"Make films is a dream". When you hear from someone those words, you can check immediately that person truly has a passionate love for filmmaking.That's what you can note talking or chatting with Travis Zariwny, a man that consider that successfulness it's not measure by the amount of money in your account bank but in the goals you have achieved, he done one of them, be a filmmaker. With a busy schedule and many projects on board, Travis took out some of his free time and replaid these questions i asked him. We will be talking about his career, his works such as INTRUDER, CABIN FEVER and THE MIDNIGHT MAN. Hey indie filmmaker! If you wanna hear good advices from a skilled director, keep stay and read this interview.
EFF: First off, thank you very much for take some time out and answer me these questions, I really appreciate it. Allow me starting off with, where are you from and how and when you felt out that filmmaking would be your thing to live in and was there an specific event?
TZ: Thank you for reaching out to me,
it's always cool to chat film with a fellow creative. I am
from Portland, Oregon originally. I think the defining moment for me
was when my dad took me to see Vincent Price in "THE HOUSE OF WAX" at the Joy theater in Portland when I was 7
years old. It was my first 3-D film. It was in black and white and I loved
it... We also went to a lot of drive in theaters when I was younger; when they
where still around... STAR WARS was the film that pushed me over the edge. Once I saw that, I knew I wanted to
be involved in the film making process... I was eight.
EFF: You
have worked on in several roles into film industry such as producer, writer, in
the art department, production designer and so forth, it's a bunch of
knowledge. What role did you begin in? And what movie in?
TZ: I always thought of myself as
a Director and wanted to learn the process of filmmaking from every
department. I started officially in camera department when I got an
internship at Panavison: a 35mm film camera system. I worked my way up
from loader to operator to Director of Photography. Being on set I
realized that my skills as an artist could be used in other departments. I then switched to Art
Department where I worked my way up as well, from set dresser to
art director to Production Designer. I also never turned a job down no
matter what department offered it; grip, electric, wardrobe, make-up or special
effects. I moved around a lot trying to learn all the gear and what it was used,
I worked with a lot of different Directors and you quickly learn what works and
what doesn't.
My official first real job was as a Second
AC on a film with Hulk Hogan called "SECRET AGENT CLUB" it was there
I meet some cool film peeps that I am still friends with today.
EFF: Now, speaking of your directorial life, your first feature film was SCAVENGERS a Sci-Fi film, written by you. As your first feature
film, tell us how was that experience? How the film got life and what setbacks
you had to face out?
TZ: It was insane. I had two months to
write it and 10 days to shoot it and 80,000 US dollars. I jumped at the chance
and never looked back. It was
a great experience. If you have an opportunity to make a film, any film: I
would take it. Honestly I was so excited to be making my own movie there
was never really any setbacks, it is very difficult to find good producers
though. I think that is why many filmmakers become part of the producing
team. I have been very lucky in finding good people to work with that have
trusted me with the creative process. I am always actively looking to
work with new people, production companies and movie producers.
TZ: INTRUDER was the breakthrough
for me. I had just made SCAVENGERSS and wanted to make another film right away
so I got together with my friends and figured out how we could do
that. I remember taking the garbage out to the dumpster one night at
the apartment I was staying at in LA and I left the door open. When I got back,
I thought what if somebody had just snuck into the place
and was hiding in a closet or something. Then, later that night
I was sitting in bed and the closet door was open just a tiny bit, I 'sneezed'
and immediately thought what if "that someone in the closet" accidentally said
"BLESS YOU" giving themselves away. That was the idea for the
movie.
Ultimately, I used all the experience I had gathered to make that film. I build the sets and my Art Director turned Production Designer Melanie Reign came in and did all the rest, Art department in critical in all my films. I used garden hoses to make rain. We used home depot lights to light with; we truly made an indie film.
EFF: How long it
took you shooting the film? What problems you had doing it, locations or
logistic?
TZ: We shot for 10 days and 12 hours a
day. Being a crew guy having worked 36 hour days on some music videos and
16 to 18 hour days on some low budget movies I was not going to do that to
myself or the crew, If we can't be prepared and do it in 12 hours then I need
to be better prepared.
EFF: CABIN FEVER Eli Roths' Classic horror movie. First, how did you get
involved in the project? Who called you and told you"
Hey Travis, you wanna be the director of a cabin fever remake"? Tell
us the story in general.
TZ: That's kind of a
long story but: I made a tiny film called INTRUDER and
Cassian Elwes saw it. He invited me to LA for a meeting and asked me what I
wanted to do next, I said a 'family film' and he said how about HORROR? I
smiled and said: "TOTALLY!" He slid the script across the
desk and I read it that night... I put together a look book
and send it to him at 3 am that morning.... the rest is history...
Remaking that film was an awesome experience.
EFF: Like everything
in the life, certain things contains good things and other not so much, from
cabin fever experience what were those good things and what were those bad
ones?
TZ: Again, making movies is an honor.
People are trusting you with money and time and creatively, I really never see
the bad in anything, especially in making a movie… It is always full of
compromises and creative differences but the process is like no other
job on earth. I love it to much to complain.
EFF: it's very
stressful make a remake, because fans are always attend to minimums aspects to
bash the film, how do you think it went
out the film to critics and audience?
TZ: Honestly, it really destroyed my
opinion of critics and fans alike... I read everything and watched every Youtube
about the film and literally, it was nothing but "copy and paste"
critique. I asked a Youtuber I was following what he didn't like about CABIN FEVER and he's said he liked it; but "making a negative
review" got MORE LIKES, that was the moment I followed the advice of
my fellow filmmakers: Never read the reviews and the internet is
toxic. It's sad that apps like Rotten Tomatoes exists, a lot of filmmakers give
up because a few ding dongs write totally lame reviews. Making a film
takes over 9 months to create with hundreds of people involved at any
level, the internet has given a voice to every spaz out there or hack
or wannabe. I read reviews like the camera was shitty or it’s a shot
for shot remake… Welllllllll... It's not and it wasn't, I can't help it if
you watched my movie on your iphone 5 with earbuds. But in the long run it
makes you a stronger artist.
You have to take a risk and be creative. It was
a dream of mine to make a movie and I have done that 5 times now,
I fulfilled my life ambition, success is not monetary rewards or fame, it's
if you accomplished your goal… And I have. I don't know if it's a dream to
be a critic or a troll, but there are tons of them.
Cabin Fever (2016)
EFF: Now, we are
going to speak about your last film so far THE MIDNIGHT MAN; a
legend game to summon a kind of spirit or demon who or which you must to avoid
during the game because he or it will comes to you your biggest fears. This
film is supposed to be a remake of the 2013 irish film, right? How you got
involved in this film crafting?
TZ: The Midnight Man is my monster movie.
I loved making it. I actually learned so much that I want to make
another monster film, It was a blast. Cassian Elwes who produced INTRUDER and CABIN FEVER asked me to watch the original and see if I had any ideas,
so, I wrote the first draft of the screenplay in 14 days and we worked
almost 6 months trying to find a location to film at. I do wish I
would have featured the monster more. Just been more confident with showing
it... I felt BRUCE THE SHARK was the strategy for the film... Bruce is the mechanical shark
from JAWS. According to legend Spielberg was
not comfortable with the look of the animatronic shark and didn't reveal
the entire shark until the beginning of act 3. I tried
that technique but ultimately wish I had just shot the hell out of
the monster and embraced the cheese a little. The actor that played THE MIDNIGHT MAN went on to do THE PREDATOR which I thought was
awesome.
EFF: OK, When you
accepted to be in the film, what you inspired in to create the story, Anything
in particular?
TZ: I was inspired by all the horror
films and films I have seen in my lifetime. When you sit down to write a
project; you try to imagine what hasn't been done already, or what can I
do a little different. For example, my monster SPLATTERS OUT a 8 year old kid
in the first ten minutes of the film, that was different.
EFF: For sure, that
was different haha. Talking about locations, the film was shoot in CANADA an
USA, right? Did you have any trouble to find the right locations or had any
logistic problem? How long it took to shoot the film?
TZ: No problems...We just kept searching
until we found the right house -location. We were scheduled to shoot for 20
days but on day 15 I was told to cut a day, sometimes being to good at your job
on a production level is a bad thing. My producers saw I was
making my days and noticed a way to save money, I made it work. My thought was:
“If I am the captain of this plane (movie)
and just because we lost an engine doesn't mean I am
going to crash the plane. I'm bringing this one in on time and under
budget." Which I did. I think my time working with other directors
allowed me to see the outcomes of potential behaviors that caused
problems and drama. I try to stay away from that and just have fun making
movies, keeping my crew and actors happy while handing off a
clean marketable product to my investors.
EFF: I always
like to ask about those setback directors could attend during the film, because
bad days or moments, gives us experience which are be used in the future for
good. In this film what were those you experienced?
TZ: I like this question and think I
have answered it all my other answers, filmmaking is tough, Painful, Rewarding
and exhausting... but ultimately in my mind one of the greatest creative jobs
available at any level. I have been in the industry since I was 8 years
old and never looked back. As a writer and director I can imagine anybody’s
life or job anywhere in the world during any time period. Imagination is
freedom to the soul, creativity is addicting.
Setbacks are merely learning tools. Bad reviews,
troll Youtubers and bad tomatoes are all fuel to the creative spirit to
keep creating, it's such a radical lifestyle that nothing can take it
away.
EFF: Let's talk
about the tremendous cast you had in. How was to work alongside with big names
such as Lin Shaye and Robert Englund, anything fun you can tell us?
TZ: Both of those
guys were amazing to work with. Lin and I are good friends to
this day. I have written two scripts for her especially, she is a solid human
being. I casted her in a zombie movie I was going to do
but ultimately the funding crashed the first day of
principle photography. Making movie is heartbreaking
and disappointing work but ultimately rewarding when you get it
done. Robert Englund was cool as hell and super professional. I would
work with both of them again in a second. I met with Robert for lunch and showed him my artwork
for The Midnight Man; he loved it and instantly wanted to be involved
with the project. I have worked with him before, as a Production Designer
on Scott Glosserman's BEHIND THE MASK and it was cool to work with
him as a director: plus, he played FREDDY K from NIGHTMARE ON
ELMS STREET films I grew up with.
The Midnight Man (2016)
EFF: Something
new in this movie from prior ones is you have a monster and was a scary aspect
of it, who was in charge of the creation off?
TZ: I love monster movies and
want to make another one, Toby and his crew did a fantastic job, we originally
where going to shoot the film in BC, Canada but ended up in Manatoba,
Canada instead. I had prepped the monster and effects already
with Toby and his team in BC and ultimately stuck with them. I
drew drawings and had ideas but Toby and his people crafted and built all
the amazing masks and animatronic we used.
I originally wanted nine masks
that reflected the Midnight Man's emotions; happy, sad, mad, terror, etc.
Which I had never seen utilized before; I thought instead of having
just one mask or LOOK. I would have the masks be the
emotional representation of the monster. In theory it was awesome but
when we got into shooting the film I had little time to really craft the
monsters performance. I look back now and would make an entire
different film with the same people of course.
The Midnight Man (2016)
EFF: Now, sitting
down on your chair and watching the final product, what do you think about the
movie? Was all good, was there things you wanted to add, do you have a favorite
scene?
TZ: I wish I could remake all my movies.
I think I could always do better or shoot something different or
write a better line or edited it slightly different, there is always a self-doubt
and desire to do better. What you set out to make and what you ultimately
make are two different things, ideally you could make a movie, edit it and then
go back for reshoots and or test the film with an audience... I have not had
that luxury yet.
EFF: Directors
have regularly a familiar crew group, which they had worked on many movies, I
watch that you have found your one, because you repeated Cinematographer and
Editor from Cabin Fever and you have the same production designer, tell us
about these relationships?
TZ: I love my people, once you find
somebody cool to work with you stick with them. Gavin Kelly and I worked
together on a few films as Production Designer / Cinematographer and I never
saw him lose his cool, I told him one day when I am directing I want to work
with you. He is a good friend of mine and once you have that, it's no
longer work but creative fun. Melanie, my Production Designer
and I go way back, she is very very very good at her job, She was my Art
Director on a ton of films I did as a Production Designer and once
I leveled up she was the INSTA choice to be head my art department. Kyle
and I just got along in the editing room and I liked his style
and personality he was just fun to work with and really new
his shit.
Lin Shaye and Travis Zariwny
Travis Zariwny
TZ: I love horror. I watched horror
movies growing up with my dad. We literally burned out the video section at
Blockbuster when it was around and then Netflix brought in a new wave of films
and then finally Amazon, which is the best. Anybody that made a
movie could put it up on Amazon, that is when I started to see what rookies and
everybody with an idea or camera was making. It is an exciting time
to be a filmmaker, I love watching bad lighting, terrible sound, goofy acting
and bad special effects, because somebody poured there heart and
soul into that 92 minutes and I truly recognize that: I should be a
critic. I would give every film at least 4 stars just for getting made...
it is that difficult really.
EFF: What directors
has influenced on your career, directly and not directly?
TZ: Oh boy every one of them... While I
was super young the big three for me where Spielberg, Lucas and Ridley
Scott. Now there are so many creative directors out there making
killer stuff I can't even name them, but I am watching there movies and
learning from them. From first timers to pros, I love the mexicans!
Alfonso Cuaron, Alejandro Gonzalez and Guillermo Del Toro and the Italians:
Sergio Leone, Mario Bava and Martin Scorsese. I started following Chole
Zhao after her film "Songs My Brother Taught Me" as well as Kathryn
Bigelow, Sofia Coppola, Mimi Leder, and the awesome late
Penny Marshall who was making movies before anyone told her she
could. I literally watch every movie I can, I love Joe Bob Briggs, The
Asylum to Dreamwork, all movies are good because a group of people
got together and did what they dreamed about doing.-making a film.
EFF: What advice
would you give for those want-to-be filmmaker who are undecided in how to make
their first film?
TZ: I would say jump
into the process and be brave. Mistakes will be make. It might not be
your best work but it is a film. If you can make a movie from start to finish
you have achieved something few people have done, do not compare your
work to others... EVER... A movie is like a drawing, everybody can draw as kid; but along the
way; somebody said your art sucked or you compared you work to someone else and then quit drawing, sad, never do that, just
make it and see if you like it.
EFF: What
equipments, cameras did you use for your films, Cabin fever, Intruder and The
Midnight Man, and please, do you have a particular angle, take, or
technique you like most?
TZ: I love Panavison cameras because
I grew up and trained on them, but as film switched to digital 4k I found the
Arri Alexa to be my favorite motion picture camera to date. I have worked with
countless systems and each has their own unique traits and
looks. I would recommend using whatever camera your budget can afford.
EFF: What is new in
your career, where people can hear you from?
TZ: I forced myself to buy a camera and
made a documentary this year (2018) as well as three 'long' experimental
short films. I also got Final Cut X and started editing my own projects. Much
like anybody can write a book and self-publish, anybody can make a movie and
get it out there. I discovered the creative freedom of experimental film as
well as found footage methodology and I am currently making
and producing my own stuff for fun.
EFF: Do you see
yourself making horror films always? Or you see shooting another genres?
TZ: I really like making horror films
but I want to expand into other genres as well. I have written over 17
screenplays and only 5 of them are horror. It's funny because you get
less money to make a monster crawl across the ceiling and splash
blood around then you do for a drama with two people talking in
a coffee shop. A lot of my film background is SUNDANCE. I
grew professionally working on dramatic edgy stories and that is
where I really want to go. It's easier
to make people cry then to scare them, a beautiful drama is what I want to
make next.
EFF: If a rookie
filmmaker with no experience at all, goes to you and ask you for an advice about
a cheap camera or equipments he or she can uses to make his low budget film,
what would you recommend him or her?
TZ: I would say you
have everything you need in the palm of your hand; lots of filmmakers
are using the iPhone or any Smart phone really, as a tool to create.
I think the modern audiences are tuned into
the different "looks and styles" of so many different
filmmakers now, that the market is wide open. You have more opportunity to get
you stuff out there, more than ever before: no matter what it looks
like. There are more platforms to display your work:
hundreds if not thousands of film festivals, YouTube, Vimeo, etc... But
you have to make something.
I am literally following my own advice
here… There is no excuse to not make a movie if you truly want to make a
movie.
**Travis Zariwny's | Imdb | **
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