It was great connecting with so many talented and enthusiastic writers.  The hour quickly flew by and I spent about 30 extra minutes trying to catch up to all the questions.  I started off the chat letting everyone know I was planning to share the “here’s what I did” more than the “how to” as I don’t believe there’s ever only one way to get a film made.

Click here to read the full transcript of tweets…

A huge thanks for the Scriptchat Creators (Jeanne Veillette Bowerman, Mina Zaher, Zac Sanford, Jamie Livingston, Kim Garland) for giving me this opportunity.  I had a blast.

Related Videos I created for the event:
Part 1: Directing your own script
Part 2: Directing someone else’s script
Part 3: Directing without a script

SHORT VERSION

EXTENDED VERSION (featuring scene work) – psssst my cameo is at 04:03…I’m in the ski mask

FILMOGRAPHY:
HOW DO YOU WRITE A JOE SCHERMANN  SONG (2011)
DEATH OF THE DEAD (2010)
WHAT’S UP LOVELY (2010)
DISMAL (2009)
NEW YORK LATELY (2009)

As technology improves each year (making everything better and more affordable), it makes me just hope to keep up with my own growth as a filmmaker and visual storyteller.  I’m dancin’ as fast as I can.

Looking at my trailers brings back fond memories of the people and experiences that have come and gone in the past 7 years.  I am who I am today because of them.

HOW DO YOU WRITE A JOE SCHERMANN SONG (2011)
(Canon 5D, Canon 7D)

DEATH OF THE DEAD (2010)
(Canon 7D)

WHAT’S UP LOVELY (2010)
(Canon HV30, Nikon D90)

DISMAL (2009)
(Sony EX-1)

NEW YORK LATELY (2009)
(Panasonic HVX200)

GRIT (2007) (Panasonic HVX200)

HUBRIS (2006)
(Canon XL2)

FAVORS (2004)
(Panasonic Varicam)

Where DEATH OF THE DEAD Premiered on Sept 4, 2010 (Gateway 8 – Gettysburg, PA)

dream come true – people waiting in line (with popcorn!!) to see a film I made! (a 2nd screening was added because the 1st one was sold out)

the reason I make films…

My wonderful cast (Jack Abele & Christina Rose)

The convention booth (surreal to see banners for my films — DISMAL and DEATH OF THE DEAD — together)

like 2 proud parents (Christina Rose and me)

If you are ever given the opportunity to be a “director-for-hire” — would you say “yes”or “no”?

I personally know quite a few talented filmmakers who stick to their guns and will only direct their own work.  They are true believers in their art.  I commend — and envy — them.

However, one of my favorite living directors Steven Soderbergh has seemed to perfect the balance of being an artist/filmmaker and walking the line between art (The Girlfriend Experience) and commerce (Ocean’s Eleven).  He is always on the go and constantly taking risks, so that I am in turn, inspired to push forward as well.  His collection of films make me believe and understand that as a filmmaker there is an on-going process of finding yourself, experimenting, exploring and maturing.

Now admittedly, there are some Soderbergh films I do not like.  But at his level, he is free to take chances and experiment.  Good for him.  He makes the films he wants.  Even when doing a studio picture he seems to still manage a level of control where both studio and artist come to a happy medium.

But how many of us can afford the luxury of making films for both studios and ourselves?  Not many.  To me, that would be a dream situation.  Can you imagine being paid a healthy sum to direct a film for a production house — and then affording the luxury to take time off and make a smaller, more personal film on your own terms?  Again, a dream situation for me — a nightmare for others (the directing for a studio part).

I am fortunate to have been hired to direct 2 feature films — Dismal (horror) and Death of the Dead (zombie action/comedy).  These were huge departures from my personal work, but styles of film I love nonetheless.  In fact, I wouldn’t trade the experience for anything.  While being paid, I was given the opportunity to tackle other genres and stories that helped hone my craft.  They also taught me tremendously about the struggle of balancing one’s filmmaking voice while delivering a product to the producer’s satisfaction.  It led me to wonder: without total creative control – how responsible am I on a film’s success or failure (creatively and financially)?

There have been some interesting reactions to Death of the Dead‘s initial trailer.  Many love it while others do not — which is a tribute to the nature of the film itself.  Its target audience finds it funny and can’t wait to see it — while others may not even crack a smile.  What I find intriguing (and perhaps scary) are for those people who weren’t expecting this type of movie from me — what happens?  Do I lose them?  Or do I gain a whole new awareness from zombie lovers who didn’t know about What’s Up Lovely?  Perhaps a little of both?

The prospect of this situation actually makes me very excited.  There could be some cross-pollination of people (from totally different target demographics) who may like a film I’ve done and discover my other work — which in turn leads to building and sustaining an audience.

I have come a long way since sitting behind a desk in a 9-5 corporate job to being hired to direct feature film projects.  It’s a luxury I do not take for granted.  In doing this, there’s a responsibility to deliver what producers want, while trying to maintain my identity as a filmmaker.  It is not always easy.  But I’ve always said “my perfect job would be to get paid doing what I love.”  And that’s directing.  How can I complain?

Who knows?  Only time will tell on how my body of work is looked at when it’s all said and done.  For now, all I can say is stick around cause you’re in for one hell of a ride.

ONE FOR THEM

DEATH OF THE DEAD – Teaser Trailer from Gary King on Vimeo.

ONE FOR ME

WHAT’S UP LOVELY – Official Trailer from Gary King on Vimeo.

What a surreal feeling knowing that the film is out there and beyond my (and the producers) control.  First thing I noticed is a new trailer the distributors have done — removing one of the best taglines from the film “You got Dale’s word on that.”  Oh well.

Congrats to Fearmakers for landing distribution.  I can’t believe I can now tell people they can just order it on cable — and soon buy it in the stores.  What a great feeling.

Please support the film and watch it/rent it/order it/buy it — whatever your fancy.  I would love to to Dismal 2.

DISMAL – Theatrical Trailer from Gary King on Vimeo.

It’s been an incredible ride and the Fearmakers Studios (the production company behind DISMAL) have done a great job getting the film out to the market.  It should be hitting DVD in late 2009 — available in most places where you buy/rent DVD’s.

Very exciting times.  Please support the film and watch it when it hits.  There’s a sequel in the mix that I’m excited about if there’s enough interest in the first film.

DISMAL – Theatrical Trailer from Gary King on Vimeo.

Here’s something pretty cool — DISMAL (the film I directed for Fearmakers Studios) is now available in Germany retitled as “BLEED”.

Check out the seriously cool DVD artwork they did for the film!!

I need to find a copy to see everyone talking in German. That would be phenomenal. I’d have to throw a party with the cast just to see everyone’s reaction to hearing someone else’s voice coming from their mouths.

Now I just need pick up another region-free DVD player since this one looks to be PAL Region 2.

DISMAL hits the US in mid-July via On-Demand to all TimeWarner and Comcast subscribers. I’m told the DVD should hit the shelves in late 2009.

Official DISMAL Website
DISMAL IMDB Profile
FEARMAKERS Blog
German DVD Website (It appears to have a Sept 25, 2009 Release Date)

DISMAL – Theatrical Trailer from Kitchen Table Films on Vimeo.

I just received some exciting news from the producers of “DISMAL” — the film I was hired to direct last summer.

DISMAL will be available On Demand to all Time Warner and Comcast cable subscribers this July. And a DVD release to follow after that.

I’ll follow up with specific release dates once they’re known.

Check out the trailer here: OFFICIAL DISMAL WEBSITE

Read a Glowing Review from COMICS ONLINE HERE