Indie films gives to viewers an opporttunity to wacth movies with a range of thematics and original s ideas that maybe in studios films you won't be able to watch regullarly. Inside this wide spectrum i had the pleasure to talk with SCOTT SCHIRMER an indie filmmaker who has shot four film so far, standing out one after other, found in 2012 a recognitizion with his film "FOUND" winning many awards during its crossing in theaters. He gave me the chance to talk with him about his works and his upcoming projects.
EFF: Scott, first of
all thank you for take your time out to answer these questions. When and how
did you realize you wanted to be director or be involved into film industry?
SS: I was six when I saw
'The Empire Strikes Back,' and that really sealed the deal for me. I've been on
the filmmaking path ever since. That movie still inspires me, even though I've
seen it a few hundred times now. It's one of my top 5 favorites of all time,
for sure. I don't know how kids get interested in film today because it seems
so much less magical than when I was a kid. I grew up on a farm in rural
southern Indiana. We had no cable, no VCR, no internet. You had to entertain
yourself. And when we went to the movies, we got dressed up, we had dinner, and
we made a night of it. We often drove an hour or two out of town to the nearest
theater where a film we wanted to see was playing. And I sat on the edge of my
seat, ready to absorb every word and every frame because I never thought I'd
see that movie again. So from as young as I can remember until I was at least
10 or 11, going to the movies was like going to church for me. I still think
they hold tremendous power over us as a society. They don't usually live up to
that potential, but every now and then, one comes out and is universally
embraced -- those movies remind us of what we have in common, and we need more
of that today than ever.
EFF: Where are you from
Scott?
SS: I'm in Bloomington,
Indiana, in the USA. I grew up a little bit south, in Hanover and Madison,
Indiana, right along the Ohio river.
EFF: You started
out your filmo, making a drama movie in 2001, right? Then you changed your
thematic through these days to horror films, why you decided changed to horror
genre?
SS: Yes, I made a few
non-genre movies, long short films, really. But then in 2002, I shot
"House of Hope," and that was something that I conjured up after
discovering horror. I never liked horror growing up, because the only horror I
was ever subjected to were the slasher movies of the 80s. I've grown to enjoy
those films as an adult, but as a kid, I took my movies very, very seriously. I
didn't like horror movies because they were so far-fetched and over the top. I
didn't even like The Princess Bride, because it was silly, and I liked my
sci-fi and fantasy movies to be deadly serious as well. I guess I was weird.
But then some friends in college introduced me to the 1974 "Texas Chain
Saw Massacre" and "The Evil Dead," and that really opened up a
whole new genre to me. I fell in love with horror and have been in love with it
ever since. I'm interested in making all kinds of movies, but I don't think
I'll ever leave horror behind.
EFF: I will like to initiateasking you about "Found" i've found great reviews and comments about your movie, let me asking you,Is it true you literally found out this book called "Found" and contacted the author in order to make th movie? Tell us about it
SS: I worked at the
publishing company where Todd Rigney published the book, and I fell in love
with it right away. I read it in one sitting and immediately started stalking
Todd on the internet. I found him without too much trouble and wrote him right
away. He agreed to meet with me, and he literally made my dreams come true by
giving me permission to film his story. I'll always be grateful to him for that
-- it's such a tremdous gift to get a story that compelling, something that
speaks to you so personally and deeply. Todd can't get enough credit for
"Found". The movie is very faithful to his book, which is a riveting,
raw, incredible read.
EFF: Another thing
is that you financed the movie by your own, your own money?
SS: Yes, after talking
with Todd, I think it took me a year or two to save up enough money to buy a
camera (Canon 7D), lights, sound equipment -- I had to get everything. And that
was about $8,000.00 I spent. No one was paid to make the movie, it all went
toward equipment and catering for the most part. It was a real labor of love.
EFF: Obviously the low money handicap puts over any filmmaker that many problems could comes out from out of nothing, but tell me what setbacks you can tell us you faced in during this movie?
SS: Money didn't set us back, really. Timing did, though. The hardest part about making "Found" was that we shot it for 32 days spread out over almost 8 months. We had to do it that way because our lead actor was in junior high school. We managed to get a lot of it shot before summer ended, but once school was back in session, we could only shoot on the weekends. So the schedule dragged on forever and it became a real test of endurance. Money is always nice, of course, but since the cast and crew were all in it for the passion, and all our location owners were kind enough to let us use their locations free of charge, I never felt like lack of money was holding us back.
EFF: Now, after that you've made two movies so far, "HARVEST LAKE" and "PLANK FACE", they were released the last year (2016), and beside that, you were writer too. How did you get involve in these movies and why decided to make them?
EFF: All the filmmakers uses or employs references from differents films into their films, what influences can we see on these movies, can you explain to us?
Scene from "Found"
EFF: What did you learn making this movie? How does this film changed you, professionally and personally?
SS: I think everyone
learns from every movie they make. "Found" was a project I loved more
than I'd ever loved a project before. And prior to "Found," I had
actually decided to quit making movies. It had been 5 or 6 years since I shot
anything, because the last few projects I made were so incredibly difficult and
unrewarding. If DSLR cameras hadn't come along to revolutionize indie
filmmaking, I would not have made "Found". But also, if I had never
found a story I loved that much, I wouldn't have returned to filmmaking either.
"Found" taught me that every movie needs to be like a love affair.
You can't just crank movies out left and right unless you really, really care
about them. Because they take an immense amount of time and attention to see
through to completion. If you don't love them with all your heart, you will
probably come to see them as a chore, and you might very well quit working on
them. You might give up. Your passion for the project is what fuels you through
all the hard times, long nights, compromises, and completion. When I get
involved in a movie now, the main question I have to ask myself is, "Do I
love this story enough to spend the next 6 months of my life devoted entirely
to it?" Because it takes us about 6 months to get a movie off the ground,
shot, and edited. We spend even longer promoting and marketing all our films,
but you really have to be prepared to live, eat, and breathe that individual
film for about 6 months. So you better love the hell out of it.
EFF: Now, after that you've made two movies so far, "HARVEST LAKE" and "PLANK FACE", they were released the last year (2016), and beside that, you were writer too. How did you get involve in these movies and why decided to make them?
SS: Brian K. Williams and
I worked on a for-hire job during the summer of 2015 and really hit it off. We
decided we wanted to make a movie together, and we both had a little bit of
money to scrape together to invest in it. So we did. With "Harvest
Lake" and "Plank Face," Brian and I sat around for a few nights
and pulled those stories out of thin air. They stem from ideas we've had for a
long time, but we really hammered them into narratives together and put them
immediately into production because we're both trying to be full-time
filmmakers right now. We HAVE to be making a movie at all times, or we will
literally starve to death. So we're always talking about other projects and
trying to set aside time to develop next year's movies so we don't run out of
ideas or viable projects to work on. We would LOVE to work with other people's
material, but its really hard to initiate and keep those kinds of relationships
going.
SS: I grew up on
Spielberg and Lucas movies, so I'm sure you'll see a little of them in my work.
I'm not sure where, but it just seems inevitable. I love Peter Weir because he
mixes reality with visual poetry in a way that I find really beguiling. And I
love to work in wide shots and close-ups, because I think the juxtaposition of the
two is where the real power of cinema lies. People attribute that sort of thing
to Sergio Leone a lot. But I really don't try to emulate anyone. Ever since I
started working on "Found," I've been trying to discover my own voice
and my own style. It doesn't do any filmmaker any good to try and be the next
Kevin Smith or the next Quentin Tarantino, because you will only be a watered
down version of those artists. Be your own thing, and be the best version of it
that you can be. That's bound to strike a chord with audiences more than being
a hack or a pale imitation of someone else.
EFF: How did you go with these two films, at festivals and on audience response?
SS: I entered
"Found" in about 80 festivals worldwide, because I didn't know any
better and I thought that was what you're supposed to do. I'll never do that
again, because it cost a few thousand dollars to enter all those festivals, but
I don't have any regrets because we had about a 50% acceptance rate. It played
at over 40 festivals and won, I think, 15 or 17 best picture awards. It was
amazing, and kind of unheard of. Festivals can be great. They can get your film
reviews and exposure, and there's a slim chance that they can help you get the
interest of distributors, but I've met enough other filmmakers to know that
distributors are no longer the goal for many of us anymore. Distributors can't
be trusted. If you ask 10 indie filmmakers, 9 of them will tell you they have
never been paid. I've discovered that you can keep your film and distribute it
yourself, and you will make much more money than you will through most
distribution deals. I will license my films in foreign countries where the
distributor will be able to subtitle or dub the film and help it reach a wider
audience, but only if they pay me up front. You HAVE to get the money up front,
or you will never ever, ever see it. Audiences at festivals are usually very
receptive to my work. But I think that's because they know what they're in for.
They know they are at a film festival where you see independent films that strive
to achieve based on ideas and execution under the limited means. The best
festivals I attended were the Phoenix Film Festival, the Nevermore Film
Festival, and Elvira's Horror Hunt. But since I don't want to sell my films to
distribution companies, festivals aren't as important to me anymore. We enter a
few that we like, or are nearby, or if they are affordable, but we don't let
festivals play a large role in our release strategies. And I advise other indie
filmmakers to do the same thing, really. Don't wait for permission to make a
movie, and don't wait for a film festival to validate it. It's just one tool.
You gotta use everything in the arsenal to get a film out there these days.
Scott Schirmer
EFF: how do you handle the casting process for your movies, maybe in one of two last made, could you tell us what aspect did you try to get from your actors?
SS: We are fortunate
enough to know many other indie filmmakers, and all of us share notes and
recommend actors to each other. We never hold auditions. Living in Indiana, you
just rarely discover good talent that way. We find actors on the internet,
watch their acting reels, write them and see what happens. But, we usually work
with people we've already worked with in the past -- it's just easier and more
fun to work with people you know and love. But we also try to add at least one
or two new people with each movie. Tristan Risk and Kevin Roach were new on
Harvest Lake, and Nathan Barrett was new on Plank Face. Allison Maier is new on
Space Babes from Outer Space. We've been really lucky with all the new talent
we've worked with, but we're also very cautious about them. We vet them and
stalk them on the internet, and try to get some recommendations for them before
we take a chance on them. Because you don't want to make a movie with assholes
-- that's the worst! We've been lucky. So far, no assholes. As far as trying to
"get" something from my actors, I always wish we had more time to
rehearse and shoot the movies. Because I think that's where a director can
really have fun with actors. But we rarely get a chance to try things many
different ways, or to improve them substantially. Instead, I have to really be
careful casting and get the best people possible, so that I don't have to
direct them much, to be honest. Fearlessness is my favorite quality in an
actor, because if you're not afraid to make a fool of yourself or try anything,
then I know you can probably do whatever it is the role needs you to do. I
can't rev an actor up, I can't make them act scared or terrified, or terrifying.
But I can ask them to tone it down if they're doing too much. So I like knowing
they will go there, all the way to the max, because if they can, our bases are
covered. That was a very big deal with Gavin Brown on "Found,"
because he carries that picture. I had to talk with him prior to filming and
make sure he made me believe that he could cry and get emotional without being
embarrassed or afraid. And he promised me he would do his best, and it was
challenging at times, but he did do his best and we got there, and he's great
in the movie. Casting Nathan in "Plank Face" was similarly
distressing, because the guy playing his role simply couldn't have any fear. He
has to be completely naked half the film, constantly screaming or in pain, kicked,
beat up, wearing a mask that makes you half-blind. You have to make sure the
actor is brave and fearless enough to pull that kind of thing off, and Nathan
hit it out of the park. I love him in "Plank Face."
Scene from Plank Face
Scene from Harvest Lake
EFF: From "Found" you think your professionally life has changed,do you feel that is easier for you try to pitch out a film due that experience?
SS: Not as much has
changed as some people might think. I never got rich, because the distributors
barely paid me anything. Blumhouse isn't knocking at my door yet. But slowly
and surely, "Found," "Headless," "Harvest Lake,"
"Plank Face," and soon, "Space Babes from Outer Space,"
continue to soak out there. More and more people find and see them, reviews
continue popping up... and I'm hopeful. I've made more money self-distributing
movies than any distribution deals, so that's very much where I think the
future is at. It's barely keeping me alive right now, so I'm desperately hoping
that our fan-base will grow and that our movies will reach a wider audience so
I can keep doing this.
SS: I am a big fan, but I
will be the first to say I don't like most horror movies. Some people out there
love them all, and I'm not like that. I'm hard on all the genres, and horror is
full of a lot of crap. That's the main reasons I dismissed the genre as a kid.
But, man, "Texas Chain Saw Massacre" is a fucking masterpiece. I will
forever be chasing that movie. "Evil Dead," "Jaws,"
"Alien," "American Werewolf in London," "The Thing
(1982)," "Gremlins," "Poltergeist," "Dawn of the
Dead," and more recently "The Witch," "The Descent,"
"The Midnight Meat Train", "Eden Lake," -- those are some
of the ones I really admire. I also have a soft spot for Jason and Freddy,
though.
Scott Schirmer shooting
EFF: What cameras, equipments did you use in these films and why those ones in special?
SS: We used a Canon 7D on "Found," because it was the best I could afford at the time, and it did a great job for us. I'd shoot another movie with a 7D, no problem. You just have to be sure and light it a little brighter than you would with some other cameras because that camera isn't especially good in the dark. But once I started working with Brian, we use his camera -- a Black Magic Pocket Cinema camera, which is actually more affordable than a 7D these days. It's incredible picture quality, and does amazingly in low light. A very beautiful image. The camera is so tiny and not the most user-friendly, but if you get it on a good rig, it's one of the best you could use today, I think. I have no interest in using big, expensive cameras for the sake of using them -- I want whatever looks great. Right now, we are loving the Black Magics. We both like the 2.35:1 aspect ratio (or 2.40:1 as it is more recently), because it helps make movies look different from home videos. Back in the 1950s, Hollywood invented wide-screen to compete with television, and I feel we have to do the same today to compete with YouTube and everything else that's out there -- all the 16x9 stuff. So we love the wider ratio of 2.35, and I find it's much more fun to compose shots within those dimensions than any other.
EFF: what advice would you give to new-filmmakers, and what camera and accessories can you recommend them to make a low budget film with high quality?
SS: First, I'd try to
scare people away from making movies. The market is more saturated that ever
before, hard formats are withering away into non-existence, and no one's making
money from streaming or on-demand options. The industry is imploding and no one
really knows if its going to survive, or if it will be recognizeable when we
finally hit bottom. Piracy and torrenting, combined with our economy problems,
are really killing cinema, slowly and surely. We may never see another indie
film boom like we saw in the 90s. And Hollywood isn't immune to this. Big time
producers like Gale Anne Hurd are on record saying piracy is going end us,
basically. If you think about it, a movie like "Batman" in 1989 made
$50 million its opening weekend and that was a huge deal.
Scott Schirmer
Now here we are
decades later, and it's kind of a big deal when a movie makes just $30 or $40
million its opening weekend. The bar has dropped considerably. Studios used to
make most of their money domestically, then half, and now they make most of
their money overseas. Too many people feel movies have no real value anymore,
and so they don't pay to see them in a theater or rent them through a reputable
source. Instead they watch them illegally, and this is very much hurting me and
everyone who makes movies. Because if films stop having value, we won't be able
to earn a living making them, and then they won't be made. So my advice is to
be prepared for a lot of hard work and heartache, because if you want to make a
living doing this, it is about the hardest thing I can imagine doing. Any other
career will likely make you more money. And don't expect your first couple of
movies to be worth showing to people. Seriously. Give yourself permission to
make a couple of shitty movies that you learn from, but don't expect them to
get into festivals and make you famous.
I made a ton of shitty movies before I
made "Found". Few of us are prodigies, so adjust your expectations
and prepare to learn from your experiences. And technology wise, it's never
been easier. You can get a Black Magic Pocket Cinema camera or a Canon DSLR for
under a thousand dollars. There's several different pieces of editing software.
I love Vegas Video, Brian loves Adobe Premiere. You get those things, a good
computer to run that software on, a good sound recording device and a shotgun
microphone to attach, and at least 3 good LED lights, then you're ready to make
a movie. These things aren't free, but they're affordable. Or, HELL. If your
story's good enough, no one's going to care if you shoot it with your
phone.
EFF: And by last but not least, what is new on your career, any upcoming film?
SS: Brian and I are in
post-production on "Space Babes from Outer Space" which is a sex
comedy -- very different for us, but we think our fans are really going to
enjoy it. The world is so nasty today, it will be good to make audienes laugh
instead of cringe for a change. We're launching a pre-order campaign for it in
the next week or so. We have other horror movies we want to make and will
probably go into production on one before this summer. If all goes well, we
will shoot a third movie this summer or fall. Fingers crossed!
Scott Schirmer
0 comments:
Post a Comment