In the interview, Wysocki and I talk about being the architect of a film that can be made without depending on extensive financing or support from others, and what the tipping point is to finally kick that into gear. He also gets into the realization of how much a filmmaker will be “living with their film” and how much that determines the film you choose to make.
In the interview (which follows a few interviews I have done with Lanie for various outlets as the film has screened at the Bentonville Film Festival, the Harlem International Film Festival, and now NIFF, among others), we talk about how the script for the film found its way to Zipoy, and why the story stuck with her and infiltrated her dreams to the point she needed to make the film. We discuss the director/writer working relationship on an indie film – at least on this one, as well as Jason Biggs’ involvement in the film and participation beyond just playing a role to being a more supportive asset than just being a top lining star.
In the interview, Gu and I talk about her experience doing the COVID virtual film festival tour and the bittersweet nature of it all. We also discuss the protective nature of film festival programmers toward their filmmakers, my usual rant about filmmakers not delivering good production stills to promote their films, how much the virtual application has affected the connection to other filmmakers and ability to maybe work with them in the future. We finish with a “Thumbs up/Thumbs down” assessment of different donuts.
In the interview, I talk to Black and Petersen about the development process and filming process and how they divided up those responsibilities (since they co-directed, co-wrote, co-produced, co-starred, and co-damn near did everything on the film), and how they would work through “crises” like having their grip truck stuck in the sand. They talk about sensing when they were on or off performance-wise, and the support they had beyond that – on a micro-budgeted production.
Brian Owens: The swing to ticket bundles, away from single tickets, was pretty incredible. That formed the vast majority of our box office revenue this year. We lowered the cost and set the overall price of tickets to be the same whether you were in the cinema or viewing at home. It made the bundles even more flexible and adaptable in case further in-cinema restrictions were rolled out. More people saw multiple films, and new audiences dove right in without being concerned over a cancellation or postponement.
Vasquez and DiGiorgio said, “We took on the challenge to do a virtual presentation and the combination of our Billy the Kid Film Festival with Justina Walford and the Women Texas Film Festival actually confirmed that we were on the right track in creating this film festival just two years ago. It was clear – even in the virtual space – how special and unique Texas film is and how much our local Hico and Hill Country community enjoys and supports the work of those filmmakers. The fact that we could also make a dedicated effort to support and put forward the work of some wonderful women filmmakers and talent also made for a wonderful weekend.”
In the interview, I talk to Dean about his relationship with director Nathan Willis and what his role as producer entailed on RAP SQUAD. We also discuss the insecurity regarding their own insight and perspective that led to a desire by Dean and Willis, who are white, to find a black editor to work on the film. We also talk about ensuring that you don’t manufacture good guys versus bad guys who aren’t really there.
In the interview, I talk to Chen about how she found her subjects and gained their trust and willingness to participate in her film, as well as her approach with her subjects in terms of challenging them on camera when they would make erroneous statements about policy. We also talk about her filmmakers’ focus on getting the shot and the sound, even as an interview subject is propping up an AK-47 on a wall next to herself during an interview like it was a rake or something.
In the interview, Rios and I talk about the film being an “act of resistance”, as well as how the film also lends some insight into what is happening in this country at this very moment. We also talk about Rios’ relationship with the two main subjects, how that managed within the considerations of her own politics versus theirs, and how she approached filmmaking while hiding her own anger over the political machinations at that time.
In the interview, Dufton and I talk about the challenges in capturing what she needed for the film and managing that relationship throughout the filing process. We also discuss filming and moviemaking in extreme environments to not just get footage but to get it as safely as possible, as well as the tenuous nature of directing by webcam.
