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So I went to America and did a whole bunch of interviews and they are now up for your viewing pleasure. So I went to Los Angeles, Dallas, Houston, Chicago, Nashville and New York. All those cities except Chicago I did interviews in. Plus I went looking for As Seen On TV Products plus I talk about some awesome places I ate at and an awesome video game shop in New York plus I give some travel tips. Hope you dig the interviews. Let me know what you all think

Umbrella Entertainment are proud to announce Descent into the Maelstrom – the untold story of groundbreaking Sydney band Radio Birdman, busting into cinemas nationally from July 20.

Written, directed and co-produced by filmmaker Jonathan J Sequeira, the documentary chronicles the rise and fall of the band – from the vibrant music scene they created, to the legions of bands they influenced in their wake.

From 1974 to 1978, Radio Birdman’s uncompromising, high-energy ethos inspired a ‘New Race’ of disaffected youth, ready for a change. Their music directly inspired bands such as Midnight Oil and Cold Chisel, while their DIY attitude and self-released records were the prototype for the indie music scene. They created the Funhouse, a Sydney venue that gave other bands with nowhere to go an opportunity. They championed punk and rock n’ roll from around the globe with the infamous Funhouse jukebox and the kids packed the dance floor, going crazy as the band performed. Radio Birdman’s music wasn’t just the soundtrack for youth, it truly changed Australia.

Descent into the Maelstrom will premiere at a sold-out screening in its hometown of Sydney on Monday, June 19 at Event Cinemas George St, followed by a Q&A with Birdman’s Deniz Tek and Pip Hoyle, director Jonathan J. Sequeira moderated by respected rock journo Murray Engleheart. An encore screening is being held on Monday July 3 with the same line-up.

In Melbourne, Cinema Nova will host a screening on Sunday, July 2 followed by a Q&A with Deniz Tek, Jonathan J. Sequeira moderated by respected journalist Martin Boulton.

Descent into the Maelstrom will also play at Perth’s Revelation Film Festival and will also open the Adelaide leg of the Monster Fest Travelling Sideshow.

Umbrella Entertainment will be releasing the film through an Appointment Viewing strategy, with screenings at 7pm Thursday, 9pm Friday and matinees on the weekend from July 20 at the following cinemas: Event Cinemas George St in Sydney, Event Cinemas Manuka in Canberra, Cinema Nova in Melbourne, Event Cinemas Innaloo in Perth, Event Cinemas Myer Centre in Brisbane and GU Film House in Adelaide. More sites announced soon. Fan-Force have also partnered with the film, making it available to fans to book screenings. Jonathan J. Sequeira will also tour with the film through regional locations.

Director Jonathan J Sequeira on the film..

“Descent into the Maelstrom isn’t just the story of Radio Birdman, it’s the story of a scene, a movement, in Australia, started by the band. It’s about doing your music, and your art without compromise, when everyone tries to shut you down. Radio Birdman inspired the outsiders in Australian society to do their own thing. Like the band, the film is a completely independent production – the band’s take no-prisoners attitude fed into the making of it. The intensity of the music and the individuals is still there, coming off the screen, and it insists that you too settle for nothing less than the best.”

Accompanying the film will be the Funhouse Jukebox soundtrack. Released on June 9 via Sydney label Stop Start, the soundtrack features 13 songs from bands like The Saints, The Easybeats and The Ramones as well as rare tracks from pre-Birdman outfits The Rats (feat Rob Younger, Warwick Gilbert, Ron Keeley) and TV Jones (aka Cunning Stunt feat Deniz Tek). Stocked with Rob Younger’s personal collection of singles, this compilation is a combination of Radio Birdman songs + tracks that appeared on the actual Funhouse jukebox at Sydney’s Oxford Hotel in 1977.

“Descent Into The Maelstrom – Funhouse Jukebox Soundtrack”

1. Funhouse intro dialogue

2. Descent into the Maelstrom – Radio Birdman

3. (I’m) Stranded – The Saints

4. TV Eye – Radio Birdman

5. Wars Or Hands Of Time – Masters Apprentices

6. Snake – Radio Birdman

7. Friday On My Mind – The Easybeats

8. Shake Some Action –Flamin’ Groovies

9. Blank Generation – Richard Hell & The Voidoids

10. Burned My Eye – Radio Birdman

11. Personality Crisis – The Rats

12. Monday Morning Gunk – TV Jones

13. Blitzkrieg Pop – Ramones

14 Funhouse outro dialogue

15. New Race – Radio Birdman

Released via Stop Start from June 9, 2017

All right every year I do a best of list and this year is no exception. Still cannot believe the site is 15 years old but it is. So let’s get down to business. A big thank-you again to everyone who contributed to the video.

Talent/Beauty Of The Year and Person To Watch Out For In 2017

Michelle Ellen Jones


Photo by Daniel Horande

So when I came across Michelle, I was like who is this person. I need to know more. So I contacted her and the rest is history. She is an incredibly beautiful down to earth, caring person. She is a fantastic actor and puts 110% in all that she does. I can see all the amazing stuff she is doing will land her good roles and everybody will wanna work with her. I will always give her love and support on my site here. Not only that she does ballroom dancing, is a pageant coach and teaches yoga. She is a winner by me.

Favorite interview I’ve done on the site so far celebrating 15 years of the site

Michelle Page


Photo by Patric Massou/Patrick Massou.

My support for Michelle is never ending, if you watched the video I said she was my favorite person I interviewed. I think she is an acting power house. She is one of the kindest hard-working people I know and always gives 110% in all that she does. I’m still honored. I get to be her friend. She is such a beautiful person inside and out.

Rya Meyers

Rya is an actor watch out for, a fantastic actor and has always been a pleasure to interview. She is extremely beautiful and a total sweetheart.


Coming across them was like wow, Easy Nothing one of the best songs to come out in ages. This Canadian act is gonna set the world by storm. Feel Alright is a solid debut EP.

Olivia May

With new music on the way, this gorgeous talented musician and actor has 2017 in the bag, She is a star.

Client Liaison

The year of Client Liaison and their fantastic debut album Diplomatic Immunity, This is an album that is made for summer and basically all year round. Just puts you in a good mood.

Vaudeville Smash

The Gift by Vaudeville Smash is one of my favourite albums of the year. Their launch at The Gasometer was so good. If you like a real band, who does really good music to dance to then these guys are it. They let me use a tune for The Parx-e Story.

King Of The North

King Of The North are just awesome there are no two words about it. Get Out Of Your World is just plain rocking. Get it and crank it loud.

Lexi Strate

Lexi Strate is a fantastic Canadian talent and loved what I heard and had to interview her. Diamond Eyes is such a catchy pop tune that worthy of your ears. Her EP Waves is a must have for pop fans.

Destiny Love

Destiny Love would have to be one of my all time favourite people interviewed on this site. She is an incredibly talented lady who can sing, act, she teaches Yoga and is all-round inspiring lady. She is an extremely beautiful woman inside and out and the future is bright for this amazing lady.

Georgia Mae

Georgia Mae is a singer songwriter with the songs and buzz to back it up. This Aussie talent is going to take the world by storm. She kindly let me use her tunes for The Parx-e Story and my Sydney video coming out hopefully next week.

Rival Sons

Seeing these guys play at Cherry Bar with one of my best mates was a dream come true. They are one of the best rock and roll bands going around today. Their new album Hollow Bounds only adds to that.

Christie Lamb

With a new song out and a new album out on the way. This talented country musician is going from strength to strength,

Chelsea Lankes

Chelsea Lankes new EP. Chelsea Lankes just confirms that she is a pop star in the making. She can sing and has the songs to back it up. Every song on it is so good.

Ella Cannon


Photo by Johnny Diaz Creatives

Ella is kicking butt as an actor in USA and I am really happy for her. I know how good she is as an actor. She still such a stunning beautiful woman with the most perfect figure, She is somebody who works her butt off to make it all happen and it’s paying off. She is doing stuff on an exciting TV series and I will always be behind her.

Lauren Jenkins

I first came across Lauren in the movie Deadline and didn’t know she was a singer songwriter and yes she first rate in both, Her EP The Nashville Sessions shows off how talented she is. Plus how amazing her voice is and how her song writing shines, She to me is the complete package and soon everybody will wanna work with her.

Melissa Johnston

Melissa is still an amazing actor and I know she keeps doing amazing work. Her new venture Cuddle Bear Pet Care is doing well. I am very happy for her.

The Stratford 4

One of all time favourite albums is Love & Distortion by The Stratford 4 and they are back and they finally released their long awaited 3rd album Keep Your Crazy Head On Straight and it’s a winner by me

Kult Kyss

These cats I have known for a while now and two of the nicest people in the scene. They are gonna be huge mark my words.

Chelsey Crisp

Ok when I interview people, I interview them because I believe in what they are doing and will always continue to support them on their rise up. I had no way of knowing how far the gorgeous Chelsey Crisp would get with an outstanding role on the comedy series Fresh Off The Boat. Chelsey Crisp is doing amazing stuff and it’s great to see.

Elektrik People

Elektrik People with their amazing EP Stargazer, I Was hooked when I heard Stay Late, their electro sound is something else. So good.


I dig Passerine and all they have done this year. I love what these cats do and I will continue to support them.

Robert Parker

This talented Swedish artist I came across on YouTube and totally dig his retro sound. His album Crystal City is a retro album just made for driving and cruising around like you’re in the 80’s. Got to interview him for Parx-e when he came down to Melbourne for SquareSound..

Heather Longstaffe

Heather is still kicking goals and still doing amazing stuff. Will always support her. She is one of the nicest people I have ever meet. She is a fine songwriter and no doubt will have everybody wanting work with her real soon.


Ganbaru by Yeo is an excellent album and another winner in his amazing catalogue of tunes. This talented Aussie does no wrong by me.


Moreton is a new band and boy are they good. Their debut EP Specimen is incredible and I am a huge fan of it. This Aussie band can do no wrong by me. I can’t wait to hear more.

Danielle Deckard

When I got asked to interview her, I was like sure. When I saw her play wow, she has the songs.

Shannon Hurley

Shannon is still going strong and still doing amazing music.

Katie Cole

Now based in Nashville I am still getting behind this talented Aussie singer songwriter.

One Less Reason

One Less Reason have released an awesome rock album this year with The Memories Uninvited. The opening track Break Me, Seriously wow what a way to open an album.

Kelsey Lewis

Kelsey is another amazing singer songwriter from America who I have had the pleasure of meeting and have interviewed on the site. She has released a new tune this year and she got the talent to go far.


Great Melbourne two piece, love what these guys do. Cool unique sound.

Jo Kathleen Marie

The Next Step by Jo is an excellent tune for this Melbourne singer songwriter. She got a bright future ahead of her.


One of my all time favorite singer songwriter and love all the amazing music she has released this year.


Dream come true to interview Earl again. Even better when she kindly filmed something for my video.

Amy Schafnitz

Amy is an actor who career I have been supporting for a while and will continue to support this incredibly beautiful talented actor.


DMA’s are an exciting Aussie band who keep putting out amazing music and Hill’s End is one of the most exciting debut album in ages.


Hen is such a talented artist who works I will continue to keep supporting. She such a beautiful person inside and out. She such a incredible songwriter with a catalogue of fine songs

Demi Louise

If there is anyone, who is gonna be one of Australia biggest musicians, Demi Louise is it. She is such a talented hardworking musician who has the determination and drive to see it all thru.

Katey Laurel


Photos by Art Heffron

With a Christmas album titled This Is Christmas being released. This stunning singer songwriter is going from strength to strength and I will be supporting her always.

Alicia Sky


Photo by Dovvi

Alicia Sky is the complete package. She is a fantastic singer. She is incredibly beautiful and has an amazing figure. With her debut album out next year, this singer is on her way to a successful music career.

Francesca De Valence

With her debut album Own Self coming out last year. This singer songwriter has shown she has the songs and talent to go far. The album itself is well produced and is worth your time.

Tori Tate

I will always have time for Tori and will continue to support.

Kate Boy

I’ve known Kate like 10 years now and finally seeing them play earlier in the year was a dream come true. They are one of the most exciting acts on the planet right now and a destined to be a household name.

Smoking Martha

This rock’n’roll band from Aussie tick all the boxes for me.


Now based in Europe see this Aussie rock’n’roll band going from strength to strength,

Hilary Kennedy

I adore Hilary and I’m blessed to know her. She is fantastic and what she does and enjoys seeing her blog posts on her.

Rachel Layne

This talented Canadian artist ticks all the boxes for me. She is a hard working artist and I can see her having a long successful career.

Albums Of The Year

Client Liaison – Diplomatic Immunity
Vaudeville Smash – The Gift
Rival Sons – Hollow Bounds
Yeo – Ganbaru
Robert Parker – Crystal City
One Less Reason – The Memories Uninvited
King Of The North – Get Out Of Your World
DMA’s – Hills End

EP’s Of The Year

Elektrik People – Stargazer
Moreton – Specimen
Chelsea Lankes – Chelsea Lankes
Lexi Strate – Waves
Youngblood – Feel Alright
Lauren Jenkins – The Nashville Sessions


I really only saw three this year and they were all excellent.

Hunt for The Wilderpeople
The Beatles: Eight Days a Week

TV Shows

NCIS: New Orleans
NCIS: Los Angeles
Hawaii 5-0
Man Up

800 Words


Rival Sons @ Cherry Bar

Kate Boy @ The Forum

Client Liaison Twice @ The Forum

King Of The North @ The Tote

Vaudeville Smash @ Gasometer

Yeo @ Howler & The Corner Hotel

Any gig I went to @ Joyluck Studios

HPKNS @ The Workers Club

Youngblood @ Australian Music Week


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.

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Fun With Hackley: Axe Murderer

Filmmakers Interview


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.

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.




Check out the website at



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.

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.


Jeremy Lutter Interview


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.

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:

Reset the short will be available on the BravoFACT website – around Oct this year on their website – check for updates on here: