A DECADE OF INTERVIEWS 2010 - 2019: Soldier Of Cinema Robert Aaron Mitchell

As the decade draws to a close I thought it would be cool to look back at a decade of interviews I have conducted. This is no small undertaking I have been fortunate to interview a lot of people over the past ten years. What follows is one interview for each year. This is not be exclusionary, I am thankful for every person I have met under the strange circumstances of meeting them for a few seconds and then asking questions as a video camera records. What follows are only from video interviews not the numerous email and phone interviews from the now soon to be past decade.

2010 STAKE LAND TIFF World Premiere

At the 2010 Midnight Madness program I spoke with Director Jim Mickle who has gone on to make several more feature films as well as Hap & Leonard featuring the beloved characters of Joe R. Lansdale, actor and writer Nick Damici and as well as genre legend Larry Fessenden who in the past decade has continued to produce and direct provocative genre films as well as co-produce and contribute to Tales Beyond The Pale a horror podcast in the spirit of 1930s radio dramas. Larry has also written horror video games Until Dawn and Man Of Medan. These interviews would wind up on the DVD and Blu-ray release of the movie.


2011 OFF! NXNE Music Festival
I was working with my good friend Ryan O'Shaughnessy and his Tune In TO website. I interviewed Keith Morris, Dimitri Coats, Steven Shane McDonald and Mario Rubalcaba the members of the punk group OFF! this was a huge thrill for me because Keith Morris was the first singer of Black Flag. I have always enjoyed running around doing interviews at music festivals, a completly different vibe than my usual film festival beat.


2012 THE LORDS OF SALEM TIFF World Premiere Interviews with Rob Zombie, Sheri Moon Zombie and actor Jeff Daniel Phillips. Doing world premiere red carpet interviews are very short usually not substantive affairs. I try to infuse something unique in this quick snippets of conversation. My research lead me to the fact that Rob Zombie was born in Haverhill, Massachusetts which is not far from Salem. I brought this up as an ice breaker and our quick conversation lead to Stanley Kubrick. At the moment I felt we were vibing one another the moment was over. It was also cool that the film was well received at Midnight Madness and holds up. 2013 R100 TIFF World Premiere with Hitoshi Matsumoto This was an extremly fun interview. It is always great to meet filmmakers from all over the world and it was a huge thrill to meet Mr. Matsumoto especially in this setting where red carpets are a rarity in Japan most filmmakers only do formal press conferences. It was also awesome that I was able to make the great comedic legend laugh. 2014 TUSK World Premiere Interview with Kevin Smith There was a lot of things swirling around this night behind the scenes. Time was running out and it looked as though I was not going to speak with Kevin Smith. I did and said it was great that he was back to making movies and he gave me a huge bear hug which has since been written about in a dissertation and published in a book. 2015 SLUMS THE CITIES OF TOMORROW The In Light Human Rights Film Festival I was the videographer for a new film festival that was created in the anthropology department at Indiana University in Bloomington, Indiana. Later in 2015 I would interview Sir Patrick Stewart at the Green Room premiere but I went with this conversation with professor Nicolas Reeves because I really enjoyed our conversation and the documentary is becoming more and more relevant as the wealth divide increases. 2016 THE BAD BATCH TIFF Premiere with Jason Momoa This is one of my most talked about interviews I have done and happen before already star Jason Momoa was launched into superstardom. It also features another bear hug. Guess I am a huggable guy! 2017 BODIED TIFF World Premiere with Dizaster This was the opening film this year and was great to research and learn more about the underground hip-hop battle scene. I had no idea that Toronto had such a vibrant scene. The film was very provacative and in your face so was battle rapper Dizaster. It was also another interview that ended in a hug! 2018 THE WIND TIFF World Premiere It is great to go into a movie not knowing anything about it. From an interview and research stand point though it makes an interview quite difficult. I really enjoyed these interviews at THE WIND Premiere with director Emma Tammi, writer Teresa Sutherland and actors Caitlin Gerard, Julia Goldani Telles The flow and ease of the interviews went really well and I was happy to support this film. 2019 FIRST LOVE Interview with Takashi Miike This was another year that featured some very cool interviews. The long awaited return of Richard Stanley and the few minutes with elusive Nicolas Cage, third time really was the charm this year but I went with my interview with legendary filmmaker Takashi Miike. In my film collection I probably have more films by him than any other filmmaker, in large part to how prolific he is. This would mark the second time I have interviewed Mr. Miike this time it was great that I could sit down with him for a longer interview. Interviews with a translator can always be difficult but I feel this interview flowed well. Honorable Mention SADAKO VS KAYAKO 2016 The photo on this post is from this premiere and one of my favorite photos my good friend Ian Goring has taken of me over the years. This was a really fun premiere and threw out the normal interview process out the window.

MEET THE PRODUCERS: Interview with Larry Fessenden

Let me introduce you to legendary N.Y. producer Larry Fessenden, producer of Stake Land

Larry Fessenden may not be a name you instantly recognize but the name is one that has probably been involved in some of your favorite films. At this year's Midnight Madness alone Mr. Fessenden's reach is felt, from Ron Perlman that has worked numerous times with Mr Fessenden, from The Last Winter which was written and directed by Larry as well as I Sell The Dead which Mr. Fessenden not only produced with his company Glass Eye Pix but also acted in. If you were looking really close during Brad Anderson's Vanishing on 7th St, there was Larry on the big screen again, which brings me to Stake Land. Stake Land was also produced by Glass Eye Pix. He has over forty acting credits, has produced 35 films and has numerous directing credits for feature films, shorts and documentaries. In short. Mr. Fessenden is not only a remarkable talent but is truly a tireless advocate for independent cinema.

As others are talking about recession and economic downturns you and Glass Eye Pix seems to be thriving in the film world, how do you equate your success in remaining in business and producing quality work?

We were very fortunate to have had financial support throughout the recession of Dark Sky Films. The association began with Ti West’s THE HOUSE OF THE DEVIL and that lead us to strike a deal to produce three more movies over the course of 18 months: BITTER FEAST, STAKE LAND and HYPOTHERMIA. And that was followed by another Ti West film, THE INNKEEPERS. So we’ve had a very good run of it with Dark Sky. In the 2000’s Glass Eye Pix invested in the careers of several filmmakers including Ti West, Graham Reznick, James McKenney, and Glenn McQuaid, as well as Kelly Reichardt and Ilya Chaiken, and the consistent model was to make films of artistic integrity at a very low budget. During more lucrative times we could get reimbursed for our efforts. It is our hope that in these lean years our model of frugality and originality will be attractive to new investors. It is important not to discount the sheer talent we have tapped in to. And I believe there is a tone throughout all the films from Glass Eye Pix that stands in marked contrast to the mainstream or even “indie” output and that is our brand.

How difficult was it to find the money to produce Stake Land? What challenges did you face that were unique to this film?

Stake Land was the most solid pitch we had for our slate of three movies with Dark Sky Films; it had the elements that looked good on paper: vampires, the post apocalyptic setting, and the director Jim Mickle had made a successful first film but still was hungry enough to go from no budget to low budget with gusto and conviction. So the film was financed easily, as part of an overall slate. The challenges were many from there. First, the script had to be reworked over several months to shape it into the feature it’s become, and then the epic scope of the story had to be fit into the budget. We determined to split the shoot into two parts, so we could experience on film the change in seasons. This was a gamble that paid off, but one that can stress a budget and crew and spook most financiers. As with all our films, we choose to emphasize post production: sound design, music, graphics, visual effects, the color correct and mix, all are an essential part of the experience we want to deliver, and again, the challenge is to strategize to get the most out of what is left of the budget after a grueling shoot. By using the same team of people in post-production on several films, we have been able to get a lot of bang for the buck.

What is something that you have learned as a producer that you wish you knew when you started out with your first feature Habit?

There is no one thing that has changed since I made HABIT in 1994. With HABIT, I established many of the principals that I still employ: A small crew (there were seven of us on HABIT), an open schedule (we shot over 45 days), and a long post-production emphasizing sound design and a rich, live score, all driven by a resourceful, single-minded auteur (which was me at the time). With HABIT, I endured a tsunami of festival and distribution rejections and so I released the film myself, compelling me to learn about marketing and exhibition. That experience taught me that there are no answers in show biz, there is only conviction. I have applied that to film after film with various degrees of success since, and it has helped several careers get started through Glass Eye Pix. Another thing I have learned since HABIT is I need my own producer to take care of the nuts and bolts of production. I may have a philosophical overview that drives the ship, but it was HABIT’s producer Dayton Taylor that got the film made, Jeff Levy-Hinte who got my subsequent films made, and now Peter Phok and Brent Kunkle have been instrumental in getting a slew of new pictures made. Collaboration in film at every level is essential.

Originally Appeared 9/17/10 Midnight Madness Blog

Robert A. Mitchell on IMDb

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Larry Fessenden Interview with Robert A. Mitchell

October 2008 was the first time I met Larry Fessenden after the premiere of I Sell The Dead at the Toronto After Dark Film Festival. We had a great interview discussing his career making films from the the formation of his production company Glass Eye Pix his own genre pictures from Habit to The Last Winter as well as acting in films directed by Martin Scorsese (Bringing Out The Dead) and Jim Jarmusch (Broken Flowers) just to name a few films and directors he has worked with. Larry is extremely talented, charismatic, passionate about making films and has a great knowledge of cinema.