Susan Soares- Rhode Island Comic Con

 

 

What exactly is Rhode Island Comic Con? 

 

Rhode Island Comic Con is produced by Altered Reality Entertainment. Beginning in 2012, we are now in our fourth year at the Rhode Island Convention Center. This year's show runs November 6^th through the 8^th. It is our first year as a three-day show, and we have expanded our floor space to include the Dunkin Donuts Center arena right next door.

Featured guests include:

·         Carrie Fisher, in her first Northeast convention appearance. With her, we have 12 other actors from the Star Wars franchise.

·         Ron Perlman, along with 6 others from the Fox series Sons of Anarchy.

·         Voice actors, Peter Cullen and Frank Welker from Transformers, and Tom Kenny and Bill Fagerbakke from Spongebob Squarepants.

 

But that isn't all. Rhode Island Comic Con fans will enjoy meeting over 100 celebrities from Star Trek, Game of Thrones, Dr. Who and The Walking Dead, and comic book industry professionals including Chris Claremont, Neal Adams and Mike Grell, just to name a few.

Events over the course of the three days will include a cosplay masquerade, panels, Q&As with the guests as well as gaming and after parties. Couples can even get married, or renew their vows right on the convention floor.

How is it different from other conventions?

 

 Rhode Island Comic Con strives to appeal to all segments of fandom, and age groups. Our goal is allow fans to relive their childhoods, whether they are 60 or 16.

We also offer a Kids Con for our younger attendees. And we are planning a costume contest where the Best in Show prize is $2000.

Why did you decide to create Rhode Island Comic Con?

 

Quite simply, Rhode Island needed a show like ours. Prior to our beginning, the state offered no event like ours for the thousands of fans who have attended in the past three years, and will attend this year.

What do you think the convention will look like in 10 years?

 

With the growth we have had in the last four years, the sky is the limit. We will continue to grow and evolve, offering something new each year as fandom evolves.

Is there anything you'd like to add?

 

We encourage anyone who enjoys comics, movies, toys, television, or even just cosplay to come to our show and have a great time.

 

WRITER DARREN CAULLEY

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

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

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

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

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

What inspires you to create plays, games and comics?

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

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

What is the key to a very successful Kickstarter campaign?

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

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

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

What was the casting process like for "Unhealthy"? 

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

What causes someone to be obsessed?

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

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

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

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

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

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

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

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

Is there anything you'd like to add?

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


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

Filmmaker Derick Martini

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

Follow Derick on Twitter @derickmartini

What is the current project you are working?

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

What is your opinion on crowdfunding?

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

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

Why do you prefer using film when shooting your movies?

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

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

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

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

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

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

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

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

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

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

What is your favorite film of all time and why?

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

Is there anything else you'd like to add?

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

Nick Hudson of Cat and Weasel Films

Nick began his career at NBC Universal where he was responsible for marketing such hit shows as 30 Rock and True Blood in the company's German-speaking territories. He was also bestowed a number of awards for his work organising the Shocking Shorts Award at the Munich Film Festival. Since then he has produced a number of promos and short films including 'Corvidae', starring Maisie Williams (Game of Thrones). His first feature-length film, 'Everyone’s Going To Die', was premiered at SXSW 2013 to critical acclaim and is currently on the international festival circuit. Nick has been running Cat and Weasel Films since 2011, with two feature films currently scheduled to shoot in 2014.

Why is the company called "Cat and Weasel Films"?

Ha, I knew this was going to come up. When I started the company I was thinking about a bunch of names. Nick Hudson Productions struck me as being a bit mundane so I looked back to the start of my career when I was working at NBC Universal in Germany. To cut a long and slightly convoluted short, my nickname there was Die Katze, which is German for “The Cat”, with my boss at the time picking up the nickname of “The Weasel”. We always joked about calling a production company Cat and Weasel and so choosing the name a few years later was a no brainer. The Weasel was a completely uncharacteristic nickname for my boss. He taught me a lot of things including the importance of being humble. The name is a little nod to my time working for him and what I picked up working at the company.

Why do you think the perception of short vs feature films are so different?

Filmmakers and filmgoers generally take features more seriously. Features usually have more money behind them and producing them is a longer process with more factors to consider, for instance marketability. Saying that, creating a short that works is an art form in itself and it can really act as a springboard for any director or producer’s career.

Which do you prefer working on shorts, features, or music videos?

They each have their pros and cons but I would have to say features. I’ve done one so far and it was one of the best experiences of my life, mainly because of the time involved in making it. One thing I loved was spending so much time with the cast and crew and really developing a rapport with each of them. If you do a short or a music video, you’re probably only going to spend one to five days working with most of them so there isn’t as much time to have fun.

Digital vs Film. Your opinion?

Digital. Cinematographers I work with make it pretty clear that the flexibility we now have in terms of colour space could not be possible using film. From a producer’s perspective, I’ve also found digital cameras cheaper and quicker for the crew to work with. I can understand the other side of the argument though and a post production supervisor friend of mine tells me that a lot of crews using digital cameras are just shooting too much, making the post production process even more time consuming.

How has crowdfunding changed the independent film industry?

It’s just created another platform to raise finance for projects. It’s also a powerful tool in building an audience before the film is even shot. There’s a certain science behind it though and I think some people expect to be able to upload the project and suddenly have their film green-lit. There is a lot of work that has to go into it and it’s also constantly changing, meaning the recently created role of Social Media Producer is going to become more and more important.

What exactly is a producer?

The producer is the spine to any production. We connect all the other components and bring them together for the greater good of the project. Producers support their directors and try to give them what they need to make their vision a reality. There is an old saying that good producers make films and great producers make great films. There is a certain truth to that and it’s often the producer who sources the material or gets a script written. But to answer your question in short, we manage the production of motion pictures from conception to distribution.

What is the current project you are working on?

I have two short films getting ready for the festival circuit. ‘Help Point’ is a quirky comedy-drama about two strangers who meet in an airport car park having both just lost their cars. ‘Corvidae’ has just successfully raised some money on Indiegogo and so we’re cracking on with getting the VFX done for that. It’s a silent pastoral horror film starring Maisie Williams from ‘Game of Thrones’ and I just can’t wait to see the finished product. I’m also developing a number of feature films, with the next one being shot early next year. It’s a crime thriller called ‘The Fixer’ and it’s about a guy who is like Sherlock Holmes, but on the wrong side of the law. He slowly starts lose control when he inadvertently has to protect a young woman from a mysterious power hunting her.

What is the casting process like?

It’s fascinating, particularly when you have a number of actors come in for a role. You suddenly see the words that you’ve read a thousand times come out of someone’s mouth and everyone has their own interpretation. It’s great to see how much talent is out there, but a lot of the time an actor will get the part because their interpretation is in alignment with that of the director.

What advice would give to someone who wants to start their own production company?


Keep your overheads down, build relationships and don’t be afraid to be bold. Remember the key to this business is material so take your time in finding the right script. There isn’t any rush and remember you’ll always only be judged on your last film so treat every project like your first.

Why did "Cat and Weasel Films" collaborate with "Wolfheart Productions" for "Corvidae"?

To be honest we just really enjoy working with each other and have done so since we both collaborated on the short film / mini-pilot ‘The Fields’ a couple of years ago. Our meetings usually take place in some sort of pub or bar and we’re very open with each other, meaning bad ideas usually get shot down fairly quickly. The writer / director Tom de Ville actually approached Wolfheart about ‘Corvidae’ and it was Wolfheart who asked us to be involved. We obviously said yes pretty quickly. It’s a unique project that will definitely stand out amongst its peers.

Is there anything you'd like to add?

Thank you for having me!

The Cast Of "Anne Darling"

TAG LINE: Tonight, a lonely writer, a mother and a dreamer will try to escape sadness by partying, romancing and having sex with strangers.

http://www.kickstarter.com/projects/normanyeung/anne-darling

SYNOPSIS: Daniel hopes to break out of his depression by having sex. So he calls a chat line and meets Marnie. Their encounter becomes more intimate than they expected -- she reminds him of his mother, he reminds her of her son. Both are haunted by family troubles. Later, Daniel's friend Charlie sets him up with Maggie, a young writer who wants to run away from her ill mother. They offer each other a way out, but first they have to break their family bonds. Will Daniel break his new bond with Marnie?

Norman Yeung [also writer/director] ("Resident Evil: Afterlife", "Todd and the Book of Pure Evil") http://www.imdb.com/name/nm2034510/?ref_=fn_al_nm_1

Norman works in film, theatre, and visual arts.

Films he has written and directed include "Marnie Love", "Hello Faye", and "Light 01", which have screened at international film festivals, on Movieola Channel, Mini Movie International Channel (Europe), and on Air Canada.  He was Second Unit Director on "The Tracey Fragments", a feature film directed by Bruce McDonald.

As an actor, Norman's recent film and television credits include a supporting role in "Resident Evil: Afterlife" (Sony/Screen Gems), a series regular role in "Todd and the Book of Pure Evil" (SPACE/CTV), and roles in “Rookie Blue” (ABC/Global) and “King” (Showcase). He recently played the role of Hassan in Theatre Calgary and Citadel Theatre’s production of “The Kite Runner”.

Plays he has written include "Pu-Erh", "Oolong", "Theory", and "Lichtenstein's an 8: A New Formula to Quantify Artistic Quality".  "Pu-Erh" premiered in 2010 at Theatre Passe Muraille in Toronto and was nominated for four Dora Mavor Moore Awards, including Outstanding New Play.  "Pu-Erh" was a finalist for the 2009 Herman Voaden National Playwriting Competition.  His performance piece “In this moment.” premiered at Scotiabank Nuit Blanche in 2012.  His opera “Black Blood” (Norman Yeung, librettist; Christiaan Venter, composer) premiered at Tapestry New Opera Showcase in 2012 in Toronto.  He was a member of Canadian Stage's BASH! artist development program and fu-GEN's Kitchen Playwrights Unit.  He was a member of the 2011 Tapestry New Opera Composer-Librettist Laboratory.  He is featured in the book "Voices Rising: Asian Canadian Cultural Activism" by Xiaoping Li.

Since 1993, his graffiti and street art can be found under bridges, on freight trains, behind warehouses, in transit tunnels, and on living room walls, from New York City to Brisbane.  He has exhibited his paintings and drawings in such venues as FRCP/Galerie Youn (Montreal), Art Gallery of Ontario (Toronto), Art Gallery of Mississauga, Board of Directors (Toronto), Milk Glass (Toronto), and curcioprojects (New York City).  His painting and illustration clients include LVMH, Bruce Mau Design, National Film Board of Canada, MTV, CBC, Eye Weekly, Rice Paper Magazine, and many more.  He was featured on CBC Radio 3's "MAKE: Next Generation Canadian Creators", CBC's ZeD TV, MuchMusic, MTV, and in numerous publications and documentaries.

Norman has lectured at Central Technical School (Toronto) about urban art, at Lord Byng Secondary School (Vancouver) about a career in the arts, spoken at The Humanitas Festival (Toronto) about responsible casting of minorities in media, and received a Toronto Clean and Beautiful City Appreciation Award for his mural work.  He was a playwriting mentor for the 2011 Paprika Festival (Toronto).

He holds a BFA in Acting/Theatre from the University of British Columbia and a BFA (Honours) in Film Studies from Ryerson University.  He was born in Guangzhou, China, grew up in East Vancouver, and is currently based in Toronto.

Allison Scagliotti ("Warehouse 13", "Losers Take All", "Chastity Bites", "Drake & Josh") http://www.imdb.com/name/nm1270095/?ref_=nv_sr_1

Cara Gee ("Empire of Dirt", Toronto International Film Festival 2013 Rising Star) http://www.garygoddardagency.com/clients/cara-gee

Janet Lo ("Cracked", "The Listener", "Diary of the Dead", "To Die For") http://www.imdb.com/name/nm0516305/?ref_=fn_al_nm_1

Janet Lo is currently creating a play about Madame Mao. Earlier this year, she appeared in a pilot entitled Second Jen. For 30 years, Janet Lo has been an actor in Theatre, Film, Television and Radio. She has worked internationally, portraying roles across Canada as well as appearing in Los Angeles and China. She travelled to Shanghai as part of the Red Snow Collective, after debuting the role of Lily at Theatre Passe Muraille. Stage highlights include Tout Comme Elle (Necessary Angel/ Luminato), Pu-Erh (K’nowTheatre), Hana’s Suitcase (the Grand Theatre), M. Butterfly (MTC/NAC and ATP), Amazon Dreams (Factory Theatre), Powder Blue Chevy (Theatre Tamahnous), Simpleton of the Unexpected Isles and Shall We Join the Ladies? (Shaw Festival).

With her theatre Company, Vandalay, Janet co-produced  Powder Blue Chevy for Summerworks 1993, and A Language of Their Own in 1997, which she also directed. Both pieces centered around Chinese North American characters and created employment and skill-building opportunities for Asian Canadian actors and stage technicians.

Film and Television Credits include Satisfacton, Cracked, The Listener, The Clark Rockefeller Story, The Border, Diary of the Dead, Kojak, Missing, Why I Wore Lipstick to My Mastectomy, Madtv, City of Angels, Nikita, Prince Street, Riverdale, Robocop, Kung Fu, To Die For, Montreal vu Par: Vue D’Allieurs.

What is "Anne Darling" about?

NORMAN: We will all feel deep sadness. Many of us will feel something more profound than sadness, a depression that will prevent you from moving forward. But you must. How? You can distract yourself with booze, smokes, parties, and sex, but those are only temporary bandages. “Anne Darling” is about breaking out of sadness to become happier. And you never know who you’ll meet tonight – that stranger you’re about to dance with, that woman you’re about to hook up with for anonymous sex… they might be your key to happiness. Even if the woman reminds you of your mom. Woops! Tonight, all the characters in this film will feel the happiest they have felt in a long time. “Anne Darling” is about hope.

ALLISON: The escapist techniques of artistic urban young people. Smoking, sexing, and that awesome moment when someone holds a mirror up to your bullshit. Or something like that.

JANET: Since other people will be answering this question, I will answer who is Marnie [the character I play]. Marnie is a woman who is basically lonely. She is now divorced 3 years and her son moved away when that was happening. She also suffers from depression. Since the divorce, she no longer has the same circle of friends that she used to when she was part of a couple. So she meets people on chat lines. One night, she meets a man on a chat line, and after feeling a certain connection with him, invites him over for a mutually agreed intimate encounter. When he arrives, she is surprised to see that Daniel [Norman’s character] is not what she imagined (add suspense music here).

Why do you want this film to be made?

ALLISON: I want talented cats like Norman to bring their art to the world. Maybe this is cliché, but I worry that we'll never hear beautiful music, read beautiful words, see powerful theatre and film because the tools of distribution are still largely controlled by Johnson & Johnson. Or Rogers. Norman has brought his art to the streets, to the canvas, to the stage and screen, and “Anne Darling” deserves a place in his canon of completed projects that deserve an audience and various ribbons of recognition. Also, I wanna do an art house short.

CARA: I want this film to be made because it's exactly the kind of film I would want to watch. Straight up. Norman Yeung is one of my favourite artists and to be a part of his vision is an honour. He is seriously the most amazing human and we should all be so lucky to see what goes on inside his brain.

JANET: After being in his play “Pu-Erh”, I would love to be in another project with Norman. He is absolutely lovely, and I would love to share the screen with him in a kind of role that I am not usually cast in. So that is very exciting to me.

NORMAN: These three women are making me blush in areas that aren’t supposed to get red. The appreciation is mutual. We’ve assembled a highly talented and rather babely cast whose chemistry is genuine. The crew is pretty hot, too. We trust each other as artists and care about each other as friends. This good will and shared spirit can be rare for some productions; now that we’ve got it, we will fulfill it. “Anne Darling” is a self-contained short film that is one chapter of a bigger story. Each of the characters, and new ones, will have their own chapters, and their narratives will intersect. Making this a feature film is the bigger goal, but first I’d like to make this chapter happen.

What are the similarities/differences between you and your character?

ALLISON: Similarities? Maggie and I are both young creative chicks who like music and PBR and think Norman is good looking. We both take care of our family. We both want to invigorate our careers. Differences? I'm a grown-up child actor who does not live with her mom anymore. Not that there'd be anything wrong with that.

CARA: Hahahah I don't want to take anything away from my cred as an actor, but this character is pretty much exactly me. Charlie and I are both party monsters always at the ready to wingman a pal. Also, Norman and I are best friends in real life.

JANET: Well, I'm a mother. Other than that, not a lot of similarities. I have, in the past, in a previous life, had bouts of loneliness, but I was never able to just have a physical encounter and not want it to be more. Or perhaps for Marnie either, although I'm sure she will want to keep a relationship with Daniel, just have it not be a physical one.

NORMAN: This film isn’t autobiographical, which is what many people assume when the actor is also the writer. But having felt stuck in my life, and seeing a surprisingly large number of friends deal with depression, I understand why Daniel would want instant stimulation. It’s easier to get drunk and distract ourselves from problems than it is to solve them with professional help. Differences? I’ve had relations with older women but I knew their names. And none of them reminded me of my mom. My relationship with my mom is completely unsexual. Sorry to be boring, guys.

What is your opinion on crowdfunding?

ALLISON: It's the future. The system of ad-based content generation is broken, long live Kickstarter and Indiegogo and RocketHub. In an era where the tools of filmmaking are available to nearly anyone – you can shoot a movie on your phone, edit it using free software on your computer, distribute it on YouTube, and promote it on Twitter – it makes sense for independent creators to skip the bureaucracy of taking meetings with people who majored in business in the late nineties and speak in corporate euphemisms. You want to make something? You tailor it to the people who want to see it and promise them levels of involvement in exchange for their bucks. Boom. Socialized art making.

CARA: GIVE THE PEOPLE WHAT THEY WANT!!!! I love it.

JANET: Crowdfunding, as a concept, is wonderful. With the internet and social networking, it is a great way to get your ideas out to a very large group of people around the globe. The drawback is that there are so many projects out there that I get quite inundated with requests and may not pay attention to them unless something really exciting catches my eye.

NORMAN: Asking friends for money is excruciating. Otherwise, crowdfunding is genius.

What do you think is the key to happiness?

ALLISON: In my mind, happiness doesn't look like a key. It looks like a tiny dot of paint on the end of George Seurat's paint brush. If you're lucky you get a lot of those tiny little micro moments of happiness collected over your whole life. I don't know. I'm 23 and trying really hard to figure it out and also sound eloquent in interviews.

CARA: I think that for the most part, the key to happiness is deciding to be happy.

JANET: Strangely, just being happy. I do believe that being happy is a muscle that one needs to use or it will atrophies. There are people that have said to me, yes, I know that I have all these things (gotten all these gigs, have great friends, etc.) and I should be grateful. And I say fuck gratitude, just be happy. Exercise that muscle.

NORMAN: Asking friends for money is excruciating. It totally blows and sucks mad hard, dude. I’m hating every moment of what feels like begging. But when some friends do contribute, I’m struck by emotion. I almost cried to Aaron Kopff (one of our producers) when our buddy donated to our Kickstarter: “He’s not rich! I can’t believe he donated so much!” Other friends too, any amount. For what? So I can “make” a “film”? But it’s not about money. It’s not about film. It’s about their faith in me, their belief, their support… I am absolutely nothing without my friends. My happiness is the people who care about me, and I care about them. This Kickstarter experience has instilled in me a new generosity; I want to return the support to my friends, whether monetarily or just being there for them. I guess crowdfunding can be a happy experience after all.

Say something nice about another member of the AD cast?

ALLISON: Everyone in the cast is this totally titillating blend of attractive and intelligent. I have talent crushes on ALL of them. And I'm jealous of Norman's pompadour.

CARA: I'm going to do my very best to get Norman to add a scene where I get to make out with Allison. What a babe.

JANET: Like I said, I would love to be in another project playing a character that I feel Norman wrote specifically for me. A couple of years ago I was in a play with Cara called “Tout Comme Elle”. Although we will not have any screen time together in “Anne Darling”, it's great to be in the same project together again. I met the rest of the production team recently and they are just fabulous. And fun.

NORMAN: The way Allison conducts herself intellectually, artistically, and style-ly makes me die thirteen times before noon. If anyone took Cara away from me, I would destroy them, then take a DeLorean back 2,000 years and destroy their whole lineage. Janet is like a cross between my older sisters and my mom, which I find very comforting. No, I don’t have any Freudian family issues, but I do miss my family. Misty Fox is the sweetest and I want to play her best friend in a show ‘cause it would go over stellar. Omar Alex Khan gives us hope that we can remain cool forever.

How does working on an indie project differ from a mainstream one?

ALLISON: It's more relaxed. We don't have the thrall of a standards and practices department, and we're DEFINITELY not getting network notes about "tone".

CARA: The level of professionalism is the same, the only difference is cash money.

JANET: The indie projects that I have been involved with seem to have lots of heart. They all have been passion projects for the producers and they surround themselves with artists that share this passion as well. As a result, I've never received as much respect as I have on these projects. Everyone involved wants to be there – they are either working for no pay, reduced pay or deferred pay, but they believe in the project and want to give it their all. And they are lots of FUN.

NORMAN: You’ll probably wear your own clothes on an indie project.

What else do you do besides acting?

ALLISON: I play music and pretend I'm a rockstar. I take dance class and pretend I'm a ballerina. I write poetry and pretend I'm Charles Bukowski, just without all the misogynistic alcoholism.

CARA: Watch hockey with Norman Yeung.

JANET: I am currently creating a play about Madam Mao. And I am a Mom. So these days it's all about being a Mom in one form or other. Go figure.

NORMAN: Watch hockey with Cara Gee. And Meredith Cheesbrough.

What are some of your favorite indie projects?

ALLISON: That I've worked on? “Losers Take All”. “My Name is Jerry”. “Redemption Maddie”. “Reliance”, which has yet to grace the internet. That I've seen? “SLC Punk”. “Zombie in a Penguin Suit”. A Sam Taylor-Wood short called “Love You More”.

CARA: I'm pretty stoked about “Empire of Dirt”, my film that's opening at the end of November. We just premiered at Toronto International Film Festival, which was the most exciting thing of all time. I hope people check it out.

JANET: At the beginning of this year, I was involved in a pilot called “Second Jen”, a comedy about second-generation kids and their immigrant families. It was so much fun and I got to play a crazy Mom. Here is their website: www.secondjenseries.com.

NORMAN: “Wild Style”, directed by Charlie Ahearn, 1982. Fab Five Freddy, Lee, Lady Pink, Zephyr, Grandmaster Flash, Rocksteady Crew, Cold Crush Brothers, Busy Bee, Double Trouble, DJ Grandwizard Theodore… Are you kidding me? A gem of an ultra-indie, ultra-low-budge, ultra-important film. Is it in the Library of Congress? It will be. Also, I really enjoyed being in Seth Mendelson’s video for Bad Passion’s “Get Results”. It’s on YouTube.

Is there anything you'd like to add?

ALLISON: How lucky we are that this is our job. I get to live my life from one character to the next, filling the in-between spaces with music, dance, theatre, art... I can't believe how lucky I am. That, and I really miss Lou Reed.

CARA: Check out our Kickstarter campaign and toss us some coin. Even the smallest bit helps and we are all eternally grateful. This will be a really cool film and I believe it's worth investing in.

NORMAN: Kickstarter is all or nothing, so if we don’t reach our funding goal, then we will get $0 to make this film. If you contribute (please and thanks!), you'll get a nuanced, emotionally honest film with odd relationships that will make you consider your own choices to be happier. You’ll also get cool gifts in return. Stuff you can wear, use, and boast about. Also, I always call John Hoff III by his full name.

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Thank You to Norman. Allison, Cara, Janet for doing the interview.  I wish you all the best with "Anne Darling" and future projects. Spread the word about Kickstarter: http://www.kickstarter.com/projects/normanyeung/anne-darling For all things "Anne Darling" visit https://www.facebook.com/annedarlingfilm

Matthew Forcella creator of "One Die Short"

Matthew Forcella grew up in New York where he received his BA in Anthropology. After teaching elementary school for a year, he moved to Phoenix where he began working as an artist, displaying his paintings and illustrations in numerous galleries. From there he moved on to Graduate School in San Francisco where he received an MA in Philosophy and Religion and began teaching middle school. After secondary education, he switched gears again, working as a University Instructor and Scholarship Adviser. It was during this time that he began blogging about Roleplaying games and all things Geek, as well as publishing his weekly D&D Webcomic, One Die Short. Thanks to a successful Kickstarter campaign he is currently in the process of adapting his Webcomic into a live action web series of the same name.

What is One Die Short?

Other than the obvious (a web series about Dungeons & Dragons players), it's about people, friendship and adults learning to how to be adults.  The main intention of the series is to show how roleplaying games, creativity and a healthy fantasy life can actually help a person become confident and successful.

I'm trying to break through the stereotype of the roleplayer and the geek/nerd being a socially awkward and inept person that will be forever doomed to live in their mother's basement.  The show will largely be about each of the characters' individual transformations, and how those transformations are helped along by roleplaying and the friendships forged around the gaming table.

What inspired you to make the webcomic and now the webseries?

The webcomic has existed in one form or another for well over a decade now.  I didn't publicly put it out there until about 3 years ago when I was beginning to reconnect with my geek roots.  Like a lot of geeky teenagers, at some point I found myself straying from all things nerdy because of the many negative stereotypes associated with them.  Some of this was me being insecure, and some of it was a result of the people around me rejecting the things we once shared, and me finding it hard to seek out new friends.

When I finally decided that roleplaying was an integral part of my growth, development, and who I had become as a person, I went full force with it and started a blog and the webcomic.  The web series is the natural progression of the webcomic, and is how I originally envisioned the comic, but at the time I felt I didn't have the know-how or resources for film.

Will you tell us about the actors cast in ODS?

The actors are all local Colorado film and theater actors, mostly from Denver and the surrounding area.  They're all fantastic people (and many of them roleplayers). Aside from writing, producing and directing, I'm also playing the lead role of the Dungeon Master. Though many of the characters might not physically fit their counterparts from the webcomic, we chose everyone based on how much they felt like the characters, and as a result, we've got a really stellar cast that's doing an amazing job of bringing my vision to life. You can learn a lot more about each of the actors on our website: http://onedieshort.com/the-web-series/

What's the key to being a good Dungeon Master?

It took me a long time to figure this out.  When I was younger, being a Dungeon Master was about being in control; crafting a world and a story and sharing it (whether the players liked it or not) with other people.  I held lives in the balance and was responsible for the fate of an entire Universe.  I realize now how terrible I was at the job back then.  To truly be a great Dungeon Master, you need to let go (the same can be said of life in general I think).

Roleplaying is about co-creation and collaborative story-telling.  The Players are in charge as much as you are, and that means a good Dungeon Master needs to be flexible, and be able to recognize what best serves the story, rather than what best serves his or her own needs.

Have you seen The Strong brothers short film "Dungeon Master"?

Unfortunately I haven't yet, though I would like to.  There has been so much great media produced in recent years about roleplaying and the geek world; it's tough to keep up with it all. It's nice to see that most of it is well received if not embraced.  I think what that means for One Die Short is that we've chosen a great time to make our series.

What was it like being interviewed by John over at EatPrayMedia?

It was great!  John's a fantastic guy with a great website.  I often say this, but I'll reiterate it again: one of the best parts of making this web series has been experiencing the outpouring of support from the gaming/nerd/geek world.  It makes me proud to identify with the community.

Is there anything you'd like to add?

It's been a long road, and we've got a lot of hard work ahead of us still, but it's been a very humbling experience to see how much work talented people are willing to do to help make my vision come to life.  So, I would just like to thank everyone that has helped bring One Die Short to life so far: the cast, crew, backers, and of course, all of the fans, old and new.

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Thank you for doing the interview Matt. I strongly suggest readers of this interview check out Matt's interview over at EatPrayMedia. Also, like the "One Die Short" Facebook page.

"Tiger Within" Director Rafal Zielinski

Rafal Zielinski has directed over 20 feature films ranging from award winning independent films (where his heart truly lies) to more mainstream Hollywood projects and television.

His early years were spent in Eastern Europe. While in grade school he was lucky to travel several times around the world and gain a global perspective, an 8mm camera always at his eye. He was schooled in North America, the Middle East and the Orient.

During high school he was fortunate to attend the prestigious Stowe School in England where he received the Duke of Edinburgh Award enabling him to make his first documentary film about the temples in southern India.

He went on to graduate from M.I.T. with a Bachelor of Science in Art and Design focusing on the new field of art and technology, and studied cinéma vérité documentary filmmaking with veteran Richard Leacock.

As an independent filmmaker Rafal has always generated his own projects either by creating an original story that he was passionate about then collaborating with several screenwriters or adapting works from the theater in collaboration with the respective playwright. On most of the independent films that he directed he also served as his own producer often producing through his own company.

To learn more about Rafal and his films please visit http://www.tigerwithin.info/about/filmaker/

Visit  http://www.kickstarter.com/projects/rafal-zielinski/tiger-within-from-the-writer-of-the-princess-diari to learn about "Tiger Within"

What is "Tiger Within" about?

"Tiger Within" is a film about an unlikely friendship between a young skinhead and a Holocaust survivor. Both have lost their families and face the struggle to love and forgive. Samuel has lost his family in the war, and Casey has a broken family who doesn't love her unconditionally. Their circumstances and loss establish a connection between them that they never would have thought existed.

What does forgiveness mean to you?

Forgiveness is a powerful process. If we all learn to fully forgive, there would be an extreme peace that would radiate throughout the world. I believe in its force and in our ability to heal ourselves through forgiveness. However, there are certain types of pain and loss that are nearly impossible to forgive. Samuel has experienced those and Casey has only just begun to know the harshness and reality of the world.

Is there a proper way to grieve and heal after a loss?

Everyone is unique in their grieving process, so it's all relative to that person's emotions. Someone like Samuel has held onto his grief for such a long time that it's interfered with his every day life. Part of his soul was lost with the loss of his daughters, but Casey's appearance in his life brings about a light that he thought was dimmed forever.

Can an elderly person learn something from a teenager (and vice-versa)?

Absolutely. History gets lost from generation to generation. Casey has lived in a bubble surrounded by her own pain, completely unaware of others' life experiences. Samuel has shut himself off, basically preparing to be alone forever. Casey learns about history and true suffering from Samuel. They learn that they aren't alone in their pain, and it's comforting.

Why do you want to make this film?

Writer Gina Wendkos and I have wanted to make this film for over 20 years, since our "spirits melded", as she said in a recent interview. This film's story is timeless, universal and pure: Two individuals from different generations, a homeless punk teen and a war survivor, overcome their pain stemming from loss and "choose" each other as family. We are not all born into a family that is best for us, so sometimes, choosing a new family is necessary, even often life saving.

Why did you choose Kickstarter to finance the film?

I love the idea of crowdfunding, and really believe it to be a superior financing route than than relying on businessmen sitting behind a desk to get funded. It's more inspiring to have everyone be a part of the film who truly believe in the story and want to see it made.

How do you think you experiences from your previous films will help you make this one?

Quite a few of my films have given voices to the rebels, misfits, and outsiders of society. My first film, "Hey Babe", featured an 11 year old Yasmine Bleeth whose character was orphaned. She befriends a homeless man who is played by the legendary Buddy Hackett. My film "Fun", starring Alicia Witt and Renee Humphrey, is based on a true story of two girls who commit a senseless crime. Both girls are from abusive and broken homes, but establish a sisterhood because of their pain. These types of characters breathe much-needed life into film.

Do you have any advice for aspiring filmmakers?

I would suggest researching heavily, as well as envisioning the actors who you'd like to play the part as you write or create. Also, do not give up when trying to get your film made! As I mentioned, this film has been 20 years in the making, and we feel that now is the right time. Luckily, for us, the film's subject is timeless.

Advice to aspiring filmmakers:

https://www.youtube.com/watch…

https://www.youtube.com/watch…

https://www.youtube.com/watch…

https://www.youtube.com/watch…

Is there anything you'd like to add?

Believe in your film..believe in your characters. Keep them close.

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Thank you for doing the interview Rafal. I wish you all the best with "Tiger Within".

The Team Of "Blood Kiss"

MICHAEL REEVES



Michael Reaves has written and produced literally hundreds of scripts for various TV series, including Star Trek: The Next Generation, Twilight Zone, Sliders, The Flash, Father Dowling Mysteries, and Disney's Gargoyles (the only animated TV series ever to be reviewed in The New York Times). He won an Emmy and was nominated for a second Emmy as a story editor and writer on Batman: The Animated Series. He also won a Howie Award for his H.P. Lovecraft-related work in film, as well as the prestigious Hampton's Award.

Why did you write "Blood Kiss"?

Hopefully so that it would get made.

How did you come up with the title?

Honestly don't remember; it's been that long .

Which character do you relate to the most?

I try never to relate to characters; it keeps me from being objective.

Is there anything you'd like to add?

Yes:

THE END

TOM MANDRAKE



Tom Mandrake is a freelance artist and writer. His work in comic books includes Batman, The X-Files 30 Days of Night, Fringe, The Spectre and Swamp Thing for DC Comics. The Punisher, The Hulk Unchained and various X-Men books for Marvel Comics. Tom has also worked on a variety of graphic novels ranging from Shakespeare's Hamlet to Pat Novak For Hire which is based on an old time radio show of the same name.

Tom has illustrated books such as Wild Cards IV, Aces Abroad, GRRM: The George RR Martin RRetrospective and the young adult novel The Forest King: The Woodlarks Shadow.

Why/how did you become involved with the project?

Several years ago Michael contacted me regarding doing a few samples for a Blood Kiss comic book/graphic novel. I produced 1 page of pencils, fell ill with Lyme disease and begged off at that point. Michael was very understanding, it wasn't that I didn't want to do it, I was just struggling to do anything at that point. Jump forward to a few months ago and I got the e-mail, would I like to get involved with Blood Kiss again, a graphic novel tied to a movie as a Kickstarter! Getting a second shot at a great project doesn't happen very often so I said yes!

Can you talk a little about the "Blood Kiss" graphic novel?

An interesting aspect of the graphic novel is that I'll be creating it at the same time the film is being made. That is something I have never tried before, traditionally you create a comic book/graphic novel with an eye towards a movie later or do a graphic novel to follow up a movie release. I like the feeling of uncertainty I get from this, the idea that I'll have to figure out the process as I go!

What are the differences between working on mainstream and independent comics?

When you find yourself working on a mainstream title, Batman, Spider-Man etc. you have some readers that have been with the character for decades, a built-in fan base! Do a good job and they will appreciate it. You may even pick up new readers, fans whose first introduction to a classic character is your work and they may come to regard your vision of that character as the standard. I grew up reading Marvel and DC books and still get a charge out of being able to contribute to the legends! On the other hand, being in on the ground floor of a new, independent title means flying without a net, no built in fan base and no idea if anybody will give a damn about a project you are totally committed to. I've been in both situations with some successes and a couple...not so much, but it's all good. Both paths are well worth the journey!

What's it like to draw character renditions of Amber Benson and Neil Gaiman?

It's always a little intimidating at first, drawing real people who have fans that want to see the likeness. The important thing is to accept that you will blow it a few times, don't get stressed out and over time you will figure out what makes each face unique. Amber and Neil each have very distinctive looks, that always helps when you're trying to key in on the character.

Is there anything you'd like to add?

Please join us on the Blood Kiss journey!

DAVID  RAIKLEN AND DANIELA DI MASE



David Raiklen wrote, directed and scored his first film at age 9. He began studying keyboard and composing at age 5. He attended, then taught at UCLA, USC and CalArts. Among his teachers are John Williams and Mel Powel. He has worked for Fox, Disney and Sprint. David has received numerous awards for his work, including the 2004 American Music Center Award. Dr. Raiklen has composed music and sound design for theater (Death and the Maiden), dance (Russian Ballet), television (Sing Me a Story), cell phone (Spacey Movie), museums (Museum of Tolerance), concert (Violin Sonata ), and film (Appalachian Trail). His compositions have been performed at the Hollywood Bowl and the first Disney Hall. David Raiken is also host of a successful radio program, Classical Fan Club.



Daniela was born and raised in Caracas, Venezuela from an Italian decent. Since a young age she had a passion for acting. Early on, she could tell good and bad performances apart and somehow understood the visceral process involved in acting and performing. However, for many years, she denied herself that passion thinking that it was not a respectable career path. At 15, her family moved to Italy where she started exploring filmmaking and storytelling. Filmmaking was the invisible line that still connected her to acting. When she graduated high school she moved to Paris, to study French language, Civilizations and Culture. During this time she began taking film courses in the Sorbonne University and in UCLA.

When she turned 20 she moved to South Florida where she continued her film studies in the University of Miami and The Art Institute of Fort Lauderdale. Daniela loved production and all the elements that went into narrating a well crafted story yet she was always restless because she knew that she was not honoring her Truth. Finally one day, she decided she couldn't deny It anymore, so she went to London to study Meisner at The Actor's Temple. That's where she had an epiphany. "Acting was everything I had hoped it would be. It was the missing piece in my life. I traveled the world, explored many cultures and studied languages and yet I found that acting gave the means to explore the human psyche and emotions that I longed for. More than that, there is no better way to be in "The Now" than when you are acting. When I'm immersed in a scene and emotions surge, they become so real that I understand what it is to "live truthfully in imaginary circumstances."

After that revelation, she decided to honor her calling and at 27, she moved to LA where she has continued to study with some of the great acting teachers today such as Janet Alhanti and Ivana Chubbuck. She also continued her studies in Film Production at The Art Institute of California. Currently, she is working on indie projects, balancing herself from behind and in front of the camera.

How/Why did you become involved  the project?

David: A mutual friend told me that Michael was looking into crowdfunding a new film and asked me to consult. At first I consulted a bit to help out. But after a while the project became irresistible with a great story, setting and cast. I wanted to work these amazing people.

What other things do you do besides producing?

David: I'm a virtuoso composer and have scored hundreds of projects with everything from electronics to live orchestra and chorus. I also host a successful podcast on soundtracks, the Hugo winning Starship Sofa.

How do you properly pronounce your last name?

David: RAKE-LEN

What makes the film and" Kickstarter different from others?

David: Golden Age Hollywood with Vampires. Neil Gaiman and Amber Benson. Our videos.

How important is interaction with fans and/or backers when running a campaign?

David: We love all our fans and interact with them every day on Twitter, Facebook, Kickstarter, interviews. This is a new world and fans get to choose what gets made.

What has been the greatest thing you've learned from being part of the
"Blood Kiss" team?

David:  Neil Gaiman, Amber Benson, Michael Reaves, Daniela Di Mase and Tom Mandrake are warm, funny, creative, and inspiring. Every day one of them says or
does something that makes me think, laugh, and do better than I could
before.

What would you do if you ever found vampire living in your basement?

David: Depends- nice and sexy or evil fiend?

Is there anything you'd like to add?

David: Thanks for having us over.

Daniela: Our backers have been amazing. The support for Michael and Blood Kiss has been quiet touching! We want to sincerely thank you all!

Wolfblood Creator and Writer Debbie Moon

Debbie Moon is a film and television writer living in mid-Wales. She has had over fifty short stories published in the UK and US, and her novel, Falling (Honno Press) was shortlisted for Welsh Book Of The Year. She has written for CBBC's The Sparticle Mystery, and is the creator and lead writer of the RTS-award-winning CBBC fantasy drama series Wolfblood. She also has several feature scripts, and a supernatural drama series, in development.

Why do you think the CBBC and Disney promos for "Wolfbood" each give a slightly different perception of the show?

Wolfblood is a show that seems to appeal to a cry wide audience. The stated audience for CBBC is 8 to 12-year-olds, the Disney audience is more like 8 to 14 - and we have quite a lot of adult fans! So it's a question of working out how to market the show to different target audiences. In the end, I'm not sure it matters, because Wolfblood's themes - friendship, loyalty, family, the tension between being different and fitting in, the search for identity -  appeal across all ages.

What are some of your favorite independent films and shows?

'Independent' is a tricky word, especially when applied to television, but… I'm a big fan of intelligent but fun science fiction and supernatural fiction, so things like Pacific Rim, Looper, Source Code, and on the small screen, Being Human and In The Flesh. I'm also a huge fan of The Shield and Leverage, both incredibly underrated shows. And I have an embarrassing weakness for The Fast And The Furious movies...

What sort of things do you study and consider when watching a film or show?

Like most people, if I'm really enjoying a show, I'm too into it to really analyse any thing. Once I've watched it enough times to get down to thinking about, however… Character is the key to everything. Interesting, unpredictable characters who aren't necessarily nice but whom we empathise with. Then a plot that's plausible but unpredictable, the richness of the world the writers are creating, and the balance of action, tension and character scenes.

 What are five things you're thankful for?

I expect most people say the same worthy things here, so just to ring the changes, I'm going to pick some less worthy but very enjoyable things!  Good walking boots. Bakewell tarts. Acting - I'm constantly in awe of what actors do… Computers (I started off writing on a typewriter, and boy, computers are easier…) And the Welsh countryside.

What's the most recent book you've read? Did you enjoy it?

The last book I read was A Cowboy Detective, by Charles Siringo; the true story of the author's exploits as an undercover detective in the Wild West. It wasn't quite as rich and detailed as I would have liked - more a fairly bare record of facts -  but it was a fascinating read, and a whole new perspective on the 'lawless' West.

What is one thing you wish you could tell your younger self?

Follow your instincts. But I was a pretty bolshie kid, so I probably wouldn't have listened anyway!

Would you ever use crowdfunding to fund a future project?

Crowdfunding is fantastic for producers and directors - the people who enjoy actually getting things done. I'm very much a writer - I want to do the writing, then hand it over to someone who can make it all happen, so I can go off an do more writing! So personally, probably not...

Is there a film or show that you believe everyone must see without question and why?

That's a tough one, because the great stories are so personal - what leaves one viewer cold might touch another person deeply. For anyone interested in storytelling, which on a  screen or in any other form, I'd say The Prestige, which is a superb piece of adaptation, of visual storytelling, of world-building. The way Christopher Nolan uses time, scene order, POV and the withholding of information in the film is extraordinary  (inspired by Christopher Priest's amazing novel, of course).

KARL KENZLER & CHRISTOPHER GERSON of Darwin: The Series

KARL KENZLER is an actor and writer. He co-wrote the comedy pilot A/V CLUB which screened at NYTVF and was described by Mitchell Hurwitz as "an inventive and original piece that mixes Strangers with Candy and Thomas Pynchon's penchant for writing about secret societies." His critically acclaimed one-man show, FIRE IN THE HEAD, helped earn him a prestigious Charles and Eva Fox Fellowship.

As an actor, he can be seen in the recurring role of “Senator Charles Holburn” in the Netflix original series HOUSE OF CARDS and appeared in the recurring role of “Father Denis” on LAW & ORDER: SVU. Other guest appearances include PERSON OF INTEREST, MADE IN JERSEY, THE GOOD WIFE, FRINGE, RESCUE ME, ALL MY CHILDREN, LAW & ORDER, NOW & AGAIN and TRINITY. He lives in Jersey City with his wife and daughter where they have a lovely view of the Manhattan skyline -- without the headache.



CHRISTOPHER GERSON has worked as a producer and editor for the Sundance Film Festival; creating content for Sundance Online. He is an editor and video producer for Trifecta Multimedia and is proud to create video content for the Great River Shakespeare Festival (http://www.youtube.com/user/GreatRiverShakes). He recently edited and acted in the short film FORT GREENE which premiered at the Brooklyn Academy of Music.
As an actor, he has appeared in many theater productions across the country and recently appeared in the New Georges Theatre production of Lynn Rosen's play "GOLDOR $ MYTHICA".

To learn more about "Darwin: The Series" click on the links below:

Kickstarter link:

http://www.kickstarter.com/projects/370925295/darwin-the-series

Darwin links:
DarwinTheSeries.com

Facebook.com/DarwinTheSeries

Twitter.com/darwinstree

What is "Darwin: The Series" about?

KARL: "Darwin: The Series" is about Leo Darwin -- a life coach whose life is falling apart. He's a guy who appears to have everything. But in reality, he's a train wreck. The story revolves around a love triangle between Leo, his wife Charlie (a former street performer and current kleptomaniac) and his client Michael (a genius inventor and millionaire crippled by social phobias).

Can you explain the symbolism in the series?

KARL: I'm not really sure about the symbolism. But as a writer, I'm very intrigued by how deceptive appearances can be. Most people have a very rich interior life. We all harbor secrets, dreams, fantasies. But you reach a certain point in your life where you realize that those things may never come to pass. And how do you deal with that? That's very much a theme in the series. In a very funny way, these characters are all dealing with the compromises they've made in their lives.

Why do you want to make this series?

CHRIS: The two of us had been talking for years about doing a web series. But our ideas were too big, they were unmanageable.  So we hit on this idea of a life coach who was actually the opposite of everything he was trying to teach. We approached our co-creator, Lynn Rosen, and the three of us immediately hit it off. Lynn has a really unique point of view as a writer. It was a great fit.

KARL: The thing is, we weren't finding the kind of stories that we wanted to see online. Web content is often aimed at a particular audience: gamers, sci-fi fanboys and that sort of thing. And those tend to skew younger. But in the last ten years the online audience has grown up. So there's an appetite out there for stories about what happens later in life: the Big Questions that come up when you're married, when you have a kid, when you're in the midst of your career. My favorite shows are about flawed people who are trying their very best -- even when they don't behave that way. So that's what we tried to write. And we knew it had to be smart, funny, honest storytelling or else people would click away to something else.

Why did you decide to shoot two episodes before launching your campaign?

CHRIS: It was important to me to have something that we could present to an audience. We wanted to be able to say "Hey, we've created something here that's compelling. Come take a look!" We could have just pitched it. Or done a trailer. But if you start telling a good story, people become involved. And from a fundraising point of view, it's then much easier to ask for help in finishing it.

KARL: Also, a trailer or pitch would never have worked because it's not a high concept sell. No one's fighting zombies or living in a post-apocalyptic wasteland here. No one's saving the world or solving crimes. It's a character-driven story and what draws people in is the way it's told.

How did you come up with such interesting update videos for your Kickstarter?

KARL: We really just started doing those for us!

CHRIS: It's true, we've had a lot of fun with the updates! We throw out some ideas to each other on the phone, then go meet up and shoot it. Karl will write a brief outline -- talking points and a few of the jokes -- and then we just riff on that. We'll feed each other a lot.

KARL: Shooting it's a lot of fun but I think the real brilliance is in Chris' editing. That's where the funny comes from.

CHRIS: But that's already in the footage. Really, the update videos are pretty easy because we have a history. We've known each other since college. We used to make movies with one of those three-hundred pound VHS cameras. This is the same thing really, just with a purpose.

KARL: And the camera's lighter.

Please talk about the people involved with "Darwin".

CHRIS: We couldn't have done this without the help of so many people. Carrie Preston is so smart and creative. As an editor I've worked with a lot of directors that have far more opinions than they do ideas.  Although Carrie has plenty of strong opinions she has far more ideas. Good ideas. I really love how she's able to take the script and translate it into a visual language that matches the tone perfectly. She puts the viewer squarely into the world that Karl and Lynn have written.

KARL: That's right! And while we're mentioning her, the truth is, without Lynn Rosen we wouldn't have a Charlie. She's brought her sharp perspective to this project. There's a madness in her writing that is so funny and raw and real. It's indispensable.

CHRIS: Our production team is fantastic. Our amazing DP, Matt Bucy, and our hardworking and patient crew. Producers Greg Ivan Smith and Kate Fonville.

KARL: And our newest member of the family, producer Kim Sherrell. Kim actually came on board after discovering "Darwin" through our Kickstarter campaign! She's been incredibly helpful in getting the word out!

CHRIS: We're also very lucky to have such a talented cast. And they all have such great "day jobs"! Celia Keenan-Bolger (Charlie) is appearing right now in Broadway's "Glass Menagerie". Joel de la Fuente (Qui-Na) is back as the "Hemlock Grove" resident mad scientist. Bill Heck (Jansen) is known to indie audiences from his movies "Pit Stop", "Nonames" and the upcoming "Happy Baby".

KARL: I have to say, our real find is Tarah Flanagan as Gaye. Tarah did us a favor and came in for a casual writers' read-through and she just crushed it. We left the room and everyone immediately said "She's perfect for this!" It was like we were writing for her before we even knew it.

Is there anything you'd like to add?

CHRIS: Yeah, we're just a few days away from finishing our Kickstarter campaign. So please check out our page and watch the first two episodes!

KARL: And if you like it, join us. Come help us finish the story of "Darwin"!

CHRIS: Thanks!

The Blaine Brothers

The Blaine Brothers

Renowned for their award-winning comic short films, the Blaine Brothers are currently in post production on their feature debut “Nina Forever”, a magic realist tale of grief and sex with a darkly comic undertone.

Previously they have featured in Screen International’s “Stars of Tomorrow”, been nominated for a BIFA and at the Edinburgh Film Festival, shortlisted by BAFTA three times, mentored on the prestigious Guiding Lights scheme and the London Short Film Festival has held a retrospective of their work at the ICA.

For more information please visit www.blainebrothers.co.uk or follow @blainebrothers

What is "Nina Forever"?

BEN: Nina Forever is a feature film about a guy called Rob whose dead girlfriend Nina returns from beyond the grave every time he makes love with his new girlfriend Holly; it also follows Holly's attempts to make this unconventional relationship work.

Can people truly "be fixed"?

BEN: Holly hopes so, I think you may have to watch the film to get our opinion.

Would you mind explaining the symbolism behind the film?

BEN: Most things in the story have a symbolic aspect, I guess the biggest one is Nina herself. She appears naked throughout, her body blood splattered and twisted. There are times when this has an erotic element to it but actually, mostly, her bloody physicality is just a massive inconvience for the others. We were keen that Nina embodied an element of chaos which was something we felt was central to the experience of grief. An etheral ghost is quite easy to ignore in a way that a bleeding naked woman isn't, especially when she's also doing her best to wind you up.

As a counterpoint to Nina's messy and persistant presence we also concentrate a lot on empty spaces. It actually proved quite hard when designing the shots to work out the best way of drawing the audience's attention to things that are missing from the frame. A space on a shelf can sing out to you like a missing tooth but an empty chair in a room is often not something you naturally read. The importance of things and people who aren't there is central to the film and it's something we've tried to mirror in the structure of the story as well. Characters go missing at times when normally they wouldn't be allowed to and much of Holly's investigations into Nina end with her actually finding out nothing. With Nina too there's a big missing element, normally with a character like hers there's a reason for the return, a quest or something to resolve but we were keen to create Nina as a character with no goal or story arc. She's dead so she wants nothing and learns nothing. It does make the film feel odd, there are often gaps where you expect story to be but that felt like the right way of expressing the real meaning of the story.

There are also a lot of boxes in the film, but I think that metaphor speaks for itself. Less expected was the adoration of pylons. We kept finding power lines in the locations we were using and kept wanting to use them in shots. They are amazing structures that generally we just ignore. They surround us like steel castles but you just get into the habit of ignoring them. That also felt appropriate for a film about grief. It's a massive distorting ball of emotions but it hangs around for so long you just get used to it, you live around it like it's always been there. We were very keen to set the film in a super normal suburban setting - putting an impossible awful magical thing in the middle of this mundanity felt like that sensation of having to continue your life whilst this raging chaos rattles away in your skull.

How do the character's in the film handle grief?

BEN: By making mistakes. We spend a fair amount of time with Nina's parents, Sally and Dan who are two really heartbreaking characters. They're really lovely people but losing their daughter has left them both exposed and beneath a very normal exterior they're both flailing around in craziness searching for something to make sense of the mess. In different ways they've both latched onto Rob, Nina's boyfriend, for some emotional crutch. All three of them depend heavily on each other, which was probably essential when Nina died but, this far on, is a dependency that is keeping them all locked in their grief. Breaking the bonds between them, good and bad, is a key part of the story of how they all continue living.

So yeah, I think generally speaking they handle their grief badly and messily and by making big bold decisions that they don't mean and can't stick to. Then, just when it seems like this hopelessness is going to destroy them all, well, we hope there's enough of a spark of hope in the end of the film to be true. Grief is something that changes you but it doesn't destroy you. It's just not something you often cope with in the way you imagine you are going to.

What's it like working with your brother?

CHRIS: It's a fairly calm collaboration. We've got our own tastes but a shared central core of stuff we both love that is only enhanced by our differences. We work by thinking about intent - it's not the words on the page or the pixels on the screen that matter, it's what you're hoping they'll do to an audience. As soon as you're thinking about that, it's a lot easier to realise that something isn't working or could be better. In terms of the nuts and bolts, we write, direct and edit together, which means working closely throughout. We use two laptops and share screens so we can both see the words being written at the same time, which usually means one of us can be talking more, thinking more or researching more whilst the other types (and often goes with the flow of creativity that it can bring). On set we don't really delineate our roles but if we're up against it Ben will talk with the actors and Chris will talk with the crew. Usually it's better when we're both closer to everyone, it makes it a much more collaborative and creative process, which is why we like to keep the numbers small if we can. In post we both edit, each taking up the next sequence available when they've finished the previous, then we'll take sections to smooth. Ben does more on the audio side, Chris more on the pictures.

How do you balance your personal and professional lives?

BEN: Making a film like this there is very little balance between the two. You pour yourself into it and just hope that if you give it all honestly then somehow the end result will be honest too. It was tough. There were times when we really went to the bare bones with the cast, sharing the roots of the idea, the deaths we've experienced. That leaves you pretty raw but I think being so close and working on the film together was one of the things that helped us get through it.

But yeah, I don't think there's much of a divide between personal and professional in filmmaking. You can point at things and you always have to be aware of when something is the wrong emotion for the story, but these are fairly flimsy walls. You make a film about sex and death it needs to be personal.

What was the casting process like?

BEN: Rigorous. There are no easy parts in the film and we've been very lucky that even the minor characters are played by some pretty superb actors. There's a guy called David who's in one scene dumping Holly. He's just a kid in a car trying to end a relationship but it's the third scene in the film and it tells you a lot about her as a character. It's also quite a specific character, he's sort of a bad kid but no where near as bad as he thinks he is and we had a very specific voice in mind when we wrote him. Javan Hirst who plays him actually auditioned for the lead and he was amazing but way too young for the part but it's great that he was so into the project he was happy to come and be in a single scene.

But yeah, the leads were hard. They are three difficult parts and they need to work together as a three as well. We worked with a superb casting director, Emily Tillelli and she was amazing. She was fearless in approaching actors of all standing within the industry, no small thing with a budget as small as ours, but never blind to new talent. She also really encouraged us to run the auditions like part of a rehearsal process. Sometimes it can be an awful cattle call but with Emily it was always the first steps in helping the actor find the character.

So yeah, it took a long time but the real key was when Fiona O'Shaughnessy came on board. Nina is a very difficult part to play and she knew that and was actually quite scared initially. Emily had seen her in Utopia on Channel 4 and thought she'd be perfect as Nina and made the approach and at first Fiona turned it down. Then Emily convinced her to have a phone cal with us so we talked through her concerns about the project and we all seemed to get on so she jumped on a plane from Dublin and came and auditioned. She was perfect, I think having those fears about the part was key actually - she really understood what the role required and we were so lucky that she was brave enough to comit to it and go there. Once we had Fiona the others fell into place. Cian and Abi had auditioned before her but we felt like we couldn't make a decision until we knew who Nina was. That's probably self delusion to be honest as, looking back, all that happened was that we cast the two people we wanted to cast anyway but with the best will in the world you don't aways see the blindingly obvious til its over.

Interestingly they're very different performers though. Emily knew nothing about Abi and just called her in after getting a good feeling about her headshot. She's a very instinctive performer and was just so perfect for Holly, I remember the hairs on the back of my neck standing up the moment she started her audition. That said, though she seems so natural and always in the moment we found out later how hard she worked to get there. She used to read the script in full every day and was always comma perfect.

Cian was Emily's first suggestion for the role of Rob and his first audition was amazing but he's a different sort of actor to Abi. He's nothing like Rob in real life and in his recall he was much more relaxed. We were expecting this brooding troubled guy that we met in the first audition but instead this delightful puppy bounded into the room. He's hilarious and charming and he stays himself until the camera rolls. First couple of scenes that was quite scary, you'd be setting for this shot and thinking "what the hell is he doing?" and then you'd call action and suddenly this performance would appear.

We've been very lucky.

What is the key to a successful crowdfunding campaign?

BEN: Engagement and passion are essential. You have to be able to convey why you want to make the film. It's also good to show the world that you're not expecting them to do the hard bit for you. In our case we raised £18k which was mainly just to shoot a specific sequence in the film that was, on its own, way too expensive for our budget. This felt good as it meant we weren't saying "oh please we'd like to make a film can you fund it for us…" we were saying "we're making a film, come and join in."

The real turning point for us though was when we released the teaser. I think this worked on two levels. We'd cut a couple of minutes of footage from film to a track by Amanda Palmer and asked her if we could use the track for the duration of the Kickstarter campaign. She saw it, loved it, said yes and began tweeting about it. Obviously when someone with her online following starts pointing eyeballs towards your work that has a great impact. We raised £7k in the final three days, all after the teaser was released. What's great about this though is that, when you look at the stats, this wasn't just Amanda's fan base getting involved, the money came from all over the place - a lot of it was people who'd been following the campaign from the start but hadn't felt convinced by us talking about the project. As a filmmaker it's great to find that people respond better to seeing a bit of the film than they do to hearing you talk about it!

It's another reason why I think our approach of not trying to fund the entire project paid off. Being able to actually show people what their money was going into was the real turning point for us.

What is the indie film scene like where you live?

CHRIS: Mostly we think of films in Britain working in a system of patronage. You go cap in hand to one of a few sources of money and the chosen few get to make their films. There are obviously lots of folks trying for this so its easy to become not one of the chosen ones as there's only a small pot of money there. And if you don't get money from one of the BFI, FIlm4 or BBC Films then you're dead in the water. That's the story that puts a downer on everything. However there's lots of money sloshing around London and ways of finding investors. There's a burgeoning number of exciting films being made for not very much money, though if these can be a source of a continuing income is to be seen - people like Ben Wheatley are making it work, which is very inspiring to see.

When I think of an indie film scene I always think of filmmakers all working together, critiquing each other's work and working on each other's films when they happen, drinking and watching films together and talking into the wee hours in coffee shops. This isn't necessarily how life is in London, I don't know. There are definitely signs of it - we are in a great scriptwriting group with some brilliant writers, we know a lot of folks who have just made or are about to make their first feature, and we love to help others with their projects in whatever way we can. However we're also not the most sociable - we like to work (hence the writing, directing, editing) which doesn't leave much time for hanging with the cool kids.

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 Thanks for doing the interview guys. I wish you all the best with "Nina Forever" and future projects. If your ever in Boston, let me know. Maybe we can talk indie film.