For over 10 years, Justin McConnell has run his media production and development company, Unstable Ground, Inc., out of Toronto, Ontario. As a swiss‐ knife production solution, Justin is a highly experienced writer/director, editor, compositor/broadcast designer, camera operator and producer.
Justin splits his time between three faces of his company – as a producer/director of feature films and home entertainment (The Collapsed, Working Class Rock Star, Skull World, The Eternal), in providing a growing list of high profile clients with every production solution available (Anchor Bay Entertainment, Universal, Warner, Rhino Records, Mindpress), and as a producer of recorded live entertainment, DVDs and music videos (Oceano, Kataklysm, Necrophagist, Dog Fashion Disco, etc.).
With over 8 years of intensive camera operation experience, Justin has been involved in productions on 4 continents (with shoots in Russia, China, Australia and North America), and has a dynamic “do anything to get the shot” attitude. His high‐ energy style, technical knowledge and keen eye for the cinem production value to everything he works on.
With a flexible and intuitive attitude toward all his work, Justin has built a reputation for delivering high quality production/post to fit any experience and available crew to meet any demand. Follow Justin on Twitter @UnstableGround.
What is the current project you are working on?
I'm working on four at the moment. The first is THE COLLAPSED (www.thecollapsed.com), which we're finishing up special features for the release, and touring at festivals. Secondly, SKULL WORLD (www.skullworldmovie.com), a feature-length documentary I currently have in post-production. Third, ramping up development of our feature THE ETERNAL (www.theeternalmovie.com), targeting production to finally happen in Spring 2012. Finally, I'm in early development on a fairly notable horror series, but can't say more about that. It's one of those things that may end up happening, or may not, but still takes a sizable amount of time out of the schedule. Also, a bunch of client work with my company Unstable Ground (www.unstableground.net)
How do you handle rejection?
In what way? Festivals, fans, emotionally? It's an odd question. Sometimes festival programming doesn't make a lot of sense, but you take it all in stride. I have a fairly good sense of my work, and it's value as a whole with a given festival/crowd. Knowing your audience/programmer ahead of time can help prepare for the inevitable 'no' or dismissal. You just learn to let it roll off the cuff, and focus on the festivals and audiences that do want to see your work. With THE COLLAPSED, being our first narrative film of any notoriety, and the state of the current festival scene (lots of fests are now dumping grounds for those middle budget, but still huge features that used to have guaranteed releases), I feel very fortunate for the festivals and theatrical play we did get. The film is tiny. Our next one will be bigger and more of an accessible 'crowd-pleaser', so should be more of a lock with the audiences that may have passed us the first time around.
Did you always want to be a filmmaker?
No. I'm sure when I was a kid I wanted to be an astronaut, contract killer, firefighter, Scorpion from Mortal Kombat, a cyborg, and leader of a world-class top secret military installation involved in international espionage. Up until I was 14 I kind of wanted to be a Criminologist. But I think film was always there, hovering behind my head, waiting to pounce. Starting back when my dad used to show me movies like 'Monster Squad' and 'Critters', then later sneak me flicks like 'Alien', 'Creepers (aka Phenomena) and 'Predator', it was hard not to get the taste for it. At around 15 it all changed - I dove headfirst into cinema, and horror, never looking back.
What inspired you to become filmmaker?
I think I covered that in the last question. My dad lit the fuse, I carried the bomb the rest of the way. I'm still waiting for it to go off the way I imagined, but I'll get there.
What is the best thing about being one?
There are a lot of perks that raise up throughout your career, depending upon how open you are to new experiences, and how adventurous you decide to be. I'm kind of a jack of all trades - editor, shooter, director, writer, producer, post supervisor, broadcast design, graphic design. Because of this, I've been able to survive decently (though sometimes less so) from what is basically an artwork and medium I love, and that's something I don't think I could even quantify. My work has also had me travel the world a fair bit before turning 30 (which at the time of writing, is in three weeks). Film/media has brought me to Russia, China, Germany, Australia and all over North America. It's broadened my horizons, and even when it's at it's worst, it's still the only thing I want to do. That, and the great people you meet through your career. I can count many of my colleagues as my closest friends as well, and wouldn't trade that for anything.
What is the worst thing about being one?
Everything else. People will complain about so many things in this business, and most of the time, they're justified. Between the asshole-shark sales agents swimming the distribution channels, waiting for young filmmakers to chum the water with their naivite (not all of them are like this - my current sales agents at Raven Banner are great), to the dwindling money on every level of the game. It's the wild west out there now - everybody is making far less money all the way down the line, and on the independent scene, things are beyond tough. Films are selling at a fraction of their original MGs (minimum guarantees), or no money at all. People are investing hard earned cash to see zero return in a market that 10 years ago was flourishing. There is a way through, but the old formulas are no longer working, and original ideas are far more risky than rehashed, tested product. It'll be interesting to see where it all goes.
What is the estimated number of projects you have worked on?
I don't think I could come up with an accurate list. From the tiniest promo video to features, I'm always working. I could probably safely say hundreds. As for actual film work that I've directed/written/produced, I think it's 2 narrative features, 2 documentary features, 5 short films, and about 20 music videos. Plus 7 un-produced screenplays at this point, 2 of which are in active develpment. But that doesn't include anything I worked post on, or worked on in some other capacity.... or any number of commericals, docs, etc. that my name isn't even officially on. I work freelance, and it never stops.
Who is your favorite filmmaker?
I can't pick one. There's DNA strands from countless in my work, and picking one would do a disservice to scores of others. I can give a short list, which will be in no way comprehensive: John Carpenter, Frank Henenlotter, Guillermo Del Toro, Dario Argento, Wes Craven, Larry Cohen, Adam Mason, Christopher Nolan, Sam Peckinpah, Christopher Smith, Neil Marshall, James Gunn, George A. Romero, Fred Dekkar, The Coen Brothers, Peter Jackson, James Cameron, Sam Raimi, Alejandro Jodorowsky, Joss Whedon, Spielberg, William Friedkin, Bobcat Goldthwait, Jan Svankmajer, Robert Rodriguez, Takashi Miike, Ryuhei Kitamura, Don Coscarelli, Xavier Gens, David Cronenberg, Chan-wook Park, Jee-woon Kim, David Lynch, Paul Schrader, Martin Scorsese, Stuart Gordon (and Brian Yuzna), Michale Soavi..... see? And I'm not even halfway done. We don't want to be here all day.
How has your life changed since you became a filmmaker?
Well, if you want to be in any way successful, film kind of has to become your life. After enough time, it's the world you live in. I'm lucky enough to have seen my career truly build, and you start to notice the little things that come along with that. Screenings, networking, contacts that you never thought you'd have. If the 15 year old me were to look through my cell's contact book at the moment, I'd probably have a heart attack (though that would probably be more from seeing an iPhone in 1996). Just getting to meet the legends and artists you grew up absorbing, and talking to them on a level plane, is kind of mind-blowing. And this is still early days.
What is one piece of advice you can give to someone who also wants to make it in the movie business?
Close your eyes. Picture yourself 10 years in the future. In this hypothetical future, you are living in a shitty one-bedroom apartment, have a few semi-noticeable projects under your belt, and people are starting to take notice. But you're broke, behind on rent, hugely in debt, and it'll be months or perhaps years before you see any real money from your endeavors. You've spent most of your time trying to reach your goal, and do at least one thing for your career every day. You cancel plans with friends to stay in and work, balancing multiple projects at once, trying to meet more than one deadline. You have emails coming in from many different people, each of them wanting you to make them the priority, and you have a mountain of work ahead of you. Now open your eyes. Did you just picture a dream or a nightmare? That's indie filmmaking. You better have thick skin, and be prepared to work at it for years, to strive to be the best at all times, and to never cease. If that sounds like too much work, and if you think you're on the road to quick riches, then give up now. Go be a doctor, lawyer, prostitute or bartender. You'll make more money. And as a prostitute, at least you'll be able to tell who is fucking you.
What do you like to do besides filmmaking?
I write a fair bit, but I guess that ties into the main career. As, I'd assume, would watching movies, or even playing video games for that matter. I read a lot. I've taken up Box Wars since shooting a documentary on the Canadian chapter leader Greg Sommer/Skull Man. I used to play in a band, until I badly injured my wrist. I run a short film festival here in Toronto (Little Terrors, co-promoted by Rue Morgue Magazine). But, when all is said and done, despite anything I do outside the umbrella, film is my life.
Have you had any other jobs before you decided to become a filmmaker?
I've had a ton of jobs earlier on, while I was also working at being a filmmaker. You don't ever become one. You either are, or you aren't. I've been a fine dining waiter, bartender, hotel porter, short order cook, Subway sandwich artist, department store employee, video store clerk (naturally), computer technical repair advisor, range safety officer, Army Cadet instructor and teacher (though that was teaching film, at Trebas Institute).
What are some of your favorite American films? Foreign films? Television shows?
We already crossed this bridge with the director question right? I could go on for days listing that. Part of my job I consider to be 'research', which means I watch anything that even remotely appeals to me.... which turns out is a lot. I've seen every notable British TV show under the sun (favorites are 'Ideal', 'The Inbetweeners', and... yeah, could on for ages).... I'd have to say take a look at my director's list, and go from there. I can say what my most influential films are though. 'Monster Squad' for introducing me to the love of the monster movie, and 'In the Mouth of Madness' and 'Wes Craven's New Nightmare' for getting me interested in messing with narrative structure and atmosphere. There is so much great film in the world, and the only way to discover it is to obsessively research, and track it down.
How would you describe your film education?
Mixed. I actually learned far more outside of school than I ever did enrolled in college or university. I spent exactly 6 weeks in classes at York University's film program before the TAs went on strike, so dropped out and took my money elsewhere. Then I ended up at the Trebas Institute, which was alright. Film schools are really good for pointing you in the right direction, but it's up to you as an individual to follow the path to the end. It was being thrown right into the fire cutting commercials for Universal Music, Warner Music, etc. that I learned, and fast. I had to, or I would have lost my job.
What is the casting process like?
That all depends on the project. Generally for us so far it's been very fast, since we just don't have the money or time to do the whole "days of casting plus callbacks" thing. On THE COLLAPSED we did 3 days worth of casting, then selected the best of who came out to audition. On a larger project you take more time. When dealing with already established actors you generally have to approach their agents with a 'pay or play' offer before they'll even consider the project. Sometimes you get lucky and can get through to 'talent' directly, but that's rare.
How would you describe the film "scene" where you live?
A powder-keg waiting to explode. In the last two years, the following indie genre films were produced/are upcoming in Southern Ontario (to the best of my recollection): Monster Brawl, Exit Humanity, Neverlost, In The House of Flies, If A Tree Falls, Vs The Dead, Devil's Night, Android Re-Enactment, Abolition, A Little Bit Zombie, Dead Genesis, Medium Raw: Night of the Wolf, The Last Temptation of Rosalind Leigh, and of course our own film, The Collapsed. The common thread through almost every single one of these titles is that they were made independent of government money. There's a groundswell of genre production going on here unseen since the early days of Cronenberg and Bob Clark. It's very cool to be a part of it.
How has social media changed the independent film industry?
It opened everything up. The studios are now competing for fans right alongside indies that have a fraction or no marketing budget. With the right idea, the right placement, and the right timing, Twitter, Youtube and Facebook could turn you into an 'overnight sensation'. The possibility of exposure and the avenues of pursuing it are broader than ever before. Not only that, but filmmakers can connect directly with fans on a level never before seen. Just look at social media friendly directors like James Gunn - his web persona has given him a Grateful Dead style following that his films alone would only hint at. The fact that his films are also great is just a bonus.
What's your opinion on crowdfunding?
It's a great idea in theory, and it has worked in practice, but only for those people with projects worth funding. It's great for people that already have an established fanbase, and it's cool that it launches a bunch of smaller scale projects, but it doesn't work for everyone. Personally, the idea that I have go out and mail a bunch of prize packs to people every time they give me $10 is a bit of a pain in the ass, as well. Doesn't mean I won't embrace it in the future, but I'd rather just produce and finance through traditional means, whenever possible. It is the way of the future, and sort of leads to a true entertainment democracy, but for now, it's not really my bag.
How does independent film differ from the mainstream?
Less checks and balances. Usually far less people giving their 'two cents' on the finished product. Although originality and groundbreaking cinema is possible in the mainstream, the lions-share of truly revolutionary cinema will always come from the independents. Those that don't have anything to lose, and nobody to really answer to, will always feel the benefit of having their hands free to do something different. With the mainstream, those films aren't just the director's product - they're basically being co-directed by a room full of suits giving constant studio notes. It can strangle the life out of the creative process, causing a script to have to fit a number of beats and elements that are shoehorned in to meet a particular formula. 'Saw' and 'Insidious' writer Leigh Whannell wrote a great article on his blog about that, while he was writing and making 'Dead Silence'. I think the independent stays truer to the artform as a whole, and mainstream is more of a carefully designed product: test screenings are the prototype phase.
You could go back in time and see any film being made. Which film would it be and why?
Rocco Never Dies - The End..... I mean, tough question. My answer is actually something newer, and basically mainstream, but I would have loved to have been on set. 'Hellboy 2', particularly the 'Troll Market' sequence. Del Toro's flick is so filled with insane images straight out of my childhood dreams, I would have just loved to be in that environment. I'm an unashamed lover of monsters and creatures (another thing I get from my dad), and that set was just monster utopia. That or the Midian sets on 'Nightbreed'. It's weird, I want to go back with some kind of film geek answer, some all important art film... but forget it. I love my monsters.
What's your favorite movie quote and why?Either from 'In The Mouth of Madness': "Reality is just what we tell eachother it is. Sane or insane could easily switch places... if the insane were to become the majority, you would find yourself locked in a padded cell, wondering what happened to the world.".... or from a book, 'John Dies at The End': "The greatest trick the Devil ever pulled was convincing the world there was only one of him."
Do you believe in life on other planets?
Yes, but I'm not sure I fully believe in the traditional notion of aliens, the abductions and stuff like that. We'd be stupid to think we were alone... I just think a highly advanced species capable of inter-stellar travel would have better things to do than probe the human rectum, light our cows on fire, or make circles in our crops. Though, that could just be them getting bored. They did find arsenic-based life in that lake in California last year, so that was pretty interesting, to put it lightly. And what about the notion of life on our planet, out of phase with us? Of innerspace? The idea that reality isn't vast, it's thick, world's stacked on worlds. String theory, endless possibility. I guess the point is, I'm open to anything, I'm just not sure I fully buy the popular myths.
Do you ever wish you had a super power? If so, what would it be and why?
I kind of wish I had super metabolism. Otherwise, I'm happy being a lowly human. Besides, they only talk about the successful superhero accidents. Nobody talks about the guy who ends up with Hummingbird Pelvis or the ability to stop time, but only while defecating. I'd probably end up trying for invisibility or super strength, and end up with something useless.
What is your opinion on movie remakes and sequels?
They have their place, but are over-saturating the market right now. Everything is a remake or sequel or adaption of some vague property that made a couple of bucks 20 years ago. Some of the remakes boggle the mind too - we don't really need a remake of The Thing, or Straw Dogs, or Evil Dead. There's no real point, the originals still hold up. There are some films that could be redone and still be good, but they are few and far between. It's getting kind of ridiculous. Battleship? Yeah.... I have a feeling Hungry Hungry Hippos is just around the corner. Though, to be honest, if treated as a horror movie, it could be effective: hippo's are the deadly, dangerous asshole of the animal kingdom (another thing not many talk about).
What is your opinion on book to movie adaptions?
Books are a great source to adapt to a film. I find myself far more excited by book adaptions than remakes or sequels. I awaited the release of the 'Watchmen' movie like a 12 year old kid. I'm very much looking forward to Don Coscarelli's take on 'John Dies at the End'. There are a couple of Dean Koontz novel's I read when I was a kid that I'd love to see as movies (specifically, 'Darkfall'). I got really excited by the prospect of a 'Dark Tower' series of films, lost my excitement, and now it seems the project is dead. When Del Toro finally gets his chance to make Lovecraft's 'At the Mountains of Madness', I'll be there opening day. Books excite me, and I read so many that would make fantastic films.
Is there anything else you would like to add?
Not really, this was a lot of questions. Like usual, I've gone longwinded enough. I'm just thankful for all the support and interest so far, and promise to keep working to bring film's I'd want to see to the general public as a whole.
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