We are moving stories

“If you need a dose of creative inspiration, come watch LONGSHOTSVILLE! You’ll get in some good laughs, but you will also flow along with these young characters and their mentor Bruce McIntosh of Metta Theatre through all their trials and tribulations. And you’ll come out of the theatre with a smile on your face (and maybe more energy for the creative dreams of your own!)”

“We were first and foremost attracted to this story because of the amazing people who reside at the Lillian Booth Actors Home in the quiet and suburban town of Englewood, New Jersey. You’re just 10 miles from New York City, but indeed it seems a lifetime away. At the Lillian Booth, we discovered a group of people who have spent their whole lives following their dreams, some wildly successful, and some hardly at all. And here they are, retired, supposedly having given it all up.

But what we witnessed during the rehearsal and performance process of “Midsummer” is that the huge talent of these former entertainers is still alive and well, despite their physical and mental challenges.”

“The Universal message I would say is: if you don’t believe in yourself, then other people aren’t going to either. You can’t fear yourself. You have to get over yourself. You have to be venerable and not give up. Allow yourself to fuck up – and don’t be scared of it. You don’t learn if you don’t fuck up every now and then.”

“Our web series portrays a young woman by the name of Tracy who falls victim to a despicable curse that prevents other people from hearing her voice. In the second episode, she meets a nameless drifter called No One who is plagued by a curse of invisibility. Tracy and No One form an immediate friendship, because they both understand the pain of not being seen or heard. I think we’ve all felt that struggle in one way or another — the pain of not being listened to or of being misunderstood. It was a theme that I considered strong enough to carry a web series.”

“I loved the concept of creating a film built on the memory of an unreliable narrator, and the way the story manipulates the audience’s perceptions and expectations. Much of the story is told in flashback as our main character Haskell remembers his life with Cello Shea, a young actress who killed herself nine years earlier. Haskell has been hired to make a biopic of her life starring a robot LifeDoll that has been designed to replicate her, and we see a lot of these scenes from his life intercut with the same moments as he presents them in the film he’s making.”

“It will make you laugh, make you feel and make you think about why and how we continue to move forward to pursue our ‘perfect’ life when sometimes things aren’t always so perfect. It’s relatable and cringy funny.”

“My approach to horror films are always exploring something deeper under the surface, but entertainment is always a major part of the craft for me. At under 6 minutes, The Gaze is a playful ride meant to put a devilish smile on your face.”

“I wanted to give audiences an insight into the powerful and dangerous emotional techniques actors use to create a performance. It becomes contentious when an acting mentor begins to delve into an actor’s soul in order to bring out a performance. I have witnessed confronting, gut wrenching acting class situations like the one in my film. I wanted to share that with an audience.”

“Our films have always been about shining a light on something that people aren’t super conscious about: mechanisms in society or personal dynamics that are hard to look at directly. This is the same. This film has a few layers, and it helps to watch it a few times.”

“I had a bit of success with the first feature-length film I made From Russia to Hollywood: The 100-Year Odyssey of Chekhov and Shdanoff, starring Gregory Peck (his final film), and many Academy Award-winning actors. The making of that film took seven years and changed my life personally and professionally. Several years later I wrote a screenplay Designated Caretaker about the making of that film and what happened to me as a filmmaker in trying to realize my dreams as an artist.”

“You should watch this film if you want a true insight for what it was like to be a stand-in, in the Hollywood system. You’re carried around like a movie star, but you’re really just a stand-in. There have only been about a dozen stand-ins to have experienced this on a superstar level, as I did working for Mr Cage of the Coppola family dynasty.”

“Since the film is completely improvised, we never worked from a script. One of the members of the cast, Matthew Crawford, had the idea to do a bit based on Christopher Walken and together we worked to build the game of his Coffee Shop using excessive murder to create its food/beverages. The story we built was then edited down and structured by our sound editor, Alan Snider, who gave it its distinct pacing and flow.”

“Why would I watch this film? If you are a fan of Japanese anime this series holds a ton of value as it features many well known voice actors. But for those who don’t belong to that group, this still has entertainment value. Drawing comedic inspiration from shows like The Office, Parks & Rec, and Arrested Development, CONfessionals will have a familiar approachable feel. Plus it may even prove educational to those who don’t know anything about what it’s like to be a voice actor who attends anime conventions.”

“Our goal is to make the Sunset Boulevard for the new millennium. A deep character study, disguised as a noir thriller, that reveals the psychological effects of Hollywood’s rotating door, and the lengths of ruthlessness one’s willing to take as they try to claw their way back to the top. It’s a film about the struggle to stay current, and the desire to reclaim the glory days instead of forging a new path.”

“Brett, the writer/director, and I wanted to capture what it truly means to “pound the pavement” in Los Angeles and what happens to a person when they have not reached their acting goals after years in LA.”

“This film, in particular, came out of the work I do with actors all over the world and was an expression of the vulnerable work artists do in telling stories.”

“You should watch this because you will relate to it, because you will be terrified, and because you will have a lot of fun. It’s a film lover’s film. It explores the industry, and all of its pitfalls. It explores method acting, and just how far a totally committed actor can take his craft. It’s also quite the psychological thriller, it blends realities, and hopefully transports you to different worlds.”

“The main idea behind Shakespeare Republic was to bring Shakespeare to audiences who may not usually watch or attend a full play. So I’m delighted to say we’ve attracted audience from around the world that may not normally have engaged in another, longer-form medium.”

“I was given a wonderful opportunity to get to know Eric Roberts when I was a lowly PA on a film set. One day, he talked about how much he respects writers. I mentioned I was an aspiring writer myself, and he said he wanted to read something I wrote. I asked him what kinds of characters he likes most to play, and he said, “I like grey characters. You know, not black, not white, but somewhere right in the middle.” I told him I had the perfect script for him.”

“The film flies, with the terrific score and first-rate acting propelling it forward. Oscar nominee Eric Roberts got involved because he cares about the topic and loved the screenplay, and he contributed so much to his role of Congressman Thicke - and was awarded a Special Jury award for it.”

“This film is a chilling story of double-dealing, violence and murder that will keep you on the edge of your seat with a roller coaster ride of the unexpected. It also has black comedy elements. And amazing actors.”

“I was having lunch with a friend from Warner Bros. and he asked why I seemed upset. I explained that over my door bell is a sign “No Soliciting” (In the States Soliciting is a term for someone who is selling something and doesn’t mean an attorney) but they keep on ringing my door bell. He sits back and then says – why not write a story and kill them. I liked that idea and took it from there.”

“When working with seasoned actors like Eric Roberts, Cathy Moriarty, Vincent Pastore or Chuck Zito, they bring so much to the table for you as a director to pick and choose from it makes your job both so much more fun, and spontaneous.”