Patricia Richardson [Interview]

For anyone who spent much of their evenings in the 90’s plopped down (probably on the ground) watching wholesome television sitcoms, the name Jill Taylor is synonymous with the idealisms of a perfect TV mom and wife on the hit sitcom Home Improvement.  It is a role that is still considered viable and extremely important in the world of situational comedy, even after the “boom” of the strong independent working woman (who probably lives in a big city).  But twenty years ago, it was all about Jill Taylor.  The boss woman in charge of the household I always wished actually had four walls, and I lived right next door to one of those walls.

And the power of Jill is owned almost entirely to the brilliant acting chops of the one and only Patricia Richardson.  And while she may be best remembered for being the wife who put up with the dim-witted but loving handyman portrayed by Tim Allen, her skills are undeniable, and she has proven as much even till this day.  But before Home Improvement even saw its last episode, Patricia stunned audiences in her role alongside Peter Fonda in Ulee’s Gold.  And when Home Improvement did indeed see its demise, Patricia jumped into the medical world on the strong running hit show Strong Medicine.  And she is showing no sign of slowing down. This is why we were so honored to get a few (lengthy!) words with the legend herself, Patricia Richardson.  Enjoy!

When playing a television mother for so many years, do you develop a sort of motherly attachment to the kids who play your family?

Yes you do develop an attachment , although they don’t need parental interference from set parents when they have a parent on the set with them at all times. Tim and I worried about appearing to have a “favorite” , or that interference problem, and we tried to avoid those pitfalls. But we did feel protective of them and enjoyed them tremendously as I think you can tell when you watch the outtakes. We tried to go to bat for them when they were renegotiating, when they needed more teachers or a space to play outside, ( my head got in the way of some thrown footballs a few times ).There was no place for them to burn off all of that boy energy except in the street outside the studio dodging the trucks and cars for a while. I don’t think people understand how hard it is for kids and their families who work on these shows. One parent has to be on the set at all times. That means they can’t have a paying job. That leaves the other parent to earn a living and deal with the other kids, if there is another parent. The family can’t live off the working child’s money. It is protected by law which is a really good thing. I once knew an actress whose parents stole all the money she made and ruined her credit while she worked as a child actress. So those laws are important. Anyway, the kids arrive at work way before everyone else and get into school. They might have to leave a test in the middle of it to come out and work/play with us, turn that on and off constantly and instantaneously all day long, and get right back into the school work on command. On the off weeks we have in sitcom land ,which are at least once a month, they go back to regular school where they are regarded the way all famous people are: as enviable Aliens. Yes, they are fortunate in so many ways, but when negotiating their salaries the studios say why should kids make much as journeymen actors? Well, they are not considering how hard they work, what it is costing them in terms of their young and fragile current and future personal lives, and what they contribute to the show. It is sometimes the same contribution if not more than the sometimes equally inexperienced adult actors they are working beside. The studio is also getting the parent at no pay. Anyway, you can tell by my overly long answer here that I did care about those kids, admired them and their families. I was really busy and hanging in there myself trying to work hard and raise my own three kids so there wasn’t time for much else. But they were amazing, fun, talented, smart boys, and have grown up to be wonderful men.

Between Home and Improvement and Strong Medicine, you spent many years working in the same consistent environment. Is this a rewarding experience in a way? Do you prefer new sets, or consistent sets?

A thousand times yes , being on the same set is better. I’ve done long runs on plays too which can get tedious in a way that series work never becomes. But I believe actors do better, freer work when they feel safe and relaxed. Every set in every medium is a family. The longer the family gets to be together the more comfortable that environment becomes. The more relaxed you feel, the easier it is; everything flows. I have found and observed in other actors on my shows that being a guest on someone else’s show is hard. I’ve seen great actors really nervous working as a guest actor and felt the same way myself. Working on a movie only for a few days or a week can feel the same way. You don’t want to feel like the adopted child. Maybe it was a mistake? You should be sent back to the orphanage?

What was really great about Home Improvement and sometimes on Strong Medicine, also on The West Wing, was having the same directors. That is a super great A+ pay the good ones and keep them as long as you can if I were to produce good idea. The other one is this: at least one original co-creating producer should stay on the series until it ends. Look at most of the successful long running series and see how many still had one co-creator at the end. Only the creators care as much as the actors who are there until the end. Subsequent writers tend to come for the money and stay until they can get their own deals on their own babies. Creators care about their baby. If a creator abandons the baby only the actors are left to fight for the original vision of the creator on a daily basis and the baby they all loved . Very difficult position to put the actor in.

What sort of preparation did you do to perform the controversial role as Marilyn Monroe’s mother, Gladys Barker, in the mini series Blonde? What kind of research was involved?

I lived with a psychologist at the time who supplied me with a lot of material on different maladies. The trouble was it was difficult to assess what the diagnosis would be. In the book it appeared to be one thing, history says something else. History is somewhat unreliable as in those days psychiatry was less sophisticated and everyone sort of fell into a few convenient pools. Also do you pay attention to how it seems in the book or what history says? She seems to be low functioning Borderline or Bipolar in the book. By the time she gets hospitalized she would be heavily medicated. Marilyn was sexually molested , was Gladys? I found out about the job while traveling with my oldest son abroad and didn’t have a lot of time to prepare. I flew from Paris, to LA and on to Australia. 

What did you find most interesting about Gladys Barker? What made you want to take on such a role?

All of the above applies to this question and also that I was always interested in Marilyn Monroe and didn’t know about her mother. I also was a fan of Joyce Carol Oates but hadn’t read Blonde. She came to speak at my kid’s school years later, after I did the mini-series. I thought about bringing the book and asking her to sign it. But I chickened out. I felt too shy to approach her.

Can you tell us a bit about the upcoming, and possibly controversy riddled, documentary Acceptable Limits, in which you are an executive producer for? How did you become involved and interested in such a subject?

I was always interested in Nuclear Energy , I have a relative who is a safety consultant in the Industry . So I have heard many stories and we’ve had many discussions about it over the last forty years. I ,in fact , have a charming picture of myself in a hard hat in front of a nuclear containment building being built back in the 70’s . This is clean energy in many respects – cleaner than coal if we can find a place to store it and a safe way to transport it. President Obama’s announcement of billions in federal funds for small, modular nuclear reactors shows us that nuclear- if executed cleanly and safely, can be more than beneficial to our country’s energy source.

I got involved with this film because my friend Cosmo Phiel needed money and I am interested in making more documentary films. I had already produced one with my friend Jodi Long , Long Story Short, which went to many Asian Film Festivals, won awards, is very entertaining and is on Netflix. This one is still a work in progress as time has gone by and the situation is evolving. After 2 years of countless interviews and hours upon hours of research , they have realized that this is a dynamic story that deserves to be told from multiple points of view. That is good storytelling. At this time they don’t feel that they have been able to represent certain key threads that they would like to tell in their story such as : the importance of clean , safe, nuclear for the future of energy production in our country, the role of NFS as the primary employer in Erwin, Tennessee where our story takes place and where a group of residents have been arguing against the 40 year license renewal of this local nuclear plant in operation since the 1960’s , the science of down blending HEU on this line ( It’s recycling basically ), or modern regulation by the NRC; what it is and how it prevents discharge/ contamination/ criticality. There were high levels of illness including cancer, as well as contamination in the food and water supply in Erwin. The activists pointed to tests by a University scientist from Arizona that showed trace amounts of enriched uranium and plutonium. A class action suit ensued and was later dismissed. The plant and its regulatory body point to a clean operating record since major improvements in the 1990’s and 2010. Closer examination shows that Eastern Tennessee has a long record of big industries coming in and releasing dyes and chemicals into the waterways. How can someone point the finger at one single company for releases that poignant if they’re considered to be within acceptable limits? Additional recent testing shows only trace amounts of enriched uranium. What is considered a safe amount of exposure? How are the acceptable limits set by the regulator, and what is the science those decisions are based on? This is what the film is exploring.

If you could star in a remake of any classic film from the golden age of cinema with a strong female lead, what would it be?

This is just a question I can’t answer. First of all , which golden age of cinema? LOL. My oldest son the Film Major and I had a whole discussion about this. He says now? He thinks it’s now. I disagree. I suggested the 70’s . He says oh that’s like 5 films. Then there’s the horror of doing a remake . Ugh. I am not a particularly confident person. Who wants to be compared to some brilliant person from THE GOLDEN AGE OF CINEMA. Whenever that was. And the idea that someone would let me star in any film at this point is so unlikely it makes me want to start whining a little.

How did you become involved with Cure PSP? How important is this organization to you?

My Dad died miserably over a long period of time of PSP, Progressive Supranuclear Palsy. No it’s not a video game system. It is what they call an Atypical Parkinsonian Disease, because it looks like Parkinson’s without the tremor. He had that same frozen face with absolutely no expression, staring eyes, because they can’t look up or down, ( that is unique to PSP ), there are balance problems, they fall backwards a lot (another symptom unique to PSP) , their muscles spasm and become increasingly more frozen. I used to say Dad became “mummified” inside his body. We didn’t know how cognizant he was because he lost the ability to speak . He also had a lot of difficulty swallowing. The only way he could communicate was with a thumbs up or down. He had been a Navy Test Pilot , a fighter pilot who landed planes on aircraft carriers which he referred to as ” postage stamps”. That’s where the thumbs up and down came from . But really most of the time we had no idea what he was thinking or feeling. His laughing and crying sounded the same. He was hurt by a nurse at one point in the really nice, expensive nursing home where we had him despite the fact that we had a sitter in the room with him all day every day. They tried to cover it up, hid the injury even from his doctor , didn’t file an injury report which they have to do by law. We discovered after his death and the autopsy , which is the only way to confirm PSP, that he had been very cognitive , trapped inside of there for a few years, unable to move or communicate. He was misdiagnosed, as many PSP patients are, for many years . He probably had the disease for five years before it was identified correctly. The movie The Diving Bell and the Butterfly nearly killed me; that was his story . I am unable to express how terrible this time was. My sisters and I didn’t know about CurePSP when we were struggling to take care of him long distance for those years. I wish we had it would have helped us so much. I learned about CurePSP towards the end and they asked me to become their National Spokesperson and then I joined the Board of Directors. The organization has grown a lot over the years , has done ground breaking research and really expanded their patient and caregiver outreach. We funded the research that found the gene that established that PSP is a tau protein disease, a ” taupathy “, like Alzheimer’s and Traumatic Brain Injury. These proteins spread in tangles around the brain killing brain cells. Other brain diseases have other kinds of protein spreading infectiously in similar ways. Many scientists are now calling them all “Prion Diseases”. The figures for how many people in this country alone that are dying of brain disease, the trillions of dollars that it will cost in the coming years around the world, are staggering. There are no cures yet. There are beginning to be some treatments that delay symptoms, but there needs to be more attention and resources paid to this. The baby boomer generation is headed toward these diseases and it will be a heartbreaking disaster. It already is. There are people getting PSP in their 50s, even in their 40’s although that is atypical.

A man named Stanley Prusiner at UCSF discovered and named Prions when he discovered the infectious protein that was causing Mad Cow Disease. He won a Nobel Prize back in the 90’s because it was the first time they realized that disease could spread by something other than bacteria or a virus, through DNA. We are now working on trying to find a way to stop tau- clear it, or stop it from growing in the first place. Do we need it? Is it necessary ? There is really exciting and interesting research going on. CurePSP is unique in that as a small organization we can give our investigators money directly, they don’t have to pay a portion of what they get to the institutions that house them, there is no time lapse. Our Scientific Advisors have been really smart about where to put the research money.

What was the last thing that made you smile?

I recently got back to New York and found the Valentine one of my sons had made for me. That was sweet.

Where you as touched by Patricia’s tales of PSP and her part in the fight to cure it?  Find out how you can help out at the link below:

give.psp.org//LaurenceRichardson

David Hogan [Interview]

Does anyone remember music videos?  Or to rephrase that, when you could turn on the TV and watch a music video, rather than watching one to the confines of your MacBook?  Chances are that if you were born after 1990, you probably don’t remember that time.  Well dammit, I do!  There was a time when music videos were so exciting, MTV even had a show about making said videos, rather than spilling vile about “guidos” and pregnant teens.  There were amazing videos that earned an abundance of respect.  Video directors reigned king!

And despite even my own pessimism, the still reign as such!  Music videos have actually become even more relevant and true works of art, even if MTV doesn’t care to show them any more.  And few people have mastered the art as well as filmmaker and video producer David Hogan.  David has worked in the arena of music videos for many many years, directing videos for artists like Dave Matthews Band, Carly Simon, Barenaked Ladies, Elton John, Gin Blossoms (one of my personal favorite groups of all time, and the list goes on and on and on.  And his resume in the film world is absolutely impressive as well with credits including action films like film adaptation of the comic book Barb Wire and the Keenan Ivory Wayans fronted hit Most Wanted.  His career is as varied as it is brilliant.  And we are very fortunate enough to steal a few words with David about everything from his historical career, what the future holds, and…..how he knew Elvis?  It’s true!  Check it out, and as always, enjoy!

You have feature film credits for directing the adaptation of the comic book Barb Wire, as well as second unit director for Batman Forever.  Are comic books something you enjoy personally?

Seemed like fun at the time.  And they were.  And the pay wasn’t bad.

Unless it was entirely my project, I would prefer other genres. I had very little freedom on that film. Two words: “no fun.”  One word: “misery.”

Would love to do a western, comedy, or fantasy.

I enjoy working with all kinds of music. Blues is my favorite,  but those music videos rarely come along.

I really liked their songs. They were nice guys and gave me complete freedom. They didn’t give a shit about music videos – just the music. Great guys.

Blues, soul, and R&B. Why? I grew  up in Memphis.

What would you say is your most memorable experience in your long and prosperous career?

The opportunity to work with Carly Simon.

 Your incredibly deep and personal documentary Life In A Basket is extremely unique in so many ways.  Even tear-jerking, if you will.  What inspired you to make a film in this manner?

The concept was the late Paul Haggar’s. (Paul and Sheri Sussman were the producers.) Paul worked at Paramount for 54 years, and would see homeless people pushing their carts past the lot day in and day out. His fascination with what was in those baskets, especially items that seemed common to all–long sticks, plastic milk cartons, etc.–was the seed and provided the edifice for the piece. We felt that simply having the subjects explain these items might lead to some insight that might not be garnered by simply asking how they ended up in such harsh circumstances.

According to your website, you are working on a documentary about the King of Rock, Elvis Presley.  Everyone enjoys a good doc about the King.  Tell us, what is going to be particularly interesting about your depiction of Elvis?  Did you have some personal interaction with Elvis himself?

The doc has since evolved into a short.

Yes. My brother and I got to know him when we were kids. We were eight and six when he moved into his first house in Memphis. One day we made the three-mile trek on our bikes and knocked on the door. His mother answered the door, and there sat Elvis, on the couch, shirtless, watching TV. He smiled and pointed at us, “How you boys doin’?” Then his mother said, “You boys leave Elvis alone. He’s tired. He been on the road. Ya’ll go on home.” He always recognized us after that day, always waved or spoke when our paths crossed.

Matthew Mishory [Interview]

In the film industry, there are many folks out there working their asses off for what some people mind consider, nothing.  If a filmmaker isn’t either Woody Allen-esque lo-fi films with huge names attached to it, or 9 figure action/comic book adaptation, so many people are quick to deny them credibility.  Of course most of us know this is crap, but sadly, we probably aren’t most people.  And filmmaker Matthew Mishory is not like most filmmakers.  This is a man who has been compared to Fellini, which is obviously a very bold statement, but one I don’t believe is too far off.  Mishory has developed films that are (as he states) director-driven and actor-centered.  And these are the films that intrigue me the most!

And we were fortunate enough to steal some time with Matthew to discuss his past works, what is next for him, my personal favorite city of Portland, Oregon, and so much more.  Enjoy!

In the early days of your career, you were actually an Assistant Producer on Da Ali G Show, which quite different from your work today.  An chance of seeing you work in the comedy world again?

I would love to direct a comedy, but first I would have to learn to be funny.  Comedy is hard; I am envious of those who do it well.  Of course, nobody does it better than Sascha Baron Cohen.  I was very fortunate to be hired as an assistant on that shoot and to have the opportunity to watch him work.  The “Ali G” set was a masterclass.  I’m a great fan of comedy.  I love the Marx Brothers.  And if I had to take one film along to a desert island it would probably be Woody Allen’s Manhattan.  I would love to make a comedy one day.  I’d like to think I’m waiting for the right script to come along.

How did your rising star of a company, Iconoclastic Features, come about?  How did you come up with the name?

In 2007/2008, an actor friend introduced me to an actor friend, Edward Singletary.  Eddie had just started producing movies, and it turned out we had some of the same ideas about what an independent film could be: director-driven, actor-centered, stylistically bold, and privately financed.  We had matching sets of skills and personal networks and decided to try making some films together, films I would direct featuring Eddie as an actor.  The company was born our of that very simple and humble premise.  The name refers to the sorts of films that matter to us, the ground-breaking films of the European High Art and American Independent film movements.  Those sorts of films had sadly all but disappeared by 2008.  In our own small way, we’re doing our best to revive them.

Have you always been a fan of the legendary actor James Dean?  What inspired you to create Joshua Tree, 1951?

Photo by Ziyan Zang

Each of my films are very personal.  I grew up haunted by images of James Dean.  Probably the first feature film I ever saw as a very little boy was East of Eden.  My father had come to American as a sixteen-year-old Julliard violin student and learned to speak English by going to the movies.  He saw the Dean films in first run and later showed them to me.  James Dean was quite unlike any other actor who come before (or after).  And while several very traditional biopics had been made about his life, I felt there was room for a non-traditional exploration of the very non-traditional philosophy (and experiences) that made him so extraordinary.

You’re critically acclaimed film Delphinium: A Childhood Portrait of Derek Jarman is a true stylized piece of genius to say the very least.  What was it about Jarman that interested you enough to create a film about him?

I discovered his films as a student, and they have always been very, very special to me.  A few years later, I received Tony Peak’s Jarman biography as a gift.  I had read most of Derek’s published journals, but the Peak biography somehow reiterated to me that there was a fascinating story to tell in Jarman’s childhood.  I have always been interested in the way childhood (and particularly childhood trauma) shapes a life; it has been a theme in each of my films.  With Delphinium, we tried to find the antecedents of Derek’s art, his life, his activism, and his legacy.  That his surviving muse, Keith Collins, gave us permission to shoot at Prospect Cottage in Dungeness made the project all the more special.

I know it’s a bit in the future?  But, can you tell us a bit about Disappear Here?  How did the idea for this project come to life?

The film is a star vehicle for the young actor James Duke Mason, grandson of the great James Mason, star of Lolita.  Duke had seen Joshua Tree and approached me about a collaboration.  He had a sense of what sort of film he wanted for his first project, and this is what we came up with.  The film is a political thriller that deals with notions of privacy in a digital age.  We were inspired by the commercial thrillers of the 1980s and the paranoia films of the 70s.

Can you tell us a bit about your upcoming film Portland?

We’ve been trying to make Portland for years.  Hopefully we’ll get it done in 2013/14.  As you know, the word conveys both a city and an idea.  I thought it might make a simple, evocative title.

So, what else does the future hold Matthew Mishory?  Are there any untouched grounds you are looking to sweep?

Tomorrow I’m off to Istanbul, Belgrade, and Transilvania to direct a promo trailer for the South East European Film Festival.  Filmmaking is a terrible way to earn a living but a great way to see the world.

What was the last thing that made you smile?

The latest Jens Lekman album.  It was playing as I opened this email.

Richard Riehle [Interview]

Richard Riehle is one of those actors that you just know.  He is instantly recognizable with a frame and mustache that makes him an obvious choice for a Santa Claus character (which he has done, most recently in A Very Harold & Kumar 3D Christmas) or a cop (The Odd Couple II).  But even with this sort of typecasting in mind, it is the versatility of this fine actor that is so impressive.  Most people are going to remember Richard for his hilarious supporting role in the film that epitomized the hilarity of slackerdom, Office Space, in which almost stole the show with his “Jump to Conclusions” mat, that I wish actually existed.  But on a personal level, Richard Riehle will always be Principal Beasley from one of my favorite films as a kid, Jury Duty with Pauly Shore (don’t judge me hipsters, I was 10 years old!).  This is an actor who is always recognizable in my book, and a great talent with almost 300 television film credits to his name.  His work ethic is amazing, and his talent is the same.  And we were fortunate to steal some time with Mr. Riehle, and grill him about the world of acting, Office Space, and much more.  Enjoy!

You are one of the busiests character players in Hollywood right now.  What motivates you to work just so damn hard?

It doesn’t seem to me that I’m working hard at all. I really enjoy what I’m doing and hardly think of it as work. Every project is a new adventure that I eagerly look forward to.I love working with new people; experiencing new processes and ideas; and exploring new characters stories and situations; and if I’m lucky doing this in new places around the world.”Work” is a blast, and usually more interesting and fun than day to day existence.

We’ve watched your stellar performances in comedy, action, horror, and so on.  What is your favorite genre to work in? 

My favorite genre is the one I’m working in at the moment. And I love shifting from one to another. You learn more about each genre by experiencing it from the prospect of the genre you’ve just been working in, or the one you are preparing to work in.It makes for a more interesting character or project if you can find some comedy while doing horror, some serious underpinning for knockabout farce, or some thoughtful character work in an action/adventure piece.

You are a man of the theatre as will as the screen.  Tell us, have you ever had a truly embarassing moment on stage, or witnessed something extremely embarassing?

How much space do you have for embarrassing theatre moments. I’ve gone up in the middle of a 2 page Shakespearean monologue, when all I could think to do was beat on the only other actor on stage until I remembered the next line. That was in front of 1200 people. Or falling asleep on stage and snoring.

I understand you are fluent in German.  You have been in more films than I could possibly remember, so tell us, has your German fluency help you in the acting world? 

I shot a film this week about the childhood of Charles Bukowski, playing Bukowski’s grandfather, who was meant to be a German emigre, so my background in German allowed me to use a German accent,and throw in a German word or two at the audition and in the filming. The 2nd film I got cast in was as a German speaking Gold Rush bar owner, and we shot a scene in Growth in which I had a phone conversation in German. Neither made the final cut.

What was the dynamic like shooting the now cult favorite Office Space?  Did you get to keep the Jump To Conclusions mat?

Office Space was a great experience from beginning through its still continuing life. Mike Judge took his time casting the film then told us we’d be going to Austin for 25 shooting days, his hometown, where no suits would be looking over our shoulders. We’d have to work hard to get everything, but at the end of the day he’d introduce us to some of his favorite restaurants and music spots. Mike did his role the first day, giving us all a clear sense of what he was going for.

Mike wrote a great screenplay, and was a wonderful director, making the set a fun place to be.

He put together a terrific group of people who enjoyed spending time together both on and off the set. He knew exactly what he wanted, and was clear in describing it. I couldn’t have had a better time working on it, and to this day people still stop me and tell me it’s their favorite movie. And I have no idea what happened to the jump to conclusions mat, I swear.

I’ve noticed that you already have quite a few projects coming out this year?  Can you tell us a bit about what we will be seeing you in this year?  Especially the mysterious modern day thriller Friend Request?

It’s always hard to tell when a film will be released, whether it will be in theaters or on cable or DVD or streaming, or even what it will be called. Friend Request was fun to shoot around Salt Lake City, and evidently went well enough that they’re already in preproduction for Friend Request 2. And one of the producers is putting together a terrific Western that I hope he’ll use me in. I did a Western last year called Dead Man’s Burden starring Clare Bowen who’s now one of he leads in Nashville. It turned out great and was screened at the LA Film Festival. And I did another social network film, Death By Facebook, a dark comedy(aren’t they all?). Did a double/triple cross film with Ray Liotta; Scribbler, based on a graphic novel in which I have a scene with Gena Gershon and a boa constrictor; Obsession with James Duvall about a hedonistic reporter; and Lovesick with Matt LaBlanc about a relationphobe. Any of them could appear in the near or distant future.

If you could portray any famous Revolutionary War era figure, who would it be?

Benjamin Franklin would probably be the Revolutionary War figure I would have liked to have been. He got to participate in most of the important events of the day, but never had to be responsible giving him time and opportunity to tinker with things that interested him, inventing, writing newspapers and almanacs, creating the postal service and libraries, even flying a kite. Meanwhile, enjoying all the good things in life, wine, women, and song throughout the new country and Europe.

What was the last thing that made you smile?

The last thing that made me smile was waking up this morning, having made it through the night, with all the possibilities of a new day.

Lisa Loeb [Interview]

Lisa Loeb is a woman who really needs no introduction.  She is the brilliant singer/songwriter who is easily recognizable for her black rimmed sunglasses, brilliant song writing capabilities, and her hit song from the 90’s, “Stay”.  And twenty years later, Lisa is just a beautiful and talented as she was when we first laid eyes on her.  Time has had nothing on this brilliant musician.  She continues to put out amazing records on a consistent basis and is widely respected as one of the finest musicians in the folk and indie rock world.  “Stay” has become a staple in the world of music, film, and even karaoke (the latter might be contested, but seriously, doesn’t every one try this song at least once?).

Lisa Loeb came out of nowhere, really.  She was the first artist to ever have a number one single without being signed to a label when her friend Ethan Hawke (who we should be entirely ass kissing for showing us the power of the Loeb) convince Ben Stiller to use “Stay” for the end credits and soundtrack of the 1994 hit indie film Reality Bites.  Like most people, this was about the time I learned who Lisa Loeb was.  Reality Bites is, and will always be, a film that consistently makes my Top 5 films of all time list, varying in order.  I actually have a fond memory of walking into my living room as a child when my father was watching the film.  He told me I probably wouldn’t like it because, you know, I was 9 years old.  But, the challenge was accepted, and I love the hell out of that movie even at such a young age.  And I remember when the film ended, and that beautiful break up/make up song came on, and I was hooked.  I would later beg for a copy of her album Tails, and have been hooked every since.

So, you can imagine how much of an honor it is to have Lisa Loeb agree to share a few words with us and to have her join the Trainwreck’d Society family.  It would behoove me to inform you fine readers that I was incredibly nervous, just getting an e-mail from her publicist.  But, the end result was absolutely fantastic as we discussed what Lisa has been up to, how she likes the life of being a mom, and how such a sweet lady managed to cover Ozzy Osbourne and become a horror film star.  So sit back and enjoy a few words with the absolutely legendary Lisa Loeb!

Can you recall a certain moment when you realized you wanted to be a musician?  Did you ever have dreams to do anything else?

I think the moment I felt like a musician was in acting school abroad in England during a high school summer.  I played guitar in my dorm room, and other kids came by to say hello and hang out.  When someone asked me for a recording of one of my original songs, then I felt like I was a musician.  Although I’d been performing forever and even writing for a few years, all of a sudden my songs existed as things outside of myself.

I have dreams to be a groovy songwriter who sits in a room by the beach, just creating all day and painting, dancing, playing guitar and piano.  I also would like to be a psychologist.  Sometimes I dream that I’ll hang out one day or one week or one month or year and just figure out what I really, really want to do…

You grew up in a world engulfed in the medical world in Texas, but became a literature major/acoustic guitar strumming artist.  Were your parents supportive of your choice to become a musician?  Are they fans of your work?  

My father is a physician, but there was always a lot of music around the house.  My father played piano and all of us kids (my older brother, younger sister, and younger brother, and I) all learned to play instruments.  We often listened to all kinds of records, ranging from Queen to Classical music to musical theater.  My parents were a little nervous about my decision, but luckily I started getting professional interest and opportunities early enough after college for them not to go on for too long… although my mother does still ask sometimes if I want to go back to school do something else.

Your songs are normally sweet, soft, and melodic.  Quite the opposite from Ozzy Osbourne….so, how did you become involved with Bat Head Soup?  What made you want to do this project?

I became involved through Dweezil Zappa, who was doing cover songs on Bruce Kulick’s cover song album projects.  Dweezil thought it would be an interesting, surprising thing for me to sing “Goodbye to Romance,” and Bruce finally agreed.   It was a cool contrast to what you’d normally hear on an Ozzy album!

Also what seemed like quite a leap was your role in a the remake of Tom Holland’s Fright Night and a few other horror films?  Are you a big fan of horror films?  Is there a darker side of Lisa Loeb than we know?

I did see every horror film that came out when I was in High School- my group of friends were on a horror film kick from the gruesome to the kitschy.   I actually get really scared now when I see horror films, but as an actor, I thought it would be fun to play a high school kid’s mom in a film!

On the topic of films, your songs have had regular appearances in films and television.  What would you say is the silliest or zaniest use of one of your songs in a film or television show?

Recently there was an entire episode of the TV show Workaholics written around my song “Stay”.  It was pretty hilarious, albeit raunchy.  I had to text my mother not to watch that one.

Can you tell us a bit about The Camp Lisa Project?  What inspired you to create this foundation?

I loved summer camp growing up and so when I did my second kids’ album, I decided to share my summer camp experience through music from summer camp as well as new songs I made with Michelle Lewis and Dan Petty inspired by summer camp in the 70’s and 80’s.  Summer camp was where I started really performing with an acoustic guitar, on stage or sing-alongs in the cabin and by the lake.  I thought I could share this feeling through music, but then realized I’d like to help send kids to camp, so I started the Camp Lisa Foundation and now send kids to camp through S.C.O.P.E., an organization based on the East Coast who sends kids to camp who normally wouldn’t have the opportunity to go.  It really enriches a young person’s life, teaches them to be a leader and part of the community and it’s fun!

You developed your first children’s album many years before you were a mother yourself.  What made you want to create Catch The Moon?

Barnes and Noble gave me the opportunity to make an album that was different from my normal records and I’d always wanted to make a kids record like Carol King’s record, Really Rosie.  It was a record for kids that sounded like a grownup record.  I asked Elizabeth Mitchell, my old college roommate/band mate to make the record with me since she was already making amazing kids records and we hadn’t worked together in a long time.

For a mother with two small children, you still manage to be one of the hardest working woman in music/show biz…how do you do it?  Is it a struggle to keep a family life going and continue on with your career?

I am able to do what I do with the help of my husband, the nanny, and my team who keep me organized for the most part.  Often I look back at the day and am amazed at how much I got to do and still spend a lot of important time with my kids and husband. Other days, I look back and wonder when am I going to learn how to really balance it all and use my time wisely.

If you could perform next to any female singer from the early Jazz era, who would it be?

I’d love to perform next to Julie London.  She’s always been a favorite singer in my family.  She’s cool, romantic, has a great sense of humor and also seriousness in her singing.

What does the future hold for Lisa Loeb?

Today it’s a voice over audition, a walk around the block, kissing my 8 month old son, doing a princess puzzle with my three year old and a night out with my husband.

What was the last thing that made you smile?

 Seeing my daughter at dance class tip-toeing around the room catching bubbles while my son crawled down the hall to welcome the other moms and nannies at the dance school.