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Indie Source Magazine
www.theindiesource.com
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Content No.03 | November 2013
09. Cass Dillion
ism.
Singer songwriter...
Executive Editor Christopher Parker Managing Editor Denise Smith Copy Editor Andrea Pedersen Art Director Tasha Myke Photography Earl Kincade Art & LayOut Thomas Walker Copy Writer Jerome Crowell Thomas Walker VP of Business Development Gregory Parker Office 8581 Santa Monica Blvd. Suite 261 West Hollywood, CA 90069 United States
Royal Princess
Interview with ABC’s princess Kennedy Waite. 18.
10. The Lie Most Frequently Told In Hollywood by Stephanie Palmer...
13. Sadie Katz
Theatrically trained actress...
19. Sarah Dumont
Don Jon starring actress...
30. Travis Wall
Samraw
We would like to introduce you to Bay area born rapper “Samraw”. 12.
Interview with this extrodinary dancing talent....
32. How To Turn Your Book Into A Movie by Jason Brubaker...
Phone 323-400-6622 Fax 323-400-6655 E-mail. info@indiesourcemag.com web. www.indiesourcemag.com
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Indie Source Magazine
06.
08.
Catherine Dent
True Purpose
Interview with actress and director.
Creative Participation: Unlocking Your Crowdfunding Campaign.
The Blacklist Harry Lennix Talks Life Outside of Acting And His Role On The New Hit Television Series “The Blacklist”
16. 36. Snow Guardians Interview with the talented Carson Garner & Robbie Carmen...
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23.
46.
Triple Threat
Faith In Film
Girl Power
Interview with award winning actress Ciera Parrack.
Revelation Blue: One Team’s Journey.
Interview with the creator of “Sip n’ Spin” Jill Soloway.
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Interview Actor/Director
Catherine Dent
Beyond The Shield
by
Christopher Parker
“The Shield” is often called basic cables’ dramatic series genesis, and one of its brightest stars has ventured behind the camera in hopes of bringing a new female prospective to television. We sat down with this extraordinary star to learn how she has grown so much since she took off the badge. 6
Indie Source Magazine
ISM: You have starred opposite some of Hollywood’s biggest leading men throughout your career, has anyone in particular helped you raise your abilities? CD: I think that anytime you play tennis with a better player you up your game. Paul Newman was one of those people. He gave me tapes of him in the 50’s and he was terrible. He let me know that everyone starts somewhere and to just keep working on your craft and you will get better. It is one of the great stories I remember. ISM: Would you consider yourself a film or television star? CD: I don’t consider myself a star at all. I’ve been able to work more in television; it is where writing for women comes out more. I’ve been in some great features, but that is more of a man’s world. ISM: What type of television roles interest you most? CD: Complex people for sure. In television everyone says people should play strong women, but I want more than that. I want interesting women characters not just strong, so any character that has depth and not just the stereotypical female.
ISM: At what age did you decide you wanted to be an actor? CD: I think it was around the seventh grade. I’m not sure I decided around then, but that’s when I got into theater. My parents were going through a pretty messy divorce and I found that the theater, the sets, working on props and being in the show was a place I could escape. It was a great place to hang out and no one worried about where I was. ISM: Did you feel you would face an uphill battle coming from America’s Deep South? CD: That is a very interesting question. I don’t think it was a battle being from a specific place. I think that having a father that was a Green Beret made me very tough, but I’m very polite about it. [Laughs]
ISM: What roles are you least interested in? CD: I am not very good at broad comedy or extreme stereotype characters. After “The Shield” I got a lot of scripts for dominatrix roles and I was wondering why. I don’t know any women that are so one dimensional, so I steer from those types of roles. ISM: “The Shield” was arguably one of the best shows ever made, and many consider it one of the reasons cable dramas are so prevalent today. What did the success of this show mean to you? CD: A lot and I do agree that “The Shield” broke wide open the modern day drama. “The Shield” is the first basic cable show to win an Emmy. We also won a Golden Globe and I think executives started to say give me content like this. We can be a little edgier, darker and not keep our shirts buttoned as tight. I think “The Shield” was huge in that way. I’m a huge fan of Bryan Cranston, but it makes you www.theindiesource.com
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wonder if there was no Vic Mackey would there have been a Walter White? You know the anti-hero type. I’m sure it would have happened eventually, but “The Shield” paved the way. ISM: You are a highly sought after actress, what is your secret to longevity? CD: [Laughs] I eat my veggies. Michael Cane said, “Just work, work, work, and take the jobs that come to you. Be a little pickier, be specific on the type of actor you want to be.” Actors are craftsman and the more you work the better you get. Bad writing, as much as good writing makes you better because you have to try harder to make it better. I enjoy what I do. I am just a worker bee. ISM: Do you feel Hollywood limits roles for actresses after a certain age? CD: Yes! I hate to jump on that bandwagon, but it does. I can’t tell you how many scripts I see that are twelve guys, one hot chick and maybe there is a mother role thrown in there. I have a writer friend on a major series, that will go unnamed, but they say it’s set in a time where there weren’t a lot of women doing what the lead characters do. Makes you think, didn’t they have wives and maids, etc? There is always room for more women roles. I think it is changing, but it’s tricky. You see Kyra Sedgwick and Julianna Margulies in leading roles and it’s awesome, but Kyra is also surrounded by men. So yes, it’s definitely a challenge. ISM: You recently started writing, producing and directing, why take on these new challenges? 8
Indie Source Magazine
CD: I wanted to pursue directing because I love working in television. It is where I have mostly worked and I love how fast paced it is. It’s also great because it’s a writer’s medium and some of the best stories are being written on television. My goal is to direct television and I want to stay in the game. I told my husband I want another lane on my highway. As I get older the roles do diminish and it’s a way to expand in my career. ISM: How willing are you to work with young writers and producers? CD: I am very willing to work with younger writers and directors. You can really learn and get the bang for your buck. Not only giving back, but times are changing and you can gain a great deal of perspective from working with a younger crowd. ISM: How were you able to land such a dynamic lead actress for your short film “Silk”? CD: I begged and pleaded [laughs]. I just would not give up, she came to our first read and she told everyone there that I pursued her and that you should never give up. I wrote it with her in mind, and I said to myself why not give it to her. Good actors want to work. ISM: Any future projects you would like to tell us about? CD: I’m interested in developing my short film into a feature. My team and I are looking into political thrillers to develop and pursuing directing in television.
on
@c ass dil lon mu sic
Ca ss D ill
Cass is a multi-instrumentalist and producer as well as an acclaimed songwriter who recently was chosen by Billboard Magazine as one of their favorite unsigned songwriters. Lately, he has produced several studio records of different genres due for release next year along with several songs used in films and TV. Cass’s latest song for film can be heard in the new romantic comedy “My Man is a Loser” starring John Stamos and Michael Rapaport, directed by Mike Young, which is expected to hit theaters early 2014. Cass also has a budding acting career. You can catch him playing a supporting role in the new film “Song One”, starring Academy Award winner Anne Hathaway, also due to hit theaters in early 2014.
www.theindiesource.com
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Column
Film/Industry
Stephanie Palmer Author & Consultant http://goodinaroom.com/blog/
The Lie Most Frequently Told In
Hollywood Sometimes, the compliments you get from decision-makers about your work aren’t true.
Y
ou know those stories where the hero is lied to, but doesn’t know it, and the best friend knows about the lie and has to decide whether or not to tell the hero? With rare exception, the sooner the hero is told about the lie, the better. It might hurt, but better to know the truth. In this post, I’m playing the role of the friend, you’re the hero, and I’m hoping that you won’t be upset when I tell you: Sometimes, the compliments you get from decision-makers about your work aren’t true. These compliments, these times when you hear a version of “Yes,” often are lies–and what is actually being said is, “No.” That’s why today we’re going to talk about exactly what “No,”
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“Maybe,” and “Yes” really sound like.
The Lie Is Told For A Reason
he or she is being told the truth, and can act accordingly. So let’s talk about the ways that “No,” “Maybe,” and “Yes” are communicated.
Decision-makers don’t tell you the truth because they are trying to protect their relationship with you. They want you to send them your future work, so they lie in order not to hurt your feelings.
“No” Is Silence Over Time
This lie is a problem for writers, directors, and producers who are taking meetings, sending out scripts, and thinking a deal is close at hand… when in reality, they’re being told “No” time and again. Unfortunately, they keep chasing leads that aren’t there and wasting precious time.
“In Hollywood, ‘no’ is silence over time. The way you find out you’re not getting the job, that they passed, that they didn’t respond to the material, that they’re going a different direction, is silence. It’s the call you don’t get.” (via Huffington Post)
I don’t want you to be wasting your time. I want you to be the kind of professional who understands the subtext, knows when
Chris Kelly, a writer for Real Time with Bill Maher wrote this in a recent article (crediting Merill Markoe):
Other forms of “silence over time”: •
If you can’t get an in-person
meeting at all. •
•
“This has a lot of potential...”
•
“This is a great piece of writing...”
If your calls don’t get re-
•
“I love the main characters...”
turned in two weeks.
•
“This is hilarious...”
If your script has been passed
•
“We love it...”
If your emails don’t get returned in one week.
•
•
(yet).”
along (to a star, director, or producer), and you haven’t heard back in a month. If you pitch to a decision-maker and they want to be in business with you, they will get in touch as soon as possible. If you haven’t heard back, the answer (almost always) is “No.”
Unless They Pay You, The Answer Is “No” That’s the title of John August’s Scriptnotes Episode 71. John’s screenwriter co-host, Craig Mazin, elaborates: “Unless there’s money, the answer is no. Isn’t that terrible? And it’s so unfortunate because there’s thousands and thousands so many wonderful, creative ways for people to say no to you. And so many of them sound like yes, which is horrifying really to contemplate, but it’s human nature. Nobody really likes saying no to somebody. Nobody wants to be mean. No one wants to see that look reflected back to them.” If you’re not getting any money, the answer is probably “No.”
“No” Often Starts With A Compliment When people in Hollywood say “No,” the medicine is typically accompanied by a spoonful of sugar. Examples include:
If you’re getting compliments like this, they can be true, but don’t take them at face value. Most of the time, all of these compliments translate to: “You seem like a nice person and I don’t see any reason to offend you….”
“No” Usually Ends With An Excuse After the compliment you get the excuse: •
“... but isn’t the right fit for us.”
•
“... but we are overbudget.”
•
“... but would be too expensive.”
•
“... but we have another project that is too similar.”
If you’re hearing reasons like these, don’t take them at face value. Most of the time, all of the reasons translate to:
This is a hard thing to hear because we want to believe that the compliment is real because that’s something to feel good about. We want to believe that the excuse is real because it lets us save face. The thing to understand is that if your work was good enough, you’d at least get a “Maybe.”
“Maybe” Comes In Three Flavors The first kind of “Maybe” is: Notes. When someone actually takes the time to give you feedback on what you’ve done, that’s a victory. It means that they want to be helpful and that, if you are able to make the changes, they may be willing to take another look or meet with you again. The second kind of “Maybe” is: Stall for time. Examples: •
“I’ll take a look at it.”
•
“Let me get back to you once I’ve had the chance to read it.”
“...but this isn’t good enough (yet).”
This is a gray area, and typically means one of two things:
“No” = Compliment + Excuse
•
“I like you personally and don’t want to offend you, but I don’t think this is good enough yet, and I want you to send me your future projects.”
•
“My assistant will take a look at it and then tell me what he or she thinks and if the feedback is extremely positive, then I’ll take a look.”
Most of the time when you’re getting compliments on your writing followed by an excuse about why you’re not getting any money, the actual compliments and excuses are not the truth. The truth is that they are saying: “You seem like a nice person and I don’t see any reason to offend you, but this isn’t good enough
Cont. pg. 40 www.theindiesource.com
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Feature
Music/Hip-Hop
Samraw @therealsamraw
Awards 2010 Outstanding Student Video Award for “Crack’n Up” 2006 Central Stammy Award Nominee 2005 Central Stammy Award Nominee Discography Eye Can’t Lose, 1999 Whips N Chainz, 2002 Ski Mask Rap, 2006 Gettin’ It, 2007 Valley Days & City Nights, The Mixtape, 2007 Bigga Than Most, The Mixtape 2007 Don Greco Presents: The Movement, 2007 Scarred, 2010 Samraw is a Valley Area, California artist looking to make his mark in North Carolina as he has done on his home turf of Stockton, CA and overseas. For those who need a lyrical visual to relate Samraw’s sound to: think Mac Dre and Snoop meets Mad Skillz and Big Boi. His latest work is bringing a touch of the Valley to the Tar Heel State to create that Cali-Carolina Connection. Working with his label, GMG Urban Entertainment Group, Samraw is releasing his upcoming mixtape January 2014. His latest singles, “Heart Attack” and “Bread Right” are funky, bass infused tracks laced with Samraw’s typical edgy and original wordplay. Samraw is a veteran rapper known for such songs as Ski Mask Rap, Ha Ha Ha, Gettin’ It and other club anthems. Having made the move from the West to the East, Samraw is connecting the coasts by keeping in touch with his roots, staying connected with his West Coast fans and inviting new fans to get a taste of that Stockton flavor.
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Indie Source Magazine
Sadie Katz
Feature
@sadie_katz
Actor
Working alongside heavy hitters such as Steven Bauer (SCARFACE, “Ray Donovan”), Hector Echavarria (DEATH WARRIOR), and Danny Trejo (MACHETE), in CHAVEZ CAGE OF GLORY as ‘Gia Chavez’, Sadie Katz plays the wife of boxer ‘Hector Chavez’, who is faced with the struggle of unemployment while her son’s medical bills continue to pile up. Not only an actress, Sadie is a writer (SCORNED) and producer (13 GIRLS) with a long history of the acting and writing bug. Sadie Katz is a theatrically trained actress who has studied her craft for the last ten years with an emphasis on Eric Morris Method and Meisner Technique. The Orange County native performed for many years in theater, but decided to translate her love of acting to the screen and moved to Los Angeles. She immediately started performing in student films for UCLA, USC, Los Angeles Film School, Chapman and Loyola Marymount. She then went on to perform in indie short films, commercials and music videos. Her long blonde hair, blue eyes and willowy figure caught the attention of a casting director who signed her to a modeling contract with L’Oreal. At the same time, Sadie continued to perform in and direct theater in various Los Angeles theaters including the award winning Victory Theater Center and the Atwater Playhouse. Sadie’s directorial debut, “Cold/Tender” was chosen as best drama of the year by the OC Weekly newspaper. Sadie made the leap to feature length films with the thriller “Hearts of Darkness” in the supporting role of a haunted ghost unaware of being dead. Soon thereafter, Sadie was cast as the female lead in the sexy romp, “Nipples & Palm Trees” as ‘Harmony’, the vulnerable lost girl who’s hard to pin down. This role was followed by a co-starring role in the film “Meaning”. Sadie was cast as ‘Pamela’, a hustler who enlists the help of an ex-con to embezzle money from her lover. In her next feature film, the terrifying drama “House of Bad”, Sadie plays ‘Sirah’, an ex-stripper who steals her boyfriend’s drug stash in order to make a new life for her and her sisters. In addition to her acting career, Sadie has developed television projects with the iconic producer Glen A. Larson (Knight Rider, Battlestar Galatica, Fall Guy). Additionally, Sadie recently optioned her first screenplay which she co-wrote with cult horror film writer/director Mark Jones (Leprechaun, Rumpelstiltskin). When not involved in the film world, Sadie loves to work out, her favorites being yoga and pilates. She also enjoys cooking and spending time with her two dogs, Max and Crenshaw.
www.theindiesource.com
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Column
Film/Industry
John T. Trigonis Author http://johntrigonis.com
Creative Participation: Unlocking Your Crowdfunding Campaign’s
True Purpose Make a brief introduction to who you are as a person before you start talking about your film project.
E
verywhere you turn, it’s as though everyone, and I mean everyone –– from indie film pioneers to Hollywood’s household names –– is raising funds online for a new film or video project. A mere three years ago, crowdfunding was in its infancy and just learning how to walk. Now, it’s on its feet running and moving faster month after month affording artists, entrepreneurs and conscientious individuals and institutions the ability to more easily fund the things that matter most to them. More easily, but by no means easy, of course. Because of crowdfunding’s rapid growth and popularity, it’s no longer sufficient to simply run another crowdfunding campaign that seeks to presell a finished film. Transactions are particles
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Indie Source Magazine
of the past reassembling to form the relationships of the future. We as filmmakers must strive to create something more experiential than another movie campaign; we must become more than just another content creator hoping to get his or her passion project off the ground through crowdfunding, and more and more of us are pulling a page from the book of transmedia and crafting campaign experiences to further engage their audience in creative ways. In my book Crowdfunding for Filmmakers, I write in detail about the “three Ps” of crowdfunding –– Pitch, Perks and Promotion. But there’s a fourth one that’s most important of all, which enhances any campaign, and that’s Personalization. The pitch serves as the opening
act of your crowdfunding campaign, and you probably have at most three minutes to affect the audience and convince them that your project is worth their hardearned $5 or $50. But more than impact, you need to connect your project to your audience. Everybody’s got a project; so instead of selling us on your film, encourage us to support you, the filmmaker. Therefore, I suggest you... Pitch the Person, not the project: Make a brief introduction to who you are as a person before you start talking about your film project. One thing to keep in mind is this: people give to people, not to projects. It’s also important that you never ask for money, but rather invite your potential funders to join you on the journey of making a great film. Treat those who fund your project the same way you would investors
who are seeking a return on their investment. The $1 funder deserves the same praise as the $1,000 ones. That’s how you’ll get more of each. That, and offering exciting perks, or rewards. It’s not enough anymore to offer a digital download, signed posters and scripts, and T-shirts. We need to get creative with our perks and give to your funders something they wouldn’t be able to get any other way except by contributing to your crowdfunding campaign. So be sure to... Perk up your funders: I frequently suggest creating a $5 or $10 perk that’s a digital, one-of-a-kind poster personalized for each and every funder. It could read something like “Thank you, John Trigonis, for fearing the Cure.” Or it could be a meme, each with a different saying and picture. Once out of Photoshop, you can post it directly onto each individual funder’s walls. What’ll happen? You’ll definitely get a “Like,” you might even get a comment, and if it’s a cool enough a perk, you may even get them to make it their profile picture for a day or a week. All of their friends will see this and want one for themselves, and how convenient is it that you’ve included your Indiegogo link on their friend’s wonderfully personalized perk that shows support for your film? A simple, yet just as effective example of this can be found in the current Indiegogo campaign for Hybrid Vigor, in which an artsy poster of this horror film by a local
Latvian artist is offered at a contribution of $100.
way I do.
Where would any crowdfunding campaign be without social media? Let’s face it –– without it, crowdfunding probably wouldn’t even exist in its present state. But there’s a difference between promotion and spam-motion. The days of going viral are over; today, it’s all about... Going social: Crowdfunding means community engagement; if you’re in it with the sole intention of raising money, then you’re doing something wrong. You should want to show your potential funders you’re in this for the right reason, and that reason is to connect with your audience, fellow filmmakers, and future fan base. That said, keep everything you do transparent and out in the open so the public can actively interact with you and engage with your campaign. Ask them questions on your film’s Facebook page. Invite answers in an AMA on Reddit. Tweet useful links and advice on Twitter in between promoting your Indiegogo campaign. This can have a considerable effect on how the audience perceives you and your crowdfunding efforts. If your Tweets are worded in such a way that they stand out the way Achilles’ ship does from the hundreds of other Greek ships sailing across the Aegean in Troy, then you just might attract influencers who will then craft their own creative messages for particularly socially active campaigns, the
Aside from reaching out to all the potential funders out there, it’s equally as important to. Always remember the folks who’ve funded you. They are the most important people, and they should be treated as such as frequently as possible. Offer them some additional incentives to get them supporting your campaign even more than they already have. I frequently recommend Indiegogo campaigners to run a referral competition midway through their campaigns. Since Indiegogo bases everything on merit, we don’t allow contests or raffles, but you can always offer a special perk to the funder who racks up the most referrals or, even better, he or she who brings in the most money from those referrals. Again, the end result shouldn’t be measured by the amount of money these referrals bring in, but by how many of your current funders have been reinvigorated enough to step up to the plate for you and your film campaign.
And perhaps the ultimate culmination of creative participation Cont. pg. 40
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Interview Actor/Producer
Harry Lennix
On The Blacklist
by
Christopher Parker
If you are looking for insight from one of Hollywood’s most consistent actors, then look no further than Mr. Lennix. This real iron man has starred in such hits as “The Five Heartbeats”, Matrix 2 & 3”, “Ray”, and the latest incarnation of the “Man of Steel”, yet he feels he still has more to accomplish. We sat down with Mr. Lennix to understand his work ethic and love for his craft. 16
Indie Source Magazine
he took a liking to me. I ended up working with him twice, “The Package” was the first time and second was a film called “Collateral Damage”. ISM: You’ve starred opposite some of Hollywood’s biggest names, any particular actor/s that you knew you had to be on your “A” game with? HL: Anthony Hopkins by far. When you are on stage or screen with him you have to bring your “A” game or he will whip the screen with you. At the time he was arguably the greatest screen actor in the world and I had to raise my game, as well as when I worked with Jessica Lange. I’ve also worked with Shirley MacLaine, she was a great amount of fun to work with. When you work with talent of that caliber you have to perform at the height of your ability. ISM: The film “Ray” won numerous awards, what did it mean to you to be a part of this great film? HL: Ray Charles is one of my favorite musicians, there is no doubt of his musical genius and proficiency as a pianist. He more or less invented soul music and had success in country western and other genres. So, to be able to take part in a fuller exploration of who this man was (he was alive when we were doing the film and I got to meet him) was such a kick. It’s like meeting a giant, like meeting Ali. I also got to meet the character I played, Joe Adams. It was a great thrill to be associated with a film that would go on to win the Academy Award. It definitely is a source of great pride.
ISM: You are an accomplished film, television and stage actor, which do you find most challenging and why? HL: It’s very job specific, so I guess it depends. When I was a younger actor I was challenged by theater. When I began to have some success in the business I began to get more challenging film and television work. As an individual, right now I prefer working on television because you have a long time to explore character in greater detail. I like all of it, but I prefer these days to concentrate on television and film. ISM: Your first feature film was “The Package”. Can you tell us how you landed this role? HL: I was a school teacher for many years in Chicago. One day I got an audition and booked the job with director Andrew Davis. I actually knew his dad, we had done a play together, so when Andrew found out
ISM: Feature film “The Last Fall” was led by Mathew Cherry. What is your approach to acting under the direction of young directors? HL: Young directors usually have a great amount of energy; they are discovering things for the first time on how to talk to actors and relate. I enjoy the process, as it reminds me of why I got in the business and making art. It’s a passion; it’s fun. We didn’t all get into it to pay the rent, we got into it to contribute something to the form, and I’m constantly reminded of it when I’m dealing with young people. I have a great amount of currency and interest in young audiences and young people. ISM: You recently ventured into producing, why did you decide to take on this new challenge? HL: For me it is survival right now. The contraction of the industry is well known and everyone is talking about it. You have high budgets and micro budgets, and in between twenty million dollar films have pretty much gone away. In order for a journeyman actor
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like myself to make a living, I need to do something that can pay me more than the small budgets can, and the big films don’t pay as much as you would think because they don’t have to. In order to make a living, actors like us have to do things on our own. Right now the best paycheck you can get is a TV gig, and I would think theater would be the worst gig out of the three. So, I decided to eliminate the middleman and become the guy that creates the content and can benefit from the product. It’s a way of keeping myself in the game longer and I’ve grown to like it a great much. At this point in my career I might like it more than acting. [Laughs] ISM: Can you tell us about your new series “The Blacklist”? HL: “The Blacklist” is sort of an FBI cat and mouse. The character Raymond Reddington turns himself into me at the FBI. In exchange for certain amount of movement and freedom he will give us access to information that can lead to the capture of other criminals. The only stipulation he makes is that he will only talk to one profiler, a young neophyte on the force. We agree to his terms and so starts the series.
that process. If you can shoot 90% of your free throws and you give great productive minutes coming off the bench then you become dependable to execute. What I have been able to do is to keep fit artistically to be able to execute. I do certain things well, people who are successful in the business do certain things well. ISM: What advice would you give young minorities dreaming of becoming successful actors? HL: Do your own producing, do your own work. Some people are going to be lucky and walk out of graduation and get a job. That is fantastic and beautiful, but for most of Hollywood it’s hard work. You have to get into positions to show what you can do. With the cost of technology these days you can make a movie or a show. You could do all of it yourself today if you wanted to. That wasn’t possible twenty years ago, it was hundreds of thousands of dollars for cameras and film stock. Now you can put it out there and someone might be interested in it and you can move to the next level. Think smart, be your own man, put your best foot out there and just be amazing. Keep studying and watching those whose work you like. Steal if you have to until you learn how to do it well enough on your own. Imitate, integrate and then innovate.
ISM: What is your secret to longevity in Hollywood? HL: [Laughs], for me I think it’s pure luck. I’ve been lucky enough, or stupid enough, to stick to my guns on how I execute and knowing people that appreciate
The Blacklist Clip (Digital Versions Only)
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Indie Source Magazine
Photographer: Victor Del Toro * Jacket: DUCUTE
Bra: AMERICAN APPAREL * Bikini bottoms: H&M * Shoes: GUESS
Sarah can be seen alongside Joseph Gordon Levitt in his directorial debut Don Jon, out this month from Relativity. She just wrapped shooting the lead in the independent feature Acid Girls, opposite Clara Paget (Black Sails) directed by Taylor Cohen, where she plays one of the Acid Girls, a wild gang of vixens who seduce a newly single man into letting them move into his home, secretly set up cameras and videotape their attempts to introduce him to a disturbing life of sadomasochistic sex and violence. She also recently wrapped the short film Tblisi, My City opposite Ron Perlman. Next year she will be seen in A Many Splintered Thing with Chris Pine and Giovannis Ribisi and will star in Rise Warner Brothers Feature Film. Sarah moved from NY to LA in January and immediately booked her first job on CSI: LAS VEGAS. Sarah has worked with many leading global brands such as Giorgio Armani, Salvatore Ferragamo, True Religion, Express, Guess and many others.
@DumontSarah
Sarah Dumont www.theindiesource.com
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Interview
Actor/Director/Writer
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Indie Source Magazine
Photographer: Chris Patey Hair: Neicy Small Makeup: Su Han Stylist: Elizabeth Watson
Ciera Parrack Actress, Director & Writer
@Cieradparrack
Triple Threat FACT: Awarded 2011 Audience Choice Award for Best Actress and 2011 Grand Jury Award for Best Actress at the Playhouse West Film Festival for her performance in “Post”
T
his amazing lady is an actress, a director and a writer, and she often does all three on her projects. She is truly an indie filmmaker if there ever was one. Ciera, along with her husband Jim, form an unbeatable team that is looking to take the indie world by storm. ISM: How did you get your start in acting? CP: I would say studying at Playhouse West in North Hollywood. It cracked me open and I realized myself as an artist there. I was 19 when I started and it gave me an artistic home, family and all the opportunity in the world to explore acting.
by
Jerome Crowell
ISM: You starred in the indie film “Post”, did you find it challenging as the lead for a film directed by your husband? CP: Playing that role was an incredibly deep and dark place to go as an actress and the shoot stretched out over
a year, so it was very challenging to keep that part of myself open and raw, but Jim and I are after the same thing as artists and really are a bit obsessed with the artistic process, so it was a pleasure to get to live all that out. He is a visionary director and I kind of had to swallow my pride a bit and serve his vision and put my wife-ego aside, which did not want to be told what to do! Thank God I did though, because it’s a beautiful film and a true testament to his talent. ISM: What was your inspiration when writing the screenplay “Daisy’s”? CP: “Daisy’s” is an expression of a lot of things that I was learning at the time. I was coming to understand things about love and life and was asking questions like, “Why is it so hard to get love from this world?”, “Why does it hurt so badly sometimes?” and “Where do I go to get that love?” The story definitely asks, and I www.theindiesource.com
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think answers those questions. Plus, I wanted to make a film for myself and the other actresses involved that wasn’t just about looking pretty or being a sex symbol. I wanted to be an example; to show girls that you are enough just as you are. So, all the characters in the movie sprang from that kind of eagerness to express reality.
ISM: When did you decide to take on the Director’s hat for the feature film, and how difficult was it to produce, star and direct? CP: I wrote it with the intention of directing it. For me, I can’t imagine writing something and not directing it, or acting in it for that matter. I even sit side by side with my editor and help orchestrate that process too. I just feel like the vision was given to me to birth and I have to see it through, which makes for a super duper challenge! Blood, sweat and tears for sure, so challenging and all consuming. But, for me and my unique lunacy, it’s a total act of surrender and love. I have a lot of energy and I am terribly impatient, so I just say, “Screw it I’ll do it myself!” Then I find myself bruised and up at 2 am, with a call at 6 am, transferring footage and getting myself ready for some crazy emotional scene that I’m shooting at sunrise in a freezing river or something crazy like that, and I stop and ask myself, “What was I thinking?” ISM: When portraying an abused character, what emotions do you draw from to make the performance believable. CP: My favorite actress, Eleonora Duse, called it “An echo of the pain of the world”. We all have felt our own share of sorrow and hurt, an actor is someone who just has a greater access to it. Everything comes from my own understanding of what it’s been like for me
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to live through my own heart’s tragedies. Another inspiration to me, the great acting teacher Stella Adler, said this “The actor has a built in broken heart”. ISM: You will be appearing in the upcoming film “Child of God” written and directed by James Franco. Can you tell us about the film and your character? CP: I play a sweet girl, who is very kind and loving to the lead of the film played my dear friend Scott Haze. It was such a dream to get to work with James and Scott because I consider them my brothers. They are both so talented and the whole set of “Child of God” was littered with my close friends and family, so the process was dreamy. I was honored to be there and work with them. I think we all were a bit awed at getting to work on such incredible material in an environment like that. ISM: Tell us about your experience working with Mr. Franco? CP: James has always been completely sweet, gentle and supportive of me. He is a visionary director and artist, and so enormously generous. We studied at the same acting school, so we work the same as actors, which meant a lot of freedom. He just let the cameras role and we got some really funny and interesting improvisations out of it. ISM: What advice would you give young females aspiring to be in the business? CP: Don’t you ever give your power away. You are ten times as strong and worthy and deserving and talented than you think, and if you take a back seat to anyone and let anyone speak over you in any way you’ve just given your dream away. No one can take from you what you haven’t willingly given them. You have to take charge of
your career and your work and know that just because there might not be anyone out there like you, doesn’t mean you have to conform or contort yourself to meet someone else’s idea of what is worthwhile or appropriate for a woman in this industry. This business is changing and, like Ghandi said, “We have to be the change we wish to see in the world.” The same goes for Hollywood too.
Column Filmmaker
Tony & Nanette Lankford Director/Executive Producer phillytvdirector@gmail.com
Revelation Blue: One Teams Journey
Faith On Film Revelation Blue sets the tone for Christian crime dramas!
Revelation Blue sets the tone for Christian crime dramas!
the choice of living by man’s laws or living by God’s law.
Police shows and movies have come and gone over many years now, but there hasn’t been one quite like the one I developed called REVELATION BLUE.
Drawing from many scriptures in the Holy Bible, REVELATION BLUE reflects the Word of God and the spiritual inspiration it provides for us and the struggles many of us have accepting and understanding it. Having also affection for police crime dramas on TV and in the movies, I thought what better way to present the Word of God in the exciting genre such as police detective TV show/films. So at that point, I called my wife Nanette at her office and told her that I came up with a concept called REVELATION BLUE and she totally ‘got it’. She became my executive producer launching our husband/ wife team.
One day I was sitting in front of my computer thinking about my next film project after completing a previous project called ONYX, which was the story of a rogue police detective searching for his soul salvation. I wanted to bring more to the forefront the Word of God and present a stronger spiritual presence to my next film. Being that Revelation is my favorite scripture in the Holy Bible, and obviously being a fan of TV police and detective shows, thus was born REVELATION BLUE, the journey of ex-pastor Detective Devon Blue who struggles with
With the first installment of REVELATION BLUE, I sought to enlist
a writer to develop the pilot story based on my character design, originally setting out to make it a movie length feature. But later on I thought to have it be a TV series or web series that called for the original feature length version to be broken up into half hour segments. After obtaining the script from a very talented gentleman who answered an ad on our local film office website, I then proceeded to add my own feelings and thoughts to the work. I felt as though if this is going to reflect the characters I created then I must interject my feelings as well. So after doing that, I shared the corrections with the writer and my wife and we all came to an amiable agreement on the characters and story developments. www.theindiesource.com
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Next came finding a DP and camera person to justly do the job of shooting and guiding me through the way of creating a look based on my vision of what REVELATION BLUE should be. We had many meetings and discussions on the feel and mood of this film and achieved a spectacular looking and strong spiritually motivated film. Many filmmakers will attest to the fact that a story without meaning is meaningless. I agree with that. I wanted REVELATION BLUE not only to look great, but share a word to as many people as it could possibly reach without being pigeonholed into being a ‘Christian Film’ and at the same time keeping the spiritual aspect intact. REVELATION BLUE allows the Message to be clear along with an entertaining storyline. I studied many movies and TV shows for style and picked the ones that I liked and developed a style of my own. I love close-ups, long lenses, sun flares, glares, and tracking shots. I don’t care too much for over the shoulder shots or that annoying circling camera move when there is more than one person talking in a circle. It makes me dizzy, but my wife likes it. I guess I make her dizzy! So, shooting REVELATION BLUE the first time took forever. It took us almost a year to complete, another six months to complete editing and another year to get our distribution deal because we only worked on Saturday mornings in respect for the cast and crew working regular jobs during the week. Not bad really if you think about it, but I was getting impatient and my
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wife would always say ‘be patient’, and I listened. The budget rounded out to a mere $5,000.00 for props, craft services on shoots, transportation costs, stock music, cameraman fee, some set rentals, etc.
After completing the pilot, we were very well received in many film festivals both nationally and internationally. Then it was time to take a rest…because it is a toll to make an independent film/TV show with your own pocket money, getting up 6am on a Saturday morning to go to the set, work with strangers, buy the doughnuts, type the scripts, be the boss, be the grip and all the other hats you have to wear. BUT NOT FOR LONG! A year later I said to my wife, “Let’s do it again!” She looked at me and sort of shrugged a bit and wanted to think about it. I wasn’t going
to do it unless she wanted to do it with me. It took her a few weeks to think on it and she came around and said yes! This time, however, the output cost factor was considerably lower because all the props and costumes were already purchased and were saved from the
last time we shot! So all we had to do was re-cast and develop scripts. We approached REVELATION BLUE: THE LIVING WATERS in a manner whereas a feature would be written and shot in its entirety and later broken up into 4 separate half hour episodes, allowing versatility in marketing and distribution. The first time around with REVELATION BLUE we used a Canon 5D and an Apple editing system. It was simple and clean. On the Mac we used iMovie editing, because we only used simple cuts and no fancy transitions. The Canon is a clean camera that achieved a film quality that I was looking for. We had a bit of audio problems at first but man-
Psalm 37:4 says: “Delight yourself in the Lord and He will give you your heart’s desire”. Stay focused on that! Stay true to your message and vision. Keep the respect for the scriptures. Pray about everything, the crew, script, camera, film, everything. Be strong, confident, clear, thankful, professional and punctual. Do not let ego into your production and always be open to suggestions. This is a collaboration. Listen to God and be current as far as presentation and technical aspects are concerned; you’re representing God!
aged to clean up SOME audio in post, which is a lesson I will always remember with audio; the cleaner it is in the beginning, the cleaner it will be at the end. For REVELATION BLUE: THE LIVING WATERS we shot with a Canon 60D and used the same Apple iMovie editing system, simple and clean once again. My wife and I worked together to develop the details, plotlines, stories, scripts and characters that received accolades nationally and internationally (as mentioned before) and an extraordinary concept that represents God in a positive way. Many, many times our production was blessed with beautiful weather that allowed us to shoot exterior scenes that otherwise in inclement weather would have caused us to shut down and upset our shooting schedule. Our production ran so smoothly with cast and crew that it was
only God’s favor that allowed it to be. God’s grace allowed us to find sets to shoot on for no charge, kindhearted people that allowed us to enter their establishments to shoot at no charge and no time limit, free parking facilitated by The Philadelphia Police Department and The Greater Philadelphia Film Office, finding actors that believed in REVELATION BLUE and God’s Word, who were truly talented AND dedicated, with the ability to adjust and adapt to the shooting environment on set without seeing the set prior to shooting! God gave us this talent and ability to do this! God has given us favor to work together in harmony and enjoyment using creativity and experience to keep the workflow flowing! It was a fun project to work on!
Finally, not everyone is going to ‘get’ what you’re doing, especially the secular world. Your mission is to stand your ground and spread the Word in a medium you love and a medium that can reach a lot of people who need to hear the Word.
A lot of times we as filmmakers will say to ourselves, “I’m going to make a great film,” or “I’m going to win a lot of awards” or “I’m going to make a lot of money”. These are selfish reasons; selfishness is wrong. www.theindiesource.com
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Interview Actor
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Kennedy Waite Actress
@Kennedy_Waite
Royal Princess FACT: Kennedy also can sing, dance and models.
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his young lady stars in the ABC freshman comedy “Back in the Game”. Not only is she an up and coming actress, but she also sings, dances and models, and in between she finds time to achieve great grades in school. We were truly impressed with her abilities and poise at such a young age. We here at Indie Source affectionately call her our Royal Princess.
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Andrea Pedersen
ISM: What was your motivation for becoming an actress? KW: My motivation for becoming an actress probably came from watching my dad when he hosted a kid’s television show. Also, watching all of the young kid actors on TV shows today that I’ve enjoyed since my earlier years (not that I’m old or anything). After I moved to Los Angeles with my family, my dad wanted all of us to try it out, and if we liked it we could pursue it. My three brothers and I did some auditions and I started to see that doing this everyday
was fun and it was also exciting to be able to play different characters each time. ISM: You have a full time job at an age where most kids are only concerned with play time. Do you find it hard to manage school and being a working actress? KW: It can be hard sometimes, but I always manage to find some extra time in the day to do school, hang out with my friends and the extra activities I’m involved in like singing, tennis and swim. If you want it bad enough, you make the time for it all. ISM: Is acting what you want to do for a living when you are an adult or will you choose a different field of employment? KW: I definitely want to continue my acting career, but I also want to get into the music business, or maybe become a dancer as well. Tennis is also very high on my list. It’s so hard to decide, so you never know. www.theindiesource.com
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ISM: Your father David Waite is an actor, writer and producer. Has he helped you with your acting? KW: My dad has totally helped me with whatever I’ve needed, from running lines, to taking me to an audition. Plus, he’s been in the business for so long, he probably knows all there is to know, although he says he doesn’t know it all…he’s pretty smart about this stuff. ISM: How did you hear about the audition for the ABC sitcom “Back in the Game”? KW: I heard about the audition for the role Vanessa through my amazing Agency, Osbrink. I have my brilliant manager, Stan Rogow, to thank for that. Right after I met Cindy Osbrink and her incredibly nice team, they immediately brought me in with open arms. They are the ones who thought I’d be perfect for the role…and I was! ISM: How many times did you have to audition to land the role of “Vanessa”? KW: I think it was one initial audition, two different callbacks and then the final audition at Fox Studios for ABC. There may have been one more audition in between, but that’s close. Haha! ISM: Tell us about your character “Vanessa”, what is her motivation? KW: Vanessa’s motivation is to wait for the right time to finally move onto becoming someone else and get a chance to show everyone that she is a ball player. You’ll understand when you watch the show! ISM: You play a character by the name of “Lila” in the feature film “Plush” that will be released soon. Tell us about who your character is? KW: The character Lila is a sweet little girl, or she was until her mom died/left, and her dad (played by Cam Gigandet) married another woman (played by Emily Browning). She doesn’t exactly “love” her step-mom,
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and she will do anything to not get in a conversation with her, but in the end things just may change… ISM: Did your parents have reservations about you acting in a Rated R feature film? KW: My father read the script and said that due to the fact that I starred in a very mature subject matter in my first film, “I-Doll”, he felt that I could handle it and that it was a wonderful opportunity to work with such a magnificent director, Catherine Hardwicke, who I adore and would work for again and again and again. (Not to mention Cam Gigandet and Emily Browning – wow, what an honor & privilege) However, my father didn’t let me read the entire script, just the few scenes that I had and I’m not sure yet if my mother will let me go to the premiere with her. I fully understand and respect my parents’ decision. ISM: If you could pick any actor/actress to star in a movie with, who would it be? KW: If I could pick any actor/actress to star in a movie with, it would probably be Dakota Fanning, because she is such a talented being and it would be so amazing if I starred in a movie with her. It’s peculiar; a lot of casting directors and other people I’ve met in Hollywood have said that I am a “mini Dakota Fanning”, and of course that was like a huge compliment to me, as she’s been one of my role models for as long as I can remember; she’s the best! So, it would be awesome if I got to star in a movie with “THE -Dakota Fanning”.
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Interview
Dancer/Choreographer
Travis Wall
Image By: Bobby Quillard Indie Source Magazine 30
@travISova
ISM: At what age did you first learn to dance? TW: I was pretty much born into dancing; my mom was my dance teacher. She had me in a crib in the studio when I was five days old. The first class I was placed in was when I was three years old, so I grew up dancing. ISM: When and why did you get involved with the Fox hit show “So You Think You Can Dance”? TW: I auditioned as a contestant during Season Two after watching my best friend win the first season. After achieving first runner up, I was determined to come back and eventually choreograph for the show. They gave me the opportunity and I have been choreographing the show ever since.
olution” was choreographed by you. How did you approach teaching the actors and dancers the proper moves that would translate well on screen? TW: Kind of how I approach everything. I teach them the steps and I push them to do things they never thought they would be able to do. You give them confidence, and of course you have to have patience. When teaching them contemporary movement, and partnering with a girl, I kind of made it relatable to how you would normally touch a girl or get their attention. You know, how would you move with them in bed, so it made it a little more relatable to the actors. It was an awesome job and I had so much fun doing it.
ISM: You have been a judge and a choreographer for the hit series. Which duty do you find more difficult and why? TW: Ummm, I guess choreographing, you are putting out something and creating something and making yourself somewhat vulnerable. People trust you to put on a great show, so I guess it’s more stressful. I don’t think judging is hard, but you have to walk a fine line of not being too nice and being a jerk on TV. You don’t want to tell someone you don’t think they are a good dancer, so you kind of have to sugar coat [laughs].
ISM: Oxygen’s reality show “All the Right Moves” followed you and other dancers launching a dance company. Was it nerve racking being followed and filmed 24/7? TW: Yes, it was nerve racking, but because we were putting together a show and taking up so much time we couldn’t make up the dance show. We needed to rehearse and it got to the point where we couldn’t field anymore questions and we had to get to the nuts and bolts of putting the show together for the new company. So the time constraint of it was the hard part, but you don’t really think about the cameras being on you.
ISM: You have been nominated for three Emmy awards, how does it make you feel that your peers think so highly of you? TW: It is really crazy, I didn’t get into this thinking I would be nominated for so many Emmy’s. It’s three in a row, the first is a wild feeling, and then the second year it happens and you are like “Oh My GOD”. I feel blessed, a little bit lucky and I couldn’t feel more honored. I really hope I continue to contribute to what I think is great television.
ISM: Do you reach out to the younger generation and teach dance? TW: Yes, I teach all the time. I teach at a convention called NUVO every weekend from November through May; we teach thousands of kids. I also teach at my studio, but I’ve been so busy in the television and film industries that I haven’t had as much time as I normally do, but I love to teach.
ISM: How many performances are you choreographing and/or performing in this year’s Emmy ceremony? TW: I am getting to do something that has never been done before; we get to choreograph a number that will be performed on the primetime show and the award will be given on the show as well. So it’s just one number then the award.
ISM: How do you approach fostering new talent? Do you have a process in which aspiring dancers can submit tapes to be a part of your projects? TW: I notice kids all the time, and teaching at the conventions you watch the kids grow up and you see the ones that are getting great. I keep an eye out for the ones that you know are going to move to L.A. or New York. It’s a beautiful process to watch a kid fulfill their dream of becoming a professional dancer like I have.
ISM: The hit dance feature film “Step Up Revwww.theindiesource.com
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Column
Film/Industry
Jason Brubaker Producer & Author www.filmmakingstuff.com
How To Turn Your Book Into
A Movie
Going from a writer to a screenwriter to a filmmaker is a very complex process.
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o you are seeking ideas on how to turn your book into a movie. First of all, congratulations on finishing your book. Writing requires every degree of discipline you can muster. And now that your book is complete, I can understand why you would want to turn your story into a movie. Going from a writer to a screenwriter to a filmmaker is a very complex process. But if you are willing to pay the price and spend the next year learning everything you can about the filmmaking process, you may have a shot a taking your story off the page and getting it to the big screen.
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At the preliminary stage, you first will need to decide if you want to produce the movie yourself or try to sell it in Hollywood. Since I hate asking for permission, my suggestion is to start the process Indie Source Magazine
on your own. Then later, if Hollywood wants a piece of the action, you will be in a much stronger position to negotiate deals. How To Turn Your Book Into A Movie 1. Hire a writer to convert your book into a great script. While most writers think they are also screenwriters, you have to understand that the conventions are different. What works in a book may not always work on the big screen. A great case study however, is Cider House Rules. Read that book and then watch the movie. (John Irving wrote both the book and the screenplay.) 2. Break the movie script into a schedule. This is usually handled by a line producer. These professionals break your script into
a schedule and take that information to create a budget. Since money may be tight, there is a great software program that does a preliminary breakdown – go here: www.IndieProductionTool. com 3. Create a budget. As mentioned, a seasoned line producer will help you create a budget. Your budget will assign a price tag to each element in your movie including, locations, props, wardrobe, cast and crew. They will also account for food, lodging and transportation‌ These are things that most first time filmmakers fail to consider. 4. From the budget, create a business plan. Making movies is fun, exciting and sexy. But what good is having a movie if nobody watches it? Your audience is your business and your business plan will provide detail on how your
money will be spent and hopefully recouped. Most traditional film business plans fail to include a marketing strategy… But not yours. Make sure you also include a marketing, sales and distribution strategy that you control. 5. Hire an attorney who specializes in private offerings. Whenever you talk big money and throw around the word “investor,” you suddenly expose yourself to all sorts of liability that doesn’t really do anything to help you. Your goal is to always protect yourself and follow every letter of the law. 6. Find and make the pitch to several investors (and get the money.) Once you have an idea on how the money will be spent and recouped, and you have legal protection – you can then search your network for successful business people who may be looking for a new venture. This is not an easy process. You will need to make cold calls. You will need to ask tough questions. And you will need to face a lot of rejec-
tion before you get the final YES.
your movie. You will go through the footage shot-by-shot and smooth rough areas. At the end of the process, you will have a “rough cut” to evaluate. Have a test screening. Take notes. Then go back to the edit suite and revise your movie.
7. Hire your cast and crew (then go through the process of pre-production.) If you have established a good relationship with a line producer, they can advise you on hiring a crew. Additionally, many casting directors will happily take your money to help you find the perfect cast for your movie. 8. Get out to locations and produce your movie. Producing your movie involves hard labor. Dozens of people will show up before sunrise and will not leave until after sunset. To help you manage these people, ask your line producer to suggest an awesome 1st AD. Your assistant director is concerned with one thing – making sure the production stays on schedule. 9. Edit your movie. At the end of your production is your edit. You will hire an editor and spend lots of time in a dark, smelly room eating candy. This is the final rewrite of
10. Market, sell and distribute the movie. Many first time filmmakers are too new to realize that the world has changed. People who still talk about DVD distribution and describe VOD as the wild west are silly. But not you… Since you were smart enough to create your own sales, marketing and distribution strategy in the planning stage – now is the time to execute the plan. Obviously, each one of these steps will require quite a few smaller steps. But if you are serious about getting the book made into a movie, you will need to view your movie in ways akin to how an entrepreneur starts a business. If you are interested in more professional resources, you may want to check out: www.MakeYourMovieNow.com
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Interview
Writer/Director/Producer
Photo By: Emil Shur Shirt By: En Soie Zurich
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Jill Soloway Writer/Director/Producer
@jillwaysolo
Girl Power FACT: Creator of the popular Los Angeles reading series “Sit n’ Spin”. FACT: Often loses sense of time when writing as she dives deep into her work.
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his midwestern girl is an extraordinary creative force, so much so that she will often lose track of time while writing. This kind of passion deserved our attention and she was a joy to share coffee with. ISM: When did you know you wanted to be a professional writer? JS: I think I knew my entire life. I was writing stories as a little kid. ISM: What was your first paid writing assignment? JS: I guess it was a reality/ game show called “Don’t Forget Your Toothbrush”. It was on and quickly off, but I had to come up with games for the contestants to play.
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Christopher Parker
ISM: Early in your career you were primarily a comedy writer then you moved into writing on dramatic shows. Which do you prefer and why? JS: I like to do both; I like to write things that work both
comically and dramatically. I think that the highest calling is trying to find things that walk the line by occasionally going over the edge one way or the other, but still trying to be both dramatic and funny, either simultaneously or in harmony with each other. ISM: As a Caucasian female, did you find it difficult to write for minority characters on the “Steve Harvey Show”? JS: Not really, it’s harder for me to translate from female to male characters than from white to black. I feel more of a calling to write for females, as there is so little good writing out there for females. I feel like when I’m writing for males I think to myself that there are so many men out here doing that, so why am I adding to it? I grew up in an all-black neighborhood where my sister and I were the only white kids in the school up until sixth grade. I grew up on like twenty-eighth and Michigan, and I’m probably overly www.theindiesource.com
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Interview Film/Directing
Filmed on location in Montana, USA.
Snow Guardians With Carson Garner & Robbie Carmen Director/Producer & Digital Effects Superviser
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he Rocky Mountains are more than 3,000 miles of the most inhospitable terrain on earth. Every year, brave men and women venture into no man’s land for the beauty and challenge. Sometimes these men and women need help, and when they do the good members of the Ski Patrol, Search & Rescue teams and Avalanche Safety are there. Carson Gardner set out to document these brave men and women’s struggles and rescues in this snow capped land. ISM: Who made the decision to create a docu-
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mentary around Search & Rescue Ski Patrol and why? CG: I came up with the concept and idea for “Snow Guardians”. I was looking for a project that would incorporate very beautiful scenic time lapses, while telling a compelling story. I had grown tired of seeing just another two-minute video short on some scenic, beautiful shots and wanted a project where I could use the new small HD cameras along with motion control robots for the time-lapse to tell the story of the outdoors. I was in Montana planning a back
country photo trip when I realized the story of the Ski Patrol and Search & Rescue teams had not been told. Co-Producer Tyler Ginter from “Variable” was key to getting me in touch with creative, real talent, and keeping the team motivated. I pitched the idea to some friends and ended up tweeting it out, and within a few days of tweeting it I had more than 40 people volunteer asking to be part of the project. I grew up in Montana, so I reached out to a few contacts I had at the ski resorts and
Search & Rescue teams to check on whether or not it was even feasible to chase the Ski Patrol and Search & Rescue teams. I wanted to tell their story by taking advantage of the new line
of low cost and high-resolution small HD cameras. We proved that we could carry them on top of mountains in sub-zero temperatures and extreme weather and create rock solid compelling content. I wanted to show what a small, mobile, relatively inexpensive camera could do when you bring it into rougher conditions. ISM: How early were you involved with the production? CG: I didn’t come on to the project until editorial was wrapping up. I was introduced to the filmmaker, Carson, through colleagues Jason and Josh Diamond - better known as the Diamond Bros. I liked the collaborative nature of the project, and since I’m a big fan of skiing, snowboarding (I snowboard) and winter sports, I thought it would be a fun project to be a part of. ISM: What were your motivations behind using Kickstarter to raise
twenty-two thousand dollars? CG: I started to shoot with a primarily voluntary crew for the first year, and after getting the initial cut done, the story had really started
to evolve and there was such interest in the project that I wanted to commit the time and money to finish it right. The following year ended up being one of the worst avalanche death counts in North America, so I realized that there was a real need to tell the education side of how to enjoy, but survive in the back country. I expanded the film from a short project to a broadcast length documentary. Since it was personally financed, I put it on Kickstarter to get social funding since there was such a strong in-
Collaboration By using a collaborative approach to filmmaking, we are combining Filmmakers, Cinematographers, Editors, VFX Specialists and Storytellers together in a collaborative production environment. Using a collaborative approach to filmmaking we are giving independent filmmakers a large audience and production quality.
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terest in avalanche science and Search & Rescue teams with the expedition film community. ISM: What can audiences expect from your team and from watching this short documentary? CG: It’s a highly visual mountain documentary on Ski Patrol and Search & Rescue teams that has a strong education side that teaches avalanche science. It is a movie that is exciting and interesting for people to learn what kind of person wakes up at 4am every morning and climbs to the top of a mountain with a pack of explosives to trigger an avalanche. During the initial film festival circuit, we had an overwhelmingly positive response to the film in places like California, where I never expected to actually have that much feedback. That’s why I’ve held it for this winter season and I am doing a larger, full release and more festivals, such as New York and Boston – places that I would have never thought to submit it. There’s a
big human component to it, the men and women we chase are amazing, so it’s fun to hear their stories and follow them. ISM: According to some of the updates on your Kickstarter page, you used DSLR cameras.
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What was your reasoning for using these types of cameras instead of higher end cameras such as RED? CG: I primarily used Canon DSLR cameras on the shoot, which was interesting because I had two RED cameras on site at the beginning of the shoot. I had planned to shoot a lot on the REDs, but logistically ended up using the DSLRs due to the small compact nature and the ability to destroy them in the bad weather. When we approached the Search & Rescue and Ski Patrol teams, they said that we could film as long as we could keep up. They were on their real jobs and couldn’t slow down or alter anything that they were doing for the film. I had originally planned to shoot the high mountain chase photography with the small DSLRs because they were fairly weather proof, and we could run around up high on the mountain with them, but they literally became our go-to cameras because they were so quick to setup with fantastic image quality. I found that I could give the Canon 1D or 5D that production look by adding a Kessler Slider or crane. We used both the Kessler Slider and Canon DLSLR for great looking interviews. The small size of the gear allowed us to set up on top of the mountain, and a patrol warmup hut helped us catch patrollers coming in to get out of the storm to warm up. Capturing the patrol in its real work environment, at a high production value, was invaluable.
Setting up the small DSLRs was quick and easy. Even while skiing down the mountain shooting footage; it was just easier with the DSLRs. They expanded our ability to get some really amazing shots in some remote locations – even when it was negative 30 degrees at 10,000 ft. Throughout the project the cameras kept evolving, and by the end of the project we were using a Canon C500 shooting 4k due to its size and ease of use. As much as shooting 4k for the entire project would have been fantastic, we just did not have the time and needed an ultra-light camera to keep up with the mountain athletes. It all comes back to the story you’re telling. If the story is great, it does not matter how fancy or basic your gear is. What was really neat was the film was a true collaborative effort. Due to all the Twitter and Facebook following, people kept coming out and volunteering with their own full production equipment. ISM: Can you tell us about your production to post workflow shooting in such remote locations and in extreme conditions? CG: We did a dailies organized pull of all the cameras into individual folders marked with the date, camera type and camera operator. Since it was a largely volunteer crew, we had close to 20 DPs over the three year project. We actually used Adobe Lightroom to ingest all the footage initially. I come from a still photography background and am very comfortable in Lightroom, and it was the easiest ingest. That in combination with Bridge, allowed us to open up the footage in Premier. I had the
great luck of having Karl Swingle, who has shot and edited over a dozen documentaries for National Geographic Society and other back country productions. He was used to Avid, but quickly picked up Premier, which allowed him to focus on story, not ingesting and transcoding. We ended up with 7TB of footage after all the shooting, and we evolved each year as the camera technology evolved, shooting in 4K in the final season. We edited in Premier, which was nice since we had a cornucopia of different cameras. Robbie Carmen did the final color and used Blackmagic Design’s DaVinci Resolve. The big challenge for him was all the different types of footage from all the different cameras – I think we had nine total camera types and ingest formats, but Resolve handled them with no problem. Robbie did an amazing job grading and getting all that smoothed out. A lot of the shots were run and gun chase cam, so sometimes the auto iris was left on, and he had to grade out some of the stepping from auto iris. Add to that the snow, mountains, trees and changing weather conditions, so we pretty much had the worst lighting conditions. Robbie really did a great job when it came to finessing the footage. Once we started distributing and doing the film festival circuit, we used Blackmagic Design’s HyperDeck Shuttle. Even while I was running around, I would always have a HyperDeck Shuttle and HDI cable that I could just plug in and stream ProRes directly as a demo for someone.
With the HyperDeck’s SDI out, we could run it into everything, all the way up to a Christie. It was amazingly convenient, and it was more reliable. Some film festivals just want DVDs, but we put so much into the visual quality of the film that we wanted to use the HyperDeck Shuttle as our VCR. ISM: Why did you choose to use Blackmagic DaVinci for coloring of “Snow Guardians”? CG: I had been trained years ago on DaVinci, and even though I’ve used other systems, it’s the tool I keep coming back to. I grade a lot of projects every year, and the DaVinci Resolve toolset provides me with everything that I need to work fast and realize my client’s creative goals. Features like node based grading, Power Windows, and the tracker and its sophisticated grade management allow me to focus on the art of grading rather than just pushing buttons. ISM: Explain any difficulties you encountered while in post-production, and how DaVinci helped overcome them? CG: Like many indie projects, time and money are always tight, so we had to move quickly doing tasks like matching a plethora of various camera formats, fixing sometimes severe auto iris stepping and other technical issues. I think though, the most challenging part of this film was getting the snow right. Snow, like grass, is a memory color, but unlike something like grass, snow really changes in
the light it’s shown in, so getting that more consistent, but also true to the actual scene was also a challenge. DaVinci Resolve helped a lot with all of these issues, from its powerful primary and secondary grading
tools, to the ability to quickly keyframe corrections and its powerful shot to shot comparison tools, we were able to move quickly through the film and be on budget. ISM: Any advice you can give to aspiring colorists? CG: I can give three pieces of advice to aspiring colorists that were given to me. First, always be nice, and while you’re the artist, your clients have great ideas too! So, be open to true collaboration when it comes to the look of a project, and when you do, great things happen. Secondly, it pays in the literal sense to be knowledgeable about the newest cameras and workflows, but also things like lighting techniques. Third, be inspired and develop your own atheistic by studying films and TV shows, but also photography and art of all forms. You’ll be amazed how you can find inspiration in how others shape light and color. www.theindiesource.com
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Cont. from pg. 10 The Lie...
Cont. from pg. 14 True Purpose...
Cont. from pg. 34 Girl Power
Unfortunately, it’s difficult to decipher the difference between a “Maybe” that means “No” and a “Maybe” that means “Maybe.” The best thing to do is to follow up after an appropriate amount of time, typically two weeks.
throughout your film community can be achieved by allowing your community to.
interested in making sure black people know I’m down [Laughs]. It was the sixties and I sang at black assemblies, so I grew up thinking white was the minority. I was excited to write for Steve Harvey. ISM: You are very outspoken and upfront, do you believe those traits come out in some of the characters you write? JS: Yes, I definitely try to use some of the characters I write to project some of my political or feminist opinions.
The third kind of “Maybe” is: Let’s move this up the chain. Examples: •
“Let’s get Matt Damon (or other Big Star) on the line right now.”
•
“Come meet my boss.”
This is a hopeful sign. It means that if the star, director, or higher-level executive is interested, then this could quickly turn into a “Yes.”
Create their own perks. This recently shook the film community as a “Name Your Perk” Party hosted by talented folks behind Indiegogo’s most funded film campaign to date –– Shemar Moore’s The Bounce Back. For a limited time, and as a video chat that anyone could participate in, Shemar and his team opened the floor to their funders, followers, and film lovers and invited suggestions and price points for perks that the crowd wanted. This shot The
“Yes” Means Things Are About To Move Fast “Yes” sounds like this: •
“I’m going to have Business Affairs call your agent.”
•
“We’re going to make an offer. Wait by your phone.”
•
“I’d like to option this for [$$$].”
• Remember, a great piece of material, a great pitch, a great writer— these are all very rare commodities. If a decision-maker believes that your work is that valuable, he or she is going to move quickly to sign you, buy your material, or otherwise bring you on board. Any other ways you’ve heard “No,” “Maybe,” or “Yes”? Let me know in the comments.
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Bounce Back far beyond its goal of $500,000. Now, will all of these methods of creative participation necessarily convert Facebook “Likes” and retweets into dollars and cents? No. But it’s like I mentioned earlier –– if you’re crowdfunding to try and raise money, you’re doing it wrong. Seek first to raise your community’s interest and active participation in your project through engagement in a crowdfunding experience, and the funding will more naturally follow.
ISM: In your 2006 book “Tiny Ladies in Shiny Pants” you are very open about drug use. Do you feel it’s paramount to be honest in all areas of your life with your audience and fans? JS: I usually find the more honest and specific you write the more it resonates with a large group of people. I usually go that extra mile to say something shameful or embarrassing, because I ultimately think users are looking to reflect when they are reading or watching TV. Everyone has their little secrets and it hits deeper and harder when it reflects on true feelings and how hard it is to be human. ISM: Also in the book, you appear to have a love/hate relationship with agents, is this true? JS: I have an agent I love right now, so it’s just love/love [Laughs].
ISM: Recently you have ventured into directing feature films. Why did you want to take on this new challenge? JS: I just wanted to try what seemed the most impossible or the hardest thing. I had achieved everything I wanted in television. Bigger names from the movie
world are coming in taking on the big projects in the TV world, so I felt it was time to venture into the movie world. I like to take risks and try things that feel impossible, and making a movie felt impossible. ISM: How would an aspiring writer approach you for a possible mentorship? JS: I generally can’t do that stuff anymore because I’m so busy, but there are so many programs out there that can do that. “Writegirl” is one that is really good. ISM: Why do you believe Hollywood is so scared to let a female writer and/or director have a hundred million plus tent pole? JS: I think people are just really used to men directing those movies and they want to feel like their money is safe. They do the things that they have done in the past with the same directors. I don’t really watch those types of movies. ISM: Any upcoming projects you would like to tell us about? JS: Yes, I’m working on a television project for Amazon called “Transparent”. It is about a Los Angeles family with some secrets. It has Jeffrey Tambor and Gaby Hoffmann in it and will be available sometime in late January.
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FROM RUNNERS TO DIRECTORS, WE’VE GOT THE JOB FOR YOU! www.theindiesource.com
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