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Deep Focus

Kate Green

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In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Kate Green, Director and Executive Producer of the exciting new web series “NarcoLeap,” starring Chelsey Reist, Madison Smith and Aleks Paunovic.

TrunkSpace: “NarcoLeap” has such a great, high concept premise. Was there a part of you that worried how you would pull it off as a web series, particularly when it came to budget and time constraints?
Green: I wouldn’t say just a part, I’d say my whole being. (Laughter)

No, we’re really lucky in Canada. We have some amazing funding programs. STORYHIVE from TELUS, they had this amazing 100K edition competition, so we got that. We also have the Independent Production Fund (IPF). They came on board first actually, with just over half of the budget. Once I got that one I thought, “Okay, I’ve got a pretty good chance of kind of closing the financing with the other programs.” We’re very lucky here. And also, the project went through rigorous development when I was in the Women in the Director’s Chair program as well. So it’s not only financial support that we have here, we also have a lot of educational components and mentorship programs and things like that now.

Everyday was like, “How are we going to do this?” It was still very ambitious – lots of locations, lots of actors. It was pretty crazy, but we got it done.

TrunkSpace: Here in the States, a lot of creators use web productions as a way to establish a property and then work to get them set up as a full series. Was that the plan with “NarcoLeap” as well?
Green: My background is in documentaries. I started directing and producing in that for many years. I wanted to make the leap, pun absolutely intended, into scripted work. I’ve always loved science fiction, so for me I was looking for a project where I could do something in directing, and with the web series, it seemed like there were opportunities there to make the story happen. Yes, of course, we’d love to have a TV series, eventually that’s the big dream, but I’ve always wanted it to be able to stand on its own as almost like a prequel to the television series. The storyline that’s happening within the web series, it’s all prior to the TV. Once we get to network TV the show will have evolved and grown and be a bit more of a different standalone.

TrunkSpace: As a creator, is it daunting bringing something like “NarcoLeap” into the world knowing that there is so much content available to viewers these days?
Green: Absolutely, yeah. There’s so much great content out there on the web and TV. It’s so hard to have yours rise to the top. You really rely on your fans and for us we have a digital strategy and we’ve been working. The fans are the ones that lift it up. Before we’d even gone into production we had people making fan art and posters, and mainly they loved Chelsey (Reist) and they were followers of Chelsey. They were excited to see her in something different, but they’re the ones that really lift up your project, and we’ve just been overwhelmed and so grateful for their support. It seems to be getting attraction and attention so we’re really happy for that, and grateful.

TrunkSpace: It always seems that there is great support for great ideas, and something we noticed is, there’s a lot of really great original content coming out of the Vancouver production scene these days.
Green: Yeah, absolutely. We have an amazing service industry here. A lot of people work on the big Netflix shows and so that part of our industry is really thriving, but I think in Canada we recognize that can also go away in a heartbeat. The exchange rate could go up and all of that work could disappear. Then what are we left with? We have to create ourselves. We have to have that foundation of home grown talent and that’s, again, why we’re so lucky with things like STORYHIVE and the IPF, but they help support that and they help grow that home talent.

TrunkSpace: Does one sort of feed the other then? Do networks like Hallmark and the CW bringing their productions there feed into creators being able to create on the side when they’re not working on these other productions?
Green: Absolutely. I have a day job as a producer. I work on an HGTV show. In between shows or seasons I have the opportunity to grow my own company, KGP Films, and create content, but it’s a little different. Science fiction is very different than lifestyle television. (Laughter)

TrunkSpace: You were both Director and Executive Producer on “NarcoLeap.” Did Producer Kate and Director Kate ever butt heads? Is there something that you wanted as a director that you had to talk yourself out of as a producer?
Green: I was very fortunate that I had two really great producers, Emily Keller and Ross Vivian, and my Co-Executive Producer, Trevor Hudson, and I had a couple of other mentors as well. I surrounded myself with a really great team. There were some decisions that as a producer I just delegated to Emily and Ross and it was great. I didn’t have to butt heads too much with myself. You always want the crane shot and you always want explosions and you’d love to have the fight scene go on for longer. Things like that you have to compromise on, but when you can’t get what you want, the wonderful thing about that is that you have to be creative. You have to find a solution. You have to make a mark. I love that part of filmmaking, when if you don’t have the time or the money, then you have to have a great idea and a great solution. Finding that, that gets my juices flowing.

TrunkSpace: There’s been some talk of a content bubble burst looming. As a creator are you optimistic that your job as a creator is safe long term?
Green: Yeah. I see an opportunity in terms of short form digital content. When I first started my company I was looking at new features and documentary series and all of that, and of course, that would be wonderful to have projects like that, but I feel as a producer when I put the producer cap on, I see way more of an opportunity to be creating dynamic, fun digital content. It’s just getting eaten up right now.

TrunkSpace: In terms of a possible “NarcoLeap” Season 2, is that on the horizon?
Green: Yeah, absolutely. I’ve been noodling away on the storylines and possibly putting in characters and what I’d like to see. Again, it’s like that dichotomy of trying to do the day job and do the producing job and the directing job and all of that. But yeah, we’re getting geared up for sure.

Season 1 of “NarcoLeap” is available now on YouTube.

Read our interview with series star Madison Smith here.

Read our interview with Aleks Paunovic here.

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Deep Focus

Daniel Zelik Berk

DanielZelikBerkFeatured
Jonathan Rhys Meyers in “Damascus Cover”

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Daniel Zelik Berk, the director and writer of the new spy thriller “Damascus Cover” (starring Jonathan Rhys Meyers, Olivia Thirlby, and the late John Hurt) about how the movie-making process differed from his previous directing work, why he broke all of the conventional rules in creating the movie, and the reason you may be familiar with some of the furniture in the film.

TrunkSpace: You didn’t only direct “Damascus Cover” but you wrote it as well. Did director Dan and writer Dan ever butt heads, and did you have to compromise creatively even with yourself at times?
Daniel Zelik Berk: Oh, good question. Okay. The genesis of this is that I purchased a book. I optioned a book called “The Damascus Cover” by Howard Kaplan, which was a spy thriller set in the late ’70s. I was looking for something to direct. I’d done one film before as a director, and that was an assignment. It was a low-budget film, which was made for under a million bucks. What I learned on that picture was how important the script was, because I wasn’t able to change the script on my first film. So I said that I needed to really find something that was personal and something that I wrote myself.

I found Howard’s book, which I liked very much because I liked that it was in the Middle East. I liked that it had an ending, which was very organic and wasn’t kind of a trick ending, which is pretty typical of the genre where you work really hard to get through a film and it’s very confusing. You get to the end, and you’re like, “Who’s the mole?” It’s like the guy in the blue shirt. You’re like, “What? Who’s that?” You don’t even know who that is. This ending has a very nice, organic ending. You find out who it is. Usually it’s a surprise, and it seems in retrospect that it was an inevitable kind of thing. I like that, so that’s why I got this.

Then, I added some themes that I liked about children and hope and moved it to the time of the Berlin Wall to reflect that. As the writer, I really enjoyed doing the adaptation. What I liked about Howard was he recognized the script would be something completely different. In fact, in the process that you make various movies, there’s the novel, which is one thing. There’s the script, which is one thing. Then ultimately, you have to deal with the reality of who the cast is and where the locations are, and that becomes the movie you shoot. Then, you go to the editing room, and that’s another whole movie because now you’re working with what you actually got. Each one of these things at each level is a different process, which is part of the fun of it. I guess you try and stay as open as you can in each section, realizing you don’t want to be limited by your imagination and what the change is.

As the director… the thing about this is is that because I was also the writer, I didn’t… this is a very interesting film. I wanted to do what basically is a classic spy thriller, almost from the ’60s. Unfortunately, we keep getting compared to James Bond, which is really… we can’t even attempt that. We had basically a few million dollars to do this, and by writing the script… obviously, it breaks all the rules.

TrunkSpace: Well, certainly, you get to a point where you can create your vision on the page, but then budget and time constraints change that vision.
Daniel Zelik Berk: Yeah, that’s right. The thing about this script, which was insane, which actually comes from the book, is that when you do a low-budget film, there are certain rules. There are certain things you just know that are conventional wisdom, and one is is that you do a limited number of locations, preferably one location. Like, you want to do it in house, and some people are trying to break in. Or, you’re in a car, and a guy’s talking on a speaker phone. We have, I forget the number of locations, but it’s like 40 or 50 locations. You can see it’s cutting all over the place. So, that’s rule number one you’ve broken. Then, the other rule is you have a limited number of people. There are two people in the house, and there’s one guy trying to break in, or, one guy sitting in the car on the speaker phone. We have a huge cast, so I kind of created my own nightmare here by writer Dan and director Dan. Those are some basic rules I broke, which is why you don’t see a lot of low-budget thrillers of this kind – spy thrillers. What you see are low-budget horror films, and low-budget films where it’s a guy in a room, and he’s talking to his mother about wanting to kill himself or something. That’s what a low-budget film is. They’re more like plays. So, that created a lot of problems for me.

TrunkSpace: Well, and a lot of times, you hear people refer to something as a low-budget film, but really it’s still a 20 million dollar movie.
Daniel Zelik Berk: You know, that’s a really funny comment because my daughter heard a lecture from a filmmaker that I won’t mention, complaining that they only had 20 million bucks. They were really pissed off because they wanted 50. My daughter’s like, “My dad, he only had a few million.” (Laughter)

I’ll tell you something, the truth is is that… and I understand this and I’m not complaining… the standard of the public is the same. I don’t think they know the difference.

Jonathan Rhys Meyers and Olivia Thirlby in “Damascus Cover”

TrunkSpace: That’s true.
Daniel Zelik Berk: I’m very proud of the look of the picture. I hired a first-time DP named 
Chloë Thomson, a female DP who had never done a feature before. We wanted to do this kind of classic look, and I think she completely accomplished it. I think that the picture looks really good, and that creates this expectation of it being a studio picture. I mean, the fact that she performed a miracle… it’s almost like somebody should make it look rougher, then you could kind of introduce a lower expectation. But I understand. We’re trying to run with the big boys even though we have much, much less money.

TrunkSpace: From a personal satisfaction standpoint, to be able to pull off what you did for only a couple million dollars… that has to be a feather in your cap?
Daniel Zelik Berk: Yeah. I’m telling you, I am extremely proud of what we pulled off. I couldn’t be more proud of everyone that worked on the film because people did it as a labor of love. I just was on a call where a guy said, “What would you have spent more money on?” I was like, “First day, what I would have done is given everyone better food.” (Laughter) Soup gets boring after a while, right?

Everything is on the screen, I can tell you that. And that becomes part of the fun of it is that you can’t solve your problems with money, so you solve them with ingenuity and hard work. You have to take risks.

TrunkSpace: We have had conversations with filmmakers who have said that having more money meant more problems for their production. You start to think bigger, outside your means, and you have more cooks in the kitchen.
Daniel Zelik Berk: Well, that was not an option for us. (Laughter) That was never an option. Literally there was a scene where we didn’t have money for the furniture for the next scene. The line producer said, “Look, we’re sitting at the Sheridan.” He says, “Do you like that furniture you’re sitting on?” And I said, “Yeah, I guess so.” Next thing you know, we carried that furniture over to the set and then brought it back the next day – literally just used the furniture of the hotel. In retrospect, that story’s fun. (Laughter)

TrunkSpace: You mentioned how your first directorial project, which was back in 1998, was an assignment. Did the process of directing feel new again, or, was it a bit like riding a bike?
Daniel Zelik Berk: The thing that I had on the second film that I didn’t have on the first film, and this is related to your first question, is I really understood the script. One of the things I think a director does is he has the big picture. Everyone’s trying to help you. You have all these people trying to help you. There are people all over the place in different positions with different things and different focuses, but the director is the only one that really has the grand view in line. Even with the actors. The actors know their individual parts. It’s all compartmentalized. The only one that really has the biggest picture is the director, and by writing the script… it’s a complicated script… that was actually an advantage from the first time in that I really knew this character should be scared here because of what’s happened four scenes before, and people might forget that, but this happened. You really do have this kind of overview. Because when you shoot an individual shot, you’re very focused on just that shot.

Every film is different, every film is a miracle, and every film has massive problems, but they’re always different. So, I had different problems on this movie than I had on my first film. I felt good. I still remembered basically how to say, “Action,” and all that kind of stuff wasn’t as dramatic. I learned a ton on this, too. My first film was much simpler. Even though I had never directed before, and it was a big learning curve, it was much simpler. This film was very, very complex.

Dive into the complex storytelling of “Damascus Cover” today!

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Deep Focus

Allison Giroday

AllisonGirodayFeatured3
Photo By: Liz Rosa

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with makeup artist Allison Giroday about her career origin story, the role makeup plays in personal branding, and why she never spends as much time with her own face as she does with those of her clients.

TrunkSpace: What first drew you to pursue a career as a makeup artist and did you always anticipate having an entertainment industry spin to your approach?
Giroday: It’s funny, I always dreamed of becoming a makeup artist. When I was a young kid, I was always doing makeup on anyone willing and I’d imagine my older self as a makeup artist. I remember sitting in my room listening to Kylie Minogue and picturing myself traveling and being backstage with artists. It’s kind of crazy to look back on that but I remember it so clearly. Reasons like that are what make me a firm believer in manifestation. I’d also look for signals at the time from the universe. For example, one time when I was about 10 years old, a flyer came in the mail and it was from Blanche Macdonald Makeup School in Vancouver, BC, and I thought “Oh my God, how do they know?! It’s a sign!” I didn’t realize at the time they were mailing them to every single house on the entire block in every neighborhood. (Laughter) But I like to think that it isn’t just a sheer coincidence that my career in many ways, mirrors those early childhood dreams. I never let go of that vision.

TrunkSpace: Was there a particular project or style of makeup that inspired you and put you on this path?
Giroday: I grew up in the ‘90s, which I’m so grateful for because it’s legendary in many ways, especially in terms of style. It was the supermodel era, and I was mesmerized by those beauties. They were on every magazine cover and featured on the show “Fashion File,” which I would watch religiously. The show featured the top designers and stars of the beauty world including one of the world’s most influential makeup artists to this day, the late Kevyn Aucoin. That’s what inspired me initially. Glamour was a focal point and makeup was on the heavier side; matte foundation, quite a bit of contouring, lots of lip liner and eyeshadow, but it was often done with earthy tones. I think that’s where the term “natural glam” comes from, a common term in the makeup world today. It’s a concept I still love and it’s popular with a lot of my clients. However, I now like to create a modern version with a dewier, fresher skin texture and with a lighter hand in general.

TrunkSpace: Actors and writers can often point to a “big break” that altered the trajectory of their careers. Have you had a defining moment like that in your career thus far and how did it change things for you moving forward?
Giroday: I wouldn’t say that there was one single thing that changed my career. It really was a steady progression. Success is like an iceberg. The tip of it is visible but you don’t see the mass of what’s under the surface. All the work that’s been put in over the years, many people don’t get to see. In the beginning, you have to “pay your dues.” By that I mean, you may have to work for free just to make yourself seen and to get your name out there. You have to first build a great reputation for yourself, and then over time, connect with the right people.

Aside from talent, it’s just as important to be personable, genuine and professional. There isn’t much room for ego. Of course, there have been some moments in my career that I’m very proud of and it’s because I’ve put a lot of time, as well as passion and heart into what I do. Every big job I’ve done has felt like a stepping stone and has helped put me on the map. But I know how important it is to not ever get too comfortable so that I always continue to grow. I’m always fueled by those exciting moments and they have me thinking about what my next move might be.

TrunkSpace: For those casual pop culture fans who may not notice how makeup impacts the various visual stimuli they’re absorbing, what would you say to them? How do the tools of your trade directly affect how people see things in the finished product?
Giroday: Most people in the public eye have a signature look or a particular image they like to project. The importance of stylistic image and branding has a major impact on their careers. I’d love to point out some great examples such as Lady Gaga, Gwen Stefani, Jennifer Lopez, David Bowie, and Kim Kardashian. The commonality between these people is they’ve all used makeup to create a very particular look, and although each artist’s style is so different, the average fan could easily describe it. It’s a major player in what makes them iconic and whichever the case, their success has so much to do with how they’re visually perceived by their fans and it goes far beyond talent alone.

TrunkSpace: What type of work most excites you and why? Is it editorial? Commercial? What jobs do you look forward to the most?
Giroday: There’s such a wide variety in the work I do and in the types of jobs I’m on because makeup is required for many reasons. I love meeting new people and going to different locations all the time because it keeps things interesting but I also love my repeat clients. One of my favorite things to do is house calls. I have some regular clients that often need glam before an event. I love making a woman look and feel the best she’s ever looked. You get to know their face very well and that way, you get to experiment with many different looks. I just love when someone puts their full trust in me and they themselves are makeup enthusiasts. It’s so fun. We’ll usually get ready at their house or their hotel. It’s a relaxed environment and it almost feels like you’re helping a girlfriend get ready for a night out. Building great relationships is definitely one of my favorite parts of the job. I’ve gotten to know some fantastic people.

TrunkSpace: As you look back over your career thus far, what are you most proud to have been a part of and why?
Giroday: I’m especially proud to be working with such highly creative people who inspire me every day. I really look up to a lot of the people I get to work with and knowing that I am a chosen piece of the puzzle is so rewarding. Especially when it comes to working with performing artists. I think we all admire and value each other’s work equally and the synergy in those situations feels electric. Being the makeup artist for someone who is putting their face in front of thousands, even millions, is an honor and makes me not only proud of my work but proud of that person as well. Watching them perform, I feel almost as a parent would watching their child. (Laughs) It’s just so exciting. I really care about my work but I also really care about people and how they feel. I want people to look and feel their best. I’m proud but also humbled that my work is being recognized by big players but I’ll never stop striving to out-do myself each time. Taking risks and going outside of your comfort zone is a must in this business. You can never let yourself get too comfortable in one place. A few years back I made a move across the country to Toronto to expand my network and it was so beneficial, not only to my career but for my own personal evolution as an artist. It was scary at first because I didn’t know anybody but it led me to great new contacts and fueled my confidence. There were challenges I had to overcome which resulted in major benefits.

Photo By: Liz Rosa

TrunkSpace: As you look ahead, where do you hope your career takes you? If you could write your own future, what would it look like?
Giroday: I’d really love to travel to places I haven’t been before. I’d also love to be an ambassador for great makeup brands, and teach more master classes. Knowledge should be shared, and I’m not afraid to give away some of my best tips and tricks because no two people will ever do makeup exactly the same way. everyone’s skill and technique is unique to them and no two hands are the same. I’ve always enjoyed teaching and I like to pay it forward. As for future clients, there are so many faces that I would absolutely love to get my hands on! The inspiration is endless.

TrunkSpace: As a makeup artist, does that put you in a position where you feel like you always have to be on your game with your own makeup? In a way, does your makeup act as a business card or billboard for your work?
Giroday: You would think so, although that’s hardly ever the case. I tend to work such crazy hours that I don’t usually do all that much with my own makeup before work unless I know I’ll have to be on camera or if I have an event. In those cases, I do consider myself as a walking business card. But my clients are my top priority and I think my work speaks for itself.

TrunkSpace: Is it easier or more difficult to work on yourself than it is to be face to face with someone else and working on them directly?
Giroday: I’m so familiar with my own face I could do it with my eyes closed. I tend to put more focus and passion into other people’s faces because I’m inspired by all of the different types of beauty out there. I wouldn’t say that one is more difficult than the other, it’s just a very different experience and a different process. For example, on someone else, you can stand back and look at them from all different angles and on my own face I don’t need to be as gentle. It’s very different.

TrunkSpace: Has technology changed the landscape at all for makeup artists? With everything becoming even more and more high resolution, does that force a different approach to how makeup is applied and blended on camera?
Giroday: I would say yes, although I have always done makeup in a way that is 100 percent flawless under a microscope, no matter what the lighting is like, whether it’s a closeup or a full body shot, in person, for photos, and on any type of camera. That’s always been my approach. Everything must be perfect at all times!

Here are a few samples of Giroday’s work.

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Deep Focus

The Spear Sisters

TheSpearSistersFeatured

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with the writing/directing duo – and twin sisters – Kailey and Sam Spear about their new short film “CC,” whether or not they have super powers, and why one of them is haunted by a “Supernatural” curse.

TrunkSpace: You both shared writing and directorial duties on your new short film. When you go into a project, do you have a clear understanding of who will be focused on what or is it more fluid? How do you ensure that you don’t veer into each other’s creative lane?
The Spear Sisters: It is definitely more of a fluid process. We don’t have specific jobs to stick to that we assign to each of us. Rather, we will float back and forth between covering different pieces of what needs to be done. For example, when we are writing we don’t start by saying, “Okay, you take structure, I’ll take dialogue.” Nor do we sit side by side and write everything together line by line. We talk about what we want to do with the script, the ideas for the characters, plot, tone, etc, and then go off and write scenes separately – sometimes in a different room, sometimes across the table from each other. We send the script back and forth, writing new material and revising the pieces we have received from the other. We discuss new ideas or characters that arise as we go so that we are always on the same page with what is being added to the story. When we come to the time where we have a script that we are both happy reading all the way through without feeling any bumps or irks, then we know it is good to go.

It is similar for directing. We float back and forth between being in different places; one behind the monitor giving notes to the camera and one closer to the actors. If there are a few actors in a scene, we might divide and conquer so that each actor will be talking about the scene with us separately, but at the same time. If we see an adjustment that could be made, there are many times where we don’t have to talk to each other about it, we just give each other a look to see which one of us is going to go and deliver the adjustment.

We are lucky that we always have a unified idea of where we want to go with the project. We can use our two different minds to get us there. We trust that even if we’re trying out different ways to get there, the desired outcome will be the same. We have differences of opinion, absolutely. We bring different ideas to the table. But we have always been good at talking them through and determining which direction is best for the project. This can be in any part of the process: writing, directing, editing, etc. Think of it like this: When traveling, we both decide on the town we would like to visit. We decide that we would like the trip there to be fun. We both go out and find different roads of how to get there. Then we take a look at the roads that each of us has found and decide which one is the best one to take. We might choose to take Kailey’s road because, although Sam’s may take us down a nice winding road by the ocean, Kailey’s takes us past the world’s biggest squirrels. So far we have been cruising down the same creative lane. We just make sure that the lane is big enough to fit the two of us.

TrunkSpace: Would you say that you both share a similar creative POV? And if you don’t, where do you venture away from each other?
The Spear Sisters: We do share similar sensibilities, yes. That might come from growing up together and having many of the same influences.

We have many twin friends, and it is not always that case that those creative sensibilities are shared. We remember growing up and having people urge us to take different paths, to try aiming for different careers. “You both want to take the film class in high school? Why don’t one of you take dance?” But we both wanted to take film, so we did. We didn’t choose to go into film because one of us wanted to and the other followed. We both happened to be drawn to the same thing. We did not want to give up our dream just because we had a twin sister who happened to want to do it too. It is a similar case with the types of stories we are drawn to and the vision we have to bring them to screen. We happen to be drawn to similar stories and come at them with similar ideas of how we would like them handled.

Unless we are actively trying to throw wild ideas into the pot as a creative exercise, there are not many times when we dramatically venture away from a similar creative POV. Of course, we bring different ideas of how to tackle the project (we need a new character here, this needs to be darker, this line is too cheesy, this would be better in a lower angle, we should leave more breathing space in this edit, etc), but we are playing in the same realm.

TrunkSpace: What do you hope “CC” says about who you are as directors, not only to a general audience, but to those people within the industry looking for the next generation of writer/directors to spearhead future projects?
The Spear Sisters: “Spearhead.” (Laughter) Love how perfect that word in context!

We hope that this film will show that, no matter how much time and money we are given, we are dedicated to giving it our all in order to bring a story to screen that delivers dynamic characters, engaging visuals and thought provoking questions that carry beyond the film itself. We want people going to see a Spear Sisters film to know and expect that the film they will be watching has been crafted with intention and care. There will never be a Spear Sisters film made where every aspect from casting, to lighting, to shots, to sound, to color, etc, has not been meticulously thought out in order to better serve the story.

We are also hoping that this film helps communicate our interest in, and our ability to do, genre films. Often women are pigeonholed into drama. Now, don’t get us wrong, there are many dramas that we are interested in doing! But where we really have the most fun is telling a story that has something extra to play with in terms of story world and tone: a supernatural murder mystery set in a 1920 asylum, a dramatic thriller involving a ghost of a murdered king, a swashbuckling steampunk action/adventure, an AI nanny robot mystery. Genre films give such a great opportunity to explore important questions about the human experience from different angles. They have the ability to not only let us have fun being creative as storytellers, but to push the audience to expand their creative minds as well. We would love “CC” to remind people that there are many female directors like ourselves out here who would love to, let’s say, take on a “Black Mirror” episode or a “Star Wars” film. The Spear Sisters would love to spearhead a “Star Wars” film. Young Leia film, we’re lookin’ at you.

TrunkSpace: Is there a concern that you will be pigeonholed as a creative duo as opposed to individual creators? Do you see a day when you’re directing projects separate from each other?
The Spear Sisters: We are not worried about being established as a creative duo. We plan to continue co-writing and co-directing. We realized a long time ago that we can take advantage of the fact that we happen to share similar creative sensibilities and are both passionate about making films. We want to do the same types of projects and joining forces just makes us stronger when it comes to making them happen. Right now, as we begin our careers, it is beneficial for people get to know us as a creative duo as that is what we foresee continuing into the future.

Now, we don’t know what the future holds. There may be a time where we both have projects we want to do that the other has no interest in. If that happens, we will go ahead and do our separate films. If people get thrown by that, well, it means The Spear Sisters are established enough for people to get thrown when we do something different. So I think we’ll manage! Right now though, we can’t see the day where we would be directing projects separately from each other. We have too many shared projects we still want to get on screen!

TrunkSpace: What are you most proud of with the film?
The Spear Sisters: Honestly? That we got it made!

Every film has its challenges in getting onto the screen and this one had some unique ones for sure. “CC” was made through the Crazy8s film competition in Vancouver. The winners of the competition are given eight days and $1000 to make a film. But there were several competitive phases to get through before even getting to the challenge of making the film. First, we sent a video pitch for “CC” alongside over 200 pitches from other filmmakers wishing to make a Crazy8s film. We were narrowed down to a group of 42 to come in and pitch our films to a panel of industry professionals. We did our pitch and were narrowed down to a group of 12. These 12 wrote and submitted their scripts. Of those 12, six were selected as winners of the competition. “CC” was one of the six! So, as winners, we had eight days to start and finish our film! That’s from the start of shooting to handing in the edited film complete with sound, visual effects and color. Yep, it was tight for sure!

Which brings us to what we are second most proud of (a very close second): our freaking fantastic cast and crew! They not only worked hard to get it done in the time we were given, they made sure that every aspect was executed with intention and care. We feel incredibly lucky to have had each one of them on this film.

TrunkSpace: Time always seems like the one commodity that is lacking on a set, but did having a fixed deadline help you to stay organized and shoot exactly what you needed?
The Spear Sisters: Yes, the timeline really did make hone in and become super aware of what exactly we needed to tell this story. There was no time for anything extra. We had every shot planned out very specifically, and we used every one of them. When it came to editing (which we had an incredibly short amount of time to do), our choices were already narrowed down for us as we didn’t have any extraneous shots. We knew when a moment was going to be covered in a close-up, and that is the only way we shot that moment. We had a futuristic phone that required visual effects anytime the device was seen while it was on. We determined when exactly the phone was needed to be seen on screen, and hid it from camera anytime it was not giving us new information. That made the epic task of finishing VFX in time a little easier.

TrunkSpace: You’re also both working actresses. Do you think understanding how both sides of the camera works makes you stronger directors, particularly in getting what you need from actors through their performance?
The Spear Sisters: Yes. We came from a theatre background originally, then moved into film and TV. Coming from an acting background helps us do our work as directors for sure. We approach a project character first. Knowing what the character is going through helps inform our other choices for the film. How the camera is moving, what the color timing is, what the sound choices are, etc. They are all chosen specifically to support and enhance the character’s journey. When we are writing, reading a script, or editing, there is always a part of us that is playing the characters through as well. Making sure that we know what is important to focus on. We feel like directing is, in a way, playing all the characters at the same time.

When it comes to getting what we need from the actors, having been on their side of the camera helps us know what they are going through, what they need to help them, and what could prevent them from doing their job to the best of their ability. We know what it is like to get a confusing piece of direction, to get a page of new dialogue right before we are supposed to start shooting, or to try to settle into an emotional state when the set is loud. The more that you know about what the other person’s job requires, the more you will know on your side what you can do to help that process and get what you need.

Having worked as actors, and among fellow actors, we also understand that everyone responds to different types of direction in different ways. What might work for one might throw someone else off entirely. Some actors want you to tell them their character’s entire backstory, some just want to know where to stand and when to move. Different actors need different things from us. It is part of our job to get an understanding of what works best for each actor in order to get what we need. We like having conversations with our actors before we start shooting to get a better sense of how they like to work and how we will best work together. This can be rehearsal (we love rehearsal!) or just chatting over coffee.

Jewel Staite and Sharon Taylor in “CC”

TrunkSpace: We have an unnatural obsession with “Supernatural” around here and we couldn’t help notice that both of you have appeared on the series. Is it a bit of a rite of passage for actors from Canada to appear on that show at some point in their careers and what was that experience like for you?
The Spear Sisters: Yeah, “Supernatural” to Vancouver must be what “Dr. Who” is to London. At one point or another, if you are an actor in the city, you’ll be on the show. And what a great show to be on! We both have had so much fun working on “Supernatural.” We have both worked as actors, background performers, and in the casting room as videographers for “Supernatural.” There is such a wonderful team of fantastic folks on that production! We’d love to work on it again.

Kailey has had a fun string of characters on the show. First she played an attendee of a chastity group meeting. That was a funny scene. Then she played Beth, a research assistant who gets her throat slit by a demon. Not such a funny scene. But it involved some awesome practical effects to get that blood going. Kailey wore a prosthetic neck so that a tube of blood could be pumped up through it to pour out after the slice.

Then we both got cast as twin demons sent by Lucifer to deal with Crowley. That was great! One part involved dropping huge knives out of our sleeves in unison before going to attack Crowley. It was the first time that we were cast as twins on TV and it was a really fun scene to do.

Now, funny story about Sam’s appearances on “Supernatural.” Funny… is that the right word? You can decide. The first TV role Sam ever booked was a role for “Supernatural.” It was the role of a waitress at a diner. It was two lines, but you know, first role on TV – big deal! The scene was cut for time. The character of “waitress” was never seen. The casting director said, “Don’t worry this just means Sam can work on the show again.” So, when we booked the demon roles, there it was: the time Sam was going to make it to screen on “Supernatural.” And the scene was cut out of the final edit. Those twin demons were never seen. Sam has still never had one of her “Supernatural” characters make it to screen. (Unless you keep your eyes super sharp, you might spot her as a nun in the background of the episode “Mother’s Little Helper.”) But that means Sam still could show up as another character on the show! So, let’s all cross our fingers and hope that Sam’s “Supernatural” curse will be broken this season. Come on Season 14! Maybe they could bring back those demon twins, eh. Wouldn’t that be fun?

TrunkSpace: What is your best case scenario when it comes to your careers moving forward? Do you hope to find a balance between acting and directing? If you could write your own professional future, what would it look like?
The Spear Sisters: Absolutely. We would love to move forward keeping both acting and directing in our lives. We can’t imagine giving one of them up or doing only one of them.

We have our own projects that we would like to direct, but are also very interested in taking on adaptations or working with someone else’s existing script. Our current dream project to direct is an adaptation of William Shakespeare’s “Hamlet”. This is a film that we have been wanting to do for years. Our version will keep Shakespeare’s original dialogue but set the story in our modern media-crazed world with a female Hamlet as the young royal.

We would love to see some great dynamic roles for us in the future. We love that acting gives us the opportunity to work on projects separate from each other, but we would also LOVE to join a project together playing twins. Now, not as a gimmick (as is painfully common to see when adult female twins appear on screen), but as fully developed characters that just happen to be twins. It is not something that we have seen much of and we would love to be part of bringing those characters to screen. And, while we are writing our dream future, let’s make them pirate twins!

TrunkSpace: We’ve all heard stories about the connections that twins have, but can you give us some insight into how being twins impacts your creativity? Does the one of your creative outputs inspire the other? Does having a creative twin make you a stronger creative person?
The Spear Sisters: Oh yeah, well, we come with the regular set of twin powers: we can read each other’s minds, feel what the other one feels, have our own secret language, etc. So that is useful.

(Laughter) Nah, we lie! No superpowers here, sadly.

We do think that we are lucky though. We don’t take for granted the unique situation that being twins who happen to have similar interests has put us in. We are wonderfully primed to join forces to get things done. We do think that it makes us stronger. We always have that person there to bounce ideas off of. Someone to tell those weird story ideas that pop to mind. We can bring our own ideas to the table, and build on what the other has brought. Having someone else there beside you who is equally as dedicated to making things happen is a great motivation. We give each other energy to keep going. Choosing to work together means that we are both accountable to the other, and supported by them. Having someone there who both supports you while pushing you to do the best, sometimes in that brutally honest way that only family can get away with, keeps us creating. It keeps us motivated to keep moving forward, to keep trucking ahead, even when the path ahead may be a treacherous uphill climb.

For more information on “CC” and Crazy8s, visit here.

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Deep Focus

Jillian Clare

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Photo By: Deidhra Fahey Photography

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with actress-turned-director Jillian Clare about her new films “To The Beat!” and “Pretty Broken.”  We recently sat down with the Oregon native to discuss her transition behind the camera, how preparing to direct for the first time is a lot like riding a roller coaster, and why she should be Batgirl.

TrunkSpace: You’ve been acting since you were a kid, but for how long has the dream of directing and producing been growing inside you?
Clare: Oh, man. Well, I started acting when I was about six in Portland, Oregon, and then my family moved to LA when I was eight. I just have always loved filmmaking and loved being on set. When I hit my teenage years, my acting jobs were becoming few and far between, because of the whole aspect of adults being hired to play teens – it’s pretty common. You look at something like “Clueless” or “Beverly Hills, 90210” and they’re all in their 20s. Heck, I’m still even auditioning for teenagers now. So I hit that phase in my life. My mom is a great writer, and she decided to write a series that I could be in. And this was before web series were even really a thing. I think there was one or two out there. She wrote a web series and it was at a big agency for a while, and it was with my management company at the time, and nobody really knew what to do with a web series back then. It was one of those things where you were just like, “How do we do this? This is interesting. We should put it online, but how do we do that?” So we ended up producing it ourselves, and just doing it, and then finding a platform. Back then, the only online platform was KoldCast, so that’s where we put up our first show, “Miss Behave.” We produced three seasons. So I started producing when I was about 15 or 16 years old. And then it kinda just snowballed – you catch the bug. You get bitten and you’re like, “Oh, I like doing this too. I can be in charge and make decisions. This is fun.” (Laughter) But we did that, and my mom went off and did some other stuff, I produced a couple short films for fun, and then I produced a film called “Pretty Broken,” which I also starred in. (“Pretty Broken” premiered at the Newport Beach Film Festival earlier this month.)

TrunkSpace: And that’s when “To The Beat!” came into your life?
Clare: Yeah, and then “To The Beat!” came along. We had been asked to write a teen dance film and produce it, and then I was like, “You know what? I think I can direct this one. I think I’m ready.” I’ve always wanted to direct, but I’ve never been given the perfect opportunity, and since I was a child actor, I felt that I could communicate well with the kids, and it would kind of be in my zone. So then I just did it. And then, here we are.

TrunkSpace: What was that first day on set like? Did you go in with butterflies, or were you confident from the outset?
Clare: Oh, man. I think it was a combination of both. Being a co-writer on the script, I was very well-versed in it, and I knew what we needed. And my DP, Broderick Engelhard, and I, we spent a lot of time on the shots, so I knew that production side of it and that that side of it was going to run smooth. We had a really good team, so I didn’t have nerves about that, it was just the nerves of like, “Holy crap, I’m about to do this!” It’s like when you get on a roller coaster, and it’s about to take off, and you’re just sitting there kind of like, “Oh crap…” I remember sitting in my car before I went in, and just being like, “Deep breath. And go.” (Laughter) It’s like doing a stage play for the first time. You’re just like, “Okay, and the audience is about to see me, here you go.”

TrunkSpace: It’s almost just having to get the first day out of the way.
Clare: Yeah. It’s finding that balance, and finding how you communicate. This is the first time I’ve ever directed anything, so for me, it was finding the balance of working with a crew, and working with the kids, and the adult actors as well, and seeing how I can balance everything perfectly. But after about that first day, I think I was just like on such a high. I was like, “Oh, man. I got this. I can do it.” And it was a great experience. It was just wonderful. We had wonderful, wonderful little kids, and the adult actors too. Everyone was so great and it was just fun to work with them all.

TrunkSpace: Working on a film, you really start to feel like you’re living in a bubble. That creative excitement travels with you even when you leave the set at the end of the day.
Clare: Exactly. It is a total bubble. I did a shoot this weekend, and I was shooting down in Laguna Beach for it, and I just came back this morning. And I’m like, “Oh, wow. Okay, here’s real life again. Where am I?” (Laughter) But it totally is a bubble.

The adult actors are all friends of mine, so that was nice too, because I already had a relationship with them and it was easier for me to communicate with them. And they respected me already. I didn’t have to earn the respect of the adults, which I feel can be difficult because I’m younger than all of them. So that was a concern I had. They were all incredible and awesome. Yeah, it was sad when it ended. I was like, “Wait, but can we do more?”

TrunkSpace: Re-shoots!
Clare: (Laughter) Yeah, right? “Guys, we have some re-shoots.” And they’re like, “Jillian, no, the footage is great.” “Yeah, well, I just wanted a different take on this line, let’s just go back.” (Laughter)

TrunkSpace: Do you find that directing impacted your creative brain in a different way than acting does?
Clare: Oh, 100 percent. It’s that hunger to be in creative control, which is, I think, something that a lot of actors struggle with a lot, because we’re very creative beings. So it’s that hunger to be like, “I get to make the decisions,” which is awesome. I’m a Leo so I’m like, “I wanna make the decisions, and have fun doing it!” We’re gearing up to do a sequel for “To The Beat!,” which I’m also going to direct. So, I get to get behind the camera again. Although I will say, I just did Season 2 of the mini series that I’m on called “Ladies of the Lake” and it was nice to just be the actor for a change. Going in, I just do my stuff, and then leave – that felt great.

TrunkSpace: What did you learn in making the first “To The Beat!” that you’ll apply to directing the sequel?
Clare: Oh, man. There’s probably a lot. I know that other people have asked me what I’ve learned from it, and it’s one of those things that… I feel like when you’re doing something with directing, you learn a lot, but it’s not stuff that you can really put into words. It’s just being the person that everyone needs you to be, I guess. And learning how to be the person who’s in control, but not mean and in control. Making sure that everyone knows that they have a good captain on board.

TrunkSpace: Someone comes to you tomorrow and says, “Jillian, here’s a blank check, go make whatever kind of project you’d like.” What would you put into development?
Clare: Oh, gosh. What a crazy question! There’s so many things. Let’s see. I’ve already done a horror film. I didn’t produce one, but I’ve already been in one. I love films like “Get Out,” “A Quiet Place” and “The Shining.” I love psychological thrillers. I think I’d probably say, “Let’s make the coolest psychological thriller in the world!”

TrunkSpace: We also saw that you want to play Batgirl, so you could always combine the two. (Laughter)
Clare: I do. I so do. Somebody call Joss Whedon. I need to be Batgirl. I have red hair. I am ready. I box. I’ve got the fighting down. Let’s do this!

To The Beat!” is available now on DVD and VOD.

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Deep Focus

Pat Kiely

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In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Pat Kiely, writer and director of the new film “Another Kind of Wedding.” We recently sat down with him to discuss the benefits of wearing various hats on set, why absence doesn’t always make the creative heart grow fonder, and the reason directing is where he feels most at home.

TrunkSpaceThe movie opens tomorrow What emotions do you juggle with as you gear up to put a film like “Another Kind of Wedding” out into the world?
Kiely: It’s exciting but also… you’ve probably heard this before about the worst part of making a movie is when it comes out. It’s much more fun just to do the thing. When a movie comes out, it’s a mix of anxiety and excitement. I mean, it’s super cool, right? You’re sharing something that you’ve worked on with the world, but it’s also totally out of your control, so you just have to sort of sit there and wait to see what people think of it. So it’s a mixed bag.

TrunkSpace: You mentioned it being out of your control now. With this particular movie, you really did everything. You wrote it, you directed, you produced. Sticking with the idea of control, do you feel like you have more creative control over a project when you’re wearing so many different hats like you are with “Another Kind of Wedding?”
KielyYes. Absolutely. But what I would also say is that, it takes so long for a feature to get made, right? And as an artist, you’re constantly growing. And so, for instance, with this movie, I think I wrote the first draft maybe six and a half years ago. And then it got the funding and of course, I’m grateful and I’m super excited to make the movie, but there was definitely a bit of a pivoting that happened with me where I had to turn back and figure out, “Okay, who was Pat Kiely when he wrote this movie?” And, “What is this movie all about, and now I have to direct it?” So yes, there is a lot of creative control when you write, direct and produce it, but just the nature of how feature films go, it’s still a struggle to be like 100 percent passionate and dropped into the material because these projects exist with you for so long.

TrunkSpace: When you have to put your writer’s hat back on and revisit a script after such a long time, is it more difficult to then have to rewrite it years later after being so far removed from the story and characters?
KielyYeah, definitely. I mean, sometimes the distance is good, right? You can look back on the script with objectivity. But, there’s something magical that happens when you’re down in the mine of creating the script in the first place, and then with the distance, it takes you out of it. So, again, there’s pluses and minuses.

TrunkSpace: As you said, as an artist you’re constantly growing. Because you wrote “Another Kind of Wedding” over six years ago, is it still representative of the filmmaker you want to be today? Would you write “Another Kind of Wedding” today?
KielyDefinitely not. At the time when I wrote the movie, I was in love. I was feeling really, I don’t know, blissful in my life? I was excited about creating an ensemble wedding movie that had a measured happy ending where things kind of work out, but not totally. And I definitely think that I’m excited about different things. I’m proud of the movie. I think it’s cool. I’m happy that I made it. But, to answer your question in short, I definitely would not write this movie right now.

TrunkSpace: The film has a large ensemble cast and you seemed to utilize a bunch of different locations. Did that prove to be a challenge?
Kiely: Yeah, it was really challenging. They’re at a hotel in the film, but that hotel… we used, I think, six or seven different locations around the city to try to just piece it together because we couldn’t find that one magical hotel that had everything that we needed. So in the end, it turned out that we shot the film in 16 days. You know what an assembly is, right? It’s the first thing the editor shows you – everything that you’ve shot, strung together. So I’m sure that when Paul Thomas Anderson looked at his assembly for “The Master,” it was probably like six and a half hours. But this film, it was 86 minutes. Essentially everything that you saw was the only thing that we shot. We cut out two and a half minutes. It was an extreme exercise in precision.

Wallace Shawn and Kathleen Turner in “Another Kind of Wedding.”

TrunkSpace: Was that a product of you sitting down beforehand and hammering down your exact shot list and then sticking to it while in production?
Kiely: It was all these meetings in pre-production where we’d sit down with the producers and they’d be like, “You have to cut out like 10 pages. We have to lose this, we have to lose that, we have to lose this.” And so it was me trying to just figure out, “Okay, what can I lose in order to still make this movie work?” And then, like you said, it was such a big cast. A lot of the exercise in production was getting people in and out. And there’s a reorientation period. With my previous films, they were much more sort of like, chamber dramedies. I’d be working with two or three actors in a room on a five-page scene, which was, given my theater and sketch roots, I really enjoyed. And you build this intimate relationship with the actors. But with this one, it was so hard because it would be like, “Okay, the van is arriving right now. Wallace (Shawn) is getting out. I have like 12 minutes to shoot this scene.” So it was definitely a challenge to get comfortable with each other, figure each other out, and get what we needed narratively in order to move on, in such little time.

TrunkSpace: It sounds like one of those situations where, when you’re in the moment, it’s probably so stressful, but then you wrap, go home and sleep off the stress, and then wake up and want to do it all over again.
KielyDefinitely. I feel so lucky that I get to make movies. And it was a blast, for sure. It was a challenge, and it was cool, and I’m proud of myself that we basically shot this like a Movie of the Week. That was the amount of time that we had. And I think given all of the factors, yeah, I’m definitely proud that we managed to pull off a movie.

TrunkSpace: We know that you’re an actor as well. As you wear all of these various hats in the industry, do they all sort of tickle the same part of your brain that made you fall in love with the industry in the first place, or do they each give you something different?
KielyI think they each give me something different. I’m probably the happiest when I’m on set directing. It’s just such a privilege, and so much fun to be bringing your vision to life. And I love working with actors and crew. I just love the animal that it is, directing a film. So that is where I feel the best. Not saying that I’m the best at it. But that’s definitely where, spiritually, I feel most happy. Writing can get a bit lonely. It can be really fun, you can have fantastic days, but then you also have days where you’re like, “Oh God, why is my posture so bad? Why am I just staring at the cement?” It can wear you down a little bit.

Another Kind of Wedding” is available Friday in theaters and on VOD.

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Deep Focus

Cardillo & Keith

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In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers, and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Erin Cardillo and Richard Keith, creators of the new CW series “Life Sentence.” Starring Lucy Hale, the dramedy tells the story of a young woman who, after living as if she were dying, has to navigate the extreme choices she made upon learning that her terminal cancer has been cured. We recently sat down with the pair to discuss juggling new humans with a new show, why they surrounded themselves with people more talented than themselves, and the reason their partnership works.

TrunkSpace: The series premiere of “Life Sentence” just went down. What emotions were you juggling with as you headed into the final stretch?
Cardillo/Keith: Exhaustion. Joy. Accomplishment. Pride. Fear. Did we mention exhaustion? It’s been a long road to get to the premiere of “Life Sentence”… we had this idea over two years ago and started pitching the show 18 months ago. We then wrote and produced the pilot and the first season all while having and raising newborns (who were born a week apart).
Keith: My daughter was born the day we turned in the studio draft of the pilot. And she took her first steps the day we turned in the studio draft of the finale.
Cardillo: My son followed her up by timing his milestones with the networks drafts. So it’s been a pretty hectic time in our lives, raising a new show and new humans!
Cardillo/Keith: In terms of the fear, it isn’t fear that the show is or isn’t good. That’s subjective. (We’d argue it’s good.) But no matter what you do, some people will think it’s great and others won’t. The fear is mostly… will the show find an audience that really connects with it? We both put our hearts and souls into this show, which required us to spend a lot of time away from our families. So, our hope is that our hard work comes across on screen and that these characters and their stories speak to people as strongly as they do to us. But at this point, that’s out of our hands. And there’s something terrifying and exhilarating about that.

Thankfully, we were blessed with an amazing lead, Lucy Hale, and a wonderful mentor and partner in Bill Lawrence (and immensely supportive spouses who supported us doing this in the first year of our children’s lives)… so… what we’re saying is, it seems like we were given all the tools to succeed and our hope is really just that we didn’t screw it up!

TrunkSpace: As writing/producing partners, you have worked on other series together, including your own creations. Does this one feel different? Does the buzz that’s been building for “Life Sentence” give you a different perspective at this stage in the process?
Cardillo/Keith: It definitely does. Between having someone like Lucy attached and a producer like Bill on board, there are certainly higher hopes for this show at the studio and network level than on our other projects. And it’s nice to have a certain amount of excitement from fans who are eager to see what we’ve all been working on these last 18 months. But, at the end of the day, buzz or not, you’ve got to find an idea you’re passionate about, try your best to surround yourself with people who are more talented than you, and put everything you have into bringing that idea to life. That process never changes, and that’s where the real reward is.

TrunkSpace: Tone is everything when it comes to establishing a series, but it feels like that’s even more important when your main character is battling terminal cancer. How long did you two work on getting the tone down, and how much did your cast have a hand in it becoming a reality?
Cardillo/Keith: There was a lot of discussion about tone on this show. Especially considering that we first conceived of it (and pitched it to the networks) as a ½ hour single-camera comedy. But the more we (and Bill Lawrence and our producer Liza Katzer) talked about it, the more depth we saw in the idea and in exploring not just how this diagnosis affected our lead, but also her entire family. And so, we decided to make some tweaks and try our hand pitching it to CW as an hour dramedy. Once they got on board, the idea continued to evolve. Our first draft had much more of a comedic bent to it than the final pilot (and series) ended up having. As Bill likes to say, if you’d asked us before we started shooting the pilot how many times we thought Lucy Hale was going to cry on screen, we’d have said, “Maybe once,” but our director (Lee Toland Krieger) would have said, “Oh, like a thousand.” In the end, we collaborated and landed at a more reasonable number (somewhere around 10). And that sort of collaboration and evolution continued throughout the first season of the show and helped the show find, we think, a nice balance of humor and heart. That sort of collaboration is one the reasons we both love working in television… and, of course, the actors had a major hand in shaping the tone as well. All the good intentions and well-written lines in the world don’t matter if your cast can’t pull that tone off. What was fun on this show was, we didn’t always know going in what the perfect tone of a given scene would be. So, we’d try a version played for drama, a version played more comedically (thankfully we have a cast that can do both), and then you get to go into the editing room and really shape the scene…

TrunkSpace: From the time that you first put pen to paper on the concept to where you are now, what are you most proud of when it comes to “Life Sentence?”
Cardillo/Keith: Finishing it! Every show starts the season with a big empty white board and there’s nothing that makes our stomach hurt worse. Except maybe taking a multi-vitamin without food (which is seriously gross). Also, as we mentioned, this show was constantly evolving and where this season ends isn’t necessarily where we would have said it ended when we pitched the show. But, we’re really excited about the direction it ended up going in. We feel like it will be a satisfying journey for our audience and Stella, and hopefully, everyone will find some tears and laughter along the way.

TrunkSpace: CW is a network that is known for letting shows find their legs and grow. As creators, is that a comforting thought knowing that your creation will have as good a chance as any at having an audience discover it and hopefully, become emotionally invested?
Cardillo/Keith: Absolutely! Nailed it. This question was easy.

Photo By: Storm Santos

TrunkSpace: You’re both actors in addition to being writers. Does that skill set give you a different perspective on developing characters and scenes? Do you test things out among the two of you to see if the performance side of things will pay off?
Cardillo/Keith: We do. Before we were getting paid to write, we turned Erin’s dining room into our office. We’d write and act things out (often loudly and enthusiastically) to test how scenes would play, much to the chagrin of Erin’s neighbors. Especially when we were working on the pilot of the “Significant Mother” digital series, which was a super raunchy sex comedy. It involved us acting out scenes where one of us was mad at the other for sleeping with our mom, and we had a surprising amount of candid conversations about dildos. Erin’s neighbors definitely gave her weird looks in the stairwell.

TrunkSpace: Was writing always in the cards or was it a part of your careers that came after the fact? Did working as an actor serve as the catalyst for where you both are today?
Cardillo/Keith: Acting was definitely the way both of us got our foot in the door. And it definitely informs our writing process. We pay a lot of attention to the flow and rhythm of dialogue because we know first hand how much easier an actor’s job is when the dialogue falls out of their mouth naturally. In terms of writing, that’s always been in the cards. We’ve both always been interested in telling stories… it’s why we became actors in the first place. And, at the end of the day, whether you’re writing, acting, directing, producing, or editing etc., if you’re working in film, television, or theatre, your job is to tell stories. And, eventually, both of us started to feel like there were stories we wanted to tell that were outside the scope of the characters we could play as actors. So we started writing. Initially on our own, trading feature scripts and giving each other notes. Until we realized that the stories we wanted to tell overlapped and it made sense to tell those stories together.

TrunkSpace: What is it that you have found in each other creatively that makes the partnership work?
Cardillo/Keith: I’m (Rich) really good at getting up early (like 4 a.m.) to crank out drafts and my brain dies by about 3 p.m. Whereas I (Erin) really am happy working away into the wee hours of the night. So it allows us, as a team, to basically work 24/7 if we have to. And it still allows each of us individual time to rest and the ability to work at the times where their creativity is at its peak. We also make each other laugh a lot, which is really important. Especially when you’re about to start shooting an episode in 10 days and you don’t have a script yet… not that we have ever had that happen to us multiple times on multiple episodes of multiple shows that we’ve worked on.

TrunkSpace: You spent time working on “Fuller House” for Netflix in 2016. What did you guys take from that experience that you have carried with you in your careers and to where you are today with a show like “Life Sentence?”
Cardillo/Keith: On “Significant Mother,” we didn’t really have a full writers room because of time and budget constraints, which meant we had never really been in a full writers room with a staff sitting around a table breaking stories. So when that show came and went and our subsequent pilot at CW, “The I Do Crew,” didn’t go, we both thought it was really important that we staff on someone else’s show. So, if we were fortunate enough to get another show, we’d know first hand what it was like to be someone on staff. And we hoped that that perspective would help us learn how to collaborate with our staff in a way that not only made them the most productive, but engaged, creatively fulfilled, and invested in the show. Because at the end of the day, it may say “Created by Erin Cardillo & Richard Keith” but that’s just the beginning. It takes hundreds of people to bring a show to life and keep it alive. And the more you can make everybody feel like this is their show, like they see a little piece of themselves, and that they see their hard work in it, the better the show will be.

Hale in “Life Sentence”

TrunkSpace: Erin, you spent almost 100 episodes playing Esme Vanderheausen on the soap opera “Passions” from 2005 to 2008. Soaps can be such a breakneck environment where you’re sprinting through more pages a day than ever seems conceivable. Did working in that atmosphere sort of prepare you for anything?
Cardillo: It certainly had a boot camp element to it, but the biggest gift of that show was how creative I got to be during that time. Both with the character of Esme (who was an absolute loon) and because the writers let me improv a lot, which was so much fun. But also, because I only worked two to three days a week and we’d shoot my part of an episode out in three to four hours, which meant I actually ended up with a lot of free time on my hands. I wrote my first feature and developed my first TV project during that time. I never would have been able to do that if I’d been going from job to job as an actor and also working a side job to support myself, as a lot of actors have to. It was truly a gift in every sense of the word.

TrunkSpace: Richard, what have you learned in your career as an actor that you try to be mindful of now as an executive producer? Do you think you approach certain aspects of the job differently because of your own experiences in front of the camera?
Keith: Definitely. For me, it’s important to remember to really listen to your cast when they have thoughts or concerns on something that’s happening with their character in any given script. It’s every actor’s job to be an expert on their own character. To protect them. To fight for them. To service them. So, as a writer, you have to be humble and realize that while that character may have started in your mind, it now lives in their body, and while you have dozens of characters to focus on, they only have one which makes them an expert in a way you’ll never be.

TrunkSpace: If someone came to you with a time machine and offered you a chance to glimpse at what your careers will look like 10 years from now, would you take the futuristic peek?
Cardillo/Keith: Tempting, but no. Some of the best things in life happen unexpectedly. Sure, you may have a plan, but if you have an open heart and an open mind and are willing to let go of what you think should happen, we’ve found that things can turn out better than expected. And sometimes worse. But you learn from failure, and if you try to avoid it, you also rob yourself of the chance to grow as an artist and a person. Not to mention the fact that if you know what’s going to happen at the end of Act Five, you could forget to enjoy the ride of getting there.

Life Sentence” airs Wednesdays on The CW.

Featured image by: Storm Santos

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Deep Focus

Jordan Foley & Jonathan Rosenthal

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Jesse Ray Sheps and Michael Kelly in “All Square”/Mill House Motion Pictures

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers, and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Mill House Motion Pictures founders Jordan Foley and Jonathan Rosenthal, whose new film “All Square” is set for its world premiere this Saturday night at SXSW. The moving drama tells the story of John (Michael Kelly), a bookie who befriends Brian (Jesse Ray Sheps), his ex-girlfriend’s son, and schemes to take bets on the boy’s youth league baseball games. The film also stars Josh Lucas, Pamela Adlon, Tom Everett Scott and Yeardley Smith.

We recently sat down with the producing pair to discuss making independent films in the content-binging age, finding the perfect Brian, and why everything is coming up Mill House.

TrunkSpace: There is more content reaching the masses in any given week than ever before. I know it seems counterproductive, but does that actually make it more difficult to get a film made these days? We would think that the more content saturating the market means that each individual project has a steeper hill to climb to capture eyeballs?
Rosenthal: I don’t necessarily think so. Yes, there is more content out there than ever before, but this is largely in part due to the fact that there is a higher demand for content than ever before. You have an audience that now is seeking new entertainment every evening on tens of streaming platforms beyond the once bi-monthly pilgrimage to the movie theater, and what’s more, given this age of connectivity we live in, an audience that is fractured into very informed and opinionated sub-groups. Making films, especially indie films, will always be a steep hill to climb, but I think one fact remains timeless, there will always be a place and market for quality films, and a film’s quality will always speak for itself.
Foley: There’s more content out there, but the quality of content isn’t necessarily increasing. What it does mean, however, is that there are more outlets to distribute content; which is, we believe, a very good thing for independent filmmakers. More distribution channels and more distributors, means a higher demand for a larger amount of quality content.

TrunkSpace: Your film “All Square” is getting a lot of early buzz. From a business standpoint, what is the key to turning that buzz into a profit and finding not only critical success, but commercial success as well?
Foley: The more eyeballs we can get on the film, the better, obviously. Buzz will hopefully translate into interest, and if people are interested enough, they will hopefully be willing to pay to see the movie. Right now, our goal is to get the movie in front of those who can help us to create a positive buzz – the press, the tastemakers and the influencers.
Rosenthal: A good cook never reveals their secret sauce.

TrunkSpace: How did “All Square” first come into your lives? Was it one of those projects that you knew you wanted to be a part of immediately?
Foley: The writer, Timmy Brady, had been a friend of mine for a long time. He originally sent me the script for feedback. Jonathan and I had just formed a production company, and we made an offer to come on board to produce and finance half of the budget. Through Michael Kelly, our producing/financing partners at Paperclip, Yeardley Smith and Ben Cornwell joined shortly thereafter and we were off to the races.

TrunkSpace: The film has an incredibly accomplished cast. As producers, does that make your lives easier when you can sit back and go, “Okay, well performance-wise we have nothing we have to worry about so now we can focus on X, Y and Z.”?
Rosenthal: Film will always be a collaboration and no matter who your cast is there’s always work to be done and hurdles to jump. Working with experienced actors is always reassuring, but I think one thing you learn is that on any set, the energy you bring and how seriously you approach the production is, in return, what you receive from your cast and crew. It’s never safe to assume that because you have one right element that everything will fall into place. A good actor shows up ready to do their part to the best of their ability but that still means you have to, in turn, do the same.
Foley: We were very lucky on this one. We had an incredibly accomplished cast, but we also had an experienced crew (from “House of Cards”) and a seasoned director with a very clear vision for the movie. We had other challenges to overcome, but the cast, crew, script and director were all top notch.

TrunkSpace: TrunkSpace recently featured your young star Jesse Ray Sheps. That is a role that was crucial to the success and believability of your film. How much discussion went into how you were going to cast the part and what was it about Jesse that made everyone confident he was your Brian?
Foley: We went through an extensive casting process when trying to find our Brian. This was the biggest ticket item for us. We attempted to cast locally out of Baltimore, but had no luck. We went national and looked at kids from across the country, including LA & NY… we still had a tough time finding someone that could truly fit the role. Eventually, we brought on Casting Director, Meredith Tucker, who was able to find us two really solid options. John Hyams, our director, flew out to NYC to meet with the two young actors; along with Michael Kelly and writer, Timmy Brady. Once the producers all had a chance to see the tapes, it was a unanimous decision that Jesse was our Brian.

Tom Everett Scott and Michael Kelly in “All Square”/Mill House Motion Pictures

Rosenthal: Casting and working with child actors is always a tricky process. We actually spent nearly two months trying to cast the role of Brian before we found Jesse. I think the hardest part, especially for a film like this one and a young blossoming actors of Jesse’s age range, is we really needed someone who could just be a kid. So often young aspiring stars are stuck looking up the seemingly insurmountable task of what it means to be an actor; a pitfall that all too often leaves kids overacting or taking what we’ve come to call, “The Disney approach.” Between finding a kid with natural athletic abilities and finding one who could just be that kid stuck in that crossroads of childhood and adolescence… let’s just say when Jesse came around it was a simple decision.

TrunkSpace: The film is set to make it’s world premiere at SXSW on March 10 at 7 p.m. at the ZACH Theater. Will you both be there and is a screening of this capacity something you can comfortably sit through or will you white knuckle your way through it until the end?
Rosenthal: We will both be there, and actually for us, this one will be a fun experience, I hope, that we’ll be able to just sit back and enjoy. Not being in official competition and simply being a spotlight premiere affords the luxury of loosening your grip, just taking in the crowd reaction and really celebrating finishing the film, which is always an accomplishment.

TrunkSpace: You have a number of additional projects in the works. Was there anything you took from the “All Square” experience that you’ll apply to those others moving forward? Was there a lesson learned that you don’t want to learn a second time?
Foley: On each film you continue to learn and improve your ability as a producer. We both learned several lessons on “All Square” that we will continue to apply to every movie we produce moving forward. In any scenario, I think we can both agree that we only want to learn a lesson once… if possible.
Rosenthal: I think if there’s not a lesson to be learned from every project you work on then you’re not paying attention. Filmmaking is a learning endeavor that lasts a lifetime. There will always be a “happy dissatisfaction” in any creative process, the moment where you know you could keep refining forever but tell yourself it’s time to hit print, so to speak. If there’s one lesson I can share that we took away from this, I think It would be that we are on the right path and that our model for filmmaking we’ve come up with works and was not just a flash in the pan-type phenomenon.

TrunkSpace: When you guys put together your company, what were the goals? What types of films did you want to make and if we flashed forward 10 years, what would you want the identity of your company to be?
Foley: We met on a lower budget indie film called, “Desolate.” It was there that we realized we were capable of getting a lot of bang for our buck and that we could find ourselves a niche by focusing on similar budget movies. Whether it’s just a few years from now or 10 years from now, our goal is to be the first call on any aspiring filmmakers list of top indie producers. We hope to establish a reputation that Mill House is a team which supports and nurtures young talent and consistently finds ways to bring our films to the best possible release platform for our filmmakers.
Rosenthal: Honestly, and this may sound eye roll worthy, but we set out just to make good films – stimulating films that we could be proud of and would want to watch ourselves again and again. And I think that if in 10 years we can look back at a catalog of films, good films, some that won awards… sure that would be nice… some that had sales above expectations… of course you have to pay to keep the dream alive…  but I think at the end of the day, to be identified as a company that had creative integrity and stood behind what indie filmmaking is all about, telling stories and taking risks.

TrunkSpace: Your company is called Mill House Motion Pictures. As a pop culture site, we have to ask… does the name have anything to do with “The Simpsons” and Bart’s BFF, Milhouse Van Houten?
Foley: The term “Mill House” actually comes from the classic mills you find at the side of a river that used the water to grind flower, etc. The idea being: it’s traditional, functional, classic, timeless and constantly working… what was true centuries ago, still holds true today – like the basic principles of storytelling. However, we are both massive fans of “The Simpsons,” and it doesn’t hurt that we’re able to say… “Everything’s coming up Milhouse!”

All Square” premieres March 10 at SXSW.

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Deep Focus

Prem Singh & Michael Pugliese

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In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers, and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with actors-turned-screenwriters Prem Singh and Michael Pugliese, the creative behind “Tiger,” a moving film that chronicles the true life journey of Canadian boxer Pardeep Nagra (played by Singh) who is banned from the sport for refusing to shave his facial hair, an act that is against his Sikh religion. We recently sat down with the pair to discuss the timeliness of the film, how they’re hoping it will ignite a much needed conversation about acceptance, and why they’re honored to be called “the next Matt and Ben.”

 

TrunkSpace: There seems to be no right or wrong way to get an independent film made these days. So much of it is really finding what works best for a particular project. As you guys were putting together “Tiger,” how much of it was you thinking outside of the box to get the project made and how much of it was the stars aligning?
Pugliese: I think it’s a little bit of both, actually. When we first started, we were really just following our passion and something that we truly loved to do. We love to be storytellers and filmmakers, and when this story stumbled across our desks, we just felt like it was a good opportunity to buckle in and make something that we could call our own.

We met in acting class a good many years ago. We’re both from Toronto and we weren’t happy with the auditions and the whole process and even the roles that we were going out for, so we just decided, “Let’s make something that we’ll both be happy about, and both be proud about,” and so we put our heads down and blinders up. You just have to go for it.

TrunkSpace: And did you guys have an existing relationship with Pardeep Nagra or was his story just one that called out to you?
Singh: I was watching Pardeep Nagra battle this thing when it was actually happening, while we were doing acting classes, and it wasn’t a couple years later that I actually said that I really wanted to go forward with this. I saw Pardeep give interviews and talk to a lot of the Canadian media, and he was talking more about fighting for what he believed in, and I thought this was a great story to tell, but maybe would have been too early. And now’s the time. The timing couldn’t have been more perfect for a story like this to come out. It gave us this push to say, “Listen, there is really nothing going on right now with what we’re doing, acting-wise, so let’s try to to create our own destiny and do what Ben Affleck and Matt Damon did and just write something for ourselves that we know we can do justice to.”
Pugliese: Like you said in your first question, you worded it like the stars are aligning, and I think now it kind of feels that way. It kind of feels like if we would have tried to make this when it was happening in 2000, I don’t think it would have been the right time in the world or that the world would have been ready. I don’t think North America… I don’t think everybody would have been ready for a film like this. Everything happens for a reason. It’s like the stars are aligning. I feel like people should be watching something like this, and it should be inspiring others to stand up and speak up for what they believe in. Now is a perfect time for “Tiger” to be out.

TrunkSpace: It certainly seems like, at least here in the States, that the division between everybody politically and socially is widening, but a movie like this coming along, it could actually help the conversation and get us back to a place of acceptance.
Singh: That’s it. We totally agree.
Pugliese: It can help the conversation, and that’s our goal with this movie is to create that movement and start the conversation. When you walk away watching this film, yes it’s about a Sikh character, a guy in a turban and beard, but it’s much more than that when you actually watch the film. There’s a lot of people that are going to relate to this, whether you’re immigrants new to the country, whether you’re black, white – it doesn’t matter what your sexual orientation is or your gender – everybody can relate to a movie like this. The worst case is that this movie is going to start a conversation, and that’s more than enough for us. At least we started a conversation.

TrunkSpace: In terms of bringing your vision to reality, how long did it actually take to see the film come together?
Pugliese: When did we start writing this, 2010? Maybe 2011? We went to camera in 2015. And I think it was just more of having a burning desire to accomplish something. Whether it’s filmmaking or whatever you want to do in life, I think it’s really important to actually truly love and having that burning, aching desire for success, no matter what success means to you. It can be very broad. But I think that’s what made us continue to push forward through the five, six years that we were making it, because we just had that desire to do so.
Singh: It can get you a lot of rejections. There were a lot of rejections that came within those years that we didn’t get it made, and being new writers, people don’t tend to gravitate towards a screenplay or the subject matter, but that didn’t stop us.

TrunkSpace: Sometimes that rejection best serves the project, because had you not received those early rejections, it may have never been brought to life in its current form with your cast, such as Mickey Rourke, and creative team. In an alternative reality, it may have been a completely different film.
Pugliese: Absolutely. And it even builds character. I think it just makes us understand how this industry works and you filter out all of the people, all the naysayers, or all of the people that are just blowing smoke into your ears. You just learn a lot. And I think the longer it takes, the more you understand it, and the more you feel extremely grateful when it does come to camera and you do start. That first day, when the cameras were rolling, it was very special, because it took four or five years of just hard work, and to finally get there, it was really, really special.

TrunkSpace: You mentioned early in our conversation about taking an Affleck and Damon approach and just doing it yourself, and we have actually heard that comparison made about you guys from other people as well. Does being compared to those guys, especially given what they have done in their careers, put pressure on you beyond “Tiger” itself?
Pugliese: I don’t think it puts any pressure. Look, we had heroes and we had icons we looked up to, especially in this industry, and Matt and Ben were guys that we looked up to. They both decided to write a screenplay and push forward and get to where they are now. We always tried to follow the path that they paved for younger filmmakers, and we thought if they could do it, so can we, so that’s what we kind of did. And to even be mentioned in the same breath of air or the same sentence as those two individuals, it’s just extremely… it’s really special.
Singh: I just hope they don’t mind. (Laughter) They paved the way for guys like us. Those guys struggled just like we struggled, and if we didn’t know about this story or they didn’t do what they had done, we wouldn’t have been inspired to do this, or to try to get this off the ground.

TrunkSpace: So with that in mind, if “Tiger” takes off and more opportunities present themselves, do you see yourselves pursuing both acting and filmmaking in the same way that those two guys did following the success of “Good Will Hunting?” What is the goal moving forward?
Singh: Well, I’m gonna play Batman. (Laughter)

We have a company, Running Tiger Films. We want this company to create a lot of content that sparks a social message. I think a lot of films have that, but there’s sill not enough of them. When people used to ask us, while we were just trying to get this off the ground, “What is your company all about?”, we couldn’t really give them an answer. And then after “Tiger” was done filming, we sat down and we had a meeting and we said, “This is about a social message.” And we’re very pleased and very proud to spread the message.

Tiger” fights its way into theaters this spring.

Featured image by: Valentina Socci

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Deep Focus

Brandon Christensen

BrandonChristensenFeatured

In our ongoing column Deep Focus, TrunkSpace is going behind the camera to talk with the directors, writers, and producers who infuse our world with that perennial pop culture goodness that we can’t get enough of.

This time out we’re chatting with Brandon Christensen, co-writer and director of “Still/Born,” about his first feature directing experience, sharing the movie with an audience days after it was complete, and why his wife’s fears make for great plot points.

TrunkSpace: With “Still/Born” hitting the masses today, this must have been a very exciting week for you?
Christensen: It’s cool. We debuted at Overlook (Film Festival) almost a year ago and when you go through that whole process of festivals and then it kind of peters out, it feels like it’s over. It’s kind of like a renewed finding of the film again, for me, as things ramp up again to release. It’s really exciting. It’s nerve-wracking, for sure, though.

TrunkSpace: From what we understand, you’ve directed a few shorts, but this was your first feature. What was that experience like for you, not only creatively, but just in terms of going into the process and learning things that perhaps you didn’t know prior to doing?
Christensen: Yeah, this was my first feature film. I’d produced another one the year before with Colin Minihan, who was my partner on this one. He co-wrote it with me and was one of the producers. It definitely wouldn’t have been possible without him, just because he’s got a bunch of experience and he kind of brought me into the fold and he gave me a bunch of opportunities with this film that I don’t think I would’ve otherwise had, raising funds and things like that.

As far as first-time films go, I think I was incredibly fortunate to have someone like him, and my other producers, working with me because, when you think about that first feature film, most of the time it’s going to be filling up credit cards or pulling every favor in the book. I was really lucky that I didn’t have to deal with really any of that. I had this team close with me that was able to pull together so many great things for me. It was different. I’ve been around people that have gone through it the other way and I would definitely prefer my way because it was a much more comfortable experience for me.

It’s tough, though. I’ve got two kids of my own and a wife and when you’re making a film, when you’re doing a month of pre-production, a month of shooting, and then you’re in post for six to eight months – it’s really challenging just on that because you do have to kind of step away a little bit. You can still be there at the end of the day but your mind is so consumed with this project, that it can be challenging. My wife is really strong and she was able to fill in a lot of the gaps that I wasn’t able to during, especially, the first two months.

TrunkSpace: And there’s always so much that you can’t plan for. Long days tend to become longer days.
Christensen: Right, for sure. And we definitely had some strict rules in place. We didn’t want to do overtime. Budget-wise, we couldn’t. And one of the big things that was helpful on this was that we were shooting in one location for 15 of the 20 days, so with a lot of the set-ups and things, if we were like, “Oh, crap, we didn’t get this one scene,” we were gonna be there the next day, so we could pick it up. So, there wasn’t ever that scramble to finish at a location because we had to wrap out of it at a certain time. I think when Colin and I were writing the film, one of the concedes that we had was that we wanted to make it as achievable and as easy as possible to shoot, just because the budget was going to be low. We weren’t going to have a lot of extra time and stuff to play with.

TrunkSpace: Which always makes a lot of sense. We noticed that you also had a hand in the visual effects. Was that part of that same plan, not only minimizing where you could, but utilizing… in this case your individual skill sets?
Christensen: Yeah, definitely. I’ve kind of been learning VFX over the last 10 or so years and I’ve finally gotten to a place where I feel comfortable handling most situations. With this film, there’s so many instances where it does become a matter of, “I’ll fix it in post,” just because, otherwise you’re going to spend an hour trying to figure out a way to do it practically and it’s just not going to make sense for your schedule. So there would be a lot of moments where I was like, “Okay, yeah. Don’t worry about it. I’ll fix it in post. We can’t get that light. Move that light out of the frame. I’ll paint it out later.” It becomes part of the process, and it’s just become part of my process when I work where I’m able to at least see a frame on a screen and I can say, “Okay, I’m not going to worry about that right now because I know I can fix that.” And when you’re on hour 15 of a shot where you’re doing just one little thing, you totally regret it, but ultimately you’re saving yourself a lot of money.

I think there’s almost 200 VFX shots in this film. They’re mostly hidden stuff, but it’s kind of obscene.

TrunkSpace: Was getting the opportunity to direct “Still/Born” fulfilling a life-long dream?
Christensen: Yeah, definitely. When I was a kid, I was making dumb movies with my siblings. And growing up, I went to film school. I was kind of trying to do it that way. When Colin had read the script that he wanted do, it was a great opportunity for me to jump into a feature film and work with someone that’s done it before. I definitely have always wanted to do a feature. Before I did “Still/Born,” I was kind of leaning more towards television, like being one of those series directors who works on something like “Breaking Bad” or “Lost” or something like that, and just being with those longer stories. But during “Still/Born,” it definitely gave me a hunger to do more feature films because it’s a totally different art, just trying to encapsulate this entire story in a 90 minute period, which seems like a long time but it’s not. You get a hunger for it, so you want to do it again and fix a lot of the mistakes that you did the first time.

TrunkSpace: Film is a very communal experience, but especially horror. Did you sit in on any screenings and watch to see if the jump scares and uncomfortable beats you laced in there worked with audiences?
Christensen: Yeah, I had a chance to go to a few of the festivals. The first one though, Overlook, that was the first time I had ever done a festival before. We had just finished the film the week before we got the call that we got accepted. We were in Montreal doing the sound mix. It was a few weeks from that moment, so we had to finish the sound mix and I had to go do color in LA, and then ship off the DCP to Overlook. So we shipped it off, I think, five days before we screened. I didn’t really have a chance to watch it with a bunch of people. Going into that room was scarier for me than it was going to be for the audience, just because I’m watching for the technical imperfections and stuff. And when it started, the dialogue seemed a little low, so I marched to the back and I’m like, “Can you turn it up a little bit?” (Laughter) And they did. And again, I’m just like looking around, and I’m just like, “Can they hear this? Does this sound wrong?” And so I’d run to the back and say, “Turn it up a little bit more.” And once there’s that first jump scare with the monitor, once that hits, there were just shrieks in the audience and that made me a lot more comfortable because I realized, “Okay, everyone’s in this.”

It was a horror crowd because it’s a festival. They’re there to be entertained. Horror fans, I think, are the most gracious of fans out there. They’re so diverse, but at the same time they have a love for horror, that I don’t think fans of other genres really have, where they’re a little more picky or they have a little more of a critical eye. It was such a great experience, just to sort of feel the room move.

There’s nothing like watching it with a crowd because when those moments do work, it’s pretty amazing and it’s the reason why you get into this.

TrunkSpace: So as you look toward the future, do you see yourself staying within genre filmmaking or are you hoping to branch out and do other types of projects as well?
Christensen: I would love to get into something else eventually, but right now I’ve got a couple of scripts that we’re working on that are still horror. My wife and I are writing something right now, that we’re trying to get ready. It’s kind of an interesting experience to work with her because we’ve had kids together, we’ve been married almost 10 years now – there’s kind of a second hand language that we’re able to communicate with when we’re writing that it’s hard to duplicate. But what’s best, is that she’s just terrified of everything. so it’s great to be able to pick her brain. It’s like, “Okay, here’s the scenario. What’s the worst thing that could happen?” And typically she’s able to give that worst case scenario. I think that when you’re writing a genre script like this, it’s hugely beneficial to have these realistic, horrible scenarios play out just from the deep recesses of your wife’s mind.

Still/Born” arrives in theaters and On Demand today.

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