Indy Film News Creates a Haven for Indiana's Independent Filmmakers

In the past, I had been a little familiar with the burgeoning Indiana independent film scene, which includes the director of the Starship movies, Mark Racop, who I featured in an earlier interview on this blogsite. I had first met him when we were on panels together at DragonCon a few years back. But it was not until I attended the Fantasy and Sci-Fi convention InConJunction in Indianapolis that I had the honor of being acquainted with Chuck Budreau, and Indy Film News. What I learned then and since is impressive, and Indy Film News serves as a good model for other aspiring film communities to follow.

Chuck is one of those pro-active types who understands the value of a quality organization within an independent film community, and how it helps support the entire indie community through networking and resource functions. Chuck is a proficient individual to have on the set himself, with a range of talents that most notably include his work in production sound and scoring/soundtracks.

I really enjoyed spending time with Chuck at InConJunction, and have since kept appraised of the group that he founded, Indy Film News. I hope that this interview introduces alot of people to what Chuck is doing, and what is happening in Indiana. It would be a real boon to independent filmmakers if there were such quality groups in all states. Indy Film News is, without a doubt, a real credit to the state of Indiana and Independent Film.

-Stephen Zimmer, for Indie Movie Masters Blog/Podcast interview series, December 9, 2009



SZ: Before getting into Indy Film News, I wanted to give people a little idea about yourself. Give us a brief description of your own background and film activities.

CB - It started when I fell in with a bad crowd during my high school years...filmmakers.

A friend of a friend was making a Batman fan film and they needed someone to play Alfred, the butler. So they grayed my hair and I did a really bad job of acting. From that time on I decided that while filmmaking was fun... I would do it from the other side of the camera. I helped by being a PA, Grip, or whatever else was needed. Then one day I got a call. The sound guy had backed out at the last minute and they were ready to start shooting a feature. I had a small amateur music studio in my apartment, so that made me the guy who knew how to run sound equipment. It helped that I had some equipment too. From that day on I was a sound guy. I've done sound on many features films, shorts, and misc. video shoots. It's been about 20 years and I still find it the most enjoyable work in the world. I recently joined as a voluntary board member of the Indiana Filmmakers Network.

SZ: First of all, regarding IFN, what is Indy Film News, and what are its main areas of focus?

CB - It's a place for filmmakers and actors to find out what's happening in the Indie film scene in and around Indiana. It also is a place for them to promote their projects. Whether that means Cast & Crew calls, film festivals, Premiers, I try to cover it all.

SZ: What roles a group like IFN play for a regional independent film community?

CB - I like to think that IndyFilmNews helps bring the community together and give them the support group they need to make their films. I have seen some great collaborations among the local filmmakers. Together they have really brought their games to a higher level.

SZ: How long has Indy Film News been around and who founded it?

CB - I started IndyFilmNews.com a little over two years ago.

SZ:What has the growth of IFN been like since it was founded?

CB - It started as a place to meet other filmmakers on the site's forum. But over time it has really grown into a one stop source for filmmakers. The main page is devoted to News. We have Professional profiles for Actors and Crew members. There's a long list of film festivals, production companies, and other industry related groups. We even host Trailers and Short Films in a YouTube type format. Many Producers are using these resources to find their casts and crews and to promote their films.





SZ: In your view, how are things with indie filmmaking in Indiana? Are there a lot of ongoing projects, and what kind of projects tend to be the most common in your region? (i.e. short films, indie features, music video, documentaries, webisodes, etc.)

CB - There have been a steady stream of really well produced short films over the past few years. I just attended the first annual "Wet Your Pants Comedy Film Festival" all of those films were great and had a local tie in. The Indie Feature scene is also taking shape. There were several large scale productions over the summer and I'm hearing of several gearing up for spring shoots. There's a healthy environment, where filmmakers are supporting each other and the industry.

SZ: In your opinion, what are some developments that you've seen over the past few years that have been of significant help to indie filmmakers? (in terms of technologies, trends, or formats)

CB - Technology has made it possible for anyone to give filmmaking a try. In the past our low budget films were shot on super 8 film and cost a fortune to cut and process. Today the HD cameras and computer editing suites are very affordable. You can make an amazing film that stands up to broadcast standards on very little money. As a sound guy the advances in digital recorders has been a god send. I used to lug around an ADAT 8 track digital tape machine and edit by bouncing tracks. Now I have a hand held recorder that does a better job and records directly to flash SD Cards. Though I'm still of the opinion that "talkies" are a fad... just like that whole wheel thing.

SZ: What are some areas where you see increasing opportunities for indie filmmakers in the near future? Any favorable trends or developments?

CB - The viral marketing of films has made it so that you can get attention without getting picked up by the large film distributors. While it would be better to have them do all that leg work for you... you no longer are at their mercy. You can self distribute and actually sell your film. I don't know anyone who has gotten rich doing it but I think it's only a matter of time. The other great thing I have seen is that many theaters are equipped with video projectors and are working with indie films to get screenings on the big screen. There's nothing like seeing your work in a real theater.

SZ: Is the state seeing any increases in larger independent films or Hollywood productions coming into the state? Has IFN been able to provide some resources/services for these larger types of projects?


CB - "Public Enemies" was shot in a few locations in the northern part of the state. I posted the casting call for extras on IndyFilmNews. I doubt they noticed it... but I'm sure some of our site's visitors went to that casting call. There were several smaller productions that submitted their cast and crew calls.

SZ: Like IFN, there are some good proactive indie film organizations cropping up in many states, such as Indy Film Wisconsin. Do you network or work with similar organizations in other states?

CB - I've been in contact with a few of the other sites. We kind of keep an eye on what each other are doing. There's no reason to reinvent the wheel. If they find something useful on IndyFilmNews I hope they borrow it. I don't think of other states as competition to our film industry. If a small Indie film from some other state makes it big it will only help our films.

SZ: What are some independent film projects that we can look forward to in the near future out of your region?

CB - There are projects of all sizes in the works. One group is working on a feature film about the first Indianapolis 500 mile race. They are working on building a replica of the speedway as it was in 1911. They are also talking to some CG artists. Another project that's in the works is a Fantasy film the combines Victorian Steam punk science fiction and water spirits. It a really ambitious script. There's also a fairly large scale Batman fan film planning on shooting in the spring. They are using fan films to showcase their talents. There's plenty more films at varying stages of production... always something happening.


SZ: For those wanting to learn more about IFN, or perhaps become active with it, give us some online links on where to find you and Indy Film News.

CB - The main URL is www.indyfilmnews.com please stop by and check it out!

I have worked with several production companies
Magichouse Productions www.magich.com
Karmic Courage productions www.karmiccourage.com
Racso Films www.racsofilms.com

Other sites about the film industry in Indiana I would recommend...
www.filmindiana.com that's the Indiana Film Office's site... lots of usefully stuff there.
www.indianafilmmakers.org the site for the Indiana Filmmakers Network
IndyFilmNews.com
Source: IndyFilmNews.com

Infernal Dreams Making a Name in Independent Film, Horror, and Beyond

It is always good to see new organizations sprout and grow which have an emphasis on the horror genre and that are friendly to independents. It is even better when those organizations feature a team of creative people who enable a first-rate presentation, and sustained outreach in the public and on convention circuits.

Infernal Dreams is one such organization that is really motoring on high-octane within the independent world, on the convention circuit, and online. They feature a number of dedicated individuals who are responsible for the rapidly growing content found on their site and at events. From movie reviews, to the Infernal Dreamgirls, and even to book reviews, Infernal Dreams is a name becoming more known with each and every day.

Indie Movie Masters is pleased to spotlight Infernal Dreams, and to bring you an interview with the founder, David Rupp, who will give you the low-down on the foundations of Infernal Dreams, where it is going, and even his insights on matters relating to trends in horror and new developments affecting indie filmmakers.

Let's check in with David and immerse ourselves into a world of Infernal Dreams!

-Stephen Zimmer for Indie Movie Masters Blog Interviews, November 23, 2009


SZ: First of all, for those who have not visited the world of Infernal Dreams just yet, what is Infernal Dreams all about?

DR: Infernal Dreams is an amalgamation of all things horror, we try to be as inclusive as possible. We support independent ventures without turning a blind eye to the mainstream. We ignore trends and do our very best to maintain integrity with our coverage, reviews and features. ID hopes to entertain, educate and make people aware of what the world has to offer as far as genre tidbits. Add commission graphics, video goodies and appearances and you have most of what we are about.

SZ: Who are the main contributors or staff members of Infernal Dreams?

DR: Well ther's me of course, the father of this bastard, Peter Syslo who is on a holiday of sorts, Jeff Hudson one of the core members, Josh Felty heads the editing and brainstorming, Jake LeMaster is video/lights/photos and all around PR, Bindi Lavelle is articles from down under, Schaeffer Tolliver, Daniel Emery Taylor or celeb reviewer, and Tim-o our newest blood. As far as contributors we have GL Giles, Patrick Farmer and Sam O'Beirn from Canada.

SZ: Tell us a little about your own personal background and your motivations for working to instigate Infernal Dreams.

DR: Originally I started ID as a place to showcase horror wallpaper and graphics that were not widely available. After a few years someone asked me why I don't start reviewing movies since I was always watching them and had deep opinions. That same year I went to my first convention as a fan, and met tons of local film outfits, and said "this is what I need to do". A month later the site morphed and took on staff, until what you see now emerged.

SZ: What's the scoop about the Infernal Dreamgirls?

DR: What can I say that can not be visually explained? We have a lot of talented, beautiful and supportive friends who happen to be actresses and models. They have donated a few moments of their time to help promote us, as well as us giving something back to the visitor besides my mug all over the place. We also have a running Dreamgirl of the Month submission (dreamsgirls@infernaldreams.net) send a pic and some info and you could be the next (or first) DgOTM.

SZ: How has the growth been in terms of visitors to your site since the beginning? Has it helped you to establish better relations with studios with new releases and such?

DR: As far as studios go we are taken more seriously now than when we were first launching the concept, still we have trouble getting the larger LionsGate, Universal, Sony etc. The studios that have worked with us have been great, along with the individuals who send us DVDs and books. Traffic has been on a steady climb in the last year and we hope to keep people interested in coming back week after week to read our articles and reviews.

SZ: Who have been some of the individuals that you have interviewed, either printed or on video?

DR: We have interviewed a good variety of members of the local film scene as well as some outside of the circles. Just a few are Anthony Hudson - promoter and organizer of WIFE, Jeff Waldrige - Scarefest, Kevin Strange - Hack Movies, The Creepy Kentuckian & Uncle Bill - DeadPit.com, Jim O'Rear - Actor, G.L. Giles - Author, Joel Robinson - Artist to name a few.

SZ: Do you plan on doing regular horror book reviews as well?

DR: Yes, we have been been steadily adding to our stables, and books/graphic novels have found their way into them. We have and continue to review anything that comes our way, and books have become a permanent.


SZ: What are some of the areas that you might be expanding or adding in the
near future?

DR: As far as I can tell, we will be expanding our graphics into more commercial filmaking arenas. designing covers and what not as well as posters for films. Quite possibly a music review section may arise within 2010 along with a documentary on Kentucky film and film makers we are currently working on.

SZ: As a horror film guru, what are some of the trends in horror that you
see out there?

DR: I don't know about guru, but there has been an over-saturation of zombie projects lately. I love zombies but let's face it, too much of a good thing still affects the negative. What I would love to see are some fewer remakes and a resurgence of fresh ideas in a totally new frontier. The American movie audience has changed, become jaded. Re-invent what is terrifying, deeply disturbing, push envelopes. Maybe revert to a style, less polished, perhaps the older gritty style from cheaper film stock from the 70's. More balls out, blow the doors off storytelling, less CG.

SZ: As there has been a big increase in the number of webisodes being put online in places such as YouTube, where do you think webisodes will fit in with indie horror? Do you see it evolving into something that indie filmmakers can make a little revenue on?

DR: Webisodes are a good promotional tool, but basing revinue from it may not be the way. I still believe the best way is to get out to the public, meet and greet, talk to them and get things in their hands. We did the webisodes for a bit, and may bring them back but the smaller videos are working for now.

SZ: How have your convention appearances been going, and what conventions are you going to be appearing at over the next few months?

DR: We have been recieved fairly well on the circuit. We have been invited to some shows now to appear as media guests or sponsors, that blows my mind. You will be able to catch up with us at DarkWoods Con - Pikeville,KY March 5-7 2010, ImagiCon - Birmingham, AL May 21-23 2010, WIFE - Richmond,KY May 14-16 2010, Scarefest - Lexington,KY Nov. 5-7. These are the only ones confirmed so far, and I may not be able to attend each event personally.


SZ: Give us links for the Infernal Dreams site, your social networking locations (Twitter, Facebook, etc.) and anything else related to Infernal Dreams.

DR: You can find us at www.infernaldreams.net,
www.facebook.com/pages/Winchester-KY/Infernal-Dreams/86862122500
www.twitter.com/infernaldreams
www.myspace.com/horror_haven

Indie Movie Masters Podcast Episode # 6, featuring writer/director/producer Jacob Ennis of Tuckywood Productions

In Episode 6 of the Indie Movie Masters podcast, we are spotlighting writer/director/producer Jacob Ennis, of Tuckywood Productions. Jacob made a great breakthrough with his first feature, Stash, which was covered in the print edition of Fangoria magazine, made it onto G4 Television, and had extensive distribution placements.

In this episode, Jacob talks about Stash, his newest feature Red River, his influences as a director, and much more. Catch this episode and visit a rising star in the world of independent film!




Click here to listen to the podcast or download!

You can also subscribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

Click here to get the episode via iTunes!

Indie Movie Masters Podcast Episode #5 featuring Casey Crow of Zallerquad Films

The fifth edition of Indie Movie Masters Podcast comes to you from deep in the heart of Texas! In this episode, we visit with up and coming director/producer/cinematographer Casey Crow, of Zallerquad Films, as he discusses film, his cohorts such as Sean Hastings, Zallerquad, and their latest project "Klagger"!

So, to get this podcast as the "Crow Flies", just click below to download, to subscribe to the podcast as an RSS feed, or follow the link to iTunes!

Leave a comment and let us know what you think of this talented West Texan!



Click here to listen to the podcast or download!

You can also subscribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

Click here to get the episode via iTunes!

Steve Guynn, From Hardcore Punk Rock to Indie Film and Theater Wizardry! A Modern Day Renaissance Man.

Sometimes life takes interesting routes, especially when it comes to individuals that pursue careers in the arts. For one such young man, the path began in the world of hardcore and punk rock music, before he embarked on a serious acting career that has entailed both stage and independent film.

Steve Guynn, of Lexington, Kentucky, is one of the more active individuals in his home region. When he isn't doing something like jumping out of planes (he is an active skydiver), he is working on projects, rehearsing, and honing his craft. A self-motivated individual, a necessity in the indie film world, Steve has actively toured in professional theater.

In today's IMM interview, we will be visiting with Steve Guynn as he takes us into his world, from his music roots, to stage and film (with his thoughts on the two mediums), and his plans for the future.

As intense as he was during his punk rock days towards his music, so is he towards his film and theater endeavors. Without a doubt, Steve Guynn is well on his way towards a successful acting and production career.
-Stephen Zimmer for Indie Movie Masters Blog, September 21st, 2009

SZ: You have a music, theater and film background. Let's briefly touch on your music career. Tell us about the bands you've been in.

SG: I played guitar and sang backing vocals in a hardcore band called Ungrateful. We played shows in Lexington, Louisville, Somerset, Berea and so on. We were banned from most places we played in Lexington including The Wrocklage and Alcoholics Anonymous. The Dame wouldn’t even let us in their doors. It was hard to find a venue or club we were in good standing with, though Rock Haven was one such a place, not too dirty, not too clean, just right like Baby Bear’s soup. We released an album worldwide in 1996 titled ‘Southside Lexington Hardcore’ on Sound Pollution Records. I played guitar and sang backing vocals for Retribution, though I am not the guitarist on their EP recording. Retribution, The Infected, Brassknuckle Boys and other ‘back in the day’ punk bands thank Steve Ungrateful in the thanks section of their record sleeve or cd insert. That’s me. This is strange to me because no one called me Steve Ungrateful to my face, most people on the street called me ‘Hardcore Steve’. I guess it is worth mentioning that I also played in several bands (one called Ghetto Blasters for example) that did not release any recordings. I experienced so many good and bad times during those years. The Lexington KY Punk Scene will always be a family to me.

SZ: Did your years as a touring and recording musician help in any way when you went full time into theater and acting?

SG: Yes definitely. I can always look back on all the fights (literally) and problems with the police and just know that my problems now aren’t really that bad. At least I’m not in jail for a victimless crime you know. All that I went through just to perform the music I love makes me realize that I enjoy performing for people and getting ideas out there. No matter what I am doing to put a roof over my head or food on my plate, if I am not performing, I feel like I am not contributing to the world.

SZ: What has your formal training been in terms of acting and theater?

SG: I graduated May 2007 with a BA in Theatre at the University of Kentucky. I worked full-time as a maintenance man at a private school while attending classes at UK. Russell Henderson taught me vocal production; Margo Buchanan was my acting instructor; I took a playwriting class with Herman Farrell III. It was a real honor studying under Herman Farrell III. He was the kind of professor that really cared about his students and would make time for them. That’s it for formal training. I strongly feel that every time I take a theatre contract or work on a film set I am perpetually learning about acting and the entertainment industry as a whole.

SZ: What were your experiences in professional theater like? (touring, acting multiple roles in children's theater, etc)

SG: Wow, experiences in professional theatre. My first professional theatre contract was with The Lost Colony, it was their 2006 season. I have mixed feelings about that place. It is an outdoor drama located on Roanoke Island. They housed us in these town homes at Morrison Grove, which is a beautiful place. They have their own beach there, so you can imagine how often I was drunk and naked. To sum it up, my summer 2006 consisted of acting, skydiving, surfing, fishing, drinking and some other things too. That part of it was great. Here’s the bad part. I was hired as an AT. This means actor/tech. I acted in the show and I loaded scenery in the stage left and stage right scene docks during scene changes. They had shipped in new scenery that year. Each piece of scenery weighed 1000 pounds; no I am not exaggerating. Only four of us AT’s at a time would fit on a ‘book piece’ as we called them due to the way they folded. That means 1000 pounds divided between four people, multiple times a night, Monday-Saturday, 74 performances that summer. This was probably the most laborious work I’ve ever done in my life.

I’ve done a few musicals. This was local work at the Actors Guild of Lexington and the Lexington Opera House. I played an ensemble member in The Music Man, this was performed Spring 2008 at the Lexington Opera House. I must say, for the finale we performed the song 76 Trombones; we had the Lexington Christian Academy Marching Band on stage, we had a chorus of 60 singers, and we had a pit orchestra, all performing the same song. I have now been part of an ensemble with a marching band and an orchestra. This was one of the greatest experiences of my life, thank you Ryan Shirar. I love musicals, although I am not the best singer or dancer.

Summer 2008 I did the show Tecumseh! in Chillicothe, Ohio. I can’t say enough good things about this place or this show. I played the lead bad guy, a character named Tompkins. A lot of stage combat in this show. I got to scalp Indians and cut off their chest skin and shoot them and stab them all summer. It was great. I was one mean dude you did not want to mess with. I want to make it clear that I do not hold any prejudice against Native Americans, I just like stage combat. Outdoor dramas are very important because they educate our youth and the general populace on American history. I have maid some life-long friends at outdoor dramas.

I worked with a children’s touring company Fall 2008 called Hampstead Stage Company. That was interesting. Some touring companies send teams of five, six or more out on the road. Some send two. That is Hampstead Stage Company. Since they only send two out, one man and one woman, both players have to play multiple roles. In the stage production of Prince Caspian I played Professor, Peter, Edmund, Trumpkin, Dr. Cornelius, King Miraz, Reepicheep and Aslan. In A Christmas Carol I played Fred, Ebenezer Scrooge and Solicitor. They send both shows out on the road. I played eleven different characters in two plays. Rehearsals drove me crazy. 11-12 hour days for a month straight. I was on ‘team standby’. This means my partner and I performed at a town hall in Barnstead, New Hampshire. We did not tour. It was very rewarding in the end to actually get these shows up and on their feet.

SZ: What do you find to be the biggest challenges or differences regarding film vs. theater acting?

SG: The challenges are very different and very much the same. In film a director wants to get an angle. In theatre a director wants to get a composition. A lot of hard work goes into both.

SZ: Do you tend to enjoy theater or film more as an actor? Is one more satisfying than the other?

SG: I get this question all the time. It’s a good question. Theatre and film are both magic to me. In a stage production, I love being in the same room as the people I’m telling the story to. In a film production, I love the relationship with the camera; it feels otherworldly. Both are my children. I love both.

SZ: You have worked with director Jerry Williams on more than one project. What were they, and what was it like working with Jerry? Did you need counseling after working on his projects?

SG: Jerry Williams is one of the most creative people I have ever worked with. Many people don’t know that Jerry has a MA in Creative Writing from Morehead State University, thus the references to myth and folktales in his scripts. In 2007 Jerry put me in Misadventures In Space as Captain Tiberius and his twin brother Jessup Tiberius. That was a blast, mostly improvised work. That same year I played a zombie in Zeppo: Sinners From Beyond The Moon! Goatboy Films recently finished production on Saucer Sex From Beyond. This piece showed at Fright Night Film Festival 2009. I play Captain RobRoy Tiberius in that. Jerry let me write a monologue for that character. This was a real privilege. It is not often in film or theatre that you get to write in your own part, especially when the writer/director has a concept for the part. I know how it is to write your own work, you do not want anyone else to change it because it is yours. Jerry relinquished that control and gave me a creative license with his work. That’s rare. Thank you Jerry Williams. I am also in several of his films that are as of yet unreleased. He’s going to kill me for posting links to them below. And yes, I am definitely going to need counseling.







SZ: What have you found to be the most frustrating elements of the indie film world?

SG: Poverty. It comes with the territory. Some think that if the independent film community had more support and more exposure then they wouldn’t be independent. I don’t know. I don’t have all the answers. I just know that I am Bum #1, you know, like Public Enemy #1, except with no money.

SZ: Conversely, what do you find most beneficial about the indie film world?

SG: A level of expression and creativity rarely found in other mediums. Most indie filmmakers are not afraid to be experimental. That takes courage and I respect that. Courage and sensibility are two qualities that distinguish a great director from a good director.

SZ: What are your career goals regarding both theater and film?

SG: I am going to continue acting on stage & film. That’s plan A. There are certain novels that, one day, someone is going to make into a stage and/or film production. When they do, I am going to be there. It will probably be in the United Kingdom. That is all I can disclose at this time.

SZ: Give us a list of your indie film credits to date.

SG The years here are during the production, not necessarily the same year as release.

2009 Saucer Sex From Beyond Captain RobRoy Tiberius Goatboy Films

2007 Misadventures In Space Captain Tiberius, Jessup Tiberius Goatboy Films

2007 Zeppo: Sinners From Beyond The Moon! Zombie Goatboy Films

2006 The Edison Death Machine Rex the EMT Zombie Planet Productions

2005 Sirens Bobby the Manager Ever After Media/ Cineline Productions

2004 Promise Bank Robber It Doesn’t Matter! Productions

2004 Theatre Live Today Famous Guest Cindy Yu

2004 Know Your Chronic Masturbator Robbie Optimal Riviera Productions

SZ: How can people find some of your work or you on the internet? (websites, any Facebook or MySpace pages, etc)

SG: Here are some links………….

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63331862

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63332047

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63332092

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63332241

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63332407

http://vids.myspace.com/index.cfm?fuseaction=vids.individual&videoid=63332507

Indie Movie Masters Podcast Episode #4 featuring Jerry Williams of Goatboy Films

Indie Movie Masters Podcast Episode #4 is now up, and it's a special one! This one features Jerry Williams of Goatboy Films, the mastermind behind works such as Zeppo, Misadventures in Outer Space, Soul Robbers, Purvos, and the new Saucer Sex from Beyond.

This interview ran a little longer than usual, and the total show is a bit longer at about 45 minutes, but it is definitely entertaining! Leave a comment and let us know what you think of Jerry Williams!

(the chant from the crowd begins..."Jerry! Jerry! Jerry!")...

Click here to listen to the podcast or download!

You can also subscribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

Click here to get the episode via iTunes!

Mark Racop on the Launch Pad for Starship II

Today's interview takes us to the fine state of Indiana, where director/producer/writer Mark Racop and the MagicHouse Productions team is based.

A full production house with a studio facility, MagicHouse Productions is readying an exciting new science fiction movie, Starship II. The film features an extraordinary amount of special effects elements, and returns many fan favorites from the first Starship film (titled Rock N Roll Starship).

For the indie film world, Mark Racop and MagicHouse Productions represents an intelligent approach to developing films and a production company. Mark has spearheaded a methodical path that has built a solid foundation for current and future projects, one that draws upon previous projects and has established an in-house production infrastructure. This approach enables growth in each progressive project, something demonstrated strongly in Starship II with its arsenal of special effects and increased production value.

The buzz has been building for Starship II at conventions across the country, and is well on the way to becoming a growing indie movie franchise. Working with an array of talented individuals in Indiana such as Jeff Ello (the mastermind behind the CGI) and Chuck Budreau (sound and music wizard who is also with Indy Film News, a networking and resource site for Indiana Filmmakers), Mark has worked to establish the nucleus of an outstanding independent movie team.

Mark Racop is a filmmaker to watch, and MagicHouse Productions is definitely on the indie movie map. Watch out for Starship II in the very near future, and hop on board a great new indie movie series!
-by Stephen Zimmer, for Indie Movie Masters, September 6, 2009

SZ: What is your background in terms of filmmaking/production?

MR: The filmmaking bug bit me at an early age. My father John remembers that I was interested in making movies even at the age of two, always asking, "How do they DO that?" Dad could only answer, "Trick photography." So while other children were reading short stories, I was busy reading–check that–studying Stephen Whitfield’s "The Making of Star Trek."

My filmmaking life was changed permanently when "Star Wars: A New Hope" was released when I was twelve-years-old. I knew from the first scene of that movie that I HAD to make movies. I voraciously read everything I could about movie making. As a huge1966 Batman fan, it was no surprise to my friends that I decided to make Batman the focus of my movies while learning my craft.

I collected a rag tag group of misfits from Logansport High School–and I'm quick to add myself to the list of rag tag misfits–to make my first movie in 1980, a 60 minute short film. We didn’t have a clue what we were doing when we started, but we figured things out pretty quickly. Shot on Super 8 movie film, and edited by hand with a Kmart splicer, it truly was a labor of love. It lacked big time, but as a first film, it was rather ambitious–there were several fight scenes, and the movie was made at many locations throughout Logansport, including the vault of the First National Bank. Logansport Mayor Jone Wilson even played a cameo in the film. The movie was rough, but well-received, and won some awards in high school.

Bolstered by the completion of my first effort, the following summer I made a second Batman film, a 30 minute short. The titles, fight scenes, and editing were much more sophisticated, and I was learning from my mistakes. Mayor Jone Wilson again made herself available for a cameo. And again, I received some awards.

There was little doubt that I would be going to college, and there was even less doubt that filmmaking would be the major. Majoring in telecommunications with a film emphasis at Ball State, I worked on several short films for classes, and networked with students that shared my passion for filmmaking. It didn’t take long for students to figure out that I was very serious about making movies. I was the only one that owned my own equipment.

Even though I was ahead of my class, I still had a lot to learn. Before diving into professional filmmaking I knew I needed to learn more about lighting, sound, editing, and overall pacing. My third and final Batman film was entered in the David Letterman Scholarship Contest at Ball State, and won a $3,500 award. Logansport Mayor John Davis played a cameo this time. This film was certainly different than my previous two. Acting, sound effects, and lighting improved tremendously. I built sets for the first time, which provided for better camera angles. And the ultimate prop was added–the Batmobile. Built by five seventeen-year-olds, we transformed a 1974 Monte Carlo into the world-famous Batmobile and used it in my very first car chase.

The David Letterman Scholarship award opened a lot of doors. It gave me credibility to deal with people in Hollywood as well as local investors. Without the scholarship, I don't think I would have made it on the set of my "big break," a terrible action/terrorist movie called "Terror Squad," made in Kokomo, Indiana, in1986. The final film was horrible, but I learned so much from being on a professional set. As the head production assistant, I learned the ins and outs of just every single department. I helped the camera and grip departments lug equipment, helped stuntmen with prepping cars for stunts, built a storefront for an explosion, landed product placement for clothing for the movie’s star, Chuck Connors, and I ferried film from the airport to the editor. I learned about special effects makeup, safety requirements for explosions and bullet hits, and how the same shots can be accomplished with different camera techniques–and how to choose the best one.

I was invited to Hollywood by some of the crew from "Terror Squad," so my friend Jeff Johnson and I departed in a 1976 Dodge Colt with stars in our eyes. 41 hours later, we arrived in the usually sunny state to find that we had somehow brought snow with us. Yep, that’s right--for the first time in ten years, Los Angeles experienced snow! I spent time on several movie sets and at camera stores, and talked with professionals in the business to learn what it really takes to make it in the business. I also learned that I didn’t want to live in LA. It just wasn’t right for me.



SZ: When was MagicHouse Productions formed, and what was your mission with the company when it began?

MR: I formed MagicHouse Productions in 1987 and raised money to shoot my first professional movie, the ultra-low budget spoof, "Rock N Roll Starship." The up-front budget was $5,000, and the final cost of the film was $25,000. Dark Star and Hardware Wars were major inspirations as we put the movie together. The movie featured cheesy sets, cheesy dialogue, and cheesy acting–but it was all part of the plan.

SZ: As independent production companies often need to pay the bills while developing a feature film project, what kind of production work do you engage in outside of your film endeavors?

MR: I shoot documentaries, commercials, promotional videos, music videos, and even legal depositions to keep the lights on.

SZ: Give us a little history leading up to the production of Starship II, in terms of when the first film was produced, the response to it, and when you made a decision to do a sequel (and when you began pre-production on it).

MR: "Rock n Roll Starship" has played well to science fiction audiences across the Mid-west. I am truly amazed at our fan following. While we never received national distribution, we have self-distributed over 1,500 copies on tape and DVD, from Georgia to Minneapolis.

I am my toughest critic, and I am really tough on the film, but it is nice to see a crowd of 400 people rolling in the aisles with laughter. It helps remind me that it was worth all of the hard work.

While we were shooting Starship 1, we joked about the possibility of a sequel, and the ideas that could be incorporated into it. While everyone else went to sleep, I was writing down hundreds of tiny notes on scrap paper, napkins, placemats--anything I could get my hands on.

People everywhere demanded the sequel. The beautiful Leslie Culton is one of our biggest fans. It was really weird. She met us at a con, quoting dialogue from Starship! And then all of the planets aligned to allow us to make the sequel. I lost my job as a manager of a movie theater--and it was the best thing that ever happened to me.

Chuck Budreau and I took those hundreds of scrap notes and used them as an outline to create the script for "Starship II." We finished the first draft in three weeks, and did a script readthrough at the 1998 Inconjunction science fiction convention. Actors that had moved to New York and Ohio moved back to Indiana. At a chance meeting in a movie theater in Lafayette, watching the end credits of "Phantom Menace," I found our special effects team.

SZ: For those that may not have seen the first Starship film, catch us up to speed on events pertaining to the beginning of the story in Starship II, as well as a little about the plot of the new movie.

MR: Because "Starship II" involves time travel, it is both a sequel and a prequel--making it a sprequel. Bob, Doug, and Jorge are well-known throughout the galaxy as the ones that blew up the Ramses Colony. In a freak accident, they accidentally go back in time to right before the blew up the colony. They now have the opportunity to stop themselves from blowing up the colony, and clearing their names...but you know how changing things in the past in a time travel has a way of screwing things up in the future, right? Bob, Doug, and Jorge discover that they have to go back in time to stop themselves from stopping themselves, or the entire universe will be taken over by robots!

SZ: What cast members returned from the first film for the 2nd? Who are some of the key new additions?

MR: Rob Hinkle, Michael Allen Williams, and Logan Michaels reprise their original roles of Bob, Doug, and Jorge. Christopher Tracy returns for a cameo as the evil golden android Zake, and Robert Hubbard reprises his role as Leiutenant Ed.

Scream queen Leslie Culton joins the cast as the female lead, Captain Jane Wey, and we were fortunate enough to land John Astin (Gomez from The Addams Family, Attack of the Killer Tomatoes 2) as Professor Peabody. Babylon 5 alumni Jason Carter and the late Richard Biggs play Commander Deckins and Sergeant Franklin. And to finish off the cast, we hired Richard Hatch (Battlestar Galactica) to play cloned news reporters John Alpha and John Beta.

SZ: Highlight a few key members of your production group involved with
Starship II.

MR: Three people made a significant difference from the first film to the second--Jeff Ello, director of photography and also the post production special effects supervisor; Greg Fauvergue, set designer and builder; and key grip Eric Ridge, who provided camera booms, dolly track, and other great toys for me to play with.


Jeff Ello


Greg Fauvergue


Eric Ridge

SZ: What lessons did you learn out of the process of the first film that you have applied to help improve the process of making the 2nd?

MR: I am always learning from my successes and failures, and I knew that we had to overcome the shortcomings from the first film. We shot the first movie on film, and the cost was astronomical for negative and developing and transferring to video. The sets were built from white beaded styrofoam. We built the lights from foamcore and hung them from the rafters with twine. Even minor setups sometimes took an hour. We did the special effects on the Amiga Videotoaster.

The sequel had to have better sets. It had to have exteriors, and it had to have a much larger cast. We shot on miniDV with Canon XL1s and GL1s. We had professional lighting. The sets were made from plywood. Camera setups took minutes instead of hours. "Starship 2" was a radical step up from the original film, featuring a much more sophisticated script, great sets, great special effects, and most importantly, some great actors from Hollywood. The up-front budget for Starship II was $50,000, and the final budget is coming in around $100,000.

SZ: How has having a studio facility helped the process in Starship II? What has it enabled that would have otherwise been too surmounting to attempt otherwise?

MR: We bought the 8,300 square foot building a few years after we wrapped Starship II, but the studio has changed our filmmaking forever. We have shot five movies, two shorts, and several commercials at our facilities. It has allowed us to build sets and leave them standing much longer than borrowed warehouses. I hate to shoot in interior locations any more because the studio is so much more controllable. From electrical to makeup to office space and our kitchenette, everything is right here.

SZ: Your team is tackling an extraordinary amount of effect shots for a film, whether independent or not. Tell us about the number of FX shots estimated in Starship II and some of the challenges you have faced in this area of the production.


MR: Ugh! Yes, Starship II has an exceptional number of effects, that's for sure! At last count, there are over 800 visual effects shots. I made the mistake of allowing the FX guys on set. They got me so excited that we added 100 visual effect shots that weren't in the script! Raising the money to make the movie was a snap. Finding competent special effects artists that can generate usable material to assist Jeff Ello has been nearly impossible. With the exception of Staffon Norling and Ian Strandberg, he has had to scrap or completely redo almost every single effect that was delivered to him.





SZ: Do you have an estimate as to when Starship II will be finished?

MR: Jeff Ello has passed the most difficult portions of the effects work, so we expect completion "around the end of the year." In the meantime, I have worked on five more movies, and one that I co-produced, A Time For the Heart, was premiered at the Imax theater in Indianapolis this past spring to a sell out crowd. I am also in preproduction on three more films, so there is never a dull moment around here.

SZ: When finished, what kind of path are you looking to take Starship II on?(festival circuits? Distribution goals? Etc.)

MR: A successful film producer in Hollywood happens to be the cousin of my primary investor, and we expect that he will be able to point us in the right direction when he sees the completed movie. We are planning a limited theatrical run, and hoping for Sci Fi Channel or Lions Gate to pick us up. Festivals and science fiction conventions are definitely part of the future for Starship II, I'm sure.

SZ: Are there plans already for a Starship III?

MR: Absolutely! Starship II ends with a cliffhanger, so we are compelled to make a Starship III to wrap up the mystery. The script is halfway completed. And Jeff Ello has said that he didn't spend the past several years of his life making special effects for just one movie. With 90% of the effects work already done, the next movie will go much faster in post this time!

SZ: Give us some links for folks to use to find out more and connect with MagicHouse Productions and Starship II online.

MR: You can find Starship II online at: www.starship2.com, and MagicHouse Productions at www.magich.com.


(Starship II Trailer)

Indie Movie Masters Podcast Episode #3 featuring Jason Crowe of Feathered Italian Films

Here's Indie Movie Masters Podcast Episode #3! In this episode, our guest is actor, director, and writer Jason Crowe. Jason recently made his directorial debut with the horror film The Legacy, at the Fright Night Film Festival in Louisville, and the production company he co-founded, Feathered Italian Films, is finishing up another horror project.

In this interview we talk with Jason about his very busy involvement in indie films the past couple of years, The Legacy, his upcoming appearance schedule, working on indie film projects in general, and the future.

This episode also features a great dose of new rock courtesy of Zero King, with a segment of their new single "Black Friday"!


Click here to listen to the podcast or download!

You can also subscribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

Click here to get the episode via iTunes!

Indie Film Success Story-Patrick Pierre's "The City Is Mine" Out this Week!

This week, an indie film success story was completed when Patrick Pierre's new feature "The City Is Mine" was released nationwide by Maverick Entertainment. To those that know and understand the incredibly difficult process of making a truly independent feature, this is a moment for celebration, a rewarding culmination of alot of hard work and effort. It is always wonderful to see an indie filmmaker achieve a major success, which raises the credibility of indie filmmaking and opens up new possibilities for indie filmmakers everywhere.

Writer/Director Patrick Pierre's career has certainly taken a big step forward, and he is already ramping up for his next project. In this interview, we will be going into the story behind the making of "The City Is Mine", including the path that it took from being a locally made indie film in Mercer County, New Jersey to becoming an acquisition by industry heavyweight Maverick Entertainment. There are lessons to be learned, and inspiration to be had.

Indie Filmmakers and those involved in the world of indie film are definitely advised to pick up a copy of "The City is Mine", and share in a great indie success story.
-Stephen Zimmer for Indie Movie Masters, August 21, 2009


SZ: Tell us a little about your personal background prior to the making of “The City Is Mine”

PP: I'm a native of Haiti; I immigrated to the U.S. when I was 8 years old. I lived in Brooklyn NY for many years where I attended school and graduated from Erasmus Hall High School in 1995. Shortly after, I moved to Trenton, NJ where I currently live. I attended community college at Mercer County in 1998, 2001 & 2003 where I took some courses in Theater, Acting and Stage Production. I was a volunteer in a lot of small independent productions where I gain some crew experience working on set. In 2005 I decided to form my own production company, Pierre Films, LLC. After writing and directing several short films, I decided to take the plunge into feature film. In 2007 I started production on "The City Is Mine"

SZ: Describe the time line involved in “The City Is Mine”, from pre-production to final cut.

PP: From pre-production to final cut was one year. The script development process started in February of 2007 where my co-writer, Adriana Gittens, worked on the first draft of the script. After several draft, the screenplay was ready in about 2 months. From then, we started planning the actual production, from holding auditions to rehearsals. Finally we were ready to begin production May 2007. Production lasted for 4 months. We filmed on weekends only. Production was wrapped in September 2007. Not wasting time, we went right into the post-production phase, which lasted 4 months. The Film Premiered on February 16, 2008 to a sold out audience in Trenton, NJ.

SZ: Where did you shoot “The City is Mine? How many locations did you end
up using in the movie?

PP: The City Is Mine was filmed throughout Mercer County NJ, mostly in the city of Trenton and some surrounding towns including, Ewing, Hamilton and Lawrence. We did end up going to New York to do one scene in upper Manhattan. A little over 15 locations were used shooting the film. Most of our locations were outdoors so it made things a little easier because working on an independent film is a little tough securing locations. Filming outdoors only required us getting permission from the City, which wasn't difficult. Due to limited budget and time we had to be creative and use certain interior locations multiple times in different shots giving the illusion it was several locations. For example we used one house in the film to be the home of several different characters in the movie. As you watch the film you can’t tell it's the same location.

SZ: What were the biggest challenges in balancing a shooting schedule using
weekends and nights?

PP: The biggest challenges in balancing the shooting schedule was working around all the actors' schedules and making sure everyone was available at the same time. A good example, we may have a scene Saturday with actor A and actor B, but actor A wouldn’t be available on Saturday and actor B wouldn’t be available on Sunday. I would resolve this situation by pushing that particular scene back to a date when both actors were available on the same day. Lucky for us, we didn't have that problem too often because I gave the cast and crew a shooting schedule way ahead of production, but things do come up and as a director, you have to learn to adjust.

SZ: Shooting a staggered schedule (Nights and weekends), were you able to maintain a core crew, or did you have to use/rotate a larger team?

PP: Shooting a staggered schedule was very difficult to maintain a core crew. In the beginning we had problems with people not being able to remain with the production team, because of the time involved on a daily shoot. Long hours were very common shooting The City is Mine. At times we started shooting in the early afternoon and wouldn't wrap till midnight or later. As production went on, the crew shrunk, but luckily the ones who stayed on board were dedicated and I believe things ended up running much smoother with a small dedicated crew.

SZ: As indie filmmakers end up performing multiple functions on most productions, how many “hats” did you end up having to wear to get this project completed?

PP: I had to wear several hats in completing "The City Is Mine." I was the director, set designer, Cinematographer, Sound, Editor, Music Composer and a few others, though I did wear many hats, I did not do this alone. Every member of the production crew contributed to the production of the film, whether it was the PA who was holding the boom mic or the actor who volunteered to do the slate board in between takes.

SZ: One gear question: What kind of cameras/format did you use for “The City is Mine”, and what were the main software elements used in post-production?

PP: The camera that was use for "The City Is Mine" was the Panasonic DVX100a, which is DV(Digital Video) format. In post-production, Sony Vegas 6d was used to edit the film. Magic Bullet was also used for color correction. Sony Acid to create the score and sound FX. Our visual effects artist used Adobe After Effects to create some of the gun and other visual effects in the film.

SZ: How would you describe your style as a director?

I would describe my style as very visual. Before every scene, I make sure I do a thorough storyboard. I like to visualize a scene before I begin any kind of blocking. Visualizing the scene in my mind gives me a big advantage when it's time to yell action. In turn, being so visual, the end results is a stunning visual scene composition with every shot well thought out, every frame analyzed. I personally believe the story is the most important aspect in any film, without a good story, you will lose your audience, so having that knowledge, coupled with my visual style and love for cinematography, I feel the audience is not only enjoying a beautiful story being told, their eyes are also being treated to something amazing, whether they realize it or not.

SZ: Tell us a little about the principle cast and your experience with them, from your perspective as the director.

PP: The principle cast was amazing. As a director the biggest gift you can have on a film production is a wonderful dedicated and talented cast. Each one had something special about them. A majority of them had prior film and stage experience which helped tremendously in the day to day shooting because of the long hours involved, they knew how to deal with that. Our lead actor, Kirk Ponton had never acted before, this was his first major production. He surprised himself, me and everyone who saw the film. He hit the part out the park. All members of the principle cast were easy to work with, but not all were easy to direct. I took the challenge as a director to push them to the limit in terms of their performance and what I expected to get out of them. At times, some would get annoyed from the many takes that were involved in a particular scene but it was my job to explain the scene to them and try to get the best performance out of a take, whether it took 2 or 20. To the less experienced principle cast members, they learned a lot working on The City Is Mine, I have to say I also learned many things from them which I plan to utilize in my next production.

SZ: Once completed, what was the path you took regarding festivals and other exhibitions?

PP: Once the film completed it was our goal to have the biggest Premier/screening we could. I started researching several venues and ultimately went with "The Contemporary Auditorium" which seats 400+. In February 16, 2008 we screened at The Contemporary to a sold out audience. Due to the success of the first screening, 2 others followed at the same place. Then shortly after, I went right into the festival circuit. I researched several film festivals and created a plan to give "The City Is Mine" the best opportunity to screen at film festivals. I started looking at festivals which catered to the type of genre The City Is Mine was and started submitting to them. We were selected to screen at many film festivals which included: 2008 American Black Film Festival, 2008 San Diego Black Film Festival and 2008 Twin Cities Black Film Festival. We received a total of 4 nominations in the 2008 American Black Film Festival for the Jury Prize Best Actor, Innovational Film and Inspirational Film.



SZ: How did your distribution deal with Maverick Entertainment come about When did they become aware of your project and show interest?

PP: The Distribution deal with Maverick came about right after we were an Official Selection at the 2008 American Black Film Festival. Maverick became interested in acquiring the film once news hit that we were nominated for the awards. They contacted me and the negotiation process began.

SZ: What’s up next for Patrick Pierre? And how can people continue to follow you and your filmmaking career (main website and/or social networking links)

PP: What's next for Patrick Pierre is a wonderful film that I am especially excited about called "Visions of Yvette". The synopsis is: during our economic downturn, a single mother is forced into prostitution and drug addiction causing internal turmoil in her attempt to maintain custody of her son. I hope to begin shooting Visions of Yvette late this year. You can visit www.thecityisminemovie.com to get up to date information with that production or follow me on facebook.

Indie Movie Masters Podcast Episode 2 featuring England Simpson

Indie Movie Masters Podcast Episode #2 is here! In this episode we visit with actress/model/independent producer England Simpson. The interview covers her career, including her film roles, her modeling endeavors, and her producing activities.

This is a great interview with a very talented individual based out of Charlotte, NC, with alot of insights for those who are working in a professional manner within the indie movie world.

Click here to listen to the podcast or download!

You can also subscribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

Click here to get the episode via iTunes!

Wisconsin Indie Film Advocate Wayne Clingman-Indy Film Wisconsin, his Podcast, the Midwest Web Slam, and More!

In the indie film world, there are a number of very hard working individuals that embrace difficult challenges in the interests of advancing and supporting indie filmmakers. They work without the benefit of resources, and pour many, many hours of their own time into work that is all too often taken for granted or underappreciated.

In this interview, I wanted to show my appreciation for one such individual, who is a true independent film advocate for the State of Wisconsin and indie filmmakers everywhere.

His name is Wayne Clingman, and he is the brains and effort behind Indy Film Wisconsin. It is an advocacy group for bringing production to the state, but also provides production assistance, networking facilitation, and more.

One facet of Indy Film Wisconsin is a very well-developed BlogTalkRadio show that Wayne puts on each and every week, featuring a wide variety of guests from the indie film world. The podcast is a full hour-long show, conducted live, and is archived and available on iTunes and more.

Wayne is now setting his sites on the development of a cutting-edge conference, called the Midwest Web Slam, which will focus on the blossoming world of webisodes. This alone demonstrates the kind of vision and timeliness that Wayne and Indy Film Wisconsin brings to the independent film world.

It is definitely a privilege to shine a light on an indie film champion like Wayne, and raise a little awareness about a guy that is a real defender and supporter of independent film.

-Stephen Zimmer, August 9, 2009 for Indie Movie Masters Blog.

SZ: What is your personal background?

WC: Started in media by being the Commissioner of CAR 25, the local Cable Access Station in Racine, WI. I was one of the 7 who started Film Wisconsin, the group who replaced the State of Wisconsin Film Office. Due to our work, 2008 saw 50-70 Million dollars of film being made in the State of Wisconsin. I wish the Governor would have kept the program going.

I was blessed to be in a few indy films liked "Tagged" and "Bowl Full of Happiness", and of course "Burr Effect II", all made in Wisconsin.

SZ: What inspired you to create Indy Film Wisconsin? And when did it begin?

WC: After the "It Came From Lake Michigan Film Fest" ended, I knew that I wanted to stay in touch with film makers, and what better way than by interviewing them on a podcast?

SZ: How has Indy Film Wisconsin evolved since it started? (especially that you have a range of national guests participating on the blogtalkradio show)

WC: Confidence on being able to get all kinds of great film makers allowed me to seek them out, and ask if I could get them on. Like I love to say, be surprised what you can do by asking.

SZ: What kind of guests do you look for on your BTR show? And is there any particular way you decide on topics?

WC: Interesting ones. Well, what I find interesting to me. Is it an interesting film? Do they have a unique way they came into film making? True indy film maker vs. just claiming to be. Sometimes I enjoy simply having fans of films on, or folks that can teach us how to market, or how to use the new tech that is coming on line.

SZ: How many shows have you hosted to date?

WC: About 100. If you want to be on the show, just email me and we can see what we can do! Shows are about 60 mins, and we have had actors, crew, directors, and just film fans on.

SZ: Do you see networking/contacts being made between your show guests located outside of Wisconsin and those such as yourself within it? (especially as they become familiar with IFW?)

WC: I do. It is good to see it going on. We are all stronger by working together. None of us know it all, or could not be better at our craft. Let's learn from each other. We should also let each other know about the scams and frauds too.

SZ: Do you get involved with production assistance regarding out-of-state production companies bringing a project into Wisconsin?

WC: A little, mosly location help or good places to get equipment (North American Camera in Milwaukee, tell Bob D I sent you!)

SZ: What's the Midwest Web Slam all about?

WC: Web Slam is all about how creative types can use the new tools to help make/sell/share ideas/films/music.

Web Slam will also talk about fun, cool entertainment ideas coming out from ARG to Machinima. Folks, this is huge!

SZ:If someone would like to get involved with the Midwest Web Slam, how can they

WC: Email me ( wclingman@wi.rr.com )

SZ: What are your personal thoughts on “webisodes” and where they are going? Do you see webisodes as becoming an effective new distribution model for indie filmmakers?

WC: I love webisoides. A great idea!! I'm thinking this is like TV was in the 50’s. The door is way open, and there is no one to say you can’t do this.
Just look at these two sites and behold what is out there!

http://news.tubefilter.tv/

http://www.tubemogul.com/

SZ: How is the state of filmmaking in Wisconsin right now, on an indie level and on a major independent/Hollywood level? How are tax-incentives in states such as Michigan affecting Wisconsin?

WC: Wisconsin sucks when it comes to tax-incentives. You will not find any here. To think we went from millions of dollars in investments to basically zero is sad. In my honest opinion, if it was not a true grassroots effort, which in my view the leadership of Film Wisconsin did not want, what little we have would not be there. Again, in my honest opinion, it looked like to me that the leadership of Film Wisconsin was more interested in keeping Governor Doyle in office for his social agenda than to keep film in this state.

If I may say so, we must all get and stay involved with our state governments to bring the power of the state to bear on obtaining the resources film makers need.

SZ: Give us all the pertinent links to the blogtalkradio show? Where can someone connect with you on social networking sites?

WC:

Indy Film Wisconsin Podcast http://www.blogtalkradio.com/icflm

Facebook http://www.facebook.com/home.php?#/wclingman?ref=profile

Facebook group http://www.facebook.com/home.php?#/group.php?gid=42707089001&ref=ts

iTunes Update

The podcast series is now available on iTunes as well!

Episode 1, featuring Stpehen Lackey of CineGeek.com, Con Trek, and Captain Pixel Productions can now be found there, as well as future episodes.

Click here to go directly to the iTunes Store listing!

Indie Movie Masters Podcast Episode #1

Here is the debut of the Indie Movie Masters Podcast series, hosted by IMM's Stephen Zimmer! We will be alternating blog/interviews with the podcast here, and this weekend we're kicking off the new hard-rockin' podcast with a visit by Stephen Lackey, of Captain Pixel Productions, Cinegeek.com, and Con Trek, the new episodic show on conventions and festivals on the Microsoft XBOX Video Marketplace. Check out the podcast, give us feedback, and spread the word!

Click here to listen to the podcast or download!

You can also be among the first to subsribe to the new podcast series as an RSS feed here: http://feeds.feedburner.com/IndieMovieMasters

We will post informations regarding iTunes options as soon as it is available.

Con Trek-A Rising New Episodic Series Exploring Genre Events.

Con Trek, the new episodic series on the Microsoft XBOX Video Marketplace covering the world of conventions and festivals, is the result of innovation, vision, and persistence. Conceived by Nashville's dynamic duo of Stephen and Suzie Lackey, who produced the successful documentary feature "Fans and Freaks" on the world of Fan Cons, Con Trek is quickly gaining momentum, becoming a shining example of independent content development and strategic usage of emerging new media markets.

With two vibrant and very talented show hosts (Brittney Eskew and Alan Smith), several episodes under their belt, and a distribution model that offers alot of possibilities for growth, Con Trek is poised to become a true independent hit. In today's indie adventure, we will be visiting with Stephen and Suzie Lackey to get some background on Con Trek; what it is, what's been done so far, and where it's going. It has some great lessons for independent content developers regarding persistence and planning.

Nowhere else will you get the kind of inside coverage of science fiction, fantasy, and horror events and conventions that you will with Con Trek. Be sure to check out an episode on the XBOX Video Marketplace today!

-Stephen Zimmer for Indie Movie Masters Blog, July 26,2009



SZ: Tell us a little about your respective backgrounds as it pertains to indie filmmaking.

Stephen: Well, I thought for years I was going to be a rock star, or at least work in the music business. While I was in college I switched my focus to TV production. While I was in college I worked at the local television station and did some student video projects. When Suzie and I were married was the first time I worked on a feature project.

Suzie: I have been a film fan for as long as I can remember. I went to film school at Watkins College of Art, Design and Film. Instead of tackling a short film first, my husband Stephen and I jumped headfirst into a feature documentary film entitled Fans and Freaks: The Culture of Comics and Conventions. After being in production for two years, the film was completed in 2002 and has played several film festivals and won a few awards along the way. It still plays conventions and genre events. I know I learned more from making the film versus sitting in the classroom. Since that film, Stephen and I have directed several short documentary films.

SZ: Tell us a little about what Con Trek is, in terms of format and style.

Stephen: Con Trek is a documentary television series that visits different conventions or festivals each episode. The show is brief at less that a half hour but it goes a little beyond the typical sound bites that most other shows that try to cover the subject stick too. The show is earthy and deep in the middle of each event in an attempt to really draw the viewer into the proceedings. If you're a fan of the particular convention or subject you'll feel right at home and if you aren't you'll get to see some things you may never get to see any other way. The show is currently available exclusively on the the XBOX 360. The show can be found in the Video Marketplace under Gamer TV. The series is also listed under Independent programming.

Suzie: Each episode is approximately 17-25 minutes in length, but don’t let the run time fool you: we pack a lot into a short amount of time.


Here is a preview of one Con Trek's first episode from season one.


SZ: Who are the main players on the Con Trek team?

Stephen: Stephen Lackey (me) producer/director/editor
Suzie Lackey producer/director
Brittney Eskew host
Alan Smith host
Mike Young photographer/production assistant
Julie Trull Publicist

SZ: How and when did you come up with the concept for Con Trek? What were the main inspirations?

Stephen: Well, our first feature was a film called "Fans and Freaks: The Culture of Comics and Conventions". It was a documentary about the world of fandom. We had really good success with that film and over the years have been constantly asked when and if we would do a sequel. I never wanted to do that unless we came up with a unique format to show more conventions and meet more fans. So, the idea for Con Trek was born.

Suzie: We are fans and attendees of these events first and foremost. We fly our “geek flag” proudly.

SZ: Tell us a little about the relationship between Con Trek and MicroSoft. When did you first pitch the show to them, and how long did it take before the first episode was aired on Xbox? Describe the road that you took.

Stephen: I'm a tech fanatic so I saw a couple of years ago during coverage of the Consumer electronics show that Microsoft would be starting up an IP (internet protocol) TV program for broadcasting television programming over the net and that the XBOX 360 would be doing television shows for streaming or download. So I started researching and found a contact. I pitched a number of ideas to them and sent in all of our previous work which included "Fans and Freaks" and a number of additional short docs we had done. They liked the "Con Trek" pitch and a couple of others so we began to move forward with the process of getting the series rolling. We encountered a number of speed bumps which slowed the process down a good bit but two years later the first episode hit the XBOX Live service.

SZ: How many Con Trek episodes do you project in a given year?

Stephen: This year we hope to do six to eight episodes. Based on how well they do we'll decide about the numbers for next year. The show will soon be available to a wider audience so that may change everything but it's too early to announce anything there yet.

SZ: What are some of your highlight moments so far from the first few episodes? Any specific guests that really surprised you? Any particular wild events that you would like to share with us?

Stephen: Well, the big thing is all of the fans that we've met. We've made new friends throughout this process that we'll hopefully have for years to come. As far as guests Dana Snyder (Master Shake from Aqua Teen Hunger Force) was a real blast, and many of the professionals we met while covering Wonderfest were great. The big thing is the fans. For instance at Lebowski Fest (our most recent shoot) we didn't have to buy a single beer at the after party. Everyone has been really great.

Suzie: Nothing rivals Dragon Con for unabashed cool events and guests and wild attendees.


SZ: On that note, who are a few of the more notable/recognizable guests that you have interviewed so far?

Stephen: We interviewed Nichelle Nichols (Star trek), Steve Niles (author of 30 Days of Night) Jovanka Vukovic (editor of Rue Morgue magazine), just to name a few of my favorites.

SZ: How did you go about selecting your hosts, Alan and Brittney? What kind of hosts were you looking to cast?

Stephen: We held a number of casting calls and decided on them after meeting with man people. We wanted hosts that were open minded and energetic. We needed a duo that had good chemistry together too. We wanted one hardcore fan and one less than hardcore fan so we could show two perspectives on the subject. Brittney and Alan are truly exactly what we were hoping for when we began casting.

SZ: The Xbox channels, with shows like Con Trek, represent a model for new media content delivery. Do you see signs that this model will be successful for independent developers/filmmakers?

Stephen: I believe that yes this system of downloading or streaming TV and film is the future of media and it should really offer more opportunities to indie creators. The only problem is that it's so early in the evolution of this new system that only die hard creators ready to stick with it will see any success. In other words, there's not much money in it yet.

SZ: Have you gotten any feedback yet from your contacts at MicroSoft?

Stephen: They love the show and are very enthusiastic for us to stick with it.

SZ: Do you foresee Con Trek making a jump to broadcast at some point? Or will it remain a Video on Demand-style episodic program?

Stephen: We hope to see the show jump to network or cable TV or to see it expand to a much greater level within the new media model. This fall the show will be available wider for sure in its current set up but we hope to take it much further.

SZ: Where has Con Trek been over the past few months, and what are some of the places and events that you will be visiting in the near future?

Stephen: We've stuck with mostly southern shows and events in Atlanta ,Georgia, Louisville, Kentucky, and Metropolis,Illinois. We'd like to of course expand further out into the country next year, perhaps even do some real coverage of San Diego Comic Con. We want to do the smaller more quirky shows all over the country too.

SZ: How does one find and access Con Trek on the Xbox?

Stephen: Just log in and go to Video Marketplace, then to Gamer TV, and choose Con Trek to see all of the episodes. Again, we're also listed under the Independent Programming section too.

SZ: How does one connect to Con Trek on the web (Facebook, Myspace, website, etc)?


Stephen: We're all over the place. We have articles, blogs, pictures and more at the official website at http://www.contrek.com/, we have a fan site on Facebook too, just search for Con Trek, on Myspace we're at www.myspace.com/contrek, and see video tralers, clips, and previews at www.youtube.com/contrektv

I think that's about it. If I missed anything, it's linked on the main Con Trek website.


Here is a preview of episode 2 from season one of Con Trek