film reviews, interviews, features | BRWC

Category: INTERVIEWS

We’ve had great interviews with like Liam Neeson, Christopher Ecclestone, Kevin Allen, and Naji Abu Nowa.

  • Gaku: One Last Round – Taige Shi Interview

    Gaku: One Last Round – Taige Shi Interview

    Gaku: One Last Round – Taige Shi Interview. By Joe Muldoon.

    The film premiered at the LA Asian Pacific Film Festival – how have you found the reception so far?

    The LAAPFF was a wonderful experience, and I’m glad that VC communication has provided me this opportunity to premiere my film over there at the DGA theater here in LA.  The reception was generally really positive. Many audience members walked up to me after the screening, sharing their own experience about the legal and immigration systems here and showing their empathy towards Gaku.  What’s really surprising is that the California AG Rob Bonta was there at the screening as well. He also expressed his positive opinions towards the film. It was a great night for the film and the crew.

    Has Gaku seen the short yet? What does he feel about it?

    I haven’t sent the final version of the film, but the picture lock version to him. He seemed positive about the portrait of him in the film. I’m planning to reach out to him again soon and see if the film’s success and help him in any kind of way.

    From your first meeting and hitting it off, how did you go about convincing Gaku to give permission to make this?

    Well, it is not an easy task. The idea of making a film didn’t even come to my mind at that moment. I just wanted to know his story and get to know him as a fellow boxer. It was after the second meeting that I mentioned to him that maybe we could make a film together and potentially use it to help him with his situation. Of course, he was hesitant, and he didn’t accept it on the spot. But after a couple more hangouts and getting to know me more as a person, he finally called me and agreed to the project. He later told me that we earned his trust by showing our true selves to him.

    Isolation and alienation are two of the central themes, and through the medium of film, you’ve been able to bring Gaku’s strife to the public’s consciousness; have other immigrants facing the same issues come forward to share their own stories with you?

    I do know some other immigrants who are facing similar issues in different communities here in LA. I haven’t decided what I want to do with their stories. But at this very moment, with all the civil unrest happening in the city,  I do feel like as a society we need to come together and show our compassion towards each other. And I hope that stories like Gaku’s can be a wake-up call to the public. 

    The creative team is largely made up of Asians; did their own stories and experiences living in America influence the making of your short?

    Definitely! We as a team understand the feelings that Gaku has gone through because we all had similar backgrounds and experiences. Some of us also went through discriminatory incidents in the past, so we understand the vulnerable feelings that one can have under these circumstances.  It is also very easy for our team to communicate with Gaku off-camera and just get to know him more as a person rather than just a “subject”.

  • Dennis Flippin – Flatters Interview

    Dennis Flippin – Flatters Interview

    Dennis Flippin – Flatters Interview. by Joe Muldoon.

    Particularly during the pandemic with most of us having extra time on our hands, we spent a lot more time on the internet than ever before; was this inspired by interactions with the Georgias the world, especially during that period?

    Dennis Flippin: During the pandemic, the internet was flooded with all sorts of conspiracy theories, especially about the planet. With cancel culture being so intense, we wanted to pick a topic that let us have some fun without causing too much drama. The subject we chose felt just right—something most people wouldn’t get too worked up about. And since we were all living in the RV park at the time, our set was basically right outside, no commute necessary. This project was all about making the most of what we had and just rolling with it.

      With Flatters being an impressively small-scale production, how did you go about casting and assembling your crew?

        When you’re working on a small-scale production like Flatters and the payment is credit, it’s really about finding people who are eager to get involved. For example, our neighbor Mike Sena stepped up to handle sound, even though he had no prior experience. Raven Krogstad took on the role of Production Designer, bringing her own unique flair to the project. The lead roles of Lenny and Georgia are played by Doug Wyckoff, who also wrote Flatters, and his wife, Teresa Wyckoff. Doug and Teresa are both stand-up comedians, and their chemistry really brought their characters to life.

        I should also mention that while directing, I made it a point to guide and teach the crew along the way, especially since some were new to filmmaking. My girlfriend played the news reporter, which was a fun addition to the cast. As for the role of Bob, we have Teresa to thank. She’s an amazing producer with a knack for getting things done. She searched the internet and found Maurice through Backstage, and his talent truly stood out from the rest. We were fortunate to have a small support crew for a couple of days, including AC Ian Taylor and PA Olivia Cade. While some of the crew were relatively inexperienced, what mattered most was their willingness to learn and their dedication to telling the story.

        You were heavily involved with the cinematography and editing; what did you consider during the planning process? The opening sequence has an LED-infused palette that’s almost cyberpunk.

          When planning the cinematography, I had to be really intentional because I was juggling so many roles—Director, DP, Operator, Gaffer, and Key Grip all at once. I often thought back to Roger Deakins’ advice about being selective. When you’re managing multiple things on your own, you’ve got to be clear about your objectives. Every shot, from the actor’s positioning to the camera angles, had to be planned out in advance since we didn’t have the luxury to experiment with different setups.

          For example, in one of the bathroom stall scenes, you’ll notice a pair of boots positioned to make the space look more crowded, even though no one’s actually in the stall. It’s a tiny detail, but one that needed careful thought.

          Lighting was a particular challenge. I’d often start setting up 4 or 5 hours before anyone else arrived, so we could hit the ground running once the crew showed up. Everything had to work smoothly, and if something didn’t, I’d adapt the script on the spot to make it fit. I approached the project as a challenge to see what we could pull off with a skeleton crew. Take the bathroom scene, for instance—there was no crew at all, just the actor and the sound guy.

          For the look, I wanted something cinematic with a gritty edge, which is where that LED-infused palette comes in. I used this old LED light that had a nasty green tint —normally something I’d avoid, but it gave the shower scene this perfect cyberpunk vibe. I paired it with a tungsten key light with a CTS gel to get the mood just right. Being a one-man band was definitely a lot of work, but it was rewarding too. Of course, I’d prefer a larger, more experienced crew in the future, but this project was all about planning ahead and being adaptable.

          Without giving it away for audiences who have yet to see the short, what inspired *that* finale?

            The finale? That was all Doug—he came up with that wild idea. We had a lot of conversations about how to wrap things up, and we both agreed it needed to go out with a bang. Like, we wanted the audience to be sitting there thinking, ‘Wait… did that just happen?!’ It’s the kind of ending where you need a minute to process what you just saw. We figured if people left in disbelief, we’d done our job!

            What’s next for Lenny?

              What’s next for Lenny? Well, he’s still dead set on supporting his wife and, believe me, he’s willing to go to the ends of the earth—literally—to prove his love for her. We’re actually working on a feature where that dedication gets put to the ultimate test. Without giving too much away, it’s turning into a road trip movie, packed with dark comedy and some seriously bizarre characters along the way. Buckle up—it’s gonna get crazy!

            1. At Capacity: Spencer Jamison Interview

              At Capacity: Spencer Jamison Interview

              At Capacity: Spencer Jamison Interview. By Joe Muldoon.

              Comparisons and allusions to similar romances (particularly Linklater’s Before Sunrise) will undoubtedly be made (as I myself have); were you particularly influenced by any other shorts or films?

              I take that as a high complement, so thank you! What’s funny is at the time of writing and filming this short, I hadn’t seen the trilogy yet! Most of my training has been in theater so I am still actively working my way through film canon and am very grateful to get to experience such brilliant work with the perspective I have now. My wonder, whimsy, and love of dialogue definitely comes from plays and golden age films my mom played like Guess Who’s Coming to Dinner, The Philadelphia Story or The Sound of Music. I’m enamored by the way Nora Ephron and Rob Reiner films present witty and charming romantic characters that feel grounded and human… My goal was to do the same. I also infused a bit of the essence of 90s Black romances like Love Jones, Waiting to Exhale, and Love and Basketball as well as a sprinkle of The American President and more recently, Rye Lane. 

              Having written the short and cast yourself as Mia, how much of her character is a self-insert?

              There are elements of me in both Mia and Ari. Mia is probably a bit more guarded than I am but I do relate to her desire to take care of everyone, even pushing herself past her bandwidth. As I was writing, I’d recently worked through a bout of burnout and symptoms of brain fog brought on by long Covid. I wanted to write a character whose walls are disarmed by someone who moves through the world with complete authenticity…Mia is finally able to breathe in his presence. Ari’s spirituality and references to his lived experiences are similar to my own. I really do watch ice skating videos to de-stress and have read The Four Agreements a few times. And similarly to Mia, a bee really did fly into my jacket once and I sat there with it for a few minutes until it calmly flew away. 

              How did you go about finding the right cinematographer for the job? Kunitaro Ohi’s visual design here feels really warm – was that a conscious decision you both made?

              My older brother, Jai Jamison, is a filmmaker as well. Kuni has been one of his long time friends and collaborators and has watched me develop from an actor in Jai’s projects into a fully fledged filmmaker. So when it came to directing my first film, I knew I could trust Kuni’s expertise and skill. Early on in pre-production, I would visit museums in Los Angeles and look for color palette inspiration. I sent him countless photos of paintings and sculptures with vibrant and opulent colors, amber orange, and burnt hues. He took that and ran with it alongside our gaffer Brian Sarvis and colorist Matt West. Kuni also claims that “from art to costuming, everyone had this warm and loving vibe that they wanted to project” and I believe that seeped into the world both on and off screen.

              ‘Try a little tenderness’ was chosen as the tagline – how important was it that your story embodied this philosophy?

              The past few years have felt particularly tumultuous all over the world. That’s probably putting it lightly. I feel like what we need more of is tenderness, respect, and empathy. With At Capacity, during all aspects of the creative process I was adamant that we would lean into play, peace, ease, and nurturing one another. With this film and the other projects I have in the pipeline I want to remind folks that our work can be sweet and still have depth. It can nourish as well as challenge. I hope that my creative projects can be a tender salve to those who engage with them. 

              What happens next – do Mia and Ari meet again, do they leave their accidental evening as a short shared experience between strangers, or do you not know yourself?

              I always envisioned them getting married but how they get there could unfold in so many different ways! In one early iteration of the script, Ari and Mia end up as new colleagues the day after they spend the evening together. In a television series it could be years of classic will they, won’t they and witty banter back and forth while they take on political and legislative obstacles. I really do love all the characters I’ve introduced in At Capacity. Audre is a filmmaker, that’s how she makes sense of her world. I think it’d be fascinating to follow her journey of finding her place as a Korean-American in a Black family. Finally, Maxine…after ending a relationship with such a terrible partner, I’d be interested to see her blossom into herself as a single woman and teacher. It would be a joy to keep exploring all of their relationships, their ideologies, and their pursuit of full lives and dreams.

            2. Michael Mendelsohn: Interview 

              Michael Mendelsohn: Interview 

              Michael Mendelsohn: Interview. By Richard Schertzer.

              I had the tremendous honor of interviewing the CEO of the production company Patriot Pictures, Michael Mendelsohn. He is responsible for financing movies like I am Michael, How the Gringo Stole Christmas, The Matrix and Romeo + Juliet. 

              Richard: How did you get the job driving Johnny Carson as a high school student on a new learner’s permit?

              Michael: I was working in tutoring learning handicapped kids and the teacher I worked for, her husband was a Harvard law graduate and i said that I was interested in law and she had me meet with her husband at this firm and the firm happened to be Bushkin, Coppleson, Gaines, Games and Wolf and Henry Buskin was Johnny Carson’s lawyer and I got a job.

              I went in for a law clerk and I got a job as the mail boy and as a mail boy, you collect the coffee cups and you do the xeroxing and make deliveries and eventually, Johnny was in the office and he needed a quick ride to the studio, so his lawyer said, “Well, Mendelsohn’ll take you.” I had a Chevy Chevelle supersport. Gray with a black strip up the middle and he got in the car and we started driving from Century City to Burbank and he had his jokes with him and he decided to do his jokes in the car and he had gone through 40 jokes and I only liked these three. 

              Richard:  What was the transition like going from working in the banking industry to working with Arnold Kopelson, the producer of Platoon?

              Michael: Well I didn’t work in the banking industry before. I worked at it after. I first worked for Kopelson and Bushkin for four years through high school and college and then went to work for the Olympics in ‘84 and then I went to work for William Morris Agency in the mailroom in New York.

              I went to a banking training program where I essentially adapted constructing lending in real estate to production lending for films. A lot of the same concepts were adapted from construction to production and that’s how the bank got into film financing. 

              (Rest of interview is below) 

            3. Madu: Matthew Ogens Interview

              Madu: Matthew Ogens Interview

              Madu: Matthew Ogens Interview. By Richard Schertzer.

              I was able to interview Academy-Award nominee Matthew Ogens. His latest film Madu can be streamed on Disney+. His other films include Audible, which was nominated for Best Documentary Short Subject, Confessions of a Superhero, Meet the Hitlers and Go North. 

              Richard: How did you get started in the film industry? I know you directed the documentary Confessions of a Superhero, but what did you do before that?

              Matthew: When I was a youngster growing in and around Washington D.C. and Maryland, I wasn’t really exposed to the arts. I came from, you know, you get a job, you get benefits, that’s what you go for. You look for a profession. I was always creative but I didn’t know you could be an artist for a living and I went to college. I went to the University of New Orleans. I got a degree in finance.

              I worked on Wall Street very briefly, actually in the World Trade Center, obviously before 9/11 and I worked there for six weeks and six weeks only and I stopped and I decided that I wanted to be an artist. At that point, I was in NewYork and exposed to more art and also seeing more films coming out by diverse filmmakers all over the place, not just big blockbusters but kinda grittier, authentic, moodier films that I connected with by filmmakers that weren’t necessarily from Los Angeles or New York. 

              Richard: Of the projects for you to do, what inspired you to make this story about this specific dancer Anthony Madu from Nigeria?

              Matthew: A lot of things happened between that first directing gig and now. I realized that what I love to do is tell character-driven stories that have universal human themes and that say something about us that we can all relate to beyond what the hook is, in this case, ballet. Also, I kinda nerd out on craft and I love to challenge myself and the documentary medium of telling immersive stories rather than observational.

              I’ve done all kinds of documentaries like interview-based and historical-based but what I love is telling real-time docu-follow and then making it almost look like a narrative and feel like a documentary and really challenge myself to make it feel like it’s the point of view of that character and I guess I’m just out there looking for stories.