Baggage (2013) Including Interviews With Rob Dimension and Jeremiah Kipp

I love a good short film, and I especially love a good short horror film.  Trying to cram quality thrills and chills into a shorter time frame is a challenge and a chance to show off some really great creative chops.

So when my friend, director Jeremiah Kipp, made me aware of a short film he'd made with another friend, actor/writer Rob Dimension, I jumped at the chance.  I've reviewed two of Jeremiah's other films, Contact and Crestfallen, so I knew I was going to be in for something really good.  And I was not disappointed.

Baggage is a short black and white film written and starring Dimension, and directed by Kipp.  Believe me, I'm not going to reveal one single spoiler about this movie because even hinting at it would ruin the surprise.  I can tell you that the film centers on a put-upon office worker trying to make it through his day, then simply trying to have a drink at a local tavern.  When a couple of ne'er-do-wells try to accost him and steal his duffel bag, it escalates into something...well, you'd just have to see.  I'm not spoiling it.

The film unveils itself like a puzzle, with things falling into place as the story reveals more and more.  Dimension is great as the mousy, tentative office worker who is a magnet for jeers and pitying glances.  His character is so intriguing simply from body language and posture, as well as his hushed, unoffensive tones when he speaks.  Pulling double-duty as the screenwriter, Dimension's script melds perfectly with Kipp's direction, and Kipp is no stranger to bringing visceral and emotional images to the screen, no matter what those emotions may be.  I've long been a fan of Kipp's work, and now you can add Dimension to the list of quickly-rising filmmakers who I will be following - and touting - for years to come.

I also had a chance to ask both guys some questions about Baggage - let's start with the film's writer and star, Rob Dimension:

What inspired the story?  Do you have any literary and film inspirations that directly influenced this film?

First, thank you for watching Baggage...I appreciate it. Baggage was a story that started as a talk a few years ago, between myself and a friend of mine, Sal Valente. We were eating lunch and started to discuss how you never know who you are sitting next to in a restaurant or even who you live next to. The world is a crazy place...people are crazy. So, after finishing No Clowning Around and having some mild success, I was thinking of a new film to write and Baggage evolved from that. After I was finished writing, I sent Sal the script and he says, "I can't believe you've taken one discussion and made all of this."

Typically, I've noticed my writing is influenced by the my current movie or television watching. I was on a kick of watching a lot of Hitchcock and Twilight Zone episodes. I really was in love with the black and white look and the use of shadows. I also was at a point where I was thinking about camera movement and how it can affect emotions and uneasiness. I was just in a classic state of mind, I guess.

How did you and Jeremiah Kipp get together for this production?

I had seen a short film titled Crestfallen and absolutely fell in love with the movie. The atmosphere, the visuals, just loved the look. At the time I was hosting a small Horror Club and we were showing independent films, so I messaged the people behind the film and one of then was Jeremiah Kipp. Fast forward about a year or so...No Clowning Around gets accepted at a film festival and Jeremiah was going to attend, so I shot him a message and we ended up meeting. The crazy thing is I basically just pitch him an outline about Baggage and he looks at me and says, "I'm in!" I was flattered and extremely excited and we've become great friends since. It was really just me taking a chance to reach out to someone who I respected and it worked out.

How was the process of making the film?  Smooth, challenging...any funny stories?

 

The process is long but always fulfilling, I mean that. I wanted Jeffrey Gould and his partner Steve Adams (who will be co-directing my newest film - Quackers in 2014) to handle the cinematography and these guys killed it. Jeremiah is a solid director...he pulls no punches, he is intense and is extremely professional. Every person involved was ready for the challenge and they all delivered. We filmed for five days and about 60 hours, plus on the fourth day, we filmed for nearly 24 hours. 

We were scheduled to film a chase and mugging scene outside but the weather decided to be uncooperative...which I feel added to the film and made it better, but we needed to scramble for a different location. In Baggage, you see Benjamin at the train station and while filming, we came across a small subway tunnel that got you to the other platform. I mentioned to Jeremiah that the tunnel would be a good and we committed to making that the spot for this scene. 

The next day we start filming and we leave some of our belongings on top of the platform, so my wife, Kim, continues to check on our stuff. She occasionally pops her head up and checks to make sure everything is still there. The next thing we know, we have police there with guns out. The tunnel has two sides and we had cops on each entrance and we had to explain we were filming. They had three more police cars on the way...they thought we were terrorists. It made for an interesting moment of panic. The good thing was we had a permit and were completely legal to be there...but it was scary for a moment.

What do you hope happens with the film?  Festivals, distribution, more film?

Well, people can purchase the DVD at www.YouveBeenRobbedFilms.com and Baggage has been accepted to several film festivals as well is being shown in a few spots for Halloween. Baggage also was shown at Monster-Mania convention in August, which was a massive thrill. 

People can see my first film No Clowning Around online for a short time also on my site. I just finished the script for our next film titled Quackers. Quackers was a concept pitched to me by Buz Hasson from the Living Corpse comic series and I just got busy writing and elaborating on the concept. The Living Corpse team of Buz, Ken and Blair will be working on original artwork for the film also. Jeffrey Gould and Steve Adams will be co-directing the film and handling the cinematography...I'm super excited. I think I have an extremely talented team. I honestly think this is my best screenplay and story yet. People can read more about it and stay up on things at www.YouveBeenRobbedFilms.com or follow me on Twitter at @RobDimension.

How was the transition from one form of entertainment (wrestling) to another (film)?  Similarities and differences?

I was involved with professional wrestling for almost 15 years. Wrestling taught me so many things...it taught me performance and working in front of large crowds. It taught me to drop my inhibitions and be a character and not be scared of the camera. It also gave me an outlet for writing, as I wrote storylines and even wrote for live TV. It also is the harshest reality check about business and people. It really makes you become your own biggest, promoter. I'm fortunate and love to talk, so I think that has also helped make the transition easier.

Most of my wrestling career I was a villain, so I guess playing an over the top villain in movies is like a lateral move...haha!  I've always loved horror films...so I just decided to get off my ass and decided to make what I wanted to see. I encourage anyone who is sitting, debating to create something...go do it. It's the greatest reward when it's finished. When I got the final cut of No Clowning Around, I remember sitting on my sofa and just crying...I felt accomplished.

 

And here's director Jeremiah Kipp with more insight:

 

How was it working with Rob?  Do you see more collaboration in the future?

Rob is an intense and charismatic guy, with a wicked self-deprecating sense of humor.  What I loved about our work together was his sheer willingness to push himself as far as he needed to go.  He was playing a troubled character, and he’s so committed that I think in many ways he took the work home with him.  But on set, you knew the material had strength to it.  I’d work with him again in a second; we’ve talked about it and have been making plans.

What drew you to the story?

There was a slow building dread in the narrative that built to an operatic peak moment at the end.  After doing an incredibly phantasmagoric experimental film called The Days God Slept, I was intrigued by the possibility of locking into a plot-driven thriller which was all about building a mood of tension.  Rob told me the story in person, and even before he asked me to direct it, I found myself drawn into his macabre tale. It felt like a modern variation of Edgar Allan Poe.

What kind of visual influence played a part in how Baggage looked and felt?

The director of photography Jeffrey Scott Gould shares a tremendous enthusiasm for Alfred Hitchcock’s Psycho and Martin Scorsese’s Taxi Driver.  We took the classical black and white 1960s retro feel and pushed that into areas of the grotesque.

Will we see Baggage at any festivals or screenings?

It has been having a strong festival life so far, playing at Monster Mania, New Jersey HorrorFest, Macabre Faire Film Festival and DOA Blood Bath Entertainment’s Blood Bath V Film Festival. We’re happy to be able to present the film to audiences, and hope they enjoy.

Were there any funny behind-the-scenes stories?

There must have been, but when I lock into making a movie it’s all about the execution.  It’s not that I don’t like to have a good time; it’s just that I place all of my thought into making what’s happening in the frame as expressive as possible.  I remember doing crazy stuff like making the actors jump up and down until they were exhausted; I made Rob sprint across city blocks for half a day, we put actors through some grueling special effects makeup. And yet I remember having a really good time making this movie, and had the sense that we were surrounded by generous friends who were excited about the work. That’s what I probably remember best; working with people I love and trust as well as making new friends.  There was that one moment we were filming a scene where the local police surrounded us because what we were doing seemed criminal, but we were able to laugh about it later…

What's coming up on your schedule in terms of filmmaking?

Right now, I’m going into production on a new scary movie called The Minions.  It’s a dark urban fable about a man’s walk home one autumn night, and he decides to walk down The Witch’s Path. He almost makes it past safely, but then two drunken girls appear…and they’re the minions. What happens next is not very nice…  Find out more at: http://www.indiegogo.com/projects/the-minions

I want to thank both Rob Dimension and Jeremiah Kipp for taking the time to answer my questions and especially for their (and their crew's) hard work on Baggage.  I highly recommend getting your hands on it, dear readers.  You really won't be disappointed.  

Be sure to keep an eye out for more from Rob and Jeremiah, and you'll see more coverage here!

Until next time, dear survivors, see you on Halloween! 

Interview with Sevé Schelenz, Writer/Director of "Skew"

Hey, good people in all the zombie apocalypse shelters, I've a nice treat for you this time around.  You'll recall that recently, I reviewed an excellent found footage/point-of-view film called Skew.  I honestly enjoyed its mind-bending premise and intense atmosphere - as well as its gut-punching ending - and was thrilled when I got in touch with Sevé Schelenz, the writer and director of this fine entry into an often-crowded subgenre of horror.  He agreed to answer some questions about Skew, his influences, and where he's headed in the future.

So, ladies and gentlemen, allow me to introduce to you, my interview with Mr. Sevé Schelenz:

So, Sevé, what experiences inspired Skew?  What made you decide to go with the found footage sub-genre?

Sevé:  "I had been itching to do a feature film for some time as I spent the last while focusing on some independent television projects.  One of the biggest obstacles I faced was having enough money to make a film since all funds were coming out of my own pocket. I was also concerned with the film’s production value and if the audience would accept it.  I had seen my share of independent films that fell short because they attempted to make a Hollywood production without having the necessary budget.  Instead of falling into the same trap, I decided to turn this perceived limitation into an advantage.  Two days before an actual road trip with some friends, the idea of one of the characters filming the entire journey through a handheld camera struck me.  It had been five years since The Blair Witch Project had been made and I felt enough time had passed that stylistically another film in this same vein could be made.  Of course I didn’t want to copy what had already been done with The Blair Witch Project so I put my own spin on it.  I wrote the first draft within four days of my actual road trip, and a final script was completed in six months.  Without giving too much away about Skew, I think viewers will be surprised to find out that it is not actually a “found footage” film at all.  There was never any intention to have tapes found by some sort of authority and edited together for the world to see as a pseudo documentary.  Actually, Skew is a narrative film that just so happens to be filmed from the point of view of a video camera owned by one of the characters.  Of course it gets even deeper than that, but I will quit while I’m ahead so as not to spoil anything for the audience." 

How did you get into filmmaking?  Are there any directors or writers who directly inspire you, or have inspired you on your path?

Sevé:   "I began making short comedy films in my high school years.  I used to bug my family and friends to be in them all the time.  I had a camera strapped to my hand virtually at all times.  In my last year of high school I remember avoiding my guidance counselor, as he wanted to sit down and discuss my future plans for university.  It wasn’t until he told me that film school was an option that I actually took the time to look into it.  I assembled a portfolio of finished films and sent them off to each respective university along with my application and other prerequisites.  After graduating from the film program at York University in Toronto, Canada, I moved to the West Coast and found employment in the post-production field.  While working I continued to write, direct and produce various independent projects in the television medium on the side.  After a while, the filmmaker side of me started calling and I moved away from these independent television projects and focused on making features.  After working on a few film concepts and writing a comedy feature, I jumped headfirst into developing Skew and the rest is history.  In terms of film directors, there have definitely been a few who have inspired me.  Spielberg, Cameron, and Tarantino are at the forefront.  In terms of horror, I think Carpenter’s The Thing and Halloween have had a huge impact on the type of film I have made with Skew.  As a filmmaker, John Carpenter has shown that he really understands the source of what scares us and doesn’t let up on it." 

I absolutely agree with that!  How were you able to draw such natural, seemingly unscripted performances from the actors?

Sevé:   "Finding the actors for Skew was quite the feat as we had to go the route of non-union for the film because not only did we want unknown actors in order to maintain a sense of realism for the film, but we couldn’t afford to pay the union’s rate.  We had many interesting characters show up for our open auditions.  I have to tell you that the majority of these people should not be acting at all.  It almost got to the point where I saw myself having to play one of the characters in the film.  Finally we were blessed with Amber Lewis who initially read for the role of L.T.  Once we discovered her range, we had her do a cold reading for Eva right then and there.  She was offered the role on the spot.  Next was Richard Olak who read for the role of Rich.  He nailed it on the first try and was instantly hired.  The last major character we needed was Simon.  The instant Robert Scattergood began screaming his lines in terror, we were sold.  The key to getting these realistic performances from my actors – beyond the fact that they were very talented and professional to work with – was in the rehearsals.  We spent a large amount of time in pre-production going over the script to ensure the actors not only understood how to deliver their lines, but why they were being delivered in such a way.  We did not deviate from the script at all.  There are very few unscripted lines in Skew and once you see the film you will understand why.  Skew is as much a suspense thriller as it is a psychological horror and there are many pieces to the puzzle that were planted at very specific moments throughout the film. It was very important that the dialogue and action stayed true to this."

They really nailed it!  How important is it to add a psychological aspect to supernatural horror...well, any horror, really?

Sevé:   "Skew is the first feature I have written, directed, produced, edited and even partially filmed.  When I originally wrote my screenplay, The Blair Witch Project was definitely a catalyst for it.  One of the main devices used in The Blair Witch Project is anticipation.  I remember seeing this movie on opening night and feeling completely restless and apprehensive the whole time.  For me, a good horror film blends this feeling of nervousness with the unexpected jump-out-of-your-seat scares. You combine this with a good script with at least one brain-teasing, unforeseen twist and I’m hooked. When I see a horror film I want to be forced to think a little.  It doesn’t have to be overly complicated, but don’t dumb it down for the audience. I completely lose interest in your typical “paint by the numbers” horror.  The psychological aspect to horror naturally lends itself to anticipation."

Are there any other genres you'd like to tackle?

Sevé:  "In film school one of my screenwriting teachers preached the idea of picking one genre and sticking with it.  She believed in order to work in the industry you had to perfect one genre in to make money.  I disagree with this as I have plenty of ideas that span a wide range of genres.  I think it’s definitely important to not only master the basics of screenplay writing, but to do your research within the genre you undertake. For Skew, I watched Blair Witch roughly six times and focused on different aspects of the movie during each viewing. As previously mentioned, comedy had been my filmmaking forte in the past so I definitely see myself coming back to it in the future.  Yet, as of late, I have been working on a number of different genre pieces including a suspense thriller, another horror, and even a children’s film.  Did I mention the musical?  Just kidding." 

What are your future plans?  Any projects we can look forward to?

Sevé:   "Right now I am working on another horror feature with a writing partner.  We are fairly close to locking it and will begin our funding drive and pre-production soon.  I hope to go into production on this in early 2013.  I decided it was time to move away from the P.O.V. style and go with something a little more traditional.  There’s not much else I can say about the project except that it involves a lot of blood, boobs and black ooze.  As for the immediate future, I’ve been invited to judge the features at A Night Of Horror International Film Festival in Sydney, Australia, which I’m very excited about. Skew had its world premiere at this festival last year and won the Independent Spirit Award.  So I’ll be heading to Australia in March to hopefully see some great independent horror films.  In terms of Skew, we are coming to the end of our festival run—although we were just recently accepted into the StarLite Film Festival in Florida—and that puts our festival selection total up to forty-one.  We’ve also won seven awards including best feature, best actress and best director.  In addition to that we’re now available for streaming on Netflix in the U.S., DVD in Germany, and our most recent sale to Horror Channel in the U.K.  All in all, Skew has really had a great run and I look forward to our future release on DVD in North America." 

Sevé, a huge thank you for answering my questions! 

Sevé: "Thanks so much for taking the time to chat and help promote Skew.  I really do hope your readers have a chance to check it out at some point soon.  If they want more information they can check out our IMDb page at: http://www.imdb.com/title/tt1808477/, our YouTube link at http://www.youtube.com/watch?v=IjwBwuKD8mI, or Rotten Tomatoes at http://www.rottentomatoes.com/m/skew_2011/ to see what all the buzz is about.  I also encourage your readers to drop me a line through one of these sites if they have any questions about the film.  Thanks for supporting independent filmmaking, Dod.  Keep hacking and slashing away at those reviews!"

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Again, huge thanks to Sevé Schelenz for graciously and patiently answering all my questions!  Be sure to check out Skew on Netflix Instant.  Also, keep an eye out for Sevé and the great cast of this film. They're goin' places, I tell you!

And until next time, dear readers, always make sure you know exactly where your camcorder comes from...

Crestfallen (2011) Wordless and Powerful

Words are powerful.  No doubt about that.  Sometimes, however, the absence of words can be just as powerful.  The awkward pause, the angry silence, the space between story and punch line.  Your own mind can fill in the words when it encounters a silent narrative, and what that narrative might be trying to tell you could punch you right in the gut.

The short film Crestfallen, a six-minute cautionary tale of a young woman driven to the edge of her life - the edge of a knife - by betrayal and sadness, has no words, no dialogue, nothing shouted or whispered.  The viewer is simply made witness to the young woman's pain, both physical and emotional.  Written and produced by Russ Penning, filmed by Dominick Sivilli, and directed by Jeremiah Kipp, Crestfallen stars Deneen Melody as Lo, the young woman who suffers the titular emotion.  

Quite simply, Lo has been betrayed by the love of her life and decides to take her own.  It's not an easy decision, and things may not turn out the way anyone expects as the minutes tick on and the memories flow.  It doesn't take long for the viewer to sympathize with Lo, who glides naked and with an air of dignity into a bathtub.  As the knife runs along her arms, the memories flow with the blood, and not all of them are hurtful.  She reflects on what brought her to this point, and what should keep from doing it.  It's Lo's downward spiral, and we're along for the ride, helpless to do anything but watch.

Crestfallen is beautifully shot, directed with a deft hand by Kipp, whose wonderfully surreal short Contact I reviewed last year.  Here's a guy who takes his craft very seriously, and will never be accused of "phoning it in."  Keep an eye out for Kipp; he's headed for big things.  Deneen Melody is the centerpiece of this short film, and is beautiful and effortless in her performance.  We see the hurt in her eyes, the sadness and pain, all without words.  She looks like someone we all might know, someone we would want to help.  That sense of familiarity is strong - I couldn't help thinking she looked just like an old friend of mine, but I couldn't place who.  You want her to be okay, no matter what, and that's brought to life by some fine acting.  The fact that Crestfallen is silent, except for a score, only added to its beauty.  I really am cheering for this film to make a big splash soon.

But enough of my words - I was fortunate enough to have both Kipp and Melody answer some questions about Crestfallen and I'd love to share them with you dear readers now.  Let's start with Mr. Jeremiah Kipp, the director:

Was there a specific influence that inspired this narrative (writer, director, etc.)?

"The writer and producer of this film, Russ Penning, based the movie on some rather heavy personal experiences, so that was our primary influence. I thought he was brave to face those demons. My job was to visually interpret his story as best I could, along with my key collaborator, DP/Editor Dominick Sivilli.  Dom tends to downplay his participation, often saying his vision of the project is to shine a light through the window and turn on the smoke machine. But he has a profoundly sensitive and poetic approach to his work. When we shot the suicide scene, he whispered, "This feels like BEOWULF." He was right; we were trying to tell an intimate, personal, character-driven story in an epic and operatic way. Our feelings (love, hate, fear) are as large to us as castles and kings; and suicide and the flood of memories our main character endures should be told in a way that is bold, daring and sincere."

Will we see Crestfallen in some film festivals or contests? 

"Russ has an entire festival plan for Crestfallen. With a running time of six minutes, we hope it will fit nicely in a short film program or preceding a feature.  Since it was intended as an anti-suicide film, we hope horror and mainstream festivals and audiences are able to connect with it."

Any projects on the horizon?  Has Crestfallen opened any more doors? 

"One of the more immediate doors opened by this project was the opportunity to work with associate producer Marv Blauvelt and his company Muscle Wolf Productions, as well as Chris Jay and Kitsie Duncan of Dark Rider Productions. I cannot say enough about how welcoming and instrumental these Midwestern filmmakers were in making Crestfallen, and it opened a dialogue about more projects we'd like to work on together. As the old saying goes, work begets work. I'm currently editing a "hired gun" horror trailer I recently directed, and start principal photography on a non-genre movie next month starring my old friend Scott Miller and Geoffrey Owens from The Cosby Show. There's also The Sadist starring Tom Savini, which is currently finding its form in post. My producers and I are navigating that path right now. There are a few exciting monster movies in development as well. All we can do is let the future come."

And now I give you Deneen Melody, in her own words:

From where did that intense performance emerge?  Inspirations, motivations?

"I haven't discussed this with many people, but one of the main reasons I wanted to do this film is for a friend of mine. She took her own life a few months before, which absolutely broke my heart. It is such a sad thing when someone, despite the reasons, feels that there isn't any hope...that there is absolutely nothing to fight for."

"That being said, Crestfallen is very personal and was something I wanted to do in a more positive light. Some people may see the movie and feel it is a depressing, which is true, but the end message is a positive one. It shows that no matter how harsh life may be, in the end, there is always something to live for."

"Jeremiah and I didn't have a chance to rehearse before the shoot, due to him being in New York and myself in Chicago, but we had several conversations about the piece. Developing the character with Jeremiah helped bring something more to Lo...she became someone with an entire back story instead of a random woman in a bathtub. It was important to all of us that we create a character that, without anyone having to say a single word, feels for or identifies with."

Crestfallen seemed so effortless.  Describe working with Jeremiah, Dominick, and Russ.
 
"They were fantastic, of course! I had already worked with Dominick on a film called Lewis, and we got along very well, so I was familiar with how he works. And while I had never worked with Jeremiah before, we had chatted online and I am a fan. As mentioned above, we didn't have a chance to rehearse anything before we shot the film, but Jeremiah would talk to me in detail about the way he works, so when we were on set, we were able to just jump into the story. Both Jeremiah and Dominick always bring something very unique and visual to their films, and I am honored to have the opportunity to be a part of something so beautifully shot and put together."

"Russ is someone I had met online and he is such a good friend, always super supportive and encouraging towards my career. When we all first started talking about doing this film, I could relate to the personal aspects of the story and understood where Russ was coming from in his writing. I've read some other things he has written since then and he has so much talent. I hope that I can work on another film he writes in the future!"

Any projects on the horizon?  Has Crestfallen opened any more doors? 

"I am currently working on a project of my own creation called Rose White. It is a fantasy thriller/crime drama based on the Brothers Grimm story, Snow-White and Rose-Red. I play the role of Lilly (Snow White) and the beautiful Erin Breen stars as my sister, Rosalyn (Rose Red). The film also features Daniel Kuhlman (who is also directing the film along with Brian Kilborn), Tom Lodewyck, and Anthony Fleming. Breakwall Pictures is working in association with TinyCore Pictures (III SLICES OF LIFE) to bring this movie to life!"

"Some other projects I have coming up include Prey to God, Witches Playground, Bloodstruck, Astro Noir, Dark Light, and the dramatic feature film Strawberry Summer. You can keep up with news and updates on all these projects at my Facebook page and website!"

"Crestfallen has opened a door to a more dramatic path, which is something I was looking for and am very thankful to achieve. I really must thank Russ, Jeremiah, and Dominick for believing in my abilities and giving me such a rewarding opportunity!"

*****

And now I must say a HUGE thank you to both Jeremiah Kipp and Deneen Melody for being so nice and taking the time to answer my questions.  Keep an eye out for Crestfallen, and for the talented people involved with this short film.


As for your humble helicopter pilot, I bid you all a healthy "until next time," and don't get too close to the fences...the undead have a hell of a reach.