May 2018

In our ongoing feature Between the Sheets, TrunkSpace picks the imaginative brains of authors to break down what it takes to create the various worlds and characters they breathe life into via the tools of their trade… sheets of paper. While technology continues to advance and change the pop culture landscape, the written word has remained one of the most consistent and imaginative art forms.

This time out we’re chatting with author Kat Zhang about her new novel “The Memory of Forgotten Things,” crafting a character that seemed to be waiting to be discovered, and typecasting stuffed animals.

TrunkSpace: As you gear up for the release of “The Memory of Forgotten Things,” what emotions are you juggling with? Is it difficult putting so much of yourself into something and then releasing it into the world?
Zhang: There are always a lot of emotions swirling around release day! While writing a book, you get so caught up in it, lost in it, and while your agent and editor and a few critique partners might read it, it’s still nerve-wracking to wonder what the wider world will think. “The Memory of Forgotten Things” is my fifth book, but that worry and excitement hasn’t faded at all. I’ve been dreaming about publishing books since I was 11 or 12 years old, though, so there’s a lot of joy, as well. I feel incredibly lucky to be writing books!

TrunkSpace: There is some heavy subject matter in the book, particularly pertaining to loss. How did you approach the character’s dealing with it in a way that was honest, but at the same time, unique to her perspective? Was it something that you have had to deal with personally that then manifested itself (either consciously or subconsciously) into the character?
Zhang: Sometimes characters start out sort of muddy, and clarify over time and drafts. Sometimes they arrive nearly fully formed on the page, like they’ve been waiting to be discovered. Sophia was the latter kind of character. The loss of her mother and the effect it had on her life unfolded really naturally. I haven’t lost a parent, but I have lost other people in my life, and I did pull on that when writing about her grief and her longing for a world in which the loss had never occurred.

TrunkSpace: As heavy as the subject matter is, was it also important that you approached it in a way that reflected on the readership as well, because as a YA book, those identifying with Sophia may not be emotionally mature enough yet to even understand that level of loss. Was that a juggling act tonally to find a balance between being honest with the reader but also speaking to their maturity level?
Zhang: “The Memory of Forgotten Things” is my second Middle Grade book, and I do think that writing for ages 8-12 is different from writing for the Young Adult crowd, which tends to be 12+. On the whole, though, because the book is told from her point of view, and is so closely tied to her feelings and thoughts, I never felt like I needed to change anything to make it more “kid-friendly.” Sophia is 12, nearly 13, and as long as I stuck with thoughts, feelings, and actions that rang true for a girl her age, the rest fell into place. In any case, I think kids are often much more mature and aware than adults give them credit for, so I didn’t feel like I had to hold much back.

TrunkSpace: As you look back at the work, what are you most proud of when it comes to “The Memory of Forgotten Things?”
Zhang: I have always loved both science fiction and magical realism, and how books in those genres use the “oddity” of their worlds to illuminate something about humanity. “The Memory of Forgotten Things” is not quite science fiction, not quite magical realism, but I wanted to use Sophia’s strange memories as a way to explore her grief, and I’m quite proud of the way it all tied together.

TrunkSpace: We read that you used to write plays with your stuffed animals, which is something that we can TOTALLY relate to. (We actually used to have a whole wardrobe department for them!) So tell us, who were the main stars of your productions? What stuffed animals got the leading roles?
Zhang: Oh man! That’s really cool – I would have loved to have a wardrobe department. I used to make dresses out of old socks for my Barbies, if that’s at all similar! I had a stuffed Dalmatian puppy that was my favorite as a kid, so she often got the spotlight. There was also a stuffed wolf that I was a little scared of, so he usually played the villain. I guess he got typecast early on. (Laughter)

TrunkSpace: You started writing your first novel at age 12. Looking back, what did you learn in that process as a preteen author that you still apply to your work to this day?
Zhang: Write what you love. Write what excites you. Back then, I’d fill notebooks with just scenes from books that stood alone, without beginnings or endings – just the most dramatic or exciting scenes that my imagination could come up with. I think a book can be built on scenes like that. As people say: if it’s boring to write, it’s probably boring to read!

TrunkSpace: How long did it take for you to discover your voice as a writer?
Zhang: I’m still trying to discover it! I often read books by other authors and fall in love with their voice and wish mine were more similar. When I go back and read my first book, I can still see the influences of the books and authors I loved at the time, and I’m sure that in the future I’ll look back on my current novels and see similar footprints of the writing styles I admire most right now. I do think that over the years, though, I’m cobbling together a style that, while certainly affected by what I read and love in other books, is also uniquely mine. It continues to grow and change, however, and I don’t think that’s a bad thing!

TrunkSpace: Regarding the process, is writing a labor of love for you or does it feel more like labor? Do you enjoy the process?
Zhang: It’s definitely a labor of love. Some days are harder than others, and I enjoy some parts of the writing process more than others, but writing is never something that I don’t love deeply. I don’t think this business of being a writer is very survivable if you don’t!

TrunkSpace: And what does that process look like? What are the ideal conditions for putting in a good day of writing?
Zhang: I write best when I have a large chunk of time (a few hours, maybe even a full morning) to really sit down and sink into things. I’m a morning person, so I love diving into writing as soon as I get up. Unfortunately, work and school make it so that this doesn’t usually happen for me, but it’s something I shoot for when I can. I find it really inspirational to be reading a good book at the same time, too, so I try to have one on hand.

TrunkSpace: Do you self-edit as you write?
Zhang: I try to keep away from it, but it inevitably happens. Not so much on the sentence level, unless I’m specifically preparing a partial for submission, but I’m always discovering new aspects of my stories as I draft them, which means going back and correcting scenes that came out “wrong” the first time.

TrunkSpace: Where are you the hardest on yourself as a writer?
Zhang: It depends on the book, and on my mood! Currently, I’m trying to focus on crafting really interesting, realistic characters, as well as thematically tight stories. There’s so much I can improve on though, and every new book brings its own challenges.

TrunkSpace: What are you working on now and what will people be able to read next?
Zhang: “The Memory of Forgotten Things” releases May 15, and I have a picture book releasing Fall 2019 with Charlene Chua illustrating. It’s called “Amy Wu & the Amazing Bao,” and I’m really excited for it. As for what I’m working on at the moment, I have a young adult novel in the works. It’ll be my first return to YA since my first trilogy. I’m having a lot of fun with it!

“The Memory of Forgotten Things” is available May 15 from Simon & Schuster.

Song Title: “The Shakedown” live/solo

From The Album: Farmer’s Almanac (art pictured at left)

Single Sentence Singles Review: Close your eyes while “The Shakedown” takes you on a voyage into the deep south with Brother Dege’s bluesy vocals and slide guitar as your soundtrack – it’s impossible not to stomp your boot to the beat.

Beyond The Track: Farmer’s Almanac drops June 1st from Psyouthern Records and coincides with tour dates across Europe and America. For a full list of live dates, click here.

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.

TrunkSpace: The 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?”
Kiely: Yes. 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?
Kiely: Yeah, 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?
Kiely: Definitely 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.

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.
Kiely: Definitely. 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?
Kiely: I 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.

Chilling Out is where TrunkSpace talks all things horror and genre with those who work in the projects that give us the thrills and chills to keep coming back for more. This time out we’re chatting with Hiroshi Katagiri, the makeup FX marvel who made the leap into writing and directing with “Gehenna: Where Death Lives.” Starring Doug Jones, Lance Henriksen and Eva Swan, the directorial debut follows a group of people who travel to Saipan in search of a new resort location, only to find something much less relaxing – a hidden bunker filled with history, secrets and terror.

We recently sat down with Katagiri to discuss how long he’s been dreaming of his own film, the reason he wanted to combine the feel of both Japanese horror and American horror, and why he couldn’t be too demanding on set.

TrunkSpace: You’ve had your hand in so many films over the years, but what did it mean to you personally to be spearheading a film of your own? How special was that for you?
Katagiri: I’ve been doing this job for like 27 years now, but when I realized that I wanted to make a movie is when I was 20, actually – a year after I started this job. So yeah, it’s been a long time. I’m 46 now. It took took me 26 years.

TrunkSpace: Was this always the film you had in mind? Was “Gehenna: Where Death Lives” the movie you’ve been waiting to make for 26 years?
Katagiri: No, not really. No way. Generally, I wanted to be a director, but I didn’t know what to do – since I became independent from my parents and I was making my own money by doing the makeup effects. Back then, that was the early ‘90s so I had to go to school if you want to make a film, in general, before the digital days. So I was just burying my dream in me for a long time. But I think in early 2000 I saw someone just editing their videos on a computer. That freaked me out. (Laughter) I was like, “Can you do that?” Then my longest dream came back. “Okay, maybe it’s possible if I could shoot and just edit and make a film.” So, after working on “Hellboy” I got some downtime and in 2003 I decided to pursue this new career. I bought the new video camera and a new computer and editing software. I started my first video project then, in 2003, which is 15 years ago.

I knew if I was going to do my first feature, I was not going to have much money, so I had to think of a story with the possibility that I could make it with such a low budget.

TrunkSpace: So you purposely made it self-contained?
Katagiri: Yeah. So then I think about the stories with limited characters, limited number of characters, and a limited location. Then, “What can I make a story about where a few people will be stuck in a certain place?” So that’s how I start thinking about this story. And then also, I take my advantage, my background, which is growing up in Japan for 18 years and then I live here for 20 years, so I have a dual culture background. I like the scariness of a Japanese horror, but usually Japanese horror films are boring. (Laughs) It’s a good thing and a bad thing, you know? It’s like a slow pace and sometimes it’s effective for the scariness. But American horror… a good example is “The Ring” because there’s a Japanese version and an American version. The Japanese version is way more scary for me, but it’s boring as hell. (Laughter)

TrunkSpace: It was all about setting a tone and feel.
Katagiri: Yeah. That’s effective, but it’s really hard to stay awake. And with the American “The Ring,” I think that’s an excellent film, excellent. As a film, that was great, but the scariness at the end was not as scary as the Japanese version. So I was thinking, “Okay, I can use the good part of both.” I like the pace of American films and the scariness of a Japanese film, so I just tried to combine both of those. I can use the Japanese scariness and the American culture.

The main character had to be American because I wanted to make an international movie. And then the location came up… it was a place that America and Japan fought and so many people died there, both Japanese and American. “It could be a good location for a horror story and what if there is a Japanese bunker? A hidden bunker? And an American crew stuck there?” That’s how I started out my story.

TrunkSpace: You’ve been around film sets for years, but what was your first day as a director like? Were you nervous stepping into that new role?
Katagiri: Yeah, especially the first day of shooting. Because of the schedule of Doug Jones, the shooting dates set it. He only could participate on the first two days. From the first day of the shoot there is Doug Jones and I have to direct him. Yeah, that’s a big deal! (Laughter) I knew him and I had been working with him as a makeup effects artist, but I never directed him.

TrunkSpace: Did you go into the experience trying to emulate the style or approach of another director you have seen work?
Katagiri: Not really imitating the other directors, but it’s natural just remembering how they were acting, how they’ve been behaving. Yeah, that gave me influence. Of course.

And especially in a low budget film like this, many people are working as a favor so I cannot be too demanding. (Laughs) I can’t say, “Okay, shut up, I’m paying you!” (Laughs)

TrunkSpace: It’s probably difficult not to get caught up in the stress though. Shooting a film is a big thing, with so many people involved.
Katagiri: Yeah, absolutely. That’s tough when there’s so many people waiting for my call and, without my approval, then it doesn’t move forward, so the pressure is huge. But at the same time it’s rewarding of course. It’s something I was imagining for like seven years since I started writing. It’s right in front of me, so that’s a big deal.

TrunkSpace: You’ve continued your work in makeup effects, but is that a path that you always want to travel on in your career or do you see yourself moving more towards writing and directing?
Katagiri: If I can make a living as a director, I would like to shift to director. You know, it’s been like 27 years in my career doing the makeup effects and I’ve done so many things and if I could create something like a major character for a major movie then I don’t have any more desire. The ‘90s was the greatest time. I was always busy and we were leading the world. We were creating something nobody had seen before. Really good time, good time. And now, you know, it’s like repeating those things we discovered and it’s nothing too new. It’s still fun, creating things, but I’d rather just be directing if I can.

TrunkSpace: So do you feel like, as an artist, you’ve done all that you can do in the makeup effects field? Are you fulfilled in that area?
Katagiri: Yeah, I do. I do. Like Guillermo del Toro, he used to do the makeup effects for a short period of time, then he starting showing a passion for making movies. He’s not doing hands on but he is creating the characters and creatures. That’s what I would like to do.

“Gehenna: Where Death Lives” is available now on VOD.

Song Title: “That Much Closer To Nothing”

From The Album: You Will Know Nothing (art pictured at left)

Single Sentence Singles Review: This single may induce whiplash by blasting you with a retro sound reminiscent of The Doors, then pulling you forward into the future with a beat and guitar riff that must have been gifted by the rock gods from above.

Beyond The Track: Here Lies Man will drop You Will Know Nothing June 15th on RidingEasy Records. They will be playing the Primavera Sound festival in Barcelona Spain and will perform at the Desert Daze festival in Southern California this fall. Additional tour dates can be found here.

Establishment Name: Monk’s Cafe

Web: www.monkscafe.com

Address: 264 S. 16th St., Philadelphia, PA 19102

Hours of Operation:
Mon – Sun: 11:30 am to 2 am
Full menu from: 11:30 am to 1 am daily

Doors First Opened In: March, 1997

Signature Drink: BEER! Monk’s Cafe Flemish Sour Ale, brewed in Belgium

TrunkSpace: How would you categorize the establishment? Is it a pub? A local hangout? A honky-tonk? Etc.?
Monk’s Cafe is a world-class beer emporium with a warm, cozy atmosphere, modeled on the classic “brown cafes” of Belgium and Netherlands.

TrunkSpace: Can you describe the décor in three words or less?
“Brun cafe” #lookitup

TrunkSpace: What makes the place unique? Why should we drink there?
Monk’s Cafe has one of the best selections of world-class beer on the planet. We ONLY serve killer beer, and never pour anything we don’t love entirely. We also don’t pour beer from big, multi-national companies, like A-B InBev. We support small and family-owned breweries and take exceptional pride in serving their liquids. We also clean our 25 draft lines weekly in order to present these beers in their perfect state. We have over 200 curated bottles, and we travel the world finding new and interesting beers to serve in Philadelphia. Our food is also made with beer, and features classics like mussels and frites cooked with various brews. Opening and running an independent café like ours has been a lifelong dream, but it can be an expensive process – our overheads can often seem overwhelming. Fortunately, a friend of ours recommended Utility Bidder to us so that we can always count on a competitive energy deal. Finding unique ways to save money is the key to survival in the hospitality sector.

TrunkSpace: Do you serve food, and if so, what should we order our next time in?
We serve our full menu from 11:30 am to 1 am, every day and night. Definitely don’t miss the mussels and frites, we suggest the Ghent (blue cheese, leeks, bacon) and the Thai Curry (coconut milk, curry). Our frites are accompanied by our signature Bourbon Garlic Mayonnaise (secret recipe!) and our Seared Sea Scallops are sauced with a “beurre rouge” of butter, herbs and Monk’s Flemish Sour Ale.

TrunkSpace: Have there been any notable patrons who have come through your doors over the years that we everyday patrons can brag that we’ve inadvertently drank in the presence of?
We have hosted many athletes playing for Philadelphia teams, like Chase Utley and Peter Forsberg, as well as touring musicians visiting our local venues – Derek Trucks and Susan Tedeschi of the Tedeschi Trucks Band celebrated Derek’s birthday with us, and shared stories of their travels in Belgium seeking fine beers! We are also blessed to be a regular stop for members of the Philadelphia Orchestra, housed just around he corner at the Kimmel Center.

TrunkSpace: Craziest thing that has ever happened there that people still talk about to this day? Go!
You’ll have to come in and charm one of the long-standing bartenders for those stories! Definitely not fit for the internet! 😉

TrunkSpace: And finally, what is a fun fact about the establishment that could further enhance the experience of customers the next time they come through those doors and pull up a stool?
If you are overwhelmed by our huge beer menu (25 drafts and over 200 bottles), ask your server or bartender to give you some direction. They are immersed fully in our selections and can guide you to find a new beer you will love!

Song Title: “The Siege”

From The Album: Walk The Earth (art pictured at left)

Single Sentence Singles Review: As good today as when they gave the world (an especially Gob Bluth) “The Final Countdown,” the latest single from the Swedish rock icons is a crank it award winner of the day, so turn it up and let “The Siege” commence.

Beyond The Track: Europe will be embarking on their first tour of Australia in just a few days, so all of you Aussies grab your tickets. Everyone else, check out the rest of the dates to the Walk The Earth World Tour here.

Song Title: “Magazin”

From The Album: Performance (art pictured at left)

Single Sentence Singles Review: Even those who aren’t comfortable in jeans will want to slip into this White Denim, a track that Rush may have written had they formed 40 years after they did.

Beyond The Track: After signing with City Slang, the Austin, TX-based band will drop Performance on August 24. Check out their upcoming tour dates here.

Rising star Antonio J Bell is having himself quite a run. Not only has he been appearing in the Oprah Winfrey-produced series “Greenleaf,” but he’s also serving as the lead in the new Spike Lee-executive produced film “Nigerian Prince,” which premiered at TriBeCa Film Festival just a few weeks ago. The dramatic thriller, directed by Faraday Okoro, is the first winner of AT&T’s Untold Stories program, which was created to support underrepresented filmmakers within the industry. (Okoro received a $1 million dollar grant from AT&T to produce the film.)

We recently sat down with Bell to discuss his experience shooting “Nigerian Prince,” how he imagined himself at 17 to tap into the character, and why he’s treating each job as a learning experience.

TrunkSpace: When you’re starring in a film that is executive produced by Spike Lee, is it hard not to imagine that job being a career game changer? And if so, is it still important to tamper expectations in how it will directly impact your career because, at least from an outside perspective, it seems like there are so many factors out of your control in this particular industry?
Bell: Spike Lee is a LEGEND so it was really special to be in a film with his name attached. When I first started acting, I never imagined I would be in a project alongside and executive produced by Oprah Winfrey (“Greenleaf”) or in a feature film executive produced by Spike Lee.

All I can control is my work. I just have to trust God and have faith that everything will work out in the end. As long as I’m continuously making forward progress, I’m good!

TrunkSpace: What did you take from the experience of shooting “Nigerian Prince” that will stay with you for the rest of your life?
Bell: There was a lot of magic that happened behind the scenes. I never traveled outside of the U.S. before this film. For my first feature, as a leading man, to be working in Nigeria was really exciting for me. This film sparked my curiosity. It made me want to discover more about my own identity as an African-American. I want to learn as much as I can about African history and to be able to travel the world. From the shooting experience specifically, I’ve learned to really enjoy the process. Sure, I have to do my job. However, I also need to take everything in around me because films like this come around once in a lifetime.

TrunkSpace: Your character Eze seems like a very complicated guy with many layers that you could spend hours peeling back. From a performance standpoint, how did you approach inhabiting him?
Bell: It was about tapping in to what it was like to be 17 again. I remembered what was important to me at 17 and realized that Eze will be missing out on what he feels will be the most important year of his life – his senior year. He will miss his friends, his crush, and won’t be able to play sports in his final year in high school.

I listened to the music that I grew up on, which really helped recall the emotions that I felt at that age. I spent time doing the things I liked to do back then, like play video games or go to the mall. I was able to spend some time in New York, to get a feel of the places Eze may have grown up and to explore his world.

TrunkSpace: Not only is the film a great story, but how it eventually got made is also really noteworthy. For you, did it feel like you were working on something special when you came on board and began the process of portraying Eze?
Bell: 100 percent! This is the inaugural film for the AT&T Untold Stories initiative. So, I knew it wasn’t only important for us, but equally important for artists everywhere! If this film does well it will open up doors for other filmmakers to get to see their stories financed. I personally want to see more diverse representation in film. I want to see all of the complexities of people in the U.S. displayed in film. Whether they are Latino-American, Asian-American, African-American, Native/Indigenous-American, Indian-American, etc. More of these stories NEED to be told.

TrunkSpace: In addition to working with Spike Lee, as mentioned, you have also worked with Oprah Winfrey on the series “Greenleaf.” Have you been viewing this run of jobs as just as much an education as it is acting, because when you’re working alongside some of the most successful in their field, there must be a desire to absorb knowledge and learn from their experience as well, correct?
Bell: Absolutely! The great thing about “Greenleaf” is that the cast has so much experience. It’s literally a masterclass every day when you get to watch Keith David and Lynn Whitfield work their magic in a scene. Having Merle Dandrige and studying her choices. Having lunch with Lammar Rucker and discussing longevity in this field. I could go on and on, but they are all so passionate about helping the younger actors develop and hone their craft.

TrunkSpace: People would line up for days to work with either Spike Lee or Oprah Winfrey, but who are some names that you’d like to work with in the future and why?
Bell: That’s a long list! I would love to work with Will Smith, Mahershala Ali, Ryan Coogler, Ava Duverney, Sterling K. Brown, Denzel Washington. All of these artists are masters of their craft. I feel like I can learn a lot from them.

TrunkSpace: Your father worked in craft services and you spent a lot of time on sets with him as a kid. How much of that – watching and absorbing – do you think inspired you to pursue acting?
Bell: It was all about seeing myself represented in television and film at that age (8 years old). There was a kid I met on set when my dad was working on “The Parkers.” Christopher Massey, I believe. When I met him – just seeing a kid that looked like me, was the same age as me, being able to talk to him – it really made me believe it was possible even to be an actor. That’s why representation is so important. Kids need examples that they can relate to. That is the only way to really inspire them to take that step.

TrunkSpace: What is the ultimate dream for you? Do you have a “best case scenario” in your mind for how you’d like to see your career play out?
Bell: I just want to tell great stories and inspire the next generation. I want other kids who come from places similar to where I grew up to realize their potential.

TrunkSpace: For the kids who are visiting sets with their own dads and finding inspiration through watching you work, what advice would you give them when it comes to achieving their dreams?
Bell: You can create your own reality. One of my favorite books is “The Alchemist” by Paulo Coehlo. “When you want something, all the universe conspires in helping you to achieve it.” I hope when they see me they believe that their dreams are possible. That’s what I want to represent.

Vikki Krinsky
www.chefvikkik.com
• Twitter: @chefvikkik • Instagram: @chefvikkik

Many times you hear of people switching their profession from doctor or lawyer to pursue a career as a chef. Undergoing such a transformation to follow your passion can be a big risk. Chef Vikki Krinsky went from professional soccer player and actress to kitchen life, working for famous folks like “The Orville” and “Family Guy” creator, Seth MacFarlane.

We recently put on our apron and jumped behind the cutting board to chat with Chef Krinsky about her journey from actress to chef, how to make healthy foods taste great, and calling her mom from Tom Hank’s bathroom.

TrunkSpace: You’ve had an interesting career path, from actress to chef for A-list Hollywood stars like Seth MacFarlane. Can you tell us what that journey was like for you and how your love of culinary arts eclipsed your love of the performing arts?
Chef Krinsky: What a journey it was! In addition to coming off of a Lifetime TV series called Zoe Busiek’s “Wild Card” that we shot in Toronto, Canada, I was also a competitive soccer player my whole life, who put a lot of emphasis on health and fitness. I moved to LA at the ripe ol’ age of 19 and had no idea what I was in for, in terms of body image. It was really tough hearing feedback after an audition and I started to grow immensely dissatisfied with my self-image. After a year of testing for multiple shows, I took it upon myself to start studying nutrition and I even got a job as a personal trainer at the gym down the street. Soon thereafter, I walked away from acting and went on a solo backpacking trip through Europe. I randomly met a chef, interned in five different restaurants throughout Europe and came back to LA with a new, profound passion – cooking fine dining cuisine, with a nutritional twist! My role in the world of entertainment is absolutely perfect for me. I’m very grateful that I listened to my gut and took a chance on myself.

TrunkSpace: Though you’re not actively pursuing an acting career, you are in front of the camera each week on the CBS cooking competition show, “Recipe Rehab.” What are some of the challenges of trying to not only entertain on the show but also cook and educate viewers on how to transform their favorite comfort food dishes? And do you feel your background in acting helps to elevate your performance?
Chef Krinsky: I do feel my love for acting has helped tremendously. I truly don’t find it challenging to do all of the above – in fact, I love that combination more than anything! Like a perfectly balanced… cupcake!

TrunkSpace: You have a passion for creating healthy and delicious meals, and you’re of the belief you don’t have to sacrifice flavor for fit foods. For those trying to seek a healthier lifestyle, do you have any basic tips on adding flavor to dishes that normally get a bad rep for being bland or blasé?
Chef Krinsky: FRESH HERBS, my friends! They are so simple, easy and affordable! They’re a pop of bright flavor, and really bring any and all dishes to life!

TrunkSpace: An artist often needs quality paints to create a quality painting. Do you believe that in the culinary arts it’s important to cook using organic and sustainable foods? And do you find such foods to indeed be tastier?
Chef Krinsky: I certainly believe that fresh, local food is of the highest quality and would stand out in any dish. I do however know that not everyone has the means or the accessibility to enjoy such luxuries. My take is, try to use the freshest ingredients you can find and splurge on yourself as much as possible. Food is our vital source of fuel and I think it’s highly important that we view it as such.

TrunkSpace: Was it intimidating going into the personal chef field for Hollywood’s A-list talent? Or with your background in acting, was it more like you were at ease right away, and you knew they are just regular folks with extraordinary fan bases?
Chef Krinsky: That’s exactly it. My mom always made sure I knew that everyone was just like everyone else, and so I grew up with the advantage of being able to connect naturally. Don’t get me wrong, I called my mom from Tom Hank’s bathroom and whispered to her how crazy it was that I was cooking in his kitchen and thanked her for always encouraging me to follow my passions and believe in myself. It was one of the best phone calls in the world!

TrunkSpace: When not cooking on CBS, you are working as the personal chef to one of our favorite comedians and creators, Seth MacFarlane. Can you tell use a bit about what that experience is like and maybe some of Seth’s favorite dishes?
Chef Krinsky: My experience with Seth, is one million percent perfect in every way. I couldn’t ask for a kinder, more brilliant client to have worked with for over eight years. It’s truly my dream personal chef job. He really enjoys a good, hearty, tuna melt and loves when I make a cornmeal crust pizza with smoked salmon, spinach, basil and crumbled goat cheese. Of course, topped off with fresh dill, lemon and basil. 🙂

TrunkSpace: It’s been said that food is the gateway into a culture, that it identifies a history, family and a region. What do you feel your food says about your culture and history?
Chef Krinsky: I believe that my food is very creative and not conventional. I think more than anything, my parents instilled a confidence inside of me that allows me to create bold, unique dishes and see where they land!

TrunkSpace: Do you have a set goal in mind for your career moving forward? Where do you see yourself on your culinary journey in another 10 years?
Chef Krinsky: Of course I do, silly! I certainly want to continue inspiring, teaching and building my brand. My next big venture is making products for the world to enjoy. Let’s do a follow-up interview a year from now, when you’re snacking on my VK energy bars. 🙂

TrunkSpace: If someone offered you a blank check to open your own restaurant, whether that would be a brick and mortar, food truck or gastropub, what would your vision be? Where would it be located and what type of food would you focus on?
Chef Krinsky: Hmm…very kind of them. Off the top of my head, I think I would want to open up a spot that offers more than just food. Something more interactive, more personal. Almost like a chef/nutrition/restaurant combination. A place where people could go to have meal plans created for them via a touch screen computer or even a one-on-one session with a chef/nutritionist. They could then pick up their meals for the week, based off of their personal goals. Of course, there would be a beautiful patio where you could dine in and enjoy unique, delicious food off of the menu also. Maybe fun facts about nutrition everywhere, so you get to eat and learn at the same time. Something like this excites me!