Welcome to Filmage-A-Trois, our own little sexy slice of indie film heaven. We’re indie filmmaker’s P.J. Starks (HALLOWS EVE, A MIND BESIDE ITSELF) and Jakob Bilinski (SHADE OF GREY, THREE TEARS ON BLOODSTAINED FLESH) your tour guides through an unorthodox way of picking the brains of independent filmmakers from all over. What exactly is a filmage-a-trois you’re probably wondering? No, it’s not our attempt at three ways with other artists. It’s not as easy as you might think. So rather than suckering them into the sack, we’ve asked them to have a sit down. We’ve tasked ourselves with bringing you the best and in some cases obscure filmmakers we’ve been privileged to call friends. To get right to the point of what makes their clocks tick and to see what kinds of film topics that get their gears turning. So put on a brain condom, cause we’re about to blow your sensory overload!

This month we have a talk with a filmmaker out of Evansville, Indiana by the name of Kevin Chenault. He has been dabbling in film for quite some time not and got serious in 2009 with his first feature film Young Islands that premiered to a packed house. Most recently Kevin shot and directed his next feature, the road trip flick Different Drum. Let’s get right into the nitty gritty to find out what makes this guy tick…

* * *

JB: When the 3-D craze dies down, what's the next gimmick should be widely embraced in cinema?

KC: Buzzers in the seats. Everything seems to run in circles. Well damn that is what needs to be re-made, The Tingler by William Castle. I think you or PJ could do a killer version!

PJ: Most filmmakers create projects that are within their comfort zone, however, you seem to try various types of subject matter as well as genre bending films. Why do you think its important for filmmakers to think outside the box?

KC: That is a fine question and I'm not sure if it is important for filmmakers to think outside the box. I kind of think that the only important thing is to stay true to your idea. 

JB: I love and respect that you have this drive to go out and make the films that you want to make, despite the odds, regardless of budgetary constraints and other limiting factors. Do you find it more of a blessing or a curse, playing in this sandbox of true independent filmmaking?

KC: Both. It is a curse when things aren't exactly going well and a blessing when things work out. That being said, when your a kid playing in a sandbox ... getting out of the sand doesn't even cross your mind.

PJ: Kurt Russell calls and says, "I want you to write me a starring role in a mumblecore film." What role would he play, what would be the synopsis and tag line?

KC: First, I would be amazed that Kurt Russell knew the term "mumblecore". Then I would be kind of disappointed that he used the term "mumblecore", but I think I know what type of film your describing and I think Kurt Russell would kill it in a small independent film with a lot of dialogue. I'd pay to see it.

JB: With Young Islands I feel like you've managed to tap into an old school 90s aesthetic along the lines of Richard Linklater and Harmony Korine, sort of blended with a mumblecore vibe. What is it about this narrative structure that appeals to you so much?

KC: Thanks for saying there is a 90s aesthetic in Young Islands. I tried to keep current technology and music out of the film. Most of the music featured in the film is recorded by bands in the 70s, 80s, & 90s with maybe a few exceptions. I grew up in the 90s and there is definitely something about that time period for me. Most of my childhood memories take place in the 90s and there are a few autobiographical elements in Young Islands so it just seemed to make sense. I'm glad you picked up on that because the date isn't mentioned in the film.

PJ: The Big Lebowski or The Royal Tenanbaums? Why? 

KC: Both. 

"That is the last time you put a knife in me!" - Royal 
"Obviously your not a golfer" - The Dude

JB: What's your take on the current state of independent film?

KC: ... Well that is a really hard question, because it is hard to tell what "independent film" really means. I would say there are a lot of really great films out there like Safety Not Guaranteed that I would consider to be an "independent film". So, Yeah that is a good movie. Really, I'm definitely not the first or last to say it, but its the Golden Age of TV. That is where exciting things are happening, on tv.

PJ: If you could do away with a certain genre or sub-genre, what would it be and why?

KC: Oh no definitely not. There are films that belong to every genre and sub genre that I love and enjoy very much. I sometimes dislike the over use of sub-genres to classify films, but that is inevitable. It happens with all things; music, film, art, people, clothing, architecture. Nothing is safe from classification, but I do get a little annoyed by it's over use. Wouldn't it be great if you went into a video store and the dvds were all organized by their title and not by genre. Well come to think of it Family Video does a pretty good job of that.

JB: Do you have any idea what project might be next?

KC: I'm actually working on a young adult / children's novel or it might be a film... Honestly I'm not sure what it is yet, but I'm real excited about it.

PJ: What film have you seen in the last 5 years where you thought, "damn, I wish I'd made that."

KC: I'm not sure if I ever think "I wish I made that", but I definitely get really inspired by films of every genre. I just saw Star Trek: Into Darkness twice this past weekend and walking out of the theater I definitely started day dreaming about making a more science fiction oriented film. The same thing happened when I watched the recent version of Les Miserables (2012). I went home and immediately started to re-work a dark film idea that I had laying around my desk, into a dark musical idea.

*   *   *

We cannot thank Kevin enough for taking the time to talk with us about film, life and his love for weird genres that I (P.J.) don’t understand. Jake gets it though! But Jake’s weird too, so. If you want to find out more about Kevin Chenault you won’t find him on facebook because oddly enough he has yet to conform to the masses, but you can check out his work at www.blackstrappictures.com.

If you’re a Kentucky native, specifically in the town of Owensboro, you might be familiar with the Unscripted film series started by PJ Starks, which features a range of local and regional films, free food and drink and a little twist that makes it extra exciting. This summer will be the 2nd year of Unscripted and I recently chatted with PJ about the history and future of Unscripted. Read on to find out all the amazing things PJ is up to!

* * *

ML: This is the 2nd year of Unscripted, a six week film series of which you are the creator. How did you originally come up with the idea of Unscripted and what was the catalyst?

PJ: It stems from several things. Helping filmmakers get their projects recognized by creating venues for them to display their work and my love of DVD special features. I had put on a film series before, but it was pretty typical. I wanted to do something a little different, something unique. That’s when I started toying with the idea of taking an audio commentary and doing it in real time. An experience that the audience could participate in; where they could ask the filmmaker questions about the film as it screens in front of them, rather than just listen to them talk. That’s where the idea of Unscripted came from.

ML: Right now Unscripted is only in Kentucky, correct? Are there any plans to take this to a national level with Unscripted being hosted in different small towns across the country?

PJ: Right now yes. On a national level? That would be amazing. I have spoken to some friends of mine in surrounding areas and the Indiana Filmmaker Network about taking the brand on the road. There have been conversations about it, however, I haven’t actively worked on setting up venues anywhere else. That is a possibility.

ML: The twist that makes Unscripted a unique film going experience is that after a first viewing of the film and a brief Q&A with the director, the audience then gets to watch the film a 2nd time and participate in an interactive “anything can happen” audio commentary experience. Can you explain to us how exactly this process works and how the audience AND people’s reactions and feedback have been to this?

PJ: That concept was one of the coolest and most stressful at the same time. It takes the control out of the film maker’s hands and creates an atmosphere where anything goes. That’s the whole point, but you never know what kinda hell an audience member might unleash if they completely hate the film. I honestly had no idea how it would turn out. Thankfully, it has turned out to be the most popular part of the series and actually started a buzz that brought people in that normally may not attend an event like this. The reaction has been incredible.

ML: This year as well as featuring local and regional indie film, you’ll also be featuring local live music. Would you say that this is becoming as it continues more of a local arts festival than just a film series? What inspired you to add local musicians to the event this year?

PJ: I don’t know if I would call it a festival as much as it’s a celebration of the amazing types of artistry we have in our region. It’s definitely aimed at bringing in local artists, but the venue is open to artists from all surrounding states if they want to participate. As a matter of fact Brad Jones, who directed both Dada and Write of Passage, will be Skyping in from LA to participate. The same goes for film maker Jonathan Martin who wrote and directed An Evening with My Comatose Mother. We’re trying to expand a little from just the local appeal to something a little more broad as well.

I’m always looking for way to incorporate other types of visions and artistic abilities within my film endeavors. The local music scene has been really popular for a while and it only seemed natural to add new elements and help other artists showcase their talents.

ML: The entire event is free (including drinks and popcorn!!). How did you convince local sponsors to help out with this event to make it entirely free? If someone else wanted to do something similar how would you suggest they go about getting sponsorship?

PJ: I realize that there is a certain amount of “business” in everything, but I don’t consider myself a business man. I just have a lot of ideas and visions and when I set my mind on something, well I make sure that I can get it done. When I passionate about a certain concept I seek out those who are likeminded and can be equally passionate about the idea. I simply approached Family Video and Malco Cinema with the idea and they loved it. Family Video has been a part of several projects I’ve done over the years and the Malco knew of me and my events. It didn’t take much convincing to get them excited and they jumped on board. The best advice I can give is to be honest with your intentions. If you’re in it for money then make sure everyone involved is looking for the dollar signs. If you’re wanting to create something unique, something that isn’t and hasn’t been done in your area then do it.

ML: Unscripted is also presented in partnership with the local library, Daviess County Public Library. How did the partnership with them come about?

PJ: Jim Blanton was one of those passionate individuals I spoke about previously. He saw the potential and became really excited about this project. Without him believing in my vision and opening up all his resources, there’s no way this thing would be what it is right now. Ryan Henry, Wes Johnson, Jarrod McCarty and the whole team at the Daviess County Public Library have really stepped up to help make this a special event for the community and I’m really excited to watch it grow.

ML: This year’s festival features Dada, The Telemarketer, Boscoe, Lucid, Write of Passage, Nearly Dead, An Evening with My Comatose Mother, Joey and the Checkout Line and Vanities, which looking at the poster seems to be a pretty wide range of films. What process do you use to select the films presented at Unscripted?

PJ: It needs to be all genres to appeal to a wide audience. They also need to be short films because of the format of the program. It makes it easier to sit through the same film twice. I will say that watching the film without the live commentary and then with are two completely different experiences, which is why it has become so popular. As far as selecting the films, I seek out local/regional film makers who are looking to push their projects. Some of them are friends and others are artists I’ve met along the way. I put feelers out and then wait for the submissions to roll in. One we get the films we decide which ones best suit what we’re trying to accomplish and to a degree, content comes into play. The most important aspect is that the writer, director or a producer can be available to facilitate the live audio commentary. Once I get an “ok” from the film makers, the films are scheduled and off we go.

ML: When you say the films are local or regional do you mean that they are strictly from Kentucky or are Southern in general?

PJ: I try to gather projects that are from Kentucky specifically and then the surrounding states. However, I’ve made friends with some film makers over the years who have amazing projects and aren’t from my immediate area. They’re excited and willing to be a part of the event. I would be stupid to turn them away. Plus, by allowing films from outside the area it opens up our event to different perspectives on film and the filmmaking process. That’s really what this event is all about.

ML: What do you see for the future of Unscripted?

PJ: In all honesty, I created this event for the community so I suppose it’ll continue as long as there’s interest and right now that seems pretty strong. I’d love to start creating Unscripted venues in other areas like you had asked about. I think there’s a lot of potential for that idea. Especially since there’ll never be a shortage of short film. I just hope it keep growing and expanding. I’d love to see an Unscripted week-long event where it’s almost like a festival. That would be pretty awesome.

If anyone is interested in having their short film screened at future Unscripted events they can email me at starks.pj@gmail.com, they can like us on Facebook at www.facebook.com/unscriptedxperience or check out the official Unscripted page at www.dcplibrary.org/unscripted.

ML: Is there anything else you’d like to tell us about yourself or any other upcoming projects?

PJ: I was recently asked by John Thompsett to help be Co-Coordinator for the first annual horror film festival at year six of The ScareFest in Lexington, KY. The convention is one of the largest horror and paranormal events in our area and had over 14,000 in attendance last year. It’s been an incredible opportunity and right now we are looking for submissions for horror/sci-fi shorts and features. If anyone is interested in submitting please contact me at starks.pj@gmail.com and check out www.thescarefest.com for more info on ticket prices, guests and more.

A couple of months ago I did a review of a short film called On the Horizon that I absolutely adored.  I ended up emailing back and forth with the director for a while and finally asked if I could interview him and he said yes. So without further ado – my interview with filmmaker Pascal Payant. Have a look as we talk about the role of women in film (particularly his), how he views women in cinema and discuss everything from the Doors to sexualization.

* * *

ML:  Your films (Something in the Way, White Blossoms and On the Horizon) evoke a sense of lyricism and poetry and are for the majority told without a lot of actor interaction (i.e. more in the form of voiceovers or one person speaking to the camera).  Would you consider this your signature style and how did this become your signature?

PP:  I love intimacy. I love when it’s simple, delicate but there’s dark layers, rich underground of meanings. It can look simple from the exterior but if you start analyzing the film you will see that every aspect of the film is there for a reason. Every color, framing, sound, music, action etc. Everything is there for a reason. It’s my signature for sure. That’s the more crucial part for a director it’s to find your voice. When they click play they need to say yes it’s “THAT” person film. I never wanted to be a generic director. I want to have a voice; I want my films to have communal themes that connect all my works. Short films are there to experiment and find that voice. Once you are at the stage that you have your voice and you master your style. Then go for the feature film. That’s where I’m at now. After 35 films, music videos etc. Now I’m ready for my feature film. It’s called “Stolen Season” It’s a road movie about a woman’s journey of self-discovery.

ML:  Your films (Something in the Way, White Blossoms and On the Horizon) evoke a sense of lyricism and poetry and are for the majority told without a lot of actor interaction (i.e. more in the form of voiceovers or one person speaking to the camera).  Would you consider this your signature style and how did this become your signature?

PP:  I love intimacy. I love when it’s simple, delicate but there’s dark layers, rich underground of meanings. It can look simple from the exterior but if you start analyzing the film you will see that every aspect of the film is there for a reason. Every color, framing, sound, music, action etc. Everything is there for a reason. It’s my signature for sure. That’s the more crucial part for a director it’s to find your voice. When they click play they need to say yes it’s “THAT” person film. I never wanted to be a generic director. I want to have a voice; I want my films to have communal themes that connect all my works. Short films are there to experiment and find that voice. Once you are at the stage that you have your voice and you master your style. Then go for the feature film. That’s where I’m at now. After 35 films, music videos etc. Now I’m ready for my feature film. It’s called “Stolen Season” It’s a road movie about a woman’s journey of self-discovery.

ML:  You seem to be a fan of shooting in wide open spaces such as the desert or snow covered fields. Is this representative of a deeper layer of your works in the sense that they represent what seem to be common themes of isolation and loneliness in your films?  Or is this merely because you shoot with no budget and/or team and this creates both a less expensive and beautiful
backdrop?

PP:  It’s both. When you have no budget you chose location that can be stunning and filmic. An ocean, a field, snow or desert cost nothing and you can create the most stunning piece using these locations. A film is a visual medium. You need to have something to dream about when you watch a film otherwise what’s the point? I love wide space. I love the fact that you can escape and be totally free in nature. I’m a bit claustrophobic so if you stuck me in a forest I will feel weird but if you let me go in a huge empty desert, I feel at home. I’m calm and at peace. Even if there’s darkness around me at that moment, wide open space can be very therapeutic. It can be isolation or it can be a healing process-.depends on the film, depend on how you receive it

ML:  As well as short films, you’ve also done a number of music videos (I watched two done for Automatik Eden, one for Zeraphine and one for Philip Aelis).  The bands all seemed to have a similar style and flavor – do you seek bands out to shoot their videos and come up with their concepts or do they seek you out?  Or are these groups friends of yours?  I know in a few of your videos you featured music written and performed by friends.

PP:  Music video wise, I’m kinda of a groupie. I don’t care about the money or fame. I just want to create cool concept, videos with bands that I love. Zeraphine for example, I contacted them cause I love their music for years. They checked my stuff and the singer said yes, let’s shoot. So I flew to them for free to shoot with them. It was so fun. I will never do music video if I hate the band, just for money. I won’t. I won’t have any fun doing it. Same from Philip in France or Automatik Eden. I did 2 videos for them and they look different but similar. We experienced and tried stuff. It’s so fun. The goal is to bring your style in everything you do. It can be challenging. I create all concepts then I pitch it to them. I love supporting new bands or just collaborating with amazing talents around the world. I have so many bands I want to work with.

ML:  The Philip Aelis video seemed very unlike the other music videos I viewed in that it featured color instead of muted black and whites.  What was the difference there that made you move away from what you’d done with other bands?

PP:  We wanted to create something that the woman was in her own world, isolated from anybody. He had a connection to a night club and I said what about having this girl to be all alone and dancing with the lights and lasers, that she can be free of anything. Something very simple but elegant, classy and dreamy. There it was. In everything that I do, the colours need to pop out of the screen. I love when everything is natural, organic. I hate special effects; I don’t want to do them. My challenge is always to create beauty just from the lenses and the person. Nothing fake. It’s hard sometimes but at the end it works.
ML:  You mentioned to me in our conversations over the past couple of months that your films are about the strength of women in cinema.  Does this include your music videos? I noticed in Automatik Eden’s The Agency that there were themes of BDSM with a woman being in chains amongst other images.  If your work is about the strength of women in cinema, was your message here about power play in the BDSM community and were you trying to say that subs have the most power over doms instead of vice versa?  Or was this video simply one you directed as being opposed to one you also came up with the concept for?

PP:  It’s funny what you can see in my films I love it. I love sensuality, beauty, fashion and in cinema, mostly it’s always about men point of view and the woman are object or secondary. I never liked that. I always wanted to give the woman a voice in so many ways. When you check my work it’s never about the body it’s about the face. Anybody can have a perfect body but no one has the same story in their face. Everyone is different, unique. I love facial expression and the beauty of the face. I’m really pushing hard to give woman a place in cinema with my style. My 3 next feature films are all about woman again. Men are there but they are used in a totally different way. For the music video, the song was about being trapped by the system so I had an idea to have her chained with the spotlight on her with her clothing all ripped off. They really liked it and on camera it looks bad ass I think I wanted her to have control of the chain and be strong, fierce when she was looking at us and it worked.

ML:  Your works that I viewed all feature very stunningly beautiful women.  Do you believe that women’s strength lies in their beauty?

PP:  Beauty can be sadness and strength; it can be a prison for some and courage for others. It all depends. That’s what I love about woman, about man, about visual. It’s so complex. It’s never just one layer. Beauty is everything and nothing at the same time. Depend on your personality at the end. It’s to create a balance. Like I said in White Blossoms: Beauty is nothing if you don’t have the energy, the vibe, the personality to bring it to life in the most unique way. It’s all about what you do with the tool you have. You can be visually ordinary but if you have the most amazing personality. You will be the most gorgeous woman on earth.

ML:  On that same note, your film White Blossoms once again features very beautiful women and on the surface at least seems to be about body image.  But it also could be viewed as a take on the sexualization of women in society and also as the sexual journey a woman takes throughout her lifetime.  Is this up to the viewer to decide or is the meaning supposed to be very clear?

PP:  I think in the film it’s very clear where I stand. Like I said, if you don’t know what to do with that beauty that you have, you will be an empty shell, woman or man. It’s the same; you can be perfect from the outside but so empty inside. Everyone needs to stop running and being stuck in that circle of life or society and just focus on themselves. They need to connect with the inner beauty to really create that balance of pure power and strength to be able to function.

ML:   I only watched the links you sent me (the music videos, Something in the Way, White Blossoms and of course On the Horizon) and with the exception of the music videos, there really aren’t any men featured in your works.  Are there men in your other works or is it really all about the women?

PP:  In my short it’s mostly about woman. My feature film will also be about women but, yes, men will be there too but it will be used in a different form. They will never be the center of my story. I prefer to give the voice to the women and make them shine with my style. People will love it or hate it but at least they will have a voice. I don’t know, all my life I’ve been connected way more with women then men. It was just naturally for me. I always talked, listen and interacted with women. They said write about what you know, well that’s what I know All my films, characters are me. They are women through my eyes. I love to create dreamy, moody films to showcase them in that world; just to recreate reality for me is boring. I want to dream and be in a different world. If I want reality I’ll open my door and see where I live. Nothing is accurate cause it’s an opinion. Like the film On The Horizon – that subject I’ve been there. I’ve been both parts: the broken hearted and the heart crusher. I’m far from being perfect but everything relation wise I know I’m pretty good at talking and expressing that subject in film or feature film.

Lydia Esler the writer/director of LOL has been directing commercials and promos for seven years and LOL is the first time she taken on this dual mantle for a short feature. It’s definitely paid off, as her short film has been accepted to Cannes and by the time this interview appears she’ll have been there, with her creation, and back. She has graciously accepted our offer of an interview and we’re glad she did. We were very impressed by LOL and reviewer Michael Smith talks to Lydia today.

* * *

Hi Lydia! Thanks for agreeing to talk to us! I promise that this will be as painless as possible

1. So, you’re off to Cannes! How exciting is that?

I was very excited to go to Cannes this year with my film. It was the first time I had been to the International Film Festival there. It is really spectacular. It has the most amazing vibe and going as a delegate is really the only way you can gain access to premieres, Le Palais (home to the Short Film Corner and the red carpet premieres), industry bods and networking opportunities. It is a bit like going to Las Vegas though. An adrenaline hit, good parties and to survive...you have to leave!

2. Can you tell us what category LOL will be featured in?

LOL is at Cannes Court Métrage. This means that it is in the bidding for industry professionals and distributers to watch and buy the films for broadcast or other International festivals and markets. It is also a great opportunity for filmmakers like me to witness prestigious speakers, and access themed conferences. Cannes Short Film Corner is designed to build bridges between the worlds of short and feature films.

3. How did you get into the short film business, I know that you’ve been directing commercials for a while now, what prompted the crossover?

I’ve been directing commercials for 7 years but directors are often judged on the depth of their narrative work. A self-written short has no brief, client or ceiling limits to adhere to. So supposedly it is a truer expression of your house style. And it certainly does feel very different to directing a commercial. Ironically you have to learn to be less disciplined. Let me explain. Normally, before I go on set, I will even know how long a single shot can last. With narrative fiction you let the performance lead and the story dictate it’s own pace. Perfection is in the performance, not whether the product is big enough in frame.

4. When did you know that you wanted to be a director?

I started off acting but I got quite a serious sports injury, which meant I could not be on stage anymore. So at the end of my Drama degree I discovered filmmaking. I swapped drama school for film school and never looked back. When I applied to film school there was not enough space on the director’s course so I studied cinematography, but always with an intention to direct. After a few years in the camera department at a junior level I moved into production roles and eventually got a break as a director. Cinematography has been a useful science to inform my directing, so I am glad that is how the journey began.

5. What was your first project?

I had a few ‘firsts’. My first professional job was as a runner for Vito Rocco’s feature ‘Goodbye Cruel World’ (Recommended watch. He is the director of the My Space feature ‘Faintheart’). My first ever short was one I shot on camera at film school for my now DoP ironically - role reversal! My first directing job was a commercial for Sleepmasters. It was mainly a graphical job. And LOL is my first film I have written and directed.

6. What gave you the motivation to write and direct your first film?

It took me ages to pen my first film. I had had some experience writing for theatre or in collaboration. But not solo. I knew the film had to reflect me as a filmmaker. I had looked for scripts and writers for a couple of years, but did not find a theme that I really engaged with. They say write about what you know. I didn’t know what I did know, or perhaps whether what I knew had any interest for an audience.

7. Where did the idea of LOL come from?

Facebook of all places. I had a Uni lecturer who posted on his Facebook status. “Hotel Lobby. Another liminal space”. I had no idea what it meant, and when I looked it up (‘Where boundaries dissolve, and you stand there, on the threshold between what you were and what you are about to become”) I thought - That’s my life! Always wanting to get onto the next thing thinking the grass is greener on the other side. Sometimes you realise grass is just grass. It doesn’t stop me looking over the fence though. After finding the seed I had to dig deep to find my voice. It can be exposing. At first I worried about how it would would reflect on me as a person, but soon realised that unless you get your idea out there it can’t improve, so no point in being precious.


8. I’ve seen the film and loved it, how did you find the little girl? Was it difficult to get her to do what you needed?

Nicole Paphitis is unique. I did a casting call with kids from several agencies. I wanted a girl who could speak Italian, look Italian, act with maturity, understand the subtlety of the story, carry the show, deal with the hours, night shoots, freezing cold exteriors and stand on top of a van. It was a big ask and a couple of the scenes are quite daunting for the character, so trying to persuade an 8 year old’s parents that they will be protected is the first hurdle. The girls auditioning were between 7 and 9. In the casting suite the girls had to enact two scenes with props. At that age actresses are most used to dancing, ballet and singing. They are not used to screen acting and some had never even attended a casting. Nicole proved that she was capable of ‘feeling’ rather than just ‘showing’ emotion and this was key.
I was very lucky because Nicole just got it. She understood the story and brought life to the script in a very real way. I tried to be quite singular in my approach to the action, and not complicate the direction with any inference that the audience would later bring to the narrative. So I focused on what LOL would practically do and feel at that moment, not what the scene implied. I am aware meaning is drawn from social references and expectations of the audience, which were deliberately not inherent in the physical shooting of the scenes. But this can be and was injected in the way the story was cut together.

9. What other things have you done besides the commercials and LOL?

I am always trying to fit in my own projects between commercials, which have involved music promos amongst other projects. Before I was directing, I was an assistant director in drama, and have worked on some UK TV dramas that are on TV now.


10. Are you planning to do more films as a writer/director?

I equate a high production, lo-no budget film to childbirth. It nearly kills you, you wait just long enough to forget the pain and then you do it all over again. So I dare say so! However I didn’t make LOL to sit on the shelf or begin a catalogue of shorts with no audience, so now that it is made I need to get it out there, to give it a shot on the festival circuit. Then I will set about the next one. In the meantime I quite fancy making a micro short though.

11. What’s your next project?

I am working on a few commercials, which are taking me out of the country at the moment. I have a few ideas brewing with some friends too involving cars (one of my other passions) and virals.

12. Where do you see your career going?

I love the current genre I work in which is commercials and promos, but as a director you can be boxed, so it would be nice to expand my repertoire in the narrative genre. I feel like there is an expectation on directors to prove their worth by always seeking out some lo-no feature project, as though without one on the boil you have no artistic merit. I loved making LOL, I love my work as a director and I hope that LOL can lead to other quality drama projects. I could only direct a piece of cinema I identify with and I don’t have any plans currently to make a feature, which is a massive undertaking, but if the right story was around the corner I would welcome it with open arms.


13.At the moment you’re based in London. Do you see yourself changing that anytime soon?
I am from the South of England but spent 11 years in the North. So moving to London 3 years ago was coming home. I heart London. It is the epi-centre of so many things, particularly my industry and British cinema. Whilst I am in the UK I will participate in the rat race, because I love it. But if I want to change that I would like to live somewhere with a slightly more balanced attitude.

14. LOL looked fantastic. What did you shoot it on?

I shot on Red with old Japanese Kowa lenses. They brought the cinema panoramic aspect and the Red allowed me to ramp the speed for the fantasy sequencing. Anamorphics are pretty hard to get hold of on a budget but I find that if your mission is not to cut corners and you do things properly and professionally people like to help.


15. Still on LOL, I felt that the Barbie doll was used allegorically to signpost what was going to happen in the film was that your intention or was that just one of those serendipitous moments?

The metaphor of the doll is entirely intended. I am glad it doesn’t seem too obvious but it is deliberately woven into the fibres of the story from the first scene. It was the first image I had when I started writing the story and it is the first image in the film. That part is a coincidence.

Thank you Lydia for chatting with us and we hope everything goes well for you and LOL in Cannes. You’ve said that you’ll let us know how it turns out and we wish you a great turnout and response to your film. I’ll definitely be looking out for Faintheart and I’m quite pleased that I now know what liminal means.

For anyone who wants to learn more about the film or Lydia check out the Facebook page here.

Last month I reviewed “S.I.N. Theory” (2013) a fabulous kinetic indie feature that tells the story of college mathematics professor Dr. Michael Leimann (well played by Jeremy Larter) who attempts to develop an algorithm that can successfully predict every human being’s action on the planet. Part thriller, part sci-fi, “S.I.N. Theory” explores the potential devastating consequences of our dependence on technology. Curious about its creator, I telephoned writer/director Richie Mitchell, and we delved into the production and filming of Richie’s fabulous and fun first full length feature.

*   *   *

PS: So, Richie, tell me a little bit about your background.

RM: Well I live here in Toronto, Canada and I’m from Prince Edward Island which is this little island just north of Maine. I initially went to school for engineering. But about halfway through I kind of realized that it’s not exactly what I wanted to follow through with…

PS: Well, suddenly it’s apparent where Dr. Michael’s Leimann’s intensity in “S.I.N. Theory” comes from!

RM: Well, yeah, at least in terms of talking about math. The stuff in the film is over my head, but I can grasp the overall logic to it.

PS: Come on. Do you know your differentials and your integrals?

PM: (laughs) Yeah, I do. I do.

PS: OK, then you’re cool.

RM: See what I’ve always been doing was film making on the side and kind of learning the craft of it. I’ve joined film centers that are more or less like communities. I ended up doing more of that at the university and the main reason why is that I’m from a small little island and if you’re going to be successful, you’ve got to be a doctor, lawyer, engineer that kind of thing.

So after I finished up school I made film my mission and I moved to Toronto and started freelancing. I was doing short films for festivals and I wanted to make a run at features. I thought that maybe I’d do films for a year, but one year turned into four years and I started making music videos. So I was getting used to this and I really wanted to do a feature. I had a couple of projects in development, but they really didn’t go anywhere. And it was pretty frustrating. It got to a point where I was actually unemployed and the freelance work started drying up so I had this small window to film this idea that I had (which turned out to be “S.I.N. Theory”). And suddenly it came together pretty quick, almost much faster than I would have liked. But I had a small window to do it and that’s how it happened. So I really did “S.I.N. Theory” while I was unemployed!

PS: When you were growing up, what films inspired you the most?

RM: The idea came from another script I was working on. I had a line in the script that said something like “wouldn’t it be amazing if in the future we could predict each others’ lives by mathematics?” It would be like this hidden layer to your life. I knew, of course, about “Pi” (1998), so I re-watched that. But I wanted to differentiate from it, but I didn’t want it to conflict with what I wanted to do. I mean I knew I wouldn’t have any sort of a large budget. I mean I was trying to be very practical with “S.I.N. Theory.” l knew that I wouldn’t have access to car chases or anything like that.

PS: Well, you have to work with whatever you have.

RM: Yeah, exactly. Other indie films I went back to were “Following” (1998), and of course “Primer” (2004). Those were a pretty big influence on me.

PS: The great reward of your movie for me was that emotional impact. You really succeeded in pulling me into the mystery. It’s this gradual process. All of a sudden Michael realizes what effect this algorithm will have on a personal level.

RM: I was really driven to make an independent film that would work. So I asked myself if I were to make only one film, what would it be? And I felt that it would definitely be a film like “S.I.N. Theory”, a serious role driven sci-fi.

PS: Do you know someone like Dr. Michael Leimann?

RM: (Pauses) In terms of what he’s been exposed to (being fired that kind of thing) I was going through that, so I sympathized with Michael from that regard. But in terms of the obsession and proving everybody wrong, I think that’s something that we all kind of go through. As a filmmaker I feel that I need to prove myself every day to people. But in terms of Michael’s character traits, a lot of them are Jeremy Larter’s. He’s really a comedy guy, and I had to pull him back a little so he could do something a little more serious.

PS: How long did it take to get the script to the point where you were comfortable with it?

RM: Two months, though we were tweaking it until the last minute. Not that that’s ideal but we had to roll with the punches.

PS: How did you find Jeremy Larter (Dr. Michael Leimann) and Allison Dawn Doiron (Evelyn)?

RM: Jeremy is a friend of mine. Allison is someone I knew, so when it came time to do the film she immediately came to mind for Evelyn. For the other actors, they were just friends of friends. We tried to have fun during the filming.

PS: I imagine then that the outtakes must be pretty funny!

RM: Yeah!

PS: How long did it take to shoot the film?

RM: Since this was an indie film, it’s not exactly like I was paying everyone up front (chuckles). It was deferred payment, so I didn’t want to have a mutiny (which some film maker friends of mine have gone through). What I did was in May 2011 I shot for a week (Monday to Friday), but these weren’t long days (close to 8 hours). Then we took a week off. And then we went back and we did a second week. And then from the summer through September I did pick-up shots. So it wasn’t a painful, grueling shoot, which I’ve been through on other productions.

PS: What was the most difficult part of the filming?

RM: Just coordinating everything. I just kept moving things forward. Also, the after effects (such as getting the complex formulas on the computer screen) took some time.

PS: What was the germ of the idea behind X_Cut (the film’s hacker character)?

RM: When I had Michael trying to figure out how to make the algorithm work, I felt that that’s one component he needed. To get that part of the equation he would need to reach out to someone like X_Cut (who was played by Farid Yazdani). I don’t know, maybe it was just the geek part of me that came out. I found X_Cut appealing even though I’m not really part of that world. I find the concept of taking someone from common society and having them get caught up in underworld subcultures very interesting. And X_Cut legitimizes what Michael was trying to do. It adds another layer of conflict.

PS: Did you want Michael to put it all together at the end?

RM: That was something that we debated. And Jeremy and Allison contributed a lot on how the story should go. The one thing we did battle on as we figured it out was that the last shot should be of Jeremy. And we thought that maybe we should hear a car screech to a halt and end it on the notion that maybe Evelyn got hit by a car and died after all. That way you know that the algorithm worked. But that was something I was pretty dead set against. I enjoyed the notion that Michael had to trade this incredible tool, but ultimately he’s going to use it for good. I mean he does save Evelyn. But in the end he’s forced to pay the price, which is kind of bittersweet.

PS: During the production who or what was your greatest asset?

RM: I really leaned on Jeremy Larter. He’s a filmmaker in his own right, so he gets “it.” He understands everything from a filmmaker’s perspective. And he was always excited and available and always there to do whatever. Often after a take Jeremy would be my go-to-guy and I would always seek his input, so I gave him a credit for associate producer.

PS: Now I understand that you’ve had “S.I.N. Theory” re-edited? How did you come to that decision?

RM: I did that because having worked on it for so long (I wore too many hats in my opinion), I knew that once I released it, I wouldn’t be able to change anything about it. So I felt that I might as well get another editor (someone who hasn’t been involved) and have him really go over it with a critical eye. The editor was Luke Higginson, and he has edited some of my music videos. The trick for me was finding an editor who would do it for the same price as everyone else on the film (chuckles)! But Luke was totally on-board. And he didn’t completely re-edit it. He trimmed four minutes off. And he rearranged a couple of scenes all for the greater good.

PS: What about festival activity for “S.I.N. Theory”?

RM: So far it’s played at three festivals that were more sci-fi oriented. I’m still waiting on two others. I should also mention that “S.I.N. Theory” has recently been picked up for distribution by Continuum Motion Pictures. It’s very gratifying, and fulfilling. I’m very excited.

PS: Wow! That’s fantastic. But as I said in the review, I just hope Hollywood doesn’t get a hold of your film, because I’m afraid they’ll ruin it!

RM: Yeah, well. I’ll keep you informed.

PS: Richie, what’s next for you?

RM: There are a couple of projects that I have in mind. There’s one I’m developing right now about a depressed woman who volunteers for a trippy experimental self-help program, but that’s all I can say right now.

PS: Well, congratulations, Richie. I hope “S.I.N. Theory” works out great for you. I loved it.

RM: Thanks a lot, Phil.

Welcome to Filmage-A-Trois, our own little super sexy slice of indie film euphoria. We’re indie filmmaker’s P.J. Starks (HALLOWS EVE: SLAUGHTER ON SECOND STREET) and Jakob Bilinski (THREE TEARS ON BLOODSTAINED FLESH) your guides through an insane world of picking the brains of independent filmmakers (and sometimes artists) we’ve been lucky enough to call friends. What exactly is a filmage-a-trois? No, it’s not our attempt at three ways with other artists. We prefer big boobs and wieners, not egos. So rather than suckering them into the sack, we’ve asked them to have an in-depth conversation. We’ve tasked ourselves with bringing you the best and in some cases obscure filmmakers we’ve been privileged to meet along the way of our own adventure. To get right to the point of what makes them tick and to see what kinds of film topics that get their gears turning. So put on a brain condom, cause we’re about to blow your sensory overload!

Joe Atkinson has been working on independent cinema since 2011 when he tackled his feature film Reality, a satire on the whole reality television trend. Since that time he has dabbled in many areas including editing films for others such as the upcoming short films The Telemarketer and The Dream Job as well as creating the highly successful web series The Book of Dallas which garnered a whopping 1.3 million viewers during its run. Joe has also served as Producer for several projects including Happy Hooker Bang Bang, Reality On Demand and Three Tears on Bloodstained Flesh. A man of many talents, especially talking, Joe decided to have a sit down with us and tell all his dirty, morbid thoughts. Here is what transpired…

* * *

JB: You, like most of us, wear a lot of hats, Joe. Is there a particular area you relish most? A lot of inquiring minds always seem to have the most questions regarding producing. What do you find most challenging/rewarding in that arena? And not to be cheesy, but what advice would you offer to those who are looking to get their project produced but aren't sure how?

JA: Yes, the hats are plentiful; on The Book of Dallas alone, I believe I served as writer, director, producer, showrunner, editor, colorist, actor, camera operator, boom operator ... I don't think I ever touched a light, but I can't rule it out. So yeah ... lots of hats. But the parts I get most excited about are writing and editing. I think I've gotten fairly good at producing, but honestly, that part isn't nearly as much fun - it's a lot of detail-oriented things that have to be done to get a film made. That's the vegetables. Writing is a good appetizer, though, and editing is dessert ... editing is the reward that comes from eating your vegetables.

PJ: You created a highly successful web series with The Book of Dallas that touches on a lot of deep and controversial issues. Why do you think it’s important, as a filmmaker, to touch on subject matter that might be out of some peoples comfort zone?

JA: I think it's really less about touching on things outside of the audience's comfort zone than it is about having something to say. It just turns out that the things I wanted to talk about in The Book of Dallas were probably outside of some people's comfort zone - which, I suppose, most things worth talking about ARE. But my first film, Reality, came out of a certain level of disgust with what was happening on television - the “Honey Boo Boo-ing” of our popular culture. The Book of Dallas came out of a similar distaste for religious intolerance and the things that were being said and done in the name of religion. To me, these are important things to be talking about, and film is the medium where I can talk about them and hopefully find an audience interested in joining that conversation. Of course, part of that also means saying what I have to say in a way that is entertaining, and doesn't preach at the audience, because nothing turns me off as an audience member more than being preached at - even if I happen to agree with the ideas being preached. So that was a line I tried to walk with The Book of Dallas, and I hope we pulled it off in the final product.

JB: You're one of the only people we've talked to who has significantly dabbled in multiple media formats, as well. In that you've worked to varying degrees (creator, writer, producer, director, etc) on short films, features, and web series. Do you have a preferred format? Or is it just all about the story? Also: pros/cons in each construct?

JA: I've actually enjoyed working in all three media, though I'd have to say the one with the biggest drawbacks in the short. That one's the easiest to make - I've worked on, I think, five of those now, and none took more than a weekend to shoot. But more than anything, they're a proving ground, and a great way to learn and practice and kind of strengthen yourself to the point where you're more confident as a filmmaker.

The biggest drawback to the short, though, is that I never feel like you get enough time to really tell a story in a short. More often than not, I leave a good short thinking, "Man, I really would have liked to see that play out more ... but I guess they didn't really have time to do that in a short." That's why I prefer the long form of filmmaking. As to whether it's a film or a web series - to me, that's kind of dictated by the story. The Book of Dallas ended up being a web series, after starting off as a feature script, because the story was getting very long, and I really wanted some more time to flesh out characters like Benjamin and the preacher, Grant Hammel. Doing that in script form would have led to about a 180-page script, which is far too long for anyone in the indie world. But as a web series, it had two advantages: First, it could be longer, because it was broken down into shorter episodes. But secondly, the episodic format allowed the opportunity to kill 15-20 pages, because the need to have a logical transition from one scene to the next disappears between episodes. Episode 3 starts about nine months after the end of Episode 2, and I didn't have to show that time passing ... one episode ends, the time passes, then the next one begins. Easy.

I did love the immediate gratification of getting an episode out and getting immediate feedback. You don't get that in a feature ... with a feature, you finish, and you wait, and wait, and wait; with a web series, we'd finish on Thursday, upload on Friday, be live on Monday, and have notes on our Facebook walls later Monday morning. Good or bad feedback ... it's awesome just to know someone's watching.
So I like the web series format a lot. But not enough to stick with it; I'm getting ready to be pretty heavily involved in a new feature now, which isn't necessarily because I like that medium better, but this story made more sense there. And honestly, I'm happy enough working in each medium that I'm thrilled to go wherever it makes the most sense for the story.

PJ: One of my favorite questions to ask filmmaker’s is about the regurgitation of Hollywood remakes. What is your whole take on the remake shtick & if you did a remake, how would you reimagine it and why?

JA: I'm not really a fan of the whole remake trend, though I have to say that with the caveat that there have been a few remakes that I'm tremendously fond of. By and large, though, I think my issue with remakes stems from the movies that people choose to remake. I mean, why the fuck would anyone want to do a remake of The Manchurian Candidate, for example? The original film is perfect ... there's not a wrong or false note in that whole movie. So why remake it? On the flip side, you look at a remake like Ocean's 11. The original is a pretty mediocre flick. Soderbergh, Clooney, Pitt - those guys made that into the coolest damn thing to hit screens since ... well, probably since Soderbergh and Clooney patented cool in Out of Sight. In an instance like that, a remake can be a good thing - where you're taking something that SHOULD have worked and got utterly rat-fucked, and you're turning it into something better. I'm good with that. But when you remake Psycho, or The Manchurian Candidate, or ... what good can come from that?

So that makes the last part of your question easy to answer: If I were going to do a remake, I'd want to find a concept that had some promise, but that someone screwed up and turned into a shitty movie. And my goal would be to pull that nugget of a great idea out and reimagine it into what it could have been, instead of what it ended up being.

JB: What do you think it takes for a film, be it at the script or production phase, to earn replay value? In that you find rewards in viewing the final film multiple times, as opposed to some that are one-and-done's after the first viewing?

JA: For me, I think the distinction is more about what makes a great film NOT have replay value. I mean, sure, there are some things that I enjoy more upon repeat viewing - most of those are films that have a certain comic element that works better when I know the story and can just appreciate the intricacies on repeat viewings. The Hudsucker Proxy, Inglorious Basterds, The Big Lebowski - films like that have had tremendous repeat value for me.

But generally speaking, anything I think of as a great film is something I can watch repeatedly without getting tired of it. The exceptions, for me, tend to be those films that I think are great, but really don't ENJOY. Films like Requiem for a Dream. Is it a great film? Absolutely. I think it should be shown in high schools as a lesson about drug use - it's a fucking masterpiece. But do I ever want to see it again? Hell no. I tend to think about it more in those terms ... not what makes me want to see a great movie a second time, but what makes me NOT want to see a great movie again.

PJ: Horror is VERY prevalent in the indie film scene, especially in our area in particular. Why do you think that is and how difficult is it to produce/promote a passion project that's not the typical genre?

JA: Horror films are cheap to make, popular as hell, and they don't have to be great films to get attention. If you think about it, there really isn't another genre of film where the quality of acting is almost more entertaining if it's bad - where fans almost get off on the kind of schlocky, over-the-top shit that horror audiences get off on. In some cases, it's almost more fun to watch a shitty horror movie than a good one!

But yeah - there's definitely an added degree of difficulty when you're doing an indie project that isn't horror, when it comes to trying to get it seen and build an audience. Getting it made wasn't too much of an issue; I like to think we had a pretty solid story that got people excited about being a part of The Book of Dallas. But if we hadn't managed to pique KoldCast's interest, I think I'd still be trying to find an audience outside of our cast, our crew, and our immediate families.

JB: The whole "there are no new ideas, everything is recycled!" argument (which annoys me to no end and seems a cop-out excuse to bitch). Weigh in. What do you think it takes to put something "original" out there amidst the barrage of remakes, re-imaginings, reboots and flat-out copycats?

JA: I think it takes an original idea to start from. And when I say "an original idea," I don't mean something that's completely out of left field ... those are few and far between. That's why everyone was so blown away by the shit Charlie Kaufman was doing a few years ago. Being John Malkovich was totally out of left field. Eternal Sunshine of the Spotless Mind was the most original love story I think I've ever seen. But that's not what I'm talking about ... if anything that didn't hit that level of originality was a copycat, then EVERYTHING would be a copycat.

But a new twist on a story is what makes something interesting and original ... and also kind of a big risk. Hollywood loves doing the remake thing, because it's kind of a, "Well, we know this hit once, so it probably will again!" kind of thing. Look at Oz ... the original is one of the most beloved movies in history. So there's not really a lot of risk about doing another story set in that world; and if they needed any more assurance, Hollywood got it from the success of Wicked. So they make Oz ... and it makes a gajillion dollars, and they're already talking about a sequel - in spite of the fact that the movie sucked, and the lead actor was so completely miscast that they could have replaced him with the "March of the Penguins" lead and not lost anything. You want to know why Hollywood keeps going back to the remake, re-imagining, reboot mine? That's your perfect example.

So I guess what it takes to be original is an original idea ... and someone willing to take a risk on it.

PJ: As artists, we’re constantly searching for either a fresh way to tell an old story or come up with a new idea all together. Along the way we experience other filmmaker’s who get there first. Is there a film you’ve seen in the last 5 years where you were like, "damn, I wish I'd come up with that concept?”

JA: Honestly, the last five years is kind of an odd stretch for me, because four years ago, I became a dad. So for a while there, I saw pretty much nothing; that's starting to turn around now, and I'm seeing more than I used to, but still nowhere near what it was before children and for the record, it's a trade-off I'd take any day, though. So I suppose I'm answering this question with that caveat. But, having said all of that ...

Probably Inception. I love shit that's out of the box and unique, and that fit the bill. The way Chris Nolan was able to structure that movie - taking you to a dream within a dream within a dream without ever confusing the audience - was fucking brilliant. I want to be that good.

JB: I always find it interesting that as creators we each completely disappear into our work, sinking into the mindset of characters who do things we have zero experience with, or might not even be able to sympathize or empathize with, despite striving to make them interesting. Yet from all this fiction/fantasy we dabble in, it's almost impossible to not shed a bit of your own self, personally, into these works (and sometimes we intentionally purge personal waters into them, which is quite a vulnerable thing at times). And every project is different.

JA: Oh, I think that's definitely the case. Each of the scripts I've written has some piece of me in there ... and I don't just mean in the characters. I mean, yes, there was some of me and my struggle with religion in Dallas McKay, and I had sort of a proxy character - someone who said all of the things I was thinking - in Mike throughout Reality. But for me, I kind of show up in the themes. Most of my stories are subjects I spend time thinking about - whether it's wanting to take shots at reality TV, or religion, or just talking about those fears of what I'm afraid of becoming as I get older. But those things are all very much me. What's interesting is that I took my first swing, recently, at doing a script that WASN'T like that ... it wasn't some theme I've been ruminating on and spent much time thinking about. I just had an idea for a story, sat down, wrote it, and it was done. I don't think there's very much of me in that story at all ... a lot of ideas and inspirations from other pieces of pop culture that I love, but really, very little of the kind of raw self that shows up in the other things I've done. Those films, I feel like I'm kind of putting myself out there in a very vulnerable way - they're very personal projects. This is the first time I've written something that was more detached - just telling a story that I think is kind of cool, and makes for a good, slow-burning yarn. And while I really like the story and have quickly become pretty fond of the script, it doesn't have that personal angle that my other stuff has had, which is kind of an odd feeling.

PJ: The Rock calls you and says that he wants you to write him a starring role in a political drama, something against type. What is the synopsis, title and tag line?

JA: I've actually been toying around with the idea of writing a drama set in the future, after climate change has wreaked some havoc on the coastlines, the population is blowing up, and Congress is having to enact laws to deal with all of this. And there have been a few unexpected consequences that have come from all of this.

I'm gonna cop out and not give you the full synopsis or logline, because frankly, I might decide to write that, and I'm not big on publishing ideas before I get to write them. But suffice it to say that The Rock would be excellent as a Congressman who is struggling with his conscience as a major vote approaches that would, quite literally, be a life-and-death vote for millions of Americans living in gross overpopulation in a world that has been radically altered by climate change.

And thank you ... now, I'm gonna find myself writing that with The Rock in mind.

* * *

Special thanks to our friend Joe Atkinson for taking the time to talk with us and let us creep inside his synapse. To find out more about Joe’s work and upcoming projects, check out his production site at www.courtstreetproductions.com. Joe is yet another fine example of the type of passionate filmmaker we’re lucky to have in our region. He’s a good friend and a great human being with immense sexual prowess. If you too would like us to say something nice about your talents, true or not, click the Pay Pal link when sending us an email for a mere $49.95 + tax. Some states need not apply, including Alaska and Detroit. - Editor's note:  Yes, this was a joke.  Please don't send money.  P.J. and Jakob never say anything nice about anyone for money.  Punch and pie maybe, but never money. ;)

Welcome to Filmage-A-Trois, our own little sexy slice of indie film heaven. We’re indie filmmaker’s P.J. Starks (HALLOWS EVE, A MIND BESIDE ITSELF) and Jakob Bilinski (SHADE OF GREY, THREE TEARS ON BLOODSTAINED FLESH) your tour guides through an unorthodox way of picking the brains of independent filmmakers from all over. What exactly is a filmage-a-trois you’re probably wondering? No, it’s not our attempt at three ways with other artists. It’s not as easy as you might think. So rather than suckering them into the sack, we’ve asked them to have a sit down. We’ve tasked ourselves with bringing youthe best and in some cases obscure filmmakers we’ve been privileged to call friends. To get right to the point of what makes their clocks tick and to see what kinds of film topics that get their gears turning. So put on a brain condom, cause we’re about to blow your sensory overload!

Actress Cindy Maples has become a staple in independent cinema in mine and Jake’s area. With a passion and dedication to her craft that rivals any “industry” professional. Raised in Illinois and now living in Indiana, she has been acting for as long as she can remember. Her first feature film role was in Widow, a Big Biting Production in 2009. Since that time she has gone on to star in a myriad of genre efforts such as Wireface, The Birthday Massacre and Bloody Hooker Bang Bang. Whether she’s acting or producing, Cindy brings a wealth of knowledge to any production thanks to her extensive background. Now that we’ve gotten through all that crap, let’s get on with something that has real meat on the bone…

* * *

PJ: The role of women in horror has changed dramatically since the days of the 80's "final girl". We're finding less cannon fodder females and more strong, smart and well developed characters for women. In particular a Sidney Prescott or more recently Rhada Mitchell in Silent Hill or Natalie Jackson Mendoza in The Descent. What are your thoughts about this evolution of women in horror?

CM: I’ve always thought it was AWESOME that even in the slasher flicks of the 80’s the only one who ever survives is a female. It shows our natural superior ability to not die. But, yes I do enjoy the fact that the females that survive now are not only Kick-ass but intelligent at the same time. Somewhere along the way writers realized that women can be just as tough if not tougher than most men. The movies of the 80s proved that point. How many times did we see women get tortured, chased (of course they fell a few times) and then find a way to not only survive a massacre but kill the bad guy in the end? I think it was an inevitable progression for females to take on the role of hero in these films. I also love the fact that we are seeing more female killers like Judith Roberts in Dead Silence or the creepy little girl in The Ring. We can be just as scary as some guy with leather strapped to his face; you should see me in the morning... Frightening!

JB: Cindy, you're making quite the name for yourself in the indie horror community. What is it that attracts you to horror, or at the very least, the dark side of things?

CM: In this area it’s the closest thing to dramatic acting. The characters are always being challenged in a horror movie, they have obstacles that they have to overcome and it gives you something to work with and pushes you into a good performance. For myself, I like to be scared, it makes me feel alive.

PJ: I recently gave a talk about Producing indie film, where my main message was to know and focus on your strengths. Why do you think it important for anyone getting involved with a project to have a solid grasp on their strengths?

CM: If you don’t know where your strengths lie you are going to take on something that you can’t handle and failure will follow. I know what I can handle and I know when I have to say no. It’s never easy to admit that you can’t do something, but if accept a responsibility that you can’t handle it will only come back to haunt you. You will let someone down and in this and other indie film communities word travels fast about a failure.

JB: How do you handle constantly being around the awesomeness that is Rusty James?

CM: It’s a struggle. I wake up every morning and look over at him and have to pinch myself that it’s really The Rusty James lying beside me. In all seriousness, I adore Rusty he is my rock. I feel like the luckiest woman alive to be married to not only my best friend but my favorite acting partner. And HELL NO Jake you can’t have him!

PJ: You've been acting in genre endeavors, but recently decided to try your hand at Producing. How do you make that transition and how do you know when you've found the right project?

CM: Making the transition to producing was pretty easy for me. I realized that I had been doing it already in some form on a lot of the projects I worked on. I always pay very close attention to how things work while I’m on set acting and I’m not afraid to ask questions or jump in and help. I never once thought that I couldn’t do it. I knew that if I ran into problems I had a lot of people that I could turn to and get answers or to get something done. I also knew that if I was going to do this I wanted to start with a short film. As far as the right project, well that just fell in my lap. John Cosper sent me the script for The Telemarketer and asked if I would be interested in helping him get it made, it seemed like the perfect opportunity to give it a try. Once I agreed to the project I needed a good director that I trusted and that could work on a small budget with a very limited amount of time. I had worked with Jon Higgins from Communindie Films on the Louisville 48-Hour Film Project last summer and he was an obvious first choice. Luckily for me he was willing to jump on board and make this short happen. After reading the script a couple of times I also knew who I wanted for my cast and again everyone I approached was more than willing to do it. So that just left me with finding my locations, making the props, dressing the sets and making sure we had food on set. Let’s face it, if you have food for the cast and crew, everything else runs a lot smoother.

JB: What do you think it is that's so appealing to be terrified by a film? To share a scare with these strangers in a dark theater?

CM: I wish I knew the answer to that question. If I knew the answer then I would write the movie that scares the living crap out of everyone. I think it’s the same emotion that makes us rubberneck at an accident scene or watch hours of news coverage of a man hiding in a boat. I think we all have that little bad person inside of us that wants to see something horrible. Then we can look at our lives and say, wow, my life is Great!

PJ: Each one of us have worked on a project that we're truly proud to have been a part of. Ultimately though, we all have a dream project we'd absolutely love to Produce or be a part of. What's yours?

CM: Any dream project of mine would include Mel Brooks, Abbott & Costello and Bela Lugosi. Considering only one of them is still alive it will probably never happen. But having said that, I would love to do a Horror/Comedy on the scale of Young Frankenstein or Abbott & Costello meet Frankenstein. Fear and happiness are two very different emotions, but when they are blended something magical always happens.

JB: How do you feel about the current state of horror? What films do you think are "getting it right" currently?

CM: This is a really tough question because I haven’t been impressed with a horror movie lately. If I want to be scared there just aren't a lot of options out there. Watching people get turned into a bloody mess doesn't scare me, I know too much about how that’s done and it no longer scares me. I just sit there and think; huh that was a cool FX. I like a movie that sucks me in and lulls me into a sense of security and then BAM, knocks me onto the theater floor. Sadly, that hasn't happened for quite a while, but I’m hopeful. I get much more enjoyment out of shows like The Walking Dead and more recently The Following.

PJ: Like a marriage, every project comes with a series of ups and downs. What are the most rewarding aspects of working on indie films & what are the pitfalls?

CM: The most rewarding aspect of indie film for me is the finished product that has usually come at the expense of really hard work, dedication and sacrifice. There is really nothing quite like sitting in a theatre full of people having them see your work for the first time and hearing their response. There are a lot of pitfalls to indie film, the biggest one being the lack of money on most projects. As an actor, my biggest pitfall is being told that I’m wanted for a part, when it’s going to shoot and then being told a week or two before that it’s not going to happen due to lack of financing or locations. When I know I’m cast in a part at a certain time, I quit looking for projects during that time period so I don’t have conflicts or at least I used to. I’ve been burned on this a few times now and I’ve learned that if I want the part to accept it and if I have a conflict I will just have to work it out. And it’s been said repeatedly by almost every indie actor out there, but it is huge disappointment when you spend your time and talent on a project and it never gets finished. I’ve been lucky and it has only happened once so far, but it is the worst feeling to know that you wasted your time.

JB: Care to elaborate on your most rewarding/favorite moment on a production? Or most frustrating?

CM: Funny that you should ask that Jake; one of the most rewarding and favorite moments happened with you behind the camera. When I showed up on the set of Bloody Hooker Bang Bang I had just gotten through one of the hardest weeks of my life. You don’t know this, but I almost e-mailed you and told you I couldn't do the role. I am so glad I didn't follow through with that decision. I had lost my mother a week earlier, after having watched her slowly slip away for a month. I finally decided to do the role to get my mind off of my sorrow and focus on something creative. Playing the role of Mama Crowe was so cathartic for me; just having the opportunity to rage with no restrictions was like being raised from the fires of hell that had consumed my life. I walked off the set that night and felt that I could start the healing process. Sometimes you just need to scream and cuss as loud as you can and the world comes back into focus.

A special thanks to Cindy for speaking with us about her thoughts on the state of filmmaking. It’s always refreshing to hear from other artists their ideas and personal stories about independent film. Like the films themselves they become a true source of human emotion and circumstance; a narrative all their own. Didn’t think we could be artsy fartsy, did you!? If you want to know more about Cindy and her exploits check her out on Facebook or www.imdb.com/name/nm3603974.

I recently had a chance to chat with James Balsamo about his upcoming film “Cool as Hell” featuring Tom Savini, Laurence R. Harvey from "The Human Centipede 2", and David Naughton from "American Werewolf in London", and Andrew W.K.. We also talked about the horror genre, Troma, and insomnia. You can check out the “Cool as Hell” trailer here, find it on Netflix here and if you’re in the area, stop by this convention to meet James.

*   *   *

ML: It looks like you became horror obsessed as a young child - what's your first horror memory?

 JB: I was eight years old and watching Friday the 13th Part III with my father – I was loving every minute of it (until they showed Jason's mother's severed rotting head...that scared the crap out of me). Soon after, my own mother (with a head on her shoulders) asked me if I wanted to join an acting school. That's when it hit me! I could be that guy behind the mask. I'm not a sports fan or a horticulture enthusiast; I eat, sleep and breathe horror films, so it was clear from a young age I wanted to live and work among the monsters and madmen of cinema universe. Watching that movie was my first horror memory.

ML:  Who do you prefer - Freddy or Jason?

JB: Well, although Jason opened the door to the horror world for me, it's really Freddy who holds my still beating heart in his razor gloved hand. I'm a gore geek, and the FX throughout the "Nightmare on Elm St." films is just Gorgasmic.  Not to mention the cheesy one liners that spew from Krueger's mouth. Sure, he might not have the best fashion sense, or the best completion, but Freddy was Freddy since the first film. It took Jason three movies before he even got his signature hockey mask look. I'm not hating on Jason, because that cat can kill, But as far sequels go, in that series it's all over the place. Jason isn't even the slasher in one of the "Friday The 13th" films, it's a copycat killer. (Personally that's one of my favorites, but that's beside the point). They're both giants in the slasher genre, but I prefer Freddy to Jason any day of the week. 

ML:  You're a director now but you used to be an actor.  When's the last time you were in something and is acting something you would consider doing again or have you given it up completely?

JB: I actually act in all of my films. My latest role is the leading character Rich in my new film "Cool As Hell". When I was growing up I couldn't find anyone that was shooting horror films to act in. I went to film school, so I could make my own movies to star in, and I did just that. Now that I have directed three feature films with worldwide distribution, I'm living my dream of being an actor. I just also happen to be a director, writer, producer, and FX artist. I have made a ton of friends in the horror community, and I'm always honored to have cameos in fellow film makers’ upcoming projects. 

ML: What's the biggest difference between directing and acting and do you think that having originated as an actor makes you a better director?

JB: Acting and directing are two completely different animals it's like comparing oil, and a punch in the dick. Acting is a very ego centric career choice. You have to worry about your own lines and actions. In a sense of course, as an actor you care about the project, but most actors aren't on set every day, thus relieving them of every concern on set. As a director you're essentially the parent of the cast and crew. When the director says it's a great shoot, it's like daddy is going to take you out for ice cream. The director takes the good with the bad. When you need to do a third take or a shoot runs late, it's like a parent giving a spanking and everyone pouts about. Then the director is the bad guy. In the end it's all worth it though, because you made a movie that will last forever, and immortalizes everyone just a little bit. The cast & crew might reflect on the few times you were tough, but damn it they respect you, just like a good parent.

ML:   “Hack Job” was your directorial debut and you also wrote it (as well as the rest of your works that you've directed).  Tell us about “Hack Job” - what is it about and why is that where you decided to start your directorial journey?

JB: Synopsis: James and Mike are tired of art films taking away the credit that horror films deserve. So, they get a script from the devil to make the best horror film ever. The script has three stories in it. The first is about Nazis that awaken a mummy's curse. The second tale is about an alien that crashes a battle of the bands and then starts eating the contestants, and the last story is about a man who gets possessed to kill televangelists...you will never guess who possessed him. Find out this and more in Horror/Comedy HACK JOB!

"Hack Job" is an anthology like some of my favorite films, such as "CreepShow", and "Tales From The Darkside". Before I made my first feature I was making short films for about six years. I felt that making short films and tying them together to make an anthology was the best way to transition into making a feature.  The film was definitely a learning process, and a project I still look back on fondly, because it opened the flood gates to working with my idols such as Lead singer of GWAR Dave Brockie, Lloyd Kaufman, and Debbie Rochon. Working with celebrity cameos have now become a staple part of my life. It's just a regular Tuesday after noon on set, but it's awesome to know that my first film "Hack Job" paved the way for all this to happen. 

ML: Do you write other than screenplays or do you stick strictly to writing for film?

JB: I write just about anything you can think of songs, poems, and love letters to my dogs. Here is that very love letter.

To my dog beast. Oh how I love you, let me count the ways. I love the way your hair sways as you stick your head out of the car. I love the way you bark at shadows by the door. I love the way you share my lunch, and I love how you lick your nuts. I love the fact that you shit on my floor, I couldn't love you any more. 

I left it for him to read, but he's still not grasping the concept of the English language. If it was any consolation he did piss on it. I believe that was to acknowledge I had made the effort. I also used to be a stand up comic, so I wrote all my own jokes. I'm a writing machine, when I have the time to sit down and do it. Before I was a film maker I played in a bunch of bands as a lead singer, I actually wrote the lyrics to all three theme songs in my films. Played by Bloodsucking Zombies From Outer Space, and The Jimmy Psycho Experiment(AKA PsychoCharger). I still have a great passion for music, I'm currently writing my solo album now which I plan on releasing this year. 

ML: Your newest film “Cool as Hell” was just released and tells the story of Rich, a comic book store employee, who meets a demon who ultimately becomes a samurai sword wielding zombie slayer.  Where did the idea for this come from?

JB: I have terrible insomnia, and I actually get a lot of my work done while most people who have conventional jobs would be sleeping.  The idea for "Cool As Hell" came to me one night while tossing and turning. I really wanted to go back to a horror'/comedy after my second feature "I Spill Your Guts". I wanted "Cool As Hell" to be fun and over the top. So, I created the character Az, the demon. He's is a raunchier combination of Maurice from the film "Little Monsters" and BeetleJuice. Az, even has a sex scene with naked red demon woman. Let me tell you, that is an experience all by itself. If you ever have to paint nude actors solid colors with a paint brush. I should have just got one of those house spray guns. A logical person would have used an air brush. I just felt I got more texture out of the paint brush, it helped it look more like demon skin. The samurai sword was one of those great cinema mishaps. Originally it was meant to be a chainsaw homage to "Evil Dead 2", but the prop mysteriously went missing, Our director of photography Guy Marchais stepped away for a minute and returned with the samurai sword.  The problem was solved and a sword wielding, Hawaiian shit wearing legend was born.

ML: Are you a comic book fan and if so, what are your favorites?

JB: I'm actually a big comic book geek. Film making is a very time consuming career, so I don't get to read them as much as I like. I used to read old EC Tales From The Crypt comics, The Max, The Punisher series, Savage Dragon, Vampirella,  and The Goon.  My all-time favorite comic book though is Mr. Monster. I actually got in contact with creator Michael T. Gilbert to use the Mr. Monster comic in "Cool As Hell". I actually got permission from Michael, but I couldn't decide which issue I liked the most to use. I just had the two main characters reference how great Gilbert and Mr. Monster are. It's actually what brings the two love interests together. I currently have a comic book of my own in development for my film "I Spill Your Guts". After the film was novelized by Nick Kisella, I knew the American Executioner could hack and slash his way into the hearts of readers. I plan on really spilling some guts right off the page in this gory comic book. 

ML:    The trailer for “Cool as Hell” has a Troma-esque quality about it - were you influenced at all by Lloyd Kaufman?  Who are your horror influences when it comes to making films?

JB: It's funny you say that because I have strong ties to Troma still to this day. I used to intern for them. I made a lot of great connections working for Troma that's how I met Debbie Rochon. Also, I was honored that Lloyd Kaufman was seen wearing a "Hack Job" shirt on the set of his new film "Return to Nuk'em High". Troma is my home away from home, and it's really been interesting to hear people all over the world call me the new Lloyd Kaufman. I think the strangest was hearing Lloyd say it himself in an interview on Troma T.V.. My horror influences as a director span across the world. I'm fond of Italian horror films so needless to say Lucio Fulci, and Dario Argento. There are so many film makers I draw creativity from the list, and I would just go on and on. But some people who really stand out are Stuart Gordon, Herchell Gordon Lewis, and Charles Band.

ML: Tom Savini is just one of the big names in “Cool as Hell”.  I'm a fan of his work - how was it working with him?  And how were you able to get him into your film?

JB: Acid Bath Productions is a growing company and we work with a number of celebrity names. I had met Tom a few times in the past, I bumped into him at a horror convention and I told him about "Cool As Hell". He thought it was a great concept and was on board. Working with your idols can be a great experience, and working with Tom was nothing short of that. Tom and I cross paths on the convention circuit all the time now, and he's always such a fun guy to chat movies with. 

ML: It looks like you'll be appearing at a few horror conventions around the country.  Can you tell us when and where you'll be in the next couple of months?

JB: Becoming a guest at horror conventions is a dream come true. I've already been a guest at several shows including, Days Of the Dead Atlanta, Rock N Shock, and Horror realm to name a few. May 3rd, I will be a guest at Texas Frightmare in Dallas Texas. So if you're in the area, I hope to see you there. I love meeting the fans and making new friends at conventions.

ML: Do you have any advice you'd give to upcoming directors and/or writers?  And are there any other upcoming projects you'd like to mention?

JB: Film making is not a science. If you have a desire to make a film, go out and do it. Anything is possible if you put your mind to it, with some elbow grease and help from your friends and family.  If you don't have friends, invest in a tripod and make a movie. 

Acid Bath Productions is currently in production on its fourth feature film "Mystery Meat". Here is the synopsis: Blake is struggling through his fiancé’s perfect wedding plans. Not to mention his problems running a downward spiraling restaurant, that he shares with his brother Tony. When alien eggs from a meteor crash, end up in their latest food delivery, all hell breaks loose. Then, to make matters worse, the eggs hatch into devilish fast growing space varmints. One of the little monsters swallows Blake’s wedding ring. Now, Tony and Blake have to find the creature with the ingested ring, before Blake’s bridezilla to be, causes more damage than any space varmint could. The boys really bit off more than they could chew in this crazy horror/comedy titled Mystery Meat!

*   *   *

The film is currently slated for an October release, and features cameos from Debbie Rochon, Jake ‘The Snake’ Roberts, Irwin Keyes, Johnny Legend, Frank Mullen, Carmine Capobianco, and Theodous Crane from AMC’s “The Walking Dead”. The film will be filled with the same nudity, humor, gore, and awesome soundtracks that our fans have come to know and love.

Timothy J. Cox is not a stranger to Rogue Cinema. We’ve featured him and his work before. So it was with great excitement that we learned of his most recent project, his first screenplay, Swan Song. Staff Writer Michael E Smith interviewed Timothy and here’s what we learned.
 
Timothy is a stage and film actor based in New York City. Swan Song is his first screenplay and it “tells the story of hit man Ken McCord and his struggles with walking away from the only life he’s ever known.” (Timothy’s own words)
 
He started the project in 2004 and intended it to be a stage play. It was then “put in a drawer, where it sat for 7 years.” But this project refused to stay drawer bound and he was compelled to take it out and rework it as a screenplay.  The film, Swan Song, is being produced by InFocus Entertainment and directed by owner/partner Rob LaSalle. They’ve already got one key scene “in the can” with actors Jeff Moffitt and Daniel Martin Berkey that they hope will raise funds for the film.
 
So without further ado, lets chat with Timothy J Cox...

*   *   *

1. IMDb states in your bio that Jack Lemmon’s performance in Days of Wine and Roses prompted your choice to become an actor. What other actors influenced you?

Oh, wow. How much space do you have? Seriously, I could go on for days about the actors who have and continue to influence me. When I was a kid, I used to go to this video store in Wilmington, Delaware, where I grew up and rent a stack of movies of one particular actor. I'd rent six movies at one time and I'd spend my weekends watching and learning from the prestigious schools of Gene Hackman, Spencer Tracy, Albert Finney, Alec Guiness, Jason Robards, Katharine Hepburn, Vanessa Redgrave and so many others. I would watch the movies in the order that the actor made them. It was great to see the actor grow in each role. I've learned from so many. Lord knows, I've stolen from so many as well.   I'm still learning; still a student in this work. 

2. Your experience ranges from stage to film, which do you prefer to do and why?

I'm about 50-50. Film is exciting and fun and in my experience, very fast paced, which I enjoy. With film acting, you have to rely on your instincts and training and just go for it in a scene, as in most cases, you don't have the time for long periods of rehearsal. So, you just have to trust yourself, the material and the people around you. Sometimes something clicks and works perfectly and sometimes it doesn't. That's what take two is for. As far as the stage, well, I'll always love the stage because of that immediate reaction you get from the audience. Plus, every time you go on stage, it's ''opening night'' again. It's new for the audience; it's new for you the actor as well. I love it all though. I love to work, whether it's stage or film.

3. Do you have a “dream-team” of actors and directors you’d really love to work with?

Honestly, I wish I could back 70-80 years and be a part of Frank Capra's or John Ford's stock company of actors...people like Jane Darwell, Ward Bond, Thomas Mitchell. They had such wonderful careers. Being a part of a stock company or ensemble like that would be my ideal ''dream team''.

4. What prompted you to write the screenplay Swan Song?

There was a period...a year or so ago...where I had this burst of enthusiasm for writing and Swan Song was the result. In the past, when I started to write, I had an idea and started to run with it, but I lost interest real quick or was distracted with life, work, etc. That didn't happen this time and I'm glad. It was a fun process, a difficult process though, as I'm sure any writer will tell you.

5. Why did you choose a hit man as your protagonist?

That life...the mob life...in all its forms (Cosa Nostra, Irish Mob, etc) has always fascinated me. For years, I've read books and watched documentaries about mob enforcers/hitmen like Sammy ''The Bull'' Gravano, who was John Gotti's right hand man or John ''Red'' Shea, who worked alongside of Whitey Bulger. When reading about them, they always struck me as very quiet men...loners...but when they got the call to do a ''job'', a trigger went on in their heads and boom, they did their jobs with a certain machine-like precision. That's what I envisioned for Ken McCord. This man is a killing machine. This is all he knows and he's good at it, but deep down, he wants something more. The film chronicles his internal struggles with the life he's chosen...the price he's paid for it, mentally, physically and emotionally and a question nags at him throughout, ''Can I walk away from this life, the only life I've ever known?''

6. When did you start writing?

I've been writing stories and little scripts since I was a kid, but Swan Song is the first thing that I've written that I'm fully proud of. I don't consider myself a writer. I consider myself an actor who tried something different.

7. Obviously, being a writer and an actor the temptation must be there to do a Rocky. Do you have any intentions of going down that road?

No, I never intended to write a great, big leading role for myself. I'm a supporting actor and I'm going to play a supporting role in the film. I've always had this supporting actor mentality...I come on, do my scenes and then get out of there. The part that I'm going to play in the film is a good one. He has one cool scene and then he's out. That's enough for me. We got a great lead actor in Jeff Moffitt, a colleague from several past film projects (Socks and Cakes and The Watchers) and a dear friend to play McCord and he's going to knock it out of the park.

8. In terms of writing, I have to ask; who are your greatest influences?

Any script that Paddy Chayefsky wrote (Marty, The Hospital, Network) always blew me away. The Coen Brothers have always and continue to amaze me as well. That's a ''dream team'' right there.

9. Are you still planning to write for the stage or has this acceptance of your screenplay caused you to completely shift direction?

I never say never in this work. I never thought I'd pen a screenplay, let alone see it then be brought to life by a talented group of people like Rob LaSalle and Rafael Ortiz. The skies the limit!

10. Are you going to continue to write?

I hope so. It's a fun, but difficult process. If a good idea comes to me, then I'll get it on paper.

11. When do you expect the film to be finished?

Well, we're at the stage now where we need to raise money to make the film a reality. The scene we shot a few weeks back, which will be part of the promotion to raise funds, is very close to completion. I'm very excited to see it and share it with the world, Everyone involved with the project has worked so hard already on the project. I feel so blessed.

12. And finally; what have you got going in the acting department?

I'm in pre-production for the comedy web series Marty and Doug's New Religion, Part 2, with All Things Random, which will be directed by another dear friend and frequent collaborator in Sean Meehan (Over Coffee, Waste of Space). I will be playing both God and the Devil, which is every actors dream. I also have several films in post-production, including the comedies Filmmaker and Homeless Real Estate, also from All Things Random, We Just Want To Play from Team 3 Productions and the drama Jackpot from Chantaletc Productions.

*   *   *

We’d like to thank Timothy for taking the time to talk to us and reveal a bit more about his first screenplay and where Swansong is in filming. If you want more information about the film the website is http://swansongfilm.weebly.com and if you want to see more about Timothy check out his website http://www.timothyjcox.com.

Jessamyn Arnstein appears in James Ward's latest film, The Hit Girl, in which she appears as the spunky niece of a hit man who, through making a random comment about wishing he had the problems of a teenage girl while he had his hand on an antique statue, woke up the next morning as...you guessed it, a teenage girl. Jessamyn absolutely lit up the screen with her wonderfully infectious energy, and this month, I got to talk to Jessamyn, not only about her work in The Hit Girl, but also about her other film and theater appearances.

* * *

DLM: Let's start out as I always do by having you introduce yourself to everyone and tell us a little about yourself.

JA: Hi, I’m Jessamyn Arnstein and I play the role of Suzy Bannion in The Hit Girl. Coming from a very artistic family, I got started in the performing arts at a very young age and have yet to stop. I’ve acted on numerous stages, ranging from my hometown of North Hollywood, CA to the beautiful Edinburgh, Scotland. After a sudden interest in the TV & Film world, I did a few jobs as a background actor on Up All Night, 1600 Penn, and The Middle, and now I’m working on finding my way into the foreground.

DLM: You were eight years old when you started in theater. What show was that, and at what point did you decide that acting was something you wanted to pursue seriously?

JA: My first show was a children’s production of Grease. I was an added character in the slumber party scene. I remember being so excited because I got to say two whole lines. I was instantly in love with theatre, but it wasn’t until high school that I realized that I wanted to pursue a career in the arts.

DLM: Before we get to The Hit Girl, let's talk about some of your past work. You've done a lot of theater, including musicals, and then a web series, and now The Hit Girl. Give us some highlights of your theater work. What were some of your favorite shows and performances?

JA: I’ve been in way to many shows to name. My all-time favorite experience was my junior year of high school when I got to play Peter Pan. We were able to rent the full fly system and put on a production that was practically of professional caliber. Another recent favorite of mine was playing Thea in a production of Spring Awakening with Actors’ Repertory Theatre of Simi.

DLM: Theater, being a live performance, gives you no opportunities for edits as film does. Did you ever have one of those nightmare shows where nothing seems to go right?

JA: I think all stage actors have had a show where nothing seems to go right. That’s just the nature of live theatre. I’ve lost my voice during the run of a show when I was playing the lead, I’ve fallen onstage for the entire audience to see, I’ve forgotten song lyrics and lines, I’ve had props break while I was using them, and I’ve even had set pieces fall apart in the middle of a show. I don’t think there’s such a thing as a perfect live performance.

DLM: You've done musicals. Do you prefer musical theater over non-musical shows? I would imagine the amount of work and effort that goes into musicals is far greater than it is in non-musicals.

JA: I wouldn’t say one is easier than the other. Even without the music and choreography, there’s still a lot of work that goes into a play. With straight plays, I’ve found that I end up having to work harder to study my character because there’s no song to clearly express what is going on in the characters’ minds.

DLM: Your main focus has been on theater, but now that you've done a web series, and a film as well, would you like to do more of that in the future, or do you want to keep most of your focus on theater work?

JA: I would love to do more film & tv work.

DLM: What's one aspect of theater work that you wished applied to film, and one aspect of film that you wished applied to theater work? Basically, what aspects of each would make the other easier or more enjoyable?

JA: I love that in theatre there’s a full rehearsal process. It allows the cast to bond and get everything in order before presenting their work to the public. With film, you’ve maybe run through the scene once before it’s filmed and you don’t typically get to know the entire cast. However, I find it a huge relief that, with film, if you make a mistake you can just start over and nobody ever has to see it. If you make a mistake onstage, the entire audience is going to see.

DLM: You appeared in James Ward's web series, Little Miss Kickass as Sydney, and now in The Hit Girl as Suzy. How did you first meet up with James, and tell us about how you got cast in the web series.

JA: I was doing a production of Fame at the time with Samantha Peters who plays Little Miss Kickass. James was looking for someone to play the role of Sydney, and Samantha recommended me for the part. James took Samantha’s advice and voila!

DLM: After seeing your performance in The Hit Girl, I'm not surprised that James was eager to work with you again. What about the rest of the cast though. Did you know any of them previously, or was this a whole new group of people for you to work with?

JA: I knew Delaney (KC) because I had worked with her before, and I had met Ella a few times. There were a few other people in the movie whom I’d worked with before, but we never got to do a scene together. For example, I didn’t even know that Dan Saad (Robert) was in the movie until seeing it for the first time.

DLM: What did you think when you first read the script for The Hit Girl, of both the film in general, but more specifically, of your character?

JA: I knew instantly that I was going to love playing this character. Suzy is the kind of role I live for. She’s funny, vivacious, clever, and a huge nerd. Reading the script for the first time, I didn’t get half of the movie references she made. I took her on as sort of a challenge. If I was going to make her believable, I was going to have to do a lot of studying.

DLM: Did you make any suggestions about your character or the dialogue either prior to, or during production, or did you mostly just keep to the script?

JA: I may have altered lines here and there just to make them more natural, but I can’t remember specifically which ones. When I’m given a script, I like to stick to what’s written as much as I can. If the line is written a certain way, the writer probably had a reason for it. For this reason, I would always ask James first before changing a line.

DLM: Do you have a favorite scene from the film that you really enjoyed shooting? Alternatively, were there any scenes that were just really difficult to get through for one reason or another?

JA: My favorite scene to shoot was definitely the dinner scene with James Castle Stevens (Bill) and Sharon Gibson (Elizabeth). Even though we’d never acted together, we had an instant chemistry and were able to have a good time and get the job done. The most difficult scene for me would have to be the scene at the gun store. We’d already had a long day of filming at the theater then had to drive to this new location in heavy traffic. By the time we got there we were battling against the sun because of course this would be the night of the solar eclipse. Anything you see in that scene where the camera is on me was from just one take because we were running that short on time. That last shot you see of us leaving the store was literally at the exact moment of the eclipse.

DLM: Do you have any more film appearances in the works right now?

JA: Unfortunately I do not, but I’m hoping that will change soon. I’d love to get back in front of a camera.

DLM: How can people see The Hit Girl and Little Miss Kickass if they want to check out your work?

JA: The Hit Girl can be purchased on Amazon or on our website thehitgirlmovie.com. If you’d like to see Little Miss Kickass, all of the episodes are on Youtube. I’m introduced in episode 3.

DLM: What about theater performances? Do you have anything in the works or coming up that you'd like to mention?

JA: At the moment, I’m in a production of Spamalot at the Simi Valley Cultural Arts Center. It runs until May 19. I play lots of little cameo roles throughout the show, including a Laker Girl, a Ni Knight, and Sir Bors.

DLM: Is there anything else you'd like to mention before we wrap this up?

JA: I just hope everyone enjoys the movie. We all put a lot of time and effort into making The Hit Girl a reality. I’m so proud to have been a part of this process and cannot wait to see what James has in store for his next big movie.