Filmmaker Christopher Grimes

Christopher Grimes and Leigh Cavich-Grimes started 5414 Productions in 2008 with the goal of building a small, independent production company focused exclusively on documentaries that deal with complex issues in public policy from both a macro and micro perspective.  5414 Productions is co-located in Chicago and Washington D.C.

With experience in both government and politics as well as a Master's degree in Public Policy & Administration from Northwestern University, Christopher brings a unique set of real world and research skills to his directorial debut, A Second Knock at the Door, 5414 Productions' first feature-length documentary.





What is the current project you are working on?

A. 

A couple of months ago we completed our production company's first feature-length documentary, "A Second Knock at the Door."  I have been working on ASKATD for over two years and it tells the story of military families dealing with the loss of loved ones to friendly fire.  This documentary explores several key incidents in which the families of the fallen were forced to embark on a quest for the truth after the Army attempted to bury the true cause of death within the "fog of war."

For ASKATD we travelled the United States talking with the families of soldiers killed by friendly fire, military experts at the US Army War College, and members of the press including Barton Gellman, Contributing Editor at Large of Time magazine.  The documentary is going to premiere at Vegas CineFest this August and then we plan on having a robust screening schedule across the United States this fall and winter.

Did you always want to be a filmmaker?

A.

I have always been fascinated with the complexity and relationship of public policy, government, and the general public.  While I did participate in some filmmaking endeavors (screenwriting & producing) in my early 20s, I ultimately decided to focus on teaching political science and history at community colleges and working on political campaigns.  It did not take me long to realize what I most enjoyed about teaching was making public policy, through the use of real world examples, interesting to 18 year olds.  Ultimately that discovery lead me back to documentary filmmaking.  At the end of the day, a good doc is bringing public policy to life for a much broader audience and if I kept 18 year olds interested for two+ hours, I figured I had the ability to make a decent film.

What inspired you to become filmmaker?

A.

Basically two people.  The first was Joe Reno.  He has been involved in the filmmaking game for 20+ years and encouraged me in the early 2000s to join him on a few projects and then ultimately helped convince me to take on the challenge of turning a Master's thesis on friendly fire into a feature-length documentary.  Joe is a Producer on ASKATD and has always been available for advice, opinions, and support right from the beginning of the process.

The second is Charles Ferguson, director of both "No End in Sight" and "Inside Job."  While I have never met Mr. Ferguson, I loved both of his documentaries and respect his journey from professor to director.  When I saw the outstanding job he did with "No End in Sight," it gave me the confidence to take on the same challenge.  While I would never compare myself to him, he is producing work that not only inspires, but also convinces me that the public is interested in complex examinations of topics related to public policy.

What is the best thing about being one?

A.

The creative process.  A film is self-contained.  You basically see the whole path of life from birth until the end when you take on the challenge of making a film.  At the beginning of the process, I think you have certain expectations of where you will end, but you really have no idea.  This is especially true with documentaries.  You will get certain people that will agree to sit down with you and you will be disappointed that some will not.  Some interviews will go well and some will not.  Ultimately, all of these things mean you are forced to be flexible and more importantly creative.  I really enjoy that part of the process.  We are just beginning the research into a new project and it is so exciting to start down a road in which we have now idea were where we will end up.

What is the worst thing about being one?

A.

You may hear this a lot, but the hardest thing for me is raising the money for a project.  Most of our projects require a good bit of travel and that can get expensive, but I think if you really believe in a project and people are convinced that you will see it through to the end, it really is not as hard as people may think.

In terms of making a documentary, money can never be the excuse for NOT getting in the game.  You may not be able to travel the country for interviews, but interesting people and topics are all around you.  Everyone has a story to tell, so find a topic with a local flavor, put an ad in Craigslist for a person with a decent camera that is looking for experience (thus will work for free), set up some interviews, and start making a documentary.  Everything will probably go wrong the first time, but who cares, you are learning the process and the next one will be the big break!

In the new world of crowding funding (We raised over $6000 for post-production expenses on ASKATD), you have even more tools to get you where you want to be.  As an example, check out the crowd-funding campaign that our collaborating partners on ASKATD, Julie Keck and Jessica King (www.kingisafink.com) & Phil Holbrook came up with for their movie, Tilt, on Kickstarter. People will support good projects with creative crowd-funding campaigns, so get started.

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

A. 

Collaboration.  When you get in a room with people that you trust and who also believe in the project, it can be an amazing experience.  It is not easy to agree on cutting locations, interviews, or early in the process, whole concepts/ideas, but when you decide to collaborate with other filmmakers you are explicitly trusting their judgement (and they are trusting you) over the course of the process.  As much as you may love an interview, if the rest of the team doesn't really agree, it is probably in your best interests to make the cut.  If you are not willing to trust their judgement then either you are not a very good collaborator or you are working with the wrong people.

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

A.

Since I have been watching a lot of documentaries the past few years…outside of David Simon's superb work on The Wire and Treme, these are my favorites: Enron: The Smartest Guys in the Room, No End in Sight, When the Levees Broke, Inside Job, Murderball, Capturing the Friedmans, Man on Wire, The Trials of Darryl Hunt, The Fog of War, Lake of Fire, and Spellbound. 

How has social media changed the independent film industry?

A. 

I have a lot of friends involved in independent filmmaking and a few simply refuse to get in the social media game.  I think that it a huge mistake!  Almost any successful career is built on connections and I think this is particularly true with independent films.  In the past, I am not sure that there really existed a "place" where one could find people independent filmmakers across the country.  Social media, and Twitter in particular, has totally changed the dynamics of independent filmmaking.  I think some people fail to realize that connections can move way beyond tweeting each other.  We were introduced to our collaborators on ASKATD, Jessica King and Julie Keck of King is a Fink, on twitter around October of 2010 and in less then a month we are all traveling to Las Vegas for the world premiere of the film!  This was a real, durable, and fantastic connection that ultimately made ASKATD a much better film.  Get involved!  It is well worth the time and effort.

What's your favorite movie quote and why?

A. 

"I coulda been a contender." - On the Waterfront (1954)  The only way to live without regret is to take your shot.  If you want to be a filmmaker then make a damn film.  In my mind it is the only way to really learn the process.

Thanks Chris for doing the interview. I will be sure to spread the word about your film "A Second Knock at the Door."

Interview With Screenwriter Robert Pilkington

Robert Pilkington is a screenwriter and the author of www.HeroesAreBoring.com, a blog about writing for the big screen while no one's paying attention. He's worked in the Boston film industry for the past 4 years, doing everything from reading scripts to freelance commercial work. He's currently seeking representation.

You can follow him on Twitter @HeroesAreBoring 

Did you always want to be a screenwriter?

Well, I always wrote and at some point it just clicked that it should be for film. I always loved movies. I admired actors and directors... but man, that stuff is too hard. If I need my story to have a car plunging off a bridge while a couple realizes they really love each other as the chick goes into labor (and a unicorn saves them), I just want to write that down. I don't want to figure out how to actually physically make it happen.

What inspired you to become screenwriter?

Don't know if it could be narrowed down to a specific thing. It was the combination of always wanting to write, being encouraged to do it, and being involved with other stages of filmmaking. Have you ever been on set? It's pretty miserable. You're either waiting around to move something heavy, or in a panic trying to organize everything. At least for right now, the screenwriting/development stage is where I feel like I can do the most.

Who is is your favorite filmmaker?

Kubrick. The Coens. Hitchcock. Those sound stupid to say, though. It's like saying you like the Beatles. I have to say that if Martin McDonagh keeps it up, he's probably one glorious film away from making a distinct impression on me. Probably a gun-shaped impression, but an impression just the same.

I'd like to be able to cite some favorite indie filmmakers, but I feel like that's a difficult thing to define. If I'm seeing it in a theater, that means its distributed by a studio? Does that not make it "indie" anymore? Tarantino? Lucas? Lynch? Bueller? I just don't know. And honestly, who cares? Just watch the movie.

What do you like to do besides screenwriting?

I like to... be interviewed? IS THIS A TRICK QUESTION?!

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

Ha. And after, too. I was a script reader for a bit and that was really fascinating. You learn a ton about writing when you're reading absolute garbage. Screenplays so bad that you imagine you'd need some kind of Clockwork Orange apparatus to get anyone else to read them. It was wonderful, recommended for all wannabe screenwriters.

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

"American films". Sounds like sorta a naughty phrase. Miller's Crossing is one of my favorite films. Pollock. Raging Bull. This year I really enjoyed Hesher. I thought that was a hell of a script.

I have a few favorite foreign films. The Lives of Others is on my shelf. As is The Piano Teacher. And Olmi's Il Posto. And The Rules of the Game - fantastic film. I just saw Incendies, too, which I'm sure will make my year's top 10 list. And The Wire is my favorite television show... with Mad Men coming up a close second.

How would you describe your film education?

Formal education was at Boston University's Film and Television program, which was a blast for me, but the education is ongoing. If you're in a creative field and you're not continuing to learn stuff, then... what in God's name are you doing?

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

Frustrating. There's a lot of interest to make indies in Boston, but little precedence or organization to do so. There are talented people here, but it always feels like a scramble. My attempts to work with local producers and directors have been derailed by creative differences and funding issues, things that should have been sorted before I ever put pen to paper. But people do make films here. It's all about finding the right project and collaborators - which, I imagine, is the same as anywhere else.

How has social media changed the independent film industry?

"I suppose? It’s hard to think of something that social media hasn’t changed. Rocks, maybe? Rocks seem pretty much the same.

I believe in it. That's why I have Heroes are Boring. You hone a voice, throw it into the void, and see who smiles at it. It's really feeling your way through the dark, but I totally dig the power of Twitter, Facebook, Tumblr, and the like. It's no surprise that indie filmmakers wanting to reach a niche audience do too.

What's your opinion on crowdfunding?

I've seen it work, but don't know about a lot of the ins and outs. You're basically asking people for donations, right? Nine out of ten homeless people would probably agree that this is pretty effective. I bet there's a poor soul out there right now crowdfunding a sandwich. Doesn't mean the sandwich will be any good.

How does independent film differ from the mainstream?

Simply put: you can tell a greater variety of stories in indies. Mainstream films have the capability to cast a very wide net for ticket sales, so they want to make sure that whatever they're producing is inviting enough to fill that net. Indie filmmakers don't have such a big net, know there's gonna be a niche audience, and can do whatever they want with the story. There's no focus groups or test screenings for indie film. There's no "tracking" interest in an indie film. The ending can be sad. The hero can be a non-white guy. Animals can be killed. You can run the whole gamut of Hollywood no-nos.

And indie film is supposed to be more honest because of this, but I don't feel like that's not the case either. Hollywood and independents produce, at least by my count, identical percentages of empty films.

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

Star Wars? So I could sabotage the production and "write it" myself (and nab the merchandising rights). Hmmm... time-traveling art pirates. You're welcome, Hollywood.

What's your favorite movie quote and why?

Wow, impossible to answer. We'd be here all day if I go into this, there are just too many. Off the cuff though, I was recently reminded of a back and forth from The Life Aquatic with Steve Zissou.

Festival Director: The shark an endangered species at most. What would be the scientific purpose of killing it?

Steve Zissou: ...Revenge.

Perfect line. Perfect delivery. And while it's so funny, it also reveals a bit of where Steve's head is at. Good writing is always doing several things at once.

What is your opinion on movie remakes?

They should probably decrease but I get why they they get made so often. The amount of money and effort that goes into a studio film is tremendous. If you can guarantee a large audience just based on the pre-existing brand a project already has, then it removes a lot of the risk. It's keeping a lot of mortgages paid (and that's fine), but not particularly helping the art form either.

What is your opinion on book to movie adaptions?

I always here a lot of people complaining about this and it baffles me.

America has been adapting stories for film pretty much since it's had film itself. "The Great Train Robbery" is an adaptation. "The Godfather" is one. "Apocalypse Now". "Gone with the Wind". "The Wizard of Oz". "2001". As someone who writes original material for the screen, sure, I want to see spec scripts get made (and they should get made), but I don't hear a lot of people bitching about those movies I just mentioned.

Is there anything else you would like to add?

No, but I'd like to subtract some stuff. Where's the question for that?

 

 

 

 

Thanks for doing the interview Robert. I'll spread the word about your blog www.HeroesAreBoring.com

Producer Leslie Wimmer Osborne

 

 

Leslie Wimmer Osborne is co-president of Conspicuous Pictures and works in Special Programming for Paramount Pictures. She has produced the indie thriller FAVOR – currently in post-production and written and directed by her husband, Paul Osborne - and the acclaimed documentary OFFICIAL REJECTION about the film festival circuit. She is also developing television content for Conspicuous Pictures.

In her spare time, Leslie enjoys skeet shooting, training ferrets as covert military assassins and baking.

What is the current project you are working on?

Just wrapped filming on our independent feature FAVOR and am gearing up for post-production. Also starting to pitch some television programming ideas.

What is it like to work with your spouse?

I really enjoy working with Paul. He is very intelligent and creative, and has a specific point of view which makes his films interesting. Plus he's a funny guy so he's always making me laugh. And he gives good back rubs.

How do you balance being a mom and being a producer?

By accepting that sleep is something I don't get much of these days! Also, I try to maintain boundaries. When I'm working, I give 100% of my attention to that; and my kid gets 100% of me when it's his time. I think being able to fully focus on what I'm doing at the time enhances all aspects of my life.

Did you always want to be a producer?

No, I started out wanting to...wait for it...ACT. I did plays and musicals as a child and went to school to study acting. It wasn't until I started working for a studio out of college that I realized I am a detail-oriented person who has a knack for organization. What I like about producing is that it's a good mix of the creative and the organizational. Plus I like being in-charge!

What inspired you to become producer?

Necessity. There were projects I became aware of that interested me so I took over the producing responsibilities in order to facilitate them getting made.

What is the best thing about being one?

Getting things done! I've always been the type of person who likes making lists and crossing off tasks, so I enjoy the sense of accomplishment. Also, assembling and working with a team of creative people who share a collective passion on a project.

What is the worst thing about being one?

Having to ride and sometimes let go of folks who aren't upholding their responsibilities.

Who is  your favorite filmmaker?

I don't have a favorite filmmaker per se but I do tend to be drawn to a specific type of film. I really enjoy the smaller or off-kilter films which have an 'indie' feel to them - even if they are a studio release. For instance, I love Mike Nichols' THE GRADUATE; or Hal Ashby's HAROLD & MAUDE; or Jason Reitman because of JUNO and UP IN THE AIR. I'm also drawn to foreign cinema because it tends to be very character-driven, like A MAN AND A WOMAN by Claude Lelouch or JESUS OF MONTREAL by Denys Arcand.

How has your life changed since you became a producer? 

It's definitely become busier. But in a fulfilling way. I also have to sign a lot more stuff now.

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

Don't wait around for someone to hand it to you because that rarely happens. Go out, do it yourself and make it happen!

What do you like to do besides producing?

Sleep....

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

I've already mentioned some of my favorite American and foreign films. My favorite TV shows currently are COMMUNITY, MODERN FAMILY, COUGAR TOWN and 30 ROCK - again with the 'off-beat' sense of humor. (Plus, I want Tina Fey to be my best friend.) I'm also addicted to reality TV - anything ranging from PROJECT RUNWAY to THE BACHELOR to HOUSE HUNTERS INTERNATIONAL. Love love love it!

How would you describe your film education?

Expensive (I went to USC).

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

I live in Burbank which is as 'scene-y' as you can get. Most of the major studios in LA are there, as well as many, many production companies. I live down the street from THE TONIGHT SHOW.

How has social media changed the independent film industry?

It's provided a free marketing platform that reaches a wider audience than previous tactics could. Or put more plainly, it's turned us indie filmmakers into bigger whores.

What's your opinion on crowdfunding?

I think it's a terrific new resource that supports the arts at the most fundamental level. People can contribute to see the art they want made. Or contribute to make the art they want to see. Sheer brilliance.

What is the casting process like?

Although it can be tedious watching the same scene over and over, it's exciting when a performer takes a character somewhere unexpected and makes them a living entity. I find it inspiring.

How does independent film differ from the mainstream?

Moulah. Or lack thereof.

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

XANADU.

It's my favorite film of all-time and I wanted to be Olivia Newton-John in the early 80's. I still kind of do, actually.

What's your favorite movie quote and why?

"No representation without taxation" - Capt. Hilts (Steve McQueen) from THE GREAT ESCAPE. Hilts is so drunk he misquotes the saying.

What is your opinion on movie remakes?

Generally not a fan.

What is your opinion on book to movie adaptions?

Thumbs up.

Is there anything else you would like to add?

Yes. Tina Fey, I was serious about the BFF thing. Call me!

 

 

 

 

Thanks for doing the interview Leslie.  I loved "Official Rejection". I hope to see "Favor"  when it is at a festival near me and/or on DVD.

Interview With Actress Christina Rose

After making her Broadway Debut in 'GREASE' at the Brooks Atkinson Theatre her film career took off. Christina can be seen starring in films such as the zombie comedy 'Death of the Dead' and movie musical 'How Do You Write a Joe Schermann Song'. Other film work includes Favor, 'DeadHeads, Circle of Fury, and Happy Birthday Harris Malden. Some favorite TV appearances include '30 Rock', 'All My Children, Saturday Night Live, One Life to Live, and Flight of the Concords. She has also appeared in National Commercials: Axe Body Spray, Discover Card, and Under Armour.

You can  learn more about Christina Rose and her projects at the following sites:

Website: www.christina-rose.com

Twitter:  http://twitter.com/#!/Christinarose12

Facebook: http://www.facebook.com/christinaroseactress

IMDB:  http://www.imdb.com/name/nm3010903/

IBDB: http://ibdb.com/person.php?id=481763

Did you always want to be an actress? What inspired you to become actress? What is the best thing about being one? What is the worst thing about being one?

I have been singing, dancing, and acting for as long as I can remember. I grew up in a very musical family. I got my start performing professionally in my parent’s band at age 10. I also worked as a professional dancer in the ‘Nutcracker Ballet’ at the Fox Theatre around the same age. I think I always knew I wanted to see my name in Lights ☺. The inspiration to perform on Broadway came from seeing my very first Broadway Show, which at the time was ‘Showboat’. I knew that I loved singing, dancing, and acting and Broadway seemed like the right fit! My dream came true when I made my Broadway Debut in ‘GREASE’ not too long ago ☺.

The best thing about being an actress is that I always get to explore new characters. If I were at a nine to five job I would be doing the same thing every single day. I love keeping things fresh and exciting so being an actress gives me a new challenge every single day.

I think the worst thing about being an actress is how hard we are on ourselves. I am a perfectionist in every way possible, as I know many actors are. We always want everything to be golden. I am selling myself everyday which makes the job very personal. I am the product that I have to sell and if someone isn’t interested you take it personally. The challenge comes in when you need to realize that you are so much more then just your product.

What's it like to work with filmmakers Gary King and Paul Osborne?

I feel honored to have had the opportunity to work with both of them. I know there are many actors out there dying for an opportunity to work with such talented filmmakers. My relationship with each filmmaker is a little bit different.

I have been fortunate enough to work with Gary King starring in two Feature Length Films. Our first film together was ‘Death of the Dead’ — we hit it off so much that he wrote me the part of "Evey" in ‘How Do You Write a Joe Schermann Song’. It was so flattering to have a role of this caliber written for me. Words cannot express the level of talent and expertise that Gary King has as a filmmaker. He is one of the few Independent filmmakers I know whose vision is clear, inspiring, breathtaking and unique to each film he creates. He is not only driven but also daring in his work. To say it has been a pleasure to work with him on various projects is an understatement. I truly see myself wanting to work with him throughout my entire career. He is someone to watch out for in the near future as I see his career blowing up a bit each and every day.

I also recently had an opportunity to work with Paul Osbourne on his Feature Film ‘Favor’. After reading the script to the film I was hooked. I was really excited to play the role of ‘Kimber’. Paul is a smart director who knows what he wants and won’t stop at anything to get it. His entire creative team was a pleasure to work with which is a testament to Paul being on his game. He was such fun to work with on set. He made it really easy for all of us to do our job well while enjoying each minute on set. I look forward to seeing the final product of ‘Favor’, and would love to work with Paul Osbourne again in the near future! ☺

How has your life changed since you became an actress?

It’s surprising to have people you have never met before recognize you on the street and tell you that they love your work. I didn’t realize it could happen so quickly. I am truly touched to have genuine fans that follow my work and support me. I always say ‘Quality not Quantity’.

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

It would be impossible to count them all ☺. I feel blessed to have been able to work professionally as an actress, dancer, singer, and model. I started in the theatre doing plays and musicals at a very young age. Once moving to New York I was able to use my acting chops for Film, TV, Commercials, Broadway, and Print Work. It’s been such an amazing ride and I have no regrets. I encourage people to check out my website to find out more about my current and past projects.

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

Work hard,

Get serious, &

Don’t give up!

What do you like to do besides acting?

I’m originally from MI so I really enjoy the outdoors. Over the summer it's fun to go camping, swimming, or on a relaxing boat ride. These things are sometimes harder to do in New York so I always enjoy planning a trip back to my hometown to visit my family over the summer. We have a gorgeous boat that we take out as much as possible. I also get to spend time with my beautiful sisters, which is always a plus!

Have you had any other jobs before you decided to become actress?

My very first side job in New York was working as the Princess in the FAO Schwartz Toy Store on 5th Avenue. I didn’t want to be a waitress like a lot of actors I knew in the city. Ironically, this helped director Gary King and I create a unique and thought provoking job for my character of ‘Evey’ in ‘How Do You Write a Joe Schermann Song’.

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

American Films: When Harry Met Sally, West Side Story

Foreign Films: Amelie

Television Shows: Modern Family, Friends, The Office, Californication, Dexter

How has social media changed the independent film industry?

I think social media has helped the independent film industry flourish and grow. Now actors and filmmakers are able to collaborate and work together across the country if they want! We have also at times eliminated the huge casting calls and rigorous searching for other filmmaker’s projects we’d like to help work on. This has revolutionized what we can do with our work. Filmmakers can now build a fan base for their films just from the touch of a button online, and actors can finally get their name out there in a big way. It’s pretty incredible. I look forward to seeing what the future will bring to Independent film with this impressive social media network that we now live in.

What's your opinion on crowdfunding?

My first experience with crowdfunding was while I was producing ‘How Do You Write a Joe Schermann Song’ with director Gary King. We started a Kickstarter campaign during the pre-production phase of the film. We had an incredible amount of backers that helped us reach 30K. It was something that seemed almost impossible while setting our goal in the beginning. Our movie musical would not be what it is today without crowdfunding and the support of all of our incredible backers. We cannot thank everyone enough who has helped in some way by either donating or spreading the word. We realized during post that we still needed so much more for the film to make it magical and sparkle (It is a musical after all hehe). So we came back to Kickstarter a second time raising just over 18K. We had some backers return to support us and some phenomenal new backers join in. We just had a recording day on July 25th for the Orchestra to help create our musical score. I have nothing but positive things to say about crowdfunding. I found that on twitter it has become a family of support. We all try to support each other’s campaigns by donating money or spreading the word. I’ve noticed many of our peers also succeed in their crowdfunding efforts and it’s an overwhelming feeling to know we are all working together towards success!

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

This is so easy for me. Without any hesitation it would be ‘West Side Story’. I would have loved to play ‘Maria’. I love that the film is still going strong and as popular today as it was when it first came out. By the way, this is the only film I’ve ever been able to watch nine times in a row. (Road trip-no joke!!)

What's your favorite movie quote and why?

‘There’s no place like home.’ Wizard of Oz.

This is just such a profound statement. I enjoy exploring my career and traveling all over the world, but it’s so true that there really is no place like home. I try to go home to MI as often as I can to visit my family. Unfortunately, it’s sometimes a challenge finding the time with my busy career, but they are well worth making the time for. I have three beautiful sisters and a loving and supportive mom and dad. I would not be as successful as I am today without their endless support. Words cannot express how much I love my entire family. ☺

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

I would love the ability to fly. I have very vivid dreams where I can actually control how high I am going and various locations that I fly to. It’s very invigorating and astonishing. They tend to be some of my most exhilarating dreams.

Is there anything else you would like to add?

Thank you John for the opportunity to be part of this interview, and to all of the readers who have taken the time to listen. I look forward to ‘How Do You Write A Joe Schermann Song’ making a World Premiere soon. There are some awesome new projects that I am currently collaborating on so please stay tuned to my website, twitter, and Facebook pages for more on my current and future work!

Thanks for doing the interview Christina. I'm going to see "‘'How Do You Write A Joe Schermann Song" and "Favor" when they come to a film festival near me.

Jonathan Schiefer Interview

 

Jonathan Schiefer has writing screenplays since 2003, he has since gone on to direct everything from feature-length movies, to music videos. He also does most of the editing for Spiritus Vult.

What is the current project you are working on?

I've had an idea in the back of my head for a while: movies are too short a medium to adapt novels. In order to fully capture a novel, the depth of character, the intricacies of the plot, the occasional poetry in the language, another medium must be used. The two alternatives we've got in the U.S. are movies and TV. However, most TV shows go on and on until there's no longer an audience for them. By the time many good shows actually gets canceled, it's because no one's watching them anymore; That's sad.

Japanese TV works a little different; this is specifically true for Anime. An Anime will have 12-20 episodes and everyone will be loving it. But, often after 20 episodes, the story is over, and so the show ends, with the fans truly in love with it and hungry for more by the same artists.

Now, before I chose to make movies, I wrote novels, one of which was a near-future dystopian Sci-fi called "Worth". I've decided it would make a pretty amazing series. I'm adapting, starting with a short story from the WORTH universe called A GROWING CITY. We'll be shooting it live-action and converting it to animation.

Did you always want to be a filmmaker?

When I was a kid I wanted to be a theoretical physicist. I mean, before that I wanted to be a truck driver, a pilot, a navy SEAL, normal kid stuff. For some reason, my brain doesn't like to memorize things, and a key aspect of physics is math, aka, A LOT of memorization. So, I settled for the next best thing, a Sci-fi writer. After a few years of research, I came to the conclusion that filmmaking is actually a higher art, requiring more varied artistic abilities, so much so that, unlike novels, movies MUST be a collaborative medium; they're just too big and complex for one person to do well.

What inspired you to become filmmaker?

A friend of mine named Earl Newton, a fellow filmmaker and creator of Stranger Things series, wrote a blog post. The way I read it was that a lot of people wait on others to make their dreams come true. But, the people who actually live their dreams make them happen.

With that blog post, I realized no one was going to show up at my door with a big check and a sack full of my life's goals. If I wanted them to ever become a reality, I was going to have to get up and make them happen.

Later that year, I had written, directed, and edited my first feature-length movie.

What is the best thing about being one?

Never having worked on a studio film, I can only guess here. But, I would say it's the freedom. The only limitations I have with the kind of story I can tell are my imagination, my drive to see that translated into film, and my endurance to see each project to completion.

What is the worst thing about being one?

My amazing wife works full-time, taking care of the daily expenses (we've agreed that all moviemaking budgets must come from somewhere else). We've basically taken the standard male/female social roles and reversed them. But, when other people see our life, they often think I just sit at home and play World of Warcraft or watch Netflix. That social pressure is probably the worst thing. If it wasn't for the support of my wife, there is no way I could keep going.

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

I've probably worked on twenty to thirty, including the freelance stuff.

Who is your favorite filmmaker?

That's kind of tough because I admire different filmmakers for different things. But, if I had to choose one, I'd say Ridley Scott consistently blows me away.

How has your life changed since you became a filmmaker?

I spend A LOT more money-making movies than I did writing novels and short stories.

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

Give up. If you can't, never give up!

What do you like to do besides filmmaking?

I'd either go back to writing novels, or go back to school, defeat math and get a PhD in physics.

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

Oh yeah! The reason I became a novelist was because it was the one of the few jobs I hadn't already tried.

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

My favorite American films are: Never Cry Wolf; The Razor's Edge (Bill Murray's version); and Blade Runner. For foreign: Crouching Tiger, Hidden Dragon; Pan's Labyrinth; and Ghost in the Shell.

How would you describe your film education?

I mentioned I was a novelist. My first novel is THE ACADEMY. I submitted it to tons of publishers and got tons of rejections. One morning, while walking to my day-job, I realized THE ACADEMY would make a better movie than it did a book. I converted it, knowing next to nothing about screenwriting.

I went to nearest Borders and bought WIlliam Goldman's "Which Lie Did I Tell" and a few other books and read them as fast as I could. Then I wrote the script. I sent it to the only friend I had in Hollywood. She said it was an amazing idea, but that I needed to work on learning how to write and recommended I read Lew Hunter's "Screenwriting 434", along with a few others.

I sent her the new version of the script. She was so blown away that she basically dropped everything and wanted to produce it. We almost sold it, but the deal fell apart for various reasons.

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

Orange County, California is where more than half the countries infomercials are made.

How has social media changed the independent film industry?

For the indie filmmaker making the no-budget to low-budget film, social opens all kinds of doors that used to be locked and gilded with gold. But, with DSLR cameras, Final Cut Studio and Adobe Creative Suites, the barriers to entry for an unknown artist to make a living at art have been lowered. It still takes some climbing, but at least it's surmountable now.

What's your opinion on crowd funding?

I think crowd funding is awesome. It's a way to get money for a project while creating and connecting with a devoted group of fans. I mean, how awesome is that?

However, most Kickstarter projects don't reach their funding goals. Making it work takes a lot of preparation. People have to know about you, or your project has to have something that makes it stand out.

What is the casting process like?

The problem I've got is that I want everyone to succeed. Casting is about finding the perfect person for each role, to the exclusion of other, very talented people who were almost perfect. I don't really like that. It's one of the places in filmmaking that I'd really like to shift most of the burden to someone else better suited for it.

How does independent film differ from the mainstream?

Aside from the money? Indie films explore ideas too risky for the mainstream. My wife and I just watched THE SEA WITHIN starring Javier Bardem. It's about a quadriplegic man who is fighting for the right to commit suicide. It was brilliantly written and shot, and Bardem blew me away! But, with that plot, there's no chance a major studio would touch it. It's too controversial, but that's the point!

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

Blade Runner.

What's your favorite movie quote and why?

"In the end there were no easy answers. No heroes, no villains. Only silence."

-- NEVER CRY WOLF

Sometimes we like to make the world black and white with clear lines of morality, where everyone is on one side or the other. Most of the time that's not the case.

What is your opinion on movie remakes and sequels?

Well, THE RAZOR'S EDGE is a remake, and the original was an adaptation, so I can't be too down on them. That being said, I think it's happening way too often now in Hollywood. I get that at the budgets that the studios work with, they need market assurance. But, that has to have a limit, otherwise they risk diluting the market to the point where people aren't interested in movies anymore.

What is your opinion on book to movie adaptions?

I'm a huge Sci-fi fan. And there are some amazing books out that might make good movies if done right. But, I don't really see a need to tell a story twice, unless the retelling is going to better illustrate the original point, or bring out something new.

Is there anything else you would like to add?

No. Your questions are quite thorough. Thank you again for this opportunity, and good luck with the blog!

 

 

 

 

Thanks for doing the interview Jonathan. Keep me posted on the progress of "A GROWING CITY".

Jeremy Bell Writer/Director of "Reunion"

Jeremy Bell was born and raised in Centralia, Washington. After an aborted attempt at an anthropology degree he began writing full-time. His script Hope Springs Eternal was a 2005 semifinalist in the Nicholl Fellowships in Screenwriting competition. Reunion is his directorial debut. Jeremy lives in Seattle with his wife Jennifer and a fat gray cat, who shall remain nameless.

What is the current project you are working on? 

Jeremy Bell (writer-director): I’m currently prepared to direct a no-budget horror movie from a script I wrote called Reunion. It’s about four old friends on the weekend of their ten-year reunion. They end up trapped in a house by a man who claims they assaulted him in high school. It gets ugly from there.

 Did you always want to be a filmmaker? 

Jeremy: I actually did not. I grew up being creative – as a kid and teenager it was mostly drawing and then painting. But, being from a smaller, blue-collar community, it never occurred to me that this was something I could do career-wise. After an aborted attempt at majoring in anthropology at the University of Washington I realized writing – telling stories – was my passion. I started writing and that eventually led to screenplays.  And then the next step was to take the decision as to whether something was going to get produced out of Hollywood’s hands.

 What inspired you to become filmmaker? 

Jeremy: I took a roundabout path to it, only arriving here in my mid-to-late thirties.  I became a filmmaker out of necessity really – I wanted control of my own scripts. I was lucky to have Matt Ralston (full disclosure – we’re cousins), who has similar tastes in movies, ready to take the leap with me. He’d been producing for a Seattle ad agency so he had a leg up on that side of it. It’s been a learning experience for both us, and always will be. There’s always more to learn.

 What is the best thing about being one? 

Jeremy:  I just enjoy the creative process, the way it ebbs and flows. It never ends really, even after the end credits you’ll still always be thinking about what you could have done differently. It’s exhilarating. And exhausting.

What is the worst thing about being one? 

Jeremy: On this current project the worst times have been where Matt and I have been overwhelmed doing the little things that you never really give much thought to being part of this whole process. That might be anything from breaking down the script, scheduling actors, acquiring props. The kind of things on a bigger production we’d be paying someone else to worry about. All necessary parts of the process, but mind-numbing sometimes.

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

Jeremy: I shot one short before film school (unfinished – we’d love to finish it for the DVD release of Reunion) called Ewok Assault. All of my other projects were in school, probably ten in all. After school we went straight into pre-production on Reunion. That’s eaten up the last year.

 Who  is your favorite filmmaker? 

Jeremy: Toughy. Since he has a film in theaters right now, I’ll say Terrence Malick. Beautiful films and he does his own thing. The trailer for The Tree Of Life made my wife cry.

 How has your life changed since you became a filmmaker? 

Jeremy:  I’ve gone insane.

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

Jeremy: Make films for yourself. And because film is a collaborative medium, pick your collaborators well.  Also – and I cannot stress this enough – a supportive spouse can make your life infinitely easier.

What do you like to do besides filmmaking? 

Jeremy: I hang out with my beautiful wife, watch movies, read. I’m a homebody. Very boring.

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

Jeremy: I meandered around trying to figure out what I was doing with myself. I worked at a video store in Seattle briefly. After that I worked for the Seattle Public Library at the Rainier Beach branch checking in and shelving books. Very sexy stuff. And then my wife suggested I go to film school. That made sense.

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

Jeremy: American Films: Days of Heaven, Citizen Kane, Casablanca, Star Wars, Raiders of the Lost Ark.

Foreign: La Dolce Vita, The 400 Blows, Wild Strawberries, Seven Samurai.

Television: Lost, Buffy The Vampire Slayer, Arrested Development, The Sopranos, Deadwood, Rome, Battlestar Galactica, Fringe.

 How would you describe your film education? 

Jeremy: I watch movies, any way I can. And I try to see a variety of stuff, not limit myself to a few genres. I’ll give pretty much anything a chance if it doesn’t star Paris Hilton.

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

Jeremy: Small. I live in Seattle and even if you haven’t met someone working locally, you probably know someone who knows that someone. Or something. How many times can I use someone in one sentence? It’s small, but very supportive.

 How has social media changed the independent film industry? 

Jeremy: It’s allowing us as filmmakers to grow awareness of our little indie movies before we shoot frame one. And it allows a conversation to take place between filmmakers and fans. For us, on Reunion, we’re still trying to figure out how best to utilize those tools. Others have figured that  out faster than we have, but it’s something we’re always thinking about.

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

Jeremy: We raised our first $10,000 on Kickstarter and are currently trying to fill in the rest of our budget with an Indiegogo campaign so we’re fans. I’m not aware of the scandals you’re referring to, but like anything online, it’s a system that could be abused. We feel a deep devotion to our donors – these were the first people to show a commitment to us as filmmakers. It’s not easy, in the midst of a hectic pre-production schedule to get rewards out quickly sometimes (if you’re waiting for a T-shirt from us, my wife is on it!), but we’re trying our best.

What is the casting process like? 

Jeremy: For a no-budget feature your actors are your biggest assets, so you want to get this right. Because it was just Matt and I throughout most of our casting process we had to be a little creative. I wanted to see a lot of actors, but it wasn't feasible for us to bring in hundreds of people for a big casting call. So for our first round of casting I asked actors to submit videos, either of their prior work, their reels, or I would send them script sides and they could use those to make an audition tape. Once the cutoff date for those submissions came and went we went through the videos and decided which actors we wanted to bring in for in-person auditions. It’s probably not a perfect system and I’m sure we made more than our share of mistakes, but it did yield us an amazing group of actors. We couldn’t be more pleased with how it turned out.

 How does independent film differ from the mainstream? 

Jeremy: It should be more original. Without the need to hit $100 million on your opening weekend you can get away from remakes and reboots and sequel number seven and tell original stories in original ways.

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

Jeremy: Star Wars. I’d be curious to see how much attention Lucas gave his actors on that first film compared to what he did on the prequels.

 What's your favorite movie quote and why? 

Jeremy: “I know” from The Empire Strikes Back. Because, you know.

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

Jeremy: The power to dodge questions.

 What is your opinion on movie remakes? 

Jeremy: If you’re remaking a movie that underwhelmed the first time that’s one thing, but an American remake of Let The Right One In was completely unnecessary. And now they’re remaking Old Boy? I’ll see it, but I won’t be happy about it!

What is your opinion on book to movie adaptions? 

Jeremy: I’d like to try one.

Is there anything else you would like to add? 

Jeremy: Go make your movie, if that’s what you want to do, but keep in mind that 90% of the work you’ll be doing will take place before you even turn on the camera. Plan, plan, plan. And then plan some more.

 

 

 

 

 

 

 

Thanks for doing the interview Jeremy.  I wish you the best of luck with "Reunion".

Interview with Boston Filmmaker Nick Di Bella

Born and raised in Massachusetts, Nick Di Bella has been writing and working in film and television since 2004. Having worked for The Late Show with David Letterman, The Yankee Candle Corporation, and Hasbro Toys as an Assistant Director, Nick is well versed in all facets of production. In 2006 Nick joined the team at Films Royale and has written, shot, and directed films for the production house. He is currently working the final draft his pet project, a feature length screenplay, as well as his first novel.

What is the current project you are working on?

My current project is "In The Deathroom: Based on a Story by Stephen King". It, as the title suggests, is based on a short story that I read a number of years ago, and quickly fell in love with. In reaching out to the author, I managed to gain the rights to adapt his original work into a screenplay, and finally into a short film.

Did you always want to be a filmmaker?

I have wanted to work in media production since a very young age. My mom worked in radio when I was a child, so the creative realm was always one that inspired me.

What inspired you to become filmmaker?

As I grew up, I was fortunate to take broadcast classes in High school. At which time I met a guy around my age who also had an interest in film named Chris Goff. We became fast (and best) friends, and I'm lucky enough to have him as my Director of Photography today. He is not only extremely well versed from a technical standpoint, he has a fantastic sense of story telling. From there it was a sure thing.

What is the best thing about being one?

The notion of "the narrative" has always been a source of real excitement for me. The idea that everyone who has ever lived has their own perception of the world, has their own actions they've taken, and consequences to those actions has really been a staple in my fandom and work. And to get to experiment with it everyday is a dream come true.

What is the worst thing about being one?

Unless you've made it to Hollywood and are working massive projects, budgets are small or non-existent, which leaves you to do the work of several (hundred) people.

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

Between professional and independent work, I'd say I've worked on around 15 projects.

Who is is your favorite filmmaker?

Hmm. Favorite film maker. Of course there are the greats, Spielberg, Scorcese, Lucas, Cameron. But I like the lesser-knowns, or perhaps, the non-box office titans. Robert Rodriguez (a pioneer of independent creation), Quentin Tarantino. My front-runner now, would have to be Chris Nolan. With the exception of Insomnia, I don't think he's had a single miss.

How has your life changed since you became a filmmaker?

I've come into my own as it pertains to having a so-called "identity". I know what I am, even if there isn't a great word for it. I am a story teller, whether on the page, or screen, I love exercising my imagination.

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

The best advice I can give to someone who is starting out is, surround yourself with good, honest, capable people, and you will succeed, if not in film, in the friendships that you make.

What do you like to do besides filmmaking?

I love to read. The idea of "the narrative" really begins and ends with other people's work. Whether it's my favorite author of all time, Stephen King, or popular fiction like J.K. Rowling, these stories captivate and educate me more than a lifetime of schooling.

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

I often found myself in sales jobs. I'm a bit of a loud mouth so hawking products has always come naturally to me (even if I loathe it.)

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

My favorite American films would have to be 1977's Star Wars, Jurassic Park, The Godfather, Michael Mann's Heat, Scorcese's The Aviator, The Documentary "It Might Get Loud", and perhaps my all time favorite, Terminator 2.

In regards to foreign film, I very much like latin films. "Bella" is a spectacular little movie. Though "The Diving Bell and the Butterfly" is one of my favorites as well.

TV is where my heart really lays, I could go on about it for days. There is so much amazing story telling on television right now. From Fringe to Breaking Bad, from Dexter to Glee, from Sons of Anarchy to Louie. It's all amazingly addictive stuff.

My top 2 of all time would have to be the BBC's Sherlock (Series 2 is currently in production) and my number 1... LOST.

How would you describe your film education?

I took practical and theoretical courses for my undergraduate degree. (Though the practical are really the only important ones).

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

Boston has a nice little sub-culture for film. Occasionally you'll see a local celebrity shooting a hollywood film, but mostly it's a unified group of underpaid artists striving to tell the most captivating stories they can, with little time and even smaller budgets.

How has social media changed the independent film industry?

Socially Media has been a godsend. I'm a huge propenent of technology as a creative tool. We have done all of our press releases, auditions, crew hiring, and promotions via the internet and social media. It gives power to those who might not otherwise have it. While Hollywood is shelling out money to pase some celebrity's face all over the sides of buses to promote some "threequel" that cost 250 Million dollars to produce, we can pay a few bucks for ad's on Facebook, or uses the power of twitter followers for free to generate genuine and measurable interest in our productions.

What's your opinion on crowdfunding?

Crowdfunding is a beautiful entity. It allows artists to bond together and lend a helping hand to one another in the way that really counts...money. We can lend a few bucks here and there in the hopes that we receive help in return. I love to surf the crowdfunding sites like Kickstarter to see what new and interesting products are trying to get off the ground, and let my friends and family know about them.

What is the casting process like?

Casting is time consuming, more so than I think people expect, but it's also a lot of fun. You get to see a number of people interperet your words in their own way. It's amazing what people can come up with.

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

I would go back in time and watch them shoot the original starwars. To see an entire galaxy be created, and to know that some 30 years later it is still being polished, created upon, and still incredibly lucrative.

What's your favorite movie quote and why?

This is a random and tacky one, but it's so pulpy and melodramatic, that I can't help but love it, I often find myself thinking about the words and how cool they are when strung together. It would have to be, "The world is not enough." from the James Bond film of the same name. It's such an unrealistic thing to say, but James would. And he would mean it. And that's what makes it so badass.

What is your opinion on movie remakes?

Movie remakes are almost always a horrible idea. There are of course exceptions. See The Cohen's True Grit. The first one is fantastic, but so is theirs. If a filmmaker sees a narrative tributary that is unexplored, by all means, delve deeper. If you are just modernizing a past hit to churn some revenue, then you are wasting valuable time, money, and resources, see 2011's "Footloose". The trailer for that film says it all. It makes me want to jump out of a moving bus.

What is your opinion on book to movie adaptions?

I hate them. Okay, no I don't seeing as my current project is an adaptation of an amazing story. I think there is always huge opportunity to explore a story on screen. Just ask J.K. Rowling. Somethings from the book will be lost, of course, but other things will be gained. The Lord of The Rings was introduced to a whole new (massive) audience as a film, that would most likely never have read the book. That being said, the rate at which comics and books are being turned into movies, does have me worried about the precious stone that is the "original screenplay".

Is there anything else you would like to add?

Every story is interesting, as long as it's told well.

Thanks for doing the interview Nick. I will be sure to spread the word about your film "In The Deathroom: Based on a Story by Stephen King"