EXCLUSIVE interview with "Maid To Order's" Katie Carpenter!

Ahead of the second season premiere on July 27, we speak to the star of quirky new web series "Maid to Order". The series, which is based on actress Katie Carpenter’s life as a burgeoning actress, tells of two clueless roommates that start a fantasy maids service, battling urban Atlanta and their own denial of reality. Carpenter and Kendra Carelli star.

Season Two continues the story of two clueless roommates who start a fantasy maid service only to discover fantasy is just as hard to manage as reality. This time around, Margot (Carpenter) must maneuver urban Atlanta on her own as June (Carelli) faces her own obstacles in Los Angeles.

The creative team includes Kevin Welch (director, EP), Katie Carpenter (writer), Karen Felix (writer), and Eryk Pruitt (writer). For more, www.fantasymaids4u.com

We sat down to chat to creator and star, Katie Carpenter!

How long of a journey has this been for you? The idea started with you, I believe?
The idea started about two years ago. I just moved from North Carolina to Atlanta. I was a small town girl in a big city… with access to the Internet. I cruised for gigs on Craigslist and met some strangers. I saw ads for Fantasy Maids, and the pay seemed awesome- but I couldn’t do it. The idea for a character who was so desperate to succeed came to the surface, and the name of “Maid to Order” came not long after. I had no idea it was an 80’s movie until we’d already decided on it!

It’s all based on true experiences?
I would say it’s a fantastic experience inspired by truth. You know, like a Fargo-esque version of life in Atlanta when you’re trying to make it. 

Were you the outsider that came to Hollywood chasing stardom?
I’d actually never been to LA until this year (at least as an adult). Growing up in a small town in North Carolina, I was very intimidated by LA and I never thought it would be possible for me to live there. Then when the film tax incentives got cut in NC, I had a choice. I decided to make the leap to a smaller and closer pond- but I had no idea how much Atlanta was going to grow when I decided to make it my home. We were the number one place in the WORLD to make movies in last year! 
But definitely- still chasing those dreams. The industry is changing though and the Southeast is creating a name for itself as a place with plenty of resources. If the opportunity arose to work on a show in LA, I would be grateful for it but I hope to continue to work and thrive in Atlanta.

Where did you shoot?
The first season was shot in Atlanta, the second season was shot in Atlanta as well as Los Angeles. Part of the reason for the split shooting is that our other lead actress , Kendra Carelli, now lives in LA. So we made the decision in the story to actually have her character live out there while Margot stays in Atlanta. 

How has the reaction been to the first season?
People have been very supportive. I’ve had strangers come up to me in Atlanta and tell me they’ve watched the show, which is pretty incredible. We’re not super well-known outside of Atlanta (and a little bit in LA), but it is refreshing to hear that we have viewers of all ages. 
A lot of people of mentioned particularly how much they love the characters, and the world we put together. I think people respond to the show because they recognize very human qualities, wants, and needs but in larger-than-life, outrageous situations. 

Has it opened doors for you?
Yeah! One of my favourite stories to tell is that two casting assistants watched our series and loved it, so they showed it to a casting director. She watched it- then brought me in for an audition. This was the first time I was asked to audition for her. It was for a very fun and quirky character, and I ended up booking the role. I’m not sure that would have happened if I wasn’t on their minds. I encourage other actors- make your own work! Not only could it lead to potential work but it also makes you so much stronger as a performer and gives you an understanding of all the other elements that make a project great; the casting process, camera, lighting, wardrobe, etc. 

Can you tell us what we can expect in season two?
Margot and June are living different lives across the country from each other but somehow they still manage to get into trouble. Margot joins a regimented cleaning service but it’s clear she’s not a fan of being bossed around. Two audience favorites reappear from last season and Margot ends up in the middle of a turf war; does she choose to stay in Atlanta and fight or flee to June in LA?!

EXCLUSIVE interview with "Watch the Sunset" director and actor Tristan Barr

Premiering at this year's Revelation Perth International Film Festival, the thrilling Watch the Sunset is the first Australian feature film to have been shot entirely in one take.

 Directed by Tristan Barr and Michael Gosden, Watch the Sunset is a film that follows a young man, Danny (also played by Barr), who is trying to make a fresh start for he and his family away from the life of crime he was once part of. The film is a brutal study of the underlying effects of Crystal Meth or Ice, but at the same time is a love story about how far you will go for family.

 Watch the Sunset is superbly shot in one take and is done so with incredible directorial skill and stunning cinematography. The haunting musical score accompanying the film is completely unnerving, but it is the convincing performances by each member of the cast that make Watch the Sunset a confronting, but incredibly rewarding cinematic experience.

 On the eve of Watch the Sunset's World Premiere at the Revelation Perth International Film Festival, we spoke to Tristan Barr about his experience making the one-shot film and how it compares to traditional filmmaking.

 Firstly, congratulations on being part of the Revelation Perth International Film Festival! You must be very proud and excited!

Thank you! We are happy to start getting it out there.

 Watch the Sunset is primarily about the violent effect of Ice/Crystal Meth and how it is becoming a bigger and bigger problem in today's society. What made you decide that you wanted to make a film about this terrifying social problem?

The story was based on true events and the characters on real people whom I have personal experience with which stirred me to write the concept. So the biggest appeal or motivation was bringing light to their story that is a very raw reality in regional Australia. It's actually a love story at heart.

 What type of research did you do on users and their families before the film? I could imagine it would have been rather confronting....

Heaps of research, interviews, reviewing of court cases.... Sometimes tedious work, but once we uncovered some stuff, we just knew it had to feature. Some stories are unbelievable! If you made films about some of the stories we came across an audience just wouldn't believe them. I couldn't sleep for a period in pre-production.

 If you don't mind me saying, Watch The Sunset is truly incredible. It's unlike any other one-shot film as it takes place across a whole town without editing. What was the pre-production like? How much rehearsal was needed in preparation for the day of filming?

2-3 months of rehearsal. The town was incredible! Kerang (regional Victoria) was incredibly supportive and some of the best darn country folk in Australia. We were actually overwhelmed with the assistance we received and it was up to our production manager, Ally Bjørnstad to set over 80 locals in position every day who volunteered their time for the shoot. I’m so grateful to the community and patience they had with us. The film moves from one side of the town to the other and stops at about nine locations, so we are just glad we were able to utilise the whole of the town with their support. I was just hoping it would all come together, and thank God it did. I didn't want to let down all who had helped us.

 As it is filmed across a whole town, there must have been so much so much planning to keep everything running to plan. Was there anything that went wrong while filming that you had no control over?

There was plenty that went wrong that you'll never know of (laughs). Maybe we'll release some Behind The Scenes. One time a police car pulled us over in rehearsals. That would of made for an interesting addition in the actual film.

 What was the hardest part of making a one-shot film? 

Logistics. Timing. And having to compromise. Sometimes there was better cinematography in some takes and sometimes there was better performance. Choosing the take was very difficult.

 Tristan, you also star in the film as Danny, who is the lead. Was it difficult directing and acting in the film?

I didn’t see myself in the role originally when I first wrote the concept. But with the constraints we had and the way in which we were collaborating and improvising for the scripting, we (with co-director Michael Gosden) quickly made the decision we would act in it too. That decision led to us taking more responsibility over the characters and their story arcs. So it was hard to take on both of those roles. However it was sort of built into the process. Once the camera was rolling there was no real room for a director anyway, so the cast and crew were just trusting the preparation.

 What did you find were the major differences between directing a one-shot film and one in which you allow scene cuts?

The need for accuracy and planning of course, but adrenaline was the major difference. It was like we were playing a grand final everyday (laughs) Luckily we had seven attempts at the grand final.

 What plans are there for Watch The Sunset beyond the film festival?

We are playing at the Brisbane International Film Festival and have some interest in Sydney & Melbourne as well as a big international launch.

 To keep up to date with were the film is being shown follow:
https://www.facebook.com/watchthesunsetfilm/
Twitter: @watchthesunfilm
Instagram: @watchthesunsetfilm

Speaking with those who have been In The Company of Legends, David Heeley and Joan Kramer

David Heeley, Joan Kramer, James and Gloria Stewart

(Photo Credit: Author's collection)

Only days after their wonderful book, "In The Company of Legends" has been released, documentarians and authors David Heeley and Joan Kramer talk to us about their first publication and a little about their experiences with some of Hollywood's greatest.

The multi-Emmy award winning documentary team of David Heeley and Joan Kramer have in the past worked with some of old Hollywood's biggest names including Katharine Hepburn, Paul Newman, Joanne Woodward, James Stewart, Lauren Bacall, Henry and Jane Fonda, Audrey Hepburn, Johnny Carson and many more. Their first book, "In The Company of Legends" (which we reviewed here) is an insight into what went on behind the camera in their productions and the friendships formed.

We are extremely thankful to David Heeley and Joan Kramer for their time in taking to us.


Firstly, I just wanted to say thankyou for your time and congratulations on the book!

DH: Well, thankyou!

How did the idea for the book come about?

JK: We were often telling stories about the experiences we've had to family and friends and every time we did, the person we were talking to would always say "You have to write a book!" and I would say "Yeah...we're not going to write a book!" But then just along the way we tried writing the stories down so as the years go by we wouldn't forget them. Then we found a literary agent quite by accident....
DH: Let me just say that we couldn't do this while we were producing programs. There was just too much work, but after we stopped making the programs we started to think about writing the book and that's when we looked for a literary agent.
JK: And then he circulated the proposal and every major publisher turned it down. Finally, after about eight or nine months, he happened to be at a book launch party for another one of his books that was published by Beaufort Books, which is our publisher. At that party he mentioned our proposal and that was not one of the publishers which he had pitched to. They said "That sounds fascinating!" and within two days, he had a deal!

So how long ago was that?

JK: It wasn't last June, but the one before...
DH: So it's getting on to two years ago.
JK: And what happened was that after called us and told us we had a deal, he said "OK, now I have the bad news...you have to write this book!" (laughs)

So was it two years worth of writing or was there a great deal of research involved?

DH: It really came in spurts, but of course as the clock started ticking, it really started to become sitting down at the computer and really writing it all out. Initially we were just trying to get all the ideas down and getting a form for the book and deciding how to deal with the fact that there was two of us trying to tell the story. You can see how that turned out, we did go with the idea of the two of us having two separate voices and then there were pieces where we were both talking together. Once we decided on that then it became a bit easier because what would happen was that I would write a bit and then Joan would write a bit and then we would go over what each of us had written. Collaborative writing is a pleasure as you are able to check and discuss everything first.
JK: And that means everything!
DH: What we discovered was that writing a book was very different to writing a script. In television you are always limited by how much time you have. You may have to get three facts into fifteen seconds and leading into a film clip at the same time, while with writing a book you are able to spend more time setting the scene and add more colour to the story.
JK: The other aspect was, for contrast, writing the stories was much harder than telling them. You no longer have your voice while you are telling the story. You just have to make it work with getting across humour without the luxury of using your voice to make it humorous or moving.

The stories that you tell in the book are so vivid. Were these stories still fresh in your mind or did it all come back to you as you wrote?

DH: A little bit of both I would say. The advantage we had of there being two of us what that we had two memories to call upon. Then on top of that we had our files to check on if we weren't sure of facts, we had the programs to check on to make sure we were telling the stories correctly and the biggest plus of all was that Joan kept scrapbooks.
JK: I have every calendar going back years in a file cabinet. I could go back and tell you what date Katharine Hepburn called us. There was no guess work here.

Unlike your documentaries, that would have made the research for your book so much easier...

DH: It did because we had already done the research for the show already. There was still quite a bit of time online making sure we got our facts straight. As almost happened with one of our stories, Joan almost quoted a dead person and then discovered it was somebody else. Your memory does play tricks with you.
JK: The other thing that was a headache but was fun at the same time was the scrapbooks that David mentioned. On one hand they gave us the knowledge of where to look for photos, but on the other hand I spent months putting each one together and they were all spread out in my living room so getting from my living room into another room was like jumping a hurdle! It looked like a hoarder had lived in this house!
DH: But here is the great thing, Joan had photographs in those scrapbooks that the photographers didn't have.
JK: It so happened that David and I walked around with a camera every moment that we were working and either I was shooting stills or David was shooting stills.

One of the great things about your book is that it is so respectful, even if the experience you had wasn't particularly wonderful. I'm talking in part about the day you were shown the door by Bette Davis. Is it impossible not to have respect for people like this no matter what the situation?

DH: Well, as you know it's not a "dishing the dirt" book in any way and we just wanted to tell the stories as truthfully as they happened because they didn't need any embellishing in any way. We felt that just what happened was fascinating in its own way and we didn't want to force anyone into feeling a certain way, this is what happened.

Another thing I noticed about the two of you is that you both have this "Never take no for an answer" attitude. How important has this been in your careers?

DH: Very! (laughs)
JK: (laughs) Probably crucial!
DH: Of course that happened in the very first chapter with Fred Astaire. We were lucky that through our ignorance we were persistent there. If we had known that he controlled his film clips so much we wouldn't have persisted. We would have just got up and gone away. If there hadn't been any Fred Astaire shows there wouldn't have been any subsequent shows.

When you were first starting out together and you heard the words "Mr Astaire is furious", did you feel it was all over before it had even started?

DH: Well, when you pick up the phone and hear those words your heart sinks and you try to figure out where to go next. Then you go and talk to your executive producer and he said "I'm not surprised, but he is a public figure so go ahead and do it". So you press on and, as Katharine Hepburn would always say, you pull yourself together! You go ahead and you do what you have to do. But yes, it's rough when you get those sort of call because it does feel as though the world is collapsing. As you stated earlier, one of the things you learn is that you have to persevere. You have to keep pushing gently. You have to be aggressive but in a nice way so as to not turn them off, whoever you want to reach. There's a nice way to persuade somebody and a bad way to persuade them and I think we have always found the balance. So in the end almost everyone we wanted we landed.
JK: I think so. How do you know how far to push without it being obnoxious? How do you not turn people off? I don't know the answer.
DH: Let me just say that Joan doesn't know the answer, but she was born with that gene. She is the best person I have ever known of reaching a total stranger on the phone and keeping them on the phone for a long time and by the end of the call, they are the best of friends. The classic example in the book is the case of Errol Flynn's widow, Pat Wymore. Basically she had said no to everybody who had called her and had wanted to talk about Errol Flynn and when Joan finally got her on the phone, the conversation ended with "Why don't you come down and visit me at my home in Jamaica?"

It's a wonderful gift to have!

DH: Yes, she's very good at it!
JK: I guess, but I can't explain it!
DH: If you explain it, you will probably never be able to do it again!

(Photo credit: Author's collection)

One of the people you had worked with who you were closest to and we have briefly talked about is Katharine Hepburn. She was notorious for not doing interviews and very rarely appearing on television. What do you think made her trust you both so much that she really wanted to work with you? More than once as well?

JK: Well, first of all we made a program that aired in 1981 called Starring Katharine Hepburn. It cannot be seen because it is out of production and frankly we are not sorry because she is not on it. David had called her...
DH: Well, again the conversation is described in the book in great detail, but it is very vivid in my mind. George Cukor approached her on our behalf and when he said "She said no, but I think you could persuade her", I had to call her. Of course, hearing that voice on the phone is just intimidating to say the least, but in the end I was able to get her to say yes to let us do the show. That was just with the case of Fred Astaire. It was a crucial step because even though she didn't want to be on it as she said she was too busy, it was probably a combination of that and not wanting to be on it at the same time. When she said yes, it was her approval which allowed us to do the show (Starring Katharine Hepburn). She said she hadn't seen it, but our spies told us she had. She called us when she returned home from being on tour and said that her friends had seen the show and asked if we would like to come over for tea. What happened there was we had succeeded in jumping the hurdle or leaping over the obstacle course, whatever you want to call it. She had appreciated what we had done enough to let us come over to her house and that was a big deal.

Classic film buffs will love the chapter in the book when the two of you went to what was MGM Studios with Kate. What was that like?

JK: Oh...well...first of all people were standing on the rooftops and leaning out the windows. She hadn't been back on the MGM lot for many, many years and news crews were showing up to cover her return to MGM. She then took myself a few other people on a tour. She said she wanted to see L.B. Mayer's office and she just barged into the then chair Frank Rosenfelt's office and said "I want to see L.B. Mayer's desk"! She was just fascinated to be back there! Everybody around at MGM who were used to seeing stars were just undone by the fact that it was her.
DH: It's a cliché to say she was like a force of nature, but when she was around you were aware that she was around and she had a magnificent personality and the ability to get things done. She knew that a phone call from Katharine Hepburn would get things done and she would often do that when she could see that we were having problems to get film clips or she would get people to appear who wouldn't have done otherwise. Going back to MGM, that was just the way it was when she was around. That doesn't mean that she was obnoxious, she was just somebody who carried that with her. It was a wonderful personality to be around. It could be intimidating, but once we learned how to work with each other it was a dream. When she sad "I have a suggestion", you knew you better listen because you knew it was going to be a damn good suggestion.
JK: And she was very canny, she knew exactly what she was doing. She knew what worked for her, she knew what the audience would find entertaining, funny, moving....and she knew how to deliver that message in whatever she had to say or do. She was really quite extraordinary.

You also spent time on the Universal Studios back lot with James Stewart when you were working with him. What was that like?

JK: Johnny Carson, who rarely did anything outside "The Tonight Show" besides the Oscars, agreed to host this program and we took both of them to the Universal back lot where Jimmy had made so many movies. They were like a mutual admiration society! Jimmy would come up to me and say "Isn't it wonderful John giving up his time to do this" and then he would tell that to Johnny. Then Johnny would come up to me and say "If he tells me one more time how wonderful it is that I am doing this I am going to strangle him! Doesn't he know how special this is for me?" I said "Johnny, he believes that you are the only star on this lot today"
DH: It was a very special day and of course as so often happens when you are working you don't realise that as you are just thinking that I have to get this shot. It's only after it's over that you realise what an amazing experience you just had. They were both enjoying it as well. Jimmy was enjoying being in the back lot and it was a new experience for Johnny to be working in this way. Jimmy was very supportive of Johnny at that time, you could see him encouraging him. They had a great time and we had a great time. What we got out of that was magic.
JK: The other thing was that relationship was not put on. They really cared for each other and the warmth that came across from them on camera was real.
DH: I think you will get that from their final story in the book when Johnny called Jimmy just before he died to talk about Destry Rides Again. Johnny had kept calling him even when Jimmy wouldn't come to the phone and to me that is the most moving part of our book the way those two interacted and the fact that Jimmy did come onto the phone those few days before he died to have that final conversation with Johnny. To me that is still very touching.

With all the Hollywood legends who you worked with, who was the most like the public reputation that they had?

DH: Audrey was like that, Joan....
JK: Yes, Audrey Hepburn was wonderful and I expected her to be wonderful. What I didn't expect was she was funny and she was very funny when she heard David's English accent and said "Why don't I do this whole show in cockney like I did in My Fair Lady?"
Others surprised us, and weren't the people they were reputed to be and one or two were. One or two were unfavourably exactly like their reputation.
DH: We are talking about Lauren Bacall here as we had heard that she was a tough person to work with and what was really remarkable about Bacall was that under that tough surface...which I believe was a protection for herself....was a genuinely nice woman. There was something really quite remarkable about Bacall. We kind of got to see that after we got through the rough parts with her and we ended up friends. With the exception of Bette Davis who we met very briefly, anybody else we had a hard time with we got over it. They got over it and we became great friends with these people.

(Photo credit: Author's collection)

That really is a great testament to the two of you as they obviously all held so much trust in you!

DH: Well, they had to trust us and they did.
JK: What's interesting to me is that these legends, if you don't mind me using the title of the book, worked with many directors over their careers, David and I are in a very small of nucleus that did things with them that were so personal to them. When they performed on screen as a character, they were playing a character. They did not play a character in our show.

Did developing relationships with these people change the way you watched films with them in them?

JK: I mean, I have the ability and I guess David does too, I have the ability to take of my producers hat very fast. I could enjoy a film and not think "Oh that is my friend!"
DH: Actually it is a very good question and it is something I have dealt with in the past. Sometimes when you have developed a relationship with somebody and you know that person and you see them on the stage, you can't disassociate that person. It's like your friend trying to be someone else. The great performers you don't think that this is someone you have tea with, they are that character. We have been lucky that we have been friends with some great performers. Joanne Woodward knocked my socks off! I mean, Joan and I know Joanne extremely well, but I will sometimes see her in a performance and I will think "Who the hell is that?! That is nobody I know!" That is the sign of a great performer, a great actor. Most people in the audience don't have this problem of disassociation. It's a unique experience for us to see them on the screen and ask if they are the person we have just been chatting with or are they the character?

What advice would you give to people who aspire to be biographers or documentary makers?

DH: Do a lot of research! Number one, you just have to know your subject inside and out. Assuming the subject has agreed or you are going to do it whether they like it or not, you have to get it right. You have an obligation to get it right because yours may be the only version of this story. People tend to believe what they read and they tend to believe what they see on television. We have a tremendous weight on our shoulders, we writers, directors and producers. We have a tremendous responsibility and we need to live up to that responsibility and get it right.
JK: The other thing is David and I have never done a show that is unauthorised. We either work with the subjects and if the subjects were no longer alive such as Humphrey Bogart, we work with their friends and families. We never did an unauthorised biography ever.
DH: The problem then becomes are you going to do something that is going to please your subject or not. It is a very delicate balance. I don't think we ever pulled back on something because we thought it would upset somebody, but occasionally we would pull up something and we would think "Woah! We don't know how they are going to feel about this..." One case was Pat Wymore with Errol Flynn, who was a great Australian, but he was no saint. To pretend he was would have been a huge disservice to him and his life. But by this time we had become very good friends with Pat and we said to her that we were going to say something. She said "Go ahead! That's who he was, tell his story and tell the truth because people will appreciate that and so would Errol".

Thankyou once again to David and Joan and we wish them all the best of luck with the rest of their adventure with "In The Company of Legends"!

If you wish to buy "In The Company of Legends", please visit the official Amazon page.

Focus on Independent Film Producer, Kirk Shaw

Photo Courtesy: IMDb

As the entertainment industry continues to change and evolve at a dramatic rate, it is more crucial than ever for film makers to be adaptable and know how to turn challenges into opportunities. Independent film producer, Kirk Shaw is riding the wave of change and enjoying the thrill. While many are intimidated by what the future holds for the entertainment industry, Shaw draws on his industry experience of over 25 years and natural talent to make these changes work for him, setting an example for those both in the industry and those who aim to be.

Growing up in the 1960's with a love of television westerns and Saturday theatre matinees, Shaw has always had a passion for storytelling and been fascinated by the moving image. After creating a revolutionary mode of storytelling through audio tours in several of the world's most prestigious museums, he was approached by The Vancouver Museum to produce video content as part of a traveling exhibit. By saying yes, Shaw  made a decision that would change his life.

  "Each edit, each sound cue, every piece of video could be put together in a dozen different ways, but there is artistry in getting it right", explains Shaw. "I had been bitten and knew I wanted to be a producer". 

With close to 200 film and television credits to his name, Shaw is now one of the leading film financiers and producers. He founded Insight Film Studios in 1990, which over time has become Canada’s largest independent production company having produced $500 million worth of film and television content between 2006-2009. Shaw is now Executive Producer and Consultant at Odyssey Media, the international film and television production, distribution and rights management company with offices in Vancouver, Brisbane and Los Angeles. Among his credits are the Academy Award winning The Hurt Locker, Suddenly starring Ray Liotta and Drive Hard with John Cusack and Thomas Jane. He has also worked with some of the biggest names in the film industry from Charlize Theron, Kim Basinger, Woody Harrelson and Cuba Gooding Jr.

 During his production career, Shaw has always regarded himself as an entrepreneur and believes that the film making process is about finding the right mix of people and ideas for a particular project, but always remembering to keep in mind the net worth of the film. Along with his wonderful networking skills and commitment to those who have helped him which extends beyond their time working together, Shaw has developed a formula that allows him to produce his best work while others struggle with the changing climate of the film industry. Currently at Odyssey, he has over 20 films in pre and post-production to be released in 2015. 

We got a few minutes with Kirk Shaw to hear first hand about his experiences and how he has become one of the most popular and successful film producers. 

What attracted you to the world of independent filmmaking?
I fell in love with the process of finding an idea that could be translated into a film. I relished the role of being the type of a producer who had control over choosing the idea whether my own or someone else's.  I was driven to see that idea through all these stages from development to delivery.  I think one of my talents is identifying talent in others and assembling a team of people who all could contribute their own talent toward building the project from idea to final piece. Independent filmmaking has offered me this type of experience in spades.

Would you say that independent film making is a rewarding process?
As much as the writer is often credited with germinating the idea, nothing in filmmaking happens without a producer.  The producer takes the ethereal and makes it real.  Although this may sound mercenary it is the reality. In independent filmmaking every production dollar, every crew paycheck and every deal is made by the producer.  Producers of independent films are constantly creating, thinking outside the norm and adapting what we know to the emerging reality.  There is little time to sit on your laurels.  Producing independent films is also uber entrepreneurial.  Finding the right mix of financing and distribution is an art.  Adding in the creative team needed to take the script from words to film production is like conducting a symphony.  Each part in the piece or production adds to the whole.  In this multi layered process we also hopefully create something that resonates with our end user, the audience.

Photo Courtesy: Kirk Shaw Online

One of the greatest challenges of being an independent filmmaker  comes from financing. How do you feel you successfully overcome these challenges?
 To be a producer of more than one independent film is to absolutely know the value of the film you are going to deliver and never make a film for more than its value.  Certain genres and actors retain a quantifiable value. Understanding this value as it changes is what I do almost daily. Whether it is a Nicolas Cage theatrical release or an MOW, a producer has to be able to measure the true value of Nicolas Cage in the market today or Jean Claude Van Damme’s current value around the world.  It’s the same for all actors.  The cast and genre give you a benchmark value to arrive at the film’s worth.  That’s the limit of the money you can raise to finance the film. It’s also the value the budget cannot exceed for the film to remain profitable or at the very least break even. I never go into a film to lose money because I make multiple films.

Once I peg the film’s value, I enter the symphony phase. As the producer, I am like the conductor controlling the symphony of people needed to make the film. Rather than waving a baton, I wave spreadsheets that allocate the financial resources in the best way to get the film on the screen, big or small. Whether there is a budget of $1 million or $20 million, independent filmmakers always want more money.  Each department asks for more, the Director too swears his vision just needs a few more dollars. However, to make more than one film, it’s important to understand the value of the film you can make and then get all to agree that we will make the very best film possible for the financing available.  It is actually in this challenge that true creative genius and innovation occurs in filmmaking.

What do you look for in a potential film project? What attracts you to a film?
There is no single attraction to a film or project.  As I said before, I am at my heart an entrepreneur.  So part of me is looking for a film that returns a profit, but profits for films don’t always fuel my passion. I’m also an ideas person looking to inform and challenge the audience so I’m often motivated to find films that simply need or deserve to be made and use my skill, talent and resources to bring these to fruition and get them in front of an audience. Anyone who looks closely at my IMDB credits will see a lot of films made for money, but a decent number of passion projects sprinkled throughout. It’s not just the financial investment, but also the time investment and personal investment. Producing independent films is a lifestyle that sucks your time, energy and focus. If you have a family like me, there are many times the job takes me away from family and my children.  I often ask filmmakers who come to me where do you see your film playing?  What channel and what slot in the broadcaster’s day?  Most haven’t thought this through. If it is a feature, unfortunately I currently mostly look for genre like action scripts to package with an A list cast.  I love dramas, but they are really difficult for an independent filmmaker to finance. It’s a formula that is currently successful and also generates the resources for me to also make one or two passion films a year out of the box. 

What has been your greatest accomplishment in your career so far?
That is easy.  My greatest accomplishment is employing, nurturing and building friendships with 100s of production crew, staff and people who have gained from the movies I’ve produced and all those whom I have crossed paths with. It truly fuels my entrepreneurial drive to see that films I make give not only money, but the opportunity to hundreds of people who are each carving out their own career in the film industry. Sometime in 2015, I will have produced my 200th film. It will be a personal milestone that I will savor as a moment to look back over my total body of work. However, the number pales in the comparison to the opportunities my films provided and the friendships I’ve made. 

Do you have any particular favourite projects you have worked on?
Two passion projects I loved were Battle in Seattle and When A Man Falls in a Forest....who wouldn’t enjoy walking the red carpet with Sharon Stone at the Berlin Festival? But with that said, there are many moments from too many productions that generated life long memories.  I remember my first documentary, we went to interview real, practicing witches.  I got to trek across Ireland for a St. Patrick documentary and remember climbing the mountain for annual pilgrimage with a film crew. In 2014, I was in China producing a movie with Jean Claude Van Damme. Recently, I enjoyed getting to know the EDM music world by filming a 3D dance film in LA. I’ve had so many experiences and met so many people, it’s truly impossible to single any out.

What was your experience working on The Hurt Locker like?
Nobody knew how big it would be.  It was truly a passion project put together on a shoestring budget. We all knew we had a really good script and top-notch creative team not to mention the cast of Jeremy Renner and Evangeline Lilly. But an Oscar was never on our radar. My company oversaw shooting the sequences when Jeremy Renner’s character returns to North America. One theme that resonated with me was the character’s struggle to find his own normal.  Home in the US didn’t fit, but he comes to a realization that his life is most meaningful to him in the world dissembling of bombs in Iraq.  Although not the same life and death choice, I too find my normal in the producer’s world of risk and danger. I actually feed on the frenetic energy of this business and would choose to do nothing else.

Who are some directors you would like to work with?
I used to religiously watch directors like Martin Scorsese, Oliver Stone and Woody Allen. I enjoyed the chronological progress/evolution of their work.  I would love to work with any of these greats to just be able to listen to every word they say and see the choices they make. I am excited to work this year with Bob Yari who Directed  the film Papa documenting Ernest Hemingway's two years in Cuba.  I fell in love with the script Bob found.  Bob Yari knows so much about the business side of the industry, I’m happy to see him focusing his first love, which is film making and directing. Papa will be very timely with the US restoring diplomatic ties with Cuba. It is a great moment in history and Bob and I have a film that could fill in some of the long Cuban/US history through one of the great American writers. With that said, I actually prefer discovering talented directors looking for their first break.  I am very proud to be a Canadian and a Canadian film producer. One Canadian director I’m proud of assisting is Jason Bourque. Through Jason’s long association with my films, I’ve been able to watch as Jason grew as a director and carved out his own successful career path in the industry. In 2015, after many years of trying, I’m also finally able to give a close friend, David Tennant, who is successful and respected TV commercial director, the opportunity to direct his first feature film, Forced Entry. 

Who are some of the actors you have worked with that you are proud you have had the opportunity to do so?
I honestly have liked working with them all. I have had many great dinners and moments on set talking to all levels of actors that have enriched my life and my knowledge of this industry. While I don’t like to name drop, I will give you an example; I recently had dinner with Michael Jai White who is the star of Echo Effect. My appreciation and respect for him increased just by sitting with him and getting to know him on a personal level. Although I haven't worked with him since 2006, I still owe Mathew Perry a movie. I’m looking for a good script that lets him play a character close to himself....someone the audience really likes and then twist the end so Matthew is really the villain. I enjoyed Cory Haim who was filled with life and wore his heart on his sleeve which made him all that much more an interesting of actor. Sadly he lost the battle with his demons. This industry can be tough on the young.   

How has the industry changed in the time you have worked in film production?
 It seems that since I started in the late 90s, the film and entertainment industry has been caught in an amazing flux.  HDTV emerged. Distribution changed. DVD stores died. The Internet siphoned off advertising dollars and put movies onto everyone’s phone or desktop. At the same time technology changed the production process, film gave way to digital. We now have IT people on set to manage digital data. Nobody counts feet of film. It’s all more efficient with instant dailies and the time from prep to delivery has been cut substantially, but the technology also brings challenges and glitches.

This year we had a beautiful drone shot for a movie. We watched the image live on the screen. It was art and perfect. When the drone operator landed the small chopper, the thumbnail sized memory chip jumped out of its compartment and nobody  could find it. We lost the light and the shot was gone. In the days of film, we sometimes had camera faults ruin shots too. The production side of filmmaking is faster and cheaper, but post has become expensive simply because so much more image manipulation can now occur in post. Before these would have been beyond the budget or done in camera. Even the drone shot would have come with a prohibitive price tag if we needed a full size helicopter, a pilot and camera operator in the air. Post has become more labour intensive with artists working frame by frame to enhance shots, add elements or create 3D models.

Looking ahead to the change on the horizon, convergence offers challenges to producers looking to raise funds to make content. Many avenues of delivery both legal and illegal have conditioned the audience to not pay much for moving images delivered to their home. Someone will hit the right formula to replace the lost sales producers used to rely on, but as yet VOD and PPV haven't helped the independent producer trying to coble together a budget to make a strong film.  

Streaming sites like Netflix and Youtube have pulled viewers away from traditional television. But as networks and studios lose eyeballs, they have responded with some of the best quality television ever produced. Although quality can still pull in viewers, we have millions of hours of television programming out there that is going unviewed. I’m not sure it’s sustainable.

Regardless of whether its paid for or given away free, every delivery media requires content so as a producer, I’ll do what I have done the past 20 years, adapt experiment and then figure out how to finance, create and deliver content using different models.

How have you adapted to these changes?
As part of adapting to the market today, I made a decision to produce in different parts of the world.  This expands our international co-pro relationships, brings the resources of two countries and two or more producers together. It’s an economical model many are using. With a co-pro in Brazil for example, we can access a tax shelter program that generates funding for film and television content, plus still receive a portion of the Canadian tax credit incentives. It’s really just spreading the risk and reward among a group of producers, which Odyssey has done this successfully in China, Romania, Bulgaria, Cuba, Australia and also in certain states in the US and provinces in Canada.  

What is you approach to developing talent? Do you play an active role in working to ensure actors, directors and writers reach their full potential?
Although I have given many actors and directors opportunity to show their talent, I have been most successful is developing technicians, the below the line talent.  Every film crew in Vancouver and in other places as well are filled with professionals who got their first or first big opportunity from working on one of my films given the volume of films Odyssey produces each year. One production manager we are currently working with gained seven feature credits in one year. For 2015, I’ve moved him into a bigger film and I’m trusting him with a TV series. It’s this fast track to building a strong body of work that lets talented people demonstrate their skill and reach their full potential.

What projects are you and Odyssey currently working on?
We have two TV movies and a feature film to shoot in February. We are busy working with our close partners The Cartel and Reel One on a new US series going to camera in March. We have a slate of seven more TV movies financed for this spring. We are currently assessing the best locations to shoot the films. Later in the year, we have several exciting much higher budget films with A List actors that at this moment I’m not at liberty to name.

What plans do you and Odyssey have for the future?
When I joined Odyssey I was following my passion for producing and doing what I know and love. Now I feel personally and professionally ready to build Odyssey into a leading international company. I’m more excited for the future than any time in my past. There is so much on the horizon and I’m in the middle of it. At the company Christmas dinner this year, the people of Odyssey had doubled since 2013. I fully expect the 2015 Christmas party to double our number again.

What advice would you give to people who want in work in film production?
There are so many ways into this business, but it all starts with connections. Get as many credits as you can, watch, learn and be easy to work with. Even volunteering on short film is a step toward honing your skill and building a resume. 

If you would like to find out more about Kirk Shaw and Odyssey, please visit the following websites:-
Odyssey Media
Kirk Shaw Online

Facebook:-
Odyssey Media
Kirk Shaw

Twitter:-
@OdyMedia
@KirkShawOnline

"Women in the Films of John Ford" book review and Interview with Author, David Meuel

Author: David Meuel
Publication Year: 2014
Pages: 196 pages
Publisher: McFarland

If you would like to purchase "Women in the Films of John Ford", please see the below Amazon link.
 

 

 While prolific and respected filmmaker John Ford completed over 140 films in a career which spanned over six decades, his name is so quickly associated with his westerns and collaborations with John Wayne despite the incredibly wide variety of films he made. Therefore, it is a common misconception that Ford was in fact a man's director. In his book "Women in the Films of John Ford", David Meuel wishes bring new light to this idea by acknowledging that Ford was as much a woman's director as a man's director. Intriguing and wonderfully researched, "Women in the Films of John Ford" is not just a book for Ford enthusiasts, but for all film history lovers who do and don't need convincing that Ford was as much a women's director as a men's director.

"Women in the Films of John Ford" is an intriguing and convincing study into John Ford's most memorable female characters which contradict the belief that Ford was primarily a man's director. Meuel explores the character traits of the strong and well-rounded women in thirty of Ford's films ranging from Henrietta Crosman in Pilgrimage (1933) to Anne Bancroft in 7 Women (1966). The character's are looked at in depth to prove how much Ford cared about the women in his film, but the actresses who played these characters are also given short biographies of their own as their characters are spoken about.

 

 Written in a style that is academic yet slightly conversational, David Meuel is extremely convincing in his quest to prove that Ford should not be remembered primarily as a man's director, but rather one that cared as much about his female characters as he did about his male. Meuel is quick to point out that there was not one particular type of Ford woman as there is with other directors of the time, but a wide variety of women with different character traits and different backgrounds. However, they are all strong, distinct characters which have all been constructed with a great amount of thought and care by Ford.

"Women in the Films of John Ford" is a piece of non-fiction which will be a fascinating read for any film history lover. The research Meuel has undertaken for this book is outstanding, as he draws upon the films, biographies and past reviews and interviews as part of his exploration. While it is of course intriguing coming to understand Ford as also a women's director, it is astounding to read in detail about the large number of films which Ford made and the number of talented and diverse women he worked with in bringing these characters to the screen. Ford had the pleasure of working with such well known actresses as Jean Arthur, Shirley Temple, Claudette Colbert, Donna Reed, Ava Gardner, Grace Kelly, Natalie Wood, Anne Bancroft and, of course, Maureen O'Hara. The films themselves are just as intriguing to read about as many lesser known Ford films are spoken of, such as Pilgrimage, Steamboat Round The Bend (1935) and Drums Along The Mohawk (1939), which encourage the reader to re-explore Ford's films to witness these performances themselves.

"Women in the Films of John Ford" is a wonderful piece of work that not only proves a notion which may surprise many, but it is also entertaining and evokes excitement in the reader for Ford's work.

8/10

 

 

 

Movie Critical was extremely lucky to be joined by "Women in the Films of John Ford" author, David Meuel. David has penned over 100 poems and hundreds of articles and currently resides in Menlo Park, California.

 



Thank you for joining us, David, and congratulations on your book, Women In The Films of John Ford!

Thank you, Nicole! I’m always delighted to chat about John Ford’s films. 

John Ford is traditionally known more for his male characters than his female characters, so your book may come as a surprise to many people. If you could sum up in a few words why people shouldn’t find this book surprising, what would you say?

That’s an intriguing question. Some of Ford’s best-known characters are women. Maureen O’Hara’s Mary Kate in The Quiet Man and Jane Darwell’s Ma Joad in The Grapes of Wrath are certainly two good examples. In addition, Ford populated dozens of his films with complex, well-developed and compelling females. People shouldn’t find the subject of my book surprising, because, if you look at the films, the interesting female characters are there. Sometimes, they’ve taken supporting roles along side dominating actors such as John Wayne, but they are there. They have strong points of view, they are often vividly portrayed, and they are absolutely worth our attention.

When did you start to see Ford for the female characters he brought to the screen rather than the male? Did you ever see Ford as purely specialising in male characters, or have you always paid more attention to the female?

I’ve always thought that Ford’s films had great characters in them, both male and female. But, I must confess that I didn’t realize how many wonderful, diverse female characters are in Ford’s films until I started researching this book. 

When did you feel you needed to tell the world about the amazing female characters Ford brought to the screen and write a book about them?

The process probably started about three and a half years ago when I first saw Pilgrimage, a little-known gem Ford made in 1933 that stars an actress hardly anyone knows about anymore. Her name
is Henrietta Crosman. She was a major stage actress from the 1880s to the 1920s, and in her later years she transitioned into movies. She made Pilgrimage when she was 71, and she dominates the film from beginning to end. Both the character she plays, Hannah Jessop, and her performance are riveting. Of all the other roles in Ford films, the one she reminds me of the most is Ethan Edwards, the character John Wayne plays in The Searchers. Yes, like Ethan, Hannah is sometimes a very cruel, troubled person, but she’s also thoroughly captivating. 

I wrote a blog about Pilgrimage, Hannah, and Crosman for a website that’s dedicated to Ford and his films, and I was on my way. I thought this was a refreshing angle to take on Ford—something people didn’t write about all the time—and I kept writing short blogs on women in his films. Soon, the blogs became essays, and the essays became chapters in a book.

You cover an incredible number of Ford films and the female characters in your book. Including shorts and documentaries, Ford has over 140 directorial credits to his name and over 50 of those are features. How many Ford films did you see as part of your research?

I’d guess that more than 80 of his films are features. Sadly, too, many of his silent films—both
feature length pieces and shorts—have been lost. That said, I’ve seen about 60 of his features, many for the first time as I was researching the book. Along with Pilgrimage, there were many other surprises: Shirley Temple in Wee Willie Winkie, Jean Arthur in The Whole Town’s Talking, Karen Morley in Flesh, and lots more.

Do you have a favourite Ford film?

Wow, that’s a tough one! One of the reasons this is such a tough question is that Ford made so many films that are so good. I could easily name 15 or 20 that I have special fondness for. But, when pressed, I would have to say The Grapes of Wrath, They Were Expendable, and The Man Who Shot Liberty Valance. Now, as soon as I say this, I feel guilty because I’ve left out so many that I really like!

How about the women in them? Do you have a favourite Ford woman?

That’s another tough question. For many people, that favourite woman would be Maureen O’Hara, particularly her Mary Kate in The Quiet Man. That would certainly be one of mine, too. But there are so many others: Ava Gardner’s Honey Bear in Mogambo, Joanne Dru’s Denver in Wagon Master, Henrietta Crosman’s Hannah in Pilgrimage, and Anne Bancroft’s Dr. Cartwright in 7 Women are just a few.

It has recently been announced that Maureen O’Hara, who appeared in several Ford films, will be presented by the Academy with a Lifetime Achievement Award this year. You must believe that this is great news!

Yes, I think it’s great that Maureen O’Hara is finally getting some Academy fanfare. It’s been a long time coming. She did superb work for Ford in How Green Was My Valley, Rio Grande, and The Quiet Man. She also delivered excellent performances in dozens of films by other directors. 
By the way, as part of the research for my book, I read her memoir, ‘Tis Herself. What I liked best was how her natural feistiness shined through. She could (and probably still can) hold her own with
anyone, even someone as feisty as John Ford.





Sydney Underground Film Festival 2014

Without a doubt, the Sydney Underground Film Festival is one of the most, if not the most daring film festival on the festival calendar. Each year the film festival aims shocks their audiences in as many ways as possible with it's ambitious yet often disturbing program and 2014 is guaranteed to do no different. The Sydney Underground Film Festival aims to go where other film festivals won't dare and showcase the quirky and bizarre, but also the highly original and brilliant.

This year's festival at the Factory Theatre will kick off on the 4th of September with a screening of the New Zealand horror-comedy, Housebound and performance by Renny Kodgers. After four days and over 100 films, the festival will close on the Sunday night with the controversial and much talked about German feature, Wetlands.

Sydney Underground Film Festival director, Stefan Popescu took the time out of his busy preparation for the festival to have a chat to us about what to expect at this year's festival and what are the films to see.

So Stefan, how are you feeling with the Sydney Underground Film Festival just around the corner now?

Oh it is always just a little bit of a stressful time, but also very exciting. The adrenalin is pumping!

How do you feel the 2014 festival has broken new ground?

With the short films actually strangely. We're playing some really, really risky short films...if they even get through. I mean there is a really big chance the Office of Film and Literature Classification will ban some of the shorts. Hopefully they don't, they are looking at them right now. I think the shorts are really, really pushing a lot of boundaries.

In terms of the features, the one thing I can say is I don't know if it is the economic climate but there is a bit of a return to a more independent style of filmmaking. So it's interesting, even to the point of The Green Inferno where they are pulling it from distribution in the US and how they are handling it. I think Eli Roth had a big hand in not letting distributors getting their hands on it there. It is an interesting climate for filmmaking. There are more documentaries which is another sign of independent filmmaking. I think because of the accessibility with technology now.

So there are some films in the shorts program which are being looked at in terms of whether they are appropriate to be shown at the festival?

Yes, the Office of Film and Literature Classification are really scrutinizing the shorts particularly from The Best of the Fetisch Film Festival part of the program, but there are also a few from the Love/Sick part of the program which they are also looking at. I think they are really concerned when it comes to sex and/or violence. In particular, there is one called I Am Monster which they are really scrutinizing. I mean The Best of the Fetisch Film Festival is really graphic at the best of times and I Am Monster is really twisted. It's about a woman and necrophilia, but strangely that one is actually quite comedic.

What has the process for selecting the films which are part of this year's festival been like?

Well, it's been pretty similar to what it is like every year. We start from basically what's been submitted to us, so we never really have a major preconception and that's also why our program is always released a bit late. We actually go through all the films, have a look and see what we respond to, then take those and then start to see the themes that form. So we develop this early on so that we can keep the program really fresh and up to the time, rather than have preconceptions from what other film festivals and it's also a way of distinguishing our program too which is curated from production. Initially you see themes that form and things like that. So this year it seems to be a strange combo of horror/comedy and intimate pieces with interpersonal relationships. A lot more profound that what it usually is. Along with horror we do have that theme of the end of the world, like we have a documentary about living forever and then we have all these apocalyptic short films. You always seem to get two or three themes that stick out.

Can you tell us a bit about the "Dead Oscar"?

Oh yes! That was from the beginning a local artist, Mark Wotherspoon, who developed these trophies for us made out of recycled TV screens. Basically we thought that we don't really like the idea of prizes, so we thought that having the Dead Oscars would be a good idea!

Absolutely! So what type of film could win the Dead Oscar?

Oh whatever the jurors deem fit to win it! We still have jurors and they usually go through it and create their own awards. I guess it's about what resonates more with them. Then they sort of commend a whole bunch of films. This year's jurors are Nicholas Hope, Lauren Carroll Harris and Neil Foley. We sort of try and get a mix usually of artists. We like actors because actors normally know their art quite well. We do have an Audience Choice Award, so we have a couple of Dead Oscars to give away. The jurors do pick their favourites, so there is the best of the festival kind of award, but the audience gets to do the same.

The Opening and Closing Night films are both films with big personalities. Why did you choose Housebound to be the Opening Night film and Wetlands to be the Closing Night film?

Well, because they do have big personalities! It's really funny because technically Wetlands is my favourite film of the festival, but I love Housebound as well. We sort of try and think "How do we want the film festival to kick off and what taste do we want to leave in our audience's mouth?" Bad choice of words for that film but (laughs)! Housebound because it is quite a fun film and it kicks off the energy right and Wetlands will leave you talking for a week. So we always think about what we want our audience to experience on our opening and closing night.

Now I just want to ask you a few questions about what films certain types of people should see. If someone liked to be scared and considers themselves a horror buff, what should they see?

Definitely The Green Inferno or Housebound, but I would say The Green Inferno.

If someone is easily grossed out, what shouldn't they see?

Well, there is a couple! Wetlands and The Immoral.

If someone wants a laugh, what should they see?

Definitely Trailer Park Boys or Suburban Gothic.

What should a music buff see?

Oh, definitely Breadcrumb Trail and Super Duper Alice Cooper.

If someone wants to see a feel good film, what should they see?

Nope, we don't have those! Oh...I Believe In Unicorns is not bad. I mean, it is still a little dark though. The other thing is My Name is Jonah, that is a bit of a feel good film.

If someone are after seeing a film which make them feel like they have taken some sort of wacky drug, what should they see?

Definitely the shorts, either the WTF Shorts or LSD Factory.

We've already touched on some of the most shocking films in the festival, but what would you consider to be the most shocking in the program?

Well, we covered the shorts, but The Green Inferno is shocking in it's own way. I mean, cannibalism is always going to get a rise out of people. I think also a lot of people have a tendency to overlook Why Don't You Play In Hell?, and that is strangely quite a comedic but very gory film. In terms of documentary, because documentary is always more shocking to me than anything else as the truth is always stranger than fiction. Love Child, I was shocked when I saw that. But we have so many shocking films!

You said before that your favourite film of the program is Wetlands, do you have any other favourite films?

Yeah, I won't mention Housebound again, but I am a big fan of Trailer Park Boys. I've watched the series and I've watched the other two features. I do like quirky, so something like My Name is Jonah about this quirky guy who no one knows.

What part of the festival are you most looking forward to?

I always like the Closing Night because it's over and you can have a drink! But Opening and Closing Night is always what you look forward to because you can relax on Closing Night. It's not that you don't enjoy the rest of it, but you are on duty the whole time. It does take it's toll. Yet in the following weeks after you finish it there is this strange sense of loss. It's a bit like Stockholm Syndrome! Yet within a week after it we open up entries for the next year so then it begins again!

For more information and ticket purchases, please see the official Sydney Underground Film Festival website

"Sharon Tate: Recollection" book review and Interview with Author and Tate sister, Debra Tate

Author: Debra Tate
Publication Year: 2014
Pages: 271
Publisher: Running Press
To purchase "Sharon Tate: Recollection", please visit NewSouth Books if in Australian and Running Press if in the USA.


Sharon Tate was an exceptionally rare brand of star. Not only did her image radiate with beauty and glamour, but she could light up any room she stepped into. Those who she met were instantly in awe of her grace, sensitivity and the overwhelming kindness and respect she gave everyone around her. "Sharon Tate: Recollection" by her younger sister, Debra Tate, is the book every Sharon Tate fan has been waiting for. Through many exquisite photographs and loving words by her sister and many of the people who knew her in her short life, the legacy of Sharon Tate as the star, friend and sister is perfectly preserved.

A sister's tribute to a woman who was loved by many, 'Sharon Tate: Recollection" is a coffee table book and illustrated biography. Sharon Marie Tate was born on the 24th January 1943 in Texas  and with her stunning features and natural talent, rose to film stardom and captured the hearts of many. Among her many achievements was being nominated for Most Promising Newcomer at the Golden Globe Awards in 1968. This tribute to Tate contains many never before seen photographs from her family's collection, as well as stills from both her films such as Eye of the Devil, The Fearless Vampire Killers and Valley of the Dolls, and her modelling days. These photos are accompanied throughout the book by memories many have shared about Tate, including recollections by husband, Roman Polanski (who also penned the Forward), Patty Duke, Barbara Parkins, Mia Farrow, Jane Fonda, Yul Brynner and Kirk Douglas.

"Sharon Tate: Recollection" is completely dedicated to the loving memory of Tate. Too often Sharon Tate is remembered just in association with the way she passed away. It is wonderfully refreshing in the way that this book avoids mentioning any of these details and remembers Tate for who she was in life and not the grisly details of her death.  She completed a large body of work in such a short period of time and her drive and talent made her destined for even bigger things. Tate was indeed a beautiful woman, but the book allows the reader to recognise that her beauty was by no means only skin deep. With the combination of the incredible variation of beautiful photographs and the words of praise from those who knew her, the reader gains a clear understanding of who Tate was and indeed starts to feel as though they knew her personally. While there is no mention specifically of Tate's death, there are some saddening recollections which subtly hint at what may have been and the feeling of loss many still feel with her gone. Debra's final recollection of her sister is particularly so, but also sweet and peaceful.

The choices of photographs used in the book (which were also co-edited by Debra's daughter and Sharon's niece, Arieana Tate Mussenden) are wonderful. They not only represent Tate's personality and versatility, but also just how much of a fashion icon she was and still is. Her look is as modern now as it was in the 1960's and the photographs chosen enlighten the reader to this fact. Film lovers will also enjoy stories and candid shots from behind the scenes of Tate's films.

While "Sharon Tate: Recollection" is not a traditional biography in the sense, it allows for the reader to walk alongside Tate as she grows up, finds stardom and marries the man of her dreams. It is an incredibly intimate journey which fans of Sharon Tate will be eternally grateful to Debra Tate for letting them be part of. Like Sharon, "Sharon Tate: Recollection" is eternally exquisite and mesmerising.

9/10

Photo by Roman Polanski

We at Movie Critical are extremely grateful and honoured to have been able to talk to author of "Sharon Tate: Recollection" and sister, Debra Tate. Debra currently lives in California and  continues to be an advocate for victim's rights, a cause which her mother, Doris was extremely active in during her lifetime.

Thank you so much for taking the time to answer a few questions, Debra! Congratulations on such a beautiful book!

Well, thank you. I really appreciate that. I hope to come visit Australia soon.

Was putting together a book for your sister something you had always thought about doing?

Absolutely. I had always wanted to write a book about Sharon, for many reasons. Primarily, I felt it was my obligation to help preserve her considerable photographic legacy, but also to try and redefine how Sharon was remembered.

For many years she had been in the public’s consciousness because of a specific event.....and then I noticed a change. New generations began to appreciate Sharon for who she was. Fan websites started appearing, fashion blogs regularly featured her as a sixties fashion icon, and major celebrities even referenced Sharon as the style inspiration for their magazine editorials and red carpet appearances. Today she is everywhere.

The idea for the book was not to present a traditional biography, but to carefully assemble photographs and pair them with recollections from myself, Sharon's friends, co-stars and work associates, and even Sharon herself. 

 

There are some incredibly beautiful photos of Sharon in RECOLLECTION. Did all of the photos come from your personal collection?
 

No, not at all. Of course the younger photos of Sharon came from our family album, but most of the later images came from the photographers themselves. What amazed me on researching for this book was her extraordinary productivity. The immense and diverse body of work in such a relatively brief time. Sharon was photographed by some of the greats of the 20^th century,  Richard Avedon, Bert Stern, David Bailey, Milton Greene, Terry O’Neill, Philippe Halsman, Shahrokh Hatami.

I think people today love Sharon for many reasons, her beauty, her sweetness, her style. There was a light about Sharon, almost a 4^th dimension if you will, that transcended the limitations of photography. It is almost as if you can see into her soul and know who she was just by looking at her picture. She really captured the essence of the sixties.

 

Do you have a personal favourite photo you used for the book? If so, why is it your favourite?
 

I love so many of them, but there is a photo of Sharon laughing on page 247 that I adore. She’s at the premiere of Rosemary’s Baby at the Cannes Film Festival in 1968. I believe Mia Farrow is just off camera. Someone has obviously said or done something that really amused her and every time I look at that photo I can hear her laughter. It’s such a genuine candid moment.

 

The forward for RECOLLECTION is by your former brother-in-law, Roman Polanski. He must've love the idea of you putting together such a loving tribute to Sharon. What was his reaction when you first told him about the book?
 

When I first approached Roman about the book, he was a little reserved and asked to see a final version before committing. After I sent him the initial layouts, he saw how unique and positive the book was. A true celebration of Sharon’s life. He was very pleased and promptly sent back his beautiful foreword.
 

As well as Roman, many of Sharon's friends from her Hollywood days have contributed to RECOLLECTION. Was it a lengthy process in speaking to all these people or did you find everybody very willing to speak about Sharon?

Everyone was so eager to contribute.Jane Fonda, Michelle Phillips, Patty Duke, Bert Stern, Joan Collins, etc. etc. It was wonderful. A few people preferred to keep their memories of Sharon private, and of course you have to respect that.

The photos of you at Cielo Drive in the book are great! In one of them you are wearing one of Sharon's dresses. All little sisters love dressing in their older sister's clothes, but was that one of the perks of having an actress as an older sister that you got to try on some of her extremely fashionable clothes?
 

You know I was a total tomboy in those days. Still am to a certain degree. I loved dressing up in some of Sharon’s crazy Paco Rabanne and Rudi Gernreich outfits, but I saw them more as Halloween costumes back then (laughs). Today I’m much more appreciative. I actually still have a lot of her vintage couture.

 

You were only a teenager when Sharon made her way into the spotlight. Was it both exciting and surreal at the same time?

Yes and no. I was much younger than Sharon, so I could never really remember a time when everyone wasn’t making a big fuss about the way she looked. She always seemed destined for stardom – greatness if you will. She worked extraordinarily hard and had a strong work ethic, but her face certainly opened many doors. By the time she became a star it just seemed … right. 

 

Sharon's most popular film VALLEY OF THE DOLLS wasn't really a film for younger viewers. Did your mum let you watch many of Sharon's films when they were released?

 

Oh sure. I actually got to watch a little of Valley of the Dolls being filmed at the time at Fox. Truth be told, I was more interested in Planet of the Apes, which was in production at the sound stage next door. I seem to remember the first time I saw Dolls was with Sharon – at a preview screening. She looked so amazing in that film. I will say, if there was one “Sharon Tate” look that most fans seem to adore, it’s her high fashion appearance in Valley of the Dolls – the gowns, the false eyelashes, the hairpieces, the camp. That film seems to become more popular with each passing year. I loved going back to 20^th Century Fox, so many years later, to explore their photo archive for the book.

Have you ever seen a film and watched the actress in it play a particular role and thought to yourself that Sharon could have played that role?

Great question ! I remember once watching A Patch of Blue, about the blind girl, and thinking Sharon would have been wonderful in that role. I always felt one of her strongest attributes as an actress was being able to elicit sympathy from an audience, not unlike Marilyn Monroe. As far as fairly recent films, years ago I saw the comedy Overboard with Goldie Hawn on late night television and it reminded me so much of Sharon. I think because she could have played both the aristocratic pampered beauty, as well as the country bumpkin. Sharon proved how great she could be in screwball comedy when she did The Wrecking Crew with Dean Martin.

From what I have read about Sharon in the past and in your book, it seems like she was extremely well liked and such a beautiful soul. She also seems like she always wanted to help other people and was extremely maternal. Are this some of the things you saw in Sharon through your eyes?

There were times when I was a little girl that I almost saw Sharon as a mother figure because of our age difference. By the time I was in my mid-teens our relationship was certainly more sisterly. She was a very maternal person, but in many ways I always felt protective of her. Despite her stardom she remained a vulnerable person, and I was very mindful of making sure she was never hurt.

In RECOLLECTION, you mention how you see Sharon everyday in your daughter, Arieana. That must be a comfort to you and make you proud as a mother and sister to see!

I am very proud of Arieana. She has a strong work ethic and a very defined sense of self. Every now and then I will see Sharon peeking out of Arieana, even in the most subtle of mannerisms. It’s sweet. Today, Arieana is a designer and we are actually collaborating on a Sharon-inspired clothing line. More to come.

You are doing such a wonderful job of carrying on the Tate legacy and following in your mother's footsteps for victims family rights. What can fans of Sharon's and of your book do to help out?

Thank you. Fans can always visit sharontate.net where I keep the world informed about Manson family parole hearings, at which times I need letters of opposition. On a more general note, look after those around you – it has a positive domino effect.

What has been the best part of your journey with RECOLLECTION so far?
 

Without a doubt meeting Sharon’s fans. I can’t tell you the love and warmth I feel when I meet people at book signings. It’s wonderful.

 

Movie Critical would like to thank Debra Tate for her time and NewSouth Books and Mouth Public Relations for their help.

Photo courtesy of Photofest