Here we are, its day four with the talented Ms. Cooke. This week we have learned a great deal about life, and how people perceive the possibilities of their own personal destinations. Tomorrow will be a fun closing, where I ask some simple questions, and she gives good answers. Today will be one question, closing this particular conversation, for now. It has been a pleasure reliving some of my own thoughts from the old days. Its not every day an 18 yr old takes questions about life from someone who is 29. But this piece did that, and age only suggests one thing in this interview. We all have a desitny, we all choose the path, you can be 18, you can be 29, hell you can be 89. What you do today, will transition into what you do tomorrow. We all have to choose based on the relative nature of our own individual lives. I choose to write this piece, Kenzie chooses to suggest to the world a different pace, and a recognition that getting older doesn’t mean you have to stop living. I admire this young artist for using her abilities for something as serious and palpable as life, and its seemingly popular course of giving up the dream – we all have dreams, here’s to living them.

Twilight Frequencies: I think we all notice how much our society has evolved. Sunder does a really good job translating the ecology within that evolution. Most notably how much more freedom we all have as our younger selves, and how the atmosphere within our individual cycles dictates the reality. Why do you think life becomes that way? Why is growing up represented in Sunder by the unfortunate office space, as opposed to the freedom of running through a field, or exploring the curiosities of adolescents?

Kenzie Cooke: I wouldn’t really know what exactly could steer a life in that direction, maybe just at a certain point feeling a sense of responsibility or obligation, maybe with new knowledge or realizations on different levels of consciousness.  I wouldn’t even say that  ‘growing up’ is the source of this kind of separation, something deeper rooted than that.

To Be Continued….

Twilight Frequencies: The music is so fitting for the different periods of life. Give us an idea how you chose the soundtrack. Who are the Artists?

Kenzie Cooke with her band Hear Hums. Photography by Ralph Giunta

Kenzie Cooke: Some of the songs I knew I wanted to use as soon as I had a good visualization of the film in my head.  I immediately knew “Sis Around the Sandmil” by Avey Tare and Kria Brekkan would be perfect for the Childhood sequence because of its magical, curious mood.  It reminds me of just waking up, of yawning and opening your eyes and seeing so much that you didn’t see before. We used Avey Tare and Kria Brekkan a few times, Animal Collective as well.  For the songs we weren’t already sure of, we basically went through my iTunes and listened for the right mood.

Twilight Frequencies: Adulthood seems to evoke such a bittersweet time in “Sunder,” do you think being at the latter stages of life is bittersweet? If so, why?

Kenzie Cooke: I’m sure that it is.  I’m definitely still in the earlier stages being 18 and Marcos 17, so our interpretation of adulthood was definitely a speculated perspective.  I certainly don’t believe that the latter stages of life have to be the way adulthood was represented in Sunder.  In fact, I hope that they are not.  The ideas portrayed in Sunder represent, for me, one possible reality that  many people fall into. Again this is just based on an accumulated general perception, that may actually represent a subconscious fear of my own. Becoming disconnected with a childlike perspective, loosing a sense of wonder or passion.  Feeling as if you’re stuck or fallen into a way of life you never pictured for yourself.  I’ve felt this actualized in other people i’ve encountered too many times to not address the possibility.

Twilight Frequencies: It’s funny to think back to when I was a child, and a teenager. Your imagery couldn’t be more cogent in that regard. How has your past influenced the sensory you put forth in Sunder? Is the premise autobiographical?

Kenzie Cooke:We wanted the different stages of life to be reminiscent of as many possible experiences as we could in order to really make it powerful for the greatest amount of viewers, so we tried to be vague enough to encompass as many emotions as possible.  Of course though, we were biased in what we chose to shoot and on some level the sensory is a reflection of myself as well as Marcos’s combined pasts. We talked about the different experiences of adolescence  and childhood and tried to take events vague enough to be relevant to a good amount of people, like the first interactions with love and exploration of the body.  It became autobiographical through the emotions we attached to the experiences with the use of color, timing, texture, etc.  So the premise is in a sense autobiographical as well, but I’d hope that it feels that way for many people.

Twilight Frequencies: Recently I have been reading into religion, most notably Natural vs Supernatural. Does Sunder’s origins come from a religious Lens?

Kenzie Cooke: No, it wasn’t really influenced by religion.

To Be Continued…..

Yesterday we watched the exceptional short film by Kenzie Cooke called “Sunder.” Reading over Ms. Cooke’s answers this morning its not hard to formulate the opinion that this young Artist is a thinker, and maybe even a wise soul. She answers with confidence and an ease that typically comes through from an individual with a little more experience in life. She is a young artist at the age of 18, and her material would suggest she’s lived once before, or as she suggests in her answers, has seen “it” before, within the progression of other people. “It” being life, and its cycles, and the reality that we all can choose our destinies. Life doesn’t have to come with a cubicle, or the rigors of a nine to five – sadly they do all too often. Kenzie knows this, and is doing all she can to stop it with a film like “Sunder.”

Twilight Frequencies: This piece has a great deal of self-reflection and a certain absoluteness that’s both profoundly enlightened and predictably sad.  When you were going through its creation what were your intentions, your thoughts, and your mood revealing to you?

Kenzie Cooke: At first I was positive that I wanted to make this film because I was discovering a trend of diminished passion, of regret and conceding, in the adult world.  I was hoping that with this film I could help reawaken some sort of connection within people to their past and their dreams, a reflection, or maybe even lead someone to realize they’ve suffered a loss.  But at some point I became aware that I also was attempting to distance myself from a fear I have of suffering such a loss.  Through making this film and putting what energy and thought I did into it, hopefully I’ve saved myself from going down such a path.

Twilight Frequencies: Who assisted in this project and in what ways did they contribute? Idea, filming, score, etc?

Kenzie Cooke: The project was ultimately a collaborative effort, mostly between myself, and Marcos Gasc.  I’d like to think Marcos and I were co-everything.  The idea initially came about in a round circle discussion type hang out between Marcos, our friend Mauricio, and myself.  The development from that point came mostly from Marcos and I.  I wrote the outline, or “script” for lack of a better word.  Marcos and I both shot the footage.  I edited, Marcos helped.  We talked  through  every decision together and I think the cooperation paid off.

Twilight Frequencies: What was the time frame for this piece? Did it come to you quickly, or was it a fragmented process, meaning did you allow time to suggest an improvisational quality?

Kenzie Cooke: We planned on entering a film into a small competition held every year at our high school, so there was a time element, however once we solidified the idea of Sunder, the time and competition weren’t our concern anymore. We really wanted to focus on making this piece as best a representation of our concept as possible.  Once we had a firm grasp on what we wanted to do, the rest came about pretty easily.  I can’t really speak for Marcos, but  I know that most of my best work has come out of experimenting and letting one thing lead to another or create a space for a new element, mostly in editing or cinematography.  I believe Sunder followed a more traditional time line than any thing else I’ve done. But by no means was it lacking any improvisational qualities.

To Be Continued…..

This week we’ll be talking with Kenzie Cooke about her short film “Sunder.” Today we’ll look at the film and tomorrow begins the first set of questions. I found Sunder to be such a wondrous piece of work. It made me think about my life, and its evolutions amongst all the things we live with as people. It appears this film sets off in parts, showing us what we have known before, or what we will know in the future. Life appears to be fun, but if you don’t think twice, Sunder can easily make you think of ways to stop the inevitable progression of domestication and age.

Well, here we are. It’s our final day with Lawrence Daufenbach. Throughout the week we have learned many things about movie making and all the wonderful little things that surround its developers. I for one believe its easy to understate the beauty and genius behind another individuals creative prowess. But this week was perfect in the sense of giving us a variety of thoughts and information, which introduced us to the ethos behind the curtain of a movie, and the mind of one of its players. I was enamored with the answers coming from Lawrence. He knows his business, and reveals an honesty that only comes from someone who is real. He is  the “genuine article” as they say, and I couldn’t  be more pleased as we turn from this wonderful artist to continue to explore the rest of the worlds offerings. Below you will find the last part of our conversation, and this story will conclude with the premiere of Lawrence Daufenbach’s latest reel. Special Note: This piece comes out today in a local Knoxville Art/Culture Magazine called One Eighty.

Twilight Frequencies

What kind of Character are you in a fictional world? Do you fly? Can you read minds?

Lawrence Daufenbach

I fly the morning skies and walk invisibly through the jungle floor.

Twilight Frequencies

I know you’re really into music, what bands are you listening to right now?

Lawrence Daufenbach

Vampire Weekend, Jay Reatard (RIP), Devendra Banhart, Fruit Bats, MGMT, Trampled by Turtles, Head of Femur, Built to Spill

Twilight Frequencies

Lost or Heroes?

Lawrence Daufenbach

Lost.  I haven’t gotten to see too much of Heroes, but Lost is very cinematic and engaging.

Twilight Frequencies

Coffee or Tea?

Lawrence Daufenbach

Definitely Tea, green preferred.

Twilight Frequencies

Chevy Chase or Bill Murray?

Lawrence Daufenbach

That’s a tough one, but Ground Hog’s Day is one of my favorites, so Bill Murray.

Twilight Frequencies

Hiking or Bouldering?

Lawrence Daufenbach

Hiking

Twilight Frequencies

Morning or Night?

Lawrence Daufenbach

The morning motivates me and I get things done, at night I think, listen, and create.

Twilight Frequencies

The Velvet Underground or The Rolling Stones?

Lawrence Daufenbach

The Velvet Underground

Twilight Frequencies

Before you go, is there any advice you can give to aspiring filmmakers?

Lawrence Daufenbach

It all comes down to the story. You can have a beautifully shot film, but if there is no story, it won’t matter in the end. Focus on your characters first, then let the creative energy flow wild.

Lawrence Daufenbach is the founder of Daufenbach Camera, and can be contacted through www.daufenbachcamera.com. He’s a Director of Photography.

Twilight Frequencies

You own a production equipment company. Can you give us an idea of what that entails, and how you incorporate that in your work on the set of a film?

Lawrence Daufenbach

I started up Daufenbach Camera, LLC in June of 2009. After finishing college and working for a year in the industry, I quickly began to grasp the inner and outer workings of how the business works.  Aspiring to be a narrative DP, I looked into camera equipment that could potentially bring in both jobs and a side income.  I had been following the Red One (made by Red Digital Cinema, founded by Jim Jannard of Oakley sunglasses) camera in its production stages, and when it was released in 2007, I realized filmmaking would forever be changed in the years ahead.  The Red One was the answer as an affordable, yet top of the line camera for filmmakers alike.  It has not only helped me start a business, but has given me a professional tool to create art, tell stories, and move lives.

Having a camera rental business also allows me to stay connected and network within the film industry, as I work amongst people day in and day out.

Twilight Frequencies

Recently, Daufenbach Camera received really good news about sponsorship. Tell us a little about what you will be doing for the “Midwest Film Festival.”

Lawrence Daufenbach

The Midwest Film Festival is a non-for-profit organization and is the only film festival in the country solely dedicated to the Chicago and Midwest filmmaker.  It’s a year long festival that takes place on the first Tuesday of every month, showcasing independent film. We (Daufenbach Camera) will be helping sponsor this event; promoting the independent filmmaker as well as our affordable equipment options for filmmakers alike.

Twilight Frequencies

Since the whole world is enamored with James Cameron’s Avatar, what was your impression of the film?

Lawrence Daufenbach

It is a huge achievement on many levels, but most particularly, in technology.  A film of this caliber would have cost many hundreds of millions of dollars more if this was attempted ten years prior.  3D technology has come along way since its birth, and Avatar does justice revealing this feat.

James Cameron was able to look through a camera, which on set consisted of actors in front of a green screen. He was able see the entire environment that surrounded them, all in a live feed. To me, that just sounds insanely complicated, and absolutely incredible.  Your seeing actors in real life and on the monitor they’re Na’vi and in the Pandora environment.

The Simulcam, a process that takes two different cameras both at different viewpoints, allowed the film to replicate what the human eye views in 3 dimension.  It allows us to feel like we are there, and a part of the film, it becomes a reality.

From a story element, I found it very creative and engaging.  The world the Na’vi live in is extraordinary, and as noted in the news, it seems only natural that many Americans are depressed after seeing it.  Who wants to leave such a captivating world?  I also enjoyed the very Starship Trooper esque militant force.  There were a few one-liners I didn’t exactly care for; however, I think generally speaking, it was balanced to appeal to a diverse grouping of audiences.

to be continued…

Photo by Lawrence Daufenbach

Twilight Frequencies

How did you land the job? What’s that process like?

Lawrence Daufenbach

Landing this job and landing any job in the film industry is primarily luck and being in the right place at the right time.  Michigan has been booming over the last two years, as their tax incentives have drawn a large number of films to the state.  Over the last year I had been thinking about changing my Union local address from Chicago to Michigan, since there is more of an incentive to hire Michigan locals.  When I found out about Trust in the Michigan production listings in mid October, I thought I would give Peter Kuttner a call(Peter is a Chicago First AC who I had been talking back and forth with over the last year). It just so happened that he had been hired on as the First AC (camera assistant in top position in camera department) and was looking to hire a Michigan local.  On that note, I affirmed my decision to change my Union (Local 600) address and landed the job shortly after.

Twilight Frequencies

Do you think Hollywood has hit bottom in terms of originality? In your opinion are the best sources of good film in lower budget projects?

Lawrence Daufenbach

Well they say there are only seven basic story plots, but how you reinvent each one of them is what makes each film unique.  However, there are so many factors that go into a film besides the story (actors, lighting, camera movement, production design, editing) that in my opinion it leaves endless means for originality.   It really depends on how you’re looking at a film. I may find innovative cinematography in a film that’s story is quite similar to that of another. While yes the story may be a tougher element to be original, as a whole, films will continue to evolve.

Twilight Frequencies

I believe you graduated from the University of Columbia? What was that experience like for you? Did it square you away with opportunities when you graduated?

Lawrence Daufenbach

Correction, I graduated from Columbia College Chicago, often confused with University of Columbia in New York.  However while both schools have a film program, CCC has one of the biggest, and most involved film programs in the country.  At CCC, I was in their four-year film program where I concentrated in cinematography.  Most of the classes are very hands on, which allowed me to learn both more visually and artistically.  The also have a lot of cameras and equipment, which is what a lot of other film schools are lacking.  I was happy to learn on film and work with a lot of 16mm and 35mm cameras, including Arri, Panavision, and Aaton camera systems.

There are definitely opportunities that I had coming out of college, and it was primarily because of the work that I put in at school.  The more projects you work on and the more involved you are with the film program, the more you network, and the more likely you’ll continue working.  My first feature film, Chicago Overcoat, I got onto as a film loader and I would say that was primarily because I had been working on a lot of films at Columbia and building a network of friends and co-workers.

Twilight Frequencies

What’s it like filming in Chicago?

Lawrence Daufenback

Cold, bloody cold.  No, but Chicago is a great city.  There are a lot of interesting and diverse locations.  I find there to be a certain passion and aliveness here that I haven’t found in a lot of cities.

Twilight Frequencies

What films have you written and developed?

Lawrence Daufenbach

The last short I Co-wrote and directed was in college, titled, “My Friend Leopold”.  You may be able to hunt down a low-res version on YouTube.  I do have a project that I will be developing over the next few years. However, for now I mainly spend most of my time focused on cinematography and expanding my career as a DP (director of photography).

Twilight Frequencies

Is there a particular genre of film you’re partial to, and why?

Lawrence Daufenbach

I enjoy watching all genres of films, however I am probably most drawn to dramas and human-interest films.  The types of films that make you stop and think about different aspects of culture, society, and life.  From a more visual approach, dramas also tend to allow for a more artistic and creative style.  As a cinematographer, this is where I can push boundaries and create certain looks for a film.

Twilight Frequencies

What is the one thing vital to your work on a project other than gear? Is it     communication, solid direction, a lucky charm, etc?

Lawrence Daufenbach

It’s always good to have some inspiration with any given film, commercial, etc.  While working with a director, I like to find artwork (often paintings) that help inspire a certain look, mood, or style any given film is going to have.

to be continued….

Drinking my coffee this morning I was checking over my emails, working the site, prepping new stories, and I had a new message from Lawrence Daufenbach, who is our featured Artist this week for film. In yesterdays post we introduced him, and showed his Reel & Bio. Today we look at part one of the interview and as it turns out, he emailed me to share his latest Reel. We will premiere his new montage on Friday as the finale to this amazing week. Also, this story will be in print for 180 magazine which hits the streets on Friday with a big release party. This has been a tremendous time for me to share with all of you, and to get an insiders take on the process of movie making.

Part 1

“I fly the morning skies and walk invisibly through the jungle floor.” Lawrence Daufenbach

While talking with Lawrence Daufenbach, it was easy for me to tell how much imagination and insight he has on the world of film. On an individual level he is doing plenty to make a name for himself. He is clearly not against the system or the grain of Hollywood, but rather he embraces the reality of the industry he is a part of. This is one of the many qualities this young filmmaker has to offer. He is a creative person first, not getting lost in opinion or chatter, but seeming to believe that any situation has potential to be something wonderful.

Recently he finished work on a new independent film called “Trust.” Among the several topics we cover, Lawrence shares what it was like working on the film, and gives us a brief rundown on his camera production companies (Daufenbach Camera) official sponsorship of the Midwest Film Festival. Along with his own personal work, he also talks about Avatar, music, and his preference between Bill Murray and Chevy Chase. I was impressed with the amount of knowledge I took away from my short moments corresponding with Lawrence. It was a pleasure I will not soon forget.

Twilight Frequencies

This new film has yet to be released, what can you tell us about story, and who’s in it?

Lawrence Daufenbach

“Trust” is a story that was co-written by David Schwimmer and Andy Bellin.  The film takes place in a modern day setting and is about a teenage girl who is targeted by an online sexual predator.  Liana Liberato plays the lead girl and Clive Owen and Catherine Keener play her parents in the movie.  Much of the film deals with the aftermath of rape, and the psychological effects it has on the family as they struggle through the traumatic event.

Twilight Frequencies

Clive Owen? Being a big fan of the film “Children of Men” I have to ask what he is like in person. I think he’s such a good actor.

Lawrence Daufenbach

Clive takes his job very seriously.  On set, he very much is in a zone and doesn’t spend too much time interacting outside from that.  He is however a very friendly and approachable person.  At our wrap party he spoke highly of “Children of Men”, calling it an “incredible film”.

Twilight Frequencies

Did you get to work with David Schwimmer? How was it?

Lawrence Daufenbach

Yes, I was on set everyday with David, who was really great to work with.  David was a very friendly director, and had a genuine passion for the film. He is a director and spokesperson for the Rape Treatment Center in Los Angeles. I can only hope this film aids both his work and helps many women who are put into these situations.

Twilight Frequencies

What do you do on set? Being young and relatively new do you feel pressure, or does that motivate you even more to do well?

Lawrence Daufenbach

I was part of the camera department as the film loader, and would often step in to help 2^nd AC (assistant camera) at times.  I definitely have felt pressure towards the beginning, however it does motivate me to do an even better job.  It is amazing to see the level of professionalism and motivation that goes into a film set, and working under Director of Photography Andrzej Sekula (Pulp Fiction) and 1^st AC, Peter Kuttner (Betty Anne Water, The Express) was inspiring.

Twilight Frequencies

Walk us through a day on the set of “Trust.” Lets say you were documenting the making of the film, what would that look like? How would you approach conveying the experience?

Lawrence Daufenbach

“Trust” was shot mainly in Ann Arbor and Plymouth, MI.  It was a fairly low-key shoot with a friendly and enjoyable crew.  At the beginning of every day we take the shuttle in from our hotel and get to set by call time, which changes on any given day, depending on the hours prior.  You’re pretty much locked into the schedule the film makes, which can change on a day-to-day, or hour-to-hour basis.  Being part of the camera crew, it’s our job the get the camera built and ready to go for shooting.  This means making sure we have film loaded on the camera, the first lens of the day up, and all the necessary back up equipment and film ready and standing by.  Generally most days last twelve hours, however we did have a number of long 13-15 hour days as well, which is pretty awesome in comparison to a lot of films.  It’s always part real, part dream, anytime I am away working on a feature.  You live day in and out on set, and are creating a story, often unaware of the world during that time, except for the few hours of sleeping in between each busy, packed day.  For the most part spirits were high throughout the film; with a majority Michigan based crew.  Most of our days ended conversing and enjoying a local brew in downtown Ann Arbor.  I find that movies in the Midwest are a lot more enjoyable to work on in general.  There a different attitude about movie making then you get in L.A.

to be continued…

A few weeks ago I contacted Lawrence to ask some questions about the film industry, and what he’s doing currently. Our conversations were nothing if not informative. I learned about Clive Owen, and the new film directed by David Schwimmer called “Trust.” Among many other things, I learned what it’s like to work in the film industry. I encourage all of you to follow along throughout the week and learn something too. If your curiosities have made you ponder what its like for a member of the film crew community, this interview goes plenty far in unveiling the mystery behind the quasi-esoteric nature of film making.

Since the interview is relatively long, I will break it up in several parts. Today we will show his Demo Reel and Biography. This will give us look at a some of his older work. In our discussions Lawrence told me he was in the process of updating his Reel to include newer shots. Regardless, It expresses the exceptional talents of this young film makers point of view, and reveals the beautifying quality in which he films things.

Tomorrow we will post part one of the interview.

Introduction: The Reel & Bio

“At a young age, Lawrence began exploring his creative talents as an artist. After moving from Kalamazoo, MI to Chicago in 2004, he decided to pursue his visual approach in cinematography. While attending Columbia College, he gained experience shooting on both film and video and output a good number of shorts. He is now a freelance cinematographer and camera assistant.

While taking inspiration from paintings and various art forms, Lawrence composes creative choices in both camera and light. He has shot a large variety of films and has explored a plethora of palettes and styles of visual storytelling. His work consists of many award winning films with visual elements that have moved both the story and the audience. Lawrence is primarily based out of Chicago, IL and Los Angeles, CA.”

To Be Continued….

PART TWO: The Interview

Photography by Heather Bass

Twilight Frequencies
Where did you come up with the new idea? Was this spawned from a true story?

Jacob Boyd
We made The Jack French Suicide specifically for a local film festival competition, where we were randomly given “mockumentary” for the genre. I wanted to avoid the obvious choice, which was to make a comedy like “Best in Show” or “This is Spinal Tap.” Our cast and crew consisted of only 4 people – Austin Webb, Jamison Stalsworth, Heather Bass, and I. We wanted to do something that would be different for us, and also for what viewers would expect a mockumentary to be. Jamison came up with an idea about guy who is going to kill himself live on the web, but then gets cold feet and tries to back out. Something about that idea really struck a chord in me. I went home that night and wrote a story and script for it. The movie was completely fiction, but inspired by the direction that certain aspects of culture seems to be going.

Twilight Frequencies
This latest project really sheds light on the inhumane evolution of society. The concept struck me as something that easily could happen, which kind of freaked me out a bit. Do you think the internet and people in general are leaning more toward a “hyper-apathetic” lifestyle, and why do you think this is happening?

Jacob Boyd
The internet is kind of like the wild-west. Even with social networks like facebook and myspace it’s still pretty anonymous. When you think about it, those sites are really just pictures and words; anyone can claim to be anyone that they want to be. That was part of the inspiration for the story. It may be a little bit of a stretch that 20 million people would subscribe to watch Jack’s online suicide, but it was not completely out of the question. If you’ve had much experience communicating with people online, you realize pretty quickly that people are much more open to expressing their real feelings while safely sitting behind a keyboard, compared to real life situations. Much like if there were a public hanging in downtown Knoxville, some people would show up. But if someone was to video tape the event and upload it to youtube, a lot more people would anonymously sit at home and curiously watch. With so many young suicide victims these days, I can understand the idea of “He/she is going to kill themselves anyway. Why should I try to stop them?” And not just with suicide, but I think many people don’t care about any situation that doesn’t affect them directly. I don’t want to speculate on why that is because I’m sure there are numerous reasons, and I’m probably guilty of most of them.

Twilight Frequencies
What’s the writing process like for you? Do you set a mood for yourself?

Photography by Heather Bass

Jacob Boyd
Most of the time, I write late at night on my computer while listening to instrumental music on headphones, after my 2 year old son goes to sleep. I’ve tried to write to pop music, but I catch myself humming along more than writing, Usually I have an idea that I develop in my head for most of the day, before I sit down and try to write it out. Late at night is really the only opportunity I have to work in a quiet environment without distraction.

Twilight Frequencies
What compels you to make films?

Jacob Boyd
What I do is not what Hollywood does. They spend millions of dollars for a reason. What I do is no-budget film making, it’s that simple. We make a movie in a short amount of time with the 50 bucks I have in my back pocket, and most of that money is spent on pizza, I love movies. When I moved to Knoxville in 2001 I had no friends. I worked at a small business where I worked alone all day and went home, hung out with my girlfriend at the time, and watched movies. I have a deep connection with this art form from spending so much time with it, and a great deal of my needs were met from movies. Such as combating loneliness, and all the other awkward experiences that people in their 20′s face daily. I may or may not have the skill to express my love for film. I haven’t done enough work for me to tell yet. I do know that I have never more excited in my creative life than when I’m working on a new movie, whether it be shooting or at home writing. It’s fun for me. When I can work with talented people, and use music from musicians I love, I feel sorry for other people who don’t do this.

Twilight Frequencies
Is there anyone that influenced you to get into film – Famous or otherwise?

Jacob Boyd
Ethan Tickle. An old friend and the most creative person I have ever met.

Twilight Frequencies
Along that same line, as far as being influential, what other things give you the drive to be creative?

Jacob Boyd

I go through periods where I get really obsessed with different things. Pre-history, conspiracy theories, subcultures, whatever I’m into that week. I always try to have something in my life that I can feel fascinated by, and that I can learn as much as possible about. Not because it will necessarily benefit me in anyway, but because it interests me. I don’t make short films to impose myself into other people’s lives. I do it because it gives me that sense of fascination stronger than anything else that I’m into while I’m doing it.

Twilight Frequencies
This latest project was from the perspective of the film maker; I believe this was your first? Did you like that better, and is being in front of the camera something you might explore more down the road?

Jacob Boyd
This is the only movie I’ve done in front of the camera, and for right now, I hope the last. There is something fun and kind of funny about playing yourself in a movie, especially if it’s a slightly psycho version. I didn’t hate the experience, but I prefer to be behind the camera where I can see everything that is taking place, as its happening. With the next project that I’m working on, it will have to be that way.

Twilight Frequencies

Do you drink a lot of coffee?

Jacob Boyd
I like the taste of coffee. It goes well with cigarettes, and I smoke a lot of those.

Photography by Heather Bass

I drink coffee most days, but I wouldn’t define it as “a lot.” I remember the morning we shot “The Jack French Suicide” I was so excited that I drank like 6 cups of coffee. I was frantically pacing back and fourth, babbling a million words a minute to Austin over the phone about the script I’d written the night before. That’s why it is great to have a creative partner like Austin. Even through all of my caffeine crazed bullshit, he still could relate to me, and advise me on what aspects of the story were good, and what parts were terrible. Austin has worked an every movie I’ve done as and actor or producer and has spent countless amounts of money on beer as we’ve talked, debated, and written films. He’s the most skilled guy I know. I think that we’ve had coffee together once.

Twilight Frequencies
Was there anything you had to give up in order to focus more on your creativity?

Jacob Boyd
Right after we finished our first movie “The Happydead”, I learned that I was going to be a father. I spent the past 2 years adjusting into fatherhood while doing film festival competitions once or twice a year. This was great because when we did make a movie, we did our best, like the Super Bowl for film geeks. Now, adjustments have been made, and we are ready to start making short films without time or creative restrictions. I didn’t have to give up anything for creativity. There are plenty of hours in the night.

Twilight Frequencies
In this latest film was the dialogue mostly improvisational? The line “Boo Fucking Hoo” had me falling out of my chair, especially with the context of the situation. Was that planned out, or just one of those great moments of spontaneous film?

Jacob Boyd
That line was written. A lot of the script changed when it hit the screen. I’d write different bits of dialogue and we’d just played it close. I’m not a strong actor, but I still wanted to have that improvisational quality, so we did a lot of improving to keep the lines from playing too staged. Jamison, who played Jack French in the movie, is a really good actor. He knew what the scenes needed to be, based on the script and simple direction, but the majority of his performance was created by him.

Twilight Frequencies
Are you into anyone else locally that’s doing similar work, or independent films in general?

Jacob Boyd
Jamison Stalsworth’s stuff is great. I was lucky enough to have his help on the last two movies I’ve done. He makes these really funny and really dark animations. He also does really creative live action short films. He has a very unique voice with his filmmaking style, and for my tastes, he’s my favorite in town. I also really like what Jeff Delany is doing. His shorts have a real depth to them, and they’re really dark and weird, I love that. Mitch Moore is another who consistently makes extremely well crafted movies that has a lot of heart, and deal with subjects that I think are important. Kelly Burke is another guy who always impresses me and makes me want to make better movies. His most recent “The Suffering” Starring Mike Stanley was a real stand out. Chip McCormack is great. Comedy is a tough genre and he’s the funniest I’ve seen locally. There are a lot of people around town that I think are very good, these are the first that come to mind.

Twilight Frequencies
Who are some relatively big name directors you enjoy?

Jacob Boyd
The Coen Brothers, Wes Anderson, Jean-Luc Godard, Paul Thomas Anderson, Mark Romanek. Just to name a few.

Twilight Frequencies

I know you also make your own music. What do you see yourself doing as a musician? Have you incorporated that in your films? Is there maybe an all encompassing project coming in the future?

Jacob Boyd
Music is another hobby. I don’t take it as seriously as I do short film, but it relaxes me and I love making instrumental electronic music. I have scenes in unproduced-scripts that call for that style of music, but who knows? It would be great to try it one day. Music is very important to the style of movie that I make. I am very inspired by music videos and silent pictures. That relationship between music and images is one of my favorite aspects of film, and there is a real magic that can happen when it is done well.

Twilight Frequencies
What was your first contest like? How did you feel once you finished the project, and submitted it? Do you get nervous when showing your films?

Jacob Boyd
The first competition I participated in was the 10 hour film festival in 2007.It was a nightmare. It was the first time I was making a “real” short film. I’d been writing and studying short film since 2002, but that was the first time I was making a short for something, besides amusing my buddies. We shot so much coverage, such an unbelievably unnecessary amount, because a 3 minute movie sounded like an eternity of time my first time out. Anyway, we finished editing and for some reason we couldn’t get the movie to burn onto a dvd. The deadline time was coming quickly, so we decided to take our editor’s entire desktop computer to the world grotto, where the festival was happening. We had worked hard on that thing and we weren’t going to sit on our hands and pass up even the slightest chance that it would be screened or judged. Fortunately, we were able to get the judges to watch it. We are the last entry of the night and the last movie to be shown. The audience had just sat through 30 or so, 3-5 minute movies, but they announce a 5 minute intermission so that our editor, Bronson Netherly, could plug his computer into the projector. After a few minutes the picture gets it hooked up, but cant get the sound to play. They decide to screen it anyway completely silent. The only short submitted with no sound. I am mortified sitting in a back room as the audience watches this silent movie, pulled up on some video editing program, with the screen size about half of what it should be. It finishes and a bunch of relieved people, including myself, anxiously waited for who is going to be given the awards for 1st through 3rd. Though the day was a perfect example of Murphy’s law, the judges saw something that they liked in our movie and we ended up winning 1st place.

From Left: Bronson Netherly, Austin Webb, Jacob Boyd, Leigh Ann Jernigan

I think we all felt a sense of validation to our work after that day. We won 3rd this past year for a short called True North. Someone told me that only one other team has placed 2 different years since the competition started. If that’s true, it’s pretty cool. If not, who cares? All the awards do is attract a few more viewers online. The movies are what they are whether some random judges like it or not.

Twilight Frequencies
Before you go, do you have any advice for aspiring film makers?

Jacob Boyd
If you love movies make something that you are proud to give back to this medium of art that you love. I’m not saying that the films have to look Hollywood or be a certain way, only that short films are important. We shouldn’t forget that. If you are being honest with your film and like what you, your cast, and crew are doing, don’t worry about what anyone else thinks. Most don’t have the desire to see a personal short film made by some random person when they can go to the theater and see a 200 million dollar movie. But there are many others who do. And I can’t wait to see your work.

Twilight Frequencies
Well, first off let me thank you for doing this. I really believe in your work, and think this latest project is not only a great piece, but the insight and premise sheds much light on something that seems more plausible lately. Thanks again Jacob, lets do this again sometime.

Jacob Boyd
Thank you. I appreciate Twilight Frequencies for covering music and film that is off the beaten path. Being a visual person, I enjoy the unique, almost visual perspective you give into your music reviews. You keep writing and I’ll keep reading. Thanks again. Take care.