Category Archives: Film

Ashland article_Bagshaw

Ashland Named A Best Place to Live and Work as a Filmmaker by MovieMaker Magazine for Third Year in a Row

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By Ginny Auer Executive Director, Southern Oregon Film and Media (SOFaM)
Photo by Sean Bagshaw

When thinking of Ashland, most people’s minds go to the Tony Award-winning Oregon Shakespeare Festival, the powder atop the slopes of Mt. Ashland or the many local wineries and breweries. But after a third year in a row on the list of best places to live and work as a filmmaker in MovieMaker Magazine, Ashland’s reputation as a filmmaking hub is solid as well.

Ashland was recognized by MovieMaker Magazine as the #2 Town to Live and Work as a MovieMaker in the nation for 2014, and then was honored with a bump to #1 in January of 2015! In 2016, MovieMaker changed the criteria for the award to combine small cities and towns. Ashland beat out film hubs with populations of more than 150,000 and more robust incentive packages, ranking at #5 on the list this year. How is it that this small town of 20,000 is getting such accolades? MovieMaker cited “a bustling culinary scene, a no-big box store policy (and no state sales tax!), film festivals, independent theaters and a super-supportive film organization called Southern Oregon Film and Media (SOFaM).”

SOFaM supports the local film industry by promoting the region to both local and out-of-area producers, and works to connect productions with local film professionals, actors, equipment and resources via its online directory. With its large database and deep reach across the entire region, SOFaM is a great place to start for any film or media project.

In recent years, Ashland has shown up on big and small screens quite a bit. Wild, with Academy Award winner Reese Witherspoon, featured the downtown area, as well as nearby sections of the scenic Pacific Crest Trail. Ashland was also seen in Night Moves with Jesse Eisenberg and then again in the locally-produced independent film Black Road. Companies like Hewlett-Packard and even John Deere are finding Southern Oregon a great place to film.

Ashland has a film-friendly community, with low- to no-cost permits, strong state incentives, no sales tax and unexpectedly large numbers of filmmakers, technicians, equipment, support services and on-screen talent.

And then there are the kinds of resources you don’t expect to find in a town this size. Beyond the talented performers that join the Oregon Shakespeare Festival each year, OSF’s costume rental shop is just as impressive. The shop is the size of a football field with costumes from nearly every era, and it regularly rents to theaters, film and TV productions across the country, including Saturday Night Live.

Ashland is in the center of a filmmaker’s goldmine. Southern Oregon boasts a unique and beautiful coastline, high desert to the east, and many small towns with a host of unique venues for shooting. Medford, situated at the heart of the region, is the location of an airport with direct flights to and from Los Angeles, Portland, Seattle, San Francisco, Denver, Salt Lake City and Phoenix. When taken as a whole, the MovieMaker designation of Ashland as a best place to live and be a filmmaker really applies to all of Southern Oregon.

Cameras are rolling in Southern Oregon like never before and SOFaM extends an invitation for new and returning filmmakers to join in and see what all the buzz is about!

Leaving the Stage Behind: Adapting a Play for the Big Screen

 

IMG_7210Director Bret Fetzer brought the one-man monologue My Last Year With the Nuns to moviegoers with great acclaim. He reflects on his experience in this essay.

By Bret Fetzer
Photos by John Jeffcoat

Making a movie is like running an obstacle course, and the first obstacle in the path of My Last Year With the Nuns was obvious: I was crafting a film out of Seattle performer Matt Smith’s theatrical
monologue — one man talking for an hour and a half. While there are several successful films of someone alone on a stage talking, they’re mostly stand-up comedy, not long-form storytelling. Moreover, I didn’t want to just document a stage performance; I wanted to find a way to make this experience cinematic.

There were three examples I could think of: Spalding Gray’s Gray’s Anatomy, Mike Birbiglia’s Sleepwalk With Me, and Josh Kornbluth’s Haiku Tunnel.

 Director Bret Fetzer brought his one-man monologue from stage to screen.

Director Bret Fetzer brought Matt Smith’s (pictured here) one-man monologue from stage to screen.

Both Sleepwalk With Me and Haiku Tunnel tried to create a kind of hybrid movie, going back and forth between a typical multi-character scenario and the central character talking directly to the camera. But neither one quite gels, largely because in a monologue, a significant event can happen in a single sentence; but when you turn that monologue into a multi-character narrative, that event has to be a scene that can’t match the wit and concision of that sentence. The strongest elements of both movies were when Birbiglia and Kornbluth turned to the camera and talked. This convinced me it was crucial to stick to that.

Gray’s Anatomy is a more interesting case. Like Swimming to Cambodia and Monster in a Box, Gray’s Anatomy stuck to Gray’s monologue, but director Steven Soderbergh took Gray off the stage into a variety of odd settings—the one I remember most has Gray in a chair on some kind of conveyor belt, moving slowly across the screen. The result is visually intriguing, but doesn’t do much to support Gray’s voice; in fact, I’d argue the visuals work against the rhythm of the storytelling—and in storytelling, rhythm is crucial.IMG_7423

So I wanted to make the camera as nimble and fluid as Matt’s words. Matt talks about kids he grew up with, and the nuns and priests who made their lives difficult, but his stories are just as much about places: The shack where the newspaper boys played and fought, the church where Matt was a negligent altar boy, the ravine where secrets were kept and runaways hid, the classroom where a spelling bee became a tool of punishment. So I decided to make these places as significant as other actors would be.

Almost every time Matt’s stories shift to a new location, so does the movie—sometimes multiple times within each episode. These locations not only frame the stories (or perhaps “ground them” would be a better way to put it), but the shift from setting to setting gives the movie a visual rhythm that’s in sync with Matt’s verbal rhythms. I hoped the effect would be lively, playful, and perhaps give the audience the sense that they were entering into Matt’s memories as he told these stories. The reviews of My Last Year With the Nuns suggest that I succeeded in leaving the stage behind.

My Last Year With the Nuns is currently available via Vimeo-On-Demand at www.mylastyearwiththenuns.com.

Bret Fetzer has been writing screenplays, plays, and short stories for over 30 years. His plays have been produced around the U.S., as well as a production in Chile. His short stories have been published in a variety of literary magazines and collected in Petals & Thorns and Tooth & Tongue. He’s written film reviews for Seattle Weekly, The Stranger, and Amazon.com. He has been the Artistic Director of Annex Theatre, the theater editor for The Stranger, and a vacuum cleaner salesman for the Kirby Company. He wrote the narration for the documentary Le Petomane: Fin-de-siecle Fartiste. He has previously directed a handful of short films; My Last Year With the Nuns is his feature-film debut.

Eugene Film Fest Celebrates 10 Years

Eugene Mayor Kitty Piercy introduces The American Gandhi team at EIFF 2015. Photo by Mike/SUSMI Global.

Eugene Mayor Kitty Piercy introduces The American Gandhi team at EIFF 2015. Photo by Mike/SUSMI Global.

By Mike Dilley Executive Director, Eugene International Film Festival

The Eugene International Film Festival celebrated its 10th season with the world premiere screening of The American Gandhi, starring James Patrick Stuart (All My Children, Still Standing, Monsters vs. Angels). The EIFF has celebrated filmmaking with awards, receptions, workshops and networking with celebrity mentors throughout its first decade.

Hosting the red carpet gala, premiere and VIPs associated with the making of The American Gandhi was a fitting tribute to the pluck it takes to bring a story to the screen. Producer Hari Ghadia was presented with the festival trophy for Best Film in the 2015 Eugene International Film Festival. The film was also awarded at the EIFF with the Best Cinematography award for its locations and sets used in filming. “I would like to thank the jury of EIFF for this award. We hope to start a global conversation about illegal mining with this inspirational story,” said Ghadia, while accepting the award.

Guests from as far away as McMurdo Station, Antarctica, and Melbourne, Australia, have joined with others from across North America and Europe to enjoy the camaraderie of the festival, wineries, brewpubs, river paths, bicycling, and easily accessible locations such as the Oregon Coast.

James Patrick Stuart starred in The American Gandhi, and attended the festival in Eugene. Image courtesy of SUSMI Global.

James Patrick Stuart starred in The American Gandhi, and attended the festival in Eugene. Image courtesy of SUSMI Global.

It is no stretch of the imagination that the screenplay for The American Gandhi originated in Eugene, a region that many in world arts call home. There is something about the quality of life that makes people creative.

Director and co-writer Joseph Mungra is no exception. He has created a number of independent films, shooting within the region, in Hollywood, Greece and now India. Joining him in creating The American Gandhi were area residents Kale Dawes (co-author and sound design) and casting director Linda Burden-Williams.

In The American Gandhi, Mark Martin (James Patrick Stuart), an experienced mining analyst, is hired by his billionaire friend Brad Harrison (Jim Storm, The Bold and the Beautiful) to manage and upgrade rare earth metal mines in India. Confident, but naive, Mark finds himself on the horns of a dilemma. Does he cater to rampant police corruption and blatant disregard for the law, or follow his conscience? No matter the choice, he will pay a price.

SEATTLE FILMMAKER TAKES HOME $25,000 GRANT

Ahead of Film Independent’s annual Spirit Awards, to be held at the end of the month, the organization recently announced the recipients of three awards, each accompanied by a $25,000 grant.

One recipient was Seattle filmmaker Mel Eslyn, who received the Piaget Producers Award, honoring “emerging producers who, despite highly limited resources, demonstrate the creativity, tenacity and vision required to produce quality, independent films.”

Mel has produced such projects as The One I Love, Touchy Feely and Your Sister’s Sister, among many others.  One of her latest projects,  The Intervention, recently premiered at Sundance.

Congratulations, Mel!

To read the full article, click here.

Portland documentarian Beth Harrington.

The Winding Stream Gets Theatrical Release

Portland documentarian Beth Harrington.

Portland documentarian Beth Harrington.

By Mary Erickson Associate Editor
Photos courtesy of Beth Harrington Productions

Beth Harrington’s idea for a music documentary about the legendary Carter-Cash family had been percolating for a while. She wanted to focus on the musical family that heavily influenced—and arguably started—American country music. A.P., Sara and Maybelle Carter recorded their first songs in 1927, starting the legacy that included June Carter Cash, Johnny Cash, and Rosanne Cash.Winding Stream poster

A linchpin in the film would be the inclusion of Johnny Cash. As it became clear that Cash’s health was rapidly declining, Harrington realized, “If Johnny Cash was going to be in the film, I’d have to get on it.” She started shooting in 2003, and recorded Cash’s last on-camera interview. Thus began the production for The Winding Stream —The Carters, The Cashes and the Course of Country Music.

The odyssey that marked the film’s production hinted at the changing conditions of the film industry. The fundraising world for documentaries was shrinking, and it became tougher to find money to finance the film. “I spent a long period in the wilderness as nothing happened financially,” recalled Harrington. It was clear that the film’s music licensing fees would be prohibitive, but Harrington persevered, and the film finally premiered at SXSW in 2014. Since then, the film has played in dozens of festivals around the world, winning multiple awards.

Now, 18 months later, the film is getting its theatrical release. Working with Argo Pictures of New York, Harrington is ready to share the work of promoting an independent film. “I’m loving the fact that someone else is getting the film out there,” she said. The film will open on a market-by-market basis, visiting key cities across the country in event-style screenings. The first stop was Portland, Oregon, on September 17, with additional screenings in Seattle, Tacoma, Ashland, Los Angeles, and elsewhere.

Johnny Cash and June Carter Cash.

Johnny Cash and June Carter Cash.

Harrington has ventured into the world of ancillary merchandise to accompany and support the film. The musical legacy of the Carter-Cash family will be available as a soundtrack to be released in October 2015 by Omnivore Recordings. Harrington published an oral history of the Carter-Cash family in book form, also called The Winding Stream.

Harrington will continue to focus on The Winding Stream for the next year, attending as many of the screenings as possible. “This is my job,” she said. “We’ve received such positive responses. The critics love it. Audiences love it. I owe it to the film.”

The Carter family on Border Radio.

The Carter family on Border Radio.

The Winding Stream opened on September 17 at Portland’s Hollywood Theatre, followed by screenings in Seattle for the Northwest Film Forum’s Local Sightings Festival on September 28, and at Tacoma’s Grand Cinema on September 29. More information about the film is available at www.thewindingstream.com.

Homecoming stars Lauren Bowles and Victoria Smurfit.

Homecoming Finishes Production in Portland

Homecoming stars Lauren Bowles and Victoria Smurfit.

Homecoming stars Lauren Bowles and Victoria Smurfit.

By Mary Erickson Associate Editor   
Photos courtesy of Radar Pictures

After attending a screenwriting workshop at Santa Rosa Community College, Portland-based clinical audiologist Christi Sperry and her sister-in-law Sarah Hehman set out to write a full script. They wanted it to be good, with a compelling story and realistic characters.

“We didn’t expect it to turn into anything,” Sperry comments.

Then, in early 2015, one friend offered to invest in the film production and another friend introduced them to director/producer Paul Kampf. Fast-forward four months, and the film, titled Homecoming, started shooting in Portland.

Homecomingdirector Paul Kampf with DP Rene Jung.

Homecomingdirector Paul Kampf with DP Rene Jung.

A female-driven story, Homecoming follows a 40-something couple who has moved to a new city for the husband’s dream job. The wife, lonely and a little naïve, meets wealthy suburban alpha moms in the community and gets sucked into a life of backstabbing and Botox.

It’s a story that resonates with women, and demonstrates the writers’ commitment to featuring strong female voices. “There’s a need in cinema for more female voices,” says Sperry. One crewmember commented to her during production, “It’s exciting to have so many strong women on set. I don’t often see that.”

Filming in Portland was particularly appealing, given the filmmakers’ connections to the city. Sperry lives there, as does the film’s executive producer. “We were able to use a lot of resources here and call on favors for locations,” says Sperry.Homecoming Lauren Bowles Victoria Smurfit 2

“One of the great things about Portland,” says Hehman, “is the universality of the city. It has so many different neighborhoods that feel like different places. The city of Portland conjures up other places.”

Director Paul Kampf agrees. “One of the reasons why TV productions are rushing up here is that Portland has the diverse look of five cities in one. It’s like a living film set.”

Sperry and Hehman were on set every day during the film’s 21-day shoot, their first introduction to working on a production. “It was very exciting and intense and amplified,” says Sperry.Homecoming director Paul Kampf

They were awed at the level of collaboration that goes into making a film. “When you give your script over,” says Hehmen, “it’s amazing to see how many people’s thoughts contribute to the film. Each person gleaned something from the script to bring it to life.”

Homecoming has entered post-production now, with the festival circuit in mind once the film is completed. In the meantime, Sperry and Hehman have co-written another script and have a treatment for a third. They are each also continuing to pursue their careers, Sperry as a clinical pediatric audiologist and Hehman as co-owner of Favery, an online jewelry and accessories boutique.

Kampf is also working on other projects. His experience in Portland on Homecoming was so positive that he’s hoping to line up two more independent feature projects to film in Oregon.

“You can’t quantify the people up there,” he says. “They’re so great to work with.”

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Lundgrens Release Black Road

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Duo’s Third Movie Filmed in Southern Oregon

Utilizing a vast array of locations, including beaches, mountains, rivers, lakes, restaurants, retirement communities, universities, a minor league ballpark, city streets, campgrounds, redwoods, winding roads, and the Great Cats World Park, Gary and Anne Lundgren have leveraged the beautiful landscape and ease of shooting in Southern Oregon on three feature films.

Gary and Anne Lundgren.

Gary and Anne Lundgren.

Their third feature, the sci-fi thriller Black Road, starring Sam Daly, will be in theaters in October 2015. In addition to great locations, the film benefited from partnerships with members of the Southern Oregon community, including Brammo Electric Motorcycles, the Neuman Hotel Group and multiple local restaurants and equipment houses.

The Lundgrens have always been drawn to the area. In 2007, they traveled from Los Angeles to film their first feature, Calvin Marshall (starring Steve Zahn). This college-aged baseball film was shot at Southern Oregon University and Harry & David’s impressive, professional-sized baseball field.IMG_1739sm

After a great experience with local crews and locations, the Lundgrens moved their production company, Joma Films, to Ashland permanently.

In 2012, they made Redwood Highway, the story of a 75-year-old woman walking alone for 80 miles between Grants Pass and the coast. It was filmed at over 40 locations in 19 days across 200 miles and 4 counties. The ease of navigating Southern Oregon with minimal traffic and supportive communities made the arduous schedule a possibility.

The Lundgrens’ third film, Black Road, is set in the State of Jefferson, the mythical joining of Northern California and Southern Oregon. It was filmed completely in the Rogue Valley and on the beach at Arcadia Vacation Rentals between Brookings and Gold Beach.

In October, the Lundgrens are embarking on a screening tour through Oregon to show Black Road to their fans and to the communities that participated in the filming.IMG_6683

“The community has been incredibly supportive,” says producer Anne Lundgren, who also worked as the Ashland location manager and liaison between the city and the production company for the 2013 production of Wild. “We love living and making movies here. We have a talented crew we’ve worked with for many years. The people are great, the crews are professional, the landscape is beautiful, the light is perfect, and the clouds billow. There are plenty of great local restaurants and hotels to house guests due to the strong tourism industry. The community is supportive, the locations are accessible, varied and numerous. And people are still proud that movies are made in their town. It’s a wonderful place to raise our family, and we plan to make movies here for many years to come.”

Join the Southern Oregon ranks of working filmmakers or come enjoy what the region has to offer for a few months while you shoot your next feature!

For more information about filming in Southern Oregon, please visit Southern Oregon Film & Media (SOFaM) at www.filmsouthernoregon.org.

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SHORT CUTS

These films, both shot in Washington State, will be featured as part of the Seattle Shorts Film Festival, running November 14-15.

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Even the Walls

A short documentary co-directed by Sarah Kuck and Saman Maydani, Even the Walls details the experiences of the residents of a public housing neighborhood grappling with the forces of redevelopment and gentrification.

Over the next few years, developers will be transitioning Yesler Terrace, one of Seattle’s poorest neighborhoods, to mixed-income, mixed-retail use, thereby destroying the tight-knit community that has formed there for more than seven decades. Even the Walls, which won the Golden Space Needle Award for Best Short Film at this year’s SIFF, explores the impact this is having on its residents.

“On a personal level, Saman and I created Even the Walls to explore our personal interests in home, culture and community,” explained Kuck. “Both being global nomads from birth (my father was in the U.S. military and Saman’s was in global development), we are deeply interested in what it means to belong. In Yesler Terrace, we were able to see the type of connectivity we had always been curious about. Although its networks had already been slowly dissolving (news of deconstruction were announced in 2006), we were still able to witness the relationships that make a neighborhood a community and a house a home.”New Image3

Kuck and Maydani used a series of personal vignettes to weave the film’s story, taking viewers inside the homes, experiences and memories of the residents themselves.

Even the Walls does not ask a slew of architects, builders, academics or public housing experts about Yesler Terrace and its ‘track record,’” said Kuck. “Instead it takes a more personal approach and speaks with the experts on Yesler Terrace and its efficacy: its community members. Those who know viscerally the reality of what will be lost and what we can gain by shifting our perspective from short-term financial gain to long-term prosperity for all members of our city’s communities.”

She added, “The film’s storyline focuses on personal stories, seeking to foster empathy over sympathy. It avoids divisive thinking and finger-pointing, and instead exemplifies the life experiences we all struggle with, the joys we’ve known, and the desire for home, safety and belonging we can all feel.”New Image2

The film, shot throughout 2014, was made possible in part by the Seedworks Foundation, which gifted the filmmakers with its initial funding of $25,000.

“Only partially funded, we moved forward with production because the deconstruction was happening quickly,” explained Kuck. “Between post-production and distribution, we started a Tilt Campaign (similar to Kickstarter), which raised $8,000.”

Kuck and Maydani hope that the film will resonate with all those going through the process of displacement, especially those being asked to move because developers have decided the location of their community is now prime real estate.

“To destroy a place like this without honoring its existence, recognizing its place in a chain of incredibly similar events across the country, or viewing it as a great loss to Seattle’s social systems would be a disgrace,” said Kuck.

“We hope that the universality of the characters’ stories will help everyone connect to why gentrification is painful. Many people feel gentrification is for the best, and have a difficult time connecting with why being asked to move would be painful. We see this film as a tool for building empathy.”

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Signs Everywhere

From director Julio Ramírez, the 12-minute short narrative Signs Everywhere follows a man who attempts to disconnect from reality, which results in an unusual visualization of other people’s struggles. As the images bring him into a deeper state of isolation, an unexpected event challenges him to break free from his unhealthy patterns.

The film, starring Tony Doupe and Cynthia Geary (Northern Exposure), was shot in Seattle over two and a half days, “which was a very ambitious schedule for the kind of script that we had,” said Ramírez. And time constraints weren’t the only tricky aspect of the production.Still SE1

“We filmed in several outdoor locations that were challenging for us,” he added. “One of them was the intersection of Denny Way and Stewart Street, right across from the Orion Center. This was particularly challenging because I wanted to film during rush hour in order to create a more realistic world to immerse our main character. The other challenging location was the triangle park located at the intersection of Denny Way, Westlake Avenue N, and 9th Avenue, right across from Whole Foods. In both scenes we had a great deal of background talent participating, about 20 or more. We also used several cars as props, and had to stop the traffic with the help of the Seattle Police Department. I have to add that the Mayor’s Office of Film + Music was key in helping us reach our goals.”

For Signs Everywhere, TheFilmSchool—which boasts both Ramírez and the film’s writer Andrew Kwatinetz as graduates—not only served as the production house for the film but also partially funded it, along with two associate producers.Still SE3

“The rest of the services and/or in-kind funding came from my own work and the work of many generous local and out-of-town filmmakers and artist friends who participated in the making, all of which accounted for at least 35 percent of the total budget,” said Ramírez. “That’s independent filmmaking right there.”

The film utilized 90 percent local cast and crew, the only exceptions being the music supervisor, two musicians involved in the film’s scoring, and the mixing and mastering of sound, which was done by a recording studio in Bogotá, Colombia.

“Seattle has a remarkable film community that is able to fulfill the needs of any professional film production,” said Ramírez. “(Our people) are the best asset that the state can offer to the film industry, followed by the richness of the region’s landscape. The sense of community that I have found in this region is simply hard to beat. And I mean in general, because I have found support from all kinds of people for every project that I have produced in Washington State.

“Many of them had never been involved in any film or artistic endeavor, but the idea of being a part of something that is bigger than any of us—that creates a sense of community and aims to make the world a better place—has always motivated people in this region to participate. I believe there is a natural desire here to support the arts, as well as the flow of ideas that challenges us all to move forward as a community.”

Signs Everywhere premiered in competition at the 2015 Salento Finibus Terrae Film Festival Internazionale, winning the award for best film in the international competition. After screening at various other festivals around Europe, the film had its North American premiere at the World Film Festival in Montreal.

“Now we’re happy to be able to showcase Signs Everywhere in the Northwest before continuing the journey through the festival circuit,” said Ramírez. “IndieFlix has partnered with us to distribute the film.”

Danger Diva Lights Up Seattle

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Photos by Regan MacStravic

Local feature film Danger Diva recently wrapped after a successful 20-day shoot in Seattle. RM-Danger Diva-0009 RM-Danger Diva-0007 RM-Danger Diva-0010

Written and directed by Robert McGinley, whose 1989 film Shredder Orpheus remains a local cult favorite, Danger Diva is a cyberpunk musical/thriller about a hard rocking singer who is coerced into becoming an electronically enhanced new-music diva by her high tech billionaire patron. Set in the near future, her singing voice is used to control and energize the brains of employees that are being used as external hard drives for the corporations’ high tech clients.

Danger Diva stars Molly Sides, lead singer of Seattle band Thunderpussy, as well as Tim Gouran and Charles Mudede. The film was produced by Brian Faker, with line producer Elizabeth Heile, cinematographer Christopher Tufty, and music composition by Regan Remy. RM-Danger Diva-0006

Visit www.danger-diva.com for more information about the production and forthcoming release.

A Father and Son Team Up to Make Indie Film in Portland

By Blake Laitner

A wise man once said: “Never mix business with family.” But I decided it would be worth the risk to make another short indie film, this time with my dad (Mort Laitner). The movie is called The Stairs and being shot in Portland on September 30, 2015.Blake Laitner book image

It is a personal piece to both of us, because it is a true story about my father, who as a 10-year-old overheard his father, my grandpa, tell about almost being gassed to death in a concentration camp.

In 2014, my dad wrote and published his memoir, entitled A Hebraic Obsession, and the first chapter of the book is the basis of our script.
Working with my father on this production has been a learning experience, especially because we are working with a tight budget, not like my first short film, The American Dream (available on YouTube), which had little or no budget. There, most of the cast and crew volunteered to be a part of the project.

On this movie, my dad, the executive producer, is quite demanding. The wise man knew what he was speaking about.

Now that we have a screenplay, insurance, a formal budget, a location site, a cast and a crew, we are all biting at the bit to shoot the film.

By the way, my mother, Shelley, is the security officer and catering director on the set. She is working gratis as a labor of motherly love.

To read The Stairs, Google it with my father’s name or find it on Amazon as a giveaway under the title of the book.