Posts Tagged ‘feature film’

Serial Killer Culture Is An Intriguing Dark Film

April 16th, 2014

Serial Killer Culture

I recently had the opportunity to interview John Borowski, who’s the creator of “Serial Killer Culture.”

1. What is Serial Killer Culture?

Serial Killer Culture is a feature documentary film which examines the reasons why artists and collectors are fascinated by serial killers. Through music, painting, filmmaking, writing, and collecting, I interviewed thirteen individuals about creating art and searching for murderous artifacts.

2. What’s the story behind your wanting to develop “Serial Killer Culture” into a feature documentary film?

Through making films on serial killer HH Holmes, Albert Fish and Carl Panzram, I met many individuals that were involved in the culture of crime. When I realized that there were other artists creating art on serial killers, as I was doing, I thought it would be an interesting concept to highlight artists and collectors involved in the serial killer culture. I began interviewing these people as I was finishing up work on my film on Carl Panzram.

3. Who was involved with the project, and how did you attract those individuals to join you on your journey? Was it challenging to get people’s involvement for the interviews, and how did you initially decide who you wanted to be featured in your film?

The artists and collectors featured in Serial Killer Culture are: Joe Coleman- Collector and Artist, Macabre- Murder Metal Band, Rick Staton- Collector, Hart Fisher- Publisher of the Dahmer Comic Book, Joe Hiles- Founder of Serial Killer Central, The Dahmer Tours, Sam Hane- U.K. Artist, Stephen Giannangello- Author and Criminal Investigator, Sparzanza- Swedish Metal Band, Matthew Aaron- Owner of the Last Dime Museum, John Borowski- Filmmaker, David Van Gough- Painter/Artist of the Man/Son series, and true crime musicians The World Famous Crawlspace Brothers. Some of the artists I have known for some time, others I was introduced to by Joe Hiles. It was my intention to have a well rounded group of interviewees who were as interesting as the art they create and the items which they collect. There were more artists and collectors I was interested in profiling in the film but ultimately I did not have the budget to include them. The great aspect of the arts being involved in my film is that they receive exposure as well, so it is mutually beneficial.

4. What are the core goals for the film?

To expose audiences to artists and collectors which they may have been unaware of before viewing the film.

5. What were the biggest project challenges and struggles?

One of the big disappointments was not being able to film several items at the National Crime Museum in Washington DC. The museum agreed to be interviewed but I wanted to film John Wayne Gacy’s Pogo and Patches clown outfits as well as Ted Bundy’s VW, which are on display at the museum. These items are privately owned by Jonathan Davis, the lead vocalist in the rock music band Korn. Jonathan Davis refused to allow me to film the items with no reason given. That was a bit of a let down because I felt that a national crime museum would validate the historical importance of documenting the serial killer/true crime culture.

6. Do you have any tips or insights for producing a film?

Make sure your lighting and sound are the best they can be, especially the sound because bad audio can ruin a film.

7. When can we buy and watch Serial Killer Culture, and what can viewers expect when they watch it?

Serial Killer culture is available now via streaming on Filmbinder and DVD’s can be purchased at the official film site: Viewers can expect to be taken on a journey filled with art, culture, murderous collectables, and a historical insight into the culture of serial killers and true crime.

We thank John for his insightful answers for filmmakers to learn from! We also wish him all the best going forward.

Enjoy this interview?! Great! Then subscribe to our blog via email as we will be doing more of these fun interviews in the future with other amazingly talented video creators, filmmakers, actors, writers, directors, animators, and producers.

And if you are a web series, TV, short film or feature film creator or producer and want your story and content featured here, then reach out to us and lets discuss.

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Help Fund This Amazing Film Project: Sunny in the Dark

April 4th, 2014

Sunny in the Dark

I recently had the opportunity to interview Courtney Ware, who’s the Director of the soon to be shot feature film “Sunny in the Dark.” This is a unique character film about a reclusive family therapist who moves into a new loft, only to find that a girl – Sunny – has moved into the dark crawlspace above him. She lives in his space when he leaves for work, careful to leave no trace of her existence.

1. How did the story for “Sunny in the Dark” come to be, and why is it an important one that needs to be told through film?

One of the themes of the film is what it means to be known. The writer, Mike Maden and I have spoken numerous times about the many things that went into writing the script, but perhaps the most poignant to me is this idea of two people living in the same space who don’t know each other. The parallel between these characters – one having no idea the other is even there – and many of our own relationships is something I love about the story. We all hide from each other. This script explores those themes in an incredibly visual and unique way.

2. Who are the core team members behind the project?

The film is directed by myself (Courtney Ware), and produced by Meredith Burke, Shanda Munson, and Russ Pond. It was written by Mike Maden.

3. What are the main goals for the film?

One thing that really drew me to the script was that I felt like it was a movie I hadn’t ever seen before. My hope – outside of getting the film finished of course – is that audiences would connect with characters they never expected to.

4. Shooting begins next month, have all the locations been selected, and is all the cast and crew in place yet?

We have a huge chunk of everything nailed down – but as always, there is much left to be done!

5. What have been the biggest project challenges and struggles to date?

One of the biggest struggles has been getting the film funded. That’s a fairly common problem for small independent dramas with no explosions. But it has been the thing that has kept us from moving forward with the film for almost 5 years.

6. There’s an Indiegogo campaign in place to help collaboratively fund this project, why should people donate and what’s in it for them?

The best thing about crowd funding is that it gives people a chance to support the types of projects that they are interested in seeing come to life. We’ve got something really cool going with this campaign. We only have one perk – the film. When you donate at least 10 bucks to help us get our film made, you get a copy of the film. Straight forward and easy!

7. This project has been in the works for a few years now, how important is patience and belief when it comes to large projects?

In my opinion, patience and persistence is a huge asset when it comes to the timing of getting your project off the ground. And sometimes, deadlines help too. Ha! With this project, our option running out became a huge force in getting our film made. We suddenly were dealing with the fact that other offers on the script were coming in. I just couldn’t see it made by anyone else’s hands. So we pulled everything we could and jumped into making the film happen – and making it happen now.

8. Assuming this film gets successfully produced, what’s the distribution strategy upon its completion?

That’s one of the things I’m most excited about with our project and the timing of when we’re producing it. The opportunities for distribution are being blown wide open. The typical strategies of “festival run – theatrical – VOD – home” is no longer valid. The new structures in self distribution is incredibly exciting. We definitely plan and hope to bring the film to the festival circuit, but beyond that is really open and exciting.

9. Do you have any tips or insights for getting a feature film project off the ground?

My biggest advice would be this: Go do something. Go make your film – in what ever means necessary. Go write a script. Go cast your lead actor. People follow people of action – no one will ever hand you a million dollar check out of nowhere. Don’t wait for them to either. Tell your story.

10 Where can we learn more about Sunny in the Dark, and where can we go to donate to this incredible project?

The easiest place to find out about the film and keep track with updates is on our Facebook page. You can also find and check out our IGG campaign!

Sunny in the Dark 1

We thank Courtney for her insightful answers for filmmakers to learn from! We also wish her and her team all the best with their film and journey going forward. Bonus: If you donate $10 or more to this wonderful project, we will thank and send you some Spidvid stickers, just send us your mailing address!

Enjoy this interview?! Great! Then subscribe to our blog via email as we will be doing more of these fun interviews in the future with other amazingly talented video creators, filmmakers, actors, writers, directors, animators, and producers.

And if you are a web series, TV, short film or feature film creator or producer and want your story and content featured here, then reach out to us and lets discuss.

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Film Production Made Easier With The Takes

February 19th, 2014

The Takes

I recently had the opportunity to interview Alex who’s the founder of The Takes. The Takes is an online project management, communications, and scheduling tool for film and TV productions. Our interesting Q and A is below.

1. Where did the name “TheTakes” originate from?

We wanted to give the system a short and simple name that any filmmaker can easily remember. From our experience so far, “The Takes” is easy to memorize and spell without errors.

2. Why was this product built, and how long did it take to build?

Film production tasks are hard to manage. There are hundreds of people on the set, changes happen very frequently, and costs of mistakes are very high. By the time we started, there were no modern tools on the market. Even major Hollywood studios use outdated software, poorly integrated with each other. And as we’ve built great web services before, we decided to make one for film production management. It took more than 2 years to build.

Our idea is to take the best practices the IT industry can offer and bring them to the filmmaking. We wanted the crew to spend more time creating a movie and less time managing routine tasks.

3. Can The Takes work in collaboration with other pre-production products on the market?

It is already a one-stop shop, that covers most stages of pre-production, production, and works for every crew member. You can import a screenplay from Celtx, Final Draft, and Fountain formats. Also, you can export your content library to MovieMagic Budgeting, although we’re going to add a budgeting feature into TheTakes in near future.

4. Are there any cool success stories to share as a result of your users leveraging TheTakes for their projects?

With Russian origins; we have a big portfolio of Russian made feature films, shorts, TV shows and music videos. One of them, our favourite, “The Meeting” will hit the big screen this month. In the US, India, Germany, and Ukraine we had projects shot by smaller indie filmmakers, all of them are excited with this tool, and we’re working hard to get into these markets.

5. How does your team attract new users to initially use, and continue to use your product over time?

Direct sales is the most important channel right now. As the tool is quite new, filmmakers want to have someone to talk to, and provide a helping hand when needed. We also try online advertising on production related sites, social networks. TheTakes’s blog has become an important filmmaking resource on Twitter and Facebook. We’ve established relationships with several film schools in Europe and the US. Our system is free for all film school projects.

6. Are there any plans to develop and design mobile apps?

Of course, together with the budgeting, native mobile apps are our top priority.

7. What does the future hold for The Takes?

Our plans are huge. We want to become an industry standard tool for film and TV production. Sooner or later Gmail and standalone app workflow will sink into an oblivion, with cloud based project management taking its place.

8. Has your team raised angel or VC money yet?

We’ve raised money from private investors previously, and are interested in industry related investments now, from people who can help with their expertise, connections and views, in addition to the money.

9. Where can a new user go and sign up to use TheTakes?

We offer a 30 days free trial and additional 30 days money-back guarantee after that. Click a “Try it out” button on the website, or go directly here to create an account. Happy filming!

We thank Alex for taking the time to explain his company’s product with us, and wish him and his team all the best going forward!

If you have a useful video production product or service you want to share here on our blog, then reach out to us and let’s discuss.

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An Inside Look At The Feature Film Solomon Grundy

October 23rd, 2013

Solomon Grundy

I recently had the opportunity to interview Mattson Tomlin who’s an immensely talented, up and coming Los Angeles-based filmmaker behind the film, Solomon Grundy. I am a proud backer of the film project. I got to watch the film earlier this month and was really amazed how well the film turned out given its story complexity and attention to detail.

Read what Mattson had to say in our interesting Q and A below, there is lots to be learned from his experience.

1. What’s the story behind you wanting to develop “Solomon Grundy” into a film?

The story of how this film came to be born is a long and arduous one. When I was turning eighteen, I was really into old nursery rhymes, which is a strange kind of thing to say. I realized that all of these 5-20 line poems established colorful worlds, tones and characters masterfully and that really got me excited for some reason. I remembered the nursery rhyme by James Orchard Halliwell called Solomon Grundy and thought that it captured the struggle of living really beautifully. It kind of ballooned from there with these other ideas that I was very into imaginary friends and the hauntings of childhood that follow you into adulthood.

What really started the project was a seven minute short film I did in 2009 that got a few thousand hits a week or two after it was put on YouTube. That doesn’t sound like much, but for me at the time, it showed me that this little nursery rhyme and the colorful characters I saw coming out of it had an audience. Those thousands of hits on YouTube kind of gave me the courage (or stupidity) to say “Okay, this should be a feature.”

2. Who was involved with the project?

This project had a really chaotic journey, and there have been a lot of really, really talented and dedicated people who contributed to it. I have to give a lot of credit to the film’s composer, Pick Bickmore. Other than myself, he’s the only person who has been tied to the production in a really tangible “pick up the phone and get something done today” kind of way from the beginning in 2009 until a few weeks ago when we released.

When we shot in the summer of 2010, I was just turning 20 years old and the crew for production consisted pretty much exclusively of my really talented classmates at the SUNY Purchase Film Conservatory. I was the first one in the class to do a feature and everyone was extremely generous and excited at the prospect of someone taking such a big jump into the deep end. I think they wanted to see if I was jumping head first. Everyone worked for free and worked a really scattered schedule from July to December of 2010. We wrapped two days before Christmas.

After the film was wrapped, it kind of went into hibernation because I went directly into production on a really ambitious short film called Dream Lover. By the time I seriously went back to Grundy, a lot of the people who worked on it had moved onto other films of their own and we had lost all of the momentum to complete the film. I graduated from SUNY Purchase and went directly to the American Film Institute, which is where I’m finishing up now. I managed to find time to finish the movie with Pick, as well as my good friend and constant collaborator, Mike Pappa, who did some really stunning visual effects for the movie.

Throughout all of it, really tangible legitimacy and support came from Henry Fernaine who produced the film under his company Bedouin Features. Henry really served as an advisor and a godfather to the project and was always there to lend credibility to my student film when I needed it. It always helps to be able to say ‘from the producer of Revolutionary Road,’ so in a way, it feels like there were two or three crews at different stages of Grundy’s life.

3. How did you attract quality individuals to join your team on your filmmaking journey?

Passion, passion, passion. It’s really like lighter fluid, that stuff. Henry was willing to be the mountain of support because he saw this 19-year-old kid who just wanted to make a movie that felt really different and cool. I think it’s safe to say he really wanted to help foster that passion and point it in the right direction.

The crew worked for free, the cast worked for free, some people put two to three years of their life on this. It was a passion project for us all. People want to be excited. They want to believe in something and the rush you get when you have a dozen people running around a city with cameras at 3 am and you’re nowhere near your home, it’s unlike anything.

Mike Pappa, who has been my production designer on two subsequent films, I met after Grundy was shot and asked him to do the visual effects. This was nearly three years after I shot the film, and he had some questions before he agreed to do it. He said something to the effect of “this is an old movie for you, isn’t it kind of below where you’re at now?” My response was “well yeah, but it’s like my child and I love it, and think about how much cooler it will be when you get your hands on it.” I don’t think Mike would have agreed to put the hundreds of hours of effort he put into it if I had been lukewarm about it.

4. What are the core goals for the film?

I’m not entirely sure how to put that into words. I think when I was 19 and first making the movie, I would have said something about getting into Sundance and starting my career. I’m 23 now, and though that’s not very old, there’s wisdom that comes from having to carry a film for four years when you’re developing so many of your skills. I think the retroactive goal for the film now is that I really went off the deep end with experimenting in the editing and cinematography, when I watch this movie it just simply doesn’t feel like other movies I’ve seen. It was such a beautiful and difficult learning process. I made a lot of mistakes in this film and there’s a lot I would love to approach in a completely altered way but I’m only where I am now because of what I did before.

If it’s more a question about the film itself, I hope it gets you thinking. It’s a narrative film but very experimental in its storytelling and doesn’t spell everything out for you. Kind of like the poem, you have to take a step back from it and ask “what does that mean about life, what is he really saying there?” I hope that Halliwell and I are in alignment with that at least.

5. You successfully raised funding for your film on Kickstarter. How did that process go, and what did you learn about the crowdfunding model that you didn’t know until late in the campaign, or perhaps after it was complete?

My Kickstarting was a really blessed venture. I was really early in on the Kickstarter bubble, I believe one of their staffers told me at one point I was one of their first few hundred, and at the time, twelve grand ($12,000) was a lot of weight on Kickstarter.

My whole approach was to try to avoid the horse shit. I can’t say it any other way. I just kind of had to go out there and say “hey! I’m 19 and I have this awesome idea and I can’t sleep unless I do it and wouldn’t it be awesome if you helped me and gave me ten thousand dollars?” There’s something about that kind of honesty coming from this precocious teenager that I think really got strangers enthusiastic. I didn’t approach it through a contrived pretense of professionalism that a lot of people try to do because I would have been laughed out of the room.

6. What were the biggest project challenges and struggles to overcome?

The biggest challenge was a lack of know-how and a certain degree of winging it that ended up adding years to the production. Just through the necessity of having to break from production in order to shoot another short for school– by the time I returned for the first leg of post-production on Grundy, everyone had scattered and gone onto other things. I was used to cutting short films and having the whole process go 1-3 months from pre-production through completion. It never occurred to me with something the scale of Grundy that there would have to be a team assembled for post the same way that there was for production. I had a lot to learn.

7. How did your team collaboratively manage the project work flow?

With a lot of hiccups. That was the biggest learning process of all. I hadn’t learned how to delegate. I hadn’t learned how to effectively set boundaries and expectations that were very clear. I think it’s really important that each member of your team knows exactly what they are there to do, particularly when you’re working low budget and not paying anyone. The passion and enthusiasm is what will get the machine working but to keep it well-oiled and happy, being honest is always the best way to be.

I’ll be honest, this movie helped me make a lot of friendships and broke a few along the way. I think that particularly on such a guerrilla level, it’s easy for people to feel walked on. I had to learn some really hard lessons with friends that had gone in with guns blazing and walked out feeling under appreciated.

There’s this great quote comparing being a writer and a director. A writer can pick up a pen and write a line of description with one hand. For a director, that pencil weighs ten thousand pounds and is being controlled by fifty people. I think there’s a lot of truth to that, and you have to learn how to get everyone on the same page and to really be a leader. This movie was my crash course for learning those skills and I am lucky that everyone who was a part of it still speaks to me.

8. Do you have any tips and/or insights for effectively green lighting a film project?

I think that if you’re going off to make your short or your feature or whatever, find the two or three people who are going to be on your side no matter what. Find the people who are going to protect you from yourself when you want to cut out all of the dialogue in the movie or make the last act black and white. Find the people who are going to keep you level headed and understand your process and moods.

From there, it’s just a matter of choosing a project that you can stand the sight of for potentially year after year. When you’re on the independent level, there are no studios and no investors holding you to a delivery date. You could literally sit on a movie forever. I am passionate about Solomon Grundy (and anyone who knows the production knows that I love him as much as I hate him) and I would be ready to sit on him and keep kneading the material for more years if that’s what it took. Green light what you have the mettle to finish is the best insight I can give because you’re expected to hold yourself to your own standards, no one else is going to do it for you.

9. I have a copy of your film since I was a proud backer of your project, but can the public rent or buy your film yet to watch it for themselves?

Neville Archambault, the big guy who plays Solomon Grundy, was in this television show of the 90s called Acapulco Bay. It was on Mexican daytime television and it’s just great. He spent about a decade living in Mexico and thus, has a huge following coming out of Mexico. He’s got dozens of people hitting him up each week asking for Grundy with Spanish subtitles or a dub. There’s been enough demand for it, so right now I’m working on the subtitles and a new set of DVDs will be made available around Christmas.

At this point I’m in a unique place for experimenting with self-distribution. There’s a humble following to the movie that has suddenly ballooned from the initial Kickstarter release, and frankly, I made the movie to be seen, and I don’t think the general audience seeks out film festivals unless they are there to see a specific movie. While I would love to screen it with a packed audience in a theater, it’s a film that is tailored to more intimate settings. The short answer–keep plugged into our Facebook page and wait for the announcement in the next few weeks.

10. Any parting shots, do you have anything else to add?

Just a shameless plug. I’m at the American Film Institute now and am shooting my thesis film this January. I’m doing a little film for $60,000 and am raising the money for it as we speak. It’s called PERSUASION and I think it’s the most exciting thing I’ve worked on to date. It feels like a completely different kind of beast and as much as I would love for people to donate to it, I’m just as interested in the audiences’ engagement. I really want people to follow the process of getting the movie made, so at the very least, “Like” our Facebook page because I’ll be on there a lot trying to be as forthcoming as I can be about what making a movie with that kind of budget really is and I would love for you to come along for the ride.

We thank Mattson for his very genuine and insightful answers for filmmakers to learn from! We also wish him and his projects all the best going forward.

Enjoy this interview?! Great! Then subscribe to our blog via email as we will be doing more of these fun interviews in the future with other amazingly talented video creators, filmmakers, actors, writers, directors, animators and producers from our members on Spidvid.

And if you are a web series, TV, short film or feature film creator or producer and want your story and content featured here, then reach out to us and lets discuss.

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BEREAVE Is a Film That Deserves To Get Produced

September 17th, 2013

BEREAVE feature film

I recently had the opportunity to interview Evangelos and George Giovanis, the sensational filmmaking brothers who are the creators and screenwriters behind the feature film now in development entitled, “BEREAVE” which has already raised almost $40K on Kickstarter. The film’s story is about a fatally ill gentleman named Garvey who thinks he has figured out how to die. But when his beloved wife Evelyn goes missing, he must live to save her.

Read what the bros had to say in our interesting Q and A below, and give generously to their funding campaign so this intriguing film can reach its goal of $100K, and get made for the world to enjoy!

1. What’s the story behind your team wanting to develop “BEREAVE” into a feature film?

BEREAVE was written in 2007, and it was always intended to be a feature length film. Inspired by the death of a family friend, I started writing to deal with the thoughts that were invading my mind at the time. We hope to tell a touching story about an older, married man struggling with his mortality. Fatally ill and unable to reveal this secret to his family, Garvey (to be played by Malcolm McDowell) thinks he has figured out how to die alone. Suffering the mortal fears, Garvey’s behavior becomes erratic. But when his beloved wife Evelyn goes missing on their anniversary, he must live to save her! In that short time, Garvey realizes what life still has to offer and in following his journey; we do too.

In emails, in telephone calls and in face to face conversations, people that have read the script have told me that it touched them so deeply that they could only describe it as cathartic. They have all wished me to get it on the screen. Financing is difficult for such a character driven piece, so we are looking to the crowd to become the producers.

2. Who is involved with the project?

Our cast is truly our strongest asset and we are extremely fortunate they believe in our script so strongly: The legendary Malcolm McDowell (A Clockwork Orange, The Artist) is attached to play GARVEY. The beautiful and talented Neve Campbell (Scream, Wild Things) is attached to play his daughter PENELOPE, and the charismatic JJ Feild (Captain America, Centurion) is attached to play STEVE his son. The BEREAVE team expects at least one more notable and recognizable star to join our cast.

Behind the scenes we have a very competent team involved with the film project, some of whom have premiered at the Sundance and Venice film festivals with their previous films. We are in talks with several established cinematographers, composers and other crew. We have an LOI from a post production company that has worked on Oscar Winning films and wish to provide us with services in exchange for equity – as they love our script. We also have a deal in place for equipment rentals, all we need is the budget!

3. You have some notable talent involved with your film including Malcolm McDowell and Neve Campbell, how did you successfully attract those elite actors and others to join your team?

As of the moment, the Giovanis brothers do not have a manager/talent agent, so it is extremely difficult to reach people ie. actors/producers. However, we are firm believers in ourselves, our resolve and our script – we feel, with the help of the crowd, we will overcome the usual obstacles all filmmakers face on a daily basis in the toil and struggle that is fund raising.

A mutual friend who had worked with Malcolm in the past introduced us. All of us felt he would be the perfect GARVEY. Malcolm read our script and fell in love with it. He signed on after reading it and we are all eager to make this film. Malcolm passed the script along to Neve & JJ and they too loved it :) Again, we are extremely fortunate to have such notable talent attached to our “little jewel of a movie” as Malcolm describes it.

4. What are the core goals for the film?

The core goals of the film are many, but the biggest one is to make it! If we manage to raise the funds via Kickstarter, we intend to make our film and submit to top tier festivals and hope for at least a platform release of 15 cities minimum. We are in talks with 4 distribution companies that have expressed interest in our script and we await their responses for possible sales estimates, potential pre-sales and possible representation. Who knows, maybe we’ll win an Oscar :) Completing and distributing a film such as this, will allow our careers to grow and will allow us to continue making film. My brother and I have proudly been working hard at this goal for over 12 years now. We have invested our life savings, our time, and some of our sanity into it all!

5. Over $37,000 has already been raised for your Kickstarter campaign to fund the development of this film. How can people help you’s reach your $100,000 funding goal, and what kinds of awesome rewards are being offered to contribute?

The BEREAVE campaign has just 17 days left to raise $100,000. Backers are rewarded with gestures of goodwill such as a digital download of the completed film, roles in the film, advanced film screenings, day passes on set, props from the set, dinner with Malcolm McDowell, voicemails, videos and more awesome perks!

By visiting the campaign home page here, potential contributors can check out the interesting pitch video and learn more about this project.

Thus far (up to September 9th, since that’s when we did this Q and A) the campaign has sold 2 Dinner Perks valued at $1,850 (an elaborate dinner with Malcolm McDowell, along with tickets to the premiere & other gifts), 2 Actor/Associate Producer Perks valued at $7,000 (an opportunity to have a speaking role in the film, along with tickets to the premiere & other gifts) and several other smaller perks. One dinner guest is flying all the way from England to dine with us! We need to make sure the food is delicious.

Fans of Malcolm McDowell, Neve Campbell and JJ Field are encouraged to pledge directly via our link and also help by spreading the word. Sharing on FB pages, Twitter and all other social media networking methods available to the good folks reading this will help alert the public of our campaign. If you donate, tell your friends about it – as it is much more organic that way. Also remember, if we don’t hit our $100K goal, you get your money back and if we do get funded (hopefully) we are making the film! So it’s a win/win if people are just willing to pitch in. We have faith in the crowd.

6. What have been the biggest project challenges and struggles to date?

I discuss some of the greatest challenges directly on the page. Not in great detail because I try to stay positive. There have been so many struggles… try to imagine 6 years worth of struggle, where every few months something goes awry! We have been on the brink, metaphorical “inches” away from the set, (3 times in the last 6 years to be exact) – but somehow our plans and hopes unravelled the last second. It can be severely exhausting and not for the weak of heart. They say ulcers are cured by tears or is it milk? Lol. I’m not sure, but it has been a struggle. Too long to list here and we might have to invent the technology and bring back Homer to tell this story! We try to look forward. Learn from the past, but look forward and try to protect hope. Hope is fragile, hope is like a tiny flame you try to ignite out of fallen, wooden twigs in the wilderness – under threatening storm clouds… that’s how it is. But we go on.

7. How does your team collaboratively manage the project work flow?

Lol, forgive me for laughing. As far as the Kickstarter campaign is concerned, we are a one man army. My brother is working as a boxing/Muay Thai instructor at XTC gym in Eagle Rock, CA and supports me right now; that’s how we are, love each other and stick together. I help out training the fighters too on Sundays. One of our fighters Alexander “The Great” Enriquez didn’t know how to throw a jab last year. This year he sits at 9W-2L and is So Cal champion and Adidas National Champion in his novice, amateur career. We move onto the open division with lot’s of expectations and pride.

So I primarily push the campaign. I wake up in the morning, eat a little something and basically live on the computer for 15 hours. So I don’t go crazy, I eat a little something again and I go for a 2 mile walk to feel the sun on my skin somewhere in the day. I do have friends though who have promised to get the word out and are trying via their social networks, but they have busy and hectic lives as well. So it’s a Herculean, Gorilla, Spartan mix by DJ Giovanis brothers hahahahaha.

8. Do you have any tips or insights for effectively green lighting a feature film?

We’ve made 3 films so far. But, up till now, we have self-financed all our films. My brother and I try to save up, and in the past have opened small restaurants (with the help of our parents THANKS mom & dad!) and we work them, try to save and sell them. We then pour/invest the money into the arts. So you can understand, that is a dangerous path with extremely high risk to the security and comfort of one’s future; but well worth it in my opinion. If one succeeds, that’s the goal. At worst we have a story to tell when we are old and sleep easy at night knowing we’re trying; let’s call it a dream.

If I had to give advice? I recommend doing your own film first, even a short. Build your resume/calling card, then after that, take your best script and approach producers. Once you do, hope and pray to meet a producer who understands your vision. But, attaching a quality actor(s) can certainly boost your odds. People take you very seriously once they realize you have actors who believe in your vision.

Most importantly, if you are going to make it, learn to deal with rejections. Try to convert the negative into something else. Always easier said than done, but doable!

9. When does the shooting of BEREAVE begin, and when can we get an early glimpse at a teaser or trailer?

We hope to be shooting in November. But, we can’t secure or lock down dates without budget in place. It just wouldn’t be reasonable or fair to ask our actors to commit to dates (they are committed to the film) until budget is in place. That’s proper etiquette. So once our Kickstarter campaign ends on October 5th (hopefully funded!) we lock the dates and immediately go into pre-production. Oh what a day!

Thank you to Jeremy and his team at Spidvid for taking the time to support us, the arts and our dream to make a film. You are awesome. Much love from the BEREAVE campaign and the Giovanis brothers.

We sincerely thank the Giovanis brothers for their genuine and insightful answers for filmmakers to learn from! We also wish them and their team all the best with BEREAVE going forward.

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