon Amour” by Alain Resnais.

What do you like to do besides filmmaking?

I like gardening, hiking, kayaking – pretty much anything outside.

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

I’ve worked as a freelance writer and as a project manager for short-form radio programs. I’ve also worked for veterinarians, worked at a gym, milked cows, mucked horse stalls, and delivered pizzas.  It’s a weird list.

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

Boston has a very strong, close-knit independent film scene. I’ve been lucky to be part of the Boston University community, which has a very collaborative atmosphere. Boston also has a great doc scene – for example, I really enjoy attending the DocYard screening series at the Brattle Theater.

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

I would love to have been there when Murnau made Sunrise: A Song of Two Humans. The cinematography is amazing – especially considering the equipment of the day.

Thanks Erika for doing the interview. I agree with you about Boston. I'm only beginning to get into the independent scene in Boston. Everyone I've met has been very friendly and willing to collaborate.

Interview Justin Berger

Justin Berger has been making a name for himself in the San Francisco, CA Bay Area as a director and producer for the past few years. His independent production company, HKL Films, produces original content for independent music artist Lyrics Born, actresses Katee Sackhoff & Tricia Helfer and is currently co-producing an independent web series titled 'Help! I'm Alive...'.

He has directed and produced music videos for the afore mentioned Lyrics Born as well as local Bay Area artists Karyn Paige, Crown City Rockers and DJ D-Sharp.

His music video "Whispers" for Lyrics Born was chosen as one of Pitchfork.com's top videos of 2008.

Justin currently resides in El Cerrito, CA and continues to work on a variety of projects including "Black Betty", a feature length film currently in pre-production.

You can visit him online and see his work at http://www.hklfilms.com

You can also reach him on Twitter at @hklfilms as well as Facebook www.facebook.com/justinberger

What is the current project you are working on?

I'm currently working on a few, but the most dominant project is 'Help! I'm Alive...' -- a web series I'm directing and co-producing. It's a post-apocalyptic story set 20 years in the future. Our story follows a group of survivors who find a stranger in the woods who sets in motion a chain of events that threaten the entire community but simultaneously offers them answers and hope.

We're currently trying to raise funds for production costs, so if anyone wants to help us out please visit our IndieGoGo page: http://www.indiegogo.com/HELP-IM-ALIVE-

Did you always want to be a filmmaker?

Yes and no. When I was a kid it was something I was very obsessed with, but as I got older I drifted more to music and wanted to be a proverbial 'rock star'. It wasn't until years later, after the music bug died down that I really got back in to my first passion of filmmaking.

I was always involved with video production, whether it was editing, filming or directing, but I never really focused on it 100% until the past few years.

What inspired you to become filmmaker?

I grew up on Star Wars, Indiana Jones, ET, Ghostbusters and all of those great 80's films and I was always fascinated with the movie making process.

I lived for behind-the-scenes features. There was one in particular that I loved as a kid - "From Star Wars to Jedi" and it was basically a special they'd play on TV every once in awhile that showed all of this great behind-the-scenes footage and interviews with George Lucas and the cast. I'd also always buy those official movie magazines they would sell at the 7-Eleven that showed you what went in to making movies like "The Goonies" or "The Temple of Doom". I loved seeing how they did certain effects and scenes and I also loved seeing storyboards, concept art and stuff like that. I was a bit obsessed with it as a kid. This obsession never went away and when DVDs became popular I would buy them mostly for the special features.

To this day I still love watching all of the "making of" featurettes on DVDs and online.

That obsession, combined with my friends video camera, really pushed me in the direction of filmmaking and video in general.

The very first thing we ever shot was this short called "Attack of the Kohlrabis", which was me and my friends doing a sci-fi invasion movie with these Kohlrabi (which are vegetables, much like turnips or potatos) since he lived on a farm and had hundreds of them they had pulled out of his field. That was the first time I ever actually shot and directed something. Wish I still had a copy, but I think it's gone forever.

What is the best thing about being one?

For me personally the best thing about being a filmmaker is being able to tell a story in such a broad medium.

I love photography, I love music and I love art, but to me film is where you get to combine all of those in to one amazing experience.

I love taking an idea and watching it turn in to this other reality. It's just so fascinating and amazing to see a thought from my head become a real place with real characters inhabiting that space and interacting. It's where my imagination becomes reality -- there's nothing better.

What is the worst thing about being one?

The worst part is the frustration of relying on others and having them let you down.

Whether it be actors, crew, producers or just funding in general -- it's very frustrating seeing your vision hindered by someone else. To avoid that I'm usually pretty good at working with people who are reliable, trustworthy and professional.

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

As far as productions, I've worked on dozens in varying capacities.

Who is is your favorite filmmaker?

It's really impossible to pick just one, but if I had to I'd probably choose George Lucas.

To me Lucas represents the ultimate goal as a filmmaker -- complete control of your craft, your vision, your films and having the money and resources to make whatever you want without having to worry what people think.

Just being able to create simply for the sake of creating because it's in your bones and if you don't do it you'll go insane.

Lucas gets a lot of shit these days from all angles -- and I can understand some of it -- but I can't deny that the original Star Wars films affected me growing up more profoundly than anything else. If it wasn't for those movies I don't think I would be the person I am today. Corny as it may sound, it's the truth. And it's the truth for a lot of today's top filmmakers. Lucas and Spielberg really set the bar for a lot of what we see today in modern cinema.

How has your life changed since you became a filmmaker?

I'm a lot happier. I feel like I've finally found my true calling and passion.

As much as I love music, it just doesn't compare to filmmaking. For many years music was my life -- and it's still a very profound part of it -- but once I decided filmmaking was what I was gonna do with the rest of my life, things just sorta started falling in to place.

It's what I was born to do. No doubt.

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

Just do it.

In this day and age just about anyone has access to some sort of visual recording device. Whether its a cellphone camera, a point-and-shoot or a DSLR, anyone can start making movies.

Don't think about it, just do it. You'll learn much faster that way and you'll figure out what works and what doesn't and that's how you'll develop your own style.

The worst thing you can do is wait for someone to give you permission to do anything -- especially when it comes to art. You need to just go out and do what you wanna do.

It's that drive and passion that people will respond to. To quote a famous movie; If you build it, they will come.

What do you like to do besides filmmaking?

Music. Photography. Writing.

I love being creative on many different levels. I play a few different musical instruments and sometimes I really love just picking up an acoustic guitar and strumming chords for no other reason than just creating.

I love playing the drums too. It's very relaxing and exhilirating at the same time.

Beyond all of that I like driving. Roadtrips are always fun. What usually ends up happening though is whenever I do anything not related to filmmaking I always end up thinking, "Damn it, I wish I had my camera!"

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

Of course. You gotta pay the bills.

Growing up I've been a dishwasher, a barista, a pizza delivery driver, a drywall installer, painter, customer service rep -- I bounced around a lot trying to support myself while I figured out what the hell I was going to do with my life.

Even today I don't make a full-time living being a filmmaker, but I am working in the music business, so not only do I like my job but I'm fulfilling another dream of mine as well.

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

I'm not a big foreign film buff. Not because I don't like foreign films, but I just didn't really grow up watching them and so I don't really see them unless someone recommends one. Some of my fave films from other countries are like "Shaun of the Dead", "Layer Cake", "Snatch" -- stuff like that. I did just see "The Horde", which is a French zombie flick that I thought was great.

I'm also a big fan of the British TV series, "Misfits" -- and who doesn't love Monty Python?!

American films are another story -- I could go on for days about my favorites, but I'll give you 5 that really stand out to me as a filmmaker: "The Empire Strikes Back", "Bladerunner", "Tron: Legacy", "Pulp Fiction" & "The Dark Knight".

I could go on and on about my favorite American TV shows too, but my top 5 right now would have to be: "Battlestar Galactica (re-imagined)", "Arrested Development", "LOST", "Dexter" & "Entourage".

How would you describe your film education?

I have no formal film education. Everything I've learned has been hands on and self-taught.

That isn't the way everyone should do it, but it works for me and I learn a lot faster that way. Plus I'd rather be out doing it rather than sitting in a classroom having someone else telling me how to do it.

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

I think the San Francisco Bay Area has a great 'scene'. We're close enough to Hollywood that we have access to their resources, but independently of that I feel that the Bay Area film scene, from my perspective, is very grass roots based.

It's about people helping other people make their projects a reality while enjoying doing it. People in the Bay Area work hard and are very supportive of each other.

Plus we've got some of the heavyweights out here including ILM, Pixar and American Zoetrope.

How has social media changed the independent film industry?

In my opinion its opened it up immensely. Anyone now has the power to shoot a film and put it online for the entire world to see.

The drawback is that there is an over abundance of content out there and it can be very difficult to weed out the good, the bad and the ugly.

But, another great aspect of social media is how filmmakers, from the biggies like Jon Favreau & Ron Howard to indie guys like myself, have a direct connection to our followers & fans. We can interact directly and get that feedback and response that wasn't available before.

Like everything else on the internet, it has its good side and bad side, but overall I think social media has revolutionized the film industry by allowing a project that might otherwise have gone unnoticed to potentially receive mainstream awareness through sheer numbers of fans.

Overall I think it's a good thing and it has leveled the playing field in a big way for all filmmakers, big and small.

What's your opinion on crowdfunding and recent crowdfunding scandals?

We've used Kickstarter.com and IndieGoGo.com for our "Help! I'm Alive..." project and I've found it to be a great resource for indie artists.

It gives you a place that people can go and look at your project and feel secure in contributing money to it.

Sure there are bad people out there pulling scams, but that's been a part of the internet since the first spam email. In my opinion it's the job of the consumer to research what they're spending their money on to verify if it's the real deal or not.

Personally I feel the adage, "if it's too good to be true, it probably is" usually applies to almost anything. As for the people who are scamming others out of their money, they're nothing more than bottom feeders who are scared to fail.

What is the casting process like?

Tedious, but fun.

Sometimes it can be extremely difficult choosing someone for a part when there are 3 people who are equally good at it, but other times one person stands out and it's an easy pick.

Overall I enjoy it and I like seeing the different people come in and read for the same role. It can expand even your own ideas of what you thought the character should look/be like. It's definitely a big part of the creative process.

How does independent film differ from the mainstream?

Money.

That's really the bottomline. Mainstream films have these huge budgets and can afford top stars and fancy effects and marketing campaigns, while indie films are a struggle until the very end.

I'm not saying that's necessarily a bad thing though, as indie films have a tendency to be more creative and unique because they are limited by budget and so it forces people to experiment and try new things -- and get away with more.

There is also a certain charm to indie films that people seem to gravitate towards. A very underdog vibe that people respond to. Not in all cases, but sometimes an indie can be a bigger hit than a mainstream flick.

But, mainstream movies have the definite advantage when it comes to exposure and notoriety.

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

The original Star Wars.

The era that that movie was made in was a paradigm shift for filmmaking, and what it represents culturally and cinematically is just mind boggling.

To be a fly on the wall and watch the technology being created that still influences filmmaking today would be mesmerizing -- not to mention just seeing someone like Lucas working his magic would be so inspiring.

It would be the equivalent to being a Christian and you could go back and watch Jesus being born.

What's your favorite movie quote and why?

"Do or do not. There is no try." - Yoda "The Empire Strikes Back"

That quote has always stuck with me to this day. It's very Buddhist of course, and also very simple and eloquent but with a profound impact.

Honestly it's pretty self-explanatory really. This has been my mantra since I was a kid and probably explains my tendency to jump in to things without thinking as well. haha

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

Time travel. If that's a superpower.

What is your opinion on movie remakes?

I have no problem with remakes. Sometimes it gets ridiculous, but I see nothing wrong in taking an old movie and giving it a fresh coat of paint for a new generation.

I know a lot of people disagree with that point of view, but at the end of the day if you don't like the remake you can go back and watch the original.

But let's be real, there's nothing new under the sun. There hasn't been for centuries. We're all just rehashing old stories in new ways. If you look at it that way, everything's a remake.

What is your opinion on book to movie adaptions?

They're rarely as good as the books, but I don't think that should stop them from being made.

I know I've seen movies based on books I've never read that I've loved. Why should a great story be limited to just one form of media?

[slideshow]

Thanks Justin for a great interview. I'll be sure to tell people about "Help! I'm Alive". I hope we can do another interview for "Black Betty".

Review One Hour Fantasy Girl

“One Hour Fantasy Girl”  written and directed by Edgar Michael Bravo follows Brandi (Kelly-Ann Tursi) who works as a no sex, no kissing "fantasy girl." Make contact with her via her website and get together with for one hour. She will do anything as long as it doesn’t involve kissing or sex. Brandi tries to act tough as she performs the fantasies of her customers from around L A.  All the while, she is trying to save up enough money to make a name for herself in real estate.



Deep down all Brandi wants is to connect with someone. She works with a business partner Chi (Paul Nguyen). However, it’s shown that he is only looking out for himself. He doesn’t have Brandi’s best interests at heart.  She does meet a nice client Bobby (Joe Luckay), who takes an interest in her.  Let me just say, things happen to Brandi that will change her forever. For more information on "One Hour Fantasy Girl" check out http://www.facebook.com/onehourfantasygirl. You can purchase  "One Hour Fantasy Girl" digitally or on DVD.

Interview Orly Ravid founder of The Film Collaborative

 I got the chance to interview Orly Ravid the founder of The Film Collaborative. To find out exactly what The Film Collaborative is click here.  Follow on Twitter @filmcollab. It should be noted that Orly was doing this interview while on her way to the Sheffield Film Festival.



What is the current project you are working on?

We are presently working on Revenge of the Electric Car, Some Guy Who Kills People, Weekend, We Were Here , Leave it on the Floor, How to Start Your Own Country, and other films too. We're always working with a few filmmakers at a time though not doing the same work for each film.

Did you always want to work in the film industry?

Not really actually. I started out wanting to teach and write, and I also wrote a political script and then believe it or not I dabbled in the financial sector on the Mercantile Exchange but that world turned me off quickly.

What inspired you to create the The Film Collaborative?

Years of being in the business and never feeling good about the monetization of secrecy or the excess middle men or simple just how bad the business is for those who actually take the risks with their time and creativity and financial investments. Several people told me I should be an agent or run a studio or something like that because I can be assertive and I can be a go-getter. But I am just not interested in working with cinema in a way that focuses on making money for anyone but the creators and I just wanted to do something that blended my distribution experience with my desire to change the way distribution done and the way the film business works, or doesn't actually for so many.

What is the estimated number of projects that are part of your organization?

So far approximately 90

How do you chose which projects join your organization?

Most of the time the projects and the filmmakers choose us. We will educate and help any filmmaker who comes to us though we will not directly distribute a film that not fit our mission and have either artistic or cultural merit or both and / or one that is serving an under-served audience.

Who is is your favorite filmmaker?

I never have just one favorite, or rarely. A few are: John Cassavetes, Sydney Lumet, Lars Von Trier (even with his crazy), Kelly Reichardt, Guy Maddin, Zhang Yimou, Fassbinder

How has your life changed since you created and/or becoming involved with The Film Collaborative?

Yes, I work twice as hard and make half as much money. LOL. But on the bright side, I have never felt better about what I do, professionally speaking. I have never felt more authentic and purposeful.

I was always transparent with filmmakers but now I can take that philosophy and practice and really see it through which I could not do quite as well before when working for others.

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

Be authentic to your vision and your true sense of the truth. Stay focused. Don't bother if you are not truly passionate and almost obsessive, in the good way. Don't imitate, create.

Have you had any other jobs before you decided to become a creating and/or becoming involved with The Film Collaborative?

Yes, I worked as a development exec and distribution exec at Maxmedia, and also as an acquisition and business affairs and theatrical for Wolfe Releasing and most recently as the VP of Acquisitions and Distribution for Senator's US arm. And I have co-owned a Business-to-Business indie film marketing company called New American Vision since 2004. I co-own that with Jeffrey Winter who I met at Maxmedia and New American Vision has been doing grassroots marketing for distributors, we used to work with filmmakers too, and most of all film festivals and organizations such as IDA, AFI FEST, Los Angeles Film Festival and now we're working for the Film Society at Lincoln Center as well. We also handle media sponsorships for some of the festivals.

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

American Films: Woman Under the Influence, Auntie Mame (with Rosalind Russell), Network, Wendy & Lucy, Goonies, Borat, White Chicks, Mean Girls, South Park: Bigger Longer Uncut, Puffy Chair, Harlan County, The Hours, Far from Heaven, Gasland (I honestly don't know how to to do this well and am running out of time so must stop for now :-)

Foreign: Dancer in the Dark, Celebration, Treeless Mountain, Brand Upon the Brain, Still Walking, Un Prophet,

TV: 30Rock, The West Wing, Carnival, Sopranos, Nip/Tuck, Damages, South Park, The Ali G Show

How would you describe your film education?

Some academic training at Columbia U. via professors such as James Schamus but otherwise simply a matter of viewing and reading and not quite as deep as some of the more rigorous programmers who I do admire

But I tried programming (as a programming associate at Outfest and NewFest and Sundance and a consultant for a couple of other festivals such as PSIFF and MEIFF) and I decided not to pursue that as a career.

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

I live in the hills of Mt. Washington and I avoid all scenes though I am near a Hipster one (downtown and Silver Lake) and I was raised and lived most of my life in Manhattan where of course, there's so many "scenes".

How has social media changed the independent film industry?

In the same way it has changed the entire world. but above all, it's demonstrated a way to market without just dumping dollars.

How does independent film differ from the mainstream?

These days the line blurs often. $ and casting is my short answer

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

Please rephrase question, not sure of your meaning.

You could be any animal. Which would you be?

Teddy bear

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

To create upon thought

What is your opinion on movie remakes?

Depends. sorry, must dash now hence brief :-)

What is your opinion on book to movie adaptions?

Ideally people read the book too. it's almost always better.

 

 

 

Thanks to Orly for doing the interview. I want to let everyone know that The Film Collaborative is putting a book out of case studies called SELLING YOUR FILM WITHOUT SELLING YOUR SOUL . Check it out here.

Interview Mick Alderman

Below is my Interview with Mick Alderman. He spent time on the set of the Goonies. Michael is currently crowd-funding for his film "Crimps" on Kickstarter. The link to the Kickstarter page can be found here. A link to Mick's production company can be found here.  Before you read the interview check out the trailer for "Crimps". WARNING: For mature audiences

[vimeo http://vimeo.com/19937830]

What is the current project you are working on?

CRIMPS is a feature-length supernatural thriller movie. It is completed except for music, which will be recorded in July.

Did you always want to be a filmmaker?

Depends on what you mean by "always". I started in my early teens and never looked back.

What inspired you to become filmmaker?

As a child I went to the movies, but it never occurred to me what they were and that someone actually made them. This was back in the 1970s, before all the interest in "behind-the-scenes" minutiae. I loved comic books and drew cartoons constantly, so I already had developed a knack for visual storytelling. Then Star Wars came out in 1977 and completely blew my mind. Shortly thereafter, a show on PBS featured a boy my age who had made a stop-motion animated short. It showed how a movie was a series of still photographs projected in series. It was like my cartoons, only with the illusion of movement. My grandfather gave me his wind-up 8mm film camera and I made a 3-minute animated short called "Attack of the Blob", which was basically the same thing the kid on TV had done. The sets were Legos and the blob was 5 cans of blue Play-Doh. The camera didn't even have single-frame capability. The movie was awful, of course, but I'd been bitten. My parents bought me a Super-8 camera for my next birthday and I was off and running.

What is the best thing about being one?

Telling stories and working (playing) with other creative people.

What is the worst thing about being one?

It's incredibly expensive and stressful, especially compared to other art forms.

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

That depends on your definition of "project". I've made 3 features and a handful of shorts. But I've also operated a video production business for 25 years, so I've shot hundreds of documentaries, commercials, industrials and events. I've worked on numerous professional sets in a variety of capacities.

Who is your favorite filmmaker?

After Star Wars piqued my interest, I heard about another science-fiction film that had been released 9 years earlier called 2001: A Space Odyssey. I saw it on TV and it blew my mind in a completely different way than Star Wars had. I didn't fully understand it at the time, but I had always been enamored of space travel and adored Carl Sagan's "Cosmos" series on PBS. 2001 presented space travel in a highly realistic manner and captured the mystery of it that Sagan made so alluring. I had become interested in the actual film makers by then, so Stanley Kubrick became my new hero. I named my fledgling company 2001 Productions in homage to him. 33 years later, I'm still using the name.

How has your life changed since you became a filmmaker?

I've been doing it so long I can't remember what it was like before. I was a caterpillar who became a butterfly.

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

Know what it means to tell a story. Stories entertain, but are capable of so much more. They are part of what it means to be uniquely human. Our stories define us as much as we define them.

What do you like to do besides filmmaking?

I've done a lot of theatre work over the years. Directing and writing plays is a wholly different discipline from film making, and yet the two are very similar methods of telling stories. Stripping away the technical side and simply working with actors and a script on a bare stage is enormously valuable and rewarding. I've also acted in many plays, which is very insightful to me as a director.

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

I was still in elementary school when I started making films so I hadn't yet entered the workforce. I'm just ending a 23-year job working as a media specialist at a college, which paid the bills while I made films.

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

Anything Kubrick did. Lawrence of Arabia is my favorite movie; I weep in awe at its beauty. If I can make a movie one-tenth that good in my lifetime I will die fulfilled. I stopped watching TV in 1987 because I found it insulting to my intelligence. However, I regularly record the PBS science show "NOVA" at work and bring it home to watch. I also record "Ghost Adventures" on The Travel Channel because one of its stars, Aaron Goodwin, worked briefly with me on CRIMPS before he became famous. I also never miss a Super Bowl.

How would you describe your film education?

Self-taught, primarily. I took TV production classes in college, but by that time I had already been making films for 5 years.

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

I live in a small town, so there really isn't much of a local film "scene". However, the town is Astoria, Oregon where many Hollywood movies have been shot over the years, including, most famously, The Goonies.

How has social media changed the independent film industry?

Personally, it has helped me network with others like me, despite my rural location. The Internet in general has been enormously valuable in helping independent producers connect with others and procure resources.

What's your opinion on crowdfunding and recent crowdfunding scandals?

My KickStarter campaign for the CRIMPS music is my first experience with crowdfunding, so we'll see how it goes. I haven't heard about the scandals.

What is the casting process like?

That's a broad question. Finding the right actor for a role is like finding the person you want to marry. It just clicks on every level. I've heard about directors casting actors who were brilliant, but with whom they didn't get along well. To me that's a deal breaker. I worked with an actor like that once and I won't ever do it again, if I can help it.

How does independent film differ from the mainstream?

Well, the technical definition of "independent" means a film made without funding from the major studios. By that criterion, many mainstream movies are independent, including the most recent Star Wars films. Some people use the term "indie" to refer to films like those I've made, with no stars and little money. They differ from the mainstream in that they have, well, no stars and little money.

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

Anything by Kubrick, simply because I'll never get to meet him otherwise.

What's your favorite movie quote and why?

There are a million, but here's Peter O'Toole as movie director Eli Cross in The Stunt Man: "If God could do the tricks we can do he'd be a happy man!" So many layers there; it's arrogant and cynical, but also defines the storyteller as a kind of deity. After all, every religion is a collection of stories. Whether the stories are true or not is irrelevant - or should be irrelevant. What matters is that they resonate, which is the ultimate goal of the film maker as storyteller.

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

Flight. Camera movement would be so much easier.

What is your opinion on movie remakes?

Remakes are fine as long as the filmmaker has something new and valuable to bring to the material. Many remakes are superior to the originals, which should be the goal. Hitchcock made The Man Who Knew Too Much twice, and Wyler made Ben Hur twice. If the only goal is to milk more money out of an established property, I have no interest.

What is your opinion on book to movie adaptions?

Love them. Books have such a richness and complexity of story and character compared to stories written directly for the screen. One should never compare the two, however. They are completely different storytelling media and should be perceived as such.

Is there anything else you would like to add?

In a bit of shameless self-promotion I'll mention my book, "Three Weeks With The Goonies", which details the time I spent on the set of that movie during the location shooting in 1984. I know there are millions of Goonies fans out there because thousands travel to Astoria every year. The book has tons of pictures and is available on Amazon.com.

 

 

 

Thanks for doing the interview Mick. Mick's book can be purchased here.  I hope you will be submitting "Crimps" to festivals around Boston. I'd love to write a review.