BACKSTAGE

Today’s guest of CSReview is an international award-winning author whose work has been commended by such notables as the late entertainer Danny Thomas, phenomenal actress Ann Jillian, and the late but forever cherished Princess Diana.  Ladies and gentlemen, meet Emmett O. Saunders III.

CS: Welcome to CSReview, Emmett. You chose a particular writing genre to channel your creative vein. Any reason why religious fiction appeals to you?

Emmett Saunders: Thank you for the invitation from CSReview. Religion has always been a big part of my life. In fact, my first story AN IRONY OF TIME, written in high school, concerned a small town church which is uprooted physically during an earthquake. The various characters in the story were forced to confront their faith or lack thereof in dealing with the catastrophe that beset them. I believe religion plays a vital role in helping us through life. No matter what we believe, as long as it’s rooted in a Higher Being that looks favorably on love and concern for our fellow travelers on the planet, we can use faith to move mountains. So, genre doesn’t necessarily limit me as far as expounding on the benefits of a strong connection with that Higher Being.

I’ve utilized that sense of faith in sci-fi, children’s fantasy, family-oriented drama and adult suspense-thriller types of stories. Oftentimes, the immorality and violence of daily life serves to focus attention on the horrible aspects we face in dealing with circumstances beyond our control. But, learning that change is inevitable, we do learn, hopefully, to see beyond a momentary high stress situation and put our faith to work in ways to overcome the problem and appreciate better times in our lives which are also fleeting, yet made to be enjoyed to balance out everything. As the old saying goes, too much of one thing can be boring. In life, there’s adventure, challenge, change and that’s my duty as a writer to explore and examine those aspects wherever they appear and in whatever form they may present themselves.

CS: I hear you. What you are saying goes right on with my next question. Let´s talk about your source of inspiration. Where do you draw from?

Emmett Saunders: In the beginning, I was inspired by the best writers who were my constant companions in books. I read incessantly after my sister had taught me to read before I ever attended first grade. I was reading comics in the paper, books from the library, at a rate of about four or five a week and I became fascinated with “out there” television shows in my childhood like: My Living Doll, My Favorite Martian, Lost in Space, Batman, Superman, Mr. Ed, Lassie, The Addams Family, The Munsters, Miss Frances’ Ding Dong School, Captain Kangaroo, Bewitched, The Flying Nun, I Dream of Jeannie and the staples such as Leave It To Beaver, Gilligan’s Island, Room for One More, The Farmer’s Daughter and Hazel.

Movies, similarly, were a big event which marked me for life. A lot of the Walt Disney ones imbued a sense of adventure in me: In Search of the Castaways, The Moonspinners, Pinocchio, Sleeping Beauty, Snow White, etc. Later, I graduated to more integrated storylines with music such as: The Sound of Music, Mary Poppins, Camelot, Oklahoma, Carousel, etc. And the two biggies were Gone With The Wind and The Wizard of Oz. I became fascinated with exactly what drew me to these films in the first place and what could possibly keep me viewing them over and over again. For example, I’ve seen Gladiator approximately 765 times and Amadeus about 650 times. This included theater viewing as well as home viewing after the DVDs became available. Story lines are very integral for holding my interest but the characters as well as the way they’re portrayed by actors and actresses can add or diminish the feelings that well up inside while enjoying the performances. This then, became a focal point for me in honing my writing skills.

I read Shakespeare, Cicero, Plato and a host of other writers who looked at the human condition and incorporated what they felt from life into their work. And that, in essence, is what I found a significant enlightenment, as a writer, to draw from in constructing a well-written story. I found the ARABIAN NIGHTS mini-series a very good “Aha” moment when the storyteller told Scherezade in order to keep the listener’s interest, you had to grab them within the first ten or twenty seconds, build the story and end each chapter with a cliff-hanger type of carry-through to the next level. And in writing my Christmas stories, I began with the simple emotion of being overwhelmed by the commercialization of the season, integrating that into a refocusing on the two major aspects of Christian belief, the Christ Child’s birth and St. Nicholas delivering presents.

Over the years, I found many sources of inspiration from my surroundings and people who came and went in my life. That was similar to Frank Baum’s incorporation of the same elements in his writing of The Wizard of Oz series. For the most part, I took the drive for writing from my favorite book LITTLE LAME PRINCE where he was dropped at birth, given a flying cloak by his fairy godmother to see the kingdom that his uncle had usurped and, in the end, acquired the throne and ruled peacefully thereafter. I like the Grimm’s fairy tales, but sometimes the scary aspects aren’t mitigated by the happy endings. You see that as an adult in reading the stories, but not as a child. Yet, again, the feeling is all important. And, as a writer,  I find that connecting to the reader’s feelings, much like that found in music, will lift a story from merely mediocre to a greater understanding and appreciation for life. Again, that’s what makes the best films as well when music, writing and performance all work together (maybe not equally) to draw the viewer into a better view of life.

CS: I am in awe of Shakespeare and Gone With the Wind, and many other classics you mentioned, both in literature and film. What can you say about most common challenges for authors in your genre? Most unique ones?

Emmett Saunders: I think the most common challenge is to avoid contrivance, either in plot or character. So what if you’ve outlined the most outlandish possible scenario for getting things in motion. A college professor friend of mine, after viewing the beginning of one of my sci-fi stories, noted that the characters were flat, everything seemed focused on the plot and all the wonderful scientific mechanizations around them. If you don’t connect with the characters on an emotional level, good or bad, then the writer has lost the listener and no leap of faith into that situation can be achieved.

So, I avoid designing characters and prefer to draw characterizations from live people around me, past and present. I may integrate several personality aspects of the people into a single character, but in no way can I “believe” in a character’s existence without real people to base them upon. It’s sort of like an artist trying to imagine what he or she is painting without the benefit of having actually experienced the interaction with the subject. Who can forget the monumental aspects of the Mona Lisa, Michelangelo’s David or the Venus de Milo? Ditto with architectural masterpieces such as Mount Rushmore, the Statue of Liberty, the leaning Tower of Pisa, the Pyramids of Egypt or the Colossus of Rhodes. When something is done right, it becomes a valued part of civilization and the collective unconscious of mankind. It will be remembered through the ages for its beauty, structure and contribution to lifting mankind higher in its appreciation for life.

The most unique challenge for any writer is complacence. Don’t be satisfied with what you’ve done before or become scared that you have lost the impulse or drive for writing something worthwhile. I’ve put aside writing certain stories for years and come back to it, able to pick up exactly where I left off. The intervening time can bring something fresh to the picture and incorporate still more in the body of the work and/or characterization. Things don’t have to spring “full blown” into your head when you write. I found in writing THE SHAMROCK RUNNER, which took nine months, that little insignificant (to me at the time) things came back at the end to major considerations. This, I attributed to taking small breaks in the writing, and my subconscious mind having already plotted everything out before I ever began putting the words down. So, don’t settle for less than your best. And always have faith in your ability, no matter what form of insecurity may creep in, before you start or throughout the process of completing a work.

CS: You published at least one of your titles with Publish America. What can you tell us about your experience with them?

Emmett Saunders: After I had self-published my first book, THE BELL WISHERS (children’s fantasy), I was desperately searching for a way to get my work into print without having to come up with a great deal of money in order to get it done. I was working on two different books at the time, REINDEER ON THE ROOFTOP (Christmas story anthology), drawn from my original story of THE NIGHT THE REINDEER FLEW, and THE SHAMROCK RUNNER (adult suspense thriller). I came across an advertisement for Publish America and responded to it. The company is based in Maryland and seemed open to both of the manuscripts, so I investigated further. I was amazed that they were on the edge of the new publishing genre of printing on demand. If your book was accepted, they would design a cover, based on your suggestions and print it as demand warranted from the buyers. It seemed a good deal. And I was chomping at the bit to get both of these books into print, so I didn’t really think about further details.

I was pretty much fed up with a select group of publishers in the country pretty much dictating what the public reads. What if there was a writer who had the best book in the world ready to go and because someone at the publishing company had a bad day, that book would never see print. I’m sure it happens. And as I later corresponded with a writer friend in Ireland, she told me that she had followed the print-on-demand avenue as well with successful results. What I didn’t realize at the time was the writer would be responsible for marketing the book once it was published. And, the publishing company holds the ISBN registration number for the book, so the writer is locked in to dealing exclusively with the same publisher, unless you’re willing to buy back the ISBN number.

As the Internet blossomed, I had an inspiration to convert my books into e-book formats and publish them that way. Unfortunately, the contract stated that the publisher has the exclusive rights on the books for seven years to do that as well. However, those rights do not extend to screenplay adaptations, so I focused myself on learning that craft and eventually turned my attention in that direction. I believe print-on-demand books may be on the way out as the e-books become more widely accepted and environmentally sound. No tree is killed in the process of getting your work into print nowadays. And, with the advent of e-books, you now have a new industry that can help writers design their books by themselves or with company assistance. It’s truly the best of both worlds at limited costs in terms of publishing.

Of course, the time and effort involved is strictly on the writer in promoting the books, But, with Publish America they continually wanted the writer to buy his or her own book, in fairly large quantities, and cooked up promotional venues to get your book in the hands of well-known writers and celebrities. I didn’t succumb to that angle. What would those people have to do with promoting your book? So, I have embraced the e-book phenomenon of constructing my own work and I’ve been quite satisfied with subsequent books of mine: LIFE WINDS (poetry anthology) and CRATERS OF THE SUN (sci-fi anthology) which are available in both Nook and Kindle formats. Instructions are very easy to follow in submitting books and can be found on their websites.

CS: It´s nice to hear that you found your balance and was able to smoothen certain angles. What are you currently working on? Where do you see yourself – as a professional writer – in five years from now? In ten?

Emmett Saunders: I’m currently working on CONVERSATIONS WITH JESUS (religious drama) both in e-book and screenplay format, TIMESTREAM (sci-fi thriller screenplay) and MOON BABIES (supernatural mystery in e-book format).

As a professional writer, I’m always hoping for time to work on stories, concepts and ideas that develop into viable and profitable means of communicating adventure and enlightenment to readers. I am always open to new contacts, friends and situations to learn about life, so in five years, I would imagine new options would present themselves for just such opportunity.

In ten years, as I’m quite old already, I would hope to have the energy to continue writing for enjoyment and keeping active. Inside, I know my soul is the same age as it was at birth, because the soul doesn’t measure time, merely growth. However, for all practical purposes, I have to realize the pressures of the aging process and I know it may take more time to convey the stories based on physical limitations. For the sake of readership, though, I will continue to make the effort.

Thanks again for inviting me to CSReview!

CS: Thank you for being here today, Emmett. Wishing you success for your new titles and all the best in life.

Copyright Camilla Stein ©2012. All rights reserved.

To sample the author´s style, read Dark Intent, a short story by Emmett O. Saunders III, on A Book’s Mind.

© Emmett O. Saunders III

Books by Emmett O. Saunders III on Amazon

Emmett O. Saunders III on Amazon Studios

Guide to Plays by Emmett O. Saunders III

Emmett O. Saunders III on Literary Movies

Emmett O. Saunders III on Youtube

FILM

Japanese Story

Directed by Sue Brooks, Japanese Story starred Tony Collette and Gotaro Tsunashima, and grossed over 4 mln dollars at the Australian box office upon release in 2003.

The story begins with a business partner arriving from Japan to Australia and needing a tour. What happens then is a combination of drama and romance, and a slow motion, however fast moving, development of a connection between two people from two different worlds.

It starts a little like sampling new food or trying on a new dress, but then grows into waves of passion and emotion. The effect is being confirmed by the music, a blend of a subtle texture of the Japanese silk and the oh so spacious Australian sky.

Japanese Story centers around the theme of an immediate human connection on a deep intimate level. It’s a touching and elegant story of a man and a woman and what could have been between them, but what never truly got its chance.

On the other hand, the tragic and powerful ending of Japanese Story, having introduced another female character, leaves a peculiar aftertaste. What seemed like a careless adventure of one reckless man, turned out to be a heartfelt journey of two women.

Copyright Camilla Stein ©2012. All rights reserved.

Official Trailer for Japanese Story

BACKSTAGE

Returning from the set of the upcoming movie American Girls, actor Josh Hammond visits CSReview, talking about his multifaceted carreer in the film industry and highlighting crucial aspects of professionalism in his line of work. Josh appeared in a number of well known movies and TV series such as CSI: NY and Scrubs.

CS: Josh, why acting? Is it really just about the sparkling Hollywood life style, or is there a deeper meaning to acting that attracted you?

Actor Josh Hammond. ©Carl Kalamon

Josh Hammond: Hmm, well I think that typically there is a little bit of the “glitz & glam” dream of Hollywood that initially attracts any artist to L.A. I think that dream fuels the passion that anybody has to be an artist to some degree. However, after working in the entertainment industry for 13 years it becomes deeper than the façade. I believe that an artist’s job is to show people what it means to be human. After that many years you realize the streets are not paved with gold and becoming professional is not easy. Hard work, dedication, and an unwavering focus on your goals are necessary to succeed in the industry. You have to continually re-invent yourself to stay on the leading edge.

CS: A universal formula for success in just about anything… What is it about the horror genre that appeals to you as a professional actor?

Josh Hammond: I really enjoy the concept of no consequences between “Action” and  “Cut”. Especially in horror, because as an actor you really get to cut loose and go crazy when at work. Scare the grass out of people, kill, rape, and pillage…..all while having fun and getting paid. I feel very fortunate to have such an amazing job.

CS: Trying your hand as a film producer and screenwriter do you see a difference in approaching film production from how you do it as an actor? Is there a common base for all three?

Josh Hammond: A lot of times I think that “actors” have this sense of entitlement, “I’m here! Appreciate me!” I think that’s a load of rubbish. Acting is a job, an awesome one – but nonetheless a job. I’ve always considered everyone as equals, no matter how “famous” you think you are. So I go to work and shut up, until I’m told it’s time to act. However as a producer and a writer I felt as though I had more of a hand in the creative process that I didn’t have the right to as solely an actor. But I will say that the experience of producing gave me a new and more refined approach to the entire process that I hadn’t had before. I think the common thread between all three is that making a film is a TEAM effort. Every department is working toward a common goal – making a piece of art. No job is more important than the others, because without one, NONE of the others are possible.

CS: In your opinion, what are the essentials for a film crew to work well together on the set?

Josh Hammond: COMMUNICATION. In any profession, the ability to relay your ideas and listen to others is crucial in the success of a project. I’ve also found that working with the same crew is also very beneficial to a great teamwork; relationships make a huge difference in the working process. When everybody is comfortable, appreciated and made to feel important, it improves the quality of their work.

CS: Please describe your trademark roles and why you think you are the best man for playing such parts.

Josh Hammond: Fortunately, and unfortunately, I have been known to play the “sick and twisted”. I am spontaneous and inject a sense of humor into all of my characters, which allows the audience to relate, even if just a little bit. Because let’s face it, not everybody out there is a serial rapist or mass killer, LOL. So I think that my upbringing makes me a great candidate to portray these types. Having been raised in a very religious home, I can play the polar opposite, because I know how the astringent rules are best BROKEN.

CS: What can you say about your character in American Girls? What was your initial response to the character?

Josh Hammond: I’m playing Scott Salazus (who is based on a real character), a confused and easily persuaded individual with a low IQ. Put into a situation that has a violent and gruesome outcome. Fueled by drugs and peer pressure, my character makes some very bad choices. My initial response was surprise. I couldn’t believe that the actual news story didn’t get more media coverage, considering how mainstream media thrives on sensationalism. This story was ripe with material to capitalize on. The events therein are pretty unsavory as well.

CS: Is it harder to play in a movie that is based on a true story, knowing that these things aren’t fictional and people really got badly hurt and brutally killed? Does it make you reflect on the human nature more, think what we are doing, where we are going, as a human race?

Josh Hammond: Great question. I do believe that playing in a non-fiction film is much more psychologically challenging, because I’m not “inventing”. It’s more RE-creating a persona and trying to do someone else justice, whether they deserve it or not. Stepping into someone’s shoes that is not “clinically okay” is difficult. A lot of questions must be asked to fully understand where this character was, in his mental space. At some point my character Scott must have felt justified in his actions, if only because of the drug use and the low intelligence level. However, there must have been some reflection on his actions, because Scott went to the authorities and confessed the crimes that were committed. Reflecting and asking difficult questions to explore human nature is necessary for all of us. Understanding what makes us tick is imperative as a member of the human race. I don’t know where we are headed as a society, but I do know that with love and positivity we can salvage our humanity, and become more than we are now.

CS: How do you see yourself in the modern cinematography, where is your place, what is your mission?

Josh Hammond: I believe that my place in modern cinema is as a leading man with an edge. Think Jack Nicholson or Woody Harrelson – in other words, a likeable, every-man, someone you can see as your neighbor or friend, but liable to snap at any moment. I’m a decent looking guy, but I’m no heart throb, and I’m okay with that, because I think that’s what makes me tangible. Plus my sense of humor will win over any part of you that may not be attracted to my looks. So, my mission is to continue working on great projects and become a more evolved human and artist.

CS: A great resolution, Josh. What new horizons have you established for yourself for the year 2012? Where do you see yourself in five years after that, in a decade?

Josh Hammond: I’m not a big fan of resolutions, I don’t like to make promises, or set standards for myself, because then I can never let myself; or others down. Also my dreams and goals change on a daily basis, so I’ll continue playing for an audience of one. Me. I have only set one rule for myself – to keep evolving. In five years I see myself in a mankini, chillin’ with my wife and children on a rowboat, anchored off the south shore of the Salton Sea (look it up on a map –it’s shaped in a peculiar manner, LOL). And ten years from now, I’ll be at an internet café on Mars, smoking sherm…(cigarette dipped in PCP) and trying to fully understand the Fibonacci Sequence! JUST KIDDING, I have no idea. I don’t even know what I’m doing tomorrow. But I know it’ll be interesting.

CS: Thank you for a very etertaining and insightful interview, Josh! Wishing you more great projects in the future.

Copyright Camilla Stein ©2012. All rights reserved.

Josh Hammond on IMDb

Josh Hammond on Twitter

American Girls Official Trailer  *WARNING: Graphic Content.*

FILM

Childlike Past and Alien Present:

Super 8 and Attack the Block’s Children and Aliens

by MICHAEL PANUSH

The best science fiction stories do more than entertain us with big budget starships or creep us out with freaky aliens. While they entertain and entrance, they also use the fantastic elements of a sci-fi story as tools to create a compelling look at our own modern reality. They make us think about our own time and place. This willingness to employ science fiction to tackle bigger issues turns a special effects-laden blockbuster into a masterpiece.

Last year saw two science fiction films featuring young protagonists dealing with extraterrestrial invasions. Both films offer amazing performances, especially from young actors, accompanied by great action, breathtaking monsters and brilliant directing.

The purpose of this essay is not to dissect the movies as better critics have already had their say on both Super 8 and Attack the Block. Rather, let’s talk about the cinematic worlds that each movie created and see if there are differences between the overall premises and emotional value of each film. Finally, let’s explore how, like all good sci-fi, Super 8 and Attack the Block have a purpose beyond giving us a monster movie’s thrills and chills.

JJ Abrams’ Super 8 came out on June 1^st and featured the story of a nice kid named Joe Lamb (played by actor Joel Courtney) and his friends, experiencing the arrival of a vicious non-human being in their American small town while making a zombie movie in the summer of ‘79. Joe Cornish’s Attack the Block was released in the United States on July 29^th and features an aspiring young street thug named Moses (played by actor John Boyega). His gang of juvenile delinquents tries to survive an alien attack on their council estate in modern, lower-class London.

In a nut shell, Super 8 brings on the nostalgia for the past, while Attack the Block deals with unease in the present.

At first glance, Super 8 and Attack the Block are very similar. They both deal with a bunch of youngsters taking on a monstrous threat. They both owe a lot to Steven Spielberg’s films, complete with kids riding around on bikes. They both have unflattering portrayals of the government – whether it’s the mysterious military occupiers of Super 8 or the blundering, swarming ‘Feds’ of Attack the Block. They both even have their young protagonists use specialized slang – like ‘mint’ in Super 8 and countless examples of lower class London vernacular in Attack the Block. Finally, each does a good job of capturing the strange feeling of adolescence in a changing, unsure world.

But that’s where the similarities end.

Super 8 is all about a fond remembrance of childhood and the past. The 1979 it depicts is not free from trouble, but the troubles can always take a backseat to creativity. And that creativity is in full bloom. The kids are watching zombie flicks by George Romero, learning make-up from movie magazines and generally indulging their inner Tom Savini by making a film of their own. And so when danger arrives, it’s not even a big deal – it’s an opportunity to add a touch of big budget production to their movie.

That’s not to say there are no conflicts. Presence of a mysterious alien and occupying troops cause their share of problems for all the characters. There is inner turmoil as well, with a young romance for Joe and his changing relationship with his friends. But for the children, all of these travails are youthful and innocent. They’re charming, reminding of the gawky nervousness we all have had in our pasts. The world itself is full of wonder and an overall feeling that if you try hard – and are artistically-minded – everything will work out all right.

You get a few hints of a larger American paranoia, but not many. If we take a quick look at history, we can see that 1979 wasn’t exactly a great time for America. Watergate, the Cold War, racism, riots and Vietnam – all of that loomed large in the national consciousness. George Romero’s 1978 Dawn of the Dead – a film which is referenced by the young filmmakers of Super 8 – perfectly embodies that turmoil. But you wouldn’t get an idea of it when you’re watching Super 8. There’s maybe a mention of the USSR from a housewife at a town meeting, which is played for laughs and Vietnam is used by the kids as a handy bit of back story for their movie. That’s about it.

Director J.J. Abrams isn’t putting a turbulent time of American history under a microscope. But then again, that’s not his purpose with Super 8. He’s trying to capture a sense of wonder and youthful exuberance, aspirations and fears in the film. Overall, Super 8 is about nostalgia. Because of that, its emotional charge is almost an exact opposite of Attack the Block.

The London Riots occurred in August soon after Attack the Block had been released. Whether Attack the Block could be called prophetic or not, it perfectly captures the torment and distress caused by poverty in the more disadvantaged areas of London. That Attack the Block manages to do this while telling a compelling creature feature story, being frequently hilarious and showing the journey of its main character is nothing less than a triumph. Attack the Block isn’t set in a dream world of adolescent longing and artistic experiments. The world in the movie reflects the cold reality of our own – bleak, cruel and sad. And even with all that, Attack the Block still lets you know that there’s room for saving the day and the possibility of change.

Before the aliens show up, the setting of Attack the Block is far from being a pleasant place. Bonfire Night, fireworks and smoke make it look like a war zone. The first thing we see is a mugging at the hands of Moses and his aspiring thugs. Moses and his friends live in the world where the law is unfriendly and is therefore feared. With no chance of outside help, survival is a matter of trust in one’s friends. They’ve got no time to be creative and can only vaguely experience adolescent love.

One particular line perfectly sums up fear created by this environment. When members of his gang are speculating on the origin of the extraterrestrials, Moses suggests that the government engineered the beasts to kill ‘Black boys.’ This conjecture is similar to conspiracy theories blaming the US government for creating the AIDS virus or bringing crack cocaine to America to kill off disadvantaged Black people. The theories are a symptom of the hate and mistrust for a system that has failed. The system doesn’t work in Attack the Block either and the kids and their few allies are on their own.

The film’s ending is built on hope. Moses must learn responsibility and team-up with those he and his friends previously distrusted, if any of them are to avoid death and save the Block. The friendships forged while facing the alien attack are more than just a union against a common enemy. The companionship of these characters of varied races and classes show that differences can be overcome in the pursuit of heroism.

Last year was a good season for science fiction movies. There were many entertaining ones and a few that really stood out. Attack the Block and Super 8 are going to be in the latter category. This evaluation isn’t coming from a film expert, but from someone who does his best to understand a deeper meaning in fiction. The impact of Super 8 and Attack the Block goes far beyond the simple thrills of sci-fi action. These two films hold up a skewed mirror and let us have a good look at our reflections while still telling a compelling story. Super 8 is nostalgic and Attack the Block is nearly prescient, but both of them have the piercing insight that has always been the hallmark of good science fiction.

Michael Panush ©2012. All rights reserved. Courtesy CSReview ©2012.

Twenty-Two years old, Michael Panush has distinguished himself as one of Sacramento’s most promising young writers. Michael has published numerous short stories in a variety of e-zines including: AuroraWolf, Demon Minds, Fantastic Horror, Dark Fire Fiction, Aphelion, Horrorbound, Fantasy Gazetteer, Demonic Tome, Tiny Globule, and Defenestration. He currently attends UC Santa Cruz. Michael began telling stories when he was only nine years old. He won first place in the Sacramento Storyteller’s Guild “Liar’s Contest” in 2002 and was a finalist in the National Youth Storytelling Olympics in 2003. In 2007, Michael was selected as a California Art’s Scholar and attended the Innerspark Summer Writing Program at the CalArts Institute. He graduated from John F. Kennedy High School in 2008 and currently attends UC Santa Cruz.

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Michael Panush on Curiosity Quills

Stein and Candle serial by Michael Panush

Michael Panush on Facebook

Michael Panush on Twitter

 Personal Website: http://www.clarkreeper.com/

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This post is part of the Curiosity Quills Blog Tour 2012. Curiosity Quills is a gaggle of literary marauders with a bone to grind and not enough time for revisions – a collective, creating together, supporting each other, and putting out the best darn tootin’ words this side of Google. Curiosity Quills also runs Curiosity Quills Press, an independent publisher committed to bringing top-quality fiction to the wider world. They publish in ebook, print, as well as serialising select works of their published authors for free on the press’s website.

FILM

CAPOTE

Capote hit the nerve with the harshness of a hammer and brushed over with the chilling subtlety of a feather. Ups and downs – like going over waves of a mathematical function – shattered illusions and myths. In the end there was nothing but the truth about the price of glory and the darkness of human psyche.

Very attentive, with the precision of a jeweler, performance by actor Phillip Seymour Hoffman and the supporting cast. Everyone in tune with the spirit of the epoch, the details of speech, dress, manners… And then there is the murder, the murderer and the prison, and the jokes outside it in the writer’s lounge. And then, there is the book.

Today’s authors and journalists, how far would you go for the story? Would you be deceitful and narcissistic in your desire to produce a masterpiece, and should you be entitled to doing so just because you happen to be a genius of your craft? Sixty years ago Truman Capote didn’t even blink before going behind bars on unlimited visits and nurturing the killer whom he needed to have killed, because such were the demands of his book. Or perhaps those were the demands of the time he lived in, the industry he worked for, the ideals of quality that he worshipped?

Capote doesn’t answer these questions – they remain hanging in the air, together with the body of a hanged criminal, grimacing at gruesome facts and an intense inner turmoil.

Copyright Camilla Stein ©2012. All rights reserved.

Watch Capote Official Trailer

BACKSTAGE

Making special appearance on CSReview  today is actor Larry Laverty, sharing his life story and his carreer in film.

Larry Laverty in Treasure State. Image courtesy: Treasure State, the movie.

CS: Welcome to CSReview, Larry.  You have gone a long way in your filming career, starting modestly – but look at you now!  What brought you on this journey?  Why cinema?
Larry Laverty: I had my favorite movie stars I loved to watch as a kid like everybody else, but acting itself always seemed very strange to me. I just couldn’t imagine myself doing the school play. Sports and other outdoor activities were what interested me.  So, years went by…  Then, when I was 24, in my last year of college out of the blue I took an acting class. The instructors, both Broadway veterans, told me I was a natural, born entertainer, and to this I laughed, but took their appreciation to heart. At about the same time through a number of jobs I’d worked I felt like I just couldn’t surrender the rest of my life to a corporation, spending 8 hours a day in a cubicle. I’d worked quite a variety of jobs actually by that point, having started working when I was 11, and I enjoyed every one of them, exploring different roads in life. And then it hit me.  As an actor, I could experience a touch of what it’s like to be a lawyer, a doctor, anybody. I was on my way. But my search for a career wasn’t over. While I loved doing the plays and the musicals, being confined to a stage took a lot of the realism of the experience away for me. And since I’d spent a lot of time through my childhood on the streets, being on location to shoot a movie just about anywhere feels right at home to me. After all, I guess it all makes sense as I grew up watching more than my share of movies and TV, with my parents at drive-in movies, at the neighborhood movie house with buddies, and at home on TV with anybody I could get to join me. I’ve always loved movies, more than books, more than just about anything. How it began – I was backstage at the theater company I’m still a member of, in the middle of a rehearsal, when I overheard two other actors talking a film audition they were going to the next day. I chimed in, went, landed a role, and that film, ‘Deadlock’, with James Hong, was the beginning of my future career as a film actor.

CS: Fascinating, Larry. What led you to eventually choosing such curious characters for your trademark? Is there a part of you in them, or perhaps a particular personal experience that drew you towards playing such personalities?
Larry Laverty: Well, I’m a bit of a character myself, rarely having taken a conventional path in life. I know my heart and I’ve always tried my best to follow it.  Ever since first grade, I befriended the friendless and have felt something for the odd duck.  Despite all this and because of my looks and general demeanor, I played a bus load of conventional characters throughout my first ten years in the business. From L.A. to New York City, I’ve played nice dads, cubicle-hugging corporate guys, and cops of all kinds. Looking back in visual endeavors like film and TV are, I’m grateful that I fit in so easily right off the bat. But once I got a handle on what I was doing as an actor and the potential that was involved, it became much more rewarding to drift away from playing mainstream characters, who by nature toe the line, and move over to exploring the nooks and crannies of humanity as is most prevalent in society’s oddballs. I love playing oddballs. There’s a bountiful supply of quirks, complications and illnesses in the human race and the oddballs are the most prone to live with them at a noticeable level. Why I think it’s even safe to say that I’ve become an oddball myself.

CS: That’s quite a revelation! I do too agree with you about illnesses in the human race though. So much to mend out there, isn’t it… Now, back on the set, what goes through your head when you are in front of the camera?
Larry Laverty: Ninety-nine percent of the time that I’m on a set I’m living the life of the character I’m playing. I don’t do much chatting or fooling around. I’m focused on the current scene of the story being filmed and prepared to experience whatever it is that my character has coming down the tracks. I spend a good amount of time, more than most actors I know, preparing my characters before the shoot starts and I usually get pretty far away from who I am as Larry. I’ve cultivated this transformation for 10-15 years now and sometimes scare myself with the lives I create and how deeply involved in them I get. Oh, and the other one percent of the time, I’m likely to have been painfully pulled away from my character by some technical filmmaking issue. You see, I’ve been lucky enough to work with a few Academy-Award winning directors and cinematographers along the way and I’ve learned from them. I’ve also produced a few projects myself, so it pains me when I’m out there working and notice that the lighting could be better or the placement of the camera could be improved. No matter which frame of mind I’m in, I’ve done this job often enough and long enough to just take a deep breath and remind myself that I won’t be curing cancer this day.

Images courtesy: Larry Laverty. Collage design: Camilla Stein.

CS: I am curious about the following. You played once a minor role of a bystander in the TV series Nash Bridges of which I am a long time fan. By that time you had already worked several years in film. How did you feel landing a small part being on the set of the two-million-dollar-per-episode production next to big shots and obviously great talents? Is there such a thing in cinema as a small part? What have you learned from the experience?
Larry Laverty: Nash Bridges actually represents far more of my life than just the three lines I uttered as a minor character in one episode. I don’t talk about it, but in need of money I took a low-level crew position on the show, starting with the first day of the first episode, and I worked regularly through the first two seasons and sporadically through the show’s sixth and final season. I hung out with Don Johnson, listened to Cheech play the guitar, and drove the Cuda. When I went in to audition for the little role I played, the episode was to be directed by the show’s DP, so he knew me, we joked around and I did the job. There really is no such thing as a small part in film or TV or theatre because it’s each actor’s responsibility to do their part in keeping the audience wrapped in the story. I learned more about TV production, celebrities and life from my time as part of the family of that show than I can ever put into words.

CS: What a story! Such memories are worth being put in a memoir. Tell me, if not films, what would it be?
Larry Laverty: At this point, some 25 years into this experiment of mine, I really can’t imagine doing anything else. But I’m not above sharing that I’ve second-guessed my choice to do this most every step of the way. My teachers in school when I was young in all the Advanced-Placement classes wondered why I wasn’t living up to my potential as I’d cut school to go hang out with the other long-hairs at the neighborhood rope swing or some other adventure of the sort. I’m sure they’d scratch their heads now too, with the way I’m putting my little brain to work. I actually did set out at one point years ago to work in a job where I could protect our environment and save animals and I’m sure that’s what I’d do today if for some reason I couldn’t do acting. I’d do that or produce documentary films like the one I’ve been working on for a number of years about the World War II generation, to try to raise human consciousness and make the world a slightly better place.

CS: That is a very noble aspiration, resonates with my own way of looking at things. To proceed, one word – theater. What did you take with you from its backstage onto the set? Would you consider actively acting in theater as part of your today’s career?
Larry Laverty: I marvel at what in the world came over me to want to try acting in the first place, let alone getting the idea to do plays and musicals up on stage in front of all sorts of people I don’t even know. I’d sang in various church choirs since I was 8 years old, and even studied singing, so I guess that was really my entree into professional acting, through singing. The size of the facility though, where I first got started and was a member of the company, was more intimidating in a way then performing itself. It holds 2,000 people and that’s a big space to fill up. But its funny how if you stick with something long enough, you can actually get good at it, despite yourself. I played in over 15 plays by Shakespeare and musicals by all the Broadway greats, and I was studying acting in a couple of classes at the same time. But in looking back, my years on stage really came way too early in my career for me to appreciate it all. I was up to my ears in my search for how to be an artist, how to play, and this didn’t come easy, especially since I’d shunned acting through my life to that point. I really didn’t know what I was doing and was learning something new every day about what performance is all about including tapping into the power of the imagination. Today, once every blue moon, it crosses my mind to do a play again, but the the long-time director at Woodminster Theater in Oakland, Jim Schlader, who I loved and looked up to, just passed away last year and I’m still making peace with that. I am lifelong friends with the family who manage that theater company I originally started with, especially as their roots are in Wisconsin. I lived in Wisconsin, and we’re all Packer fans. I still help out in any way I can with that company.

CS: I am sorry to hear about Mr. Schlader, I hope you’ll be able to find your peace. Where is Larry Laverty today, professionally and as a person? Are you growing, are there new goals, a new Mount Everest waiting for you?
Larry Laverty:  In the past two years, I’ve played a number of characters who were just hanging on to life by a thread. Their emotional states were so raw, so fragile, that within a single scene, I’d find myself sobbing and then later laughing hilariously. At the end of each day on these projects, including the soon to be released ‘Sisterhood of Death’, I knew I’d made it. I’d made it to the point in my career as an actor that I’d been searching for all these years. I now feel competent, at one with my imagination, able to play any character that comes along and do it as well as anybody else can, easing my own personal pilgrimage for artistic expression and legitimacy… I’d reached the mountain top. Now, the next peak to climb is on the business side of things. This means getting back to business in L.A. after having been away for over eight years, getting back in to TV and big-budget movies, working with the best of the best. But don’t get me wrong, I’ll always be looking deeper into humanity – and my own humanity – as I put my characters together. After all, growing as a person and living life as fully as I possibly can are the reasons why I became an actor in the first place. I anticipate working with them again in the coming year. I also expect to go to Canada to work with Derek Milton on a film that I’ll be co-starring with Brenda Bakke. One of the two films due out in early 2012 is Antony De Gennaro’s ‘Sisterhood of Death’.  It’s a comedy, set in Seattle, and has these humorous overtones of classical horror. The other film is Andrew Wiest’s ‘Treasure State’.  It’s a family drama, set in the wilds of Montana, about two feuding ranch families.

CS:  You certainly are very busy, and sound very ready for a leading role. I am looking forward to seeing your projects fulfilled on screen. You said once that you wanted to go work for a greater good, in the non-profit sector. As an actor, has your passion for charity faded over the years?
Larry Laverty:  On the local TV news in the past month here, I watched stories about how somebody had been killing ducks and geese at a local city park, somebody had thrown a dog from a car, and somebody with a nail gun had shot down a beautiful hawk. These events all took place near where I live and in the past month alone. They’re a drop in a deep dark bucket. Last week, I went for a walk at a nearby regional park that sits on a hilltop. As I neared the hill’s crest, I heard the sound of heavy equipment. Then, at the top, I looked down into the valley below. What had only a few months before been a peaceful oasis for animal life, dotted with majestic ancient trees, had been scraped bare to make way for still more giant, super-sized houses. And there in the corner of the valley, I spotted a deer, a lone deer, just standing there. Oh yes, I’m just as passionate as ever about the impact that man continues to have on our beautiful world. Many times I wish I could become some kind of an almighty character and right all the wrongs, inject a little more harmony into the song of life. Now that would be a character worth playing, and a Mount Everest worth climbing. I had intended to do something a little more mainstream with my life, affect in some way my passions of preserving what’s left of our environment and affecting animal welfare. So to this day, I support the Nature Conservancy and the SPCA among others periodically. I was a Sierra Club member years ago but tend to stay away from organizations that get to embroiled in their own politics.

CS: That is a very dedicated resolution, there are many professionals in film industry with similar humanitarian objectives and I wish you to hook up with these wonderful people and create more such wonderful projects. Good luck with your new Everest! Thank you for talking to CSReview, Larry.

Watch Larry’s Acting Reels – Official Youtube Channel of Larry Laverty

Larry Laverty IMDB

Follow Larry Laverty on Twitter @larrylaverty

Connect with Larry Laverty on Facebook

Find Larry Laverty on MySpace

Copyright Camilla Stein ©2012. All rights reserved.

FILM

Dersu Uzala

A Haiku In Motion

This is what happens when you put a Japanese film director, and not just a director but an artist and a master of his craft, to work with authentic and unique Russian material – you get Dersu Uzala, an Oscar winning gem of the foreign cinematography of the XXth century.

From the first scenes it becomes clear that this is going to be an intimate, introspective, organic and at the same time dynamic and outwardly reflective experience.

The sequence of shots reveals the director’s design and his desire to establish moments of truth in each one of them. More so, there’s poetry in each minute, in each dialogue – and the monologue of the narrator – the poetry distinctly Japanese, deserving the canvas of Yosa Buson and the heritage of Issa and Basho. Haiku.

It’s always a wonder for me to discover how the director managed to create haiku in motion (doesn’t happen often!), putting so much into so little. The expressive power of Dersu Uzala and its simplistic nature is the key.

Traditionally, haiku is played out on a juxtaposition of two elements. Usually it’s all about the concept of something deep and infinite, and its reflection in something ordinary, only seemingly insignificant.

To achieve this effect in a movie, the director needs to remove all non-essential attributes out of the shot. Each scene should be clean, devoid of the mess and rush, similar to meditation. Important is to keep the story focused and characters evolving, growing.

What surprised me most about Dersu Uzala is the way nearly every scene in the film could be cut out and placed in a frame, in a museum or on the wall of a tasteful art collector. Amazing photography, very subtle touch and a very refined camera work. Nature, human presence, technology, socio-political components – all that was also reflected masterfully in voices, facial expressions, costumes, body language.

Drawing the bottom line, what did Akira Kurosawa teach me in Dersu Uzala? Above all, the appreciation of the human link and the eternal value of love.

Copyright Camilla Stein ©2012. All rights reserved.

Watch Dersu Uzala trailer

FILM

Pirates of the XXth Century

Finally found – a highly recommended to me movie that I’ve been searching for after hearing all about it from my friends in the film industry in the late 90s. Why the buzz? The answer is in the movie’s history.

Shot in 1975 (yes!) but released only several years later, this Russian blockbuster became an internationally acclaimed box office topper of the year, and held its position many years to come.

Watching this movie in the 21^st century, one can’t help the sad feeling of the past gone forever. Not only have the decades passed, actors been taken with the wind, but also the country that produced this lovely work of cinematography, is no more. So what is going on in the Pirates of the XXth Century?

The thrill begins with the name. Not very laconic, but nevertheless an attention catcher, the title draws you right in, anticipating an adventure. And oh boy, do you get one!

At the time, the global interest in martial arts grew stronger, passionate fighters and actors from all over the world – dominated by Hong-Kong of course – got on the set and popularized the sport and the love of a hand-to-hand combat. Pirates of the XXth Century celebrated that.

The plot revolves around a theft of a highly valuable cargo, and the crew’s attempt to salvage it. The script has one or two flaws that don’t really stand out and don’t spoil the pleasure, but are noticeable to an attentive critic. Still, because of the film’s foundation in the Soviet Russian aspirations of the time, all you see on screen is an exceptionally outplayed performance and a dedication of the cast and crew to make their message culturally acceptable and recognizable worldwide.

Dashing main character, a super-hero, doesn’t rival with the Hollywood standard of a Rambo-style figure – but he is. On a different scale, in a different dimension, in 1975 Russia told the world that they can film a product that will sweep the audience off their feet, and duly so.

The movie has all elements of a good and fast moving action story, with a romantic drive and a heroic exhibit of the noblest of the human nature – as opposed to the criminal and low one. Playing on contrast was done well by means of a clean cut elegant acting,  very accurately placed scenes, specifics of the language – and yes, the crew spoke English – and by the work of a masterly underwater cameraman.

This film also carries a refreshing change to the over-done semantic mess that the trend of contemporary blockbusters suffers from. Neat and courteous, this movie here doesn’t have excessive colorful language that cripples one’s ears, doesn’t have adult scenes that one can see no more for there have been too many in all genres.

Interesting to note that at the time, such exotic locations as were featured in the movie, were off limits to many citizens of the former ‘red’ zone. So to them, seeing on screen how their fellow men and women cross international waters on a cargo ship – and then get in a very big trouble and flee on a boat – was a completely and insanely amazing experience. Sesame opened! And so it did for me, when an opportunity to witness a different type of a master class on screen presented itself last week and I saw Pirates of the XXth Century.

Copyright Camilla Stein ©2011. All rights reserved.

Full movie Pirates of the XXth Century available on Youtube under Fair Use terms:

BACKSTAGE

The Steamroom

Interview with Director Donald Flaherty

Today Donald Flaherty makes an appearance on CSReview, talking about his passion for films and his recent work.

CS: Welcome to CSReview, Donald. You are an accomplished director and writer. What was the prelude to your choosing to work in the film industry?

Donald Flaherty: I’ve been a film fan since childhood, “Jaws”, “Star Wars”, “Superman the Movie”, were huge influences on my life as a kid. As I got older, I also became a big fan of John Hughes and his films “The Breakfast Club” and “Trains Planes and Automobiles.” My parents always encouraged my artistic ambitions. Music, dance, theatre, film and creative writing have always been part of my life. I have been very blessed to have that support from my family.

CS: Let’s talk about one of your recent projects, The Steamroom. How did the idea for this comedy come about? What’s the story behind the title?

Donald Flaherty: The original seed for The Steamroom came from a gym where I used to workout. I noticed this group of guys that were always there talking away. They never really seemed to be exercising. The gym was like their clubhouse to hangout at. The gym and its’ steamroom just seemed like a really great place to set a comedy about a bunch of men.

CS: Drawing from the real life should provide sufficient material to build on in a film. Still, four guys trying not to ruin their lives, going about their own business, entertaining fantasies of their own… Why should we care?

Donald Flaherty: The Steamroom is a character driven comedy. I always say it’s like The Hangover meets The Breakfast Club. And like those films, it’s a comedy/drama with relatable characters that everyone can see a little bit of themselves in.

CS: Sounds very reflective. I can appreciate that. Speaking of characters, who’s your favorite in The Steamroom? Why?

Donald Flaherty: That’s like asking a parent to choose their favorite child. It’s kind of impossible to do. LOL. I love all of them for both their strengths and weaknesses.

CS: I knew you’d say that! All right, well, filming a comedy is always a very serious business – any jokes from the set you could share with us?

Donald Flaherty: This was a very special film to shoot because everyone involved became a good friend during the process. Everyone was working overtime to make the experience fun. It was like the best summer camp ever. Colin Follenweider who plays Chris in the film was always busting everyone up with some craziness. The guy is fearless and is willing to push the limits of any comedy moment. Dave Mattey who plays George in the film is a genius. Really he is, he’s got the MENSA card to prove it. So, having him around just elevated the comedy to a whole other level. Brian Collins, who plays Sidney, is the quiet one. He stands off to the side and out of the blue will drop these amazing insightful comic moments that make you laugh so hard you cry. Add a veteran actor like Muse Watson and actress Morgan Fairchild with her wicked smart sense of humor, and it makes an amazing set to be on.

CS: What was the most memorable experience shooting The Steamroom? Any production challenges, anything the cast and the crew had to overcome to complete the movie?

Donald Flaherty: The Steamroom was shot on a shoestring budget. It was less than the catering budget for a day on a Michael Bay film. The lack of money made for some interesting challenges, but it ultimately made for a better film because we had to constantly be creative. The cast, crew and producers did an amazing job of pulling rabbits out of hats to make things work. The most memorable moment for me was when we did the first table read of the script with the full cast. Getting to hear the script I wrote come to life with this group of actors was amazing.

CS: No doubt that’s because your cast and crew ensemble was such a successful match. Describe working with the team of The Steamroom in one word.

Donald Flaherty: AWESOME!

CS: Where are you today, professionally, and where would you like to be in five years?

Donald Flaherty: Today I’m gearing up to shoot my next film. My team is going through the process of raising money and pulling all the elements together to pull it off. It’s an exciting time filled with lots of ups and down. But that’s just part of the journey. Oh, and if anyone wants to invest in a new film – feel free to hit me up :) In five years I hope to have at least five more feature films under my belt and be working with a larger budget on each subsequent film. I’d also love to be working with many of the same people from The Steamroom. Keeping the team together would be awesome… Thanks for the great interview and if any of your readers want to check out the The Steamroom they can download it on iTunes or at Flixfling.com.

CS: You are welcome, Donald. Thank you for sharing the story with us. Much luck to you with future projects!

The Steamroom Cast

The Steamroom Official Website 

Follow Donald Flaherty on Twitter

Copyright Camilla Stein ©2011. All rights reserved.

BOOK

‘Shadow of a Dead Star’

Interview with author Michael Shean

Ready for a personalized science fiction experience? If so, join me in exploring one of the most eye catching SciFi crime thrillers of 2011. Released by Curiosity Quills Press, Michael Shean’s very dynamic novel captures the story of Thomas Walken, a detective who finds himself in the middle of a well concealed mystery. While doing his job, he has to take a plunge into the world that challenges his understanding of life and the order of things, and his own moral code. Will he remain steadfast and keep digging for the sake of the truth? There’s only one way to find out.

The novel takes the reader into a very finely detailed world of the near future – a pure unadulterated science fiction – yet with a subtle aroma of the 1950s US in its very fabric.

Today, Michael Shean makes an appearance on CSReview, talking about writing ‘Shadow of a Dead Star’ and his own interest in futuristic fiction.

CS: Welcome to CSReview, Michael. Let’s start with the basics. Why SciFi? Who and what in science fiction has been your greatest influence and why?

Michael Shean: Thanks for having me, Camilla. Science fiction allows you to talk about all manner of topics, however sensitive or profound, in a framework that is both accessible and fantastic enough to allow your message to be comfortably consumed.  It’s hard to be subversive with anything too realistic, after all. My greatest influences in science fiction are William Gibson, George Orwell and Philip K. Dick.

CS: Your book, ‘Shadow of a Dead Star’, is a futuristic crime thriller, reflective, full of action and passion. Where is your seppuku in the novel?

Michael Shean: You find me most in the isolation that my protagonist feels.  I’ve felt distanced from many people since I was growing up, thanks to things that happened in my childhood; the mood of Shadow reflects this.  Writing that certainly brings a lot of these feelings to light, and it’s never easy to do so.

CS: Your characters are recognizable, tangible. Are you Thomas Walken? Bobbi? Are you an observer, a commentator or a participant?

Michael Shean: I’m all over the place in this one.  I’d already talked about Walken’s sense of isolation and how that pertains to me, but I do show up in Bobbi somewhat and in other characters.  Mostly it’s the other parts of my personality telling my isolated half to cheer up and get over itself, but that’s clearly not always what needs to happen!

CS: Every reader will draw their own conclusions and messages from your novel, but perhaps you, the writer, could share your own perspective – what is it you are telling the world in ‘Shadow of a Dead Star’? In your opinion, has the end product succeeded in letting your original message across?

Michael Shean: I think the biggest message I wanted to send when writing this first book is that we are all corrupted creatures to some degree or another, and how simple it is to jump off the proverbial cliff where that’s concerned.  Taking its futuristic elements away, the world of the Wonderland Cycle isn’t at all outrageous or impossible; we see it coming day by day.  I know that this sort of message comes up time and time again in stories, but I don’t think it can be told enough.  It’s universal, the same as the problems which it tries to address.

CS: Thank you for sharing your thoughts on writing in the genre of science fiction with us, Michael! Much luck to you with your current and upcoming books!

Shadow of the Dead Star for Kindle on Curiosity Quills

Shadow of a Dead Star for EPUB/PDF on Smashwords

Copyright Camilla Stein ©2011. All rights reserved.

Camilla Stein’s series SPACE SCRAPERS now on Amazon Kindle

C A M I L L A  S T E I N  S C I E N C E  F I C T I O N