VENTS Magazine 142th Issue

Brian Silverman

We’re very happy to be speaking today with acclaimed writer, director, actor and producer Brian Silverman; greetings and salutations, Brian! Before we dive down the proverbial celluloid Q&A rabbit hole, how has your 2023 been treating you?

Fantastic. My family is healthy. My apple tree is full. And I haven’t talked politics with my friends.

Major congratulations on the upcoming premiere of your feature film Two Lives In Pittsburgh which is set to play to a packed audience at the Dances with Films Festival in Hollywood, California on June 25! What was the genesis of this film? Is there an E! True Hollywood Story you could share on how you came to write and direct this film?

As an actor, I wasn’t getting the roles that I wanted. So, I wrote the story that I wanted to be in. Kramer v Kramer and Tootsie both came to mind. I grew up a Dustin Hoffman fan, and his arc in those films - from hubris and certainty to humility and compassion - reflected the story of personal change that I wanted to travel. I also thought of Little Miss Sunshine and the beautifully imperfect people that film celebrated. At the same time that I began writing, one of my students came out as transgender, and his entire class cheered. I wondered about that experience in a family that might not show that kind of love. All that together melded into Two Lives.

Not only did you write and direct Two Lives In Pittsburgh, but you also acted in the film. Was it ever difficult wearing all of these different creative hats within the course of a regular shooting day?

The one skill that I know that I have as a director is surrounding myself with great people and listening to them. That started in the very beginning with Lola Noh, my producer, and Tiffany Murray, my cinematographer. The three of us did so much preparation together - watching films, breaking down the script, shot listing, scouting, everything. Then, COVID gave us an extra year. By the time we were on set, we had a shorthand that allowed me to be free in front of the camera. You work with such a great ensemble in Two Lives In Pittsburgh, including the likes of Annie O’Donnell, Sky Elobar and Mark McClain Wilson. What was it like exercising your own creative chops both in front of and behind the camera with this accomplished lot of thespians? (Note: I changed Delissa for Mark)

I cast them all, so I knew it would be a blast. Annie was egoless and made every take a pleasure. Sky and Rob were like Burt and Ernie when the camera was rolling, so I just held on for the ride. Mark and I are friends and both Pittsburghers. Working with him in the city we grew up in felt like memories of sneaking beers out of your grandad’s cooler.

As a filmmaker, what does it mean for you to have Two Lives In Pittsburgh showcased so prominently at the upcoming Dances with Films Festival?

It makes me tear up a little thinking about it. I couldn’t be more honored or more fulfilled. Dances with Films is true to the roots of independent film. It’s a festival about stories and sweat equity, not celebrity and stars. I’ve attended as a fan. Now I get to go as a filmmaker.

In your humble opinion, what differentiates Two Lives In Pittsburgh from anything else on the 2023 movie landscape?

In the controversy that surrounds the topic of gender identity, we find a space that reminds people to push the bullshit aside and to focus on a family’s love. As imperfect as that love might be and as flawed as those people might be, loving your kid - or your brother or sister or whoever - is the common ground. Some folks on the political left and the political right will have issues with our film. If we reflect a deep truth of what many families experience in their journey, then that’s what will differentiate us.

What was your collaboration process like with Two Lives In Pittsburgh cinematographer Tiffany Murray?

Tiffany is massively talented. Our collaboration started on a friend’s short. She was the DP, Lola was the producer and I was a PA. A few days later after she read the script, Tiffany came to our first meeting with a spread of reference images and color ideas. The three of us would watch films together, discuss shot designs, and talk through lenses and camera movements. She did a lot of educating and all of it created an on-set understanding that allowed us to get every shot we planned and finish every day on time.

Can fans of Two Lives In Pittsburgh and your stellar directing look forward to more films directed by you in the future?

The page comes first, and that’s where the next projects are right now.

As an actor, your first credited on screen work came in the form of a 2004 episode of The Guardian. Any special memories of that freshman production?

That show was set in Pittsburgh! Wow! That’s funny!

Directing-wise, who inspires you?

Spike Lee. Seeing Do the Right Thing in 1989 was monumental. His voice and the stamp he puts on his films blow me away. I don’t aspire to do what he does behind the camera because I don’t think I can. But I aspire to tell stories with that kind of force, humor, and honesty.

At the end of the day, what do you hope moviegoers walk away with after catching a showing or three of Two Lives In Pittsburgh?

I hope they feel what I felt after watching Kramer or Tootsie or Little Miss Sunshine - a little pain, a lot of hope, and an uncompromising faith in the power of people to become better versions of themselves.

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Swimming With Sharks or Barton Fink?

Boogie Nights! That and Team America are the two films my wife and I always watch when they pop up on the TV.

Kathrine Barnes

We’re very excited to welcome to our pages acclaimed actress Kathrine Barnes; greetings and salutations, Kathrine! Before we dive down the proverbial celluloid Q&A rabbit hole, how goes your 2023?

You know what? It’s not too bad over here. I am busier than any human being should be and I’m working on changing that, but I’ve spent a lot of time filming and traveling and building things and being around people I love and consuming some pretty spectacular theatre, TV, and movies.

Major congrats and kudos on your upcoming turn on the new and super-anticipated BET+ series Average Joe which is set to premiere at the tailend of June! For those not in the know, can you tell us what Average Joe is all about and how your character of Arina figures into the proceedings?

Thank you! Ok, so, yes and no.Average Joe centers around Pittsburgh family man & plumber, Joe Washington (Deon Cole), who discovers that his recently-deceased father stole millions of dollars from the Russian mob. The show is the story of the decisions Joe, his family, and his close friends make when the Russian mob shows up thinking they know where the money is. I play the Russian mob, and tragically that is all I can tell you about Arina right now.

Did you know as soon as you were approached about being in Average Joe that this was a production you wanted to be a part of?

I had been auditioning for all the Russian women on the show before Arina came along and wasn’t right for any of them, but when she showed up, something just clicked. I did have a moment of doubt before I was cast because of how little information I had about the role, but I left my final audition absolutely buzzing with some bone-deep knowledge that I needed to play this part. It was more than wanting to be a part of it; it felt almost cosmic. Arina ended up requiring what seemed like almost every skill

I’d accumulated as a performer throughout my life. Rhavynn Drummer (the casting director who kept bringing me in for the show) and Robi Reed (casting director and executive at BET) are some prophet witch geniuses.

Out of the myriad of shows on the 2023 television landscape, what differentiates Average Joe from the Distinguished Competition?

The first thing that’s coming to me is that there aren’t really any heroes in this show. Everyone gets their hands dirty and moral ambiguity abounds. It is so much more interesting to me when I realize a show has gotten me to root for someone who makes decisions that I might otherwise find unfathomable. That, combined with some of the mostcollaborative and deranged writers, directors, actors, crew, technicians, hair and makeup artists, editors, and stunt choreographers & performers in the business… yeah, I think we’ve got something special.

You work with an amazing ensemble in Average Joe, including the likes of Deon Cole, Tammy Townsend, Cynthia McWilliams, Malcolm Barrett and others. What was it like exercising your own considerable acting chops alongside this group of fellowthespians?

Being in an ensemble is one of the great joys of my life and I love being the least experienced person in the room. Deon, Tammy, Cynthia, and Malcolm, along with Ashley Olivia Fisher, Michael Trucco, Pasha Lychnikoff, and Ashani Roberts are SO SICKENINGLY TALENTED that even just watching them in the table reads made me instantly up my game. Every actor I worked with was so generous, which sounds like a cliché at this point but was true with this cast. Every scene, one of them would surprise me with some little gift that changed what I was doing. The show is a drama, but it’s also filled with some of the funniest actors I’ve ever met and you’re gonna get mowed down if you can’t keep up. It was nonstop on-the-job training on staying open and available and sharp.

What fascinates you the most about acting?

Ugh, it’s like a drug. Those rare, ephemeral, precious moments where you are as gone as you can be to make room for your character to come alive. The way watching an extraordinary performance can give you a month-long existential crisis in the most overwhelming and inspirational way. Laughing with your cast, crew & company while working on the darkest material. And listen, I was an incredibly shy kid who would have to write down what I was going to say in a voicemail before I even picked up the phone, and I still shake when I speak publicly. But onstage and in front of the camera, I feel powerful. Now, there is power in power, and there is power in vulnerability, and yet often power is an obstacle to vulnerability (something I once heard the actor Patrick Page say). I think the thing that continues to fascinate me, and what will probably be a significant feature of my life, is finding ways in which those things can live in harmony, because I think they’re always going to be crucial elements of my roles and of my fulfillment as an actor.

Your first credited onscreen work came in the form of the 2013 short film Water Works. Any special memories of that freshman production?

I got to be directed by a film & theatre legend in a movie about feminist political figures while playing a dancer with a thick northeastern accent who loves NYC deli sandwiches, and that is how I learned that sometimes you get the job just by being exactly yourself.

Acting-wise, who inspires you?

The answer to this question changes every day depending on what I’ve just watched, but in general, it’s usually been giants in the theatre who are also giants in film & TV. I think Denise Gough is one of the most electrifying performers alive. Every second I’ve watched Cate Blanchett onstage & onscreen has made me a better actor. The pride of Rhode Island Viola Davis. Helen McCrory and Philip Seymour Hoffman, whose untimely deaths robbed the world of the mind-blowing performances they would have continued to give. Billy Crudup.

Jessica Chastain. Ralph Fiennes. Maggie Smith. Sophie Okonedo. Holland Taylor. Kathryn Hahn. I have to stop because I could list hundreds across space, time, and medium. But what they all have in common is that they are intensely committed, they always try to tell the truth, they are strange, and they make me laugh.

You have a trio of intriguing-sounding projects in the work! What can you tell our ever-inquisitive readers about Faceless After Dark, Totaled and Walden?

It will surprise absolutely no one to hear that I’m playing an unhinged mom in all 3 of those projects. Totaled is a short film written & directed by my friend Jeff Morgan that’s currently on the festival circuit. I’m playing Emile Hirsch’s mother in Walden, which also stars one of my co-founders at Vernal & Sere Theatre, Erin Boswell. And I think Faceless After Dark is gonna blow people’s minds. It’s this hilarious, psychotic, meta-commentative horror film co-written by and starring Jenna Kanell. I’m biased, given that I’m the president of Jenna’s fan club, but I’ve never seen anything like it and I can’t wait for it to smack audiences right across the face.

At the end of the day, what do you hope viewers walk away with after watching Average Joe?

That ordinary people living in extraordinary circumstances make for some of the messiest, most fascinating art you can find. That Black artists and voices are and always have been crucial to great storytelling. That our showrunner Robb Cullen is brilliant, and that great writers are the soul of our industry and they deserve to be protected and compensated accordingly.

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Barton Fink or Ed Wood?

This question is insane but, for today, I’m gonna have to go with Living In Oblivion. I still guffaw every time Nick’s mom first sees Nicole in the wedding dress. Plus, Steve Buscemi andCatherine Keenerdo a lot for me. Like, a lot.

Credit - TJ Baker

Fengzhao (Lucas) Xu

We’re very pleased to have with us as a special guest today acclaimed photographer Fengzhao (Lucas) Xu; greetings and salutations, Lucas! Before we dive down the Q&A rabbit hole, how goes your 2023 thus far?

This is my first year living in Los Angeles, which is new but exciting to me. It has been a brandnew start for my life and career as a photo artist.

Congratulations on your upcoming U.S. debut which will highlight your innovative photography exhibit from July 15th-29th at 1350 Abbot Kinney Blvd in the beautiful city of Venice, California! Starting at the top, what does it mean to you as a serious artist to make your premiere in America in front of an entirely new audience?

As a young Chinese artist, having a solo exhibition in the United States holds profound meaning for me. It represents a significant milestone in my artistic career and offers a remarkable opportunity to connect with an entirely new audience. It is a chance to share my emotions, experiences, and stories with people who may have different backgrounds and perspectives, yet share a common curiosity and appreciation for art.

What truly excites me is the prospect of reaching out to the American audience, particularly those who have a connection to the immigrant experience.The United States is a melting pot of cultures,and there are numerous international students and immigrantswho have made this country their home.By showcasing my work in America, I hope to draw attention to the stories and experiences of immigrants. I want to shed light on the diverse narratives of those who have journeyed to a new land in pursuit of their dreams.

For anyone not familiar with your photography, how would you describe your style?

In a world where photography has become increasingly accessible through smartphones and advanced technology, I see photography as a personal expression and a means to tell stories that resonate with others. My style can be described as a blend of traditional documentary photography and a deep focus on straight portraits of my subjects.

Throughout my artistic journey, I have consistently used the documentary style as my approach to presenting my work to the audience. I believe that capturing genuine moments and portraying subjects authentically is essential in conveying the stories I want to share. Through my photography, I strive to capture the essence and emotions of the people and scenes I encounter, allowing viewers to connect with the subjects on a profound level.I want my audience to experience a recurring emotional connection, allowing them to reflect on their own experiences and perspectives. Through the universal language of photography, I hope to create a bridge between the captured moments and the viewers, fostering a deeper understanding of the human condition and the stories we all carry within us.

For those folks lucky enough to attend your Venice, CA photography exhibit, what can they expect to see?

This project Rye Above the Sea is a visual journal that documents my physical dislocation and psychological displacement. These photographs, I mixed black and white, and color photographs, phone images, film and digital photographs. The audience will see the vibration and complexity of my psychological movement from my point of view. My identity in this project keeps switching from the bystander and the observer.

What made the city of Venice, CA the perfect venue to showcase your extraordinary work?

LA is an expansive stage for photographers, offering a wealth of opportunities and diversity that has captivated my artistic spirit. Last summer, I made the leap from Chicago to LA, and since then, I have been immersed in the vibrant tapestry of this city, constantly seeking scenes that pique my interest. Living close to Venice Beach has been particularly intriguing for me, as it evokes a powerful sense of nostalgia as a Chinese photographer.

Standing on the shores of Venice Beach, gazing out across the vast expanse of the Pacific Ocean, I am filled with a bittersweet feeling. It’s as if I can almost envision my hometown, situated on the other side of the ocean, coming into view. While I recognize that it’s a metaphorical sensation, it holds immense significance for someone like me, who resides thousands of miles away from their place of origin. In these moments, the beach becomes a haven, a place where I find solace and a comforting connection to my roots.

You’re a photographer first and foremost, but after a fashion you also are a documentarian, someone that records moments in time throughout the world with your camera lens. As such, do you feel a responsibility to properly tell the stories of the people and the places which you photograph?

As an Asian artist, I deeply understand the significance and responsibility of properly telling the stories of the people and places I photograph. This question has always been at the forefront of my mind, guiding my artistic journey. During my time in graduate school, I had the privilege of being mentored by the esteemed photographer Dawoud Bey, who himself is a renowned black photo artist. Through our conversations, he emphasized the importance of creating art that authentically represents not only ourselves but also our communities.

Bey’s guidance left a lasting impression on me. It reinforced the urgency and significance of amplifying marginalized voices and ensuring that our stories are heard. I believe it is my duty as an artist to shed light on the experiences, struggles, and triumphs of individuals within my community. By capturing their narratives through my lens, I strive to provide a platform for their stories to be seen, understood, and valued by the public.

How did you become interested in photography?

Is there an origin story you could share with our readers about how you set about on this most remarkable of journeys?

My journey in photography traces back to my childhood, where my family stored a treasure trove of negatives in a cabinet. Curiosity led me to explore those negatives, although unknowingly, my exploration involved cutting them into pieces or soaking them in unconventional liquids. At that time, I was simply imitating what I had seen others do, unaware of the significance these fragments held for someone else. However, everything changed on my seventh birthday when my parents gifted me a point-and-shoot film camera.

With this camera in my hands, I began to realize that those torn and soaked negatives were part of something meaningful to someone— an embodiment of memories, celebrations, or simply moments of joy captured by their creator. It was this realization that ignited my interest in capturing my own photographs.

As I ventured into college, my initial studies centered around psychology. Witnessing the people around me losing their original intentions and aspirations due to emotional breakdowns and external influences, I became acutely aware of the despair and suffering that permeate our lives. While studying psychology, I found myself focusing on the aftermath, only able to offer remedies once the damage had been done. This realization plunged me into a state of deep anxiety.

Photography emerged as my refuge—a means of engaging with the world. Unlike psychology, which often concentrates on the aftermath, the visual arts have the power to transcend the confines of time and space, existing between individuals. It was through photography that I found solace and a way to express myself artistically. Photography allowed me to capture moments, emotions, and narratives that extend beyond the boundaries of words and touch the core of human experience.

Which photographers have inspired you over the years?

Over the years, several photographers have deeply inspired me, but one who stands out is Robert Frank. His work resonates with me on multiple levels, particularly because he, too, was a foreigner who came to the United States and captured his unique vision of America.

Is there a specific type of camera which you prefer to use for your photography, or do you enjoy experimenting with different types of cameras?

I approach photography with a mindset of exploration and creative freedom, not limiting myself to any specific type of camera. For me, photography is a language through which I express my emotions and stories, and the tool I use to capture those moments is secondary. However, I do have a preference for point and shoot cameras, which may stem from the nostalgic connection I shared earlier.

The simplicity and versatility of point and shoot cameras appeal to me. They allow me to seize any moment that resonates with me, regardless of where I am in life. With a point and shoot camera, I can effortlessly document the world around me, capturing the essence of people, places, and experiences as they unfold.

That being said, I also enjoy experimenting with different types of cameras. Each camera has its own unique characteristics and capabilities, offering new possibilities and perspectives. From digital cameras to film cameras, I find joy in exploring the diverse range of tools available to me as a photographer.

As a photographer, what’s the trick to capturing a specific moment on film? Is it all about observation?

Capturing a specific moment on film is not solely about observation; it goes beyond that. While observation plays a crucial role, there is an intangible element that lies beneath the surface. For me, photography is about capturing the emotions, connections, and stories that unfold in a particular moment.

The “trick” lies in immersing myself fully in the present moment and being attuned to the energy and atmosphere surrounding me. It’s about being receptive to the nuances and subtleties of human expression, the interplay of light and shadow, and the dynamics within a scene. It involves keen observation, but also an intuitive understanding of the subject and the context in which they exist.More than simply freezing time, photography allows me to encapsulate the essence of a moment—the fleeting emotions, the unspoken narratives, and the connections between myself as the photographer, the audience, and the subject. It’s about capturing the raw authenticity that resonates with both the subject and the viewer.

What comes after the upcoming Venice, CA exhibit for you?

After the upcoming Venice, CA exhibit, my focus will remain on continuing my artistic journey here in the United States as a Chinese photographer. The exhibit marks an important milestone in my career, but it also represents a new beginning and a platform to reach a broader audience.

My intention is to build upon the momentum generated by the exhibit and continue creating meaningful and thought-provoking work. I am passionate about capturing stories that reflect the diverse experiences of individuals, particularly those within marginalized communities. By sharing these stories through my photography, I aspire to foster understanding, bridge cultural gaps, and promote dialogue.

Anissa Matlock

Did you know as soon as you were approached about The Power that this was a production you wanted to be a part of?

Oh, absolutely. The description alone was enough to hook me, but learning more about the world they meant to create and how many strong women were involved, I was all in.

How is the television version of Alderman’s The Power similar to the book? How is it different?

One small change is the addition of Cat Cole! My character was created for the show and doesn’t appear in the book. Because of that, I read enough about the book to inform me of the world in which Cat exists and who she interacts with, but I wanted my reality to be based within the adaptation and based most of my preparation off of the script drafts I received leading up to production. I’ve heard that fans of the book are incredibly pleased with how it’s translated onto the screen, however.

You work alongside such an amazing ensemble in The Power. What has it been like exercising your own considerable acting chops alongside them?

This cast is one of the most incredible I’ve seen. Sadly I didn’t get to work with all of them, but shooting in London meant that I got to meet most of them. Ria, Eddie, Toheeb, John; all of them are such incredible talents. I did get to work with Auli’i Cravalho directly. Most of my scenes are with her, and she is just a powerhouse. I am eagerly awaiting news of a second season.

What differentiates The Power from the Distinguished Competition on the 2023 television scene?

Pierce Brosnan, which is wild to think about, even now. Pierce is class personified. I felt like I was going toe to toe with James Bond himself every moment I got to spend on set. It was a dream.

Along with being a talented actress, you’re also a celebrated writer and director. What can moviegoers and television watchers that may not be familiar with your style of writing and filmmaking expect from an Anissa Matlock production?

I appreciate you saying so! People might not guess from meeting me, but I primarily write horror. Dark comedy is a close second, but character-driven horror is where my creative voice lies as a writer. My stories are my way of speaking my mind on the issues of the world -- be it body-shaming, trafficking, societal pressures of partnership/parenthood, racism, or freedom of choice. I share my thoughts through horrific tales.

Speaking of your writing and directing prowess, you’ve got a new film that you’re currently working on funding entitled The Hunted. Can you give us a hint or three as to what we can expect with this new film?

The Hunted is the brainchild of my creative partner, Leonardo Leonie, and I. It’s our take on the “revenge” genre with a supernatural twist. A dynamic vigilante duo infiltrates and takes down a human trafficking cell in rural Georgia.

We are in pre-production on the short film, which we will co-direct, but we intend to expand it into a feature. I think you can expect to be shocked more than once. We loved the blood and gore, we loved crafting a clever twist, and we also loved exploring the morally gray themes of vigilante justice. Hopefully, our audiences love it too!

We’re very excited to be speaking today with acclaimed actress Anissa Matlock; greetings and salutations, Anissa! Before we dive down the proverbial Q&A rabbit hole, how goes your 2023 thus far?

Thank you so much for the warm welcome! I was very excited to be invited to speak with you! 2023 kicked off great!

I attended Mammoth Film Festival in March to see The Many Worlds of George Goodman, which took home “Best Episodic,” and our lead Blair Redford took home “Best Actor in a Short” -- I also experienced my first big red carpet premiere for a TV Show in NYC for Amazon’s “The Power.” I had only been in New York a few times before, so I stayed a few extra days to explore with friends, and ended up at the Garden State Film Festival in New Jersey as well! It’s been an adventure so far. I’m very much looking forward to what the rest of the year has in store.

Congratulations on your amazing turn in the uberpopular Amazon series The Power! For anyone not in the know, what is The Power about and how does your character of Cat figure into the proceedings?

Thank you! “The Power” is the TV adaptation of a book by the same name, authored by Naomi Alderman. It centers around 5 primary storylines after teenage girls and persons with higher estrogen levels discover they can create and emit electricity with their bodies, and the social and political shift that follows. It’s a beautiful exploration of not only what can happen when the balance of power shifts, but also how “Power” itself is not good or evil, but determined by the person who wields it. My character, Cat Cole is introduced through one of the U.S.-based storylines. Cat is the first person at school to discover she has The Power (called EOD). She remained under the radar for two weeks until Jos Cleary-Lopez, played by Auli’i Cravalho, shows signs that she has it too. Cat helps Jos learn how to “feel” her power and encourages her to embrace it.

Prior to landing your role in The Power, had you read author Naomi Alderman’s novel of the same name?

I was unfamiliar with the book when I first got the audition, but very quickly learned just how popular it was.

This show is GLOBAL. I think it has something everyone can relate to and it talks about real current issues around the world. The show also keeps things very grounded in reality, despite being centered around what might otherwise be considered a “superpower” -- the way it manifests and the way it works takes a very scientific approach, making it a really interesting and biologically “plausible” take.

You’ve got a couple of projects forthcoming: Fast Charlie and The Many Worlds of George Goodman. What can you tell our ever-inquisitive readers about these intriguing-sounding films?

I’m very excited to see where each of these films go! The Many Worlds of George Goodman, as I mentioned before, is a short/episodic that premiered at Mammoth Film Festival this year. My appearance in it is very short, but it was fun to be a part of and there’s a really great team behind it. I would love to see it as a series or a feature-length film!

Fast Charlie is a feature film I shot last year, based on the book “Gun Monkeys.” I got to play a baddie opposite

Your first credited on screen acting role was in the 2013 short film Welcome to the Bubs. Any special memories of that freshman production?

I have SO many special memories from that film and made some of the best friends in the industry that I still hold near and dear to this day. Welcome to the Bubs was my first film out of college, and the director, Tony Reames, first feature film. It’s a zombie comedy in which I play a post-apocalyptic scientist working with a team to create a serum that might rehabilitate a zombie brain. I wore a lot of hats in addition to acting. I was big into stunts/stunt fight choreography specifically at that time, so I had the opportunity to choreograph a lot of the great action sequences

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, or Barton Fink?

Oh, I think those are all a bit before my time, but would Once Upon A Time in Hollywood count? :)

Photographer: Daniel Cutts

Groomer: Amber Actaboski

Wardrobe stylist: Nicole Omuteku

Brent Pope

We’re excited to be speaking today with acclaimed actor and comedian extraordinaire, Brent Pope; greetings and salutations, Brent! Before we meander down the proverbial Q&A Fun House pathway, how fares your 2023?

Oh man, thanks for having me! 2023 has been interesting. I just got back from my first real vacation in about 10 years. My wife, Tressa, and I went to Montreal for its fantastic escape room scene, and did 18 escape rooms over 4 days.So much fun and so much brainpower expended! We also did a scavenger hunt that explored downtown Montreal, what great architecture. That, and we ate lots of poutine and spoke French very poorly. Trés bien!

Congrats on your fun and smart turn in the hit Amazon Prime series With Love which is set to premiere on June 2! For anyone not in the know, can you explain what With Love is about and how your character of Ben figures into the proceedings?

My character, Ben, is the Filipino father of Henry, played by the mega-talented Vincent Rodriguez III. My wife Lea and I venture all the way from Texas to visit him and his boyfriend in Portland, Oregon, and cue the hijinx. Oh, and Ben looks outstanding in a cowboy hat, yee-haw!

Did you know as soon as With Love entered into your orbit that this was a production that you wanted to be a part of?

Absolutely. When I got the audition, I watched the pilot and was completely hooked. I binged it all that night! It was very funny, very unique, and had so much heart. Plus, the chance for me to finally, FINALLY play a Filipino character on TV. Not to mention, getting to work with a fantastic showrunner like Gloria Calderon Kellet. I HAD to be a part of this show. And I was, so that worked out well.

In your opinion, what differentiates With Love from the Distinguished Competition on the 2023 television scene?

In my view, With Love is completely unique. As a rom com, With Love is the most diverse and inclusive portrayal of a romantic comedy that exists. So many people who have never seen themselves portrayed in a rom com will watch this this and go, “Hey, I identify with this show. Finally!” That’s so special and it’s such a privilege to be a part of it.

You work with such a brilliant ensemble in With Love, including the likes of Vincent Rodriguez, Mark Indelicato and Emeraude Toubia. What has it been like exercising your own considerable acting chops alongside this accomplished band of thespians?

Honestly, I would get up every day just super excited to go to work, and when I got there, I was like a kid in a candy store. I don’t know if you noticed, but the costumes on With Love are just next level. For me, a perfectly crafted costume just helps me to become my character, it just does. And when you are also given such a talented and generous group of actors to work with, it’s the best. Everyone is on their game, and you better be ready when the camera rolls or you will get left behind lol! And Vincent Rodriguez III, it was a pleasure playing his dad and gleaning little tidbits from him and the rest of the cast. Yeah, I don’t know if I’ve had a better experience working with an ensemble than on With Love.

onally, what can viewers of With Love expect from the second season of the series versus the first?

I think you can expect more shenanigans from the Diaz family and the rest of the cast, but with even higher stakes. And of course, the With Love combination of making you laugh and a moment later giving you all the feels, you can expect more of that. And even more love per minute than Season 1!

How involved is the creator of With Love, Gloria Calderon Kellett in the second season?

Gloria is so involved, and thank goodness for that. Not only is she a fearless showrunner who has a clear vision of the show and the story it is telling, she is absolutely hilarious as her character Gladys. Also, she makes everyone feel so confident to just try new things as a performer, and that’s when you get some truly special things happening on a show.That’s the magic of Gloria.

What makes Amazon Prime the perfect home for With Love?

Well, Amazon Prime has a great track record of putting out groundbreaking shows like Fleabag, The Marvelous Mrs. Maisel, and The Boys, just to name a few. Oh, and they rebooted The Kids in the Hall, brilliant! I think With Love is just another one of those trailblazing shows on Prime, so yeah, it’s kind of the perfect platform for it.

Who inspires you, acting-wise?

I get inspired by actors who aren’t afraid to take chances and also create memorable characters. John Leguizamo in all his one man shows, Carrie Coon in The Leftovers, Jason Bateman and Will Arnett in Arrested Development, Samantha Morton in everything she’s ever done! Those are the types of actors who personally inspire me.

Your first credited on screen work came in the form of 2008’s Safety First: The Rise of Women! Any special memories of my that freshman production?

There aredefinitely two things I remember quite vividly about that production. First, I love playing a character whose job is to just frustrate the other character; that gives me a lot of joy. And secondly, I grew up in the Midwest, Nebraska and Missouri, so I am a huge fan of Kansas City barbecue. And my scene in this movie, which was shot in Los Angeles, happened to take place at a real KC style bbq joint. So as an added bonus, I got to eat some really nice KC burnt ends, which is just the pinnacle of good barbecue, in my opinion.

You host the very popular podcast Brentfast with Brent Pope! What can first-time listeners expect to hear when they tune in?

Look, when you listen to Brentfast, here’s what you get every single time: 1)My guest and I go out for breakfast (or Brentfast, if you will) and discuss, in great detail, our meal.So foodies, let’s go! 2) A candid and fun discussion about my guest’s creative journey in entertainment. 3) Practical tips for working in all aspects of entertainment, so it’s great for actors at any level. 4)Wacky hilarity. It’s a great show, honestly. Almost 200 total shows in and I still love doing it!

Final - SILLY! - Question: Favorite movie about the making of movies - Living In Oblivion, The Player, Swimming With Sharks or Barton Fink?

Oh my lord, this question is almost unfair, because I love all of these movies for a different reason. But if I have to choose, Living in Oblivion is just so weird and funny, and that’s my jam. Thisfilmauthentically portrays the feeling of actual indie movie sets that I have worked on, so I identify with that quite strongly. But come on! You’re making me choose between Robert Altman and the Coen brothers, dirty pool!

Jessica Clark

We’re super-excited to be speaking today with acclaimed queer British model and actress extraordinaire, Jessica Clark; greetings and salutations, Jessica! Before we meander down the Q&A pathway, how fares your 2023 thus far?

That’s quite the introduction, thank you so much. 2023 has been a wild ride thus far. Obviously with the launch of COMING OUT FOR LOVE, but also my wife and I have just opened our 3rd High Art Tattoo boutique studio. So we now have one in Los Angeles, one in St Pete, FL, and then a huge Mobile Studio that we call THE MEDUSA. And she does large events, festivals, private parties and corporate bookings all over Florida and California. So it’s been non-stop. Very busy, very fortunate.

Major congratulations on the new and altogether fun and brilliant reality dating series Coming Out for Love, which you host! For anyone not in the know, can you tell us what the series is all about?

COMING OUT FOR LOVE is the first dating competition show in the USA that focuses on the LBGTQIA community. This season focuses on WLW, and has 16 queer women, competing for the key to the heart of our amazing lead. They all live under one roof, in this mansion in Palm Springs, with the kicker being that the lead is also there. So not only can the women create their own alone time with their crush, there’s also the very real possibility that there will be sparks flying between the contestants. It’s sexy and fun and romantic, but we also organically do a real deep dive into the complexities of dating and love in our community. Some romantic challenges are universal, and some are relatively exclusive to LGBTQIA people. So whether you’re part of our community, an ally, or even just someone straight/hetero- normative that’s purely curious… there’s really something for all viewers and we’re excited by that.

Did you know as soon as Coming Out for Love entered into your orbit that this was a production you wanted to be a part of?

I was actually approached directly by the show creator and director, Nicole Conn (rather than through my team which is the more common approach. Nicole directed me in my very first feature film A PERFECT ENDING, which is an enduringly popular lesbian movie - my character Paris has many fans, and I’m so happy and grateful that people love her/ it so much. Anyway, so Nicole and I had creative history, not only that, but A PERFECT ENDING was a wonderful experience for me, we had so much fun even though the subject matter was pretty heavy. So we had continued to follow each others careers over the past 10 years.

So I knew that I could be completely honest with Nicole. And my initial response was - it’s a great concept, and very much needed on TV and in the overall media consumption marketplace. But what drives me is true representation of our community… and true diversity is intersectional. I made it very clear that I couldn’t attach my name/ face to a project that wasn’t fully committed to that truth. Nicole, to my delight, was thrilled and excited to expand the parameters of the show to depict the community I see and am connected to in real life.

And COMING OUT FOR LOVE does the work. We have WLW from as diverse ethnic backgrounds as possible, we have a contestant who, along with being LGBTQ is also Deaf. We have a woman from Ukraine that’s only been in the USA a short time ( and who comes out to her conservative parents in Ukraine on the show!). We have Women from small towns in the South, whose day-to-day lives as queer women may differ significantly from WLW in larger cities with more established community. We have a mother, we have people seeking a monogamous WLW relationship, we have those open to Polyamory. We also.. and I think this is important to mention, we have women who have some ignorance, and some bigotry around issues that deeply effect other women in the house. Just because you identify as LGBTQ, that doesn’t mean you’re non-judgmental or free from implicit bias. Our community has traditionally been just as happy to whitewash our representation as any other.

Is it all but impossible to adequately express what a big deal it is to finally have in Coming Out for Love a reality dating series which is the very first US Queer Women Reality Dating Show?

Oh I can express it! If you know me, you know I usually have an opinion, and if I don’t, I’m trying to listen and learn as much as I can about a subject. Listen, the rights, the basic human rights that every person on this planet needs and deserves, they are under attack in the USA as we speak. As I said, we have a High Art Tattoo Studio in St Pete, FL, and are bicoastal between there and Los Angeles. So we have a front row seat to DeSatan and his direct attempts to dehumanize us, to invalidate the existence of trans people by removing their access to gender confirming medical treatment (umm hello Breast Implants on straight women, hair plugs and Viagra for straight men… gender confirming treatment right there), to allow Drs to refuse even life-saving treatment to those whose beliefs/existence doesn’t align with their own. Children can now be removed from their loving parents care if these parents (or their teachers) allow their child to healthily express a gender that may not align with the one assigned to

them at birth. Meanwhile Jesus… who they profess to follow was a Brown man in a dress who preached love and acceptance of everyone. Abortion rights have been systematically curtailed which effects everyone,

Coming Out for Love was conceived of by prolific queer filmmaker Nicole Conn. Is Nicole very much involved in all of the intricacies of the new series?

Nicole has been involved with every intricacy of COMING OUT FOR LOVE. She conceived of it 15 years ago, when watching the Batchelor/Batchelorette with her daughter. Her daughter asked why there was nothing showed WLW like her moms… The show was born. It took many years to bring to fruition and Nicole showed nothing but grace and excitement at the possibilities that this show could grow into. She has lived COMING OUT FOR LOVE and continues to do so every day as our viewership grows and grows.

In your humble opinion, what differentiates Coming Out for Love from anything else on the 2023 reality dating landscape?

It is by us, for us (and everyone else). There is no show that depicts Queer people, and certainly not

centering on WLW exclusively, and for the most part they have been created, cast and directed by straight people, focusing on the male gaze, and choosing hosts that have no legitimate links to our community. So, progress yes, but unless LGBTQ and BIPOC people are in the creative seats, I truly think you’re never seeing our whole selves.

What was the selection process like in finding sixteen women for Coming Out for Love? Was it a pretty rigorous process?

The selection process was involved. It was also during Covid so we were not able to utilize Queer events and parties to help us get the word out. We cast almost exclusively through online submissions, and I personally did my best to activate LGBTQ friends and acquaintances who had large SM followings to get the word out. However, the nature of the beast of being an independently produced show in its first season, meant that there wasn’t established trust yet… some people that were interested in participating ultimately decided that they didn’t feel safe enough yet. Which of course we respected completely. So there was some direct casting from Women we knew, or knew of. I think we got extremely fortunate with the caliber of Women who chose to participate. However I’m also so excited to begin casting Season 2, now that we’re a proven commodity and can cast the net so much wider.

Coming Out for Love features a celebrity-laden and rotating panel of guest judges and celebrities. Once they knew the premise and the significance of the series, was it easy to sign these luminaries up for guest spots on the show?

Our rotating guest judges are an important part of COMING OUT FOR LOVE. Nicole always wanted to feature LGBTQ people in their excellence, in the many industries that we populate. So we have entrepreneurs, clothing designers, a basketball star, prolific political and lifestyle writers, a chef, a wine maker with her own vineyards, my costume designer and so many wonderful, successful women who share their insights with our lead, and indeed all the women. It took a leap of faith for some, but they add to the show immeasurably.

Looking ahead, can fans expect to see you return next season as the host for Coming Out for Love?

Absolutely! We’re just getting started!

What surprised you the most while filming the first season of Coming Out for Love?

How deep the women were prepared to go. Actually, let me rephrase that, because I don’t think they were necessarily prepared. Several of the contestants in their private interviews admitted that they thought they were signing up for something fun and fluffy, and therefore something not that serious. We stated at the beginning of filming, and throughout, that the whole cast could say and do whatever they wanted, that they were not going to be censored, or asked to look or behave a certain way. And so opening that up seemed to really free them, and it got really honest, really fast.

For people reading this right now and wanting to check out Coming Out for Love, which channel should they surf towards?

We are streaming directly from www. comingoutforlove.com. People have asked why we didn’t go with an established streamer, and there was significant interest. However we would have bee required to relinquish ultimate creative control, and also would have had very little in the way of profitability for the team that has worked tirelessly to bring this show to life. So please go to www. comingoutoutforlove.com, there are multiple ways to access the show there, along with an AfterShow, ‘IT’S GOING DOWN’ with myself and Mikalah Gordon; a spicier set of interviews with the women with the AFTER DARK show and lots more. And if you use the promo code JESSICA you’ll get 10% off whichever bundle you choose to purchase. This project was not crowdfunded so we’re not double dipping in anyway. We’re showing the viewership and the financial benefit of creating real content for our community, to the larger networks and streamers. Because that’s how we grow and that’s how we as a community get to see ourselves get wider and more accessible distribution.

At the end of the day, what do you hope viewers walk away with after checking out Coming Out for Love?

I hope it makes people think, laugh, possibly (probably cry a little) and to feel activated in either being seen, really seen. Or by deciding to be a stronger, louder ally to us. Because we really need that right now.

Marissa Alma Nick

We’re very happy to be speaking today with acclaimed Cuban-German queer author Marissa Alma Nick; greetings and salutations, Marissa! Before we dive down the literary Q&A rabbit hole, how fares your 2023 thus far?

Thank you so much for asking! To be very specific, my father is Cuban-Polish (born in Havana, Cuba), and my mom is German-Scottish (born in Hollywood, Florida). And so far, 2023 has been unexpected, and exciting! REBEL IN VENUS is finally published, and about to be released (which was for the most part planned), but I have been recovering from three surgeries between October 2022 - April 2023 (two left knee repair, and one ovarian cyst removal). But I’m healing well, and happy to be here.

Major kudos and congratulations on the premiere of your debut album Rebel In Venus which is on pre-order from our friends over at Amazon until May 26! For anyone not in the know, can you tell us what Rebel In Venus is about?

The formal summary: Rebel In Venus takes place over one ‘girl’s night in’ spent between best friends, Maria and Layla. Over the course of the witty and unexpected evening, Layla’s memory is jolted, and her once carefully repressed past begins to return to her, triggering a sequence of events that ultimately jeopardizes Layla’s unconventional life. In Rebel In Venus, the bold, and sometimes brutally honest stories that unfold, are filled with sexual revelations, high-school humiliations, unwanted pregnancies, unwavering friendships, sex work, divorce, and loss. As the confessions unfold, Layla’s anguished past starts to crystallize and challenges the strength of her friendship with Maria, as well as Layla’s own life. Will Layla learn to save herself in time? Or will her past win over her ability to see a future?

My personal description: Rebel In Venus is a comingof-age story, about a woman who is realizing she can no longer outrun herself, and it’s also a platonic lovestory, and a testament to friendship.

What was the genesis of Rebel In Venus? Was this a book which has been kicking around in your head for some time?

REBEL IN VENUS being a book was not at all planned. In fact, it started as a semi-scripted dancetheater show I had begun writing and directing for my company.

Here’s how it happened:

In October of 2019, I premiered Rebel In Venus (the live show). It had been inspired by the #metoo movement, the memories I was starting to recall from my own sexual childhood abuse, and ongoing conversations I was having (and recording) with the women in my company, and their response to the #metoo movement. But then a few months later, in December of 2019 (while performing), my right meniscus tore, and required an emergency surgery (where I was told I’d be in crutches, and non weight baring, for three months). Then a couple weeks later, on January 1 (while recovering from my surgery), my best friend committed suicide. Then a couple months after that… the pandemic shut everything down. Even returning to the stage (at the time) was becoming inconceivable. But I still hadn’t set out to write a book per-say. To be honest, I was sinking into some of my darkest days when I started writing, and I was actively in therapy for CPTSD. So I started writing because I had to. I needed to give myself a purpose, or I was going to kill myself… and I’m not saying that hyperbolically, I’m saying that quite literally. And so for the next three years,I kept writing, I began working with an editor… and the more Layla’s the story crystalized… that’s when I really realized this is was really Rebel In Venus… but in novel form. So I gave the title of my show, to my book.

Rebel In Venus is making a tremendous splash during May which is Mental Health Awareness Month. Is this by design, or is it just a happy accident?

A happy accident. Before I knew I’d have to have the three surgeries, I had planned on a March release, but things had to get shuffled around. And I couldn’t be more grateful for the beautiful coincidence… because the book is so much about mental health, and the awareness of coming to terms with ones own mind, owning it, not feeling shame for it, and doing something for yourself (if and when necessary).

Who was your editor on Rebel In Venus and what did the collaboration between writer and editor look like?

AJ Cortes, and we worked together editing REBEL IN VENUS, as I wrote it, for the better part of two years. AJ was the second person, with a background

in writing, that encouraged me to take what I was writing seriously… the first being the person who introduced me to AJ. I was adamant that I wasn’t interested in writing a traditional writing, in a traditional format, or even tone and use of language, and some grammar (for example, Layla and Maria are both from Miami, and tend to speak in native Miami tongue… i.e ‘Spanglish’, and sometimes even speak in a variation of broken English, and Spanish …and I wanted that alive in their conversations). AJ basically understood the assignment, and would simple ask: was this phrasing intentional? And we would go from there. AJ and I would read what I had written, out loud and together, and edit, as well as re-write, as we go… and he’d help me keep the story focused, and not veer too off track… in fact, when I started this book, it was just a bunch of fragmented short stories, and basically through conversation, I’d found clarity in the final direction… and I attribute that to AJ being present, sort of becoming Layla (which is very method actor of him), and asked me so many questions about my intention, he was never pretentious as an educated/professional writer (AJ never made me feel inferior to him, even though this was my very first time writing a book). He was very encouraging, and checked in with my own mental health, and inquired (sincerely) about the things he didn’t have shared experiences about… like being queer, a sex-worker, or just being a woman at all. To be honest, we had some conversations that ended up being spun into Maria and Layla’s conversations throughout the novel. They were too good! It’s incredible when art imitates life, that’s imitating art. And to know that a queer, hispanic, retired sex-worker could be understood, heard and seen by a white, heterosexual, never been a sex-worker man… was also in itself inspiring, and so motivating. Like… yes we can have these conversations. And we can respect each other. And maybe… we can heal.

The old writer’s chestnut is to write about what you know. With that being said, how much of Marissa can be found within the pages of Rebel In Venus?

All of Marissa can be found in REBEL IN VENUS. All of the things I use to feel ashamed of, and suffered so much because of the weight of the shame… like: my divorce, my childhood sexual abuse, my adult sexual abuse, being a sex-worker, having depression and anxiety, my abortion, loosing a best friend to suicide… I wrote about all those parts of me in some way… and it was used as first hand inspiration to weave together Layla and Maria’s story.

Rebel In Venus tackles some challenging and difficult themes but closes its narrative on a hopeful note. Was it important for you as a writer to have that olive branch towards hope at the end of your work?

1,0000% yes. I wanted anyone who feels like a burden (because of their depression, PTSD, anxiety, diagnosed and undiagnosed mental illnesses)… I wanted us to see ourselves as heroes, and not a burden.

Can readers catch you on the book tour circuit in the near future stumping for Rebel In Venus?

Yes. This summer… still solidifying the locations, but I’m coming to a bookstore near you!

Who are some of the writers who have inspired your own work?

Powerhouses, unapologetic powerhouses. Zadie Smith, Maya Angelou, Emily Dickenson, Patti Smith, Audre Lorde, Sylvia Plath, Ntozake Shange, Margaret Atwood, Virgina Woolf, Amparo Davila, Roxanne Gay - they’re all staples on my shelves.

At the end of the day, what do you hope readers walk away with after giving Rebel In Venus a good read?

Powerhouses, unapologetic powerhouses. Zadie Smith, Maya Angelou, Emily Dickenson, Patti Smith, Audre Lorde, Sylvia Plath, Ntozake Shange, Margaret Atwood, Virgina Woolf, Amparo Davila, Roxanne Gay - they’re all staples on my shelves.

Is it too early to ask you if you’ve got a new novel percolating?

It is not too early to ask… indeed I do! There was actually a point while writing the final pages for RIV, when I had my first thought of what my next book just might be about. Though it’s still very much in a research phase, and I’m enjoying the looseness of it all. Plus, right now I’m focused on the promotion and release of REBEL IN VENUS, so I feel like once that baby is walking on its own… then I can really take all my sticky notes, enjoy some solitude, and really start writing. But I am in no rush, RIV took my three years, and I’m just now tying that up.

Jesse V. Johnson

Host of the Month

By Ryan Vandergriff

Graduating as a respected Stunt Coordinator where he worked alongside the likes of Steven Spielberg, Paul Thomas Anderson and Kenneth Branagh and segueing successfully into the world of writing and directing acclaimed films such as Avengement, Debt Collectors and Hell Hath No Fury, Winchester, England native Jesse V. Johnson has quickly earned a reputation as one of the very best storytellers in the entertainment industry.

Not content to rest on his laurels, Johnson has been burning the proverbial creative wick at both ends with a whole passel of cinematic offerings for 2023 and into 2024. First up is a modern-day take on the classic Western genre from Lionsgate entitled One Ranger which features a cast that most directors would fall down on their hands and knees and plead for: Thomas Jane, John Malkovich, Dominique Tipper, Patrick Bergin, Rachel Wilde, Nick Moran, James Oliver Wheatley, Dean Jagger and Jess Liaudin. Currently in movie houses worldwide and set for a June 13 Bluray and DVD release, I had the great pleasure recently to sit down and speak with Johnson about One Ranger and the joys and occasional agonies of making a good film.

Vents: We’re speaking today with acclaimed writer and director Jesse V. Johnson; greetings and salutations, Jesse and thanks for taking time out of a very busy schedule to chat with us!

Jesse V. Johnson: My pleasure.

Vents: Congratulations on all of the amazing new films which you have coming out! Starting from the top, you have a handful of major motion pictures which are seeing 2023-’24 releases. The first film on that list is of a genre which is near and dear to my heart, the Western. What can you tell our everinquisitive readers about One Ranger?

Jesse V. Johnson: Well, quickly coming back to some of the other films which I’m attached to: We have Chief of Station forthcoming with Aaron Eckhart and that one probably won’t be out until 2024; it’s a big budgeted smaller movie. Then we have Boudica that will be released later this year and it’s set a thousand years ago in Roman-occupied Britain.

One Ranger can currently be seen in movie theaters and on streaming via Amazon Prime and it’s set to be released this June 13 on Blu-ray and DVD. One Ranger is the story of a Texas Ranger who is working in El Paso and who gets involved in a situation that puts him in close proximity with a terrorist who then pops up in the UK. The UK then sends out their top agent Jennifer Smith who is played by Dominique Tipper to recruit Thomas Jane’s Alex Tyree Ranger character and he’s then tasked with going to the UK to chase him down. It’s a present-day Western and some people are calling it a Neo-Noir Western. It could be that, but I feel it’s more action-packed than a traditional Neo-Noir film.

Vents: It sounds as if it has parallels in some regards to what the Coen Brothers tackled with No Country for Old Men. It has the tropes of the Western genre but set in contemporary times.

Jesse V. Johnson: Perhaps, yeah perhaps. We open the film with him tracking a thief in the desert. He’s on horseback and he’s got a rifle and he’s wearing a gun belt and a cowboy hat. So you definitely have that feeling, you know? Certainly it was really fun to shoot in the desert with horses and cowboy hats, dolly tracks and all that sort of thing… It was extraordinarily cold when we were filming it. We had what’s called a thunderhead come through, which is one of those very dark clouds and it takes about twenty-five minutes for it to pass over. It’s lightning and thunder and rain and it just got freezing cold. At one point I thought I had hypothermia and I wanted to call it a day and I wanted to go back to the trailer (laughter). But I turned around and I saw Thomas Jane standing there and he’s got his shirt and his outfit on and he’s soaked through to the skin, the same as all of us were. He just stood staring at me and I thought, ‘You know what? If he’s not going to throw in the towel, then neither am I!’ He’s a very tough guy and he was deep in character for this one. I think that attitude helped our film immensely and it was great to have him.

Vents: You touched on this above while speaking on the weather, but the look of the landscape and the surroundings in a story are ofttimes another character entirely in a film. Here I’m thinking of the sweeping panoramas of Dances With Wolves are the bleached out world in which the Coens placed No Country for Old Men. With that in mind, what locations did you ultimately settle upon for filming One Ranger? Did you get every location you wanted?

Jesse V. Johnson: We do have a section in the film which we shot in Lancaster. We scouted all over and we were looking way further north. Things become tricky the further you get away from Los Angeles, which is your hub. Obviously, you have to put people up overnight, but it becomes more and more difficult if anything goes wrong, and there are always things going wrong on these little movies…We chose this location in Lancaster which is about forty-five minutes from the nearest town; it served us very well, it was wonderful. But there was a lot of scouting to try and find an area that worked…In the U.K we shot in a town called Ipswitch and we were based out of there. It’s about an hour and a half North of London and we shot the vast majority of the film there, doubling for all of the European locations. We did shoot some Second Unit in Texas, and we shot some Second Unit in Mexico. We also shot some Second Unit in London and it can be very difficult shooting in that latter location. You’ve got lots of cars to deal with. We had a sequence where they go inside a warehouse and you can see outside of the warehouse, you can see the River Devoe and into the city. The scene called for us to use a machine gun; it was a very, very noisy and big type of gear and I was

“The Work Is All There Is In This Game”

Jesse V. Johnson Talks About Directing Thomas Jane and John Malkovich in New Film “One Ranger”

sure we were going to get closed down, even though we put the word out that we were shooting. It was early in the morning and the English are funny about that level of noise (laughs), as they should be. We shot this machine gun all day and when we finally closed down no one seemed to bat an eye-lid, so I don’t know if that tells you much about Ipswitch or the filming of movies there. But we could not have done that in London, it just would not have happened. There’s too much going on, it’s too cosmopolitan, there are too many people that would have heard it and gotten upset. So where it was shot ultimately wound up serving the film very well. It had a very interesting and eclectic look to it and there was a beautiful marina there which looked like the Thames River in London. It worked out beautifully for us, you know. We had to import the black taxis all out from London and a few other little things like that, but it worked out well. It was very compact. Logistically it was very tight, it was run like a military operation: You go in and you do it and there’s not much fat left on the bone.

Vents: The magic of movies, right?

Jesse V. Johnson: Somewhat magic (laughter).

Vents: You mentioned Thomas Jane a moment ago. We’re tremendous fans of his going back to Boogie Nights. Thomas Jane and John Malkovich are such a coup for any director to land for their film. What was it like for you not only working alongside those two thespians, but the entire cast of One Ranger which is loaded top to bottom with some of the very finest actors on the scene?

Jesse V. Johnson: It was wonderful. A wonderful cast, all of them at the top of their game and doing great work. They all loved the script and they all signed on for their parts. Everyone was very enthusiastic. Thomas is wonderful. He inhabits the part. He was speaking in a Texas drawl off-camera. He’s wearing the outfit the entire time and he’s very much inhabiting that character. As a director, you don’t so much discuss the part with him as you point him in the general direction and he does the rest of it. When it comes to stunt and action or obviously anything with danger involved it becomes a lot more practical and the stunt people come in. But otherwise he’s inhabiting the character and very much of the Method School of acting. And Dominique Tipper who is there playing opposite of him - who by the way is wonderful and is particularly good in that wonderful, classic trained British actor way of being able to just balance a great performance with loading a gun, putting keys away and hiding a switchblade and opening a passport. It became a joke by the end of filming with her: “I’ver got another prop for you to use in this scene - Dismantle this bomb and then put a radio together…” (laughs). She did it all and she’s a real trooper with a photographic memory. We’d have the experts come in to show her how to do something and she’d do it perfectly.

What I found very interesting with the script is that it’s a buddy film in terms of how you have a fish out of water with Thomas Jane’s character in the UK and negotiating various obstacles, but you also have him chasing two bad guys who are also long term friends who have their own thing sort of going on. I sort of like those dynamics…We had John Malkovich and Patrick Bergin in the film as you mentioned who are two actors who I’ve adored and watched since I was a child. Both of them are still amazingly enthusiastic about the business, but also about the form and the art and bringing these characters to life. They had a childlike love of the work which is what I look for in any actor. I hate cynicism; I don’t like to work with people who are just there for the money or that are there just as a favor. I like it when you’re there for the work, because basically the work is all there is in this game. Money goes up and down, but if you enjoy the work and you love it and you have something in common with the people you’re creating with then it becomes about putting on the show and then it’s just really fun. Thomas is the same as John Malkovich is the same as Dominique: They’re all trying to make the film the best it can be for their part, they’re making their characters the best they can be…

Vents: You come from a stunt background, you’re very much a respected Stunt Coordinator. Do you feel that this part of your early professional life prepared you for your role as a director? Did you sort of look over Spielberg’s shoulder as he was shooting Lincoln and take notes for your own future-self?

Jesse V. Johnson: It was really the most incredible post-graduate course that you can go on to work as a Stunt Coordinator or an Assistant Coordinator or even a performer with those directors and crew members and 2nd Unit Directors. When you get to work with the guys at the top of their game and watch how they

work the floor and how they work with the crew and the actors, you’re in a very, very privileged position. I had a year where everything went badly around 2008 during the stock market crash. The following fourteen or fifteen months for me were very, very difficult. I was trying to direct and films had fallen through and as it was I went on the set with P.T. Anderson for The Master, Spielberg on Lincoln, and then Kenneth Branagh. It was the most curious experience of my life because I got to relearn and reinvigorate my passion for making films, by watching these guys work at the very top of their game. As a Stunt Coordinator you’re walking up to actors and you mustn’t be shy of them…You’ve got to talk to them like a normal person. You’ve got to get over any sort of star-crush or the like immediately and talk to them. They’re like any other person in that they’re worried about their safety and how everything is going to play out once the camera begins to roll. You’ve got to let them know that this is the stunt and this is how it’s laid out, this is what happens when that thing happens, this is why you’re going to be safe but you’re going to have to wear knee-pads because there’s a potentiality of slipping over here. And you talk to them in a very, very logical and assuring manner. Being a Stunt Coordinator was a fascinating lesson in how to talk with actors, especially if you want to be a director…At the end of the day, they’re there to do a job and they need your help to guide them.

Vents: In other words, wait until the end of a show before asking for autographs.

Jesse V. Johnson: (laughs) Yes, exactly!

Vents: Final - SILLY! - Question: Favorite WesternDances With Wolves, Red River, The Misfits or Open Range.

Jesse V. Johnson: Red River, no question about it.

Teria Morada

We’re excited to be speaking today with acclaimed singer and songwriter Teria Morada! Before we dive in, how has your 2023 been so far?

Hi! Thank you so much for having me. My 2023 has started off super and keeps getting better and better!

Congratulations on your new single Bon Voyage which features you alongside fellow artists DJ Alonso Mendez and JUNO Award-winning and Canadian hiphop legend Choclair! What was the origin story of creating this new song together?

Well, I had the idea of this song for many years now and did a version of it a couple years back which caught the attention of my producer and dear friend Alonso Mendez. He came up with a new beat and we tweaked the lyrics and re-recorded it and have been making it better over the last two years. Alonso thought adding Choclair to the mix would kick it up a notch and I think we have accomplished just that. Now it’s off and running!! It had 6 languages in it but the verses are in English. We have a Spanish verse version and a crazy remix which was released on May 26. Exciting!

You are also set to release your EP which is co-written with DJ Alonso Mendez! What can you tell readers about it?

The EP has songs about vacation and travel but also about burnin’ up the dance floor. Each song is so hype, we don’t know which to drop next! We have collabs on it that include, Christie Nelson, Beny Osguerra from New Traditions and Chelo Som from the Dominican Republic.

In your opinion, what differentiates the Bon Voyage single and the upcoming EP from anything else on the 2023 music landscape?

Hmmmm, I think our mix of catchy hooks, Latin music with Pop and Dance, which makes for non-stop toe tappin and singing along.

What was your collaboration process like working alongside Alonso and Choclair for Bon Voyage?

Straight vibes. I’m used to working with Alonso as we worked together many moons ago and reconnected a couple years back. It’s natural and organic. Sometimes there’s bumps in the road but every good piece of art goes through trials and tribulations. Choclair is so easy going and creative, honestly, it was truly enlightening and we aren’t finished. More collabs between the 3 of us coming.

As a singer and songwriter, which generally comes first for you - The lyrics or the music?

It totally depends. I’m also a dancer and choreographer so each piece of music usually comes with a dance. However, sometimes I’m given a piece of music to write to and sometimes lyrics come to my head and then I build the music or look for something my producer has already made and adjust my melody to fit. In any case, whether it’s dance or music, I listen, I dream and then I create, easily and flowy. Seldom do I get blocked creatively. Sometimes I have to revisit lyrics/melody’s/sounds/dance steps to revolve and improve them but the ideas are always there. Who inspires you musically?

I hope you want the long list! Michael and Janet Jackson, Gloria Estefan, Jlo, Shakira, Paula Abdul, Salt n Pepa, En Vogue, Justin Timberlake, Jordan Knight, Celia Cruz, Luis Miguel, Mariah Carey, Whitney Houston, Jazmin Guy, Beny Moré, La Lupe, Jon Bon Jovi, Alicia Keys, Madonna, Prince, Billy Joel, Olivia Newton-John, ELVIS, Ricky Martin, Robby Rosa, Hector LaVoe, Anitta, Nelly Furtado, Jasmine Baird and Snow. Phew. Each one has inspired me in so many ways.

Bon Voyage is being released via Underbite Records. What makes Underbite the perfect home for this brilliant tune?

Disco of course!! That’s Alonso’s dog in their logo lol. Well, I believe that Bon Voyage was created from the inspiration of the original song idea which morphed into our project which inspired Alonso to reignite his music endeavours which organically lead to the birth of Underbite Records. There could be no other home for this song and EP.

How is the upcoming Bon Voyage EP similar to some of your past music such as Aries? How is it different?

Aries like myself, is all over the place!!!! Hahahaha! I never made a complete album sooo during the plandemic I came up with the idea. I had some old songs and paired them up with a few new songs and made an album. Literally every genre exists on that album by several different producers and recording studios so it’s not the most cohesive album but I love it in its diversity!!! This EP however, is way more polished and unified as per genre and style as well as recorded in the same place and produced by the same producer with an elevated sound and production.

At the end of the day what do you hope listeners walk away with after hearing Bon Voyage?

I hope people can relate to at least one language. Enjoy all the sounds, lyrics and melodies that make them want to dance the whole time and sing along!

Having a Good Time

Acclaimed Los Angeles Mainstay Fritz Coleman Teams Up With Lousie Palanker for Hit Media Path Podcast

By Ryan Vandergriff

If you’re looking for a podcast which plies its humble craft in the form of pop culture both of Times Past and today - as well as exploring the world of popular literature, music and notable figures such as politicians - then you’d be wellserved to check out one of the most exciting and thorough rides in the varied world of podcasts, Media Path Podcast.

Hosted by Fritz Coleman and Louise Palanker (who we’ll be chatting with in the coming weeks for an exclusive interview), Media Path navigates deftly all of your arts and entertainment predilections and does it all with a warmth that is absent from many of their fellow podcast travelers.

Vents had the opportunity to sit down recently with co-host of Media Path Podcast Fritz Coleman. For anyone not in the know, Fritz is a respected figure on the L.A. scene, having served a storied tenure with NBC4 for nearly four decades. Fritz brings to Media Path not only those forty years at NBC, but also an acclaimed career as an Emmy-Award winning stand-up comedian. More than that, he also brings to the pop culture table a voluminous knowledge on the things, people, and places which have informed our world. Media Path Podcast - and all of us - are lucky to have Fritz Coleman as our own Johnny-On-the-Spot when it comes zto the history of show business.

Vents: Fritz, it’s such a pleasure to be speaking today with you on behalf of Vents Magazine! Getting the proverbial ball rolling, congratulations and major kudos on the widely successful Media Path Podcast which you co-host alongside Louise! For the uninitiated that might not know about Media Path, can you walk us through what it’s all about?

Fritz Coleman: Of course, I’d be happy to! Louise and I have been friends for thirty-five years. She started her own radio company that was widely successful, so much so that she retired early to pursue her other passions. One of those passions was documentary filmmaking and the other passion being podcasts. She also produced two of my oneperson shows twenty-five years ago which wound up on public television. At any rate, we had a great time with those and with working together. Her and I have very similar opinions about pop culture issues such as music, films and books as well as politics. When I retired from NBC after forty years - and my NBC contract was very restrictive in that I couldn’t do podcasts or any external media - I didn’t have any restrictions. Louise said, ‘Why don’t we do a podcast and just sort of make it like the conversations you

and I have every day? We’ll talk about the various forms of media and books and films and TV shows and stuff and we’ll have guests on and have fun.’ And that is exactly what we’re doing. We’re just having a real blast. We’ve been doing it for about two years now. Fortunately we’re in Hollywood and so we have access to stars. Many of them we know, but a lot we don’t know. Many of them were a part of our early lives during the 1960s and 1970s on TV and in movies and we’re just having a lot of fun!

Vents: You just touched upon some of your professional history. You’ve worn many hats in your time: Beloved weathercaster with NBC4 in L.A., Emmy-winning comedian extraordinaire to working with some very worthwhile charities. Do you feel that all of these worthwhile endeavors have been the leadup to prepare you for Media Path? Have you been able to cultivate all of your past lives into forming what you’re doing now with the podcast?

Fritz Coleman: That’s a really excellent point. Because when you’re sitting down to have a conversation with people and if you bring a natural curiosity to it - and I’m old, so I also bring a life experience aspect to it - then it makes you a more compelling interviewer and it makes you more interesting to the people you’re interviewing. That’s a good point. I’ve had a lot of different experiences with one thing leading to the other. I was in radio for fifteen years. I was a DJ, a talk show host, a production director, a music director. I began a career in stand-up comedy in the late 1970s. I came out to California to pursue stand-up and to work at The Comedy Store in Hollywood. While I was doing that I had the opportunity to do some relief weather forecasting. At the time I was making forty-five dollars a night at The Comedy Store, so I said ‘Oh my gosh! I have to do this!’ So I took the weather forecaster job and I was bumped up to the main weekday forecaster for a couple of years. I retired two weeks shy of my fortieth anniversary. At the end of the day, I had a wonderful career working for NBC in Los Angeles while also continuing to perform all around the United States. I did eight Tonight Show appearances. I got four Emmy-Awards that I did for comedy specials I did for local television. I opened for major show business icons like Ray Charles and Debbie Reynolds. I’ve had a fantastic career and the older I get the more fortunate I feel to have been able to look back on this wonderful career. The important thing of it all was, I have three children and I was able to give them a stable life in California. When you go on the road as a comic, you have a nomadic existence, but the weather job kept me in town to be with my children, so I’m very lucky on multiple levels.

Vents: When you mentioned that you had done some time as a disc-jockey previously it didn’t surprise me: You have the voice, the tenor of an Alan Freed type of DJ.

Fritz Coleman: I appreciate that.

Vents: Media Path Podcast has one hundred episodes under its belt thus far - Congrats! When you and Louise first started this adventure, did you ever envision a day when you’d reach that particular milestone?

Fritz Coleman: No. What I had to do was put myself in a completely different mindset from broadcasting. You know, broadcasting with both TV and radio, you obsess over the ratings. You have overnight ratings and you have ratings sweeps four times a year and you obsess over these numbers. When you get into the podcasting world, there are a hundred and fifty thousand podcasts in America. So you just have to relax, try and do the best show that you can and try to learn how to do your job better, make the show more compelling and let the thing grow organically. At first it was hard for me to put aside the ratings and the competitive aspect of it because of my background and just try and make the show as good as we can get it. So I just enjoy each episode for the enjoyment of just doing it by itself and I try not to get too far ahead of the game. We’re gradually expanding. We’re starting to chart in other countries now, we’re charting on book charts in the top ten because of many of our guests being acknowledged and respected authors. We’re slowly over time starting to spread our wings, and it’s quite satisfying.

Vents: The fact that you’re not obsessing over the numbers side of things, do you feel that frees you up creatively for the podcast?

Fritz Coleman: Absolutely. It takes the pressure off of you, and it’s not like if you do poorly for five nights in a row you’re going to get fired. It’s still a fairly experimental medium. The other thing that I had to change about my treatment of the job was to just relax and become conversational. I don’t edit myself and I’m not afraid to speak my opinion. When I was in the news business, you weren’t even allowed to post on social media unless it had something to do with your job. You could never post a joke or a comment about politics or any of those things. But with a podcast, there are no holds barred. You can say what you feel. I mean, you have to be cognizant of your audience, you don’t want to offend people, but you can be honest and real and it’s fun.

Vents: In these rather divided and fragmented times, does Media Path endeavor to find common ground among folks?

Fritz Coleman: That’s another good question. We’re really at a point of great chasm socially and politically in our country right now. We don’t want to alienate anybody. We don’t espouse politics on our show. I mean if there’s somebody on that we agree with…I’ll give you an example: Adam Schiff, a congressman from our district who is now running for Senate in the state of California was on our show and when he came out we talked about local politics but we don’t have an ax to grind. We make everybody comfortable. We might have somebody that’s a little more conservative on our show, but they never feel alienated by our questions or our audience and I feel that’s a good business model where we don’t want to alienate any section of our audience. We don’t really get into topics that cause that much division. If there’s an author on the podcast that has a book out with a certain political point of view, we’ll just be good interviewers and ask the appropriate questions to get into the weeds with the author. But we don’t have an ax to grind per se. I mean, we have great musical artists on and if you’re a Baby Boomer then you are going to love our show…We’ve had Gary Puckett of The Union Gap, we’ve had the drummer for Blood, Sweat and Tears, we have great nostalgia-type topics and we have a lot of fun with those. We have stars on the show that were the big stars of 1970s TV shows. We’ve had Henry Winkler on twice and he’s one of the world’s nicest people. We have everyone that was part of the pop culture zeitgeist during the time when the Boomers were coming into bloom.

Vents: As you pointed out, you’ve hosted so many amazing personalities. One of my favorites that you have spoken in-depth with was Christopher Knight of The Brady Bunch fame.

Fritz Coleman: I’ll tell you something very interesting about Chris Knight. He’s a great example of why I love this podcast. When you interview somebody, particularly a child star, it’s sometimes common to think they have a thin veneer, that there’s nothing much of substance. That is so untrue with Chris Knight. Chris Knight is a genius, he’s a computer genius. When he retired from acting, he started a computer company that he was very successful at. He’s a brilliant guy. It was really fun to sort of peel back his layers and get to the deeper qualities of his personality and his accomplishments. We had a great time having him on Media Path.

Vents: They say that you should never meet your heroes lest you be disappointed, but it’s nice when you find those exceptions to that rule.

Fritz Coleman: I love stars - or not stars, that’s too narrow - I love talented people who are comfortable in their own skin. And as soon as they get to trust you as a questioner and they realize that you’re

taking the topic seriously and that you’ve read all of the material, it’s great when they loosen up and really reveal another side of themselves to the two hosts on our podcast. Chris Knight is a great example of what I love about the show, which is learning something about a person that other people didn’t know and that’s what we try to do with Media Path.

Vents: This might be considered a Sophie’s Choice sort of question, but out of all of the folks you and Louise have interviewed so far, do you have a favorite guest?

Fritz Coleman: I think Henry Winkler would have to be at the top of the list. Adam Schiff who is a notable politician here in California and who is one of the smartest people in the United States Congress. You really have to be on your toes to have an intelligent conversation with him. So those guys - one from entertainment, one from politics. One of my favorite bands growing up was The Young Rascals. So to get a chance to talk with Felix Cavaliere on the show, it was like a full-circle moment for me; it was a real honor. Those are three that sit fondly in my memory.

Vents: Does Media Path have a certain cut-off point as far as topics that you and Lousie cover? In other words, is there a certain decade that you won’t cover, or is it all free game?

Fritz Coleman: No, not at all. We’re pretty allencompassing. We’re just going to keep growing until we either irritate people and reach a plateau or just get too old to do it! I’m giving it all of my time and energy, and so is Louise.

Vents: Out of all of the episodes of Media Path, is there one over another which stands out for you?

Fritz Coleman: Yes. I don’t know if you remember Karen Black. She was an iconic Hollywood actress who a lot of people remember from movies such as Five Easy Pieces and Easy Rider. She was a part of what they called the New Hollywood back in the late 1960s and into the 70s. She was and is an important actress. When she was seventeen or eighteen years old, she had a child out of wedlock that she was illprepared to take care of. She put the child up for adoption. Years later, this child was researching her biological mother and happened to stumble across some information which revealed that her mother was the famous actress Karen Black. So she went on this pilgrimage to see if she could connect with her mother. Those can be really dicey circumstances because there can be any number of emotional reasons why a mother puts up her child for adoption. So she went on this quest and finally connected with Karen Black. The beautiful twist in the story was that Karen Black had been looking for her as energetically

as she had been looking for Karen. The reunion they had was quite touching. She wrote a beautiful memoir about this quest to find her mother and the almost Shakespearean third act of this story is that she finally got to meet Karen in person just within a year of when Karen died of cancer. So it was a full-circle moment for the young woman and for Karen. It was really touching and Karen’s whole family was so nice to this girl. There was no resentment or animosity or making her feel like an outsider. They really bonded and it was quite moving. I would say that was one of the most emotional and unexpected topics we have covered on Media Path.

Vents: Can you give readers a hint or three as to some of the upcoming shows on Media Path?

Fritz Coleman: We just did one that is targeted towards the Baby Boomer audience. When I was growing up, one of the first television shows I was allowed to watch was The Roy Rogers Show. His granddaughter has written a book about being in that family and we just had her on the show…We book about a month in advance and the beautiful thing is about the growth of our podcast is Hollywood publicists will send us a client and then if the client has a good response to their experience, then they’ll send us higher-level clients. So we’re doing this slow build on the quality and the fame of some of these clients we have on Media Path as guests. Most importantly, we’re really having a good time with it!

Louise Palanker

On the Ephemeral Nature of Pop Culture and How Her and Fritz Coleman’s Media Path Podcast Attempts to Preserve the Magic of It All

By Ryan Vandergriff

Vents: Getting the ball rolling here Louise, it’s such a pleasure to be speaking with you today on behalf of Vents Magazine! That bit now officially out of the way, kudos and congratulations on the widely successful Media Path Podcast which you co-host alongside Fritz Coleman…For the uninitiated that may not know about Media Path, could you explain what it’s all about?

Louise Palanker: We sort of cater to what we call “woke Boomers.” So we do lean a little bit democratic when we have our political guests, but most of what we’re diving into is what I call “Baby Boomer Comfort Content.” We’re kind of delving into media that would be interesting to folks our age and that includes a lot of just embracing and celebrating what we grew up watching. I feel that what you loved at the age of eight is in your heart forever. So when you talk about the things that people watched on Saturday mornings or the sitcoms they watched growing up, or the reruns they watched when they came home from school, we like to bring listeners a lot of that content and catch them up with some of the people they watched. We reach out to and host a lot of the child actors that you always wondered as a kid what they were really like and now that they’re sixty or seventy they may be more inclined to tell you all about their own experiences. We especially focus on bands and music, pop music from the 1960s and 70s; we love covering that. At the top of the show, Fritz and I always recommend things that are kind of new to the media landscape. What I think Boomers find most fascinating about the digital age is just how readily available everything is. You thought when you were a child that if you and your family were elsewhere and you weren’t home, then you missed that latest episode of whichever show you followed. Like, it’s gone. Now, whatever you thought you missed - if The Brady Bunch were guesting on Mike Douglas then you can probably find that somewhere online. Those are exciting discoveries for our generation and some people just get stuck in the YouTube rabbit hole.

Vents: The TV Guide was the Bible back in the day, we would plan our entire week around the listings in the Guide, you know? Because as you pointed out, once that show aired on TV and unless there was a later rerun, that would be it.

Lousie Palanker: Oh yeah. I would scan the TV Guide for the shows that had guests and then look for the people I liked and then circle the listing. One time I was taking an acting class at the Studio Arena Theater in Buffalo, New York…I was about thirteen, fourteen years old and the TV listings said that The Cowsills were going to be on Mike Douglas at the same time I was supposed to go downtown for my class. This is the sort of story which is the epitome of what we’re talking about (laughs): I skipped the acting class but I made sure to make it look like I went. I got on the bus and went downtown, but instead of going to the theater, I went to a department store where they had the banks of television sets lined up in rows one after the other. They were all showing another channel, not Mike Douglas. I reached over to change the channel on one of the TV’s to turn it to Mike Douglas and a saleswoman slapped my hand away (laughs)! ‘Who’s this kid trying to change the channel?’ At any rate, when she wasn’t looking I found a tiny TV set and flipped it to Mike douglas and watched The Cowsills perform Silver Threads and Golden Needles which was their new single. I just remember that very vividly, that I had to make that moral choice to go to the class which my parents had paid for, or do I skip out on that to go to a department store to watch a particular episode of Mike Douglas?

Vents: Mike Douglas was forever grateful…as were The Cowsills (laughs).

Along the winding path of life it’s nice to every now and again to bump into a fellow traveler who has experienced some of the same common ground and thrilled and ruminated over some of the pretty images and harmonious sounds along the way. For this pop culture hound, being given the gift of speaking to fellow movie, TV, book and music aficionados as Louise Palanker and Fritz Coleman is akin and reminiscent for me as stepping back into the WayBack Machine and haunting the local newsstand for the latest issue of Movieline, Premiere and Entertainment Weekly (all sadly defunct now).Their collective knowledge of the entertainment industry and its labyrinth-like history is breathtaking in its

scope. More than that: They’re two souls that have genuine love and affection for it all and if you don’t believe us then get ye to their weekly podcast show Media Path Podcast right away and check out what we’re waxing rhapsodic about.

This tin-eared yellow journalist recently had the distinct honor and pleasure of sitting down with Louise Palanker and chewing over all things Media Path-related and I think you’ll quickly discover why it is that Louise and Fritz are both uniquely suited as the regular hosts of one of the very best podcasts to be found out there in the wilds of internet land.

Vents Magazine: Speaking on that point, it feels difficult to convey to Millennials or Generation Z’ers just how temporary a lot of pop culture felt like to us when we were growing up. I have very strong memories of being a young child and, after discovering Rod Serling, grabbing my handy cassette player and holding it up to our tiny family television set to record the audio of an episode of The Twilight Zone so that I could have it to play back later. This was before the commercial days of the VCR and as a kid I just felt so strongly about certain shows or movies that I wanted to at least have some kind of a permanent record of what they meant to me personally.

Louise Palanker: Growing up, I was always the media kid. Whatever technology was available, be they cameras or Super-8, I always had them and I would use those devices to capture things like music …So much of the pop culture to me was very ephemeral, that it could just drift away if you didn’t catch it as it drifted across the airwaves. It would just be gone.

You come by way of Media Path via your acclaimed efforts as a writer, director, producer, author, photographer, comedian, podcaster, musician/ songwriter, teacher and - WHEW! - co-founder of Premiere Radio Networks. Has all of the above been sort of your primer for Media Path, a sort of finishing school to prepare you for the trials and travails of a weekly podcast?

Louise Palanker: I think that’s a really good summation; yes, I think so. I think maybe folks that are deeply interested in something make the best podcasters. It can be folks that are very into Star Trek, it can be that one thing. But for me it was always a whole bunch of things. That allows us to have a podcast that has a wider framework in terms of what is a good fit for us and for our audience. That’s all of pop culture, that’s all of what makes us have the access that we have currently to so much wonderful content, how that in turn translates us into being more divided, because we’re not all looking in the same direction any longer, are we? We’re looking at whatever aligns with our values or our interests and we’re off and running in that direction. We look at somebody across the parking lot and we say to ourselves, ‘Well, I don’t have anything in common with that person.’ Well yes you do: We’re all humans trying

to make our way through life and do our best. So we still have as much in common, we just think that we don’t. I think I was that kid that was always trying out these different technologies and always thinking ‘I love music, I love entertainment. Now I need to figure out how I’m going to get out of suburban Buffalo and make my way to California and enter the entertainment field.’ And so I think my interests were so far-flung that I didn’t become excellent at any of them; I was a jack of few trades, minimally. Enough at least to talk about them on a podcast!

Vents: What is the exact E! True Hollywood Story of Media Path? How did you and Fritz get the ball rolling on it?

Louise Palanker: There are parallel E-True Hollywood Stories: One is that I’ve been podcasting since you could. I love technology and how we can support our creative endeavors. That sort of came to a head in about 2004. That was sort of the intersection of what was being packaged with our computers in terms of software and then the internet. Our computers were giving us the tools to make our own content…Our computers were coming with little cameras and microphones and all of this cool stuff that allowed creators to create. And then the internet was making it possible for us to publish, right? So you could publish a podcast, you could publish a YouTube video. You could make something on your computer and then you could share it. I really embraced that whole capability. So I started making movies, and I started making radio shows. As soon as it was possible to make podcasts, I did. Throughout all of those years, Fritz was working fulltime as a weatherman in Los Angeles and he was not available as a podcasting partner. But our friendship extends throughout this whole timeline. He told me as soon as he retired he was going to want to podcast with me. I was thinking that the podcast that I was doing at that time that I could just piggyback that same crew that I used and Fritz would come in and we’d just record a separate podcast. I thought I could handle two podcasts, but I was dreaming. Podcasts are really hard, they’re a lot of work. Especially if you do it the way we do it, which is having a video podcast version. It was like making a documentary once a week; it’s pretty grueling. I did not like the idea of just bailing on my current podcast crew as soon as Fritz retired, so in my mind that was how the transition was going to take place…There’s a lot of hard work, both creatively and technically in putting together a podcast. And then there’s a lot of busy work, too, where you’re very focused on copying, pasting and hashtagging and writing descriptions and creating thumbnails. I mean, it’s just a lot. So I was just not going to be able to do that for two podcasts. To tell my crew that I was essentially breaking up with them to work on this new podcast with Fritz, as horrible as that felt to me, I don’t know if it was as bad for them as it felt to me. I kept saying, ‘You guys should do your own podcast without me.’ And they just did not want to…It really is time-consuming.

Vents: Do you and Fritz personally handle the research aspect of the Media Path show? Or do you have a diligent band of research gremlins that pick up that particular baton?

Louise Palanker: Our producer Dina Friedman helps us quite a bit, but we’re both really good at being prepared. So if there’s a book to read, we read it. If there’s a movie to watch, we watch it. We also watch and read our personal recommendations for the week. So yes, there is a lot of homework, but it’s like taking a college course where you get to read all of this stuff and then go to class to have it all discussed. But even better is that you get to talk to the authors of the books which you read and it’s really fun and gratifying to learn that way. We just see it as a gift; we’re very happy to be prepared.

Vents: Media Path recently graduated into the 100+ episode club for Media Path Podcast. When you and Fritz first picked up the mic, did you envision the day when you would reach that particular milestone? Are you surprised to hit that magic number?

Louise Palanker: No, not at all. We’re at episode 136 right now. This is my fifth podcast and they all went to over a hundred. So when you do something once a week, it’s just inevitably what happens. This is just something I’m very diligent at. I just treat it like your job or your school where you show up every day and you do your work. For some people who have a full time job and then come home and do a podcast, it can get pretty overwhelming quickly…But I have a husband and we don’t have any children, and this is my full time job. I treat this as my job. So for me, that number of 100 is just going to eventually come. It’s not anything surprising. Fritz is a consistently prepared co-host. He’s just as diligent and accountable and responsible as I am. We have a shared passion for doing what we say we’re going to do and being where we say we’re going to be. Those are the two things I tell kids - If you want to have a successful life, in addition to kindness, it can really just come down to those two mottos: Be where you say you’re going to be, and do what you say you’re going to do.

Vents: So far you guys have had a tremendous number of amazing guests ranging from Adam Schiff to Henry Winkler and Chris Knight. This might be a sort of Sophie’s Choice type of question, but out of all of the guests that you and Fritz have hosted thus far, do you have a favorite?

Louise Palanker: Adam Schiff is someone we’ve hosted a couple of times on the podcast and he has such a sharp mind and such a breadth of knowledge that it was a real pleasure to speak with him. Henry Winkler, too, is someone we’re very proud of having had on the podcast; truly one of the nicest and smartest men in the entertainment industry.

Hi guys, welcome to VENTS! How have you been?

Very Excited! Naughty... Terrific... Super! What can you tell us about the title and meaning behind your most recent release? This Is Fire is our new EP (available 26th May). The title is a lyric from one of the tracks.

We feel it simplistically sums up the energy, attitude and sound of the record. *insert a billion flame emojis here*

How was the recording and writing process?

The most organised we’ve ever been but still encountered obstacles. The bulk of the instrumentals were initially demoed and then tracked over a couple of long weekends, then the vocals were a little more ad hoc.

Fairly smooth process overall though. The biggest disruption was Ritchie missing a gang vocal session due to covid but the band improvised and it worked out great. Especially on the lead single I Am The Liquor.

Where did you guys find the inspiration for the song and lyrics?

2 years without gigging while the world went a little crazy around us.

Will you be hitting the road this year?

We’ll be launching the EP release at The Black Heart, Camden on 26th May followed by summer appearances at Breaking Bands Festival, Herofest, Hammerdown Festival and more dates TBA.

What else is happening next in your world? We’re sitting on more material to follow this release including a remix/collab which features some very special guests... Keep ‘em peeled!

CROSTPATHS

Sugar Lime Blue

Dave, for anyone not in the know about Sugar Lime Blue and their distinct brand of musical alchemy, what can they expect to hear when showing up in Brownsville - or any venue performance, for that matter?

We never perform the same set list twice, and now have over 4 albums of original material, our influences are wide and so is the feel of the band…. but overall we have a developed sound, wether its our originals or a choice cover we pull out. We are going to sound a little bluesy, with some rock leanings and you will here influences pulled in from Jazz, Country and even Reggae….we love to explore and take chances on stage so improvising and developing in the moment is a big part of our sound as well. People have said we have a familiar sound that is kind of like visiting an old friend, but still fresh and hard to put a finger on.

Joe-the Exit 56 Blues Festival is held in the hometown of such Blues luminaries and pioneers as “Sleepy” John Estes, Hammie Nixon and Yank Rachell. Individually, what do these members of Blues royalty mean to you and the rest of Sugar Lime Blue?

Joe - The aforementioned musicians are all an important part of today’s music, it doesn’t matter if you play blues, rock, Americana, or rap. They were the pioneers that we are all influenced by, either directly or indirectly.

Ika-word ‘round industry campfire has it that the opening headlining gig at the Exit 56 Blues Festival is but the kickoff for a whole slew of performance dates for Sugar Lime Blue! Can you touch upon some of the highlights touring-wise that the band has coming up?

Ika: For me personally, I really enjoy outdoor venues, so festival season and outdoor gigs for me are always a highlight!

We’re excited to welcome to our pages acclaimed Nashville Roots-Rockers extraordinaire, Sugar Lime Blue; greetings and salutations, gang! Before we dive into the Q&A mosh-pit, could you all say ‘hi’ and introduce yourselves to our ever-inquisitive readers?

Greetings and salutations, my name is Ashley Beth. I’m the lead singer in this traveling circus we call Sugar Lime Blue. Dave Beth: Guitar and Vocals, Joe Bass: Bass and vocals, Ikaika Pekelo: drums. Luis Echeverria - Keys

Major congratulations on landing the coveted

headliner status for the premiere day of the Exit 56 Blues Festival in Brownsville, TN on May 27! Ashley, what does it mean to you and the rest of the band to headline this far-famed Blues Festival?

Thank you! Everyone was excited to play the exit 56 blues festival. When Tina Turner passed away the week of the festival, I felt the weight of responsibility to carry the torch being passed by her to all of the performers of the festival, as the location of the festival stage faces the Tina Turner museum. (Formerly her school house from Nutbush) I felt very honored and humbled to have been able to hopefully provide some healing in the form of music to her childhood community.

Ashley, can fans look forward to an EP or LP release from Sugar Lime Blue in 2023 or sometime in 2024?

Historically, Sugar Lime Blue has a gestation period of about three years so we are fast approaching the timeframe for a new album. Until then, we do have the weekly YouTube series the #sundayshout, in which we dedicate a cover song every week to one of our followers. We have a great community that we look forward to growing.

Dave, how did Sugar Lime Blue come together as the tight band which we hear today? Is there a VH1-Behind the Music origin story you could share with readers?

The band has been at it a long time, and like many we have had different line ups over time. Over the CoVid era our make up change considerably to the line up we have today. Founding bassist Russ Dean passed away just before the lockdown and then we were immediately forced into shutting things down because of not only that but a national lock down. We had just started to see some movement on our album Narocluptuous(Our 3rd release) and then it was all at a halt. We had a lot of time to self examine and really do some soul searching. We had track that were recorded at the world famous Blackbird Studios and were sitting on them half finished when we decided to reach out to Joe Bass through a friend of ours and see if he felt like lending his bass playing skills to the project…it worked out and helped us finish up some tracking and in this time we started doing some one off shows together….we brought in Ika and Luis shortly after to help us finish up the project and round out our touring sound again and it has been one of my favorite line ups to date….every night we are doing something fun on and off the stage.

A question for all of you: Who inspires you musically?

Ashley- so so many people! Famously, Joan Osborne, Warren Haynes, the Judds, Bela Fleck and the Flecktones, Khrungbin, the Wood Brothers, Bob Dylan, Poe, the Grateful Dead, Otis Reading, Grace Slick, and so so many more… the unrecognized musicians that are writing and performing their music in small, local venues all over the place, those people are inspiring. My band mates are the closest to my heart, they put the wheels on the bus for the dreams of my soul. To share the stage night after night with such an amazing group of humans is both humbling and inspiring.

Joe - I am inspired by the funk Brothers, they were responsible for the many hits of Motown and went about it anonymously, yet gave it their all without the cudos. That is the sign of a real musician. To be able to be commended at a live show for me is certainly icing on the cake. We all go into this not for the fame and glory, but for the music. To be able to write songs that will hopefully stand the test of time is everything to me. I still like icing on my cake too, though.

Ika: Lately, I’ve been feeling the Jazz vibe and drawing a lot of inspiration from that scene.

Slice: The artists that influence me the most are Brian Wilson, Todd Rundgren, Elvis Costello, XTC, Poco,

Squeeze, Colin Hay, Elton John, WAR, Curtis Mayfield, Jim Steinman and Bill Champlin.

Dave: Musically I like bands like Tedeschi/Trucks Band, Allman Brothers, Gov’t Mule and Phish, I like to study the way they build their jams and improvisation choices….but I’m on a quest to find the one true melody, so vocalists, horn players and how songs melody is constructed has also been on my mind a lot lately…..

Joe- at the end of the day - and at the end of a performance or an album - what do you hope music lovers walk away with after sampling the melodic wares of Sugar Lime Blue?

Joe - I would hope that the would have enjoyed their experience with us, and that we make new fans. We (SLB) are not an “us” and “them’ sort of band, we love bringing our music to the people and we want them to feel like a big part of us. Our fans are everything to us. We tried it without them once, and it wasn’t the same. It’s such a great feeling when people follow the band to different places, or call out songs that you’ve written.

Final - SILLY! - Question (for all of you): Favorite movie about the music scene - This Is Spinal Tap, Almost Famous, La Bamba, Cadillac Records, Ray or Walk the Line?

Dave: I love this little movie called Electric Apricot, Quest for Festaroo…its like spinal tap but stars Les Claypool as the drummer and is a spoof documentary of the Jam Band Electric Apricot. Its hilarious to me because of the relatability and some of the

Ashley- since Dave said the one I would say off the cuff, because it is hilarious. I would have to say Lala land or music and lyrics. Lala land for it’s sad but accurate portrayal of the somewhat tragic and beautiful life of a musician. And music and lyrics for “Pop Goes My Heart” being an epic ear worm. It’s cute.

Slice: I dig Love and Mercy.

Ika: Spinal Tap for me, something about drummers that spontaneously combust…..

Joe: I like the movie Still Crazy…its a good parallel to what happens on the road and I dig it!

Guy North

What can you tell us about the title and meaning behind your most recent release?

I love the duality of the meaning of certain words. I worked on a lot of the songs on my debut album, “Retreat”, during the Covid lockdowns. At the time, I was frustrated that I couldn’t go out and gig, and that felt like I was retreating from the push to be successful. But, at the same time, the process of writing and recording new music is very cathartic for me, and it could be said that my home studio is a bit of a sanctuary which plays into the second meaning of the word “retreat”.

How was the recording and writing process?

Some of the songs have been with me for years and just needed recording. I was a bit scared of recording some of them like I was afraid I wouldn’t do them justice. There’s one particular track on the album, “Fire that Burns”, that I was really worried I’d screw up. In the end, I got a friend, Stuart Brennan, to play double bass on it, and it just totally transformed the track. He’s the only person on the entire album besides me who has contributed instrumentally to it. I really wanted to do the entire album by myself, but I’m really pleased that Stuart is playing on that one. Other songs on the album were entirely new, and I just recorded them as I wrote them. There’s a song called “Patterson” on the album where I started off with a drum beat to do nothing but test a new audio interface I was trying out. But then I couldn’t stop adding bits to it, and an entire song formed around that one beat. I’m actually really pleased with how that one turned out.

Where did you guys find the inspiration for the song and lyrics?

I could go through every track on the album and tell you where I got the inspiration for the lyrics, but it might be a long interview if I do. Going back to the song “Patterson” that I mentioned previously, I was pissed off at the politician Owen Patterson, and so I wrote a song about his lack of satisfaction with an £82000 a year MP salary. I get wound up about stuff like that. People are really struggling to make ends meet these days, and you’ve got pricks like him who aren’t satisfied with wages that the average person can’t even imagine. Anyway, writing a song about him calmed me down a bit. You know what, screw it, I will give you a bit of information on each one of the tracks. Edit this down if you don’t want the interview to be too long:

Apathy - I wrote that based on my dismay at people who refuse to vote yet complain about the political landscape. I totally understand why people might not want to vote, but then you end up with the total sh*t show that is the current UK government.

A night out - I had a panic attack in a pub in York when the Covid restrictions started to lift. I just couldn’t cope with so many people being there after spending so long in relative isolation. So that song is very much about how a night out can turn into a huge chore. Sometimes all you want is a cup of tea, not a nightclub.

Dust on the Breeze - OK, so this song isn’t about me now. This is imagining a younger version of me trying to woo a girl with nihilism. I thought that was kind of a funny premise for a song.

Lady Luck - It’s very soppy, but I wrote this song for my wife. I haven’t even told her that I wrote it for her!

Fire That Burns - This song is my homage to the history of mining in the county I live in, West Yorkshire. My Dad used to work for a company that built mining equipment, which gave me the opening line. Also, one of my first jobs was working in the canteen at Caphouse Colliery. I might not have worked down a mine, but I’ve worked at a former mine. Sometimes you’ve got to bend the truth a little when you are drawing on the inspiration for a song.

Everything Comes Easy To You - I was in the garden listening to the Velvet Underground, and I thought it was about time I ripped them off a bit. Just a little bit, of course. The lyrics don’t really apply to me personally now, but there was definitely a time in my life when I was struggling and thought other people were having a much easier ride than me. But the struggle is probably the biggest gift people never appreciate. You can get a lot of good songs out of adversity.

Smallest Things - The lyrics for this centre around the fact that I get angry easily. Enough said.

Whispering Trees - I got what I thought could be an early onset of arthritis in my thumb. I was out walking the dog on a cold winter’s day, and my thumb was absolutely killing me. I was warming up my hands, and I began to ponder the longevity and resilience of the trees in the park. I wondered if they experienced ailments brought on by age. I imagined them mocking my mortality, and the song just fell into place based on that thought.

Will you be hitting the road this year?

I hope so. I’m looking for gigs. To be fair, it’s been quite challenging getting back into playing live since Covid. That’s not because I don’t want to play -- it’s just that there doesn’t seem to be the same level of opportunities with some venues shutting down, etc.

What else is happening next in your world?

I’m writing and recording my next album already. The first track is sounding great. This time I’m going to be getting more musicians to contribute. Besides that, I’m working on a novel.

My debut album, “Retreat”, will be released digitally on all major platforms on 30th August, 2023.

Hi guys, welcome to VENTS! How have you been?

Hi, we are keeping busy. Have not been this busy with the band since... probably ever. Its tough self-releasing and organizing everything ourselves, having jobs and balancing this with our personal lives, but its also rewarding to see things pan out... or not.

What can you tell us about the title and meaning behind your most recent release?

The concept album “Phantom Islands” focuses on the idea of lands and islands that were once “discovered” and even put on maps, but later were confirmed

not to exist at all due to various reasons as navigational errors, mistaken observations, unverified misinformation, legends, mirages or even deliberately invented by explorers who did not want to disappoint those who had financed their expeditions. The songs are named after the islands or lands and every one of them have an interesting backstory you can look up.

How was the recording and writing process?

It was grueling. We are perfectionists so every song took forever to write, product and record and it is the reason the new album took over 4 years of work.

Where did you guys find the inspiration for the song and lyrics?

Like everyone we are not immune to things happening around us , be it global or local or long and dark Estonian winters. But more often we find inspiration from mysteries and phenomena or even historical events. All of our albums have had clear concept in mind when we were writing them,for example our first album was about Arctic exploration, second one about nuclear testing and hysteria during the cold war .Our latest is called “Phantom Islands” and it is about islands which were marked on old maps ,but turned out that did not exist in reality.

We have mostly been an instrumental band so lyrics and vocals are a new thing for us. The lyrics for the 3 songs that have vocals on “Phantom Islands” were written by the 3 different guest vocalists that sang the songs.

Will you be hitting the road this year?

Right now we are having our album presentation gigs in Estonia. In july we have two awesome festivals - Hard Rock Laager in Estonia and Devilstone in Lithuania. We hope to play as many shows this year as possible. A smaller tour will happen in september most likely.

What else is happening next in your world?

Just looking forward to playing shows and enjoying the summer. Due to the limited sunlight we get here during the year , there is a joke in Estonian: Q: “What did you do this summer? A: I was working that day.

Ocean Districts

Hellaphant

Hi guys, welcome to VENTS! How have you been?

Fantastic, thank you!

What can you tell us about the title and meaning behind your most recent release?

Crumble & Rise as i see it, comes from Hellaphant in it’s current form rising from the bands work in the past. This album is a mix of some older songs that have been tweaked and completely re-recorded with the current line-up and with the same engineer in the same studio as the new songs blending the transition/evolution from the old to the new.

How was the recording and writing process?

Our singer Gary writes the basic song structure and brings it to us to add our parts all together. That process when it all starts to take shape as a band, is really cool. It’s so awesome when the song starts to take on a life of it’s own right before our eyes.

Where did you guys find the inspiration for the song and lyrics?

Gary pulls lyrics from his own personal past as well as experiences of friends and people around him. But the lyrics are really all him. The rest of us don’t get too involved in the lyrics. Each of our instrumental parts all come from a deep pool of varying backgrounds among the four of us which I think helps bring a cool unique mixture of grit and sparkle to the overall sound of the band.

Will you be hitting the road this year?

We’ve got a bunch of shows booked in Ontario and then in the fall we’re heading out to eastern Canada.

What else is happening next in your world?

Gary has a bunch of songs started for our next album. I’m excited to start working thru them as a group to see what they turn into!

Pain Was Left for Me Kyle Kendall

Hi guys, welcome to VENTS! How have you been?

Things have been good, this year was a bit of a slow start but it looks like things are finally kicking and moving forward.

What can you tell us about the title and meaning behind your most recent release?

“Machine” was the first song from this concept album, exploring the repercussions of overprotective parental guidance.

“Fireflies” has been out for a little while now, taking on the subject of being left on your own even after changing for those around you and the emptiness that comes with that.

“Nirvana” is coming out soon, a song about giving up on life and the perspective of resenting those around you for taking care of you when you need it most

How was the recording and writing process?

It was amazing. The writing of the album I did over the course of time in between ‘Our Sorrows’ shows and releases. It’s a concept album I’ve been planning for many years now and I’m excited to finally be releasing it.

Hi guys, welcome to VENTS! How have you been?

We are doing great just busy.

What can you tell us about the title and meaning behind your most recent release?

Wings That Won’t F.L.Y the meaning is the beauty of the angel won’t fu..ing love you

How was the recording and writing process?

The recording took a lot of time we had problems getting on the same day to record the music. Writing it is a little quicker our lead singer/guitarist seems to have a gift and a way of expressing emotions

Where did you guys find the inspiration for the song and lyrics?

Through pain endured from life

Will you be hitting the road this year?

Hopefully that’s the plan

What else is happening next in your world?

We are currently working in a second guitarist to expand the sound

The recording process was so fun, I was lucky enough to head up to New York and work with Chris Wiseman (Currents/Shadow of Intent) he’s an absolute gem of a person and such a great mind in the studio.

Where did you guys find the inspiration for the song and lyrics?

This album has been in the works for some time now so I don’t exactly remember the time and place that “Nirvana” just clicked for me but I knew it was an important part of the journey for the characters.

Will you be hitting the road this year?

I don’t have any plans at the moment to tour as ‘01:25’ but my band ‘Our Sorrows’ is planning on heading out around September/October to push our newest album “Til You Dream of an Ocean”

What else is happening next in your world?

Aside from these releases and the upcoming tours I’m helping my brother with his first music release so that’s probably what I’m most excited about. It’s something he’s always wanted to do and I’m just happy I can help make it happen.