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Michelle Ellen Jones

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First photo by Cortney Russell, The rest by Rapheal Brown- Digital Icon Photography.

Michelle Ellen Jones is a hard-working American actor, who not only acts but is a beauty pageant coach, ball room dancing instructor and a yoga teacher. I’ve given her lot’s of a love on this site because I really do believe she gonna do some amazing stuff, which I know she is doing now. I think she is going to be a star and I will keep continuing to support this amazing talented, hard working and beautiful lady.

Find out more about her here

Hilary Kennedy

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Photos By S Jackson

Hilary Kennedy is some body I’ve know for quite some time now and she is one of the nicest people you will ever meet. She is a broadcast TV host. She is also a blogger and runs her own website.  She is a incredibly kind and considered person. She is  switched on and to me she is a pleasure to interview. I love what she does and this is why she is my beauty of the week again.

http://www.hilarykennedy.com

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Fun With Hackley: Axe Murderer

Filmmakers Interview

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When I first heard about this movie I was made as keen to find more about it. It’s a horror comedy and it is a lot of fun and I suggest you check it out when it becomes available to do so. So the film makers kindly answered my questions.

http://www.funwithhackley.com/

T.E. = T.E. (Tim) Sanders – Director/Producter
G.H. = Garrett Hargrove – Writer/Producer
T.H. = Trey Huguley – Actor (El Matador)/Producer

1. What was the inspiration behind the film?
T. E.: Garrett. Garrett was my inspiration behind the film. That guy is a walking museum of the Horror genre. We got together to do a 48h film fest, and he came up with this idea to make fun of some horror tropes with these two characters walking away from Hackley, but with one facing and looking backward toward Hackley while they all continue to walk, there-by forcing the rule that he can’t attack while being watched on a follow mission, and thus the world was born. A masked serial killer that has to follow rules. More inspiration came from our day jobs in the software industry (I’m a software engineer) and the office scenarios that such a job entails. Combine those, and BAM! You got Hackley’s world. He doesn’t engineer software, he engineer’s death and destruction, but it sucks like any office job because… rules. You have the bureaucracy. Showing how we all corral each other into these tight little lines (or cubes in this case) and prevent us from doing our best work was interesting to me. And of course, the shit can be funny too.

G.H.: And Tim… you’re my inspiration. *teardrop* You da real MVP.

2. How long did it take to write the script?
G. H.: The initial script was a pretty quick write. Like a couple of weeks. Then it went through rewrites all the way through pre-production and production. We were even adding scenes/shots our very last day of filming. I think that’s pretty common to get into something, find it doesn’t work or find something special and want to evolve the script to really bring that out.

3. How long was the shoot and what challenges did you face when making a low budget film?
G. H.: We did a very non-traditional shoot. Normally it’s like 26 out of 32 days or so where everyone comes in, commits to that project for that month and then the actors and crew are done. We didn’t have the funds for that, so we ended up shooting when we could on weekends over the course of a year (April 2014-April 2015). There was good and bad with that. Good was that it made scheduling easy. We treated every weekend shoot like a short film. I scheduled it so we would try to have actors get all of their scenes done in that weekend and we could be done with them. The bad thing was, we had to find times that would work for all of our key players who were around for everything (Director, DP, Allen Hackley, etc).

And oh lord, what challenges DON’T you face when making a movie for a budget that is below what Hollywood considers “Low Budget”? When you do low/no budget, the producers end up wearing a ton of hats. I, in addition to writing and producing, handle the budget, catering, some of the casting, most of the costumes, most of the locations, most of the props, etc. Tim, in addition to being producer and director has single handedly done nearly all of the post production, did a lot of casting, set decoration and construction and acted as primary irritant to our Emmy award winning DP, Larry McKee. Trey, award winning actor and Producer, directed the music video at the end, handled most of our marketing and social media, brought on a lot of the cast and allowed his wife to kill and be killed in the film.

I think the biggest thing you would see on screen with the budget is the gore. With this being a comedy, we felt the gore had to be either non-existent or over the top insane to work. Being no budget, we didn’t feel we had the money to do over the top gore right, so we went with the other way thinking it was funny how clean everything was in this horrific world.

And now I’ve droned on for way too long.

4. How was the cast chosen for the movie?
T. E.: We’ve all been doing the filmmaking thing for awhile, and are all plugged into the scene in both Austin and Houston enough that there was never any cricket sounds when the question was asked; “Who should we get to play so-and-so?” We had plenty of people to choose from. In some cases, I think Garrett even wrote with certain people in mind. For example; Owen Egerton for Asparagus, and Trey Huguley for El Matador. There’s probably more. But these are all people in the area and were somewhere in the circle peripherally, or right in the middle as was the case for Trey. As a director, I believe casting is one of the most important parts. Done right means I can just go hang out at the craft table more and sometimes even sneak in a nap.

5. What did you learn from making the movie?
T. E.: That making a feature film is fucking HARD. Can I say fucking? If not just replace it with astrix. But yeah, making a feature film is hard work, and I did all the post myself. All. The. Post. Which I do not recommend doing BTW. Get some post production money! I’ve done many, many short films and my hair kept its color. But a feature? I guess that’s one of the biggest lessons. Don’t try to do everything yourself.

G.H.: Debating whether or not to make the “Making a feature film is really fucking easy when Tim does all the work” joke or if he will punch me for making it.

T.H.: I learned that I needed a better editing system so that I could help T.E. with post so he doesn’t have to cuss as much.

6. Why do you think Horror Comedy are popular?
G. H.: Comedy has always been generally accepted. Its just life. We love laughing. It feels good. I think horror was always kind of viewed as the black sheep of the film world. I think especially back in the 80’s with the slasher genre, it was really looked down upon by film snobs. I think a lot more people liked them than would admit it publicly. And then I think the blockbuster success of Scream changed that and they became more accepted, mainstream, etc. Studios started throwing more money at them.

And I think combining people’s upfront love of laughing and their guilty pleasure of horror films really has hit a soft spot with viewers. Its also brought together the people who adore horror movies and the people who abhor them and laugh at their tropes.

7. How important is having the right promotion material for the film like artwork and so on?
T. H.: It’s vital. Before anyone ever sees the film, they’ll see the poster, trailer, facebook page or twitter account so you have to do it right. In the 2 seconds that someone initially glances at anything that is promoting your film, they will make a subconscious decision whether or not their “journey” with the film will go any further. If it looks like crap or doesn’t stand out that journey ends there. The market is saturated with other great films from awesome filmmakers from all over the world trying to scream about their projects from the rooftop, so how you promote and first impressions mean everything.

8. Are you happy how the film has been received?
T. E.: We’re just getting started, so not many people have seen it yet. And it is a niche film which requires a certain sensibility from the audience. I’ve found that my geek compadres, and horror fans etc., get it and laugh at all the spots where you’d expect it. Showing it to my 86 year old aunt? That didn’t turn out so well. I still have a bruise from the skillet she threw at me.

9. What is next for yourself?
G. H.: I am totally all in on Hackley. Want to explore this world and the different divisions in the company Hackley works for or even other companies. I have already started writing the sequel in the hopes somebody likes our film enough to want to see more and start a franchise. When we go to pitch distributors, we are going to come with pitches for a sequel, a prequel, a web series and a TV series, so we could expand this world in any way they want to go. There are so many ideas we didn’t have room for in this first one and can’t wait to explore in further content.

T.H.: Really I’d echo what Garrett said. On top of that I think I must be a masochist or something because I am going to take a weekend detour in the coming months to take part in the 48 Hour Film Project, which is a lot of fun but pretty tiring and stressful. But, hey, It’s what started Hackley 5 years ago, so who knows what it might spawn.

10. How did the score come about for the film? How did you get it to work with the movie?
T. E.: I’m a multi-instrumentalist musician and have done soundtrack stuff before so that was one of the easier things to do. It took awhile because it was the longest thing I’ve done, but I love how it turned out. I especially liked how Asparagus’ ironic surf theme turned out. And Hackley’s piano music. Getting those things to work just takes a lot of passes until you find something that clicks. Hackley’s piano music had been bouncing around in my head for awhile because we’d been working on this thing for awhile, and we all knew his music had to be somehow reminiscent of the old horror piano pieces. And, of course, there’s Trey and Chuck, which Trey will talk about. They did an excellent job on many of the songs; like the music video at the end, which is another reason the soundtrack stuff went so smoothly for me in post.

T.H.: In addition to the score that T.E. did so incredibly on – I’d add that we were fortunate enough to get to work with Chuck Vail at New Folder Studios to record the Fun with Hackley Rap song. Some of the other songs used in the film were also previously recorded “Bleached Whites” rap songs that were recorded at Chuck’s studio and that we had the rights to because…well…they’re my songs.

G.H.: Yup! Trey’s song “Addicted to Bacon that was featured in the film was also shown on the History Channel at one point! It is brilliant:


11. How do you think social media has played a part in getting the film out there?
G. H.: Its vital. We’re certainly not the best at it, but the wider you can cast your net on social media, the better chance you have of finding your core audience and having your audience find you. Especially with our film, a small niche horror comedy. We realized from the start that a lot of non-horror fans might not get it. We were hoping to make a movie that would appeal to both horror fans and non-horror fans, but we think horror fans will really love the inside jokes of the slasher genre and if we can get our film or trailer in front of their eyes and they can share it with the groups of people they hang out with who also have similar tastes, then we’ve done what we set out to do and we could not do that without social media.

12. How do you feel about this proposed Screening Room service where you will be able to watch the latest blockbuster at home without leaving the house to see it at the cinema?
T. E.: I haven’t read up on Screening Room specifically lately so it may have changed since I first read about it. I think they’re on an interesting track, but when I got to the 50 dollars per movie part, I was like WTF? Did I read that right? I want to make a living with film as much as any filmmaker, but seems they’ve forgotten what a movie even IS. I’m not sure of their end goal, or what problem they’re trying to solve. To me, a problem they could solve with something like this is availability. Isn’t the guy pushing this the dude that did Napster? That’s where it’s at. We need a torrent back-end service with a Facebook like front-end with sharing and all that and just charge a monthly that’s enough to get some money down to the filmmakers (and give credits or something to those that share the most, and not follow the Spotify business model fiasco). What we end up with is a huge library where even the most obscure film would be easy to find. There would be less pirating if they would approach it this way, and more movies would have the opportunity to find their audience just by virtue of being easily obtainable. How many times have you heard about some film and thought; “Hey, I want to check that out.” so you go check Netflix… not there, Amazon Prime… not there, Hulu… not there, the other usual suspects…not there. We live in a world where we expect to get what we heard about immediately, and thus you end up with one of the main motivations for movie pirating — aside from those foreign street vendors or people who trade torrents like baseball cards. At the very LEAST it might cut down on those silly cam-shot pirated movies from the theater. Why would you watch that if you could easily have the real thing? I have a lot more to say about this subject because I’ve been thinking about this problem for a long time as both a filmmaker and a software geek, but don’t wanna bogart the interview so I’ll pass it on.

G.H.: Sweet. One more step until we become the blobby people at the end of WALL-E. So excited for us to not have to get up or think about anything and just have everything delivered to us without effort.

But, I think in most regards we live in a very exciting era. We have instant access to pretty much whatever entertainment we want. But on the flip side, since it takes no effort to acquire that entertainment we are also pretty flippant with it and quick to dismiss. You may be a little younger, Chris, so you may not remember, but when you had to go out, drive somewhere, hope they had the movie you wanted, you were going to f’ing watch it. And since you went out of your way to acquire it, you were damn sure hoping you were going to like it, automatically shifting your views about the films more positively. Now, people are so negative. It was easy to acquire, so it would be easy to dismiss. I do it, too. I’m not just pointing the finger at other people. I flip through Netflix. If I see something that looks interesting, I start watching it. I burned about 2 and a half calories to start to watch it. And if it hasn’t hooked me in 10 minutes, I am usually back burning another 2 calories finding something else to entertain my fat face.

And coming back to the original question. The technology is cool. I am all for film makers finding new avenues for revenue to to get their films out to the public, but dumbing down the acquisition process, I think will lead to a lesser appreciation for the craft of film making.

13. How important is to you to have physical copies of your films (EG DVD & Blu-Ray) and make them something worth having?
GH: I may not be the right person to ask because I’m still addicted to Blu-Rays and DVDs. I have a big digital collection of films (all purchased legally), but still buy big films on Blu-Ray. There’s just something about physically holding something in your hand that is very gratifying. And there’s something about the way I said that in which it could totally be misconstrued or taken out of context to embarrass me.

T.E. That’s what she said, G.

KILD TV I finally watched and thought it was a well thought out horrothat was different and put a unique spin on the genre. The acting was great and direction was solid. If you love good horror give this film a shot, it’s worth your while.

KILD TV is available  at the following sites for rent. If your in America you should be fine to get from these places.  But you can get the DVD or Blu-Ray from their official website.
Sony https://store.playstation.com/#!/en-us/movies/kild-tv/cid=UV0157-NPVB23164_CN-0000000000309140

iTunes https://itunes.apple.com/us/movie/kild-tv/id1094039792?ls=1

Amazon http://www.amazon.com/KILD-TV-D-C-Douglas/dp/B01E9I5E1S/ref=sr_1_1?ie=UTF8&qid=1461329669&sr=8-1&keywords=kild+tv

Google https://play.google.com/store/movies/details/KILD_TV?id=Q5z323429vc#details-reviews

Check out the website at www.KILDmovie.com

KILDTV

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When I heard about this film, it got me wanting to know more as some body who loves a good horror picture. I am happy to say this film ticked the boxes and I knew I had to find out more.  So this is what the film makers William Collins the director and Channing Whitaker the screenwriter had to say about it all.

http://www.kildmovie.com/

1 & 2. What was the inspiration behind the film? How long did it take to write the script?

Channing Whitaker (Screenwriter) – I believe there were two ideas that were the seeds for KILD TV. The first, right out of college I went to work for a TV station which had actually combined two local network affiliates during a corporate buy up. Few viewers knew we were both stations because they were with different national networks. As we finished one network’s news, the other network’s anchors were standing by waiting. We’d turn the camera’s around and 5 feet away had the other network’s set. We didn’t have a horror-host show, but it made me think how interesting it would be to explore that scenario, not between two news shows, but instead between an upstanding news program and a creepy, over-the-top, horror show. Second, early on I had the idea of the horror show cast and crew being in trouble, going on the air and asking for help, but having a “boy who cried wolf” scenario where their viewers are so used to outrageous antics they don’t believe the pleas are earnest. The rest of the story grew from there.

I had written the first draft over about three months, and I had pages of notes and ideas with the intention of revising and rewriting a finished script. However, I had a previous professional relationship with the rest of the production team and they were looking for a project. I ended up pitching it to them before I would have called the script finished. They wanted to go forward with it, which resulted in William and the producers having a chance to weigh in with ideas and shape the subsequent rewrite and polish, which took another three months, so about six months in total.

3. How long was the shoot and what challenges did you face when making a low budget film?

Collins (Director) – 19 days of grueling 5PM~5AM production. The TV station was a set, and was created from scratch, all equipment had to be hooked up and trucked into the open space that was to become the labyrinth of KILD TV. Among our challenges was keeping the studio in order; part of the TV Station was in the Eye Candy Studio space, and the other section was downstairs in another suite 500 feet away. Yet they often ran from one spot to the other having to connect the two seamlessly. This required that we create a key map for all cast and crew to understand how we were organizing the production. All effects were practical minus one stabbing, so coordinating and inventing the best methods for the on screen FX was also a big challenge to keep in order. Luckily Hawgfly Productions of Austin, famous for Dusk Till Dawn and many other films, did a fantastic job and were always on top of it, reducing that stress. I think the night schedule was the biggest challenge. I lost 10 lbs. during the shoot (and I am 160 lbs. and 5’10”), so a lot of weight loss. I was sleeping 3~4 hours as a norm for 19 days, it was like being in boot camp. I remember thinking how much I would appreciate the simple act of sleeping a full night as soon as the shoot was over. And I did too!

4. How was the cast chosen for the movie?

Collins (Director) – Our production company is always hands on the casting process. We selected the cast with input from the key production team. Producer Michael Muscal, Executive producer Bryce Cunningham, Art Director Yun Kum and myself were always involved and I think it has made us very good at this. We typically reach consensus on the selection process before we move forward. Ultimately the final decision was up to me, however there was never an issue, I agree fully with the cast we’ve selected and consider myself very lucky to have worked with them.
We originally wanted the venerable Bruce Campbell for the lead roll, but it was not meant to be, and luckily we had the incredible talent of D.C. Douglas available, so as soon as he accepted we brought him to Houston. While he may disagree with me, I think D.C. Douglas was meant to play Dr. Perseco his whole life, and after having made KILD TV, I can’t see any other actor playing this role. As mentioned before, we were lucky to have landed such talented and beautiful people.
Astrea Campbell Cobb is stunning. We hired her originally for a short film we did in early 2012 called The Rolling Road (available on Amazon). She shocked us at that time with her lascivious kissing scene and just being her delicious self.
Dan Breverman was somebody I had kept in my files for years. I first saw him in a local film The Waiter. His energy and facial expressions were magnificent in that film. Later I saw him at a local comic convention and I asked Dan for a head shot. I told him then (2009) “I will call you soon, we are working on something and I know I want you in it”. He said – Awesome, love to do it. etc. In the end when the casting started for KILD, I pulled his head shot from my dusty files and he became Ira. While I expect my actors to bring their A game to me, Dan in particular was ready to walk through molten lava for his character. As expected his energy was incredible and he was always ready for more. He had to put a difficult contact lens into his eye in addition to one hour of prosthetic make up each day. No problem!
Jared Dorek was somebody I had done a short with in the past, The CareTaker. The CareTaker is something we are working on for our future film pipeline. I expect The CareTaker to be huge when it releases. We have a full comic book of the story drawn out and we are just about ready to launch that. Jared did an extraordinary job on our short: which won many awards, so I loved that he was excited to take on the part of Lucas.
Heather Williams, our local Aussie, and (I think the Australian Apprentice runner up), became Geneva with all the strength and gusto we hoped for. She played the character wonderfully and beautifully. We had to tone down her looks for the part; she is a stunning Australian platinum blond.
I remember asking her when she came to the casting call, “I have to know if you can do a kissing scene with our lead actress, and that you can make it hot”. She said – “No problem, I like the girls”. I was not sure how that would translate, but when the scene had to be made, Astrea and Heather did such a hot scene you could hear a pin drop on set. In the end we had to remove some of the scene because it became too hot for what it was supposed to be. Heather is a total pro, and a wonderful person; you don’t always get such a package.
Aleeha Rogers is known for playing one of the pretty slave girls in Tarantino’s film Django. During filming her scream (on the film) is bloodcurdling and so loud, we had to turn it way down for the post. Aleeha was incredible and created a unifying presence for the ensemble as well giving the audience a surprise on the film.
Grace Johnson who played Dena, was also a lucky break for the production. Grace was taking care of her father at the time in Houston, which is the only reason she was available to audition for the part. Known for playing opposite Bette Midler on the film Beaches as a child actor, Grace is a Hollywood insider and a celebrity. All grown up she is a powerhouse on screen. I did not realize what a talent we had landed, until we started shooting. Even during post I kept finding wonderful details she added in her performance to enhance and improve her part.
Obviously I can’t say enough good things about our cast, even if I devoted my entire interview to talk about them it would not be enough. But don’t take my word for it, see the film, you will love it.

5. What did you learn from making the movie?

Channing (Screenwriter) – I learned to be more flexible. Of course filmmaking is collaboration and the writer has to be ready for the director and the actors to bring their own ideas, but I found on this project I had to be willing to help adjust the script to the logistical challenges of the production. One example was that the script called for a small window in the set that played a part in a couple scenes. As we were going into production we negotiated with three different locations we thought would work for the TV station setting, and only ended up locking down the final location a few weeks before the first shoot day. However, it just so happened the location we got didn’t have any small windows. We had to brainstorm and adjust the script to fit the location we had, and do so very close to the start of shooting. There were probably another dozen or so details like that.

Collins (Director) – There are too many lessons to mention. I think the quality of the production team can’t be overemphasized. There are professionals, and then there are professionals. In the end, as a director, when production cuts costs on a member or hires a lesser experienced person you end up picking up the slack. There comes a moment when you feel like a loony toons cartoon character running in every direction trying to save the ship. I can’t say how much you have to be thankful for good people on set. If you have some great people on set, go and kiss and hug them. You’ll thank me later.

6. How important is having the right promotion material for the film like artwork and so on?

Collins (Director) – Absolutely critical. My partner Yun Kum had designed the coffin piano before we designed our set. She had come up with a logo for KILD TV before we had the script complete. Our Facebook and website were up and running before we were pre-production. Michael Muscal and I spoke about how we would promote the film before we shot one frame. Also Bryce (EP), and I took the time and expense to investigate pre-selling the film at AFM before the final edit was done. Everything related to marketing is critical because today, each person you try to reach is faced with a torrent of noise. The consumption of media today is like trying to drink from a fire hose. Think about yourself, how many areas of interest can you keep up with in a realistic manner? You can be great, and not be seen or heard. Remember that for every great film there are a million bad ones. How do you get above the noise level? Work it! Social Media, promotions, websites, parties, advertising, etc., etc. Non-stop, every day, all the time. You have to become a marketing machine…. or hire one.
7. Are you happy how the film has been received?

Collins (Director) – Absolutely, the fans are awesome and they get it. We need this word to spread and more people to hear and see the film. The fans of the film are getting the word out and we can’t thank them enough for that. We made the film for the fans, and if they respond with their wallets we will make more, nothing could make me happier.

8. What is next for yourself?

Collins (Director) – We are in development for a film called Shoplifters starring Shirley MacLane, Ann Margaret and Christopher Walken. It’s a PG comedy and we are actively seeking investment on a PPM (contact us if you are interested, see IMDB). We have more than half our money but we remain short and the clock is ticking. We are also developing The CareTaker, a dark superhero type of psychological thriller in the likes of Watchmen but darker (major star in target). We also have a Phsychomatics, a story about an autistic kid who is given gene therapy and it leads to a big surprise and The Rolling Road a TV series about a twin trying to make sense of an amoral world see trailer. We have the future of entertainment, but we need financing and support. I can’t wait to do all these projects.

9. How did the score come about for the film?

How did you get it to work with the movie? Collins (Director) – I am a fan of Danny Elfman from the early days of Oingo Boingo. I also really like the work he did for Beatle Juice. If you play that film you will notice a lot of similarity to the style of our music on KILD TV, particularly with the accentuations of Dr. Perseco. But I don’t want to take the spotlight from Nicholas Gati who did a superhuman job on the score. When I had the edit, I took the time to pre-score the film using other film music and had a pretty good idea of where to hit what and how. So Nicholas was working from a clear prospective of when to put crescendos or what type of music edit I was after. But it was Nicholas all the way getting that to work and outlining music passages that are delectable on their own. At some point we plan to release the music score of the film. I think fans will be really surprised how amazing the music really is. It’s not everyday you get an orchestral score on an indy film. The sad part was that we could only use parts of the score. When you hear it on its own its really just wonderful, great sounding music.

10. How do you think social media has played a part in getting the film out there?

Collins (Director) – I think it is the future of marketing. The fans keep social media close to them; they use it to know what is real and what is not. We strived to make a great film, and everybody on the film did their best, so now it’s up to the fans to respond and tell their friends that this is worth their time. To me social media is a time saver. There are so many time vampires, and social media is a great method of keeping them away.

11. How do you feel about this proposed Screening Room service where you will be able to watch the latest blockbuster at home without leaving the house to see it at the cinema?

Collins (Director) – I think it is a bit upper crust. If I remember right its about $300 bucks to set it up and $60 bucks per film or similar. As a filmmaker and avid film fan I love to curl up in my home theatre and watch great films, but I still go to the movies regularly, because I like to see the reactions of people or the non-reactions. I want to see and experience the outing of going to a movie. While I hate the people on their phones as much as the next guy, I don’t think the experience has gotten so bad that I would pay that much to avoid going to a theatre. Also, I can’t expect to watch films like Gun Woman at my local theatre; those I see at my home theatre, but I bet they won’t be on the Screening Room Service.

12. How important is it to you to have physical copies of your films (E.G. DVD & Blu-Ray) and make them something worth having?

Collins (Director) – It is very important to me and the production team to provide our fans a tangible, highest quality version of KILD TV on a BR and DVD. We’ve made a very high quality BluRay that contains a big huge file with minimum compression and so it takes up most of the disk. The disk is a glass master so again the highest quality possible. The audio is DTS raw, which again is the highest quality possible on a BR. You’d have to get a huge Hollywood film to have that sort of quality on a BR. However the highest quality version of our film is 4K resolution and 10bit. There is (at the moment) no way to provide that to our fans in 4K tangibly unless we stream it.
The plan at this point is to create a website that has the typical behind the scenes information and photos, videos and documentaries. We will do this because we realize that its best to keep the disk provided as pure high quality film/audio. In the end the highest quality version of the film will live on line. We anticipate that KILD TV will be released on VOD on May 5th, and for example we heard its likely that Google Play and Bell network will have it available in 4K with 5.1 audio. Many on demand channels will offer it at a higher quality than most festivals are able to show it; 4K and with full 5.1 sound, etc. So I think the future is not to own disks with inferior quality, but to have long-term access to the film at the highest quality on line. Today the average 4K TV will accept YouTube directly from the net, and when our content is there it will play in 4K to your phone, tablet, computer and home theatre. It’s the solution to the forced screen issue, the best version of Screening Room Service if you will.

Michelle Ellen Jones

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Photos by Rapheal Brown- Digital Icon Photography.

Michelle Ellen Jones is a hard-working American actor, who not only acts but is a beauty pageant coach, ball room dancing instructor and a yoga teacher. I’ve given her lot’s of a love on this site because I really do believe she gonna do some amazing stuff, which I know she is doing now.  I think she is going to be a star and I will keep continuing to support this amazing talented, hard working and beautiful lady. This is why she is my second beauty of the week.

Find out more about her here

Last photo by Cortney Russell.

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Jeremy Lutter Interview

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Jeremy Lutter is a director who directed an amazing short film called Reset. When I read the premise of the film I knew I had to know more about the film. Luckily he agreed to answer my questions and the short film is amazing with an incredible performance by Emily Tennant. When it becomes available to watch it, please do so.

http://www.jeremylutter.com/

http://www.brokenmirrorfilms.com/reset/

1. What was the inspiration behind the film?

This project started at the award ceremony of a film festival. A writer, Ryan Bright, approached me and pitched this film called Reset. I read the script and like any great story it raised a bunch thought provoking questions. Reset is a vision of a possible future and a look at love and objectification. It was also the exact opposite of anything I had ever done before. I loved it. I have a background in shooting family friendly, short films – Joanna Makes a Friend, Gords’ Brother. I wanted to expand my directing repertoire.
2. How were the actors chosen for the film?

The first time I read the script, I pictured an Canadian actress named Emily Tennant as the lead. I had considered her for a part in a previous short film – Floodplain. She is a phenomenal actor. I asked her and she was interested. The rest of the cast we drew on other local talents, Michael Karl Richards, Jessica Harmon and David Nykl. I had two amazing casting directors, Kara Eide & Kris Woznesensky, working with me to help put the cast together.

3. How long did the film take to shoot?

We shot for 3 long days.

4. Did you have any problems when making the film?

One of the most challenging aspects of the film was shooting with flowers. Tulips were used as a symbol of love and over the course of the story the tulips were supposed to age and wilt. The problem was you don’t shoot a film in chronological order and we needed to have a huge collection of tulips on stand by at different stages of decomposition. The logistics of this were much harder than I first thought. Tulips were not in season and hard to find. We kept running out of them and needing to find more but no flower shop wants to sell you anything but prime flowers – so we ended up trying to fast age them with blow driers. By the time we got around to shooting the final scene we had run out of flowers completely but we needed one prop flower. There was nothing but a pile of flower petals. Our clever production designer, Moe Curtin, had an idea and made a flower by gluing flower petals together. It actually looked pretty awesome and that glued flower is in the final cut of the film.

5. What cameras did you use to achieve what the film looks like?

We shot Reset on a brand new (at the time) camera called Red Dragon. Our two brilliant cinematographers, Graham & Nelson Talbot (who are identical twins) had just received the camera and this was the first project shot with the upgrade.

6. The film is beautifully shot and lit how did you go about achieving this?

The credit goes to our DOP twins Graham and Nelson Talbot. They are best known for a doritos commercial they made for the super bowl contest. They were short listed and ended up almost winning 1 millions dollars. Instead they got runners up prize (second place) and that included their commercial playing during the super bowl. Anyway, about the beautiful cinematography – we achieved that with careful planning, story boarding and a great lighting team. Seriously, those guys nailed it. It was a cold and futuristic look. And it helped that we had an awesome colourist work with us in post- Rob Neilson of Etch Media – I really wanted the film to have a distinct look.

7. When it came to editing the film, was their much that you filmed that didn’t make the final cut?

This film was very planned out with storyboards and all of the scenes made it into the final cut – losing only a couple of lines here and there for timing. It’s easier with a short film to make a careful plan. I used to shoot music videos the same way, every shot is planned out.

8. How long did it take to have the script ready in a draft ready to film?

The writer, Ryan Bright, wrote a few drafts before he pitched it to me. It took him about a month to get it into solid shape. We were both happy with it leading up to the shoot, but we always agreed there was something a little underdeveloped about the secondary character, Natalie, played by Jessica Harmon. At the very last minute (about a week before the shoot) Ryan wrote a new scene, where Sidney and Natalie interact alone. The scene definitely added something, but also required a glass breaking and an extra page to shoot with little time to make the adjustments. Ultimately we shot the new scene and the movie is better for it. Ryan promises he’ll give me more than a week notice next time.

9. What do you hope people will take away after seeing the film?

I hope that the film leads people to ask questions. Questions about our relationship to technology and our relationships with each other. What does it mean to be human? Can we create a new life and how do we treat people in our life now? There is a theme of objectification that runs throughout the story Do we treat people as objects? What does love mean?

10. What do you hope the short film will do for you career?

I actually shot my first feature film called, The Hollow Ones, right after production on Reset ended – I used Reset as a testing ground for my feature – to explore darker themes, and more adult subject matter. I also took most of the crew from the short and made the feature.

12. The use of music in the film was well used, how do you know when the music isn’t right or too overpowering for a scene?

Music is much like picture editing – it’s all about feeling. You know it’s right when it feels right. I was lucky to have a great composer on board with the project – Terry Fewer who I have worked with many times before.

13. Any thing you wouldn’t do next time regards to making of the film?

This question reminds me of a previous short film I made called Floodplain, which took place on a raft. The entire film was set on, around and under the water. After shooting Floodplain–- people always asked me what I learned about shooting a film around the water. I always tell them I learned one thing – not to do it. It was just very hard. The film turned out and I am glad I did it, but it was a painfully hard journey.

Reset, on the other hand, is a short film with no regrets. I had an amazing team on Reset and two producers Jocelyn Russell and Arnold Lim and things ran fairly smoothly.

14. Was the way Emily’s character was dressed, did it have a huge part in the overall sense of the film?

The actress Emily Tennant played Sidney the lead in the film. It took a long time to get the costumes right – it was hard to give the film a futuristic look, fit the colour palette and give the costumes an arc. Our costumer designer, Kelly Allyn-Gardner, and I worked really hard to define the world and the character. It was written that Sidney wore yellow in the script – but in reality yellow was a bit too strong of a colour and we went a different direction. The most important thing for me was that the costumes changed as the film progressed to add to Sidney’s emotional journey.

15. What is next for yourself?

As I mentioned earlier – I am finishing post right now on a feature film called The Hollow Ones. It’s about evil fairies – hopefully to hit film festivals in 2016 / 17.

Check out the feature:
www.brokenmirrorfilms.com/thehollowones

Reset the short will be available on the BravoFACT website – around Oct this year on their website – check for updates on here:
www.brokenmirrorfilms.com/reset

Every year I do a best of list and this year is no exception, But this time I’m gonna be straight and blunt to the point. So if your not on this list, this year, Who know as you may be on it next year. So I was in America in January and being able to see good music on a Monday and Tuesday night well Melbourne needs to take notice and start to do this. Make Monday and Tuesday nights a reason to go out and see good music.

Let’s get down to business. Albums these are the ones I loved this year.

Noel Gallagher’s High Flying Birds – Chasing Yesterday. Did not know he had an album coming out and I am a die heart Oasis tragic fan and boy this album delivers, What a way to open up with Riverman, his song writing is great and voice is on fire.

Kate Boy – One – This is an album I was excited about getting known Kate Akhurst for ages, yes I have interviewed her and reviewed her music in the past and this album is first rate. Higher is my favourite song off the album.

Twenty One Pilots – Blurryface – Totally love this band, these guys are genius, the music is exceptional. They just know how to mix it up and totally throw you off course with the way the album changes.

Jasmine Nelson – Hercules – Ok so she was on Parx-e Volume 4 but this album is really something special. Great song writing and great vocals ensure that this album delivers with beautiful and haunting music that you won’t forget in a hurry.

Beth Hart – Better Than Home – Beth Hart is the real deal to me as far as singer songwriters go, she got a voice and she has such killer tunes. But her songs so honest, real and you really do feel what she is saying all over this album.

I loved Emily Kinney debut album This Is War, she is amazing singer songwriter no wonder she is doing good.

EP’s And Singles

The Vaudeville Smash new song Richter Scale is divine and the b-side Dangerous wow such a song. Love the video clip for Richter Scale which they filmed in Japan. This Aussie band are going from strength to strength.

Nova and the Experience single Whole Body is an amazing tune, I got invited to their show at Shebeen and when I heard it live, I went and downloaded it straight away off Google Play. Even better for the band they got on the Aria charts, amazing for an indie Aussie act.

Laces debut ep which is self titled is amazing and I have been a fan of her music well 2004 that how long I’ve been behind her and the various projects she has done in the past. The opening track Love Me Sober ticks all the boxes for what a killer opening track should be.

Chelsea Lankes new song Home is such a good pop song, yeah I like good pop music and this is no exception. Beautiful sung and performed. Chelsea can sing, if she keeps making gems like this. The sky is the limit.

DMA’s new song Lay Down is pure brit pop and I love what these cats are doing. I can’t for the album next year.

Julia Henning – Away From Here is such a good tune and she kindly let me use it for The Parx-e Show.

Gypsy & the Cat & Client Liaison – Evolution, well I am a huge Client Liaison fan so this song is a no brainier being on this list. I just wish they would hurry up and release Hotel Stay as a single. I just wanna own a copy of the song, is that too much to ask.

Heather Longstaffe – Jack Daniels. What I can say but I love what Heather does and this song is a winner in my book. I know she is going to go far and this only helps.

Gigs

Any gig I went to in America and being able to see Jimmy Gnecco twice was awesome.

Seeing Headcat that Lemmy from Motorhead other band. Seeing Jack White for $20 American dollars was pretty cool. Seeing Powerman 5000, HED PE and Lagwagon.

Belmont Lights and Lanco two amazing bands that just blew me away and I didn’t know anything about them. Will Tucker what a blues musician he is and seeing him at BB King Club in Memphis was way cool.

The two Client Liaison gigs. I went to. I just love them

Nova & The Experience at Shebeen, what a gig.

The Women Of Soul album launch.

Passerine new single launch

Tully On Tully so good live.

Movies

99 Homes is the only movie you should be seeing this year.

Beauty Of The Year

Ella Cannon

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Photos by Gareth Lewis and are used with his permission.

What can I say but Ella really is the complete package. She is incredibly beautiful, she has an amazing figure, she really is flawless and she is a complete total sweetheart. She is incredibly talented as an actor. She has her head switched on and America will get to see why she is an incredible acting talent. She really is beautiful and one of the nicest people I have ever interviewed. Proud to know this amazing talent.

http://www.imdb.com/name/nm3749036/

http://www.starnow.com.au/ellamaycannon/

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The person to watch out for in 2016

Michelle Ellen Jones

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First photo by Cortney Russell.

Michelle Ellen Jones is a hard-working American actor, who not only acts but is a beauty pageant coach, ball room dancing instructor and a yoga teacher. She is really hard working and determined and I know she will go far in all that she does and she really incredibly beautiful too. What I have seen her do so far impresses me, with a work ethic like hers she deserves to be successful and I have no doubt she will achieve it. Quite possibly one of my favourite interview I have done this year was with her and I was excited to do it too. Will always keep supporting her.

Find out more about her here

Last two photos by Rapheal Brown- Digital Icon Photography.

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Julia Henning

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Julia Henning is the complete package, she is incredible talented, incredibly beautiful and I think she will be the next big thing in Australian singer songwriters.She has some awesome tunes like Away From Here is such a good tune and she kindly let me use it for The Parx-e Show.

http://www.juliahenning.com

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So I was deciding what to call this section but it lists people and bands that well I think it speaks for itself.

Michelle Page

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Michelle and I are friends after doing this website for so long and when she found me we stayed in touch and a friendship was formed. She really is an incredible person, really kind and caring. She is also one of the most beautiful people I know. She gave up what time she had to hang with me in America when I came over and really is the real deal to me. She is an acting talent and is studying Psychology too. I will always be behind her 100 percent.

Photos by Patric Massou and used with permission.

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Melissa Johnston

Another person who is an actor who hanged out with me and was lucky to be able to do that when I came over to America. She is also an incredibly talented actor who I know is going to go far.

Heather Longstaffe

Incredible singer songwriter, gave up her time to hang with me in LA, let me interview her and all. She is the complete package and a total sweetheart. Jack Daniels her latest amazing new song is getting traction in Canada with radio stations picking it up

Hilary Kennedy

We got to hang in Dallas and we did lunch plus she kindy gave up her time which was much appreciated. I had a lot of fun. She and I are friends now and it’s an honor to know this amazing broadcasting TV host.

Karen Waldrupt, Kelsey Lewis & Heidi Schwartz
also for hanging out with me and giving up your time to let me interview you and Heidi and I just did coffee.

Tori Tate

We didn’t get to hang, But I still believe in what she is doing and will keep continuing to do so.

Passerine

OK so they are a band but they really are something special. Totally awesome live and put on an excellent show.

The Strain

These guys are like brothers to me. They mean the world to me. First band ever booked and introduced me to one of my best friends. I will always continue to work with them.

If you ever need a soundie for a gig in Melbourne or a DJ Give http://www.fedoraproductions.com.au/ run by one of my best mates Nigel

Smoking Martha

Great Brissy band who can do no wrong by me. Just the real deal.

Mike Altamura

Great dude and all round nice guy. He a boxing manager and a screenwriter. One of the nicest guys I know.

Demi Louise

A hard working Australian singer songwriter who will ensure a very successful career as a musician as She is the real deal

Christie Lamb

Finally being able to see Christie Lamb play live was totally awesome and being able to interview her for the video show was incredible. She really is a fantastic singer songwriter.

Destiny Love

I love what she does as a singer songwriter, incredible voice and such beautiful tunes. She is a beautiful person, a beautiful soul inside and out.

Olivia May

Singer songwriter, actor, this talented lady can do it all and always deliver to me.

My Mates and Family

Thanks for being there always.

Conjoined

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Conjoined directed by  Joe Grisaffi is a great independent American horror comedy. I loved what I read about the film, so I went and got the DVD. I loved it, so I got the director to tell me more about the film.

http://www.conjoinedmovie.com/

1 & 2. What was the inspiration behind the film? How long did it take to write the script?

Chuck Norfolk: Conjoined was simmering on the back burner of my brain for a few years. The inspiration was a “what if” thing. What if you were married to a conjoined twin and her sister was a serial killer. Me and my Tim Norfolk banged out the script in about a month. It kind of wrote itself.

3. How long was the shoot and what challenges did you face when making a low budget film?

Joe Grisaffi: The shoot was 9 days spread out over one month. Two of those days were ½ days. One of our goals with Conjoined was to embrace the challenges of low budget filmmaking. We intentionally limited our prep time, I think to four days, and vowed to come up with “solutions” on the spot for scenes we weren’t completely prepared for, hoping our mistakes or quick solutions would become part of the fun, and it really worked. Luckily, this was a studio shoot and the entire movie was filmed at one location, so we had a lot of items at our disposal, even if the solution wasn’t exactly as scripted. For example, the surgery scene was written to use proper surgical items, but we were unable to locate the correct items in time, but we solved that problem and the movie is better for it.

4. How was the cast chosen for the movie?

We didn’t hold any casting calls. We cast privately. We called actors we wanted to work with directly, asked them to read the script, and if they wanted the part, it was theirs. If I recall correctly, our casting relied on Michelle Ellen Jones. Keefer agreed to play Alisa, the bad sister, but she is a tall woman, and her casting depended on Michelle saying yes – Michelle is tall as well. We had worked with Jake Byrd on Lars the Emo Kid and Haunted Trailer, and just knew he would be brilliant as Jerry. We included Sara Gaston to reprise her role as Detective Waters from Dead of Knight, and found a way to include her Dead of Knight partner Dan Braverman in a cameo as well. Sara recommended Tom Long, who we’ve both known for years now, and he was perfect. I had recently worked with Troy Parker and thought he’d be great as Ty the Video Dating Guy, and finally, Chuck Norfolk recommended Deidre Stephens as the Web Cam Girl, and she was a great choice.

5. What did you learn from making the movie?

Conjoined was really an effort to use everything we’ve learned from our previous low budget endeavors. In the past, I would stress out over very little things in the pursuit of perfection that ultimately didn’t matter to the audience. You know, minor continuity errors, digital effects that might be off just a little. I spent a couple of years worried a couple of composite shots in Dead of Knight, which held up its release – and now that the movie is released, nobody has ever said a word about them. It was my goal to let those little things go if they happened, and they did, but they just made this movie even better, in my opinion.

This film was also a great opportunity to experiment with comedy because so little was at stake financially. Our script was 58 pages long and we needed a 75 minute feature for distribution. Our solution – as part of the joke, I let some scenes linger way too long. And it worked beautifully. Another lesson learned is that a scene can be more effective if you let the audiences’ imaginations fill in the blanks. The surgery scene is a great example of both of these points – I think it’s extended runtime with a couple of false endings works great, and the use of sound instead of graphic visuals makes the scene even funnier.

6. How important is having the right promotion material for the film like artwork and so on?

I think the right promotional material is incredibly important. I don’t really consider myself a poster designer, but I made the Conjoined artwork. I wanted a grindhouse feel to the poster and I think it represents the movie well. I especially love our tag line. If the film gets picked up by a larger distributor or foreign territories (it is currently being handled by Champion Entertainment), I am pretty sure the artwork will change, though.

7. Are you happy how the film has been received?

I am thrilled with how the film has been received. We knew it was funny, and we were pretty sure our target audience would really enjoy it. The film has been shown at festivals and events all over the world. Surprisingly, middle aged women who are not really horror fans tend to love the movie. My mother hates horror films, but she attended a screening of Conjoined – I sat behind her – and she couldn’t stop laughing. Others have said the same thing, kind of embarrassed that they enjoyed the movie so much. J

The film is currently available on DVD and streaming at Amazon Instant Video. We are hoping for wider VOD availability soon and I know Champion Entertainment has been talking for some foreign territories as well.

8. What is next for yourself?

I have been asked to directed a fun horror film called Kids vs. Zombies, written and produced by Courtney Sandifer. We are currently trying to finish fundraising for this family-friendly zombie film. I also have a couple of completed scripts that I’ve written that I’d like to produce, The Barber and Alligator Man being among them, and we have another script called Slugger from Dead of Knight screenwriter Emilio Iasiello. Sara Gaston and Dan Braverman would reprises their roles as Detectives Waters and Sutherland in Slugger.

9. Why do you think horror and horror comedies are always so popular?

I believe both are cathartic. I think comedy is the hardest thing a filmmaker can do, because it is so subjective, but when it works, it can work brilliantly. Even a poorly made horror film still has value and can find an audience, and may even become an unintentional comedy.

10. If you could have the ultimate cast for a film who would be in it?

I don’t really have a dream team cast list, although there are a lot of actors I would love to work with in the future. The dream team cast would certainly depend on the material.

Conjoined Movie Review

Conjoined is a horror comedy and I Gotta tells you, I really enjoyed it. The script was well written, the film was well shot for it’s budget and the acting is really good. The jist of the story is when a lonely man finds out the love of his life has a conjoined twin, who happens to be a serial killer, he must take drastic measures to keep his love life intact while keeping himself out of big trouble. All the acting was really good but Michelle Ellen Jones just shined as Alina one of the Conjoined Twins. Keefer Barlow also stood out as the other Conjoined Twin who is a serial killer and Tom Long just played the of Stanley just right. The script was great, and it was funny, witty and well written. To me a great movie is something you weren’t expecting to be great and that surprise of going wow this is an excellent movie. Michelle Ellen Jones is just really wonderful as Alina, the sweet and perfect Conjoined twin, she is incredibly talented as well being extremely beautiful. I am really impressed this is first movie role and if she keeps giving performances like this, she going to have a hugely successful career in acting. I love a good horror comedy and this one delivers with fun, great acting and a great story to go with it. Seriously check this out, you won’t be disappointed.