WELCOME TO HAPPINESS: Oliver Thompson's how-(not)-to-fix-your-life movie opens

This is somewhat unusual. Two days in a row TrustMovies finds himself covering a film dedicated to providing a particular philosophy of life. With yesterday's Ma Ma, Julio Medem told us to "think, feel, experience, struggle, suffer" and all the rest -- and do it full out -- while in today's WELCOME TO HAPPINESS, first-time writer/ director Oliver Thompson (below) pleads with us not to waste time wishing to fix the past. Instead, get on with life. Though the Medem movie is much classier, bigger-budgeted and more assured, I'll go with Mr. Thompson's philosophy.

To be quite truthful, both movies are a mess, yet both have their charm and offer some enjoyment along the way. In Welcome to Happiness, the lead character, a 'blocked' children's-book writer named Woody (played by Kyle Gallner, below) rents an apartment from a landlord named Moses (Nick Offerman, shown at bottom), whom we might, had we a religious bent, view as a kind of 'god' (or at least a heavy-duty religious figure). That's because Woody's job, as per Moses, is to shepherd the folk who arrive at this apartment through some questions, a bit of rock holding and finally into a closet in which exists a door that will open to them and transport them to a place where they can undo their prior mistakes. Wow -- nice! Well, maybe.

We meet a few of these people -- primarily Nyles (Brendan Sexton III, below, right) and Ripley (Josh Brener, below, left), both of whom would dearly love to change the past. They're connected, in way that they will probably never come to know. And that's all right. Fortunately Thompson understands enough not to belabor exposition like this.

There's also a would-be girlfriend, played with her usual verve by Olivia Thirlby (below, right), Woody's frustrated agent (Paget Brewster, two photos below), and a very lovely strawberry blond (Molly C. Quinn), who acts as a kind of tour guide for Woody. Unfortunately these ladies have very little character to display or plot to develop. As too often happens with male filmmakers, it's just the guys who are worth our interest here.

Not that these guys are not important nor have not been given any less than their due via the excellent actors. Thompson does better, woman-wise, by the wonderful Frances Conroy, who plays one of the pair who lies behind that fabled doorway.  So life lessons are learned by all, the most important being: Move on. The past cannot be changed, and in any case, the repercussions from this might be worse than what we already have.

The movie is a good fifteen minutes too long, as well. Thompson doesn't know how to quit while he's ahead. Yet he's given us an mostly engaging, oddball effort that combines fantasy, philosophy and (some) fun. I'll be interested to see what he offers up next.

Meanwhile, WELCOME TO HAPPINESS, from FilmBuff, opens today, Friday, May 20, in New York City at the Cinema Village, in Los Angeles at Laemmle's NoHo 7. Elsewhere? Click here to see all currently scheduled playdates. And, if you're not near the selected theatrical cities, don't worry: the movie is simultaneously available via VOD.

Black & Muslim & Gay & Under FBI surveillance -- whew! Jay Dockendorf's NAZ & MAALIK

Yet another of those movies said to be inspired by "true events," NAZ & MAALIK, the new Brooklyn-set film written and directed by Jay Dockendorf (shown below), certainly gives its two eponymous heroes plenty to contend with. Yet, instead of treating this rather full plate -- race, religion, sexuality and law enforcement harassment -- as something full of drama and/or melodrama, the filmmaker instead offers it up (with the rather embarrassing exception of  how he handles the FBI surveillance) in a realistic, if somewhat romantic, documentary style.

On the one hand, it's refreshing to see black, gay Muslims treated with the kind of honesty and respect we might see in other movies featuring straight, white Christians or Jews. Plus, the lovely performances by the two leads -- Curtiss Cook, Jr. (below, left, as Maalik) and Kerwin Johnson, Jr. (below, right, as Naz) -- gives the movie what little juice it has, bringing us over to the side of these two young men and keeping us there, for awhile, at least. The movie begins with some promise: a blackmailing sister, its Bed-Sty background, and a probably mildly-illegal trade by the two boys who re-sell Lotto tickets on the street. One can appreciate Dockendorf's wish to engulf some realism, but he spends so much time with repetitive and finally not-so-enlightening Lotto-tickets episodes that we soon long to go elsewhere.

We do manage to get into a local mosque, only briefly, and into the homes of the kids, but we don't learn nearly as much as we could from all this (the dialog, while often sounding "real" is also alternately expository and a little tiresome). Mostly we spend time with the two boys, watching Maalik push for more physical intimacy, as Naz backs away.

Many of the scenes smack of too much overt exposition, and once the FBI gets involved they smack of amateur hour, as well. I don't question that an agent might possibly pull a gun on the suspects while questioning them on the street, but as shown here, this scene is unreal and embarrassing.

The biggest problem is that the movie has no momentum; it simply wanders. When some momentum finally comes, it is provided by, of all things, a chicken. The reason for the chicken and way the final scenes add up also seem more problematic and "managed" than they are believable. And while this lack of momentum does help the movie resist melodrama, unfortunately it resists any real drama, too. And then, instead of ending, it simply stops.

I applaud the moviemaker's tackling of themes this weighty and the performances of his two lead actors. This is Dockendorf's first full-length film, so perhaps we'll see more and better in time to come.

From Wolfe Releasing and running 86 minutes, after a successful LGBT film festival exposure, the movie has its theatrical debut in New York City at the Cinema Village this Friday, January 22, with a DVD and digital release from Wolfe Video fast following on Tuesday, January 26.

Stephen S. Campanelli's knock-your-socks-off MOMENTUM offers exactly that -- in spades

Say hello to a nifty new action director, whose first film -- MOMENTUM -- proves an object lesson in how to make a first-class action film on maybe one-tenth of the budget of one of those Hollywould-be blockbusters that bore us to distraction with their not-so-special effects. The poster, right, may be one of the least interesting, design-wise, to be seen in many a day, but the movie it heralds is a case study is how to do things right. The filmmaker, shown below, is a fellow named Stephen S, Campanelli, whose resume boasts nearly one hundred credits in the camera and electrical department. Momentum is his first film as director, and TrustMovies would like to suggest that this upgrade in position become permanent.

With action films one tends to blame or praise the director for the visuals on view. In retrospect, after watching Momentum, I found myself also wondering how much the smart, tight screenplay by Adam Marcus and Debra Sullivan contributed to the film's success. Beginning with a voice telling us its intention to bring America back on course (uh-oh!), the movie returns to this voice and finally visage (yes, it's Morgan Freeman, playing quite against his usual type and taking us back to one of his earlier film roles). Marcus and Sullivan bring this character back briefly at various intervals and then hugely at their denouement -- which can only mean that a sequel is in store. I hope so; I'll be first in line to take a look.

The film's two stars turn out to be perfect choices for their roles. Olga Kurylenko (above) makes a swift and savvy, no-nonsense heroine, and she is matched well by James Purefoy (below) as her nemesis. Kurylenko is lithe and can handle, with some help from her body double, the action quite believably, while Purefoy -- a man whose demeanor and visage, even in repose, are enough to scare the pants off you -- makes his nasty villain a more-than-memorable one.

The movie's initial visual brilliantly combines a drum concert and a jewel heist by robbers in costumes that may make you imagine this to be some sci-fi film. You may also think the opening quite swell but wonder if the film can possibly match this segment down the road. Not to worry. It simply gets better and better.

It does this by giving us as much action -- hand-to-hand combat, foot and car chases -- as we could reasonably want while subverting many of the genre's cliches. You know the one about the auto speeding

toward the parking lot entrance in which those don't-drive-over spikes are protruding lethally? Just wait. And what about the mother and child in imminent danger from the bad guy? Again, there's something new here, too. Even the requisite "torture" scenes offer enough subtlety and difference to stand out from the pack.

Via suspense, action and surprise, Momentum keeps its momentum going full speed ahead. Only at the end does it suddenly seem a bit simple. And yet, that's the set-up for the sequel. Would we want to deny this tale that?

Don't think so. To watch Ms Kurylenko face off against Mr. Freeman and his henchmen ought to be, what? The bees' knees, the cat's pajamas, and the action lover's dream come true.

Momentum -- from Starz Digital and running 95 fast minutes -- opens tomorrow, Friday, October 16, in the dozen theaters/cities listed below, while simultaneously becoming availale for viewing via VOD.

New York, NY: Cinema Village

Los Angeles, CA: Arena Cinema

Atlanta, GA: Plaza Theater
Chicago, IL: Facets Cinematheque
Cleveland, OH: Tower City Cinema

Columbus, OH: Gateway Film Center 

Dallas, TX: Texas Theater
Detroit, MI: Cinema Detroit 

Houston, TX: AMC Gulf Point 30 

Miami, FL: AMC Aventura Mall 24 

San Francisco, CA: 4 Star Theatre
and Toronto, Canada at the
Magic Lantern Theatres' Carlton Cinema

On DVD and Amazon streaming: first-time film-maker George O'Barts' PIZZA SHOP THE MOVIE

Time to view and cover another of those movies in which a query arrives via email asking "Would you watch my film?" This time the request comes from a new filmmaker named George O'Barts who is based (or at least his film was shot there) in the Phoenix, Arizona area -- making this the second film of the week to take place in Phoenix. (See Underwater Dreams, for the first.) I've had to say no to more of these requests than I've said 'yes' to over the past few years, so I hope those other filmmakers will forgive me. There's just way too much on all of our plates these days.

Mr. O'Barts, shown at right, has put together a odd little film, super raunchy and semi-barf-inducing at its beginning and end. As the movie's tag line (shown above) has it That's not just sauce on your pizza. Clearly taking its lead from that incident that happened at the diner in the movie Road Trip, O'Barts goes for the gold by retrieving the magic ingredient from the toilet bowl, mixing it with some actual pizza sauce in the blender, and then spreading it over the pie of a guy who refuses to tip. That's the beginning. The ending practically blinds us, as this same non-tipper does some projectile shitting directly at the camera's lens. Erich Rohmer is probably spinning in his grave, thinking, Why didn't I try that?" Still, as an advertisement for a certain cigarette used to tell us: It's what in between that counts.

So how does the remainder of PIZZA SHOP THE MOVIE hold up? Not as bad as you might imagine. For the most past it places those big-time gross-out effects only at the beginning and end. The middle is a kind of late-in-life coming-of-age comedy the takes our hero, a 39-year-old pizza delivery man named Pete (Robert Bielfelt, shown above, far left), and forces him to confront who he is and how he appears to his co-workers: a by-the-book, goody-two-shoes who makes those co-workers feel bad about themselves. Consequently, they get their revenge in various ways, the funniest of which has to do with Pete's previous relationship with a serial killer.

Along the way we get to know a few of the Pizza Shop's leading customers, including the usual misogynistic use of women characters. The one female on-staff is Jenny (Chelsea Breibart, above), a young woman given to tantrums, whose favorite trick is to knee her boyfriend in the balls. What a gal!

Also in the cast are a set of twins who, except for their haircut, look little alike (I'm not sure if this is meant ironically or exists simply for budgetary reasons); Jason, the movie's prime asshole; the Pizza Shop owner and his two wives (below); and his second-in-command, who mostly stands by the phone and takes orders. For the most part the dialog sounds rehearsed rather than lived, and the timing of its delivery is almost always just one beat off for maximum comic effect.

At 97 minutes, the movie is at least 20 minutes too long. Still, there are some laughs to be had here -- particularly for those looking for the grossest kind of humor -- and Mr. Bielfelt's performance is actually pretty good. When the worm finally turns, you'll have sympathized enough to turn along with him.

Initially, the DVD of Pizza Shop The Movie, was available for purchase only at $20 a pop -- a price that I could not countenance having my readers plunk down for something like this. Fortunately, the film is now available for rental via Amazon Instant Video for just $2.99 -- a cost much more in keeping with our trying economic times. 

Florian Steinbiss' NEANDER-JIN, a popular "minor festival" winner, gets its NYC debut

Billed as a screwball comedy, this 2011 German movie spoken mostly in English -- NEANDER JIN: THE RETURN OF THE NEAN-DERTHAL MAN, from first-time filmmaker Florian Steinbiss -- will take some getting used to. If you don't leave within minutes (or hit the eject button, should you be viewing it on DVD) due to a screenplay and direction so over-the-top that a "camp" experience seems just a step away, you may actually last the movie out. Despite its amateur quality in nearly every way, it does provide a few good laughs and even some satire, simple-minded though it be.

I am not sure why Herr Steinbiss (shown at left) -- who has directed, co-written and co-produced, as well as performed one of the supporting roles -- decided to make this odd concoction. (Perhaps to explore today's female's supposed need for a "real" man?) Whatever the reason, he has succeeded mostly in turning out a barely watchable movie in which everything goes too far yet never far enough, and in which the humor is, well, grade-school -- with some sexual references tossed in to bring it up to high-school level.

Within these parameters, there is some fun to be had -- from a few of the performers to the occasional visual trick up Steinbiss' sleeve: a sudden change to silent-movie mode, a little posterization, and a few other very minor special effects. The story -- a Neanderthal (gamely played by Jon Chardiet, below right and at bottom) back in the day manages to place together into a certain pattern a few stones, which magically transport him to the future, where he gets involved with a lovesick female (Sarah Muehlhause, below left) a shyster producer, a full-of-himself anthropologist, and a nosy neighbor and her little doggie (Rosalind Ayres, above).

Minor comedy ensures (the classic "screwball" variety, I'm afraid, is mostly in the mind of the filmmaker), along with over-the-top acting and some tired and obvious situations. The most sustained comic performance comes from veteran actor Rick Zieff, below, as a maintenance worker who first sights the Neanderthal when no one else is around and pays for it dearly.

The most over-the-top performer is Milton Welsh, below, playing the scam artist. Mr Welsh gets to do everything from hi-tailing it on the lam to dressing up in drag, and he is clearly having the time of his, if not our, life.

With hardly a bit of memorable dialog to quote or clever scenes to recall, this is still one of those very odd movies that, by their very awfulness, rather compels you to keep watching. It never quite -- more's the pity -- falls over into outright and unintentional camp, so a little "dumb fun" is about the most you can expect.

Neander Jin: The Return of.... opens this Friday, July 26, at Manhattan's Quad Cinema and will eventually, perhaps even sooner, arrive on DVD.

On DVD: BOB'S NEW SUIT: Alan Howard's festival-friendly film is a sweet, smart find

The first surprise of BOB'S NEW SUIT, the film written and directed by Alan Howard (shown below) is that the movie is narrated, not by the titular Bob, but by his new suit. Yes. And it's a stylish Italian model who speaks with the proper accent (no credit is given for the narra-tion, but that voice is quite delightful) and has a lot of clever things to tell us along the way. The suit introduces us to Bob and the rest of the tidy ensemble of characters (each of whom helps bring the movie to fine life) and then explains how it figures importantly in this story.

The story, by the way, is similar in one aspect to Robert Redford's just-released The Company You Keep. A theme that both movies deal with is how the past impinges on the present in terms of a Weather Underground type from the 1970s who was involved in an unintentionally violent event and thus had to assume a new identity to escape the law. The event, character and ramifications are given their weight here: Justice, or what passes for it, must be served. But while the movie itself is about a number of other characters and things, it's the idea of identity -- what this means and how one comes to terms with who one really is -- that counts most.

Mr. Howard's style is slow (but never boring) and sweet, and his characters are tremendously appealing. If, stylistically, he mostly points and shoots, he also possesses the wit to make that suit his narrator, and to assemble a cast of actors who are very good and quite pleasant to view.

Bob of the title (Hunter Bodine, above) is a gardener/handyman living is near-bliss with his girl, Jenny (Hayley DuMond, below), to whom he has just proposed.

Bob's got a swell mom and dad (newcomer Suzie Bodine and John Bennett Perry, both below),

a smart, caring sister (Shay Astar, below, left) going through her own identity crisis, while Jenny has a alcoholic mom ( Robyn Peterson) whom she's written off for good.

There is also the sleek, svelte owner of the salon (Jenny Shimizu, above, right) where Bob's girl works and for whom his sis does the books, and finally Bob's not-too-bright cousin (Charlie Babcock, below, right), who concocts a not-quite-legal scheme that ensnares nearly everyone.

The movie has no villains, just folk who make some bad decisions. I like that because it removes the either/or mentality upon which so many movies insist, forcing us to grapple with right and wrong based on what has actually happened rather than on prejudged notions and left or right political leanings. Mr. Howard's view of the world is a surprisingly benign one, I suspect, so his movie is what you might call a feel-good-with-consequences kind of experience. If only things could work out so gently and sweetly.

It turns out that the movie-maker was 67 years old when he made this, his first film, a couple of years back. So, while there is a kind of amateur quality -- not bad, just "beginner" -- to certain aspects of it, there is also a maturity here, along with genuine kindness and hope. I'd be happy if Mr. Howard hands us something else soon. Meanwhile, take a chance on this little movie, which I can maybe best describe via a word I haven't used in awhile: "dear." Simply to learn what happens to our narrating suit should make your watch more than worthwhile.

Bob's New Suit, from Breaking Glass Pictures and running  97 minutes, is available now on DVD  for sale or maybe rental (if only: you can save it to you Netflix and Blockbuster queues but if either will ever actually order it, who knows?) Fortunately, the film has also been made available via VOD just this week....

EX-GIRLFRIENDS: Alexander Poe's fresh, funny rom-com gets a NY theatrical debut; plus a short Q&A with the filmmaker

What a low-key charmer is Alexander Poe. Whether behind the camera (as director), in front of it (as co-star), or in-person (there will be a short Q&A with the filmmaker as an addendum to this post -- if the fellow who promised me the transcript ever gets it to me), he's quiet, intelligent, self-effacing and attractive. And his new film, EX-GIRLFRIENDS -- his first full-length piece after four shorts over five years -- seems remarkably like its maker. A rom-com that takes in the twenty-something set, Mr. Poe's film is about those kids just out of college (or maybe still in grad school) trying desperately but surreptitiously to "connect" romantically, and failing that, as they seem awfully good at doing (Poe's character, in particular), to figure out what's going on and what they really want. It ain't easy. But, then, when has it ever been?

As a fellow in his 70s (who has probably seen, enjoyed or been annoyed by as many rom-coms over the decades as anyone else), TrustMovies finds this genre one of the trickier to keep alive and kicking. That Mr. Poe (shown at left, on above poster and below) manages it so well, and with such a light touch that seldom strains or pushes, is a special joy to see and listen to. Yes, his way with dialog (he's writer and director) is quite delightful. It's "writerly," all right, but as his character, Graham, is a struggling writer (he's a struggling everything), this is quite appropriate. The first big surprise of the movie, in fact, has to do with writing, as we suddenly go from one form of storytelling to another, and is carried off with a good deal on non-showy panache.

Poe's subject, as his title indicates is "exes," and for such a young fellow, this guy seems to have already had his share. Well, why not? He's certainly attractive (those Betty Boop lips, seen two photos above, are eminently kissable, no?), and his very hang-back, indecisive attitude would seem nicely non-threatening to some girls. On the other hand, as we soon learn, these very qualities can also drive certain young ladies nuts: the blond (Liz Holtan) at the cafe table, above, who is in the process of breaking up with our hero, and the brunette below (Jennifer Carpenter), a best-friend who clearly would like a little more of him.

One of the earmarks of a mature male writer (and how few of our more famous, older set -- from the late Mailer to the still living Roth -- seem to exhibit much of this) is how he treats his female charac-ters. Misogyny is never far afield in the work of many men, so what a pleasure it is to report that Mr. Poe treats men and women as equals--equally silly, foolish, mixed-up, likable, and lovable actually.

Even the two-timing fellow (Noah Bean, above) who turns out to be dating two of Graham's exes -- and simultaneously, without either of them knowing it -- when seen up close and personal for a moment or two doesn't come off as all that awful. You kind of like him, damn it. As you do every major and most of the minor characters here. If they register at all, they do so with a confused and lifelike mixture of desire and uncertainty.

The movie has a "narrator," and while this technique is sometimes seen as a kind of "crutch," Poe uses it well and to an interesting purpose. His look at a creative writing class, in fact, is done with a lovely combo of style, charm and just enough satire to make it fun. (The teacher, above, is played by Matt McGrath.)

In the role of the ex with whom our hero most wants to reconnect, Kristin Connolly (above, left) is impressively allusive: beautiful, ethereal, and just out-of-reach. The more we learn about her, however, the more surprisingly human she becomes.

Writing, romance, relationships, love, friendship, bonding and commitment -- they all get a workout here. But as this is done under Mr. Poe's light, bright touch, that workout seems like anything but work.

And filled with locations from bars and lofts to the pier and the High Line (above and below) that will stand out to us New Yorkers, the movie is also lots of fun to view. For a first-time filmmaker to take on writing, directing and starring in his own film might sound like a vanity production. Perhaps the best thing I can say about Mr. Poe's movie is that it smacks of full-fledged talent rather than vanity.

Ex-Girlfriends (from Cinetic Rights Management and FilmBuff), looking very good considering its minimal budget and running a swift, sleek 72 minutes, opens this Wednesday, November 28, in New York City at the Cinema Village and becomes available on VOD and iTunes, beginning Tuesday, November 27.

****************

TrustMovies met Alexander Poe (below) in a little bar-restaurant called The Brooklyneer, across from Film Forum on Houston Street, on a rainy afternoon in mid-November. The filmmaker proved as low-keyed, genuine and charming as the character he plays in his film. We had only a few minutes, so the highlights of those appear below, with TM in boldface and Alexander in standard type....

First off: I loved your movie. You’ve got a such a light touch, which moves the story along easily and cleverly. You were very involved in this movie as writer, director, and star, And when one hears something like that about a new filmmaker, one usually thinks, "Uh-oh: vanity project." But your film is go good that I didn't think that. More impressive, yours is a romantic comedy--which is difficult to do in a new way, don't you think? 

Yeah, it’s like a tight rope on either end.

The rom-com is also one of the most "done" genres, after horror films. But you really put time and work into the writing. Often, you come away from modern rom-coms with a misogynistic feeling. But not your movie.

And that's not a nice or accurate feeling.

What bubbles up in your film is pretty fair, I think.... 

Good. I wanted to approach relationships in a real way that didn’t simply reduce people to one thing or the other. I think that, even with the guy, Tom, who’s ultimately the two timing boyfriend, even the main character likes him a little bit.

Absolutely!

I wanted to give people two sides. Graham starts off the story with a notion of what the story is and then places himself as the lead in his own story and narrates it in a sort of way.

That was a wonderful touch when you realize, 15 minutes in, that you’re in a classroom. 

I love movies that have great voice overs. The one I was thinking about for this was Shoot the Piano Player, the great Truffaut movie with second person narration. Also Jules and Jim. I like voice over when it’s not telling you information, but it’s adding on a layer of character. And I think this character is always very much narrating.

You never get away from him, but he’s enjoyable. How much did this movie cost? 

Oh man, this cost so little, but it was hard to scrape it together. We shot basically this SAG ultra-low budget agreement, which is basically anything under $200,000, we were way, way, way, below that.

Which is what? 

Very little.

Like $150, 000?

(Poe's hand moves downward)

$100,000?

 (Poe's hand move farther down.)

$50,000?

(As I recall, this is about where the hand stopped moving....)

What we tried to do is we did a combination of crowd-funding on Indiegogo and getting favors, small, small donations to help us through. It was a small team effort that was the spirit of the whole movie. In a way, having no money is a hindrance, but in a way it’s liberating because you’re not accountable to a studio or investors. You define your terms and you’re such a small production that you can shoot fast. We shot here in this bar, we had a few lights.

I didn't even recognize this bar -- you really made it seem so much bigger than it is! 

We definitely maximized location for sure. It’s nice for my first movie out the gate to focus on the story-telling and the characters rather than having a big production value and stuff like that. The script was a fun one to do as my first film.

There’s a balance between character and plot and it’s only 75 minutes long. And it works! 

I think keeping small allows you to have a lot of time with your actors and focus on performance. I’ve worked on a bunch of giant movies when I was assisting directors and learning the ropes. I assisted a director named Donald Petrie on a movie called Just My Luck, a Lindsay Lohan movie that shot here a few years ago. It was a gigantic production and I learned how a director operates in that context, which was invaluable. Then I worked on Spielberg’s War of the Worlds for this guy Vic Armstrong, who was like the stunt coordinator of all time: He was Harrison Ford’s stunt double for Indiana Jones. So then, to see that type of film process, it was a totally different learning experience. Now, making short films along the same lines and budget levels as this, this is an extension of the student films I’ve done.

Your characters are a bit of a mystery. 

Kristen Connolly’s, in particular, is a bit of mystery.

That’s the way people are. We’re a mystery to ourselves until we’re very old. Maybe forever.

Certainly. Her character starts out as an angelic figure for him, the object of desire he’s pursuing the whole time and by the end he realizes she has more aspects to her than he anticipated.

Yes: And while he thought he broke up with her, she thought she did it with him. Last question, and I always ask this: Is there something no journalist ever asks you but that you've always wanted to talk about.  Here's your chance....

To expound on weighty matters?

Or whatever. Without being bored to death. 

Well, all of this is still such a new and exciting process. You sit with your little laptop editing away through the night with your three compatriots, to be able to see on the big screen. The producer Jennifer Gerber was producer, the AD, the editor, she even edited the trailer. It was that kind of movie where everybody had ten roles. The co-producer did the website and the script design and production design. That’s what was fun about it, there was a communal family feel to it. I want to keep working with those people. But hopefully on the next movie, there will be a little more money.

What do you have up next? 

I have another screenplay that I actually wrote before this. I wanted to choose the script I could shoot for very little money and then take this finished product and try to move on. The other movie is a little more involved. It’s called Right Side.

We'll look forward to seeing it. Thanks so much for your time, Alexander, and for your movie!