A couple of months back, I interviewed writer/director Jairaj Walia about Pendejo, his romantic comedy starring Danny Trejo, Raja Fenske and Fernanda Romero, while the film was in post-production. More recently, the Pendejo team granted Technorati the exclusive premiere of the film’s official trailer (featured above) along with brief interviews of Fenske and Romero. My thanks to Fenske and Romero for their time. Current plans are for Pendejo to be released in 2012.

Five Questions with Raja Fenske

Were you nervous the first day on the set, or are you too experienced to get nervous any longer?

Not so much nervous. More anxious and excited to take on the role and begin shooting. It was my first experience being the lead in a film and I loved the idea that I would be in a position to carry a film.

Which attracted you more to working on the project, the director or the script?

Initially the script drew me in. It was witty and smart. It was one of those projects that you relish the chance to be a part of. Once we began filming, I quickly became very close friends with the director Jairaj Walia.

What was it like working with Danny Trejo?

An absolute pleasure and honor. Mr. Trejo is well known for his tough exterior and the badass characters he portrays. But I was lucky enough to see a rare side of him. He’s one hell of a comedic actor with a great sense of humor. I hope we’re lucky enough to collaborate again in the future.

Can you single out a favorite scene or moment in the film?

Wow, there’s so many brilliant scenes – and I had fun with every moment – but if I had to narrow it down to only one, I’d have to say the Haunted House scene was one of my favorites to shoot. Everyone on set had such a great time making that scene happen.

What is the most challenging aspect of doing a comedy?

Doing justice to the script and story Jai created. When I read the script, it was laugh-out-loud funny. My biggest concern was making sure that when the scenes came off the page they were as funny seeing them as they were if you had read them.

Five Questions with Fernanda Romero

How quickly were you able to establish a rapport with your co-star Raja?

It was pretty easy. We had instant good energy, which made it very easy and fun.

What interested you in working on the movie?

The script and the humor in it! I really liked the story.

What was it like working with the cast?

It was drama-free and quite fun on set.

Was it hard to decide how you wanted to approach playing your character?

Not at all. When I read it, I pictured her immediately! I saw her as savvy, fun, and a little bit of a joker – but never mean.

What did you enjoy most about working with director Jairaj Walia?

Jai really listens to you and is very happy to hear your feedback. At the end of the day we are a team. And having great communication with your director is a must.

I respect the fact that TCM tries to update the clips for people who die late in the year, also. Thanks to Bill Brioux’s TV Feeds My Family for the tip.

The Life and Writings of Paul Nelson

From the 1960s to the early 1980s, Paul Nelson was known for writing passionate, insightful criticism of folk and rock music that showed a partiality for singer-songwriters. He, and his record collection, was of great importance to Bob Dylan early in his career. As an editor at Rolling Stone, he influenced many great critics, such as Charles M. Young and Mikal Gilmore. But suddenly, in the early 1980s, when editorial decisions at Rolling Stone ran contrary to his thinking, Nelson walked away from music criticism. In fact, he dropped out of criticism entirely, choosing to spend his remaining years in relative obscurity, working at a video rental store. He died in 2006, but not before writer Kevin Avery contacted him about a potential biography. After Nelson’s death, Avery was tapped to compile this new Fantagraphics book, Everything Is An Afterthought: The Life And Writings Of Paul Nelson, in which Avery documented Nelson’s career as well as collecting his writing. In addition to discussing this book, Avery also discussed his other Nelson-related book that he edited, Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979-1983 (Continuum Books). To mark the release of both books, Avery recently allowed me to interview him via email.

Not to toss a large question your way, but how did Paul Nelson help to shape present day rock criticism?

I’m probably the wrong person to ask. As a result of immersing myself in the music and criticism of the Seventies and Eighties, I really don’t follow rock criticism much anymore, but what I do read bears very little resemblance to the kind of writing that Paul did. Paul’s writing was more contemplative and expansive—in contrast to some of what I read today, which is dictated by time and space constraints (some of the very things that brought Paul’s tenure at Rolling Stone to an end in 1982).

In gathering this book, were there certain key parts to the collection that proved harder to track down then others?

Everything Is an Afterthought: The Life and Writings of Paul Nelson is actually divided into two books: Book One, which is Paul’s biography and sets up Book Two, which, while continuing to tell Paul’s story, presents an anthology of some of his best writing. Tracking down the various writings that I wanted to include in the book wasn’t that difficult—the challenge was documenting the last twenty or so years of his life, after he left Rolling Stone and “began to erase himself from the world” (as Anthony DeCurtis recently chillingly wrote). He closed the door on most of his many friends and colleagues and began leading an increasingly private life (which was hermetic to begin with).

What were the biggest logistical challenges to developing this book?

Selecting those writings of Paul’s that would not only demonstrate what a fine writer he was but would also serve to tell his story. Paul was a very autobiographical writer, although not overtly so. Sometimes, as with the Rolling Stone cover story about Warren Zevon’s battle with alcoholism, he was a reluctant participant in the story. But in Paul’s other work, I think even the casual reader could sense his presence lurking between the lines.

What I wanted to do was structure the book so that, after reading the first half of the book, Paul’s writing, in the second half, revealed just how much he had almost surreptitiously been telling his own story all along—in record reviews as well as articles.

In terms of Nelson’s peers and associates, were there a few that proved to be a critical path in terms of giving you the proper frame of mind on the body of Nelson’s work?

At the risk of failing to mention several people who undoubtedly contributed on this front—and there were many (the usual suspects jump to mind: Robert Christgau, Dave Marsh, Greil Marcus, and Kit Rachlis—I’d have to say that Paul’s good friend Jay Cocks, a fine critic in his own right who went on to forge a very successful career as a screenwriter, provided me with the best insight to not only the work Paul had done but also placing it in perspective with rock music and rock writing as a whole. And not just the rock music and criticism of the Seventies of the Eighties, but where it had come from and where it ended up going.

How much fun was it to appear on Kick Out the Jams with Dave Marsh, discussing Nelson’s work?

Lots of fun. Speaking as someone who as a teenager used to sit cross-legged on my bed reading these guys’ work—guys like Dave, Christgau, Greil, Jay, and of course Paul—anticipating reading what they had to say about notable new albums as much as I anticipated the albums themselves—on that level this project was a dream come true.

Before embarking on this project had you known that Bob Dylan had stolen folk records from Nelson at one point early in his career?

Yes, thanks to Martin Scorsese’s Dylan documentary No Direction Home, where Paul himself tells the story. Though, as I point out in the book, Paul always claimed that the records actually belonged to his best friend at the time, and cofounder of The Little Sandy Review, Jon Pankake. On the other hand, Jon said they were Paul’s. Regardless of their ownership, Dylan took them.

After researching the book, did you find that your view of Nelson changed (for the better or whatever) as you learned more about him?

I certainly understood him better and, as a result, now appreciate his writing even more. While I was writing the book, I experienced the same thing that I think many people have expressed after reading it: an immense sadness. Paul’s story is a tragedy that, by and large, took place behind closed doors in small illegal sublets scattered throughout New York City. There’s an inevitability to what happened to him, but he did the best he could with what he had to work with.

But that sadness passed. It was replaced by a genuine appreciation of the man and the great writing he left behind.

Would punk music have flourished as much without Nelson’s advocacy for it?

What Paul did, especially by way of his amazing Rolling Stone review of the Sex Pistols’ debut album, was help introduce punk to the mainstream. Because he was a critic of some gravitas, famous for writing about singer-songwriters like Dylan, Jackson Browne, Leonard Cohen, and Neil Young, I think he undoubtedly engaged some people who otherwise would’ve never considered giving punk a listen. And certainly, when he was editor of the record-review section at Rolling Stone, he encouraged writers like Charles M. Young and Mikal Gilmore to write about bands like the Dead Boys, Joy Division, and Public Image Ltd.

Conversations with Clint

Care to talk a little bit about your Clint Eastwood book?

Absolutely. It’s called Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979–1983. Even though it came out first, a few weeks before Everything Is an Afterthought, it’s actually my second book.

I’d always remembered, since reading the aforementioned Zevon cover story in Rolling Stone, that Paul had interviewed Clint Eastwood. In the piece, Paul mentions that he’s interviewing Eastwood for a story. But such a story never materialized anywhere. I hadn’t thought about those interviews with Eastwood in years, but then Dave Marsh mentioned them in a remembrance he wrote about Paul in 2006. Over the next few months, as I began researching the book and conducting interviews, several people asked me if I knew the whereabouts of Paul’s Eastwood tapes. Ultimately, they were found in Paul’s apartment after the medical examiner unsealed it.

The interviews, over seventeen hours’ worth, range from 1979 to 1983, and were intended for a Rolling Stone cover story that Paul, for various reasons, was never able to write it. What struck me while I listened to the tapes for the first time was the obvious friendship that quickly developed between these two men. They clearly enjoyed one another’s company. As a result, Eastwood is much more open and revealing—about his career and his aspirations, about his influences—than the Eastwood we’re used to reading about. Paul had correctly predicted, as far back as 1971, that Eastwood would become a “major force” as an actor and director.

Conversations with Clint presents these interviews as an occasional but ongoing four-year conversation between two friends.

MoPix

I’ll be the first to admit, I know next to nothing about film distribution. But when I caught wind of the plans for MoPix, a film and video distribution platform set to launch in January 2012, I wanted to find out more about it. A few emails later, I was in contact with MoPix founder, Ryan Stoner, who was more than willing to educate me in the ways of digital distribution and technology. My thanks to Stoner for his time.

Tim O’Shea: When and how did MoPix initially get conceived?

Ryan Stoner: MoPix was conceived in late 2010. We were developing entertainment apps for the likes of Warner Brothers, Disney and entertainment moguls like Anthony Zuicker the creator of CSI. We had just finished building the Dark Prophecy app, and were exploring creating an ePub authoring solution for publishers looking to enhance their books with a layer of context aware content, transforming an ordinary ebook into a full sensory experience, complete with audio, visuals, discoverable content, special effects, and other content to enhance the reading experience. We quickly realized the pitfalls of transmedia content rights for back catalogues and shifted our focus to the film work. We saw an opportunity to replace the income lost from traditional distribution outlets by creating a platform for filmmakers to release their work. We also saw it as an opportunity to enable users to experience more than just the film, such as, photo galleries, behind the scenes, and any second story content created around the film.

O’Shea: Is MoPix ideal for iPads or tablets or a mixture of both?

Stoner: The iPad is our primary device because it represents a majority of all tablet sales and is the fastest growing device, but we plan on expanding to the Android, Kindle and future tablet devices as well. We are bullish (about) tablets. I also believe it is not just about the size of the tablet, but also the possible connectivity of the tablet to other devices

O’Shea: How much help have filmmakers like Enzo Tedeschi been to beta testing MoPix?

Stoner: All our initial filmmakers are instrumental to helping us define the product. We are building focus for the content creators who want to have a better creative outlet to engage with their fans. We love receiving feedback and suggestions from all our core users as that is what helps us evolve the platform. We have spent a lot of our energy working closely with filmmakers like Enzo who understand the limitations of the DVD and what is possible with a touch based tablet experience.

O’Shea: Has MoPix changed drastically while in beta mode, or have there just been minor tweaks?

Stoner: We believe our launch platform is a game changer and will set the bar for what is possible with tablet distribution. When we began our beta we were building apps around existing content. When we launch we are focused on setting the bar for what is possible if a filmmaker goes into product with us in mind. It is a drastic difference to say the least and we are super excited to share it with the world in early 2012.

O’Shea: In terms of getting the word out about MoPix, how beneficial was it to be one of 20 companies presenting at the Launch ‘Pad Tablet event?

Stoner: The Tablet Conference was a great opportunity to expose MoPix to the tech world. We live at the intersection of entertainment and technology so we are constantly trying to find our place in both worlds, navigating the world of film rights, while building an end-product that has mass consumer adoption potential.

O’Shea: MoPix was a sponsor at the recent Northwest Filmmakers Festival, given that festivals are populated with filmmakers looking to garner distribution, did you find folks were quite eager to find out more about MoPix?

Stoner: Film Festivals are under exposed events. I wish more people would support local film festivals. Over 5000 films are premiered a year at film festivals, but very few get picked up. We are very much in support of those amazing films that need help finding their niche audience. We are excited about sponsoring several other film festivals as well and releasing more apps like the Cine City App, that we did for the Brighton Film Festival.

Personally I love to see filmmakers take chances and eager to control distribution. No one knows how to market a film better than the creator and filmmakers need to shift their mindset to wanting to control their destiny. They might not make the millions they dreamed, but they can make their money back, build a brand for themselves and have an audience who is craving for their next film.

O’Shea: As noted in this recent article, there are at least 27 platforms for digital distribution. When the distribution landscape shakes out, will the number of viable ones narrow down to five–or even less?

Stoner: It is about being were your audience is. There is no one-stop shop anymore, but there is also no need to be everywhere. I urge all filmmakers to research where their audience is before signing any deals. We will see some films getting 100% of their sales from PlayStation, while others succeed on Amazon. Know thy audience. VOD is here to stay, physical medium will always exist and digital download ownership will continue to grow.

Personally I am bullish on tablets. With Apple Airplay film apps are not only viewable on the iPad, but you could stream the film to your TV or even your car if you have apple TV inside. The opportunities are endless. The Format and the Content is combined into one device for a fraction of the price of what it costs to produce a Blu-Ray.

O’Shea: How important is effective social media to the success of MoPix?

Stoner: Relationships are important to MoPix. Our goal is to build a brand that is honest, trustworthy and personal. Part of that is being engaged with filmmakers and our audience. MoPix goes beyond our needs to help others. If you want advice on how to negotiate the best deal or go direct to VOD we are always eager to have that conversation. Social Media is just an amplification of that support. Our social media strategy is geared around conversations. As more people become engaged with MoPix we can collectively help more of the films and filmmakers who use our platform.

O’Shea: When Netflix goes and shoots itself in the foot and loses market share, is that an opportunity for digital distribution apps to gain market share?

Stoner: Hollywood is divided over VOD. Consumers don’t understand the business economics, but the loss of income with VOD has been a shot to the head for the studios. The margins on a DVD purchase= about 9 Netflix rentals and how many consumers watch a film on Netflix 9 times? You are going to see a big push towards digital downloads and formats that allow for those higher margins. I think consumers will pay for premium content, which is why we are trying to create the best experience possible on the iPad.

O’Shea: What’s on the horizon for MoPix?

Stoner: While we have done a lot we are still pre-launch. Our launch will be at the end of January and we are excited to showcase what is possible on tablet devices. Sign up for the beta on our website.

“The idea of handcuffing yourself to a genre is … pretty absurd.” is a great core approach, and one that can be applied to non-film creative pursuits as well.

While writer/director Jairaj Walia has made several short films, he is currently in the midst of post-production on his first full-length feature film, the romantic comedy Pendejo. Walia recently took time out of his busy schedule to discuss pursuing a project of this scale with a cast that includes Danny Trejo, Raja Fenske and Fernanda Romero. The comedy focuses on a partying son (the pendejo [or "idiot"] of the film) forced by his father to work for the family company as a janitor or end up disinherited. Walia conceived of the film after heeding the advice of a former professor to “write what you know”. In this interview, the writer/director is quick to emphasize that the film (due for release in 2012) is loosely based on his life experiences. My thanks to Walia for his time.

Prior to pursuing this film, you almost walked away from moviemaking to work in your family’s business. Is your family supportive of your choice to follow your creative instincts or do they still hold out hope you will work for the family?

My family has always been supportive of my film career. They allowed me a great opportunity by sending me to NYU [New York University's TISCH School of the Arts] to study film. When I started to step away from film, they were disappointed because they felt that I was such a creative person. Of course, if I had wanted to join the family business, they would have supported that as well; but it was actually my parents who pushed me to get back into film. They reminded me how passionate I have always been about films. Truly, without their support, I would have never started writing Pendejo, much less made it into a feature film. I thank my parents for guiding me and providing me the opportunity to make my first feature film.

You wrote a movie somewhat fueled by your own life, how awkward or easy was it to partially mine your own life for comedic fodder?

One of my professors once told me, “Write what you know.” This was the first time I actually listened to that advice—and to be honest, I have never enjoyed the writing process more. Pendejo is very loosely based on my life experiences; and even though 99% of all the characters in the film actually exist, it was great fun to exaggerate and sometimes tone down some of the experiences I’ve had on this crazy rollercoaster we call “life”. I think that people should be able to laugh about anything—through any situation—no matter how tense. If you can’t laugh it off and find the humor in a situation that is testing you, then you are never going to make it through it. It was great fun sitting down every day and translating pieces of my life into a script. It was also very scary, because at one point I began to think, “Hmm do I really want to share this much with complete strangers?” In the end though, I decided to laugh it off and write it anyhow. So when you see the movie, feel free to laugh away. I did throughout the writing of it.

How were able to cast a veteran actor like Danny Trejo? Was it challenging to direct someone of his wealth of experience, or was Trejo receptive to your directorial approach?

We were able to get in touch with Danny Trejo through my awesome producer, Sevier Crespo, and my amazing casting director, Travis Huff. Somehow, they got in touch with him and his people, explained the role to him, and before you knew it, there he was on set awaiting my direction. In this film, he’s able to show a side of himself that we never get to see—a lighter, comedic side. And he’s great! I’ll admit I was hesitant about even going up and speaking with him. Most of the time it seems Danny’s roles require him to be snarling at someone and stabbing them with some sort of sharp metal object. So now that he was standing right in front of me on set, I really had to tell myself, “Well Jai, you asked for this, so own it and direct your actor.” To my pleasant surprise, Danny Trejo was not only perfect for the role of Pedro, but he was a kind, respectful and professional human being. He kept calling me “Sir,” which was freaking me out, because I have grown up watching him in movies and now he is calling me “Sir?!” So he and I pretty much spent our time together calling each other “Sir.” Danny really allowed me to do my job and I’m so grateful that he participated in our film and elevated it with his talent.

Can you walk folks through your thought process in casting Raja Fenske and Fernanda Romero?

To be able to make the comedy work, I needed an actress for the role of “Jenny” who was not only beautiful, but talented. But more than that, whoever played “Jenny” needed to have a softness about her—a likeability that is just part of who they are. When I saw Fernanda Romero’s picture, I could see that she had the beauty box and the likeability box checked off. But did she have the talent? Well, after she came in and read for the role, I turned to my team and said, “Get her! She is Jenny.”

The role of “J” was a little more difficult. I really wanted to show a different side to Indian males. On TV and in movies you always see the same couple of Indian actors that all look similar. But what many people don’t know is that you can be from India and have light skin and look totally different from what is depicted in the media. So I needed a good-looking kid that was Indian, but without the typical Indian look—and who was talented enough to carry this movie on his shoulders. It was difficult to find this combination for the character of “J.” Either I found the talent, but they didn’t have the look, or I found the look without the talent. The Holy Grail of the Indian comedic actor without the typical Indian look was looking like a lost cause. So we had a second casting session and in walks Raja Fenske—boyishly charming, easy to get along with, and tremendously talented! He made Pendejo; he completed it. Raja is Pendejo—and I can’t thank him enough for carrying this film on his shoulders.

The movie partially reflects aspects of Indian and Latin cultures. Was that always an underlying goal for your film or was it a nuance of the film’s dynamics that came about in the development process?

It was never my goal to blend Indian and Latin cultures. The story of Pendejo is loosely based on my life. And in my life there are people from all over the world with different cultures and backgrounds. I am Indian, so I made the choice to keep our main character Indian. And most of my friends and the people I’m surrounded by are Latino, so they too remained Latin in the translation. I’ve been fortunate enough to learn about Latin culture through my friends, so I felt comfortable writing about it. I grew up in the U.S. and am an American, so that also got thrown into the mix. I just wrote what I knew, and because of that we got an interesting blend of Indian, Latin and American culture all in one big melting pot.

In a down economy, how proud were you that you were able to get this movie produced/funded? What were some of the larger logistically challenges you faced in making Pendejo?

Extremely proud. I was just happy to be able to make what I had written. Sometimes people never get to see what is on the paper become a living, breathing, film—and I’m so grateful that I was able to see that transformation. One huge logistical challenge was finding a farm or open area to shoot our U.S./Mexico border scenes. Every place I found wanted too much money. And I didn’t want to shoot it in my backyard because you can only stretch the imagination so far. But luckily some angels were watching over us again, because I was put in touch with a lovely doctor who owned a vineyard in Temecula. And he let us use his 600-acre ranch in exchange for a few photos of his vineyard. Some things that seemed to be a huge hurdle were solved simply by the kindness of others. I can’t thank this individual enough for allowing us to use his property; it really gave those scenes the realism they needed. I really hope other independent filmmakers are lucky enough to run into good people who are willing to help.

When did you realize this film needed a mini-horse?

I knew this film needed some kind of strange pet since day one. I thought about it and then suddenly, “Mini-horse! It’s brilliant!” I don’t know how or why the mini-horse crossed my mind, but it seemed like a good idea at the time, so…

Are you in the process of submitting the film for festivals? Can you talk about where it is slated to appear in 2012 (please ignore this if it’s too soon to ask)?

Yes we are currently submitting to film festivals and considering distribution options. The film is being finished in post-production but will definitely be available for viewing in 2012. For updates on the release of the film, check on www.pendejomovie.com or follow us on Twitter and Facebook. I can’t wait to finish this bad boy up and share it with everyone! Get in, join us, be a Pendejo!

Rachel G. Fox

This past weekend [Late September] saw the theatrical release of Dream House, a mystery/thriller directed by Jim Sheridan and featuring actress Rachel G. Fox in a supporting role. Fox recently was more than happy to discuss via email her role in the film, as well as her work on the ABC Family series Melissa & Joey.  Not every actress can say they’ve acted alongside Daniel Craig, Rachel Weisz and Naomi Watts in a movie, and as revealed in our discussion, Fox clearly enjoyed playing Watts’ daughter. Many families desire to own the ideal home, and in Dream House, the Atentons (Craig and Weisz) think they have found theirs. But soon the family discover their home was the scene of a murder and that their lives may be in danger as well. Fox plays a member of the Patterson family, who live next door to the Atentons. On the social media front, fans of Fox will be pleased to learn, as of last week, she has joined Tumblr. My thanks to Fox for her time and thoughts.

What was the audition experience like for Dream House, did you have to audition for director Jim Sheridan? Can you talk about what it was like to work with an award-winning director like Sheridan? 

The audition process for Dream House started with me sending in a tape to the casting director in New York, through my agent. There were thousands of tapes submitted and the director, Jim Sheridan, chose two girls to meet with in a director session. I didn’t know it was just two of us until I arrived at the director session! At the time, I had heard of Sheridan, but I did not know fully about his work so I researched about him and learned about his projects (Brothers, In America) and his stature.

The director session with Sheridan was unlike any other producer or director session I’ve ever done. It was a wonderful, magical right brain session where Sheridan changed lines, thoughts, emotions, and ideas constantly as I read or improved or whatever he had requested I do for the casting director, producers, and him in the room. You can imagine the euphoria I felt when I learned that I booked the role of Chloe Patterson so I could then have the opportunity to work with Sheridan, a man so many people consider a directing genius.

To work with Sheridan is an actor’s and an artist’s dream. He is so involved in every single part and piece of a script and film. He dissects each piece of words, feelings, and emotions that go along with the script. I think a script is a change-able document for him, an outline that keeps him moving towards an esthetic swirl of high energy and emotion that shows on any Sheridan-directed films. Every day on the set of Dream House, there was a set schedule, but every day on the set of Dream House we followed no rules. Sheridan allows for a constant creation and re-creation through a huge amount of interaction between him and the actors. We met many times over the Dream House script and during the meetings, Sheridan seemed to pierce right into our (the actor’s) souls.

Honestly, working with Sheridan is unlike anything I’ve ever done and I will never forget the experience. I absolutely would love to work with Sheridan on a film in the future.

What was the most challenging and/or enjoyable aspect of playing the daughter of Naomi Watts’ character?

The most challenging aspect of playing Naomi Watts’ daughter is the barely-existing-pressure to play a troubled teenager who, on the one hand is distant from her mother, but on the other hand, is still connected enough so the film audience believes and knows that Chloe Patterson (Rachel G. Fox) is Ann Patterson’s (Watts’) daughter.

The most enjoyable aspect of playing Watts’ daughter is the experience of working with Miss Naomi, absorbing her peaceful and polished approach to her work. Working with Miss Naomi, I never felt stressed or uncomfortable, but always moved to be at the top of my intensity and focus in a correct and peaceful way.

Were you a fan of mystery/thriller films before joining the cast of Dream House?

I love some mystery/thriller films and shriek at the thought of seeing other ones. Some of my favorite psychological thriller films are the more mental ones like Rear Window, Donnie Darko, Don’t Be Afraid of the Dark, and The Bad Seed. Ones I don’t think I could see are like The Silence of the Lambs and those films that are too terribly violent.

Based on that distinction, I think Dream House will be on the Top 10 Best Mystery/Psychological Thriller lists.

How hard is it to juggle your work in theatrical films and television shows, on top of all else in the busy life of a teenager?

There are times when it is hard to juggle everything. Getting schoolwork done, hanging out with friends, spending time with my family, playing sports, and all that is very important. Working on the set, recording music, reading scripts, meeting with directors and producers, attending events, is all very important as well. The thing that I do to juggle it and live every moment to the fullest is that I focus on who I am, the gifts I’ve been given, and what I’m born to do. Keeping those things in my focus, I choose what I’m going to do and do it in the biggest and best way I can at that moment. I do not over-plan or over-think. I just don’t ever lose sight of love, passion, and peace and I work, not to accomplish it, but to live it every second I can.

At your website, you discussed working on ABC Family’s Melissa & Joey: “Melissa Joan Hart and Joey Lawrence are amazing actors and comedians, and have dead-on comedic timing. I am learning from them every single second I’m on their set.” How has working with that cast helped educate you?

Thank you for your amazing research and finding that quote that I said on my website!

The cast of Melissa & Joey is amazing. I could not have dreamed of working anywhere better! It is one of the best shows on TV and the Melissa & Joey ratings going through the roof is the evidence.

When I watch Joey Lawrence work, I see him take a line or a scene and, with the ease and happiness of someone who is doing exactly what they’re born to be doing, he changes each take each time, to work it into a funnier or edgier or better place than it was the time before. He’s never trying too much or too little, he just delivers good, better, best, bester, and so on. Each time the comedic timing is dead-on and as funny or as important as it should be. The editors of Melissa & Joey must be in a quandary when he or she is trying to choose Lawrence’s takes to put into each episode because each take is more amazing than the last one.

Melissa Joan Hart has a similar energy to Joey Lawrence. Miss Melissa never holds back and is completely confident in her funniness all of the time. I learn from her to notice every single detail but make it look like she’s not paying attention to every single detail. She projects brilliantly on screen because she has a brilliance around her, a happiness and energy that never goes away, and she moves at lightning speed. Working with her, I’m learning to let go and be completely brave and trust my instincts.

Taylor Spreitler has a very confident and grounded way of working so that I never doubt that she is Lennox Scanlon and I never doubt that she will bring the right mix of comedy to each scene. I learn from Taylor that every line isn’t comedic and that being comfortable setting up others or making something comedic that wasn’t necessarily written to be so is important to each episode, just as being outright funny on each the lines that are written that way.

Nick Robinson uses so many different talents to deliver his work to portray Ryder Scanlon on Melissa & Joey. I learn from Nick Robinson to pick up on different nuances in a scene, then to use my voice and cadence and body language to enrich each scene. In an episode called “Do As I Say, Not As I Did,” for example, Nick says something like “in the middle of that seat you assigned me…” he uses his voice and other gifts to say it in such a fitting and funny way. Another example is in the episode called “Going the Distance,” when Nick and I are sitting on the porch and he asks if he can bring something, and I say “Yes, yogurt-covered pretzels,” and then Nick reacts saying, “Okay, great. What?” Once again using his voice, cadence, and body language to make his delivery rich and funny and just right.

Can you single out one or two of your favorite Melissa & Joey episodes, or scenes with actor Nick Robinson that you got to be part of?

My favorite Melissa & Joey scene that I’ve been in with Nick Robinson is the porch scene in the episode called “Going the Distance.” I love the porch scene with Nick because it shows the dimensions and depth of Ryder’s and Holly’s relationship, including Holly’s very domineering behavior (“Do you mind, I’m trying to play Angry Birds?”); it shows a bit of sexual attraction/tension (“Should I, ah, you know, bring something?”), and it shows sweetness between Holly and Ryder sitting on the porch with his arm around her.

In addition to acting, you are also a talented rhythm guitar player—are there any musical projects on the horizon for you?

Thank you! I love singing and playing guitar. Even though I play guitar every day—I keep a black acoustic Ibanez in the car—I can’t spend the immense amount of time that I need to, to move more quickly forward with music, so I am forced to be patient in growing my musical career. For me the end goal with music is to create it and take it on tour worldwide. My band, Magnitude, and I have just created and recorded our first of many songs. The song is called “Black Operation” (check it out on YouTube…. Search “Magnitude” “Black Operation”). We have done several local gigs and play rock music by greats such as Led Zeppelin, the Beatles, Jimi Hendrix, My Chemical Romance, and Muse. We’re unusual for our age because we don’t play any pop and we focus on great rock music, covering it , and creating new, young fresh sounds. It’s a matter of just a little bit of time before we emerge, but check back with me often because we will.

O Brother, Where Art Thou

I did not realize until reading this  T Bone Burnett  interview, but there’s been a re-release of the O Brother, Where Art Thou soundtrack, a two-disc edition in fact. But thanks to this No Depression interview, my ignorance of the release ended. I have to tip my hat to No Depression for the interview contest they held. Readers that submitted questions for Burnett, that he picked, would win a copy of the re-released special edition soundtrack.  And the website’s readers brought some quirky and informed questions to the mix.

It’s hard to pick my favorite interview snippets. The fact that he once worked in the studio with Christopher Guest, Harry Shearer, and Michael McKean? Maybe. But I think this non-Townes Van Zandt connection really alarmed me (in a good way).

“I will say that he did most of his recording at Sound Emporium where we have done most of our recording in Nashville including O Brother, Where Art Thou? I’ve seen at least an album of unreleased multitracks in the tape locker.  I hope those will see the light one of these days. I’d be more than happy to help that happen.”

Jonathan Kite

This Monday, September 19, marks the premiere of the new CBS comedy, 2 Broke Girls. In anticipation of the new series, actor Jonathan Kite (who plays the role of Oleg the Russian cook) took some time to discuss his character and his interaction with the cast. The basic premise of the show, as described by CBS, is “a new comedy about two girls who form an unlikely bond over having no money and no shame”. In addition to discussing the new CBS comedy, Kite provides details about his work-in-progress (as writer, producer and star) the feature film, The Walk On. I enjoyed getting a flavor of Kite’s sense of humor, particularly with his last answer.

What was it about the show’s script and/or its producers that prompted you to audition for the role of Oleg the Russian cook?

I have been a fan of Michael Patrick King and Whitney Cummings for a while, so when I found out they were doing a show together, I really focused on becoming a part of it.

How much guidance did you get from the writers and producers on how to approach Oleg, and/or were you given the freedom to shape the character somewhat?

Oleg is a good mix of incredible writing and bold choices. I’ve been given tons of freedom, which is always honed by the show’s creative teams.

What do you most appreciate about the comedic approaches of the show’s two leads: Max (Kat Dennings) and Caroline (Beth Behrs)?

I appreciate that they each bring something very different to the show. They are ridiculously talented and play off each other effortlessly. Effortlessness is important in the delivery of comedy and they are great examples of how to do it in different ways.

Not many folks get to say they have worked with a comedic veteran Garrett Morris, how much fun has it been to work with someone of his vast experience and talents?

Garrett is an incredible person. I’ve been watching him since I was a kid. Sometimes when we have down time, I’ll sit around and listen to him tell stories. It’s like a private version of A&E’s Biography.

Does playing Oleg offer you an ability to do scenes with physical comedy or are most of the comedy opportunities focused on the dialogue?

The great thing about Oleg is that he is a combination of the two.

CBS seems quite pleased with the strength of the show, given that it has garnered the slot after Two and A Half Men. How pumped were you when you found out the show was part of CBS’ Monday night lineup?

I think I actually exclaimed out loud when I found this out. It’s an amazing position to be in.

When working in a comedy for TV how important/empowering is it to you to a laugh from the studio audience?

The studio audience is the sixth series regular. It’s a constant developing relationship that we as the performer thrive on and enjoy. Our audiences give us energy, which we in turn give back.

How hard is it to juggle the demands of a sitcom, while also writing a movie as well (The Walk On)?

It’s actually nice to have something that helps take my mind off the show when I need a break but still want to be creative in an artistic way.

Anything you’d like to discuss that I neglected to ask you about?

My family is well, thank you for asking.

Camille Mana

October is going to be a busy month for actress-producer Camille Mana. First up, she has a supporting role in the feature film Norman, which opens in theatres on October 21. She plays Helen Black, a unique high school classmate who has a crush on Norman (played by Cougar Town‘s Dan Byrd). Secondly, she will appear in actor/playwright Jesse Eisenberg’s new Off-Broadway play Asuncion, which opens October 27 at the historic Cherry Lane Theatre (directed by Kip Fagan and produced by The Rattlestick). To mark the launch of these two latest projects, Mana was kind enough to do an email interview, where we also discuss her plans for new projects allowing her to pursue additional writer-producer opportunities as well as her additional upcoming film releases.

How many pages did you get into Talton Wingate’s script for Norman before you realized you wanted the role of Helen Black?

I’d say that within the first 5 to 10 pages, I knew I would love to be a part of the project. I think you always know within the first 10 pages if you’re attracted to a piece. Just like first impressions in life- you know early on whether or not you’re hooked on something. All good screenplays establish tone and the world of the story in their opening beats. I remember writing my agents, saying I loved the screenplay, because this is exactly the kind of movie that I love to watch!

What was it like to work with director Jonathan Segal?

It was great. Jonathan was very approachable. He was open to collaboration from his cast, and yet had a great sense of how he wanted to tell this story. That’s a great balance. I am so impressed with how the film turned out, and grateful to have been involved.

Would you agree that Norman is a darker-edged comedy than your typical comedy? Is dark comedy harder to pull off as an actor?

I think that on the page, the screenplay for Norman reads as a dark-comedy for sure. It has many quirks. But upon seeing the completed film, I would say that because the performances are rooted in something so heartfelt and emotionally dark, the film is a drama that has a hefty amount dark comedy peppered throughout. I think different audiences will have different responses to the film, some will see it as very dramatic and others may take it in as a dark comedy. I’ve seen it now with 3 different festival audiences, all of whom emphatically enjoyed it, but in one screening- everyone was crying, and in another everyone was laughing! I think that’s a testament to the film’s success- that it is so multifaceted and three-dimensional that people can relate to it on many levels.

I think perhaps the difficult thing about dark comedy is that it confronts elements that are taboo or a little scary for people to deal with. I love broad comedy as well as dark comedy, so I am happy performing both. But there is a level of intellect and perhaps of risk for danger that dark comedy is not afraid to tackle, whereas farce is often just plain fun.

What were the most enriching aspects of working with a talented Norman cast that includes Dan Byrd, Emily VanCamp and Richard Jenkins?

I am just thrilled to be part of casts like this. The work that Dan does in this film is on a completely different level of artistry from what most actors have been able to do in careers twice as long as his. Richard Jenkins is great in pretty much everything he does- I admire him so. I was excited that he was nominated for an Oscar a few years back because The Visitor was my favorite movie of 2008. Adam Goldberg is such an indie film icon, and Emily is so sweet and likeable onscreen and off. I am excited for people to get to see this film. It is really a gem.

Have you had the pleasure of sitting in the audience at certain film festival viewings of Norman, if so, can you talk about what it was like to soak in people’s reactions to your character?

I have actually, which is always a weird experience. I hate watching myself onscreen, and the first time seeing something is always the worst. People have been very kind to me, and have said some ridiculously flattering things. It’s always a little uncomfortable, and yet I am happy that I was able to add something to the film that people enjoyed. I have some really fun moments of awkwardness and levity to contribute some of that “quirk” factor to the film. I love that I get to do that.

Did I hear correctly that you were asked to join the cast of Jesse Eisenberg’s Off-Broadway play, Asuncion, without an audition–but rather based on your talented reputation?

Yes, you did hear right. Sometimes, I even question it myself (laughing)! But yes, I was offered the role of Asuncion from Jesse, and even more exciting is that it is quite a departure from the awkward “Helen Black” type roles that I’ve been exploring for the past few years. I am elated at the opportunity. I haven’t played a character quite like this before, so this is really opening up a whole new chapter of my career I think- I am getting to play a three-dimensional woman, rather than a girl.

What kind of themes are explored in the play?

The play explores the difference between knowledge and experience. It revolves around these two highly educated and progressive young men who have read a lot about the world, and then essentially are confronted by the world itself- in the physical manifestation of Asuncion - when she shows up on their doorstep from the Philippines. It deals a lot with the ways we use our experiences in life to justify or exploit our beliefs. There’s a lot of fascinating elements in it.

Is there a certain sense of immediate gratification when working in live theater (as compared to your film work)?

Yes, I think the closest thing to theater that is done onscreen is the multicamera sitcom format, which was actually my first big break- so in a way that was similar. But even sitcoms are only shot partially before a live audience, and there are multiple takes, then edited by multiple people.

Whereas, there is something exciting and tangible about live theater. I remember when my parents took me to see Phantom of the Opera when I was 10, I was so affected. It’s almost electric when something right in front of you is being created and speaks you on an emotional level. There is always also room for error, just like in real life, things can spiral out of control and you just have to make it work.

In addition to acting, you produced Equal Opportunity which won NBC’s Comedy Shortcuts Festival and was a hit at HBO Comedy Festival and dozens more, as well as the feature film The Things We Carry? In the future, do you hope to produce more projects?

Definitely. I’m collaborating with a new partner whom I love! We’re writing a screenplay together, and teaming up to develop a few other projects to produce as well. As soon as Asuncion closes, I am excited to get focused on that. Writing is a completely different beast, and one I find more challenging than acting or producing, if simply for the fact that it is completely isolating. I am a people person by nature, so having to chain myself alone to a desk can be really daunting for me.

What else is on the creative horizon for you in the next year or so?

I’m very much looking forward to High School hitting theaters. (Yes, it is true. My resume includes both College and High School. And not even in the correct order).

It was an audience favorite at Sundance. It has a cast of thousands, including Adrien Brody, Colin Hanks, Michael Chiklis, and Michael Vartan…! It is a really fun film, and visually edgy. Not your average teen comedy, though I think some people don’t get that the “high” in “high school” is a drug reference. I think adults might actually enjoy the film more than kids. It is somewhat in the vein of 80s teen comedies, it has that kind of timeless vibe. I play one of the straight-laced students that gets stoned along with the entire school populace when the two leads essentially inject weed into the all-pervading brownie supply.

I get to have Yeardley Smith as my homeroom teacher. How cool is that? Adam Goldberg, Yeardley Smith, and Dennis Quaid have all “taught” me. If only all school were this fun!