Kevin Hamedani [Interview]

I remember being about 7 years old and watching Back to the Future over and over again. I then started writing short stories around that time. So I’d say at a very young age I just knew, for better or worse, that I was obsessed with movies and wanted to make my own.

It was a great experience but also very frustrating. I knew very little about how a film set worked so I made a lot of mistakes. Luckily I had a wonderfully talented and experience DP John Guleserian who helped me make it through. One big lesson I learned from him was when I was blocking a scene and I had the actors stand close together like it were a stage play. That’s when the DP said: “This isn’t a play! Why are they standing next to each other!” That was a HUGE wake up call. I learned then that you can and should use the space around you because the camera will find the actor…big lesson.

My co-writer Ramon Isao and I were at the Austin Film Festival in 2009 for ZMD when we  met another filmmaking duo who had a similar  script they wanted to pitch to a big actor guest at that year’s fest. That planted the seed for JUNK. That and the fact I had done a year of film festivals and that world is bizarre, incredibly exciting and filled with colorful characters. I had yet to see a movie that took place at a fest so that was the final push to make JUNK.

Where you at all surprised about the backlash several film festivals gave the film by not letting it in?Yes, very. I did a private screening once the film was complete in Los Angeles,  A friend of mine, Scott Sanders (who directed Black Dynamite) took me aside after the screening and told me how impressed he was. That was big coming from him because Sanders is the most brutally honest friend I know. But then he said we probably screwed ourselves w/ film festivals by making a movie about it. I didn’t believe him but eventually I realized he was right. Even my hometown of Seattle rejected JUNK w/out so much as a rejection email. I think this movie really pissed some programmers off. That’s too bad. i thought they’d have a sense of humor but they take themselves very seriously. The ironic thing is that I made this movie with love for film festivals, but the reaction has lead me to really despise that whole world. So many great films fall through the cracks due to politics, lack of star power, etc…

It wasn’t fun. I will never act and direct again unless I have a bigger budget.

Music composing would be the only other job on a film that I could potentially do. I love music and play a little but I’m not very good so it wouldn’t be that great.

I am so happy w/ my cast. Leads and supporting. I managed, somehow, to keep my vision intact.  With the supporting cast and the colors they bring to JUNK, it resembles the crazy world I intended to create.

The Northwest has a beautiful, gloomy feel to it which is why I’ve shot both my features there. It’s a beautiful place with an underlying haunting, cold pulse that brings more layers to your work than you intended.

I have a few projects in development. I hope this family drama called Prince Ali moves forward. It’d be a great change to do something that isn’t a comedy

What was the last thing that made you smile?That’s a hard one….I don’t know.  I met Vince Gilligan recently and had a nice long chat with him about The X-Files, Breaking Bad, etc… I had a smile for a week after that….

Lisa Hammer [Interview]

In the 90’s it meant something completely different to be an “underground filmmaker/musician/artist/etc.”.  Just as the terms “alternative” and “independent” have become so skewed lately that it is hard to tell what or who is true to its/their origin and might be considered “underground”.  Of course, many technological advances have been made to make such a jaunting insight a true reality, some of which really isn’t such a bad thing.  But for me, and I hope many others, these terms meant nothing more than the act of being an artist with a specific taste and desire to create only what they feel is worthy of being shown, at least in their own heart.  Sure there are common characteristics such as being off-putting or risque that seem to be a commanility as well that most likely were the initial push “underground” as they say.  But in all actuality, that was the point!  Doing something different!  Different only in the manner that is pleases your own eye, even if it isn’t something you are used to seeing or hearing during the prime times or spot lights of our lives.

And in the 90’s, and thankfully to this day, there has been one woman who was and will always be in the upper echelon of the underground world.  Yes, I understand the bizarre sound that may make when you say it out loud (sort of like an “Anarchist Leader”, right?), but it is the truth.  There will always be somebody who’s work stands out amongst the rest of the rest of the rest.  And that woman is without a doubt the brilliant musician and filmmaker Lisa Hammer.  She has been grinding the gears of the weird for several decades, creating some of the finest underground works to date.  Whether it is masterminding German Expressionist masterpieces, or doing voice over work for Adult Swim cartoons, this is a woman who may not do everything she wants, but she certainly does only what she wants.  So ladies and gentlemen, please welcome, the lovely and talented Lisa Hammer!

What initially drew you in to the world of German Expressionist films?

In film school I saw Sunrise by FW Murnau and I was mesmerized by the beauty and timelessness of the story and the gorgeous scenery and cinematography. The film made me cry with no words spoken, only titles. That is so powerful. From there I was hooked.

Who would you consider your greatest personal influence in the medium?  

It’s a mash-up of Murnau in my silent films, Cocteau with my surrealist fairy tales, Bunuel for my sacrilege, Lynch for my dream imagery, Busby Berkley for the musical aspects, and John Waters for my camp. I aspire to reach the comedic genius heights of: Peter Bogdanovich, Mel Brooks, Carl Reiner, Blake Edwards, Roman Polanski and George Cukor, to name a few. Too many to name!

Can you tell us a bit about your involvement in Miranda July’s Joanie4Jackie film anthology?  How did your participation in the anthology come to be?

She asked me to submit my film Empire of Ache with Dame Darcy for her video chain letter project, (the short films created by several women circulated the world for a few years.) I don’t really know how she heard about us, it just came out of nowhere but I was very happy to participate!

You have been in the world of music and film for a lot of years now.  In your expert opinion, how do you feel the worlds have changed with the introduction of technology, social media, etc.?  Are the changes positive, negative, or both?

Since the technology for both music and film has become affordable and easy to use, anyone and everyone is both a filmmaker and in a band now. The market is flooded with artists and amateurs. Andy Warhol’s prediction that everyone would get 15 minutes of fame has actually happened. It’s great to see so many people being creative, but I think I preferred it when there were only a handful of us, it was a bit harder to create our films and music, but we got much more attention. Now it’s hard to get noticed at all, thank god I already have a history and a group of loyal fans! The trick now is to get noticed and it makes me want to go back to school to study marketing. Ha!

On that note, what do you believe the term “underground” means today, as compared to what it may have meant 20 years ago? 

20 years ago I was noted as one of the very few underground experimental female filmmakers in the industry, I got a lot more attention from magazines and distributors. My colleagues were very few and also got tons of attention. People like Nick Zedd, Jim Jarmusch and Richard Kern, to name a few in the NY circle.  Now I don’t see an underground per se, I see everyone grabbing a cheap digital camera and uploading their films and web series to youtube. It’s hard to find the actual underground film projects, you have to sift through lots of amateur shorts and web series, and an awful lot of videos of cats doing silly things. It does raise the bar for filmmakers, as we have to create the best work of our lives and get it into festivals and create a buzz in the industry. The competition is healthy.

What do you personally believe to be the highlight of your career thus far?  What accomplishment(s) make you the most proud?

I have so many, every film has been my favorite, from the insanity of Pus$bucket, to the artistry of The Invisible Life of Thomas Lynch, where I got to mentor with amazing director James Merendino (SLC Punk.) I loved filming POX where I got to write with Ben Edlund (Firefly) and Doc Hammer (The Venture Brothers) and direct an incredible cast in a haunted silent film star mansion in Hollywood (I lived there!), and recently the filming of  The Sisters Plotz with my partner in crime Lisa Ferber has been one of the most fulfilling experiences in my life.

I’ve been really lucky. I have been blessed to direct the amazing talents of celebrity guest stars: Eve Plumb (The Brady Bunch), James Duval (Donnie Darko), Clayne Crawford (Swimfan), Allen Lewis Rickman (Boardwalk Empire), H. Jon Benjamin (Archer), Jonathan Katz (Dr. Katz), Arden Myrin (Mad TV), Leo Allen (SNL), Aryn Cole (All My Children), Yelena Shmulenson (A Serious Man) and I lived through directing Courtney Love! I get to work with my talented husband Levi Wilson (Not Fade Away) on all my projects, which is the best thing of all. We have so much fun on every project. 

Can you tell us a bit about your upcoming film The Sisters Plotz?

The Sisters Plotz is a frothy romp through the world of three eccentric heiresses who live in a townhouse with their butler, who is really an earl, but is slumming it. These kooky aristocrats have no idea what year it is, don’t know how to do anything for themselves, and rely on their servants to do everything for them. It’s a slapstick musical comedy with amazing songs by Lisa Ferber and May Feinsinger. We all get to sing and dance, but it’s not corny, it’s a bit surreal and campy, as if John Waters and Busby Berkley had created a love child. Lisa Ferber wrote it and I helped create the story, and then I directed it. Eve Plumb plays our sister Celestia, a Dada poetess. Levi plays the sarcastic butler, Reginald. Lisa Ferber plays my sister Whimsellica, a dreamy painter, and I play the dangerously recreational inventor, Ladybug.

It started as a web series and got to be a top 5 most watched video on Funny or Die. I decided it needed a longer format to tell the whole story. I’m editing the feature film right now and it should be done by 2014. And… we added a PIE FIGHT.

You are a filmmaker, screenwriter, musician, composer, so on and so on.  Of all the trades you have racked your resume with, what is your absolute favorite?  

I am more talented at music than filmmaking, but I seem to gravitate towards directing film. I’m really a mediocre filmmaker, so maybe I am striving to improve in areas I lack in? I really have been neglecting my music a bit, but I’m a little sad as my wonderful guitarist from Radiana (Steven Deal) passed away a few months ago, and I feel lost without him. By 2014 I will seek out new band members and continue the band in his honor. It’s hard to sing with a broken heart.

Least favorite?  

I love all of it! Except: I hate creating shot lists and breaking the script down to make a budget. If anyone out there wants to help me with line producer duties on the next film, please email me! Hahaha!

With so many different forms of art already under your belt, is there any form that you have yet to tackle that you would like to? 

I’m an aspiring novelty inventor. A few of the inventions seen in The Sisters Plotz are actual inventions I am developing. I just need help from a patent lawyer, if any readers are patent lawyers, also please email me. Hahaha!

What was the last thing that made you smile?

My absurdly gorgeous Himilayan cat, we call her Missy Shitepants, as she has long white hairpants and she often doesn’t clean them well. It’s pretty gross but it makes me laugh. Also the Hulu show “Quickdraw” makes my sides split. And my awesome husband Levi, who cracks me up constantly.

John Hamburg [Interview]

It is no secret that there are a couple of dozen folks who are currently running the world of comedy as we speak.  Essentially, the cast of Zoolander and Old School run the show.  Throw in SNL and The Office, basically all of NBC comedy.  As well as anyone who makes their way in to a Judd Apatow production of any kind (even his “failed” television shows Freaks and Geeks and Undeclared).  We continue to see the same faces appearing alongside one another consistently.  We could speculate as to why this truly has come to be, but let’s just stick with the facts…..  they are hilarious and crazy talented.  But even they can’t do it all on their own.  It is the writers and filmmakers that bring their comedic wit and genius to the screen.  It’s obvious if you think about it.  These are the people who come up with this shit!

And one of the highlighted films of the Hollywood illuminati, and my personal favorite of the batch, was 2009’s I Love You Man starring Paul Rudd, Jason Siegel, Rashida Jones, Andy Sandberg, Thomas Lennon, and so many more regularly casted members of today’s comedy world.  It is a beautiful tale of man who needs to find another man…..just as a friend.  It also happens to be spawned from acclaimed screenwriter/filmmaker  John Hamburg.  And surprise!  Hamburg is the amazing mastermind behind none other than the likes of Safe Men, Zoolander, the critically acclaimed Fokker series, and the hilarious and also Ben Stiller fronted film Along Came Polly.  Yes, John Hamburg is obviously a key player in the world of comedy today.  He has proved himself time and time again as one of the finest filmmakers and screenwriters of this day and age.  And we are extremely excited that he has agreed to share a few words with us, and talk to us about some of his past works and what the future holds for him and the world of comedy as we know it.  It is an incredible honor to have John Hamburg join the Trainwreck’d Society family.  So bow your heads everyone!  Now look up, and read on with our interview with the legendary John Hamburg!

What draws you to write and create in the world of comedy? Have you ever considered experimenting in other genres?

I simply see the world in comedic terms. I always have. Even the most dramatic or tragic situations – I tend to see the comedy in them. So it is not really by choice, it is just my nature. I have considered making movies or tv in other genres, but I think no matter the genre, my work will always have some kind of comic bend to it.

You’ve written no less than 5 screenplays that featured actor Ben Stiller. Is there something about his acting chops that intrigues you? If so, what? Or is it sort of a friends helping friends sort of set up?

Ben and I met after he saw my first movie, SAFE MEN, at the Nantucket Film Festival. I was already a huge fan of his from his early movies and The Ben Stiller Show on Fox. He is an incredible and underrated actor. I think his performance in MEET THE PARENTS is one of the great comic performances of all time. He doesn’t always get credit for being such a great actor, because his work can be very subtle and he is comfortable reacting to other actors in the scene. Ben and I click on many levels — but I think the idea of being sort of befuddled by the world, confused, anxious, tense, and finding ourselves in awkward situations is something I am interested in as a writer (and human being!) and that Ben connects to brilliantly as an actor.

How did you come up with the concept for the Fokker series?

I did not come up with the concept for the Focker series. It was based on a short film that Jim Herzfeld developed as a screenwriter. I came on to the first MEET THE PARENTS after several drafts had been written, primarily by Jim, and did many drafts of my own both before and during production.

You made your break with one of my personally favorite indie comedies, Safe Men. But, a couple of years prior to that films release, you had a short entitled Tick. Can you tell us a bit about this project? How did it come to life?

First off, I am deeply appreciative of the SAFE MEN fans out there, so thanks for saying that about my first feature. TICK was a short film that I made while at grad school at NYU Film School. At the time, Hollywood was making these big high-concept comedies (many of which I loved, some of which I thought were terrible), and I thought it would be funny to do a high concept comedy, but make the execution very lo-fi. So I came up with an idea about two slacker bomb-defusers in a town where bombs keep going off. There was very little danger to it, the bombs were basically harmless and the tone was very light. But something about the idea of two guys who were in a very dangerous field, but totally inept and, spending more time on romance and personal grievances when they were supposed to be defusing bombs struck me as a very funny idea for a 10 minute short.

The movie got into the Sundance Film Festival, and basically jump-started my career, because a Hollywood agent saw it, some producers saw it and were interested in doing a feature with me, etc. We did a special 10 year anniversary SAFE MEN DVD and I actually put TICK on the DVD.

What do you personally consider your greatest achievement in your career?

On a macro-level, my greatest achievement is just being able to do the very thing that I dreamt about doing when I was a teenager – writing and directing comedy, be it in film, tv or commercials which I also direct on occasion. On a more specific level, while I’m both proud of (and find huge flaws!) in everything I’ve done, the movie I LOVE YOU, MAN, which I wrote, directed and produced, achieved a kind of tone that I had been working towards for many years. I was happy that it did well critically and commercially, but more importantly than that, was the idea that I made the exact movie that I set out to make, which can be a very challenging thing, especially in the studio system.

Was Rush always your band of choice when writing the script for I Love You Man? If so, what makes them so special? What other groups might you have considered?

RUSH was always the band. I love their music – they are incredible musicians – but also, they are a band that tends to have primarily male fans. And they are, of course, very popular, but not in the league of, say, The Rolling Stones, or The Who. People are fervent RUSH fans, but there are also many folks who just don’t “get’ them. So I felt that RUSH was the perfect band for two dudes to bond over in a movie about male friendship.

And it also turns out, having worked with them, and gotten to know them, that they are the most hard-working, grateful, and nicest guys in the world (they are Canadian after all). Forming a relationship with them has been one of the great by-products of the I LOVE YOU, MAN experience.

Can you tell us a bit about your upcoming project, Brother From Another Mother? Are you excited to get back in the director’s chair on a feature film?

BROTHER FROM ANOTHER MOTHER is a movie I wrote (my good friend and collaborator Ian Helfer co-wrote the story with me) about a 30 year old guy who escorts his 16 year old half-brother on his college tour. They go to the alma mater where the older brother dropped out of… and a lot of comedy, drama and awkward and painful family dynamics occur on the trip.

It’s been a challenging project to put together — I think it has a chance of being my funniest and most emotional movie — but it’s not a down the middle comedy — which is a lot of what is getting made by the studios right now. Fortunately, we are now working with a great independent financier to put the movie together, so hopefully, if it all comes together, I’ll shoot it within the next year.

I am every excited to direct another feature. Believe me, I hate having a long gap in between “Directed by” credits – even though I know that I’m not just taking a vacation between directing movies – I’m working on various things the whole time, I promise!

In the past few years I’ve written TV shows, directed commercials, produced other movies — but my true passion is writing/directing/producing feature films, so I can’t wait to get back that.

If you could create a biopic about any famous stand up comedian, who hasn’t had one yet, who would it be?  And who could you see as the lead?

Oh, man that’s a tough one. I’d have to say Steve Martin. His book BORN STANDING UP is one of the great stories ever written about what it means to be an artist – and in particular an artist who expresses himself through comedy. I grew up listening to his comedy albums – my dad would play them on long car rides — he is the funniest, most unique stand-up I’ve ever experienced.

Who would play him? I have no freakin’ clue — maybe some brilliant actor who’s yet to be discovered.

So what is next for you? Any new projects in the works?

I have several projects in the works. In addition to BROTHER FROM ANOTHER MOTHER, I am about to write two more features I’ve been developing. I’m producing some television this year as well, and I also produced an insanely funny, filthy super low-budget movie that Paramount is releasing this year… I would tell you the title but we may be changing it, so suffice it to say — it’s about a DESTINATION WEDDING that goes awry. A super-talented young guy named Nick Weiss directed it with a cast of really great young actors, and it’s been a ton of fun to work on.

What was the last thing that made you smile?

This morning, my two year old daughter told me to act like a sea lion (which I did, of course) and then she started feeding me fish. That really put a smile on my face.

J.B. Ghuman Jr.[Interview]

A couple of years ago I saw this great little indie flick called Dakota Skye.  It wasn’t the most memorable of films, but it had an amazing cast of actors and actresses whose performances always stuck with me as a terrific example of un-tapped indie talent.  Especially with the film’s bad boy J.B. Ghuman.  He played the one you wanted to hate so much, but found yourself siding with his ill ways out of love for him.  I spent a lot of time thinking about the film, and decided that I would like to speak with somebody involved, especially J.B. himself if I could reach him.  Well not only did I reach Mr. Ghuman, but I became so enthralled with the cat when I realized he was actually a very accomplished filmmaker as well.  He was actually the man behind another beautiful indie gem that I always loved and adored, Spork.  Spork is a film about a transgendered 14-year-old girl who deals with the everyday pressures of high school that so many kids face, but about twice as difficult as your average new teenager.  It is beautifully shot, funny as hell, and even pulls at the old heart strings a bit.  I came to learn that this was J.B. Ghuman’s true talent.  He is a gifted actor, but has chosen to leave that world behind to live behind the camera.  And there are so many other fantastic things to say about this guy, with his own unique brand of art creativity.  Hell, even his manner in interviews is unique and refreshing!  But, I think I will let the man speak for himself.  Ladies and gentlemen, Mr. J.B. Ghuman!

When did you first realize that you wanted to live, work, and breath in the world of art, no matter the medium?

Oh gosh…hmm. Well…i’d say the first time I discovered a passion for a sort of “art” if no medium matters at least…would be when I was around 10 yrs old or so…I used to write poems for both my mother and sister and then slip them under their doors randomly throughout the day. At first they used to get touched by this…later they simply would forget to tell me they read them. I’d get upset and storm off. Why do you ask, love? ox jBjR!

Your beautifully dark and edgy indie film Spork has enjoyed a great amount of success since its release.  Tell us, what was your general rhyme and reason for making this film?  What was your inspiration, so to speak?

To be honest, I don’t have a specific “Reason” to writing the film. In danger of sounding a bit too bohemian, I tend to get a bit “possessed” with an idea at the most random times and then simply become hell bent on seeing it come to fruition. As far as inspiration goes…I’ve heard I think the most from folks that my film rips a lot on “Napoleon Dynamite” and whereas I did not actually rip from that film…I did in fact rip from a even more profound and dark film by the title of “Welcome To The Dollhouse” while writing “SPORK”. Todd Solondz is a true maverick in story telling and his skillful yet careless way of crass language and serious under tones was a major influence as far as dialogue and vibe. Though John Waters is king of surrealism and false realities with there bright colors and over the top personas. I just adore the child in him…he/she is so wild and fun in a sort of sinister way. But…a’dunno…I worship the dark, magical stuff in Tim Burton’s skull. He’s got this strong way about him that…ya know…lets you know he’s coming from a mile away. It’s neato…but doesn’t feel that “cool”…like a car chase or big action film director can do…rather a bit more etherial…more subtle tone of flare. I dig it…a’dig em’all, man. The music is a uber soft touch on Baz Lurhmans kneck. Not really a tap or even a pinch…i’d def. say a soft touch. So music was added…I had been walking home from the gym and this song came on…”Is it cos’im cool”. So random…never really got big in the states, and whatnot. I had been staring at spork for so long and then jus took a break. I started to sort of dance on my way home to it and it just felt so…a’dunno…so bitchy. It made me laugh. I rushed and added it before I forgot it to the script. I filmed it a bit more fun too. There’s this amazing scene when Betsy and all the girls grab their asses and it’s right into camera. It was in the film all the way up till it’s initial export before Tribeca cause my producers said the mothers wanted it out. I was like “Wtf…why?!?! We can have black face but not little bratty white girls grab there clothed ass in a comedy? Absurd.” Gosh, I ramble a lot. So weird…how we are all getting so comfortable…with typing…it’s like i can hear my thoughts as i….type them. (sniff, eye rub)…so…what’s the next question?

Were you at all surprised by the success of this film?  And do you think audiences have understood what exactly it is you where trying to convey?

That is…a full question, my dearest. I mean…cheese, man. Well…(neck-crack)…i was actually. I dunno…i guess i was. I had some wacky family stuff going on at the time. I’m not big on talking about it to be honest but a’will say that it was just like…ya know…a pinch in time, dark. Like…black hole dark. So..when shit gets like that…and i’m sure some people understand…you don’t really care about anything else. Though…as the film started to climb, awards, traveling…the countries and smiles…a’dunno…it did sort of surprise me i guess…cause…i mean…if i had known how happy the films success would have made me…a’think I would have just gotten happy ahead of time. And I did not…so…yea, it surprised me. In the most awesome way, though. In that sort of way, given all that was going on, where it doesn’t make you puff out your chest and feel better than anyone…but like…in that way that makes you wanna shrink…so small that you can only see the shine of it and it makes you teary eyed and shit. And hell yea, dude…i do think audiences understood. I mean…let’s put this shit this way…I was in brazil…literally i’ve said this story a thousand fukin times, but i don’t care…i was in brazil..and i literally…could give a shit about anything. zero magic, zero care of the air…moon, sun…whatever…i just wanna go back to bed…and not think…about anything. I walk downstairs…watch my film in another fuckin language…Portuguese…and it’s not even like the exact translation. i was like…”Wtf…this isn’t evan landing right…the jokes an shit?” Sigh…i jus sat there…pondering if I should do something crazy…sleep on the street or some shit…i dunno. We walk out and this bum stops me…he yanks on my arm and keeps trying to say something. They push him and i’m all “nah, nah…let’em speak…sup, bud?” He starts to wave his hands and ramble some toothless speech. He gets teary eyed…i stare back…i start to get teary eyed…dunno even know why yet…i ask the lady next to me “what…what is he saying…?” she listens and then says back to me…”he says your movie…is like medicine…for the heart”…and then…i kid you not..i fucking…lost it. Like…started balling and hugged this smelly ass homeless man. No lie, hand to the stars. So yea…they did…and I think they did cause it’s not me I’m talking about in the film…it’s basically a human experience to find yourself and be happy. I simply said it in a fun and sort of dark, comedic way. With like…random shit.

I first became interested in hearing from you to talk about your role in the 2008 flick, Dakota Skye, in which you performed so delightfully.  Can you tell us a little bit about how you geared up for that role, and what was it like being a part of that project?

Geared up for that role? I mean…I read a book on punk and then just sort of had fun on set. It was cool…really cool. The last time I really tried the whole acting thing. I dunno…it’s just not for me…i get nervous now in front of crowds and…i’m just not that guy anymore. But the director was a total sweetheart…same with the writer and cast. All we’re chill… 🙂

I’ve noticed that you have seemed to have taken a break from the acting world lately.  Is this a positive step for you, or do you miss the world and plan to return?  Or is it all up in the air?  

A’mean…you really go for it with these questions, gurl. (nsert wipe of brow) Well…yea…i’d say it was positive. To be honest being an actor taught me sort of how to brand my own self with my art…but at the same time…give me the confidence to know I’m simply not the Dorothy…I’m the wizard. And I’m happy with that…with my social anxieties now and jus…i’m off the grid to be honest and enjoy my sort of “in the shadows” life…It allows me see things in a way I think is good for me given what i’d like to say in my work. That makes sense, right…? I think so…

Is there any word on your script for Rhino?  Is there a chance we might be able to see it become a reality soon?

Oh gosh…honey…You mos’def. will see RHiNO! soon. I have passed on so much shit that would have made me so much money, eaten so much fucking pizza and literally have almost broken my creative back…(nsert slam of foot on floor)….to stretch my creative eye to the point it no longer blinks. It’s been tuff, gurl…everyone wanted me to simply jump on a teen comedy to move into the matrix right away and cash in…i was so high on the magic that SPORK had given me…i simply…a’dunno…a’jus…a’jus couldn’t imagine pushing RHiNO! aside doing something for money when what I am trying to do with RHiNO! could do for someone what SPORK…did for me. I know it sounds cheesy and stupid…and almost self driven. But…a’swear, it’s not. And the funny thing is I think the stars had planned for me have to wait for it this the whole time. Cause I look at SPORK and the stuff I’m making now if even as a personal installation or even a music video with hardly no budget..and like…it’s working. I’m totally…growing. I’m learning more and more on just how to get the things I share to look exactly like i see it and if not…then at the very least…better. Whether it’s from anothers input or simply a road block that turns into the best exit. But…who knows…i pray it lights up soon. I do know one thing…no matter how much time it takes…i’ll simply be that much more of a stronger director to bring my mamma to life.

So, what else have you been up to lately?  What are some of your latest works?

MMmm…i dunno. It’s been so creative weird and hectic for me. I’m trying to really take things to a higher level and sort of get my slant out their but in the business realm of things. I did a music video for LIL DEBBIE and then CAZWELL, LUCIANA, etc. I’ve got another Lady Tigra video in the can and two more music videos I just shot in the can as well…but there wicked rad looking…so I’m pumped to stitch them all together. But then I did this really neato-beato photo-installation shoot in Palm Springs with Jake Shears and Amanda Lepore. Jakes one of my tight boys and I’m a huge Amanda fan so it was jus dope as fuck and the shots are sick looking so it’s gonna be a cool installation once it’s done. Did another installation with David Woodman, the cat who was apart of The Little Mermaid and Aladdin and shit…oh, and talking with Miley Cyrus for something a bit off the cuff but sorta dope as hell as well..can’t say much but i’m uuuuber stoked to shoot it. Holy shit i need a dish washer.

I understand you grew up as a B-Boy as a youth.  As the years go by, do you still participate in break dancing, or have you had to hang that coat up?

Are you crazy…I breakdance weekly, punk. (insert beat-box / shoulder floss) Nah…I mean I do…and surf and all that “i’m so hot” guy stuff. But to be honest…i’m approaching my mid-thirties now, honey. My back hurts, my shoulders been pulled for 3 months and this kid wizard has so much on his plate yet at the same time is doing it all for the shine with shadows darting left and right. I try and break as much as i can, esp. on my roof with my head phones. But it’s getting to be very rare these days.

What have been some of your favorite films from 2013?

Er…i’m a little behind to be honest. Is it lame if I say THE LITTLE MERMAID on BluRay 3D?

What was the last thing that made you smile? 

Aww…I wanna say so badly that “it’s the question itself” but that’d be so cheesy, no…so obvious…right? Grrrr….hmm…whatever. It is…it’s the question itself. So what….eat me.

ox jBjR!

Alison Becker [Interview]

Thanks! I’m so grateful to be able to work on such an amazing show. On the surface, Shauna Malwae-Tweep is just a small town newspaper reporter, whose reporting sometimes creates little obstacles for Leslie Knope (Amy Poehler). But the writers of “Parks” – and Dan Goor and Mike Schur in particular – added this other fun layer to Shauna where she’s chronically unlucky in love. Shauna desperately goes after guys, and often gets the short end of the stick, which I think we can all relate to. One of my favorite Shauna lines was after she tried to ask out Chris Pratt’s character: “I can’t even land the shoe shine guy.”

Last season, Shauna was dating Rob Lowe’s character (swoon!), and I thought it was hilarious how she finally gets this great guy and won’t commit to him. I can certainly relate to that personally…I’ve dated some lovely guys and yet somehow, I eff it up. Only recently have I learned not to do that anymore. I hope Shauna learns too!

I started taking classes at The Upright Citizens Brigade Theatre in New York City over 13 years ago. Since then, I’ve performed improv, sketch and variety shows at the UCB theatres in both New York and LA. Becoming part of the UCB community – especially so early on – was invaluable to me. And not just in the way of learning comedy and improvisation, but also in the building of friendships and working relationships.

Without UCB, there is no way I would be where I am now as a working actor and writer. UCB has become such an institution in the comedy world, that now aspiring comedians know that their path will most likely include UCB classes. But when I first started at UCB, there was no “clear path” as to what aspiring comedians and actors should pursue. We just gravitated towards this little comedy theatre in New York because we had done improv in college, and we has seen Amy, Ian, Matt and Matt perform before in tiny, grungy little rooms in NYC. We looked up to them, and we wanted to do what they were doing – it did not occur to us at the time that we could make a career out of it. When UCB Theatre opened in New York, the only audience members were other improvisers. Now, it’s widely accepted, understood, and loved by so many. It’s really been amazing to see it grow like that.

I used to perform at UCB on a regular basis, but now I only find myself onstage a few times a year. This is mostly just due to me working more, so I don’t have as much time to commit to live performances. But I will always feel like I am a part of that community.

As a teen, I always dreamed of working at MTV or VH1, so I was very honored to be a part of that family. But, as with anything, it’s a lot less glamorous when you see what’s behind the curtain! When I was a VJ at Vh1, the network couldn’t afford a studio, so we’d shoot every show “on location,” which most often meant on the streets of Manhattan. In other words, we’d shoot in 100 degree heat, or sub-zero temperatures, in loud places, and there were ALWAYS people jumping into the shot screaming. I didn’t have cue cards or a prompter, and each section was about 2 minutes long. And there were usually about 30-40 sections throughout a day. So I’d have to memorize each two minute chunk and get the whole thing in one take, with no edits. I’d often make it all the way to the end and then some random would run up to the camera and go nuts. We’d have to explain to him that this WASN’T live, and then I’d have to do the whole thing over again. Not that I wasn’t grateful for the gig! I learned a lot and it taught me how to memorize lines super fast, which is still useful. And I was able to interview some incredible people, including Jon Bon Jovi, who I’ve had a crush on since I was 11.

Thanks! I’ve been fortunate to be a part of some really great web shows, including Dating Rules from My Future Self, Mayne Street, Yahoo!’s Sketchy, and most recently, “The Morning After.” Of course the web is the fasting growing medium in the world of entertainment, and performers are drawn to it because we have more freedom than we would on television. It also makes production more accessible for lower budget projects. But, as a performer, when I get approached about a “web show,” it’s sometimes hard to tell up front if it’s a legit project or just a shoot in someone’s basement. And the union still has a ways to go on getting a handle on all web production so that actors can actually make a living on it. If a webshow is getting as much exposure as a TV show (and many of them are), then people shouldn’t be getting short changed. It’s just going to take awhile for the paradigm shift to happen with advertisers and whatnot.

I’d love to play Jackie Mitchell, that female baseball player who struck out Babe Ruth AND Lou Gehrig. There’s a lot of parallels between women in sports and women in comedy, especially early on.

I’ve only done a few horror projects, but never a full length horror film. I think that’d be so fun, but I’m also on the fence because it may just scare the crap out of me.

Perform, perform, perform! It’s so easy to find open mics and get stage time. Plus, you meet other comedians and you can collaborate together. You’ve got to put in the work if you want to get good.

O boy. I hate to be the one to break this to you, but the show was put on hiatus by Fox. So only one of my episodes aired. It’s such a shame that they didn’t give this show more of a chance, because it’s funny and heartwarming. And the cast and crew are just lovely people.

I just watched a video of my 5 year old nephew playing ice hockey. It’s like watching a drunk monkey try to ice skate. Absolutely adorable.

Colman Domingo [Interview]

You have had great success in the world television, film, and especially on stage.  If you had to choose only one to finish of your professional days with, what would it be?

Retire? I’m only 43! lol. I haven’t thought that far away. I like to stay in the present. Right now, I’d love to tackle something new and edgy. I am sure I’d like to tackle some classics like Troy in August Wilson’s Fences or King Lear or Richard III.

Fred Dekker [Interview]

One of the greatest things about running this site has to be the intriguing people who I never thought I would ever have the chance to talk to, and then seem to build great (even if they are purely digital) relationships with such intriguing minds.  But, what is even betters is when you discover that mutuality of friendships can lead to meeting some other extremely talented and beautiful folks.  And, enter Fred Dekker.  I originally became interested in talking with Fred mostly about his work on Robocop 3, which I personally consider a fine film and a wonderful addition to the series, despite what some critics might have thought.  Yes, this is personal reasons interacting with any sort of reason, but fuck you, I liked the film!  And as a I got to look in to Fred’s illustrious career, I realized that he has been behind some familiar and alas brilliant projects that I am also fond of.  So, I thought it would be great to ask this giant of a man a few questions.  So I did.

I do have to do a full disclosure bit here though:  I don’t know a damn thing about Star Trek.  And Fred Dekker had a good run during a season of Star Trek: Enterprise, which I simply could not ignore based on the immense popularity of all things Trek like, even I am not personally a fan.  Nothing against the series, I just have live a life where I can hardly understand the complexities of human life on this planet, let alone begin to wonder what the hell else is out there.  I am simply not that smart.  So with that being said, I need to give some credit to some friends I contacted via social networking means who really helped me out.  Cherie Stoor Reynolds helped me get things started, and I thank her dearly for doing so.  And then my old high school friend (I know I bring them out from time to time) Cody Lyons came in full swing and came up with some wonderful questions garnered from a current life of insight into the world of filmmaking in this day and age.  So thank you Cherie and Cody for helping me come up with some great questions for Fred.  I owe you a world of gratitude.  And if I ever move beyond the distractions of this world, maybe I will find that for you.

On that note:  Ladies and Gentlemen…..Mr. Fred Dekker!

How did you come to work with fellow TWS family member Ethan Wiley on the screenplay for the cult horror film House?

I had wanted to be a filmmaker from around the age of 12.  By the time Ethan and I became college roommates, I was very serious about it and wanted to come up with a low budget feature to direct.  I’d grown up in a spooky-looking Victorian house that my parents still owned, so I had a free set…  and I knew the smartest way to keep something cheap is also to have a small cast.  So I figured, “One house.  One guy. Scary shit.  What could be simpler?”  Problem is, I never got around to writing the script.  All I had were the bare bones of an idea – a haunted Vietnam vet trying to exorcise his personal demons in a house that may or may not also be haunted.  I envisioned a very dark, black-and-white, Roman Polanski kind of movie.  Because I was slacking, Ethan asked to take a crack at the screenplay and I didn’t have a good reason to say no.  His rendering of the story turned out to be much more comical (and probably more commercial) than mine, and when he was done I gave it to Steve Miner, for whom I was writing another script.  Steve loved it and gave it to Sean Cunningham. These were, after all, the guys who made the FRIDAY THE 13^th movies, so they quickly found the money to make it.  The rest, as they say, is history.

What was it like to join in on the Robocop franchise to write and direct the third installment?  What sort of obstacles did you face?

I was very excited to get that job, but in retrospect, ROBOCOP 3 may have been a no-win situation.  The character’s arc was complete in the first film, and there weren’t a lot of new directions to take him.   That said, when I look at “threequels” like GOLDFINGER or BACK TO THE FUTURE III or my friend Shane Black’s IRON MAN THREE, it’s clear that you can make a good one.  I think I was hamstrung by the PG-13 rating, for one thing.  The studio wanted to appeal to a wider, family audience, and that’s just radically opposed to the spirit of Verhoeven’s universe.  The character and his world are grim and violent and savagely satirical, so by toning all that down, we kind of came out of the gate hobbled.  I blame myself mostly for a lack of courage, and for not projecting what an audience would want from the movie.  I was so enamored of Frank Miller’s script that I didn’t see the forest for the trees.  I was also unaware that T2 and JURASSIC PARK were just around the corner and were about to raise the special effects bar for action-adventures to an unprecedented level.  So to sum up, I take personal blame for the movie’s drawbacks.  It needed to be funnier, more inventive in the action department, and just generally ballsier (within the confines of the studio’s PG-13 family edict).  If I’d done that – and maybe brought Nancy Allen back at the end as a kind of “Robo-Bride” to kick some Ninja ass — I think the movie might have worked.  But I’m very proud of my cast and a lot of my directing.  It was certainly the most enjoyable of my films to make; I just wish everybody didn’t hate it so much.

During your time working on Star Trek: Enterprise, was there a lot of pressure to create a Trek true to Roddenberry’s themes of a utopian society or was the emphasis shifted so they could show cool battles in space?

The producers did seem very keen on a vision of the future where humans were polite, patient, well groomed and emotionally restrained.  Or as I call it:  boring.

In the Trekkie world, Enterprise sometimes got a bad wrap for attempting to re-write the Star Trek history?  Do you believe this to be true or absurd?

Ironic question, because I feel the show was too beholden to Star Trek history!  A key reason I wanted to be involved was to tell stories pre-Kirk, pre-Picard, pre-everything we know about Trek canon.  I thought it would be a great opportunity to start with a totally clean slate and do a show about the first space explorers with warp drive capability.  What would be out there?  What life forms would we encounter? Unfortunately, apart from one episode (“Fight or Flight”), I feel like the first season quickly devolved into rehashing all the stuff we’d already seen – Look, more Vulcans! Hey, it’s the Andorians!  Oh, no, those darn Ferengi!  Yawn.  But the cast and crew – and my fellow writers — were fantastic.

In your opinion, what do you believe it is that has elevated your films The Monster Squad and Night of the Creeps to cult film status? 

I’m not sure, but I’ll hazard some random theories.  For one thing, both movies are about outcasts, people on the periphery who are actually smarter and better equipped than the popular crowd.  I think a lot of people feel like this (I know I did when I was young) so it’s empowerment for the disenfranchised.  Also, on a genre level, sci-fi, horror and humor have always lent themselves to “cult” audiences, and these movies are chock-a-clock with those elements; they’re almost made-to-order!  Mostly, it’s that many people discovered these pictures in the dark recesses of late night cable and dusty VHS shelves, so they feel like buried treasures – as opposed to most mainstream movies, which are kind of force-fed to us by the marketing departments.  For these reasons, I think people have a special place in their hearts for these films.

What is it that fascinates you about the world of horror films?

To be honest, not a lot.  I was interested in monsters and things that go bump in the night when I was a kid, but I’ve gradually grown out of it.  I much prefer thrillers, dramas, stories where people have to overcome personal odds, regardless of genre. The truth is, my early films were informed by my youth.  I’m a lot older now.  In fact, I was over zombies and vampires a LONG time before they became hip again.

How do you think that world has changed since your heyday in the 80’s?  Is it better or worse?

Worse by a wide margin.  For one thing, the business isn’t run by people who love movies anymore, and I think that shows in the kinds, and quality, of movies that we see now.  Executives are so beholden to branding and the bottom line that we rarely see anything new or surprising or even interesting; that’s become the domain of cable TV and independent films.  But before I become the annoying old guy complaining about these crazy kids with their Tweeting and their YouTubes, let me ask you to do something:  name ten classics from the ‘80s…  then name ONE classic from the last five years.  While you’re mulling that, think of how many recent films are remakes, retreads or rip-offs of films from the ‘80s.

I rest my case.

What would you personally consider your greatest victory as a man behind the camera, pen, etc.?  What has brought you the most pride?

Does marrying my wife count?  Of the stuff I’ve done that’s never seen the light of day, I wrote a low budget urban drama in the CRASH/STRAW DOGS vein that I think was very powerful, and I was quite pleased with my JONNY QUEST script, based on the ‘60s animated show.  Of my produced work, I’m probably most proud of the scene in CREEPS where the detective (Tom Atkins) tells the kid (Jason Lively) about what happened the night he killed the axe murderer…  and I think the last two reels of MONSTER SQUAD are pretty terrific.  But the truth is, I feel like I haven’t been afforded the opportunity to do my best work.  But here’s hoping!  (Insert winky, smily-face emoticon here.)

What does the future hold for you?  Any chance you might be getting behind the camera again soon?

From your lips to God’s ears.  I’ve been developing things on and off for years, but I finally have an idea I’m really excited about.  I just have to find the time to sit down and write it.  I’d love it to be my next film (and no, it’s not horror.  Sorry.)

What was the last thing that made you smile?

My cat.  He talks.

Kassie DePavia [Interview]

Scott Spiegel [Interview]

What was it like being the mind behind the From Dusk Till Dawn sequel?  Were you allotted much artistic freedom on the film’s production? 

Yes, quite a bit. My original pitch included Quentin’s character Richie coming back as a vampire – he is now king of the Titty Twister when a new crop of gangsters comes in looking for Richie (they all were planning to rob a bank in Mexico together). Once the gangsters realize Richie wants to have them for dinner all hell breaks loose and the gangsters nearly escape with their lives, killing Richie and the vampires and burning down the Titty Twister. Luther has been bit by Richie but he doesn’t tell the other gangsters he’s been bitten which causes horrific problems later on as they rob the bank). Bob Weinstein loved this version but Quentin wanted to have all the guys waiting at the motel for Luther, who unwittingly stops off at the Titty Twister and gets bit by a vampire and then joins the guys at the motel for the bank heist and that’s the version that’s in the film.

w/ the cast of From Dusk Till Dawn 2: Texas Blood Money

Quentin came up with a couple of scenes telling me ‘I don’t even know if you can use this in the film but I’m gonna tell you anyway” and it was the story of a gun toting guy furious his sister is appearing in a porno film and he bursts onto the set, tosses her aside and shoots every one dead, even the guy who brings the donuts. I thought it was hilarious and that scene is in the film. Quentin also contributed several riffs of dialog (pertaining to the guys watching porn at the motel) that I love (when discussing a certain porno film’s plot involving a Dentist’s office Ray Bob asks C.W. “What happened at the dentist?” and C.W. replies “They all fuck each other, what do you think it’s a porno movie”. When I met with Robert Rodriguez to go over the first draft of the script (he loved all the “gags” and set pieces) he had just turned down directing THE MASK OF ZORRO for Steven Spielberg! Robert was really excited that we got Robert Patrick to star and he ended up using Robert Patrick in several of his films after that. I loved working with Danny Trejo and Raymond Cruz (who became a very good friend of mine). Bob Murowski edited the film (and went on to edit Sam Raimi’s SPIDER-MAN trilogy and win an Oscar for co-editing the movie THE HURT LOCKER).

w/ buddy Bruce Campbell, NYC 1981 (post production of Evil Dead)

What would you consider to be some of your fondest on set memories in your career spanning 5 decades?

Wow, okay, here are some highlights –

-being directed by Clint Eastwood in a cameo I did in “THE ROOKIE” (I get in a crossfire between Clint and Raul Julia) – when we wrapped I noticed all the shell casings from Clint’s gun littered the floor! So I scooped them all up and took them home with me and have them proudly displayed. We were shooting on location at the San Jose International airport at 3 in the morning with Clint directing and acting in the movie, chasing around the bad guys and he sits down next to me exhausted and says “Next time why don’t you write a movie that takes place during the day”.

-I think it was January 1985 and Sam Raimi and I got a tour of THE GOONIES set! A friend of ours, Jane Goe, worked at Amblin Entertainment at the time. We went into the stage and saw this awesome ship – I mean that SHIP WAS GIGANTIC! The sight of it still overwhelms me. We got to hang out on the ship and meet director Richard Donner, stars Robert Davi, Joey Pantoliano, Anne Ramsey, Corey Feldman and Jonathan Ke Quan – it was funny to watch Richard Donner bellow at Corey Feldman like he was he Dad. Great times. We were going to go to the other stage where Steven Spielberg was directing a scene in the grotto but when we got there he had gone. Just us at the grotto and then I noticed all the cool coins in the grotto! When no one was looking I snagged a handful of those coins – what a souvenir! When I met Josh Brolin recently I told him this same story and he smiled and said, “I grabbed a bunch of those coins too”.

-on THE ROOKIE set I was reading THE ART OF ALFRED HITCHCOCK by Donald Spoto and the first photo in the book is of Hitch sitting in his chair on the set of his last film FAMILY PLOT (1976) and standing next to Hitch is first assistant director Howard Kazanjian who was also the producer of THE ROOKIE and who was standing right across the room! I went up to him and said “Howard, is that you?” and he smiled and said, “Yes”. He told me all about Hitchcock and his wife Alma (who was sick at the time) – fascinating – I will always cherish Howard’s stories, as I am a huge Hitchcock fan. Howard was so much fun – (he also produced of RAIDERS OF THE LOST ARK and RETURN OF THE JEDI).

-hanging with Clint, Charlie Sheen, Ginger Lynn Allen, Raul Julia and Sonia Braga on the set of “THE ROOKIE”.

-being one of the knights at the end of “EVIL DEAD 2” and having my gloved fist block the camera at the very end as it cuts to black and the credits roll.

-directing both Robert England and Kane Hodder in the same scene in “2001 Maniacs”.

on set of Quick & the Dead

-talking with the late great Woody Strode on the set of “THE QUICK AND THE DEAD” (his last movie, dedicated to him) as well as hanging out with Russell Crowe (showed me his movie ROMPER STOMPER) and working in the company of Gene Hackman, Leonardo DiCaprio, Sharon Stone, Kevin Conway and of course Sam Raimi.

-hanging out on the set one (location) of “PULP FICTION” one night and having John Travolta tell Quentin and me how a homeless black guy collecting bottles out of a garbage can nearby just gave him a run down of where his career went wrong back in the mid 1980’s (STAYING ALIVE, PERFECT) and Travolta totally agreed with the guy! We all had a laugh -this was just before they filmed the scene of Travolta and Uma driving around in that cool Red Chevelle convertible.

-being directed by Sam Raimi in SPIDER-MAN 2 and getting special effects guidance from John Dykstra.

-walking onto the set of SPIDER-MAN 2 and seeing my editing crew, stunt crew and 2nd unit crew from “FROM DUSK TILL DAWN 2” all working together – “I told them “You guys are making wayyyyyy more money on SPIDER-MAN 2 than FROM DUSK TILL DAWN 2!”

Swiping those “GOONIES” coins – just kidding. Man, that’s a tough question. I am proud of my collection of monster stuff although that might not count because there is “art” involved but then again I may be over thinking the question. Even Forry Ackerman was impressed with my collection when he was over. He said it reminded him of all the kids “monster” rooms he visited on his tour across the United States back in 1963 to personally visit all of his fans. I’d like to think of my place is the 7-11 version of the Ackermansion.

 Why?

Because I never get tired of it and it always makes me happy.

Directing, writing and producing.

Least favorite? 

Doing a budget.

I was fortunate to have Sam Raimi and Bruce Campbell as friends. We all shared the same zeal for filmmaking and we worked well together and learned a lot about filmmaking from each other. Our parents were very encouraging and let us do the craziest things. We also acted in local theater productions and enlisted talent from there. A film we made entitled SIX MONTHS TO LIVE (1977) premiered on THE GHOUL SHOW in Detroit and I was a guest on the show – we even got fan mail from the showing of the film. By this time we had a group of reliable players and were really rolling. We would show up at parties with our Super 8 projector and screen our home made movies to great audience response (in the days before VHS/DVD players) this was a unique experience. If a scene didn’t play like we thought it should we would go out and re-shoot and or re-edit and it always improved the film. In 1978 we made a feature (in Super 8) called IT’S MURDER and it had a few jump scares that really worked and with HALLOWEEN, ALIEN and FRIDAY THE 13th lurking around the corner, EVIL DEAD wasn’t far away. But we kept rolling into the 1980’s and eventually we all ended up in Hollywood.

I was brand new and non-union but I knew going in that there weren’t any guarantees and I was happy for the work and needed to build my resume. I got paid however and did some more un-credited screenwriting work on later Bill Lustig films.

Another amazingly underrated action flick you co-wrote a screenplay for in the early 90’s was the prolific and entreating Clint Eastwood fronted film The Rookie.  When you were writing the script, was Eastwood always considered?  Did you originally see him as the lead?

Sean Connery was briefly mentioned for the Eastwood role. Also talk of Nick Nolte and Matthew Modine in the roles that Clint and Charlie ultimately played. There was a brief discussion of having Don (DIRTY HARRY) Siegel direct the film but he was ill at the time so Clint decided to direct the movie. In our meeting with Clint I told him that there was a sequence in the film (Charlie Sheen racing though the streets on his motorcycle to save girl friend Laura Flynn Boyle from the bad guy who is trying to kill her) that was inspired from the exciting climax of PLAY MISTY FOR ME which Clint directed back in 1971 and Clint looks at me and says “It worked then. It’ll work now”. Cool.

Loved when we met with Charlie Sheen and he complimented the script by saying it was “Die Hard without the building” – later Boaz Yakin and I were working with him at his place to polish the dialog and I told a bad joke and Charlie pointed a gun at me jokingly – I told better jokes after that.

The ever knowing Wikipedia informs me that you shared a house in L.A. with your old pal Sam Raimi, the Coen Brothers, Frances McDormand, Holly Hunter, and Kathy Bates.  Wow. What did you do to keep the walls from exploding due to the immense creativity they tried to hold?  What was that scene like?

It was incredibly cool! And I have the pics to prove it! BLOODSIMPLE was taking Hollywood by storm and there I was with Sam about to write EVIL DEAD 2. The Coen brothers were so nice to me – even after I did the old shaving cream on the end of the phone receiver gag. I called from another phone in another room and Ethan Coen picked up the receiver and got an earful of shaving cream! The look of horror on Sam Raimi’s face that me, a guest in ‘their” house would dare pull a prank like that on one of the Coen brothers but all Ethan did was laugh uproariously (I do a really good imitation of his laugh by the way). I was off the hook in more ways than one. Fran was working on HILL STREET BLUES and SPENCER FOR HIRE at the time – she let me keep the teleplays, which I eventually sold to finance my way out to Hollywood. I’ll always remember Holly Hunter sitting on her futon in her room in sweat pants reading scripts. One day she was dressed in a mini skirt and I said “Holly, you look really nice” and she snapped “I’m going to an audition and am dressing the part of a hooker. I don’t take that as a compliment” and she stormed out the door. Ouch. Sam and I wrote the role of Bobby Joe for Holly but the producers wanted a “babe” for the role. Holly showed us (Sam, Fran & me) the awesome slasher flick she co-starred in called ‘THE BURNING – it had Fisher Stevens, Jason Alexander in it and it was written & produced by Harvey Weinstein.

I have those guys on video back on memorial day 1990 at a big party I had with neighbor and actor D.W. Moffett – I actually introduced Lawrence Bender to Quentin a few months earlier while waiting in line to see Vincent Price in person at a 3-D screening of HOUSE OF WAX (he autographed my lobby cards!). At the Memorial Day party I re-introduced them and then I gave Lawrence a great recommendation and off they went to make RESERVOIR DOGS and movie history. I gave Quentin my FRUIT BRUTE cereal box and it makes a fleeting appearance in RESERVOIR DOGS but is featured prominently in PULP FICTION.

What does the future hold for you?  

I’m hoping there is a “Zombie Wedding” in my future.

There is this wild fantasy film I’m executive producing that I find very exciting – never really done a film of this sort before. I will fill you in as it happens. I would love to make a HOSTEL film in 3-D – it would be a no-brainer. An animated film would be interesting. Ah, the possibilities.

Shanley Caswell [Interview]

Unless you were living under some proverbial rock this summer, you probably remember a horror masterpiece known as The Conjuring that rocked the box office for a couple of months.  I personally loved this film.  It has been years since a mainstream Hollywood horror film has been just so impressive.  And so much of it had to be due to the amazing cast, main characters and the supporting ones as well.

One aspect of the film that was truly impressive was the group of young, raw talent that made up the supporting family members.  When you reach a certain age, and you begin to realize that you are become a whole lot older than so many of the youthful stars of today, you might just find yourself looking for the next Demi Moore or Angelina Jolie or Helena Bonham Carter.  And folks, I believe I may have found the next big thing.  With her portrayal as the eldest daughter, Andrea, the lovely and talented Shanley Caswell was absolutely impressive.  And it would behoove me to make the announcement here and now, that she may be one of the finest actresses working today that was born in the 90’s.  I have a great feeling that we will be seeing so much more of this young lady.  This is another reason I am so honored to have been allotted the chance to ask this rising star a few questions.  So, check it out!

What compelled you to join the world of acting?

 Growing up in my hometown of Sarasota, FL I had a lot of access to the arts and especially theater. My whole family was involved in the theater world so it was kind of inevitable that I would join. I started out doing shows just for fun, but once I got older and started working on more complex stories and characters, I grew to really love acting. That’s what made me want to seek it out professionally.

You are officially the second youngest person we have interviewed here at TWS, second only to Tara Lynne Barr, and most the folks we interview would answer this question with “hopefully still alive”, I have to ask….  Where do you see yourself in 10 years?  

 Well hopefully still alive of course. But also I just hope that I’m working on something that I really love. I’d hate to have a job that makes me not want to get out of bed in the morning.

In your short career thus far, what would you say is your greatest accomplishment artistically speaking? 

Well, to be honest I’m just happy to be working at all in this industry. But if I had to choose one project that I’m really proud of it would have to be a movie I did called Detention. It was the most responsibility that I’ve ever had for a project and a character and I worked really hard on it. The whole experience was challenging but rewarding at the same time and I’m really proud of the way it turned out.

What was life like on the set of The Conjuring?  Did you have anything to help lighten the mood while shooting a film with such dark subject matter?

What’s funny is that the mood on set was lighthearted and fun, not dark or dreary in any way. I think that, at least for all of my scenes, having the younger girls who played my sisters really helped to keep the energy happy on set because we were always playing games and joking around. I swear if someone would have visited and seen the set they would have thought we were filming a family comedy.

Was the subject matter of The Conjuring freaky to you?  What sort of occurances in horror films just scare the hell out of you?

 Paranormal movies always get me, so reading The Conjuring script was both exciting and scary to me. There’s just something about paranormal stories that plays on everyone’s primal fears and I think that the Conjuring does a good job at tapping into those fears.

What genre of film have you not worked in that you would really like to get in to?  Why?

 I would really like to do more dramas with complex characters because it’s so rare to find multidimensional characters written for my age group with a good story. I would also really like to do an action film of some sort because I would love to do some stunt work. I have such a respect for stunt performers in movies.

Have you ever thought about getting behind the camera in one form or another?  

 Yeah, actually. The thing I love about making films or theater or really any art is the idea that you are creating a product that can change people’s lives and outlook on life. So I think that I would be happy doing any job behind the camera just as long as I’m involved. If I had to choose one other job in particular though, I think casting would be fun because I love actors and I also like helping people in their careers. I would also like to write and be involved in the story making process.

What was the last thing that made you smile?