Interview With Paul Osborne

Paul Osborne is the director, writer, editor and an executive producer of the feature film FAVOR.

Paul previously directed, wrote, edited and co-produced the acclaimed film festival documentary, OFFICIAL REJECTION, and wrote and executive produced the crime thriller TEN ‘TIL NOON. Both went on to multiple awards and healthy film festival runs before their respective releases theatrically and on DVD.

He lives with his wife, producer Leslie Wimmer, and his three children in Burbank, California.

What is the current project you are working on?

I just wrapped shooting the feature film FAVOR, which I wrote and directed. It's a character-driven thriller, and I crafted the two lead roles specifically for the actors that played them, Blayne Weaver and Patrick Day.  I've been a fan of each of those guys for a while, so it was kind of a daily treat to have them doing my bidding on set for three weeks of shooting. It also looks like Scott Storm wants to direct another script of mine next year, tentatively entitled SMALL HOURS. He and I have a creative aesthetic that meshes well, so I'm excited to see that move forward. Otherwise, there are a few projects on the horizon that I'm playing with maybe taking on next summer or fall, depending on how long the post on FAVOR takes. I'm a notoriously slow and meticulous editor, so it's difficult to schedule "the next one" until the current one is done.

Did you always want to be a filmmaker?

I did always want to be a filmmaker, but when I was very small I interpreted that as being an actor. It wasn't until I was a little older that I realized someone actually wrote and directed movies, and it wasn't just the actor making it up as they went along. It's a good thing I put that together, because I'm a terrible actor. Nowadays I direct, produce and edit, but at my core I consider myself basically a writer, and all the other hats I wear are simply functions of getting my words and stories onto the screen.

What inspired you to become filmmaker?

I was born this way. I've always been drawn to movies and television, and as long as I can remember I've seen life thru a lens. You can say it's a "calling" or a "sickness" - both are completely applicable. There was no one flick that "turned" me, and I've never wanted to do anything else.

What is the best thing about being one?

The best thing is actually when something's done. When you've gotten something accomplished and it works. I'm not just talking about finishing a movie, although that certainly applies. But this refers to every step of the process - when you've cast the right actor, gotten the script where it needs to be, made the scene work in editing. Filmmaking is always a struggle against both external elements and your own limitations. When you punch through and make something work, it's incredibly gratifying.

What is the worst thing about being one?

The worst thing is dealing with the business side, and that's largely because so much of the business is unnecessary. Things are in place to either block your way or allow people who have little or nothing to do with your movie to profit the most from it. Filmmakers are passionate about what they do and would do it for free, and the business world has completely taken advantage of this. All I see are one-sided contracts that work against the artist, and the few agreements where the filmmaker might actually see a penny or two are almost never honored. What's encouraging about the digital revolution - smaller budgets, smaller crews, more DIY distribution - is it's stripping the business away, layer by layer. There are still leaches in the pond, but fewer of them.

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

FAVOR is the third feature I've been involved with on the above-the-line level. I wrote and executive produced the crime thriller TEN 'TIL NOON and directed and produced OFFICIAL REJECTION, a documentary about film festivals. In terms of shorts and things, I have no idea. There are too many to count. I've been making them since I was knee-high.

Who is is your favorite filmmaker?

I have so many favorites I would be really hard-pressed to pick just one. And there aren't any big surprise names in the bunch: Scorsese, Tarantino, Aronofsky, Soderberg, Fincher, Nolan - all the usual suspects. I think Sam Raimi and Peter Weir are really under-appreciated. If you're asking where the biggest influence on me personally comes from, it's the early works of the Coen Brothers. BLOOD SIMPLE, RAISING ARIZONA, MILLER'S CROSSING, and BARTON FINK are what happens when God touches celluloid. Both the writing and sheer craft on those movies are unbelievable.

How has your life changed since you became a filmmaker?

Well, it really hasn't. I've been making films since I was very small and only rarely have worked outside the industry. I feel like I've had a steady increase in experience and knowledge over the years, but that probably qualifies more as an intensification of my life rather than a sharp change.

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

I think the advice would depend on what that person wanted to do in the movie business. It's a pretty wide net. Regardless of what you're after, though, the best thing to remember is that succeeding in the industry takes time and requires a lot of steps. I feel like a lot of people expect it to happen quickly and without a whole lot of effort. It doesn't go down the way it did in THE MUPPET MOVIE, with Kermit and friends just showing up after a long road trip and being offered the Rich and Famous contract. A better cinematic analogy would be THE SHAWSHANK REDEMPTION, with Tim Robbins tunneling his way to freedom one spoonful at a time. It might seem insurmountable in the beginning, but after a while you see real progress.

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

Again, I have too many favorites to list. I'm a serious movie buff; just one look in my media closet at home will give you some idea of exactly how big a film geek I am. If we're taking recent favorites, last year I really dug INCEPTION, SCOTT PILGRIM VS THE WORLD, THE SOCIAL NETWORK, THE AMERICAN, BLACK SWAN, and this great little documentary about an exploitation filmmaker called POPOTOPOLIS, which I find myself watching every couple of weeks. The best flick I've seen so far this year is FALLING OVERNIGHT, which is a tiny indie currently playing the festival circuit.

In terms of television, I'm really high on the fact that BREAKING BAD is back. Not only do I think it's currently the best thing on TV - it may be the best thing that's ever been on TV. There's not a moment, dialogue line, or shot out of place on that show. Ever. It's staggering.

How would you describe your film education?

You have to specify if you're asking about my film school experience or my education, because they're not the same thing. I went to the University of Miami's film program and I had a good time, but I didn't really learn a whole lot. I'd already been making movies for almost a decade when I started classes, so other than learning to use 16mm equipment instead of Super-8, it was really just more of the same with a thick layer of bureaucracy smothered on top. My real education came from both making my own movies and working in production. You want to know how to make a flick? Get on set. You want to make friends and network? Go to film school.

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

I live in Los Angeles, so the whole damn city is the "film scene". You hit Starbucks and everyone in the place, baristas included, are somehow involved in "the biz." What's interesting how the studio and indie worlds combine and collide here. It's like two different universes that people constantly beam themselves between. Joe here has a day job at the studio, but he's made an indie, which he's now using to try to get an agent so he can get hired as a director back at the very same studio. Now Joe will go attempt to network at a party with executives and movie stars, but afterwards he'll shoot down to the hole-in-the-wall bar and hang out with his other independent filmmaker pals so they can talk about how they don't need the establishment. It makes for a strange mix.

How has social media changed the independent film industry?

What's social media has done, at the most basic level, is changed the way marketing works in two essential ways: One, it's made communication with a potentially large group of people possible without the need for an expensive intermediary, like a TV network, ad buy or PR firm; and two, its intermingled marketing with social interaction, so talking to someone online becomes a form of marketing, and vise versa. The applications for the indie filmmakers are almost limitless and get written about pretty exhaustively, so I won't attempt to discuss them here. But I will give you one example of social media helping me very recently in an unexpected way: almost my entire crew for FAVOR came from people contacting me because they'd seen the Kickstarter campaign succeed on Facebook. I would get emails asking if I "needed help on the shoot", and if the person that sent it had both a valuable skill and availability, I would bring them aboard. I ended up with a fantastic crew.

[caption id="attachment_1444" align="alignright" width="300" caption="Shooting a scene of "Favor""][/caption]

What is the casting process like?

The casting process is exciting, especially when you see good people bring your work to life. I try and make the auditions as easy on the actor as possible, because "reading" is such a different skill set than "acting". Usually I'll offer each actor the entire script in advance - not just their pages - schedule a longer period of time for them to audition in case they want to go through it more than once, have another real actor for them to read against, and do a little blocking so it feels like an actual "scene". I also think it's smart to find actors through other actors. In my experience you tend to get generally stronger performers that way.

How does independent film differ from the mainstream?

The difference between independent and studio movies is that the independent ones are made without the involvement of a studio or other established Hollywood production entity. That's it. These are films produced outside the establishment. Any other definition is false and dangerous to independent cinema. BLACK SWAN is not an indie film. SLUMDOG MILLIONAIRE, which Variety thoughtlessly proclaimed as an example of "what a true independent film can do", was produced by Warners and released by Fox.

To ascribe some sort of style or "edginess" inherent in an independent film versus a studio one is completely misleading, and it's this confusion which has allowed the studios to essentially appropriate the label "indie" as a marketing term and thereby take away opportunities from actual independent movies. This is what enabled Hollywood to take over Sundance by pouring the multi-million dollar "Indiewood" flicks they make into the festival, and allowed the major studios to either absorb or dismantle all the larger independent distributors that used to actually acquire and release real indie films, ultimately leading us directly into the distribution crisis we currently face. We're only now starting to see daylight with the as-of-yet unfulfilled promise of self-distribution, and I guarantee you that if and when this is a wholly viable way of releasing indie movies these same studios will try and muscle in there, too. So it's important we stay vigilant and clear about what defines independent.

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

I think I'd like to watch Hitchcock work, so I'd probably opt to beam back to the set of PSYCHO. Here was Hollywood's top director at the height of his career, working on a small budget with the crew from his TV show, shooting this little character thriller. Anthony Perkins was so incredible in that flick and I'd love to see what Hitch had to do to get him there.

You could be any animal. Which would you be?

I'd be a lion. I'm a cat person so if you've got me transmorphing into an animal, I'd go for the top in that column. Besides, the male lions get to lie about while the females do all the hunting and gathering. That would rule. Bring me my zebra steak, bitch!

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

Man, I would love to be able to freeze time. Then I'd be able to get a decent amount of sleep and still accomplish everything I need to get done. Plus I could pants people without being caught.

Do you believe on life on other planets?

With the astronomical number of planets that exist, the likelihood of life existing on one or more of them is extremely, extremely high. It's nearly a mathematical certainty. I don't know if I'd use the word "believe", because that implies some sort of leap of faith. Let's just say I'd be damn shocked if there wasn't some form of life on another world somewhere. Especially on Saturday nights.

BELOW IS A BEHIND THE SCENES CLIP FROM FAVOR:

[vimeo http://vimeo.com/26179847]

Thanks for doing the interview Paul. I'm a big fan of your films. I love "Official Rejection" and "Ten Til Noon". I can wait to see "Favor" when it comes to DVD.

Karen And David Of Filmcourage

[caption id="attachment_1434" align="aligncenter" width="300" caption="Photo Credit: John Keating"][/caption]

Karen Worden

Born in Washington, D.C., Karen Worden grew up in the San Francisco Bay Area and left for LA when she was 18. A full-time film lover and part-time actress having worked on independent films such as Night Before the Wedding, Mind Over Matter Man and Goodbye Promise. Karen Worden is a co-host/co-producer of the Noon (Pacific) Sunday radio show Film Courage on LA Talk Radio.com, co-owner of FilmCourage.com (along with husband filmmaker David Branin), and actress. Each Sunday, Karen and David interview filmmakers and content creators from around the globe on surviving and thriving the entertainment industry. Karen, David and their three cats live in Los Angeles, California. Follow them both on www.FilmCourage.com, @FilmCourage, @DavidBranin and @KarenWorden.

David Branin

Writer/Director David Branin grew up near Hartford, Connecticut and it wasn't until his college career was almost over that the dream of making a major motion-picture burst into his head. David and three of his closest friends wrote an original screenplay together and moved to Los Angeles in 2000 to pursue their own Hollywood ending. His pursuit of that dream continues to this day. He is the Director /Writer/Producer of Night Before the Wedding and Goodbye Promise as well as Co-Host of Film Courage with his wife Karen Worden.

What is the current project you are working on?

Karen - The radio show, Film Courage Interactive, and website (www.filmcourage.com) are mainly what my days consists of. This entails finding filmmakers to contribute articles, booking guests on the show/putting the show together with David, presenting articles on the site, and lining up the screening details. I recently shot a couple episodes of a webseries entitled Partners in Pretension by Claire Wasmund and Fernando Noor. David and I recently got a new camera to take photos at our monthly film screenings in Los Angeles. I liked what Lucas McNelly of A Year Without Rent was doing, volunteering on film sets. So Dave suggested I contact our friends Brian Durkin and Todd Cattell (also in Goodbye Promise) and ask if they needed a set photographer for their short ‘The Terrain.’ The photos I took from three shoots on The Terrain resulted in a post on Lucas’s site A Year Without Rent. (http://www.ayearwithoutrent.com/2011/07/brian-durkins-terrain.html)

David - In addition to what we do with our Film Courage radio show and website, we are in the final stages of finishing our second feature film “Goodbye Promise” which is an improv feature film starring Gregor Collins as an actor living out his last week in Los Angeles. The film also stars Karen, Brian Durkin, Todd Cattell, Jud Bogard and a number of talented actors I was fortunate to work with.

Did you always want to be a filmmaker?

Karen - Sort of, but I’m not sure I realized it. I remember seeing a video recorder in a Sears’ catalog when I was about 12 and dreaming about making movies with it. I used to set up imaginary shots during my day. Life got in the way and I never followed through. Then after stops and start of getting into acting and not following through with it, but still loving films, the idea sparked inside me. Watching David with a camera renewed my interest.

David - No, I didn’t grow up with any desire to be filmmaker. Often times I wonder how I got to where I am now. Many years ago I had the zany idea to write a screenplay. I persuaded three close friends to help me write a personal story of mine into a script. We moved to Los Angeles in our attempt to turn this script into a movie. When we came up short on making our collective dream happen, I turned to the craft of screenwriting. After a couple of years as a ‘screenwriter’ with no credits, I felt like I was spinning my wheels. I rallied some friends together to make an improv short film shot on my friend Daniel Sol’s Mini-DV camera. I wanted to test if my ideas had any merit. Yes, it’s pretty silly and almost embarrassing (http://www.spike.com/video-clips/7vb8od/pugnacious-assembly) but it helped begin this whole adventure. I have worked to improve ever since.

What inspired you to become involved in the independent film industry?

Karen - I’ve always been drawn to off-beat, quirky films with an ending that’s not always so perfect. I like beautiful images with non-traditional stories. I watched independent films for years, scouring the neighborhood Blockbuster video for some obscure movie, while everyone else rented from the shelves with 20 of the same title (well, sometimes I did, too). I wanted to act, but the rejection was not fun. I wavered between day jobs and submitting for roles, never committing to either world. Being on the other side, creating seemed more interesting. I’d helped David behind the scenes with his short films, did a ton of extra work, and then David and I created the opportunity to do Film Courage (the radio show) together. Things changed for me.

David - A good number of folks believe that Hollywood is going to discover their talent. I am not one of those people. All I know how to do is to create works to the best of my ability with the talent and resources I have available to me.

What is the best thing having your own talk show?

Karen - The fact that I get to do this show with David makes me an incredibly lucky woman. I also love hearing everyone’s stories. I like to hear the nuggets about weird odd jobs people have held to sustain them or times when something almost didn’t happen, but the direction changed and things took off.

David - What matters most to me above all is that I get to do this with Karen.

What is the worst thing about having your own talk show?

Karen - The only negative is the time commitment, not being able to schedule everyone who asks and still finding a balance in our own lives. We live what we do, whether it’s attending events, scheduling guests, preparing for the show, etc. We have very few ‘down’ days where nothing is going on.

David - Karen touched on the scheduling, often times it is the fact that we only do one show a week and that we cannot accommodate the number of filmmakers who request an interview. We hate having to say no to folks or having them wait for such a long period of time before they come on.

What is the interview process like?

Karen - We do a lot of research on the guest beforehand. We love to bring in guest co-hosts because it infuses new life into the show. A guest host will think of an angle that we didn’t realize to ask. Once we are in the studio, the time flies by. Most shows are left with questions from us still on the table. In rare instances we have to abandon our questions because the guest takes the show in another direction. We can hear in their voice if passion takes us down another road. We often love happy accidents from live radio.

David - By the time the interview comes around, that is the fun part. Karen and I typically put in a minimum of 8 hours of research into each interview we do. When Sunday’s come around, we finally get to sit down with our peers and pick their brain on how they got to where they are now. Even with all the interviews we have done, we can still nervous beforehand. Anything can happen when you go LIVE and we have had our share of memorable moments.

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

David - Not sure, depends what qualifies as a project in this instance. I would say between completed works and uncompleted film projects projects, probably 100+. And with Film Courage, Karen and I have conducted 300+ interviews in two years between our LIVE radio show and our shorter interviews you can find on our YouTube channel.

Karen - I don’t know. I would say over 100 also. In addition to ourinterviews, we are now up to our 20th Film Courage Interactive which is a monthly screening series we host at the Downtown Independent in Los Angeles.

Who is your favorite filmmaker?

Karen - I like filmmakers Joyce Chopra Oates, Bruce Beresford, John Sayles, Terrence Malick, Steven Spielberg, Jamin Winans, Gary King, Gregory Bayne, Darren Aronofsky, and Cameron Crowe.

David - Right now it is probably Christopher Nolan. Also love Terrence Malick, Steven Spielberg, David Fincher, Tod Lancaster, Matt Krentz, Thomas McCarthy, Kyle Patrick Alvarez, Jim Sheridan & Ken Burns to name a few.

How has your life changed since you became the host of your own show?

Karen - It’s made me believe in the creation of ideas and the practice of implementing them. This is easier said than done. I’ve had so many ideas that I jotted down, which never took off. It’s taught me about follow through. I’ve learned that if you want something, you have to want it no matter what people say to you, do to you, and minus any fruit it might bear.

David - We’ve connected with people we would have never thought we would ever been able to speak with. We remember seeing “Garden Party” at the Laemmle Theaters here in Los Angeles and then speaking with director Jason Freeland within that year. Same with “In Search Of A Midnight Kiss” and Alex Holdridge. From there to speak with Lynn Shelton, Ted Hope, Mark Duplass, Julia Cameron, Troy Duffy, & John Sayles, etc. are things we thought would never happen. The show has given us hope at a time when we have needed it. We’d like to think that those who discover our program need it just as much as we do.

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

Karen - I saw this written once ‘Surround yourself with positive people; don’t listen to the nay-sayers.’ I would probably add to this have extremely thick skin (which is hard since we are all sensitive artistic types), laugh at your own ego, and when times look bleak ask yourself if there is anything else you’d rather be doing. If the answer is no, get a good night’s rest and try it again in the morning. And one more thing, limit your time surfing the net and watching tv if it’s not ‘research.’ This is a tough one!

David - Seek the advice from those who have succeeded in the industry and listen to what they have to say. That means don’t put too much stock into what I am saying here.

Beyond that, I would say that you really have to love it. You are going no where if it’s not deeply rooted in your core. You have to be able to endure and the only way that will happen is if you love it. That goes for anything, not just the movie business.

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

Karen - White Oleander, Wake Up, The Philosopher Kings, Matchstick Men, The Shawshank Redemption, Forrest Gump, Tree of Life, Ink, Dying to Do Letterman, Good Will Hunting, Ride the Divide, The Waterhole, Paradise Recovered, Men Don’t Leave, Denial, and the recent A Better Life.

David - The Shawshank Redemption, Forrest Gump, Tree of Life, Life is Beautiful, Ink, Dying to Do Letterman, Slumdog Millionaire, Shooting April, The Goonies, A Christmas Story, City of God, Pulp Fiction, Memento, The Scenesters, Saving Private Ryan, A Better Life, Inception, Die Hard, Good Will Hunting, Up, Knuckle Draggers, Streetballers, Borne Identity, Scarface, Maria Full of Grace, Irreversible.

How would you describe your film education?

Karen - Watching films, reading articles, and listening to interviews. I’m still learning.

David - From the ground up. Reading. Writing. Filming. Producing. Connecting. Distributing. Observing. Watching. Studying. Over and over.

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

Karen - The film scene in LA is exciting, competitive, disheartening at times, and never dull.

David - We live in the mecca of the film industry. It’s almost impossible to go anywhere, whether it be a friend’s barbecue, the local coffee shop, or jogging down the street and not have someone be connected to the film industry in one way or another.

How has social media changed the independent film industry?

Karen - Social media has enabled us to create our own audience and keep in touch with them. We can connect with like minds all over the world without needing an ad agency. We are all almost like mini-publicists. The trick is not drowning in the sea of updates everyone receives. But if we find those with similar interests and exchange ideas, then maybe our message will be given a look.

David - The Social Media Tools that are in place right now, give content creators the full power to distribute their work without any middle men. We have barely scratched the surface of where all this is going.

As I write this, G+ has just gone over 10 million users.

Our pals Joke and Biagio have just raised $40,000 in their first 7 days on Kickstarter for an Oscar push for their film Dying to do Letterman. It’s extraordinary. Most likely they have made more in that one week on their own than they would have made over the lifetime of any distribution deal they could have gotten. And it is because of social media.

We are still not all the way there yet. But we are getting closer. The final hurdle is distribution. Social Media helps us build awareness and helps us spread the word. Platforms like Kickstarter and IndieGogo are helping us with funding.

But we will not see the full impact of social media until the channels of distribution open up all the way. Audiences still have to grow comfortable with the emerging ways of consuming media. Wait until the internet and television truly become one. We are going to see some extraordinary successes in the very near future.

How does independent film differ from the mainstream?

Karen - Independent film rarely uses a filter to protect its audience. Independent film shows a single mother in a messy apartment with kids screaming and bills piling up. It shows a well off person who’s clinically depressed and finds little joy despite their wealth. It takes real lives that are incredibly fascinating but which the mainstream doesn’t want to view because it hits too close and they want an escape. It’s that stranger you see walking down the street who is so fascinating and you can’t help to stare. This person looks a little off (but functional) and you want to know why. An independent film would show you this person and their disfunction.

David - Mainstream films force their way into our consciousness with their multi-million dollar marketing campaigns and their product placement tie-ins. Those films find you.

Independent film you have to discover. They are often going to hide from you. You have to seek them.

Content-wise, independent films will not dazzle you with CGI and special effects, but they can move you with their heart and intellect. Successful independent films are those that take risks that you will not find in mainstream movies. They are unconventional and they aren’t so cookie-cutter where you know the ending 10 minutes in.

Mainstream would clean them up after they’ve met a savior, with a powerhouse rock ballad at the end.

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

Karen - Cat on a Hot Tin Roof or Streetcar Named Desire. Things were more polite then. Yes, there was a lot of judgment about peoples’ social strata and lot in life. However, it was all so pretty, polite, and very clean. It seemed unreal, probably because it was.

David - Citizen Kane. The movie was decades ahead of it’s time. Orson Welles was a complete genius. Would love to absorb how he was able to pull off such a feat at such a young age.

What do you think about sequels?

Karen - Not sure I have an appropriate opinion on them. I usually don’t watch the original film in the first place.

David - Story-wise they are often rushed and do not satisfy the audience in the way the original usually does. Business-wise, they are hard to ignore. Sales and interest on the original go up and they tend to perform better at the box office because of the familiarity from the original fans along with the fans who were gained along the way.

What's your opinion on crowdfunding?

Karen - Crowdfunding is miraculous. Happy that it is around and hope it stays.

David - It’s life-changing. It’s certainly changed my life and I can only imagine the thousands of lives who have already been impacted in positive fashion.

I do get frustrated by the many people I see who are launching campaigns without any pre-planning, thought, or preparation.

One rule at the top of the list, if you do not have a personalized pitch video then you are not ready to crowd-fund.

Cannot tell you how often we receive emails from filmmakers who are in their final week of crowd-funding who are in desperation mode, over 80% away from their goal, and want to know if we can help them.

Being able to use platforms like Kickstarter and IndieGogo is a blessing. It’s sacred. You may only get one chance at it. So when you decide to use them, make sure your business is together. Treat the opportunity with respect. Put the time in before you seek money from your peers, friends, and family.

You could be any animal. Which would you be and why?

Karen - Probably a Koala Bear. They seem so calm and observant.

David - Probably either an eagle or a dolphin. The option of soaring the skies or swimming the ocean.

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

Karen - Time travel. I was just speaking with David about this the other night. I would love to visit the 20’s all the way to present day. Possibly I’d only want to visit certain years for a short time, like just peek into what the Depression era was like, or attend Woodstock for the night (or two). I wish a DeLorean could really do all this.

David - I was going to say the power to grant anyone one wish. Then as I mediate on that, I realize it may come with too much responsibility. So I will go with the ability to infinitely teleport myself anywhere in the world.

Is there anything else you'd like to add?

Karen - John, thank you so much for asking us these insightful questions. Thank you for putting together an amazing site and caring about artists in the way that you do. We have no doubt it will gather more incredible names. We appreciate your time!

David - John, I concur. We’d like to thank you for your time and energy. It’s an impressive database of interviews you have done thus far and we’re proud to join your archives. We look forward to seeing this grow. And for anyone looking to connect with Karen and I, you can do so through FilmCourage.com

Thank you both for doing the interview. I learned a lot about the folks behind such a great show. I'll be sure to tell any filmmakers I interview about your show.

Interview With Actor Joe Luckay

[caption id="attachment_1429" align="aligncenter" width="300" caption="Joe as Bobby in "One Hour Fantasy Girl""][/caption]

Joseph “Joe” James Luckay (“Bobby Richards,” One Hour Fantasy Girl, No Restrictions Films, LLC), born and raised in the gritty suburbs outside of Cleveland, Ohio landing in Hollywood, California to seek an acting career. True to his name, in less than a year, J Luckay has already established himself as one of independent feature films’ newest and talented emerging young lead male actors.

Initially, “discovered” during his very first feature film screen test by writer/director, Edgar Bravo of No Restrictions Entertainment, LLC and producing partner, John Paul Rice, Luckay was cast his first leading male role as the “Bobby Richards,” the sweet, smooth, and very-innocent-looking young hustler in No Restrictions Entertainment’s independent feature-length film, One Hour Fantasy Girl.

However, Luckay is no stranger to the camera having appeared as a background actor in a number of feature films such as There Will Be Blood, My Super Ex-Girlfriend, Knocked-up, Senior Skip Day, Dukes of Hazzard – Part 2, as well as television series Disney Channel’s Hannah Montana and HBO’s Entourage.

What is the current project you are working on?

My current project is my 6 month old son :) I took some time off to help out with my boy.

What's it like to work with the crew from No Restrictions Entertainment?

First I want to give a shout out to EDGAR and JOHN PAUL!! I enjoyed working on set with the cast and crew. Everyone came together and worked hard with little time to accomplish One Hour Fantasy Girl.

Did you always want to be a actor?

No. When I was young I wanted to be a police man like my father. As I grew that imagery shattered and I started to work with my creative skills. Not really sure which way I wanted to go I took three and a half years of graphic design. Some in high school and some college. When I hit 21 I got bored of design and took a leap of faith to Hollywood, California to channel my inner most creative side as an actor.

What inspired you to become actor?

Change. Many people can't seem to understand the importance of change and never grow. I wanted to fuel my passion and went from being comfortable at home to struggling in the hoods of Los Angeles. I wanted to grow and adapt to what little I once knew which in return helped me with the craft.

What is the best thing about being one?

The Best thing is being myself. I can be that person easily because I take on different roles which helps me define my personality.

What is the worst thing about being one?

I would say getting caught up in the fame hype. I haven't reached that point in my career yet but when I do Ill be sure to keep the right people around to stay grounded.

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

I have worked on many different projects from indies to student films.

Who  is your favorite filmmaker?

When I meet him or her Ill let you know.

How has your life changed since you became a actor?

My life has changed and is on its way for a bigger change. All positive.

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

I would tell them never to lose hope. In the land of many hopeless individuals stay on top of your game and do not fall into that category.

What do you like to do besides acting?

Well I still do my graphics from time to time. I love designing business cards for individuals. I love to be outside and enjoy life. I love to cook and most importantly spend time with my son.

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

Yes Many! I run joeluckay.com and I use to work inside equinox gym at the smoothie bar. I have done some extra work, Disc Jockey Photography and graphics.

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

Well it is Hollywood. Need I say more?

How has social media changed the independent film industry?

Better press and more exposure to the masses.

How does independent film differ from the mainstream?

Independent films I feel take more risks where as mainstream tends to stick with a cookie cutter style.

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

East of Eden with James Dean. Great film that will never be forgotten. James Dean. I love his Style. His craft. I wish he was around longer so we could have watch his talent grow.

What's your favorite movie quote and why?

"How am I not myself" from I heart Hucklebees. I love that! Makes you think.

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

I would love to go back in time to change the past a little and would love to see whats coming next. Not to mention the winning lotto numbers :)

What is your opinion on movie remakes?

Not really big on movie remakes. Just watch the original.

What is your opinion on book to movie adaptions?

If you have an amazing book then it best be an amazing movie!

Thanks Joe for doing the interview. "One Hour Fantasy Girl" has become one of my favorite movies. Your preformance as Bobby was stellar. I look forward to seeing what you do next.

Interview with Author Michelle Picarella

 Michelle Anderson Picarella enters the fantasy realm with her debut novel, LIVIAN. She currently resides in the Carolinas with her husband and three story-inspiring children. Visit her at www.picarellawrites.com or facebook.com/picarellawrites.  Twitter: ShellyPicarella

What is the current project you are working on?

I will soon be editing my debut fantasy novel "LIVIAN" which is set to be released in June of 2012 through the Burst Imprint of Champagne Books. I am also currently working on a mind-blowing collaboration with some of my favorite modern authors. Stephen Penner, A.T. Russell, Vickie Adair, Tymothy Longoria, Phlegyas the Mindjuggler, Dawn Kirby have joined me in tackling the Seven Deadly Sins in form of short story fables. Check that out here:  http://shellypicarella.wordpress.com/2011/05/11/my-big-announcement/

Did you always want to be a writer?

No. When I was a young child, I wanted to be Dolly Parton. Eventually, I realized that I wasn't blonde, blessed in cup-size, and I couldn't sing. That is when the writer dream began.

What inspired you to become a writer?

My grandmother. She was an amazing writer. Her words were elegant even when she spoke, but her writing could send shivers of hope and faith down your spine.

What is the best thing about being a writer?

I would say, allowing your imagination to become limitless. We all have that trait as children, but somewhere down the road someone tells us to stop daydreaming. I couldn't imagine any writer functioning without daydreaming.

What is the worst thing about being one?

The worst thing? Putting yourself out there. I held off on writing my first novel for near a decade. I am not the soft heart sort- judge my clothes, my hair, my past, where I live, but when you place your dreams and your imagination into the world, that is frightening. I finally had to realize that everyone is not going to like my work. There are people out there that hate cheesecake. This makes no sense to me. None the less, some where out there is a cheesecake hater. Somewhere out there is someone that is simply going to hate my writing. It's a fact. At the same time, there will probably be more out there that love my work as much as I love cheesecake. That, my friend, is worth it.

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

Projects...I couldn't count. Between novels I have tinkered with and will complete, poetry, short stories, and articles, I have no clue.

Who is is your favorite author?

Shel Silverstein. He allowed himself to write with no limitations on theme or genre. I consider him to be a true artist. Anyone can write. An author puts their soul into their work, even the dark or goofy parts.

How has your life changed since you became a writer?

I am exhausted. I write mainly at night. Even when I go to bed, I often find myself plotting things out well into the morning as I try to doze off.

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

That is an easy question. Never take advice from another writer. Remember, advice is an opinion, not fact. You can value someone's opinion, but always do your research and follow your own path.

What do you like to do besides writing?

I love spending time with my family and friends. I am a big antique fan. Nothing makes me happier than visiting estate sales and finding an old book, painting, or odd muse.

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

Beyond journalism I was a substitute teacher.

What are some of your favorite books?

I have an odd collection of books that I consider the favorites through out my life. Anything from Silverstein, Dahl, or Poe. I love Bill Mahr's style of political humor as in New Rules. More modern, I happen to think that The Hunger Games books are the most mainstream captivating books that I have read in ages.

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

The Carolina area (North and South) happen to be a pretty lit-populated area. The local writers that I have connected with are superb. We are also lucky to have a decent amount of indie/mom and pop booksellers around. If I became a million dollar best seller, I would stay right here.

You could be any animal. Which would you be?

Any animal on some sort of Vegetarian safe haven/refuge.

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

Mind control. I should pick something that sounds less like a dictator. But I would use my super power for the good of the world. Scouts honor. Pretty much.

What is your opinion on book to movie adaptions?

They scare me. Adaptions are either brilliant or horrible. There is no middle point. The end.

You could have any first edition book. Which would it be?

Grimm's Fairy Tales.

Is there anything else you'd like to add?

How are you? I feel odd only talking about myself.

Thanks for doing the interview Michelle. Keep me posted on the progress of "LIVIAN". I look forward to reading it when it comes to a book store near me.

Interview with James Anaquad Kleinert

James Anaquad Kleinert was not your normal, everyday kid.  When other kids were throwing snowballs and sledding, he was experimenting with aerial ski jumping in his back yard in rural Wisconsin.  No one in his family could quite understand his drive and intent to train for this “dangerous sport” except for his grandfather, who was of Seneca American Indian heritage and understood the trials and tests of young boys.  From this simple start, James Kleinert became a World Cup competitor in freestyle aerials, and a top action, environmental and Native American filmmaker.

What is the current project you are working on?

We just did the final editing pass on "Wild Horses & Renegades" yesterday (7-16-11). I have been getting final feedback with the screenings at the International Wild Life Film Festival and the Capitol Hill screening in DC last week. I feel we have polished the film and it's ready. I will be working on marketing and screenings of Wild Horses & Renegades from now until the first of the year.

In addition I'm currently in production of a profoundly beautiful film title "Horse Medicine". "Horse Medicine" weaves together the stories, legends and magical experiences, exploring the mythological place of higher consciousness that exists between horse, human and the natural environment. Cowboys, Indians and equestrian lovers speak to how their lives have been transformed and healed by this amazing animal. Many of the stars that appear in "Wild Horses & Renegades" will be in "Horse Medicine" as well. I have been simultaneously shooting "Horse Medicine" as I was shooting "Wild Horses & Renegades".

How do wild horses differ in personality compared to domesticated horses?

Really good question. Most people do not realize how modern man has destroyed the profound social/family structure of horses. Horses in the wild have complex family unites, comprised of a Father (the band stallion) the Mother the lead Maier and numerous younger colts and fillies that are very educated and disciplined from their parents in how to live in the wild and be a part of a functioning family unite. The family must live and survive together in the wild, to do this they have evolved as a team and family. The Band Stallion is the protector looking out for the families health and well being in the wild. The Lead Mare tends to teach the younger horses proper protocol for living in the family unite. The Lead Mare will also make choices on where the band is to travel for food, water, shelter etc. with the Stallion brining up the rear. Wild Horses seem much better adjusted vs. domestic. Domestic horses in many cases are torn from their mothers at an early age, placed in a stall by themselves and have little interaction with other horses. This can lead to all kinds of problems with horses socializing and adjusting mentally.

Horses in the wild have to adjust and socialize to the family around them for their very survival. They are also exposed to all types of terrain, other wild life species and food sources. They can survive very well on a spare range, grazing on a number of different types of forage. It is survival of the fittest in the wild. Wild Horses have amazing lower legs and hoofs, they have evolved over years of natural selection to be perfectly adapted to their rugged environment. Domestic horses have been so inbred and crossbred that they have developed all kinds of problems as a result. Most domestic horses would have a tough time surviving in the wild.

I have a rescued Wild Mustang (Austin) he spend his first three years of life

[caption id="attachment_1406" align="alignleft" width="208" caption="James and Austin"][/caption]

in the wild with his family then was rounded up by the Bureau of Land Management. It took Austin some time to adjust but he has taken me on as family. He understands cooperation with others and being part of a team. Austin is great on my wilderness rides as he has experience seeing and being with other wild animals, so he does not spook or buck easily. I have never had to shoe Austin, he has incredibly strong hoofs and lower legs, he is incredibly resilient smart and level-headed.

Did you always want to be a filmmaker?

From a young age I had a desire to tell stories, I started writing scripts/stories when I was 14 or so.

What inspired you to become filmmaker?

I started with photo journalism on our high school news paper. My Mother was a photo journalist for a small newspaper and I watched her shoot and put together her stories weekly. My Mother had a dark room in our basement so I watched the process regularly and then started taking photos myself. This was my start. . . . As time went on I skied on the US Freestyle Ski Team as an Aerial Acrobatic Specialist. I was then in front of the camera for ski films and television sports shows. I learned a lot about film production working on those type of productions. I became a member of SAG as an Actor/Stuntman and did that for awhile. However I wanted to tell important stories to contribute back to the health and well being of the planet and started shooting and doing my own films. You can learn more by visiting (www.spiritridersmovie.com, www.theamericanwildhorse.com & www.movingcloud.com). I was inspired by the people I feature in my films. People who care deeply about the human and environmental condition.

What is the best thing about being one?

Being on incredibly beautiful and wild locations, connecting with Mother Earth and all of her profound Grace. Sometimes I capture it on film and sometime I just take it in.

What is the worst thing about being one?

The Artists struggle . . . My movies are not main stream they are hard-hitting important documentaries that challenge many of the special interest controlling our society. Most distributors and networks have told me flat-out they like my work but for business/political reason's they will not participate.

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

A guestimate would be around 60-80?

Who is your favorite filmmaker?

That is a tough one? I had the honor to work with Norman Jewison and ski with him as well.

Norman was great in the sense that we was so open, always willing to give and share advice. Plus he made some very thought-provoking, revolutionary films.

How has your life changed since you became a filmmaker?

I'm kind of a Lone Wolf. I work all the time, shooting, editing, fund-raising, promoting etc. Film Making is my life, I eat and breath it everyday.

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

Don't have big expectations for making a lot of money.

Do it because it is your passion, you will reach points in your films where your passion for the project is the only thing that will carry you through. Pick project's your passionate about.

What do you like to do besides filmmaking?

I love being with my horse Austin out in the wide open Western Lands! Nia, yoga.

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

Hell yeah! Worked on farms and ranches as a grunt, construction, waiting tables, Coaching/teaching Skiing, Tour Guide in a cave etc.

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

Another tough question. The Bounty, Dances With Wolves, Apocalypse Now, Easy Rider, The Last Temptation of Christ, Lawrence of Arabia, The Seven Samurai, Bill Maher show.

How would you describe your film education?

I was a part time film student at the University of Utah.

I found working with other film productions and my own films gave me great practical experience. The education process is always continuing, I love to learn.

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

I live in New Mexico and the film scene is very good here!

There is a sense of freedom and creativity (not so corporate and all about money) that still exists in New Mexico.

How has social media changed the independent film industry?

It's allowing us to be more independent on a much larger scale. We are watching it unfold day to day now, seeing new great ideas and opportunities!

What's your opinion on crowdfunding?

I just learned about it in the last several months and it seems to be working better than anything else I've tried.

Seems we are connecting the people with the film makers and leaving special interest out. I think it's a really good concept and we will continue to see it grow and produce wonderful works of art.

What is the casting process like?

I really do not cast, it's more a process of fate on who I meet along the journey.

What's your favorite movie quote and why?

May the Force be with you! I like to think that the Force is a much higher benevolent being, empowering us on our earth journey.

 

 

 

 

Thanks for doing the interview James. I'll be sure to spread the word about "Wild Horses & Renegades". Readers can find out how you can help wild horses by clicking here.

Interview with Shiloh and Rider Strong

For over two decades, Rider Strong and Shiloh Strong have been acting in theater, film, and television. When the brothers joined forces to write and direct, they produced the short film Irish Twins, which premiered at the 2008 Tribeca Film Festival and went on to win multiple jury and audience awards at festivals worldwide. That same year they created a spec commercial for Barack Obama’s presidential bid that MoveOn.org awarded Funniest Ad and raised the money to take to air; it was the first political ad to appear on Comedy Central. Their second short, The Dungeon Master, was a selection of the 2011 Tribeca Film Festival where it won Best Short in the online competition. It also won Best Comedy Short at the Sonoma International Film Festival. Their graphic novel, Blood Merchant will be released in 2011 from Image and Benaroya Comics and their next short, Method, will premiere at the 2011 Palms Springs Shortfest.  Follow Shiloh and Rider on Twitter.

What is the current project you are working on?

Shiloh - We are in the process of writing the screenplay for our graphic novel "Blood Merchant" which will be out soon. We have some feature film pitches we are going in on and a couple tv show ideas that we are taking meetings on. Throwing a lot out there and see what sticks.

Did you always want to be a filmmaker?

Shiloh - Always telling stories. Rider and I started out professionally as actors but out first movie we made when we were about 4 years old and our dad came home with a video camera. "The Great Toy Caper" It holds up pretty well.

Rider - It was an epic: roving cowboys who turned into superheroes at the sign of danger. John Favreau's got nothing on us.

What inspired you to become filmmaker?

Shiloh - I was just talking about this a couple weeks ago and I think for me it was seeing Ed Burns' "The Brothers McMullen" - that was the turning point for me I think and when I realized I wanted to move behind the camera.

Rider - Even though we were always acting professionally as kids, it was mostly theater and television. I don't think I really understood what a film director does until I started watching Laserdiscs with commentary. Menace II Society was a big one, and it seems fitting that they were brother directors. And then PT Anderson's Boogie Nights was the real clincher. When I saw that and then listened to his (multiple) commentary tracks, I remember thinking, I have to do this.

What is the best thing about being one?

Shiloh - I think the best thing is being in the audience and hearing the reaction to a joke or a moment in your film. It's better than any drug.

Rider - I really like any moment of discovery. Surprise. Because you have to do a lot of prep work as a filmmaker. Even if you didn't write the project, you make a whole bunch of decisions ahead of time. So I love it when you get on a set and are blown away by something you never expected: an actor does something magical or your DP nails a shot. I literally jump up and down when that happens.

What is the worst thing about being one?

Shiloh - When you don't get those laughs and the audience is silent. Crushing.

Rider - At the stage of filmmaking we're at, begging favors and trying to get people to work for free, I think post production is the most frustrating. Trying to find people that a) have access the right gear b) willing to work for cheap and c) are still talented? That's really challenging.

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

Shiloh - I have no idea! Projects for me means a whole mess of mediums: photo, writing, art, film, acting. I've been involved in some form of those creative endeavorer my entire life. I hope I can look back an not look at the number of projects I've worked on but take joy in a life lived creatively.

Rider - Agreed. We have three short films that have played festivals that we directed together. A multitude of scripts, shot scenes, sketches, commercials...

 Who is is your favorite filmmaker?

Shiloh - Tough one. So many. I just watched The Pianist again and I have to say, Polanski has the most amazing way of making a film his own through the use of his actors. I think he really is able to get them relaxed, inside their mind and create some powerful performances. So he is one of my favorites when it comes to working with actors. So I'll say him for now. Visually - Terrence Malick makes my day.

Rider - Scorcese. I'll keep it simple and just stick with him.

How has your life changed since you became a filmmaker?

Shiloh - A lot more broke.

Rider - Yep. A lot more broke, but somehow...more satisfied.

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

Shiloh - Shoot shoot shoot. Get your friends and get a camera and just start doing it - I think people like to hold onto an idea and wait for something to be "perfect" before going out and doing it. That's how you learn.

Rider - Totally. Write something and get people to make it with you.

What do you like to do besides filmmaking?

Shiloh - Surfing. Photography. Internetting.

Rider - Writing fiction. Reading. I'm a big book nerd.

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

Shiloh - Acting then now photography.

Rider - Acting. I've never had a real job.

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

Shiloh - Galaxy Quest. Arrested Development.

Rider - Stand By Me is still the most important movie in my life, the first movie to make me cry and get under my skin, I was 8 when I first saw it. It holds up. Foreign - any of De Sica's films. Six Feet Under was the reason TV was invented.

 How would you describe your film education?

Shiloh - From full frontal to shooting from behind.

Rider - Making it up as I go.

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

Shiloh - INT - SHILOH'S LOFT - EVENING

A light filled "downtown style" loft with the buildings of downtown seen through large windows. SHILOH, 33 and graying, sits at his computer desk typing away on his laptop.

                                                                                                                                                                                              SHILOH (V.O)                                                                                                                           This feels very meta.

CUT TO:

Rider - In LA, the film scene is very competitive and commercial. But there is more talent here than anywhere else in the world. You just have to dig deeper to find it.

How has social media changed the independent film industry?

Shiloh - I know it's helped us with out\r short films in getting the word out there - most of our interviews and connections seem to come from facebook or twitter now days. It's awesome to go to a screening, meet some people and then they can follow your tweets (I'm not very good at tweeting) or friend you on facebook. Makes me feel like they are a part of the film experience and a lot more interactive.

Rider - It's still changing. I'm curious to see how many of these movies produced by Kickstarter and the like can really jumpstart indie projects that do well. But we have yet to get to the point where online distribution is foolproof. Even for short films. I think it's really going to take a movie that could choose to be in theaters to go direct to internet. Like a Johnny Depp movie. I think if people could only download the latest Pirates film for $15, they would do it. And the Prints and Advertising budget savings might make it a valid option. But right now, there are too many people making a living off of stringing the audience through the distribution channels.

 What is the casting process like?

Shiloh - We've been pretty lucky in that we've known most of our actors as friends before casting them in roles. I'd love to da a proper casting though, been on the other side of that room so many times.

Rider - I hope to let actors play parts they might not normally get. I know I've thrived when a director casts me in a different light.

 How does independent film differ from the mainstream?

Shiloh - Not sure I'm an expert on that subject, but I would wager that indie film is not trying to appeal the masses - so you are going to get a much more nuanced, hopefully more focused story. That an also not being paid for my a studio. That would make it indie. :)

Rider - Yeah, as a "genre", indie just means targeted at a smaller audience. As a descriptive term, self-financed.

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

Shiloh - I'd love to see Orson Welles and his DP with a pick axe and shovel trying to dig the camera lower in Citizen Kane. That was an awesome moment and must have been cool to see.

Rider - Oh, just take me back to the 80s and let me watch Raiders of the Lost Ark being made.

You could be any animal. Which would you be?

Shiloh - Bison

Rider - Wolf

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

Shiloh - Fly.

Rider - Fly. I want to say invisibility but then everyone would think I'm a creep.

What is your opinion on movie remakes?

Shiloh - Bring it. Make em terrible. Everyone loves talking about how "The Original" was so much better.

Rider - I wish people did more remakes of bad films. Remaking a good one is just pointless.

What is your opinion on comic book adaptations for film?

Shiloh - Awesome. Sin City is the best so far that I've seen. Watchmen was pretty cool too.

Rider - Not a huge fan. I never like it when someone forgives bad dialogue or cheesy moments in a movie because it's "like a comic book!" No. It's a movie, regardless of where it was adapted from, it shouldn't be like a comic book. But then again, I'm not into superhero stuff in general. Unless they're cowboys who turn into superheroes. That's totally cool.

 

 

 

Thanks for doing the interview guys. I'll be on the look out for "Blood Merchant". Cowboys we turn into superheroes, you two where ahead of your time. That's an awesome concept. Lastly, I just wanna say I saw "Dungeon Master" online via Tribeca Film Festival. I loved it.

Interview With Scott Storm Director/Editor/Animator

TEN ‘TIL NOON, a critically acclaimed crime thriller, is Scott Storm’s second feature as a director. A film festival darling, with nine awards to its credit, the film secured both a small theatrical and worldwide DVD release.

Following TTN’s festival run, Scott served as co-producer, star and animator on the documentary, OFFICIAL REJECTION, a film that both chronicles the festival run of TEN ‘TIL NOON and serves as a film festival navigational tool for independent filmmakers worldwide.

His first feature, BURN, was a Slamdance Film Festival official selection and Special Jury award winner. Director Bryan Singer (THE USUAL SUSPECTS, X- MEN) and musician Adam Duritz (COUNTING CROWS) both served as executive producers. The film enjoyed a global film festival run, resulting also in a second-place award at WORLDFEST.

Scott attended both the School of Visual Arts and New York University Tisch School of the Arts, earning a BFA in Film and Television. The rights to his thesis film, SMILE, were sold to MTV Productions in 1997 and it has been broadcast during the Halloween season.

Scott has worked as an animation director on both local and nationwide television spots for MTV, NINTENDO and NICKELODEON. He has also worked in post-production editing feature films, reality television shows and award-winning theatrical trailers. In 2005, he traveled to Sydney, Australia, to perform special editing work on Bryan Singer’s SUPERMAN RETURNS.

Scott currently resides in Sherman Oaks, California with his wife and newborn son.

What is the current project you are working on?

That's a bit of a trifecta. On the one hand, I completed work on the investigative documentary WE RUN SH*T, a harrowing look into the experiences of a small group of club promoters navigating high ambition, criminal activity and borderline poverty at the hight of the economic downturn in America. On this picture I served as co-director, co-producer, editor and (gulp) animator. More info at www.werunshitmovie.com. This film is currently out to festivals and we are also taking meetings with potential distributors.

On the other, I am in the VERY early stages of development on a new screenplay by my TEN 'TIL NOON and OFFICIAL REJECTION partner in crime, Paul Osborne. SMALL HOURS is a dark character drama, right up my alley, that will be shot in spring or summer of 2012.

Lastly, in actual production, is a short animated film, THE APPLE TREE. I started work on it in February and it is being done entirely in Adobe Photoshop and After Effects. Since I have an animation background, having directed commercials in the 90's and done animated work on both OFFICIAL REJECTION and WE RUN SH*T, this seemed like a great way to keep my creative muscles flexed while larger projects took time to get rolling. It requires no money at all. I have the idea and I have the tools at my disposal. All it takes is time, effort and patience.

How would you describe your film education?

I went to three different film schools, because I am very difficult to please. The School of Visual Arts in NYC, Emerson College in Boston, and NYU. Honestly, I did not learn much more in film school than I hadn't already taught myself while running around the upstate New York woods with my friends and a Super-8 camera. So while I don't actually think film school is a great way to spend your time and money, I did form one or two lifelong friendships that would serve me later on, both personally and professionally.

What's your favorite movie quote and why?

It's not even from one of my favorite films. When Willy Wonka grabbed  Veruca Salt's face and turned it toward him after her blurting out, "Snozberry? Who ever heard of a snozberry?", what came from him was something I'd never have expected.

"We are the music makers and we are the dreamers of dreams."

So simple, so direct, so humbling. That statement sums up everything I believe about being creative and taking full responsibility for what you do with all that inspires you. It's another reason I also love watching other filmmakers' work. Because although you can feel that twinge of healthy competition from them, and even a hint of envy when you are blown away by what you see, you can also take comfort in being a part of a close-knit and super cool society.

Did you always want to be a filmmaker?

No, I'd originally thought I'd be an onithologist, because I loved birds. We had a birdfeeder right outside our kitchen window and at one point, I could name them all. Then I discovered music through one of my oldest and dearest friends. We had a basement band and I played the drums. My parents never recovered from the pounding chords of RUSH, YES, RETURN TO FOREVER and even the odd LYNYRD SKYNYRD songs wafting up through the vents. Then of course, I found a movie camera.

What inspired you to become filmmaker?

Predictably, STAR WARS. I had never seen anything like it. I saw it 20 times at least that first year in 1977. I was all about special effects for awhile there. But then when I started seeing the more serious dramas of Sidney Lumet, Martin Scorsese and Milos Forman, my interests shifted almost instantly.

What is the best thing about being one?

Being able to birth an idea and make it into something larger than life. You conceive it, you grow it with the help of close friends and collaborators, and then you can sit back and watch it and share it with others. Regardless of what period your story takes place in, each film you make is a time capsule for that chapter of your life, and you can replay it over and over again.

What is the worst thing about being one?

It's expensive, exhausting work, and often times...as I have unfortunately seen, it can cost you both relationships and friendships.

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

All in all, I'd say 25 to 30

Who is is your favorite filmmaker?

That would have to be a tie. Peter Weir and Terrence Malick, both of whom I've had the extreme pleasure of meeting personally. Their films speak to me on levels that not many do and they are both masters of story and image. After seeing their early work I was never the same again...thank God.

How has your life changed since you became a filmmaker?

Always for the better, even in the wake of disaster. Because every day I wake up and face the day, I am making something. I am creating. And I always go to bed with a tremendous feeling of accomplishment. A day spent without creation is a day wasted.

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

Be relentless. Become an extrovert. Conquer all fear. Network. See many, many movies. Even the bad ones. Network. (this is something I've still never mastered) Do not trust easily. Most people you meet and talk to in the business are entirely full of shit. Be choosy of your allies. Network.

What do you like to do besides filmmaking?

Spending time with my family, live music, live theater, hiking in the northeast, travelling (outside the U.S.)

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

I ripped tickets at my local cineplex, and was soon banished to the projection booth when I refused to take bullshit from customers at the concession stand. I painted subways in Brooklyn. I was a shipper-receiver for an Ad Agency in New York. I had a stint as a picture framer. Last job before I made the leap was editing wedding videos. I do not wish those years of hell on anyone.

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

AMERICAN FILMS: Dog Day Afternoon, Taxi Driver, Close Encounters of the Third Kind, Network, Badlands...

FOREIGN FILMS: The Year of Living Dangerously, Wings of Desire, The Seven Samurai, The Virgin Spring, City of God

TV SHOWS: *Breaking Bad, Sons of Anarchy, Mad Men, Entourage, The Shield

*funny story: as I was coming INTO NYU as a sophmore transfer, a guy named Vince Gilligan, creator of BREAKING BAD, was graduating. We were shown the short films of the outgoing class at an orientation. Mr. Gilligan's film, I thought was one of the worst I had ever seen. So strange he went on to create one of my favorite television shows.

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

I am not terribly involved in the "scene" because I find most filmmakers I meet in Los Angeles to be utterly pretentious. There are some truly talented people here, some who I met on the film festival circuit, but I steer clear of the "scene" because I prefer to collaborate with people who don't strike me as instantly dishonest. I do recognize that this could also be born of my own personal issues with people in general. Some time ago, I did try to go to some indie film group functions and workshops, but what I found there was largely a bunch of people pissing and moaning about how hard it was to get their films made.

How has social media changed the independent film industry?

It's enabled filmmakers to get the word out about their work without having to rely on publicists, producer's reps or marketing budgets. That is, providing that you have a wide reaching network or have access to people who do. You no longer have to wait around for someone to "take you on" as it were. With social media, you can bring your film directly to as many people as you can gather.

What's your opinion on crowdfunding?

Well, I've seen it work tremendously well for a few friends of mine. It's not worked for others. Again, it's all about your tenacity and determination and of course, your relentlessness. I am going to give this a try in the coming months. But since I am not a terribly social individual, I do expect to hit a few brick walls. Having said that, I also will be enlisting the help of someone who's been there and done that and listen to what he has to say. It seems like the wave of the future for indie film, especially in that you are only asking people for as much as they can spare. In doing that,  no participant is going to feel like they are in over their heads, and none will expect a monetary return on their "usually small" investment in your project. The more you gather, the more you have to work with. One can't know for sure if this will be a lasting trend, but it looks like a great idea is here for the taking.

What was you favorite cartoon when you were growing up?

Without question, Jonny Quest. I'd never seen something that took such risks in pushing the cartoon violence envelope...that is until I became aware of Ralph Bakshi. But it was just everything a young kid could ask for. The jazz soundtrack was another thing that made it a cut above the rest. Of course then the networks wussed out and cut a good portion of the gunplay and anything that could possibly be construed as racist. In my view, you just let it be. It was a product of the times.

What is the casting process like?

It's grueling. You usually have little to no money, but you still have to find the best of the best in spite of that. You cannot always be successful. And often times, you have an actor who KILLS the audition, and then when it comes time to shoot, they choke. I have had this happen once or twice. It's a risk. But when you go in knowing you've found the right people for the right parts, it's the most rewarding thing on earth.

How does independent film differ from the mainstream?

It has cajones. It doesn't try to be anything for anybody. It tells dangerous, volatile, rapturous, emotional and unusual stories. Don't get me wrong, some mainstream films DO get it right. But a precious few. I'll take a BLUE VALENTINE over a HARRY POTTER any day of the week.

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

NETWORK, simply because I'd get to hang with Paddy Chayefsky, who I consider to be the greatest screenwriter who ever lived, and Sidney Lumet, whose work I've championed since I first saw Dog Day Afternoon and Serpico as a kid. I'd have drinks with William Holden, dinner with Faye Dunaway....and hide in the corner and watch the filming of Ned Beatty giving that unforgettable speech to Peter Finch in the dim light of that board room.

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

To manifest money so that I could stop working for a living and direct full time, help my super-talented friends get THEIR films made, and make sure my kids had the best education money can buy.

What is your opinion on movie remakes?

It's cowardly and safe. It is also disgusting. Just because we have a new generation every 20 years does NOT mean they need to see an updating of something that was cool 20 years before, but catered to THEIR sensibilities. It's criminal. It's just plain stupid.

What is your opinion on book to movie adaptions?

It's not fair for me to really answer this, because I'm one of those weird-ass people who would rather see a movie than read a book. Of course, George R. R. Martin is slowly changing that. But it was because I saw the HBO adaptation of GAME OF THRONES that made me want to dive into the remaining books in the series. I'm far too impatient to wait for the show to be made and aired.

Is there anything else you would like to add?

No I think that about covers it. Thanks!

Thanks for doing the interview Scott. Keep me posted on your projects. I'm a big fan of Mr. Paul Osborne. "Official Rejection" is one of my favorite independent films. Follow Scott on Twitter @stormwatcher6.