SHAWN CLEMENT Music Composer INTERVIEW

If you want to know something about composing music for film or television, you ask SHAWN CLEMENT. You can use many labels to describe him; award-winning, work-o-holic, obsessed with music. My favorite definition to describe him is: artist. 

Shawn picked up a guitar when he was 12, and he's barely had a moment since without music being at the centre of his life. Incredibly, he has over 150 IMDB credits as a composer; with work on a diverse range of projects such as 'BUFFY, THE VAMPIRE SLAYER," and "QUANTUM QUEST." As he shares later in this interview, he was also a key-player in developing the sound and styles we have come to expect from reality-based television shows. 

You don't need to be a composer to get something from this interview. Shawn's wisdom and experience as a writer and composer is applicable to all creative fields, which makes this a must-read. 

KID IN THE FRONT ROW: Every time I catch up with you it seems like you’ve scored another 10 projects or something, and I just wondering how the hell you find the time to do all this work?

SHAWN CLEMENT: Well I don’t really know, I tend to work pretty fast. You get a lot of projects and the deadlines always freak you out, but  the schedules always seem to shift and move and you always find a way to do it. I’ve been very fortunate to pluck a lot of projects and stuff like that but it’s truly never been an issue. It’s a lame answer.

Are there ever any complications with projects overlapping with each other or does it tend to work out?

Yes, that does happen, things tend to work out but there are times when things are really nutty and you’re on five or six different projects and everyone’s wanting their stuff right now and it's all stressful but you just kind of make it happen. About 4 years ago I was literally doing 9 projects at the same time and I was like, what am I thinking, this is nuts! Every single one of them was completely different and they were all overlapping, it was about a month or so where they were all happening and it was insane. I have a very good assistant and a couple of interns and stuff so all the other work that has to be done they kind of help out with all that kind of stuff so I can concentrate on writing.

How do you keep your mind focus creatively on each project? Most people would find that very difficult. It’s hard enough to focus on one project let alone all these different things. How do you do that?

I have a really short attention span. For me if I’m doing the same thing over and over I get really bored and that makes it hard for me to focus. When you have multiple projects with different styles and you have a limited window it kind of makes me focus more, cause then I go OK, this needs to get done today, I’m in this zone I’m locked in here and I'm all about that project. Then I can move on to the next one because now I’m doing something completely different. That is kind of how my mind works, obviously is not day to day switching projects, you might be spending 5 days on this one project, deliver that stuff give them time to review it you jump on to the other gig you get into that whole world. For me it’s harder when you’re doing the same thing over and over and over, I go bananas, I go OK, I can’t do another action cue right now, I just can’t. You make it happen either way but I like changing gears a lot.

Would you say that there is a particular style that characterises your work- obviously you do such vastly different things but is there any kind of something similar about them that’s a Sean Clement touch or are they all just completely different.

I’d like to think that everything I write has a sound to it that’s unique to me, I mean, I hope so. I tend to be very aggressive with the way I write. I have certain subtleties in the way I write that you can tell it’s something I did. As far as things I really love to work on, that’s hard to say I tend to like darker things or things that are more involved more layered. I’m a pretty ??? kind of person, I really like a lot of colours and things like that. When there’s a project that allows me to just kind of go out there, that’s always a blast. However, I mean, lately I’ve been doing a lot of these small Indy type films and the music has been simpler and it’s kind of been cool because you have to say the same thing using less and that’s a different type of challenge. I’m getting older too, I mean I’m not old but I’m just saying when you age you start painting differently and all the experience you have from doing past things you can now do 3 notes and get the same effect. That’s kind of interesting too. It’s not really a straight answer but whatever I do whether it’s a comedy, and action Sci-Fi or whatever it is, I definitely like to think there’s a certain sound to it that I no matter what it is you go on to my kind of cue.

Interesting you talking about doing indie projects and stuff. I always think the relationship between a director and a composer is a very complex thing, and I find it more difficult, for example when I’m making films that when I’m working with a director of photography, for me getting the relationship right and the creative thinking right between me and the composer is difficult. The question to ask you is, what are you looking for personally when you’re working with a director.

Well that's a really good question. The main thing, on any kind of film or TV show -- the thing that everyone needs to serve is the film, what's right for the film. At the end of the day a film is it's own living and breathing creature. What does the film look like? What is it doing? You have to serve the film first.

Everyone has their vision, of course the director does because it's their project. It's a hard language, a director talking to a composer-- I like to get to know the director on a personal level, aside from the film. You're trying to get the sensibility of the director but you gotta kind of understand where that person's coming from, to understand what he's trying to say. This is kind of a lame example but -- say you're on a project and you're trying to talk about score, and all the director keeps talking about it songs. That's a common problem, especially in the indie world, It usually means they don't really understand what a score and song is. So rather than try to figure that out directly, I just get to know the director. Why do they like these songs? what is the feeling they're trying to get? What is all that? Then I find, okay, he likes to go to this place, go to this club, he likes this scene. Then it makes sense. It's not necessarily these songs he likes, but there's a certain feeling he's getting-- how does it relate to this film? It's almost like a psychological analysis! I think as a composer you really have to be good at that. It's part of figuring out what they really want, what's behind it.

I don't think people realise the amount of work that goes into being a composer. Do you think people understand what you do?

No. Even composers don't realize until they get into it. Writing the music is the easy part, but everything else is the real work, the difficult part. To figure out how to get what everyone wants, put your spin on it, and do what's write for the film. That's the tricky part. It's a ton of work.

Also, the amount of budget allocated to this music department. You never get what you need, right? Often the music is treated like an afterthought, like 'oh right, we'll get to that'. I guess that's become part of it now -- or are you always trying to challenge that wisdom?

Budget is always a problem, it's a nightmare. I don't understand it. I'm always talking to young filmmakers who I'm working with, and upcoming filmmakers and I always explain you have to plan the whole thing from front to back; and they never think about post period. That's half your movie! It's such an integral part, and you can't skip it. I think filmmakers really get caught up on getting the right shot, or whatever-- but post is a giant part of your film. It's like, you really shouldn't have made your movie, or really scaled back to include it.

You said it kind of best, it's like an afterthought, and it really shouldn't be. It's funny because, a lot of deals I've been doing on these indie films -- I don't want anyone coming to me saying they have no money, cause then, well, you have no score.

I've also been producing more in the last couple of years, I have a real good business head. So I'm putting together budgets and I don't really see what the problem is, there should be money for this stuff: and there is.

A lot of composers bend too easily. They say 'okay, fine' - but it's not. We have real expenses too, and we have to have expenses and gear, and it costs money. So when you can't make any money, it's like -- what's the point in doing this? It makes it hard because you want to do a great job but when you have all these constraints--- y'know, limitations make you create more that's for sure, but it can get to the point where it's impossible, and I just can't give you what you want, we don't have it, and that's a shame you know.

Now of course, a lot of people are making short films, it's just creative people getting together, with no money - including a composer. So they'll work for free. But I think sometimes they get into that mentality; they've done three or four short films for free, and then someone asks them to do a feature; and they do it..

The problem's been around a long time. It was there when I started out, it was there back in the 50's. One of my all time idols is Bernard Hermann and I was reading about him -- and back them he was complaining about tight budgets. It's always been there, but it's worse now. When a composer keeps doing that, not only does it devalue the music and their services, but there's no respect for the composer. Everyone is always like 'hey, we'll get you on the next one' but they never do. Unfortunately a lot of younger composers don't believe that when you tell them.

When I started out it was the same thing. I was a starving musician, I got offered gigs and they wouldn't pay. So I wouldn't do the gig. They were like 'how dare you?' but I had to pay rent. And the time I spent doing that I could do a job and pay my bills, which is exactly what I did. But what happened was, I did the gigs anyway and got paid.I gambled, but I won a whole lot more than I lost. I lose a lot of gigs lately due to people who do it for free, but great; I'm not going to do it for free. It doesn't make any sense, unless it's a friend or there's something you're passionate about. Just my opinion!

Looking more specifically at your work; I think a lot of people know your music from 'Buffy The Vampire Slayer'-- would you say that was a particularly important of your career?

Yeah, it was one part. It definitely had a high profile, and creatively it was awesome. What was really cool about the project was I got to work with a lot of great people, and creatively really ran the gambit of styles -- there were romance elements, action elements; all sorts in one show. And of course it was a popular show, and that kind of raised awareness of me I guess. But yeah; it was really cool.

At the same time Buffy was happening, or just before, I was doing a lot of shows for Fox, a lot of police-chase shows, and that was actually the beginning of reality TV shows but it wasn't even called that. The significant thing about that, is it was the beginning of a whole new genre and I got to lay down what would become the soundscape for reality shows. I mean, I didn't know it'd happen at the time but then it exploded. They both happened at the same time, and I think that ironically boosted my career more than Buffy did. I was working for the Studios, and on nearly every network on television.

I always think the best work you're going to create is when you emotionally relate to the thing you're creating-- but when you're doing music for a police show, or 'American Idol' or something, it's got to be different, right? Is it harder to motivate yourself for that kind of work?

On every project I try to find the thing I can relate too. Of course, the better the project the more passionate you'll be -- that's like any creative thing you do. I'm more drawn to doing movies and stories so yeah-- that's true, it's easier to relate to that, and find something in you that relates to that character or the story.

With the police stuff and chase shows at the beginning-- I looked at them as action movies. It was like, okay, I'm going to write this big orchestral action score. That was my approach-- I look at it as if it were a film. But you're right, for me, if you can really get into something you're going to write more from your heart. But going back to what I said earlier on - you do what's right for the project. That tells you beyond anything what has to happen.

Tell me about your home studio - it sounds great.

It's an interesting place. I have a small ranch, about forty minutes North of Los Angeles. I'm a big nature person, an animal freak. So I wanted to have space, wanted to have my animals and wanted to be able to work where I could be comfortable and do what I want to do. The studio itself is a hodge-podge of things. It's old gear, new gear, prototype gear -- it's kind of all over the map. A lot of different types of equipment. I still use big mixing boards and all that, and I have all the latest crazy software stuff.

Technically my studio is wired completely bizarre. If you were in here it's easier to explain-- but, the idea is that I can recall a piece of music I wrote fifteen years ago It'd be exactly the same. In order to do that, when I get new gear, I never get rid of old gear.

I have tons of crazy guitars and odd instruments. Everything in here gets used.

How do you switch off from working? Is it easy to say 'it's the end of the day,' being that you work from home?

Not really. For me the work is 24/7. I'm a work-aholic. I do try to shut certain things off at night. Lately I've been doing that. As it gets to eleven o'clock, midnight, I'll chill and watch some TV or whatever; or spend some time with the dogs or horses and stuff. It's really hard, because you're always on. Even if I go to an event or a party, you're schmoozing looking for work. It's like a never ending job.

Do you get tired? Do you get the rest you need?

You never sleep. I'm always fried. It's not just me -- you talk to any composers who are working, you never sleep. There's no holiday, no vacation.

Were you always like this as a kid, a teenager?

I started playing guitar when I was 12. By the time I was 13 I was gigging all the time with bands and always working. If I wasn't rehearsing or gigging, I was practicing. Never went to school, I skipped constantly. Always doing the music thing. It's always been a drive-- I'm very driven to do that.

I get bored really quit, so I keep busy all the time. I've always wanted to work - it's like an addiction!

Do you feel satisfied when you're working on a project, or are you looking forward to the next thing?

That's a really interesting question. I'm satisfied to a degree, because I'm working. But you always want that next gig, the better gig. And if the gig isn't that great you're not really satisfied. You're glad to be paid to write music but you really want something you can dig into. So the satisfied part is a tough question.

I know you're exec-producing a TV series called 'Masters Of Sound' - what can you tell us about that?

Right now it's still in development. We shot a pilot, and we're still trying to sell the show, so there's not a lot I can say about it but the main idea is, it's highlighting and focusing on the engineers and producers who made all the great records. We know the artists, but it's the guys behind the boards who made these records happen. They're artists in their own right. Some of these guys and the things they've done are incredible. Especially with some of the older guys, while they're still here and can talk about it. These guys invented how we hear things, and how things are recorded. Some of the classic records. For me it's awesome because I get to meet and hang out with people who I idolized as a kid.

What would you like to achieve in the next ten years?

More feature work. I'd like to get more into the studio films, and working more and more with budgets that allow me to have live orchestra and live musicians. Part of the cool thing, being any kind of artist, is you always want to have challenges. And the way you keep challenging yourself is to work with better people. I want to keep doing that. That's what makes you grow and get more excited.

For young people starting out now who want to be composers; what advice do you have for someone who wants to do what you do and is just starting out?

That's a tough one. The thing I always say -- the question they've gotta ask themselves is: why do you want to do this for a living? If the answer is 'I want to make a lot of money' go find another job, you'll never make it. You have to go through so much just to get anything in this business. You have to just want to go and do it. I always say that even if I never made a dime, I'd still be sitting here doing this, because it's what I do.

You need a thick skin and perseverance. The competition is way high, there's way to many guys out here trying to do this, and it gets tougher and tougher every day. My advice is, you've got to give it time, you gotta be a team player, and you've got to be a super sociable creature. It's a relationship business. A lot of artists and composers are introverted, but you gotta get out of that quick. People have to like you. A lot of people get gigs, not because their music's good but because people like hanging out with them. That's always been the case. Often the best music doesn't always win, and often times it never even gets heard.

Does that frustrate you or do you deal with it now?

You're never just okay with it. It always happens. It's just the way it is though. You get rejected more times than not, it's insane. I have classic stories of being turned down by people and some of the stuff that was said to you; it makes you want to slit your throat. But you've got to pick yourself up and keep moving forward. You have to be realistic, if someone's got constructive feedback, listen to it.

When you start out, especially, you don't know anything. You get these kids who come out of school and think they know everything about film scoring. But you're a kid, you don't know anything! Yeah, you went to school and learned all this stuff, but it doesn't really mean anything. You have to understand film, you have to understand people, and all this other stuff. But you really learn as you grow. People have to be cognizant of that. There's all these other parts to composing, it's not about writing music all the time, it's all these other things, and life experiences which help you write better.

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TRACY CLIFTON - Actor Interview

TRACY CLIFTON is an actress. A very good one who has done a lot of great work, but you probably don't know her. Tracy is like most of the actors in the industry-- doing the best she can each day to find her way in a challenging, unpredictable, and highly competitive industry.

I'm interviewing Tracy because a) I think she's wonderful and I want you all to know about her, and b) Because she represents the bigger, silent majority of actors, who are doing the best they can each day to have a great career and find work that inspires them.

There are a billion actresses out there, and they all want the same roles as you. How do you stay sane?

I was taught this very simple concept by my favorite acting professor in college: Go into every audition thinking, "Here's what I have to give. Can you use it?" And that's how I go into every.single.audition. I have a gift - the gift of being me, in all my spazziness, my enthusiasm, my eyes that change color depending on my mood, my knife fighting skills, my dark sense of humor. Can they use any, or all of it, for the role I'm auditioning for? If the answer is Yes, then great! That's wonderful! We're both blessed by me being hired. If the answer is No, we can't use what you have to give right now, then I don't need to be there, and I don't want to be some place where I'm not needed.

This keeps me sane every day of the week - and keeps me from ever taking it too personally (or getting caught up in the ridiculousness that is being an actress.)

As an upcoming actor - you want roles, but I'm sure you also want to do good, interesting work. So, how important is a good script to you?

A good script and a good actor create a great partnership (American History X, LA Confidential, Children of Men, 40 Year Old Virgin, etc.) but you can still have a bad script with good actors (X-Men 3, Speed, Bad Boys 1 and 2, and most slasher flicks); but it's hard to pull off anything with bad acting. So when looking at a script, I drop the judgment. I'm never going to blame a bad performance of mine on a script because a good actor should sell, and make believable, a bad script any day of the week. Do all actors want the chance to act in movies like The Godfather, Good Will Hunting, The Insider, American Beauty, Pulp Fiction, American History X, etc? Yes. But let's remember this: Star Wars didn't have the best script. But the actors sold it and never turned up their noses, or dialed it in because it wasn't good writing. They found ways to make it work through their performances. And because of that, it's freakin' awesome. So I would say - while it's a nice perk to have a good script, I don't turn down bad scripts. Those are the challenges (and I don't back down from challenges.)

Do you think there are as many interesting roles out there for women compared to men?

I don't, honestly, but instead of complaining about it (which I've probably done on your blog, Kid) I want to change the industry. Not necessarily with a "Mrs. Smith goes to Hollywood" kind of idealism, but with an attitude of: women are just as complex as men. And their stories deserve to be told. Women don't have to be defined by their relationships the way they are portrayed in films (she's the Daughter! Sister! Mother! Bride! Whore! Virgin!) but can be the heroes of their own journeys, being fallible and human while still being fascinating to watch. I would also like to see the industry move away from its fascination with torture-porn and punishing women for wearing tank tops in dark forests, but that's another interview altogether, I think. :)

I would also say that the industry is getting better about this every day - from strong female roles created by Hilary Swank, Ellen Page, Christina Hendricks, Maggie Q, et al, to more thoughtful high school comedies/dramadies that take a girl's point of view into account, such as "Juno," "Easy A" with Emma Stone, or even "Jennifer's Body" with Megan Fox.

What one quality makes you awesome as an actress?

I like to think it's a quality that makes me an awesome person too - I'm a very good listener. I don't just wait for my co-actors to finish speaking while thinking, "Okay, my line's next! My line is next!" but really try to focus on listening to what is being communicated. I like to think this keeps my own performance on its toes because I'll never know what line will really affect me each time, so nothing is fake or forced (As David Mamet said: invent nothing, deny nothing.) Also, I like to think I have some kick ass comedic timing.

Okay, I'm done giving myself compliments. Two is enough.

Everyone wants a 'successful' career --- but what does success mean to you?

Success means doing what I love, and earning enough money at it to not be scared when I have to pay my bills each month. I'm serious, though - I don't need to be a millionaire, I don't need everyone to know my name. I just want to get up every morning and go to work, feeling useful, creative, and as if I'm putting the gifts I've been given to good use. Who could ask for anything more?

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JB Glossinger - Interview With MORNING COACH Founder.

JB Glossinger, the founder of morningcoach.com, is an inspirational guy. He runs a podcast, every morning, which is all about giving people positivity, inspiration and ideas to go out into the day with. JB is the most dedicated person I know -- constantly working on new projects and helping people throughout the world. He never stops working and never stops improving himself and, in turn, helping other people turn their lives around and find focus. Although he doesn't work in film, I think his work is hugely relevant; which is why I interrupted his busy schedule and hurled some questions at him.

I'm always amazed by your commitment and perseverance. Dedication is a really difficult thing. How do you keep yourself focused?

By understanding that it doesn't happen overnight. I strive for 1% improvement a day. With that 1% daily goal, I gain clarity and am able to stay focused with a realistic goal. I also write a journal, which assists greatly in maintaining that clear mind.

A common thing with writers is, "I'm just waiting for the right idea," or for an actor, "I just need a bit more training," -- it's like we shelter ourselves for as long as we can from doing the actual work. What's that about?

Its a form of self sabotage. They are so comfortable in their world of lack, that they subconsciously hurt themselves by delaying actual hard work and staying safe in a fake comfort zone. Success is 99% perspiration and I can guarantee there is a less talented writer actually doing the work who will achieve greater results.

There is a big emphasis on having 'marketable' films or the right 'branding' as an actor. These things sit uncomfortably with me. It's a constant battle between trying to have integrity to my instincts and at the same time trying to survive in the industry. How should we facilitate these inner battles?

I would say trust your intuition and absolutely go with your instincts. If you are true to yourself, you will achieve the greatest level of success as you have retained your integrity and played to your strengths.

It's common for writers to have their best ideas when they're not expecting it, when they're busy doing other things, yet most of the time we're going crazy trying to force out ideas. Why is this? What can we do about it?

Because when we are not pushing, we are relaxed and as a result, our thoughts are pure and clear. Always carry a notebook or a journal.

A lot of actors, the minute they step into an audition, all their confidence and feelings of self worth go out of the window. Can you recommend anything for them to do prior to going into the room?

Conscious breathing and meditation. Take 5-10 minutes and practice deep, mindful breathing. Find a quiet place, sit comfortably and take long, deep breaths while mentally repeating a positive, powerful affirmation to yourself. For instance, "I am an amazing actor and I am a gift to the world."

You can find out more about MorningCoach by visiting the website here; and the podcast is also available through iTunes. You can also hear more from JB over at his blog.

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Interview With Film Make-Up Artist STEPHANIE WISE

One of the most important elements of a good film, is good make-up. However, especially in the low-budget independent film community - the needs of the make-up department are often misunderstood and overlooked. This is usually because of a lack of interest and/or awareness from producers and directors; but a lot of it also comes down to a lack of representation; somebody to speak up and explain to the rest of us why it's so important. Luckily, there are people like STEPHANIE WISE: A New York-based Make-Up Artist of over a dozen features and numerous short films.It isn't just her knowledge and experience; but her passion for what she does that is really inspiring. I've had the privilege over the last couple of years of becoming good friends with her and learning a lot about what she does; and I hope we're able to bring some of that to this interview.

What made you want to become a make-up artist?

Makeup is something that has always intrigued me, sometimes I think that I was predisposed to becoming a makeup artist. When I was a child, probably around the age of 10 or 11, I saw behind-the-scenes footage from the set of The Exorcist. At that time, I knew nothing about makeup artistry, and I wasn't particularly fond of horror movies, but I was genuinely fascinated by the special effects work that was showcased. I know that it's not difficult to genuinely fascinate children, but of all the things that captured my attention when I was young, the imagery of that makeup team working their magic stuck fast and actually remained in the forefront of my impressionable young mind. I remember telling my grandparents that I wanted to be a special effects makeup artist back then, and I used to experiment with my mother's makeup and face paint and a menagerie of other materials that I thought looked like blood or monster skin, etc. I have pictures of my cousins with cheese-wax "bullet wounds" on their arms that I must have done when I was 12 or 13.

During my time in college, I was in pursuit of an art degree, but I didn't want to be a secluded fine artist or an art teacher or an employee in a gallery. I didn't know what I wanted exactly, and no one could really satisfy my questioning. So, I finally decided to return to something that had always been interesting to me, which was makeup. A bit of research and the counsel of a trusted professor lead me to believe that I could, and should, take makeup and special effects seriously. I'm so happy that I did, because I love that this profession. I love that the work of a makeup artist in the film industry is a blend of painting, sculpture, event coordinating, and human relations. I love the camaraderie of working with a team, as well as the entirety of the film crew. I enjoy using brushes and paints and powders, and I love applying the various mediums of makeup to faces and skin. I have a fascination with faces in general, so it's very satisfying to finish applying a makeup design and then watch my work perform as the actor speaks and gestures and expresses emotion.

So how did you get started in the industry?

I began by chasing after any opportunity that I was qualified for. I had some legit makeup experience from work I had done for theatres in my hometown, which definitely helped me obtain jobs fresh out of make-up school. Of course, I wasn't getting paid then, but I was meeting people in the industry, which was of much greater value. No job was too small, I didn't care if the script was promising or if the director was determined to get festival attention, I didn't even care if the makeup I would be doing was challenging or not. Sometimes I worked as a set PA, not doing anything related to makeup at all. I just wanted to be doing what I wanted to do, wanted to be a part of something creative and engaging, so I took advantage of every chance that I got. During that time, I was working in cosmetics shops to pay the bills and stay close to my desired field. After about two years of this, I had finally met enough of the "right" people and had gained enough experience to quit the day job and start freelancing full-time.

How do you find work?

These days I get most of my work through referral, which is wonderful because it means that I work with the same people quite often. The independent film world in NYC is like a family that way; the higher-ups find that they work well with certain people, so they continue to hire them job after job. Trusting work relationships develop, groups of professionals become units, colleagues become comrades. Often I'll get calls for jobs that another makeup artist was offered, but couldn't take, so they recommended me instead. I have likewise passed-on many jobs to other makeup artists who I know and trust.

I also still peruse Craigslist and Mandy.com for work when there aren't any upcoming jobs on my horizon.

I feel there are a lot of misconceptions about what you do, from the attitude "It's just make-up," to another belief that, on a low-budget, the needs of the make-up department can be overlooked - have you ever come across this in your work and how does it affect you?

Unfortunately, I come across such attitudes fairly often in the low-budget indie world. The effects can range from something as simple as not being provided with a surface to place my tools on, to not being allowed to stand by monitor.

It seems that in the film community, many professionals are familiar with the purpose and function of multiple departments, not just their own. I imagine that this stems from either studying the film-making process in school, or having been a part of so many productions that the different jobs become common knowledge. My job is an exception.

Why is that?

In general, no one besides my fellow departmental colleagues fully understands what makeup artists do. I feel that the misconceptions and improper attitudes are merely the children of inexperience. Perhaps one reason why makeup can be seen as unnecessary is because the history, advancements, and purposes of the makeup industry have not been canonized along with the more "important" aspects of the motion picture legacy.

That's interesting...

Makeup is a very specialized discipline, just like camera, lighting, and sound, but unlike those fields, few are taught about make-up in film school.

I wish that others knew more about what makes a good makeup artist good, and what their needs are. It wouldn‘t just be a benefit to makeup artists, it would save so many productions a lot of unnecessary stress and headache. It just goes to show that ignorance is not bliss. It can put a strain on people who are relying on one another to get a job done; If one doesn’t know what the other needs, then both suffer. For example, I want to have the actors ready in a timely manner, but for that to happen, I need for them to be called at the proper time. I try to discuss and confirm certain logistics like this before a shoot starts, but that’s not always possible, (or taken seriously).

This is a shame, because a good makeup artist can be a valuable ally to the crew. Besides developing the visual qualities of the characters and affecting the overall aesthetic and mood of the on-screen imagery, there are many things that makeup artists do that others wouldn’t think of or know how to fix. We hide sunburn, cover unwanted tattoos, scars, and birth-marks, maintain continuity if an actor starts to noticeably suffer from a cold, allergies, or sleep deprivation, keep a look-out for eye and nose boogers and ear wax, correct signs of aging or too-prominent facial features, and put artificial structure and color back into a face to prevent it from looking flat or distorted. It's not always glamorous work.

The dexterity of a makeup artist and quality of his or her makeup design can add production value, or diminish it. No makeup supervision, (or poor makeup supervision) can lead to problems with photography, lighting, post-production work, disposition of the talent, and cause audiences to become distracted.

Makeup is necessary and important because it is a part of the whole. The makeup department is a member of the team, we are on the side of the greater goal of the production. With that said, I admit that I did choose this line of work for myself knowing that I would face stereotypes and misconceptions, and I still like and want to do what I do. Everyone faces discouragement, such is life, but it would be nice to receive as much respect as the better understood departments do.

Leading up to a shoot - how much preparation do you do?

I do as much work in pre-production as I do during a shoot, or perhaps even more. It is an arduous process. A well done pre-production is usually impossible for me to achieve without plenty of caffeine, eye-strain, and mental anguish, as I'm sure most professionals in the film industry can relate to.

Most of the minutiae of my job needs to be organized before principal photography begins because so much hinges upon the importance of continuity. For a feature film, my prep work begins with reading and re-reading the script. I have to identify and familiarize myself with every detail that will affect my department, and conceptualize ideas for each character before I can do anything else. Then, I compose a scene-by-scene breakdown which itemizes the individual continuity notes for each character who appears in the scene, as well as relevant information from the script.

I can be a bit over-zealous when it comes to my break-down, but it makes my job so much easier when every detail is accounted for prior to principal photography. The movie-making process is stressful enough as it is, anything that I can do in advance to help myself and my department work more efficiently is worth the extra effort.

Apart from the continuity break-down, I also have to plan the final makeup design for every character, as well as all special effects makeup and effects gags. This involves a lot of dialogue with the director, since I have to make sure that we share a common vision and come to an understanding about certain logistics and design elements. When all of the organization and designing is done, (or, sometimes, while I'm still in the midst of it) I also have to figure out a budget breakdown, obtain the products/materials needed for the shoot, and make sure that they are organized, clean, and ready for use.

That sounds like a lot of work. I think us Director's have it easy!

It is very common for me to become a recluse during the pre-production process, because I spend so much time racking my brain to develop ideas and fine-tune the accuracy of my continuity notes. But it's always a worthwhile endeavor.

What do you want from a Director? What is the ideal relationship?

What I want from a Director is a collaborative, mutually respectful relationship. I think like an artist, so when I have an idea, it is usually more of a conceptual brain child than a practical solution. In order to develop satisfactory makeup looks, I envision characters in various spaces and under lights of varying colors and intensities. I consider mood and emotion and symbolism. I also consider realism and practicality, when appropriate. So, when I sit down with a Director to talk, I want the chance to creatively engage with the person who is responsible for the creative vision of the entire film. I ask lots of questions, and I appreciate lots of carefully considered, insightful answers. I also greatly appreciate reciprocality and collaboration. I work best when both the Director and I can present solid ideas to one another, and then use what we like to formulate new ideas.

I don't particularly like it when a Director has no ideas about the makeup at all and leaves me to guess at what the desired look is, but the absolute worst case scenario is when a Director is completely unwilling to trust my expertise. I hate, hate, hate, being shown a picture and told, "This is what I want, do exactly this".

My work is a thing of pride for me, I want to create my own new and interesting work for each film, I do not want to re-do something that someone else has already done. I want to share and participate in a holistic vision, I do not want to be force-fed it or left to figure it out on my own. I like it when a Director values and encourages that.

Stephanie Wise was the Make-Up Department Head on the feature film 'Meskada' (Dir: Josh Sternfield), which is premiering at the the Tribeca Film Festival in April, 2010. .

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Screenwriter SCOTT ROSENBERG Interview.

Scott Rosenberg wrote 'BEAUTIFUL GIRLS.' With that alone, I am happy to stop right there and declare that he is one of my favorite screenwriters. But, as it happens, he also penned 'CON AIR,' 'THINGS TO DO IN DENVER WHEN YOU'RE DEAD,' 'GONE IN SIXTY SECONDS,' and many others - as well as creating one of the best TV shows of recent years, 'OCTOBER ROAD.'

I'd like to start by talking about 'Beautiful Girls,' because it's one of my favorite films. I wish there were more films like this. Did you know it was going to be something special when you wrote it?

“BEAUTIFUL GIRLS’ came about because I had been working for months on the script for “CON AIR”. In those days, the studio would make you write a detailed treatment before sending you off to script (it was a way for them to avoid paying a step). Between “THINGS TO DO IN DENVER WHEN YOU’RE DEAD” and “CON AIR”, I was fully submerged in a kind of nihilistic porn: violence, anger, racial epithets, death. I was numb as a statue. And I found myself, back in my hometown outside of Boston, during one of the worst winters ever. I was waiting for Disney to approve “CON AIR”. I had just broken up with my girlfriend of seven years. The snow plows were driving by my window. Many driven by my buddies from high school. When it occurred to me: “there is more quote “action”, going on with my buddies here -with turning 30 and not being able to deal with the women in their lives - than in twenty Jerry Bruckheimer movies. I remember very clearly, saying to my kid brother: “I am going to go into my room and write a script called “BEAUTIFUL GIRLS” but it’s going to be all about guys.” Five days later I emerged with the script. It just poured out. I didn’t think it was special. It was a piece of catharsis. It was entirely written for myself. Which is probably why it resonated with so many people. And, inexplicably, still does to this day...

I think it's the kind of screenplay that everyone tries to write when they begin screenwriting, the script about a bunch of friends in a small town figuring their lives out. But rather than having the complexity and subtlety of 'Beautiful Girls,' they tend to be quite boring and soap operatic -- were you concerned about this when you were writing yours? How confident were you?

Nah. Because I don’t think it was such a common trope then as it is now. There was the gold standard, of course, Barry Levinson’s “DINER”. But I tried never to even think of that one. Because then I would have just been paralyzed. Because that film is nearly perfect. A few years ago, I was skiing in Colorado, and I was in a bar and some snow-boarders in their early 20s came up to me. They had heard I was the dude that wrote “BEAUTIFUL GIRLS”. And they wanted to tell me that their whole group of friends watch the film once every few months. I told them that is so cool. And that MY friends and me used to watch “DINER” once every few months. And the snow-boarders shrugged and asked me: “What’s ‘DINER’?” And I realized that “GIRLS” was for these kids, what “DINER” was for some of my friends. And that was perhaps the coolest thing of all...

The film feels like it's been made by a writer/director - you can really feel a singular voice coming through. What interests me, is that it's really hard to know what is your voice, and what came from Ted Demme. What was your working relationship like with the Director; and what things, for you, did and didn't work out how you wanted in the film?

The journey of that film was insane. Originally, James L. Brooks was going to direct it. Which was kind of like we’d hit the lottery? Huh? James L. Brooks? The living legend? Who never directed a film he didn’t write? How is this possible? And why? I worked with Jim for 5 months on the film. Meeting actors. Hearing them say the words. Refining the script. And then, Jim dropped out. It was rather devastating. I think he just felt, end of the day, that he was a Jewish in his 50s, who’d been rich for a long time, how much commonality did he really have with a bunch of blue collar mooks from Boston? But working with him had been like the screenwriter equivalent of going to Harvard Business School. It was amazing. After he dropped out, we flirted with some other names. And then the idea of Teddy came up. I wasn’t that familiar with his work (he had only done a few films; and worked at MTV), but upon meeting him, one thing was clear: he WAS one of the guys I grew up with. He just had this amazing one-of-the-lads quality about him. And his enthusiasm was infectious. And he loved the script.

Were there disagreements? Sure. There will always be. But most of those came during post. Teddy and I agreed whole heartedly on every piece of casting. On locations. On set design. If we argued it was over some things in the final edit. But nothing terrible. A perfect example of how we worked was the day Teddy came to me and said there should be a sing-a-long a la “THE DEERHUNTER”, in The Johnson Inn. Wouldn’t that be a great way to introduce Uma’s character and show the guys’ special bond. But what song? Teddy was thinking maybe “HAPPY TOGETHER” by The Turtles. I knew, immediately (and this was well before it became a karaoke favorite and Boston Red Sox anthem), that it had to be Neil Diamond. “Sweet Caroline”. Teddy wasn’t so sure. One night, we took the cast to a bar in Minnesota for some after-wrap cocktails. There was a piano player there. I surreptitiously gave him ten bucks and asked him to play “Sweet Caroline”. He did. The place went crazy. Everyone singing along. Including Matt Dillon and Noah Emmerich. But Teddy always said, it was when he saw a waitress, gliding by, holding a tray laden with cocktails, wailing to the song, that he “knew Scotty was right... And that it had to be Neil Diamond..." That was how it was with us. He made a wonderful film. I miss him...

Do you think you would have worked together again? Were you close friends?

Teddy and I were good friends. We had a complicated relationship. Sometimes we were as thick as thieves, and planning on doing our next thing together. Other times, we were at each other's throats. He was the one who first convinced me to do television. We did a pilot based on a novel I wrote, called "GOING TO CALIFORNIA". Sold it to the WB. We shot a pilot but it didn't get picked up. Years later, Showtime bought it. We recast and did 20 episodes. So, you see, Teddy and I were always looking for shit to do together. His passing was great tragedy, as he was really starting to happen; to really come into his own as a filmmaker.

It's amazing how you went from 'Things To Do In Denver When You're Dead' and 'Beautiful Girls' - to working on a giant blockbuster like 'Con Air.' How did you get involved in the project?

“DENVER” was the hot script that year. It was one of those “No One Wants To Make It But Everyone Has To Read It” things. And I got a ton of attention. Disney brought me in and handed me an “L.A. TIMES” article about the real Con Air -a Federal Marshall program that transports prisoners across the country. They wanted me to come up with an idea. But they “didn’t want ‘DIE HARD’ on a plane. Good luck.” So I just noodled on it for a while. Listened to a lot of Lynyrd Skynyrd and Allman Brothers records. And once I happened upon the notion of the guy who had never met his daughter - that his wife had been pregnant when got busted - I saw how I could make this thing work. That sightline was so clean. It allowed me to adorn the thing with the craziest motherfuckers; the most absurd dialogue and set-pieces. Because, when all is said and done, he was just another man trying to find his way back home...

There's a big myth for writers trying to get into the industry; who feel that to work on anything with a big producer or studio, means no creative control and constantly having to incorporate other people's ideas - has this been your experience?

The script is always going to be co-opted. Because with a budget that big, it’s the only thing they can constantly tinker with; it allows everyone to sleep at night, knowing that, somewhere, someone is working on the script. I think you have to do your best work, and hope much of it flies. But you also have to be realistic: “SPIDER-MAN” or “GONE IN 60 SECONDS” or “THE GENERAL’S DAUGHTER” -these are not the sad, sweet personal stories about my ancestors coming over from the Old Country. So I can be mercenary. I have to care. I have to make it deeply meaningful for me, so I can do good work. But I also have to divest myself emotionally. Because chances are good you will be re-written. My motto has always been: "Don’t Fuck With My Small Movies. Do What You Need With The Big..."

With 'Con Air,' you were writing about characters who were murderers, rapists, pedophiles -- is that particularly challenging?

First things first: I have never understood why people thought Buscemi’s character was a pedophile. He was described as a mass murderer who killed a bunch off people up and down the Eastern Seaboard. And that the way he killed made “the Manson Family look like The Partridge Family.” There was never a single mention of children. Somehow, when he has the scene with the little girl, people just jumped to that conclusion; that he was pedophile. It was the strangest thing to me. I was simply ripping off “FRANKENSTEIN” -monster with little girl. Did anyone ever accuse Frankenstein’s monster of being a pedophile? Nope. I think Garland Greene deserves the same respect. Ha-ha.

As far as writing murderers, rapists, etc., I have always believed one has to find the humanity in even the most dreadful of characters. No one - not even Son Of Sam - is without a shred of decency; Ted Bundy had a mother who loved him at one point. If you can find an access point - a way to give make even the most unsympathetic of characters mildly sympathetic in places... Then you will have a fully dimensionalized villain. Or so it seems to me...

I noticed when watching 'Highway' that you also produced it. Did you hire the director yourself?

I did. Along with the execs at New Line. Todd Phillips was originally going to direct it. It was called “A LEONARD COHEN AFTERWORLD” -which is a terrible title, but is a part of the lyric from the Nirvana song “Pennyroyal Tea” (”give me a Leonard Cohen afterworld/So I can sigh eternally... “). This was before Todd was Todd. And he eventually bailed because this movie he had been trying to get set-up finally got a green-light. That was “ROAD TRIP”. Which was rather ironic. Because my film was a road trip picture, too. Albeit a much darker one. Involving drug dealers, mobsters, circus freaks, hookers and the weekend Kurt Cobain killed himself.

After Todd dropped out, and we were looking for his replacement, a short film made by an NYU student came across our desk. It was called “ATOMIC TABASCO”. We were rather knocked out by its balls, its bombast, its confidence. We met with the director, James Cox. And were rather knocked- out by his balls, bombast and confidence. There was something about his manic madness that I thought was perfect for this film. The tone I wanted the movie to have, was sort of the manner in which James Cox lived his life. So we hired him. And we made a pretty cool film. Jared Leto, Jake Gyllenhaal, Selma Blair, John C. McGinley. And, in a show-stopping scene, Jeremy Piven (who replaced Vince Vaughn at the eleventh hour). But the exec at New Line who had championed the film left just after we delivered it. And the head of the studio never liked it. So they re-cut it; replaced all of our dope songs with lesser versions. And sent it straight to DVD. I have actually never seen the new version. And never will. It’s too painful. But I learned a lot making that film. And had a good time doing it...

Are you interested in directing at some point?

I think I would like to very much. I am not sure if I would be any good at it. Have come close a number of times. And for various reasons, it didn’t happen. Having spent a lot of time on many sets, watching many directors, there are some days you say to yourself “God, I could do better than this moron!” and then other days, you think: “wow, this guy is talented. I could never do what he does!” So I go back and forth. The “year of your life” thing kind of freaks me out. Insofar as I could work on so many projects in a year as a writer. But as a director, you are basically eating, drinking, sleeping and fucking that one film for at least an entire year. But we’ll see...

I was re-watching 'Gone In Sixty Seconds' the other day, and during the big car chase at the end, I wondered-- how the hell do you write something like that? How do you make a chase scene or a fight scene exciting? Whenever I try to write them scenes, they read like instruction manuals.

Funny that you ask. I wish I had a copy of my first draft handy (I can find it for you eventually), because that is exactly what I wrote in the stage directions. I wrote something like “look, I ain’t lazy. But chase scenes are like sex scenes - the only thing more boring than reading them is writing them. So I’m not gonna do it. We’ll hire a director and he will make shit happen!” Or something like that. For the final chase - the big one - I actually scripted all of the beats... But not for any of the earlier ones... I, quite literally, wrote, “and now DIRECTOR’S CHASE SCENE #2 begins... “ It actually gained a bit of notoriety.
A lot of people thought it was ballsy of me. It wasn’t. I just had no desire to waste my time. But that movie turned out to be a huge disappointment to me. The original script was very, very cool. It got that amazing cast. And then we hired a director who just wanted to shoot car porn. Another film I have never seen the final cut of...

What is it about not seeing a final cut, would it be that painful? It reminds me of Woody Allen, when he says he's never watched any of his films again, I'm never sure I believe him. I bet he has 'Annie Hall' on DVD..

With some of these films, you sort of grok that they are going to be shit; that they are not going to be what you intended when you first got that tiny spark. Which is why, yeah, I don't buy the Woody Allen thing. 'Cause he has made so many amazing movies. But I have not. So things like "DISTURBING BEHAVIOR" and "KANGAROO JACK" and "GONE IN 60 SECONDS". Yeah. Easier to just not watch them. And remember what they once were. And what they might have been. (mind you, not a one was on its way to being "HANNAH AND HER SISTERS". But still... )

Small, character based dramas, or big action films, which do you prefer writing?

I love it all. I really do. At this moment, I am deciding on what I should write next. I have six ideas I am currently toying with. Three of them are small and entirely character- driven. One is a whacked-out sci-fi horror thing; the other two are hugely commercial, big ideas. So I really am all over the map. What I’m most interested in is that the next one is different in tone, scope and story than the one I wrote just before. That’s all.

Nick Hornby is another writer with a really distinct voice, did you consult with him at all when adapting 'High Fidelity' or did you take the book and go your own way with it?

I didn’t. I wish I had. I am such a fan. But I was working with the director, Mike Newell, who was attached to it at the time. I am sure he met with Nick. But I didn’t. That was a case where I was sent the book in galleys. I had no desire to take on another project (I was way overbooked at the time). But I read it anyhow - because I was a fan of Newell’s (who had directed “FOUR WEDDINGS AND A FUNERAL”) among other things. And the book just spoke to me. I was, like, who is this Nick Hornby and why is he living in my brain? Because I am a huge music guy; and I have had lots of struggles with girls and commitment and all that stuff. So I took the job. And did several drafts I thought were pretty good. I moved it from London to Boston, of course.

But I don’t think Mike was ever going to really direct it. Because “FOUR WEDDINGS” had been such a huge success. I think he, too, wanted to do something different. Not another romantic comedy. So we both sort of left it at the same time. Then John Cusack and his gang came in. And Stephen Frears. The movie is excellent. But let’s be honest: nearly everything that’s great in the film came from the novel. The novel was just so damn good. I hope to meet Nick someday. We’ve had several near-crosses but it’s never happened. But I continue to read his novels. Always awaiting the next one with delight...

“October Road' was something really special. How did the opportunity arise to make the show?

My friend, Gary Fleder (he directed “THINGS TO DO IN DENVER WHEN YOU’RE DEAD”) was in a meeting with the ABC president, Steve McPherson, when McPherson commented that “BEAUTIFUL GIRLS” was one of his favorite films; why doesn’t someone do a TV version of that? Gary called me and asked me what I thought.

I was coming off of a few years where I had sold lots of scripts, but none had gotten made... And if actors aren’t saying your words, then the process isn’t complete, I don’t care how much dough you’re making. So I said “sure”. I brought in Josh Appelbaum and Andre Nemec, who I had worked with on a short-lived Showtime show I created called “GOING TO CALIFORNIA”, which ran for 20 episodes in 2001, before Showtime was cool. Josh and Andre had been working on “ALIAS” and they were game to create a show with me. We were sort of looking for a way in, an access point, and then Andre said: “why don’t we dramatize what happened to you, Scott, in the wake of ‘BEAUTIFUL GIRLS’?” Because “GIRLS” was based entirely on my buddies from home. And some of them really got their feelings hurt and felt exposed (we are all pals again now; in fact, I am on the train to Boston as I type this, for this is the weekend of our annual ski trip!). We all collectively thought that was a great idea. Changed it from a movie to a novel; added the whole “is he your son is he not your son” and went to town. That was a great experience. I loved that cast. I loved that world. We had a very small but very rabid fan base by the time we went off the air. People still freak out when they find out that was my show. They gush in ways they never gush about any of the other stuff I’ve done...

There's something very dramatic and compelling about someone coming home, and the effect that has on him and the people he originally left behind. We see it again and again in your work - in 'October Road', 'Beautiful Girls' - and even in 'Gone In Sixty Seconds' --- is it coincidental that you've revisited this theme or is it something that fascinates you?

I jut think it’s something that is so utterly universal and relatable. It’s not a clerical error that perhaps the most famous line of dialogue in the history of movies is” “there’s no place like home.” We all come from somewhere. And we are always trying to get pieces of it back; no matter how good or bad it had been. Youth is a state of grace. Even if you were impoverished or abused or infirmed. You were young. You were unformed. You were home. It’s funny because we played with a lot of those themes in “LIFE ON MARS”. I find myself writing these overlong tone poems about the exigencies of “home”. And, yes, all through my work “DENVER”, “GIRLS”, all the TV shows, “GONE”. Hell, even Cameron Poe in “CON AIR” just wanted to get the fuck home.

But I don’t think it’s very unique. It worked for Homer. Why shouldn’t it work for the rest of us?
I can never put my finger on what it is exactly, but when watching your films, I always think of Billy Wilder - is he a big influence on your writing?

Well, that’s the nicest thing anyone has ever said to me. I am sure there are a lot of film and TV critics that would beg to differ with you on that one. Wilder is my all-time favorite. An old girlfriend of mine and I used to have “Billy Wilder Night”, where once a week, we’d watch one of his films, so we were sure to see the entire canon. And it’s rather astonishing that the same guy made “DOUBLE INDEMNITY”, “THE APARTMENT”, “STALAG 13”, “SOME LIKE IT HOT”, “SUNSET BOULEVARD” “THE SEVEN YEAR ITCH”, “THE LOST WEEKEND”, “WITNESS FOR THE PROSECUTION” and “SABRINA”. I mean, really? Are you kidding me? The range of subject matter; all of it, no matter how hilarious, suffused with a kind of darkness, a skewed morality that was just so bold and compelling. And the dialogue! I mean, the guy was just off the charts. I devoured that Cameron Crowe interview book with Wilder. And it is my second piece of advice I give to neophyte writers (the first being: “just write!”): watch Billy Wilder movies. Watch them all. And try not to be intimidated but rather be inspired...

It disappoints me when perfect shows like 'October Road' get taken off the air. Would you have liked to have taken it a lot further?

Of course, I would have loved that. “LIFE ON MARS”, too. But television is a funny thing. There are so many variables. So many factors. In both cases, we hadn’t begun to scratch the surface of those characters, nor the places we wanted to take them. But the good thing about the creative process is that no character ever truly dies; parts of them are reborn into other characters. In the new show, “HAPPY TOWN”, you’ll see some traces of some O-ROADERs. As well as in the script I am currently writing. It’s like some weird form of Buddhism. The souls of a character is reincarnated long after he is no longer a corporeal being...

Despite the fact that 'October Road' seemed very much like your baby, there were a lot of different writers working on the show -- how do you work with writers on your TV projects?

We have a staff. A writers room. Storylines are generated out of the writers room. Approved by the network and studio. And then a writer goes to script.

But every script goes through my computer. I am in charge of “the top edit”. The “voice pass”, as it is sometimes called. So all of the scripts feel like they are of the same piece. Sometimes I have to rewrite 80% of a writer’s script. Sometimes it’s only 20%. But we have been blessed, in that we have managed to assemble some truly talented, truly splendid writers on all three shows. We really are just hoping for a hit, so we can keep these people coming to our
offices rather than to someone else’s..

What can you tell us about 'Happy Town'?

“Happy Town” came about during the writers strike. We were still working on “OCTOBER ROAD”, but we could read the tea leaves. The was walking the creaky steps of the gallows up to the waiting hangman’s noose. But we so loved the world. The small town aspects. And we thought: what if we did a version of “OCTOBER ROAD” where shit actually HAPPENS? Wouldn’t that be novel? We were also thinking that nobody does scary on TV anymore. And I mean scary but not “CSI” or “CRIMINAL MINDS” forensic porn scary. And not vampires and werewolves and zombie scary either. I mean, just scary. My partners, Josh and Andre, were degenerate “TWIN PEAKS” fans. I was not. But Stephen King’s novel, “’SALEM’S LOT” is, for my money, one of the most perfect horror tales ever written. So you can find much of the “HAPPY TOWN” DNA in those two works. Plus “OCTOBER ROAD”, of course.

It’s a small town spook show, centered on bucolic Haplin, Minnesota, a place that knew darkness years ago - when seven disparate people disappeared, over the course of seven years. Locals called it the work of “The Magic Man” -so named because he “had the ability to make people vanish that bordered on the mystical.. “ Well, by the end of the third episode, he returns. And he has returned at the worst possible time! It is a very cool, very unique piece of television. It stars Geoff Stults, who played Eddie on "OCTOBER ROAD" (as well as other O-ROAD alum Jay “Physical Phil” Paulson and Warren “Big Cat” Christie), and Amy Acker, Sam Neill, Lauren German, Robert Wisdom, Francis Conroy, M.C. Gainey, Steven Weber and Abe Benrubi. A truly wonderful cast. I hope you’ll watch...

Of course! Definitely. What advice can you give to upcoming screenwriters? What is the biggest mistake you see young writers making?

The biggest mistake I see young writers doing is thinking they are ready to be read after writing one or two scripts. Bullshit. You ain't. You are still learning your craft. Learning to crawl. And don't let that story you read in "VARIETY", about the college freshman who sold his first script to Warners for 3 million dollars. Sure, he might have. But God also made Michael Jordan and Eddie Van Halen and Alex Rodriguez. There are always gonna be Talent Freaks. You ain't one of the them. How do I know? Because they are rarer than rare. Keep writing. Always Be Writing. I wrote ten scripts before I got an agent. 14 before one was made. If I look back at those old scripts, sure there were some decent parts. But most of it was crap. How could it not be?

The other mistake made is to try and get a job in show biz while you are paying your dues. Jobs in show biz are for the folks back home. So Ma can say to the ladies in her book club: "Petey is working for Ryan Seacrest!" The problem with working for Ryan Seacrest? It will be a 16 hour day. And you will think about it when you are getting ready for bed. No. Get a job bagging groceries. Or driving a truck. A job that you don't give another brain cell to when you punch the clock at the end of the day. So you can go home and focus on what is truly important at this phase of your life: which is writing.

When a writer is convinced they have a great script, or two; what should they do?

When you think you have a great script - if it really is great - they will find you. The town is starving for great scripts. It sounds awful and pat and overly simplistic: but if you want to succeed as a screenwriter, write a dope script. I am not saying that shitty scripts get made. Of course they do. More times than not. And a good 65 % of working screenwriters should have their laptops revoked. But at some point, they wrote that one. That one that people noticed. A Zen approach is a good one. Don't do a mass mailing introducing yourself to every agent in town. Don't foist your script on the guy at the next table in the diner, who happens to be reading "THE HOLLYWOOD REPORTER". Just know that they will find you. It sounds strange. It's not. L.A. is a city fueled by the frantic frenzy to find the next great script. The key is write it. And then watch them tumble...

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Joe Leonard - Film Director Interview

Some of you may remember me excitedly posting a film trailer a few weeks back. It was the trailer for a new film called 'How I Got Lost,' an independent feature about two disillusioned, twentysomething New Yorkers; written & directed by Joe Leonard.

I was intrigued to find out how such a personal project came to fruition, and how an independent movie can, in this day and age, find film festival recognition, as well as distribution. Luckily, Joe Leonard provides us with some fascinating and insightful answers.

'How I Got Lost' seems like it's come from a very personal place. How did the project come about? What inspired you to write it?

Yeah, it's a pretty personal project, which is what I love about it. A lot of it came from a certain time in my life when I was living in the East Village trying to figure out where I fit and what I was looking for. I came up with the title early on, and I was trying to write a film that captured a feeling. It was after 9/11, and none of us wanted to leave the city. But at the same time, it was a hard place to be.

That's when I read "The Sun Also Rises" for the first time. It felt like it had just been written. It felt like it could be me and my friends. So I was inspired by that.

I think you can really tell that the film comes from a Writer/Director, your voice is all over the film. Do you worry that will get lost if you start doing bigger-budget projects, funded by the studios?

That's a fun question, and one I should test out! Realistically though, my interests as a writer and a director tend towards independent, lyrical films. I'm interested in people more than plot. I don't have much control over that, as much as I'd like to.

Right now I'm working as an editor on "Glee," a new show on Fox this fall, and I think it has already taught me a lot about working on bigger-budget projects and making strong decisions. It's been an amazing experience, and terrific after finishing "How I Got Lost." It doesn't hurt in this case that it is an incredibly creative show, or that I work with incredible people.

Do you think there's a place, commercially, for films that are more interested in people than plot? I'm like you, these are the types of films I crave-- it just seems unfair to me that someone who does really moving work like you might struggle to get films funded and to make a great living, whereas a filmmaker making 'Scary Movie 9' prospers?

I do think there's a place commercially for good stories that are character-based -- but it's a hard business, and the more arty you get, the less likely you are to find your way into a big budget or big return. I do know that actors want to do good work, though -- and that's an ace in the hole. Jake Gyllenhaal doesn't necessarily want to do "Scary Movie 9." So if your script is good enough and he gets his hands on it somehow, I like to think that you have a shot at making an ambitious character movie. Then suddenly, if Jake Gyllenhaal is involved, raising money and finding distribution works with an extra set of zeros.

In terms of survival and success, you have to define it for yourself. There are quicker ways to strike it rich. As a filmmaker, you have to figure out how you can make a living to survive long enough to make your movies. I stumbled into editing, and it's actually helped me a lot as a filmmaker. So I actually feel lucky that way.

I've read that you won an award; and that grant formed a big part of the film's budget. Could you tell us a little bit about that experience and what it did for you?

Well, it was a make or break point for the film. I had written the first draft in 2002, moved to Hollywood, shown it to everyone who would look at it, and gotten essentially nowhere. But I couldn't give up on it. The more I faced rejection, the stronger I felt about the material. The more I heard other people's takes on the project, the more it came into focus. I started asking questions when I hit each wall to try to figure out a way to make adjustments, so that the next time I would have outflanked their concerns. It was a tough project because it wasn't very structured, so I had to back my way into a sequence that would feel structured. So it was a great service, hearing "no." I was persistent. I applied to the Sundance Lab -- 3 times. And to the IFP LA (now Film Independent) Labs -- 5 times. Never got in. I did get into a lab through IFP NY with Scott Macaulay, which was a great resource. And then one day I got a mailing from NYU -- where I went to film school. There was a grant set up for filmmakers making their first feature. The Richard Vague Production Grant. You had to send in the script, and a budget, and a proposal -- and you had to fly to New York to pitch it if you were a finalist.

The first year I was a finalist, I didn't win. But I thought about it afterwards, about the questions they asked me after my pitch, and about how it could be better. So I went back to the drawing board, beefed up the budget in certain areas, hired some producers, and pitched everyone I knew in the month leading up to the meeting to practice. The day I got the grant, I felt like Muhammad Ali. Now I was able to lay all of the groundwork for the film -- and I had a ribbon to point to proudly, saying someone important believed in me. That was all the permission I needed, and I didn't ask for any more for the rest of the production. We ended up raising all of the money privately, with the most incredible set of investor/producers you could hope for.

What was the budget?

We made it for under a million bucks with a non-union crew and a SAG cast. Most of the money went to our 4 week shoot, to pay our amazing cast and crew, to renting trucks, and to getting people from New York City to St. Louis.

I like what you said, 'I had a ribbon to point to proudly, saying someone important believed in me.' As independent filmmakers, I think we can often go for an awfully long time on self belief, never really having the proof that anybody cares what we have to say. Had you ever felt that?

You're right. We have to be pretty hard-headed, and in this case I think that's a good quality. You have to have that us versus the world mentality. And if you know you have something to make you've just got to stick to your guns. On the other hand, you don't want to shut yourself off to criticism, or to collaboration. It's a tough balance to strike. But being self-motivated, and believing in yourself -- you can get far on those fumes. It's worth noting that actual encouragement (from teachers, friends, parents, film organizations, festivals) is still the actual fuel. Mom, dad, thank you! My list is actually quite endless.

The film has garnered a lot of recognition at various film festivals. How important are these for the film, and for you as a Director?

Well, similar to the grant, the festival exposure has been great for us. What we're trying to do now is build an audience and build awareness of the movie. Each time I can post on my blog or Facebook page that we've gotten into a new fest, or won this or that award, we gain some momentum. It's sort of like navigating New York by following the walk signs at each intersection. We know basically where we're headed, and we just don't want ever to have to stop.

As a director, festivals are just fun. People get to see the movie. You've already done the work. I always get worried about things like the projector quality or the sound levels. Once I've relaxed about that, or given up on it, it's a blast.

How do you decide which festivals to enter?

Well, we had a list. The theory is that you go for the "important" ones first, then trickle down to the regional fests. This is a great theory, but we finished our movie after Sundance and Tribeca -- where we were rejected based on our rough cuts.

My theory is that theories are just... theories. Good movies should get into good festivals. I look at the festivals and I try to track their reputation, but I don't think there's any point in not applying to a festival because it isn't on the highest tier. At this point in the game, I am most interested in how filmmaker friendly they are. I also sort of look at our festival run as our theatrical release -- though we are planning a theatrical release this Winter as well. So I apply to festivals in places where I imagine folks might be who would like our movie. Places like Austin, and Chicago, and Portland. New York and LA, San Francisco.

My favorite fests, based on the screenings we've had and where I've screened shorts before, are Dances With Films, Austin Film Festival and the St. Louis Film Festival.

If I have a short film I want to get into festivals, would you recommend focusing on the main ones or just sending them to absolutely everywhere? And would a bigger festival want to screen something that's just be screened in a little film festival in Nebraska?

With a short I don't think your premiere status really matters. I'm no expert, but I'd advise sending it to fests that you really want to go to. Fest applications can be a huge waste of money if you send it everywhere. Apply to your regional fests, apply to your dream fests, and apply to one or two that you hear great things about. That's my advice.

Why did you decide to shoot on the RED camera? How was the experience for you and the DP?

There was an economic reason. We wanted to shoot a high production value arty movie on 35mm lenses, but we didn't have the budget to do it the way we wanted to. But the real reason: we were excited about it. It fit the motto's on the door of our production office in Brooklyn: "No Surrender," and "ambition beyond our means."

We had a great experience. We tested it a little... not much. Chris Chambers, my amazing DP, did a beautiful job of adjusting to it and creating some amazing images. And my editors Sarah Broshar and Sam Mestman (who was kind of our RED guru, and also our colorist), designed a practical workflow. We had no real problems.

You worked with a really incredible crew, full of talent and experience-- how did you pull them all together?

I had the best crew in New York City in April of 2008 -- fucking (pardon me) amazing. I found them working on projects over the years. I collected them as I went along, because I knew I was going to make this movie. Chris Chambers and I shot two films together. Jared Parsons and Sam Mestman produced films with me going back to our NYU years. I met Massoumeh Emami working on a film by Danny Leiner called "The Great New Wonderful." I just did my best to find talented people, I gravitated toward them, and try to come up with an excuse to work with them. Like JR Hawbaker, our costume designer and one of my favorite people in the world who literally created from scratch several dresses for the film. And Lexi Cuesta, who was a jack of all trades MVP on set even when I had totally exhausted and frustrated her. Then Massoumeh brought in some of my favorite new collaborators (everyone who makes movies in New York, by the way, will attest to how incredible Mass is -- as a human being and as a film collaborator). Chris DeAngelis, our co-Producer, was Rainman with a schedule, and remains the only guy I would personally follow into war. And Matt Munn and Katie Akana made me want to be a production designer. Or at least hang out with them and help out however I could (not much). The list goes on. Our gaffer Corey Eisenstein went to high school with me! They were incredible. And the movie is what it is because of their hard work. What it boils down to for me is that I like making movies because I love the people you get to work with. I love that you are in it together, on this crazy journey. And I love how hard it is, and how far everyone gets pushed (including me of course), just as much as I love how fun it is.

Do you have a distribution deal? Are we going to see it on a wider release?

It's up in the air. It's pretty interesting right now. There's been a total collapse of the independent film market in the last year or so, and now everyone is trying to find a new model. I like the Soderbergh model actually -- a simultaneous theatrical, cable, DVD and digital release... There's a whole new landscape now. Internet, VOD, the iTunes store... we are planning to have a DVD distribution deal in place by the beginning of next year. And right now we are pursuing a limited theatrical distribution this winter. We'll see how it goes. It took me five years to make this movie, so I'm going to do everything I can to make sure it gets out there.

You've done what many aspiring filmmakers only dream about. You put a project together and you went out and shot it. What advice can you give to upcoming writers and directors, how do you take that leap to going out there and getting a project made?

I had a film teacher, the documentary filmmaker D.A. Pennebaker, who said "if you're a filmmaker, get out there and make a film, every day." It sounds extreme, but I think it's right. I think that's the mindset you have to have. Pick up the camera, of if you're working that survival job, keep a notepad with you. Movies start within you -- unless you're using heavy machinery, let your mind wander. Look for the people you want to work with. It's easier to make a feature with a die-hard collective of ten filmmakers than it used to be. Support each other -- you can't do it on your own. And don't ask for permission... unless it involves fireworks.

Joe, thank you so much for taking the time for this. One last thing. Is there one little piece of advice, or one little nugget of information you could give that might help writer/director's like you who are about to embark on making their first low-budget feature?

Well, keep it in perspective if you can. Making a feature is a long haul, and you want to love your movie and still have a few friends a year or so later when you finally get to your festivals. It's an amazing mountain to climb, but oddly it doesn't feel like what you might think at the end. The joy is really in making the movie -- there's is no pot of gold at the end of the rainbow. But I don't think that makes it any less worth chasing.

I think a great way to end this interview, in fact, a great way to end any interview, with anyone, is to mention Bruce Springsteen. Here, I have the perfect reason. The picture below was taken in the 'How I Got Lost' production office during shooting-- and sums up Joe and his crew's work ethic, and is as good a phrase as any to live by when working long hours on a feature. In the words of Mr. Springsteen...

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