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Wyatt McDill: Interview

BRWC went behind the scenes with Writer-Director Wyatt McDill

Writer-director Wyatt McDill has made multiple films, music videos and TV commercials over the years including the latest to be released “3 Day Weekend”, which he made with business partner and wife Megan Huber, set to release October 8.

What is the backstory to your latest film ‘3 Day Weekend’? What inspired the idea for the film?

Megan and I wanted to make a film we’d love to watch, an old-fashioned caper where one surprise just leads naturally to the next ‘til everyone is miles off course. Making films is hard, so we figured, let’s pour it on! “3 Day Weekend” is the result: a dense puzzle, seen from four points of view, with time jumps forward and backwards, and all told with no dialogue.

It is fascinating to us at BRWC that you chose to write the script without any dialogue. Why is that?

In the film, people occasionally talk, and even sometimes to each other, but they never successfully communicate. A Sleeper Cell film always makes the writing itself a key part of the story, so no dialogue – or communication – just made sense. I always love a movie that shows a story, not tells it, and asks the viewer to keep up, or even fill in what’s happening. No dialogue is just taking that idea to its extreme.

With that in mind, how did that effect casting? Can you explain the process ahead of your final key cast choices of Maya Stojan, Morgan Krantz, Nathan Phillips and Scott MacDonald?

Real life – with its history and its nuance and its messiness – is ten times more interesting than this hokey thing we do with actors and scripts and costumes and cameras called filmmaking. For this reason, we always ask our actors to stay as close as they’re comfortable to playing themself in any given role. In the end, we couldn’t have been happier with the expressive performances given by Maya and Morgan and Nathan and Scott, who all had a really difficult task: create a compelling character without ever speaking a line!

Photo of Maya Stojan and Nathan Phillips courtesy of Sleeper Cell Films

In a few words can you explain your directorial approach to the story?

I was somewhat surprised to find that, when you’re shooting a film with no dialogue, there will also be no shot-reverse shots, and from there a lot of the rest of traditional filmmaking technique goes out the window, too. We ended up developing a specific way of shooting – a three-quarters over the shoulder shot that would come around the character to show reactions – to reflect the unique importance of POV in this story. I came away with a new fascination for filmmaking – it’s an artform that can adapt and innovate depending on the story you’re making. What other genre is like that?

What was the atmosphere like on-set? Were there any challenges?

Shooting entirely outside in Northern Minnesota on the cusp of winter would be a challenge for anyone. Also, we threw our actors into lakes and holes, onto ATVs, and into trucks and boats before literally burying one of them (Morgan Krantz) alive! Luckily, Megan creates the same atmosphere on set no matter what the challenges are: it’s calm and she’s in control. It’s only possible to make films under circumstances like these if the drama stays in front of the camera.

Do you have a specific preference of the genre or types of projects you both want to spearhead?

All of our films contain a storytelling conceit. Our first film, “Four Boxes,” was a movie that was actually a web drama. “3 Day Weekend” has no dialogue. Our next film, “Hollywood Fringe,” is a comedy about L.A. actors staging an autobiographical play in their apartment. What genre we work in isn’t as important to us as HOW we tell the story, which we always try to make innovative, like another character in the story.

Can you tell us yours and Megan’s top 5 films of all time? Do you share a similar taste in films?

I never settle down anywhere for long when it comes to lists, but “Mulholland Drive” is always there, and “American Movie.” Megan has the viewing taste of an 88-year-old widow – she can bark out all the lines from movies like “42nd Street,” and “Cabaret.” We overlap on Olivier Assayas. And “Sense and Sensibility.”

What’s next for Sleeper Cell Films?

We recently world-premiered “Hollywood Fringe” at the DWF Festival in Hollywood and were pleased to win an Audience Award. Next summer we’re back in the woods shooting another thriller, called “2 Feet Underground.” It’s the next installment in our “10,000 10” Series, which is ten puzzle-thrillers that all start with a number 1-10. And we’re developing a cooking show, and directing a Holiday special, and…

How can people find out more about you?

Our movies have Facebook pages, I’m on Instagram, and we have a site with information about our projects at www.sleepercellfilms.com. Also, we are developing a streaming site where people can watch our films direct from the filmmaker: www.sleepercell.tv.

3rd October 2020
The Luxury Lifestyle Of 007

The Luxury Lifestyle Of 007

Ever since 1962, the James Bond franchise has been seen as the epitome of British elegance, class and style. Since then, many actors have used the 007 status on screen, from Sean Connery to Daniel Craig. With twenty four films currently released, Goldfinger, Casino Royale, and The Man With The Golden Gun, are just some of the top James Bond movies in the popular film franchise. No matter what mission Bond is on, there are always a fabulous range of fast cars, statement wristwatches, and sharp suits that he is associated with.

The aspirational lifestyle of the world’s most famous fictional spy can be emulated in real life too, thanks to the variety of luxury brands associated with 007 on screen. Here are just some of the big name brands that have famously appeared alongside Bond and effortlessly evoke the relationship between the sophisticated spy and his luxurious fine taste.

Statement 007 Watches: Rolex & Omega

007 is always associated with the latest gadgets and his wristwear is all part of this symbiotic balance of cutting edge technology and timeless elegance. Rolex is just one of the luxury watch brands to appear in the franchise and has been worn by Roger Moore’s Bond in The Man With The Golden Gun and Live and Let Die. Rolex also appears later on down the line in The Living Daylights, worn by Timothy Dalton. Following on with the luxurious style of Rolex, Omega is also a popular choice for the spy too. Pierce Brosnan’s Bond can be seen sporting an Omega timepiece in The World is Not Enough and in both Tomorrow Never Dies and Die Another Day.

But these watches are more than just accessories in the 007 world. Bond’s Rolex in Dr No doubles as a geiger counter and acts as a bullet deflecting magnet in Live and Let Die. The watches of 007 are not just about style, they also capture the imagination, making them a desirable and fashionable way to emulate the world’s most fashion-forward spy.

Fast Cars: Aston Martin, BMW, Mercedes-Benz

Just like his watches, the cars that Bond drives are no ordinary vehicles. Aston Martin, Bentley and Rolls Royce are all famous car brands that have aligned themselves with the Bond franchise. With luxury car brands featuring in almost every Bond film, it is clear that 007 and top of the range motors go hand in hand. The Aston Martin is most closely associated with the Sean Connery era of Bond. In fact, the British firm reported that over the years the sale of their cars has seen a huge boost from its popular association with the suave and sophisticated spy.

Other car companies such as Land Rover, BMW and Mercedes-Benz have also at one time or another had 007 behind the wheel. Some of the fastest cars in James Bond Movies have included the BMW Z3, the Toyota 2000GT Convertible, and the Aston Martin DB5. In Daniel Craig’s first outing in Casino Royale, Bond drove an Aston Martin DBS, that he later smashed to pieces in an attempt to swerve out of the way of Vesper Lynd.

https://www.youtube.com/watch?v=wa7U9uHl0Zc

Classy Drinks: Smirnoff, Absolut, Bollinger & Heineken

The alcoholic beverages that Bond orders in a lot of the films has helped to promote popular drinks brands for years now. For his classic vodka martini order, both Smirnoff and Absolut have appeared on screen. We all know how 007 enjoys his martini, “shaken, not stirred” right? But it’s not the only drink that Bond enjoys throughout the film franchise.

Alongside his favourite martini tipple, Bond is also partial to a glass of champagne too. Big name brand Bollinger appears in a number of different Bond films, including Live and Let Die and The World is Not Enough. Daniel Craig’s Bond also has a penchant for a Heineken or two, adding to his more accessible portrayal of the debonair spy.

Sharp Fashion: Tom Ford, Crockett & Jones, Barbour, Fred Perry

When Bond is at a casino, he’s usually always dressed to impress with a sharp tuxedo or stylish dinner jacket, which is likely a bit more effort than most people go to when firing up their mobile to play games online at Pink Casino. Roulette, blackjack, and baccarat are just some table games he might play in the films, usually for eye-wateringly high stakes. Arguably one of the most fashionable men in fiction and film, 007 is always immaculately dressed whether he is at the poker table, fighting henchmen, or taking a day off.

Luxury fashion houses such as Tom Ford, Yves Saint Laurent, Christian Dior and Armani have all been suiting up James Bond for decades. Bond has also worn classic clothing, accessories, and outerwear, from brands such as Barbour, Gucci, and Fred Perry too. For Daniel Craig’s Bond, Tom Ford designed suits for the character for films like Skyfall and Quantum of Solace. Tom Ford has also worked on the tailoring for the next Bond film, No Time To Die. However, with yet another postponement that leaves Bond 25 pushed back again to spring 2021, fans will have to wait a bit longer to see just what stylish fashion Tom Ford has created for 007 this time. dpri

3rd October 2020
Once Upon A River: Review

Margo Crane (Kenadi DelaCerna) lives with her father, Bernard (Tatanka Means) and lives a quiet life by the river. However, Margo soon attracts the attention of an older man and after a series of traumatic event, Margo finds herself alone and pregnant. Having only her mother to turn to, Margo decides that the time is right to find her and so she sets off down the river in her boat, The River Rose to get to know the mother who left her behind.

Once Upon a River is a sweet, poignant and thought provoking coming of age drama written and directed by Haroula Rose and based on Bonnie Jo Campbell’s novel of the same name.

As Margo makes her way on her journey to find her family, she meets a few characters who give her unforgettable experiences, and as she touches their lives, she starts to realise that family isn’t always in the blood, but who’s closest to you.

Once Upon a River has some great performances, particularly from DelaCerna herself in her first acting role who manages to hold the focus of the film all by herself which is no mean feat for a first-time actor.

Margo’s river ride also takes her to meet a cantankerous but lovable man named Smoke, (John Ashton) and an unusual friendship starts to form as Margo feels as close to him as she would her own grandfather. This even leads to her returning after she does find her mother, making Margo realise that being with Smoke is where she feels most comfortable.

Once Upon a River is beautifully shot and although the story may not show its audience anything new, it’s often not about the destination, but how you get there. Rose knows who the film’s audience will be and so despite its first few scenes, Once Upon a River is a relaxing ride with barely a bump along the way which will relax its audience and give them hope for Margo’s future.

The film shows that just because life doesn’t always go the way that we want it to go, it doesn’t mean that we don’t end up where we’re meant to be.

3rd October 2020
Neon Days: Review

By Jack Hawkins.

Only some kind of psychopath would enjoy trashing a low-budget debut feature; gleefully punching down would reveal no empathy for a young filmmaker’s stress and self-doubt. Neon Days, however, is a film that cannot escape harsh criticism.

The story follows Jake (Justin Duncan), an introverted skate rink worker who enters therapy to fix his social problems, namely an anxiety around girls. He resembles the angsty stock character that’s resonated with many a young men – from Travis Bickle to Peter Parker – but Jake doesn’t make you feel much at all. He’s a rather lumpen presence in fact, his awkwardness contrived and choreographed. But the modesty of performances is not the immediate concern. Rather, it is the aesthetic, which is that of an intermediate student film.

The grading, or lack thereof, gives everything an amateurish, digital appearance. And then there’s the staging of it all. A bar scene, for example, appears to have been lit by a gaffer holding a 10,000 lumen torch, such is the scorching glare on the actors’ foreheads. Further problems are found in the acoustics. The boom mic sounds as if it’s been submerged in water and the insufferable score resembles the cheap synth of an 8-bit video game. The bursts of indie music are likely to trigger one’s gag reflex, too.

The technical and aesthetic shortcomings are swiftly joined by weaknesses of script and characterisation. We’re told that Jake’s therapist, Sean (Eric Hanson), is a ‘seasoned’ professional, yet he behaves like a caddish uncle. Sean suggests that Jake pursue his female housemates – which just isn’t advice a shrink would ever give – and when Jake informs him that his housemates are in a lesbian relationship, Sean remarks, “Even better”.

Then there’s the moment were Sean laughs at Jake’s claim that he has testicular cancer, cracking up as if Jake had revealed some sort of obscene, Freudian secret. These attempts to characterise Sean as a roguish maverick just do not ring true, stripping his dynamic with Jake of all credibility.

https://www.youtube.com/watch?v=aqvvG5a6npw

The ineptitude continues when we meet Jake’s ice rink colleagues, who are introduced as a rag tag clan of misfits in a sort of Z-grade Edgar Wright montage. Indeed, Neon Days is padded with montages – usually to the aforementioned synth and indie rock – that contain little of interest. Actual conversations between the characters may have brought some much needed character development, but it would most likely just subject the viewer to more contrivance and tumbleweed comedy.

Stories of small towns and dead-end jobs are the bedrock of the social realist tradition. Unfortunately, a contrived, lacklustre script and sophomoric production values causes Neon Days to be a misfire.

2nd October 2020
Death Of Me: Review

There’s no better time to bask in the eerie glow of horror movies than October, as genre fans often indulge in a melody of films to prep for the Halloween season. While wide releases may be far and few between right now, indie studios look to keep the tradition alive with some new VOD releases. That’s where Death of Me comes in, the latest from veteran director Darren Lynn Bousman (director of Saw 2, 3, 4, and the upcoming Spiral). Bousman’s latest isn’t without its fair share of intriguing qualities, yet this moody mystery fails to truly take off.

Death of Me follows Christine (Maggie Q) and Neil (Luke Hemsworth), a couple in the midst of a South Pacific island getaway. After a night they can’t remember, the two wake up to witness a video of Neil murdering Christine, sparking a surrealist descent down the island’s unknown dangers.

In a genre where innovation is exhibited more in filmmaking prowess than narrative ingenuity, Death of Me boasts a surprisingly engaging premise. Taking the “recollecting your steps” narrative approach from Memento and The Hangover but including a tinge of supernatural horror, the script presents a few clever twists and turns that grasp audience’s interest. Bousman’s direction works best when it embellishes in the story’s surrealist nature, throwing a bevy of grimy chills to unnerve audiences. Some of these convey the lingering dangers of the unknown, playing off the character’s paranoia to develop a sense of atmosphere early on.

Despite the initial promise, Death of Me can’t quite combine its ingredients into a satisfying whole. The script does little to build around its positive foundation, strapping stars Maggie Q and Luke Hemsworth with two thanklessly bland roles. Q’s overlooked abilities certainly help propel the narrative, but the two characters never feel as lived-in as their relationship would indicate. It’s also a letdown to see the script never engage with its horrors in substantive ways, giving audiences little to attach to aside from a thinly-veiled sense of dread.

As the narrative puzzle pieces come together, Death of Me reveals its fairly unimpressive hand. Instead of leading to a shocking conclusion, the script goes through the motions as it chalks down its frights to a simplistic case of tribalism. I don’t know about you, but the concept of an international culture operating in violent and backward ways feels extremely dated at this point. It’s a tiresome cliche that undercuts the compelling thrills that are brought to the table.

Death of Me‘s alluring set-up ultimately goes nowhere, leaving audiences with a routine horror showcase that lacks substance and originality.

DEATH OF ME will be available In Theatres, On Demand and Digital October 2nd.

2nd October 2020