SUYS Interviews
The filmmaker behind Learning to Drive, Roderick Stevens, shares his thoughts on his film and filmmaking.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Roderick Stevens: I’ve worked in the film industry in some capacity or another for just shy of 30 years. I moved from a small town in southeast Arizona to Los Angeles, in 1990, to attend the since defunct Film
Steven Gladstone: You wear many different hats—writer, producer, director, actor, etc. Do you go by Filmmaker, or is there a distinction?
Gregory Blair: If I’m relegated to a single label, I use “Entertainment Professional,” because it is generic and inclusive enough to represent my writing consulting, TV, and theatre work in addition to my various roles in the film industry.
SG: How long have you been working in the industry, and how did you get started?
GB: Seems like forever, but I didn’t really start until I was in my twenties and, despite
Making a complete film that lasts only a minute takes far more time to shoot and edit. Kelly Murray and Hillary Hanak opened up to me about what was involved in making the one-minute-long horror film, 3:13.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Kelly Murray: I've been working in film for seven years, since 2012. Growing up, I was involved in the arts and was a strong writer, so I studied English literature and writing at college. I was, however, involved in the University's student
I had the opportunity to catch up with Jillian Bullock, the filmmaker and creative force behind A Sense of Purpose: Fighting for Our Lives, and she shared some thoughts on making the film and the filmmaking process in general.
Steven Gladstone: How long have you been working in the industry, and how did you get started?
Jillian Bullock: I’ve been in the industry since 1991 when I graduated from La Salle University and got an internship on the set of Spike Lee’s movie, Malcolm X.
SG: Did you go to school to learn about filmmaking?
JB: I went to
The filmmakers behind Clickbait, Michael Epstein and Sophia Cacciola (collectively Filmmakers), share some thoughts on their film and filmmaking.
Steven Gladstone: How long have you been filmmakers, and how did you get started?
Filmmakers: While we’ve each had a lifelong interest in film and filmmaking, we really started out being dedicated to music and songwriting. We toured in many bands over the years and, around 2008, we decided that we really
If you are gearing up to shoot your film, video, webisode, or pretty much any production, don’t forget to take on-set photographs and BTS video. This is something I’m sure you have heard before, but it is one of those things everyone knows, but doesn’t do. In the following two articles, I ask about the value of on-set photos and BTS video, from the perspective of a producer, and then from the perspective of film festivals. In Part 1, I interview JB Bruno, a no-nonsense kind of guy who is a long-time AD, Line Producer, and Producer in the film
You’ve shot, edited, and finished your film. You’ve sent it off to the festival circuit, and you’ve been getting accepted. Congratulations. And yet, each festival is asking you for promotional material, on-set stills or behind the scenes (BTS) video. Sadly, all you have is a picture or two from just before you started shooting, and one that the crew sent around—of you, passed out from exhaustion—at the end of the shoot. But getting good on-set stills and BTS video, that’s tough. I know, I’ve been there. It is hard enough just getting the film