These interviews are real. The interviewer is real. The interviewees are real (or extremely elaborate hoaxes). The answers, however, have not been fact checked.


“We Must Present Our Rawest, Most Honest Selves, And Let Them Take It Or Leave It” A TDQ Q&A With Actress Pilar Holland

Pilar Holland

It’s Pilar Holland, everybody!

This week’s TDQ Q&A is with actress Pilar Holland. Pillar spoke to us about working on a bunch of Shonda Rhimes shows, her love of Shannen Doherty and her theater debut, “A Feminine Ending.” Here is this week’s TDQ Q&A with Pilar Holland:

The Daily Quarterly: What made you want to get into show business?

Pilar Holland: As a child, I didn’t know how to express myself. I had a huge emotional well and no outlet. I was very shy and couldn’t connect with people on a deeper level. I wanted the chance to learn how to do that. In college, when I realized that it was something I could actually do well, that’s when I knew it was my aspiration to explore life and all the different experiences that can be had and share those experiences with audiences. 

TDQ: Who was your favorite actress growing up?

PH: My favorite actress growing up was Shannen Doherty. There’s going to be a theme here. I was a HUGE fan of “Beverly Hills, 90210” and the movie “Heathers.”  

TDQ: What was your favorite TV show growing up?

PH: And here it is!! (drumroll) My favorite TV show growing up was “Beverly Hills, 90210.” I wanted to live in their world and that’s really what first piqued my interest in becoming an actress. I dreamt about living on that campus and wished I could create an alternate life and do so.

TDQ: What is the best advice you have ever gotten?

PH: The best advice I have received was from my acting teacher Stuart Rogers—who taught me the distinction between being what we think a casting director wants, and what a casting director really needs. We must present our rawest, most honest selves, and let them take it or leave it. 

TDQ: What is the worst advice you have ever gotten?

PH: One thing I remember a girlfriend telling me once was that if you don’t make it by the time you’re 22, you’re not going to make it at all. And that simply isn’t true. I always tell people you don’t become a doctor overnight. So, why should a career in the arts be any different? It takes time to build a career. You need training and experience.   

There is still time to see Pilar Holland in A Feminine Ending which is showing into early December.

TDQ: Who are your influences?

PH: I’ve always admired Cate Blanchett and over the past few years I’ve become a huge fan of Brie Larson’s career.  Some of the projects they choose have so much weight in social relevance and they have been able to create such empathic characters in their process.

TDQ: Tell us about working with ultra creator and show runner Shonda Rhimes on “Grey’s Anatomy” and “Scandal.”

PH: I actually haven’t had the opportunity to officially meet the woman behind it all. She does have final say on everything. So, I know she’s seen my work and continually hires me. Linda Lowy casts all of Shonda’s shows and they regularly bring me to audition for her projects. Once you’ve become a part of the Shonda Rhimes family, they really do bring you into the fold. One of my favorite acting moments thus far was working with director Tom Verica on the set of “Scandal.” He is one of my favorite directors I’ve worked with and I hope I get to do it again soon.

TDQ: You’ve also appeared on half hour sitcoms like “Young and Hungry” and “Happy Endings.” What’s the biggest difference between working on those and full hour-long dramas?

PH: Well, there’s a huge difference between multi-camera sitcoms and dramas. Those two shows you mentioned were actually single camera sitcoms and not that different from working on dramas, besides the content of course. On a multi-cam set you rehearse the show for four days prior to filming. The script is constantly being altered as the writers are seeing how jokes land and play out during the rehearsal process. Then when we do film, there are multiple cameras filming different angles at the same time versus on a single camera sitcom and drama, they only use one camera for filming. 

TDQ: What project(s) are you working on next?

PH: I’m starring in a play “A Feminine Ending” right now. It’s my theater debut! I’m very excited to share my art and the story with audiences. The subject is very timely and relevant. It’s about gender norms and the societal rules we are boxed and categorized into, and learning how to navigate outside of those boxes. We run through December 2nd, Friday and Saturday nights 8pm at Stuart Rogers Studios. We’ve already gotten a few rave reviews.

TDQ: Where do you see yourself and your career in five years?

PH: In five years, I see myself as the lead on my own television series. Hopefully with the opportunity to film indie movies in between seasons. That’s the game plan!

Pilar Holland Fashion

Sadly the topic of fashion never came up in this conversation. Pilar Holland’s style is both fun and accessible with an eye on repurposing the unexpected. We would say she even looks very stylish wearing nothing at all. Look at those cheek bones!


Be sure and follow Pilar on Twitter and  and like her Facebook page.

“I’m Like A Shark, I Need To Constantly Be Moving Forward:” A TDQ Q&A Filmmaker With Ryan Colucci

Ryan Colucci

Ryan Colucci (seen here on set behind the camera) didn’t originally account on being in the film industry but when he crunched the numbers he knew it was his destiny. (He was almost an accountant.)

This week’s TDQ Q&A is with writer, producer, director Ryan Colucci. Ryan spoke to us about how he got into show business, how he attacks each film he makes and his upcoming project, “Suburban Cowboy.” Here is this week’s TDQ Q&A with filmmaker Ryan Colucci:

The Daily Quarterly: What made you want to be in show business?

Ryan Colucci: First and foremost, I love the idea that someone can create a world… And other people can take a trip inside that world. I have always wanted to tell stories, I’m not the type of person to regale a room with a tale. I am rather introverted. So, writing/drawing was something I was drawn to as a child because it scratched that itch and was solitary (I was fortunate to be good at sports or I would have been a pretty isolated kid).

Growing up I wanted to be a comic book artist. It felt like that was the best way to share the stories I wanted to tell. As I became a teenager, that desire morphed into telling stories with a much different canvas – film.

However, I come from a fairly blue-collar background in New York where a career in the arts was not realistic, so I went to Villanova University and studied accounting, for no other reason than it was supposedly hard and I was good at it. I spent a year overseas studying economics and political science at Cambridge University – and when I was there I realized I was destined for another life. It was the first time I left the bubble that was my life, and really took stock of it. The books I was consuming in large quantities all had one thing in common – they were about filmmaking. Not the racy, exciting side of Hollywood… but books on lighting and editing and screenwriting. It dawned on me that people actually do this for a living.

So I came back, transferred to film school close to home and eventually got accepted to the Peter Stark Producing MFA Program at USC.

I didn’t completely abandon the comic world though. I’ve put out two graphic novels. In fact, my book Harbor Moon makes a few cameos in Suburban Cowboy because the lead is obsessed with werewolves (shameless self-promotion).

TDQ: Who was your favorite director growing up?

RC: Growing up, I knew nothing about directors and writers and stars. Since I was a child of the 80s, Star Wars basically defined my childhood. So, I’d have to say George Lucas. I also have a really strong connection with the Savage Steve Holland movies of the 80s – Better Off Dead, One Crazy Summer and, less so, How I Got Into College. It wasn’t until high school I realized the same guy directed them all.

TDQ: What was your favorite movie growing up?

RC: “Rad.” It’s a BMX film from 1986 directed by one of the most legendary stuntmen/action directors – Hal Needham. There was a period of a few years in college where I supported my bar tabs bootlegging VHS copies. For those that weren’t alive back then, you didn’t hit record and it was done in a minute. You had to play the whole movie while another VHS deck (in this case multiple decks) recorded it. I never counted, but I have seen the film well over 500 times.

TDQ: What is the best advice you have ever gotten?

RC: Find the best script you can do for the absolute least amount of money – then go make it.

I have a lot of scripts… some that I know aren’t ready and some I love. After shopping each one, realizing the market was shrinking, I would write another that was smaller. Until I eventually wrote one that I could actually just go do on my own.

TDQ: What is the worst advice you have ever gotten?

RC: Sometimes you hear, ‘pick one project and put all of your energy into it.’ I’m not sure I can get behind that idea. I give each of my projects everything I can, but there’s only so much you can do yourself… and then what do you do? Just wait around hoping for a miracle? That never made sense to me. I’m like a shark, I need to constantly be moving forward. Maybe that has hurt me early on, but now I have so much going on and it is amazing.

TDQ: Who are your influences?

RC: I’m influenced in my writing by the people in my life. Luckily, I’m surrounded by colorful characters.

In life I’m influenced by the competitive drive of athletes; Michael Jordan, Larry Bird, Ronnie Lott, Royce Gracie and Gary Gait.

As a filmmaker, I’m influenced by every movie I see – good and bad. Sometimes it is more helpful to watch a handful of bad movies than one good one. That said, the two films that really inspired me to forge this career are Pi by Darren Aronofsky and Brothers McMullen by Ed Burns. These are two films that I saw and thought – films aren’t made in some fantasy land (Brothers McMullen was essentially made in my backyard on Long Island). I love these movies… and I think I can do this.

Ryan Colucci's Suburban Cowboy

A clip from Ryan Colucci’s Suburban Cowboy.

TDQ: Tell us about your latest movie, “Suburban Cowboy?”

RC: The film is about Jay, a mid-level weed supplier on Long Island. One of his dealers, also his childhood best friend, robs someone to pay Jay back for his last shipment. His friend disappears and the debt is left to our hero – because the person who got robbed was connected to Serbian gangsters in Queens. He sets off to collect the money he has on the street, but when he comes up short Jay is forced to take drastic measures.

It’s a raw, visceral look into a world you live in but probably don’t want to know exists. The story isn’t groundbreaking, but what fascinates me about it is this idea that the guy next door is a criminal. It’s not this stereotypical gangster story where the bad guys are obviously criminals. It’s more true to life, at least in the part of the world I come from.

The person I was working with on the story was actually arrested as I finished the first draft of the script. I rewrote the ending to reflect what was happening in real life. Of course things change based on budget, locations and particularly cast, but the details/specifics of the world are hopefully what makes this unique.

TDQ: Besides directing, you also wrote and produced “Suburban Cowboy.” Does wearing that many hats on one project make it harder to easier for you in the process of getting it completed?

RC: I don’t know if it is easier, but it means I have more control. Since I’m obsessive about the things I’m working on, I also know I will get it done at the level I expect and plan for.

I love every part of the process. I got into filmmaking to make movies. Not to take lunches. Not to try and be cool in LA. Not to walk red carpets. Not to date actresses. I went to producing school and got my MFA from USC for three reasons; it’s the best film school in the world, they were crazy enough to let me in… and I knew that the way for me to become the best filmmaker possible was to understand the process from start to finish. And that meant script, financing, working with studios, etc…

“Suburban Cowboy” was the first project that I got to do exactly how I wanted – meeting every cast and crew member personally before bringing them on. And it turned into a fine-tuned set. In fact, we were so efficient that we only went into over-time on one day and were able to shave a day off our shoot schedule – on what was a micro-budget film, which is pretty rare. I need to give credit to the cast and crew though. Regardless of how many hats I wear, filmmaking is a group effort and I had some people working on the film at reduced rates out of sheer belief in me.

Ryan Colucci

Ryan Colucci: Con man. You know, like comic convention. He has a background in graphic novels. He is starting an animation studio!

TDQ: What project are you working on next?

RC: I’m currently co-directing Orient City, a hand-drawn animated samurai spaghetti western with Zsombor Huszka (who did the animated titles for Suburban Cowboy). We just finished the short film, but dove right into the feature. I recently returned from a few months in Budapest laying out the storyboards.

Up next for me on the live action side is a contained sci-fi thriller called Andover, a project written by Dikran Ornekian and Rylend Grant. You never know what will happen in terms of financing, so I wanted a project that could be done at the same budget level as Suburban Cowboy, but with the ability to stretch that money further (limited locations, small cast). Those guys crushed the script and there is interest in doing it at what can best be described as a non-micro budget. At a certain budget level you lose your ability to take risks creatively and make something different, so we’ll see how fast it can come together. As nice as it would be to take a step up, I don’t want to be on the shelf that long.

TDQ: Where do you see yourself and your career in five years?

RC: On the set of Orient City, the live action version.

Seriously though, there are projects and avenues I want to pursue and I have a very definitive plan in terms of which projects I want to do in which order… but to a large degree that is out of my hands. I can only keep them in the back of my mind as I make decisions and move forward. I want to stay as active as possible, for as long as I’m physically able. We are essentially starting an animation studio, so the goal is to constantly go from one hand-drawn film to the next with Zsombor, while also pursuing live action features and television.

For all of that to happen people have to go watch Suburban Cowboy. It is currently available for rent/purchase digitally; iTunes, Amazon, Google Play, Xbox, Vudu, Dish, DirecTV, OnDemand (Time Warner or Comcast)… If it sounds at all interesting, give us a shot!

Be sure and follow Ryan on Twitter and check out his website.

“We Realized The Potential In The Mobile Adult Entertainment:” A TDQ Q&A With Entrepreneur Rene Pour

Rene Pour: Futurist, Innovator

This week’s TDQ Q&A is with entrepreneur Rene Pour. Rene spoke to us about his influence, what the app design scene is like in his native Slovakia, and his adult virtual reality site, REALITY LOVERS, Here is this week’s NSFW TDQ Q&A with Rene Pour:

The Daily Quarterly: You grew up in Slovakia. What’s the climate like there for entrepreneurs and app designers? 

Rene Pour: My company, operating in the affiliate marketing business, was built up in Slovakia and I am living there, and Reality Lovers is UK based. The climate in Slovakia is like in every other country, you have to deal with the same issues and topics, some of them may be slightly different, but the nature of managing a company and administration is the same as in other EU countries. One of the biggest challenges is finding good developers and people for technical positions.

TDQ: When did you know you wanted to be an entrepreneur?

RP: This was a longer process in my professional life, and as I was working in  telecommunication services and mobile internet services, I found out that there was some space and a possibility within the mobile affiliate network business. I took the chance and started working on it. The basic idea was to do business with a small team of people. However, this changed when we realized the potential in the mobile adult entertainment. To be a good entrepreneur, I think you need to have visions, ideas and a good feeling for business, the mindset of “this is something I know, something I can put together”.

TDQ: What is the best advice you have ever gotten?

RP: “The meaning of life is to be stronger!” If you really take it to heart, being stronger can help you in a lot of situations.

TDQ: What is the worst advice you have ever gotten?

RP: I have never received bad advice.  Even if you think you got a bad piece of advice, you can still learn from it. In the end, any advice is good!

Rene Pour

Rene Pour: Awarded for work in his field.

TDQ: Who are your influences?

RP: I do not have one specific person who influences me, it´s more situation-based. I am inspired by how people face(d) different situations, like Steve Jobs’ active return to Apple or how a young person like the F1 Racing Driver Sebastian Vettel can put so much focus and passion into his work. Another good example is the Austrian owner of Red Bull and his story of how he has built up and manages the Energy Drink Empire. I am more influenced by stories such as these.

TDQ: Tell us about your virtual reality entertainment site “REALITY LOVERS”

RP: RealityLovers.com was launched in May, 2016. I dare to say that the videos we currently produce are top-notch in terms of technology and content. We are continuously improving and adapt to the latest trends and technical possibilities. Recently, we have started shooting from two angles – POV and Voyeur. To make our customers happy, we have weekly updates (two updates per week) with new movies and furthermore, we are launching two more niche-sites with VR content, focusing on MILF and Tranny Lovers. With RealityLovers.com, we want to give our users a completely new feeling of watching porn, they should feel like they are in the middle of action, directly in the scene. To bring users closer to porn-stars and  provide them with more fantasy, entertainment and pleasure  compared to just watching 2D porn. We got into a very interesting, new situation during a porn conference in Berlin, where our female customers were complaining that we have not enough female-focused movies on the site. VR made porn interesting for women and opened a new target group for us! A woman also wants to be made happy by men! With RealityLovers.com, we are offering cutting-edge adult entertainment.

Rene Pour: Reality Lovers

Some technophobes think virtual reality is isolating. The actual reality of virtual reality is that it can bring real people together.

TDQ: How did you get into the VR and porn genre?

RP: The idea behind the company’s involvement in virtual reality was born during the Mobile World Congress in Barcelona in 2014 where the technology had been presented by major mobile industry players.

Our team’s focus on mobile technologies naturally leads us to continuously seek new, innovative products to diversify the portfolio of company services, which is why the business of virtual reality immediately caught our interest. After researching the specific possibilities in the adult entertainment vertical, we were convinced that VR would play an incredibly important role as a new medium and would have an enormous potential due to a deeper connection with people’s hearts and imaginations. We also believed that VR content would not focus solely on video games and conference calls as some people seemed to think. The market in the adult vertical was quite new and open, and we saw a huge opportunity to enter.  

We can say that again, as it already happened in the past, it was porn that moved the needle to bring the VR closer to the masses. Within a few years, the market has evolved to offer an amazing array of high-quality entertainment filmed with the newest VR camera technology. There are several key players on the US and European markets that exclusively produce erotic content in VR, following the goal of putting viewers in the middle of the action instead of behind it and providing immersive, truly emotional experiences.

Reality Lovers went live in May 2016 and within a year accomplished a few milestones including winning a Venus Award for the Most Innovative Product.

TDQ: What project are you working on next?

RP: It´s a secret ;-)! In general, we are focused on producing more and better content, and currently, we are working on our own green room studio, which will enable us to work with the background of the scene. The user can choose the location he/she wants the scene to take place. Further, we are working to move the viewer from the passively watching position deeper into the real virtual reality world. The customer should be able to actively react and make decisions based on the situations in the scene and their body should also be able to feel what is happening there.  

TDQ: Where do you see yourself and Reality Lovers in five years?

RP: I see us following our target to be one of the leading brands for adult VR entertainment. VR and Mixed Reality will be main drivers in the sex industry, giving much bigger possibilities to users, eventually coming close to a more interactive virtual sex experience. With RealityLovers.com, we want to offer our customers maximum quality and the best entertainment, also in combination with active sex tools. Personally, I don´t want to replace normal sex between people, which is simply irreplaceable! However, by diving into the world of virtual sex and their possibilities within, we want to provide more entertainment, pleasure and fulfill the desires of adult online consumers.

“Don’t Wait Around Waiting For Someone Else To Tell You It’s OK:” A TDQ Q&A With Filmmaker Tony Germinario

Tony Germinario

Bad Frank head writer and director Tony Germinario, center, on the set with cinematographer/editor Mike Hechanova, left, and assistant director Tommy Monahan, right.

This week’s TDQ Q&A is with writer/producer/director Tony Germinario. Tony spoke to us about his latest film, “Bad Frank,” how many times he saw “Spaceballs” when it hit theaters and his career transition from musician to filmmaker. Here is this week’s TDQ Q&A with Tony Germinario: 

The Daily Quarterly: How did you get into show business?

Tony Germinario: Although I was a movie buff for as long as I remember, I started off as a musician. When I went to college, I was a trombone player, but my neighbor was a bass player. I went to one of his gigs and saw all the girls staring at the band, and I started teaching myself to play the next day. I was a touring musician for a number of years once I got out of school, but as I got a little older and the band started getting married and having kids, I moved back to screenwriting. The first script I wrote was awful, the next one not quite as awful, and so on. Eventually, I was hired by Choice Skinner out in LA to write an indie screenplay. We hit it off so we did a couple of short films together and he directed a feature which I wrote. The rest is history.

TDQ: Who was your favorite director growing up?

TG: I’d have to say Scorcese was my favorite growing up. “Goodfellas” was one of the best films ever made. But Kevin Smith and Ed Burns are two of the directors I’ve grown to admire immensely. They make great films, write great dialog, do a lot with a little, and they’re both just cool, down-to-earth guys.

TDQ: What was your favorite movie growing up?

TG: That’s a loaded question. I saw “Spaceballs” three times in the first 24 hours it was out in theaters, so that’s gotta count for something. I also loved “Field of Dreams,” “Platoon” (there’s a story behind this), “Star Wars,” oh yeah, and “Teen Wolf.” I’ve got my reasons.

TDQ: What was the best advice you ever got?

TG: The best advice I ever got was just go do it. Don’t wait around waiting for someone else to tell you it’s OK.

TDQ: What is the worst advice you ever got?

TG: When I filmed a movie out in LA, I was told you gotta have this and you gotta have that. Utter bull s—.

TDQ: Who are your influences?

TG: Kevin Smith and Ed Burns are two of my influences on the film side. My father was the biggest influence I’ll ever have on the life side.

Bad FrankTDQ: Tell us about your latest project, “Bad Frank”

TG: “BAD FRANK” is about a guy who has impulse control disorder. He’s screwed up all his relationships with his family, friends, etc. He’s now married, and medicated, and he’s trying to repair all his relationships, but just as he does, his old boss comes back in the picture and all hell breaks loose.

TDQ: What project do you have up next?

TG: I’m working on a rape revenge story called “THE PRICE FOR SILENCE.” It stars Lynn Mancinelli who also starred in “BAD FRANK.” I didn’t want to stray too far from the tone of my last one, so if people liked Frank, I think they’ll like this one, too.

TDQ: Where do you see yourself in five years?

TG: In five years, I see myself in the director’s chair on another script I wrote, hopefully with a little bit bigger budget. With plane tickets to Cannes and Sundance in my back pocket.

Check out Tony’s Facebook page and follow him on Twitter.

Bad Frank

Bad Frank has a great cast and is racking up award nominations and wins.

“I Often Joke That I Eat Elephants For A Living:” A TDQ Q&A With Director Brad Douglas

Brad Douglas

Brad Douglas, living the dream. Wearing all the hats! No, not real hats. Read the article.

This week’s TDQ Q&A is with writer/director/producer Brad Douglas. Brad spoke to us about his latest project, “Bestment,” all the hats he wore while making it and the joys of making movies in Oregon. Here is this week’s TDQ Q&A with Brad Douglas:

The Daily Quarterly: What made you want to be in show business?

Brad Douglas: I grew up in small town Oregon with my grandparents. It was a pretty sleepy existence for a kid. I watched a lot of TV and movies and was enamoured by the medium. Spent some time doing back yard 8mm stuff and eventually video, but it has always been something that I love. Maybe because of the glamour of doing something you love for a living but mostly the process of creating.

TDQ: Who was your favorite writer/director growing up?

BD: I didn’t really pay a lot of attention to who wrote and directed films until I was in my late teens working at a video store. That was in the 80s so the regular suspects like Scorsese, Carpenter, Spielberg, etc. were prominent names that I associated good films with. I still don’t know if I have a favorite, but there are several that are damn good at what they do.

TDQ: What was your favorite movie growing up?

BD: I really loved “Saturday Night Fever” when it came out and also “Every Which Way But Loose” with that God-damned ape LOL. Then came “Star Wars”….need I say more?

TDQ: What was the best advice you ever got?

BD: My grandmother always told me to bite off more than you can chew and keep chewing. How relevant is that to the movie making world in a nut shell?

TDQ: What was the worst advice you ever got?

BD: I had some pretty negative Nellie’s in my family that told me I was foolish to think I could ever get into the business. If I would have stayed in that small town and listened to that s—, I probably never would have, but I didn’t and neither should anyone who believes in themselves.

TDQ: Who are your influences?

BD: That’s a great question that has many answers. I’ve looked at a lot of work from all types of directors over the years and for sure do have an influence on my creative. However, no one film maker is all 100% all good or all bad. For example, Spielberg teaches you to drive the movie with the story and the audience will forgive weaknesses, Lynch shows you how to mind screw your audience and not be ashamed that it makes no sense, Kevin Smith shoves a wild premise right down your throat (“Red State”) and like it. By learning successful elements from each you can essentially create a movie like a good soup. And everyone loves soup.

BradDouglas, <em>Besetment</em>

Look at how many times “Brad Douglas” appears in that credit block! That’s a lot of hats! No, not real hats. Read the article.

TDQ: Tell us about the latest movie you directed, “Besetment”

BD: I was living at a mountain resort in Oregon when I wrote it. It started out as a short but I just kept writing and pretty soon it was feature length. The story of an unemployed girl in a small town had a lot of relevance at the time. I had visited the town of Mitchell, Oregon earlier and decided I wanted to make a movie there so I intersected the two and ended up with “BESETMENT.” It’s a disturbing story that could very well be true I guess. I mean what’s really scary in life? Monsters or deranged people? I say the latter. I wrote the role of Mildred specifically for Marlyn Mason who in my opinion kills it! She took the movie to a whole other level. Abby Wathen came into my life on another film that fell apart so we were trying to do something else that summer and I just so happened to have the script on my shelf. She was a hell of a trooper through some pretty uncomfortable conditions. She was just what the role needed and I’m so glad she made me make this movie! I really enjoyed using a lot of characters along the way and a very diverse locations list. That’s the beauty of Oregon. Pick a location and write a movie around it rather that the opposite. There are many to choose from and you don’t need a back lot studio to do it. Plus the people are very welcoming of filmmaking, unlike a lot of Californians where they’re sick of it. And trust me, it’s not hard to get LA actors to spend a month in Oregon. It really is beautiful.

TDQ: You also wrote and produced “Bestement.” Did you find it a positive experience wearing so many hats on a project, or do you think it’s easier to just have one single role in making a film?

BD: I’m not going to lie, writing, producing and directing is an enormous amount of work but I did it out of necessity. Especially directing. I often joke that I eat elephants for a living and there’s a lot of truth to that. Thank God I had such a good cast so I could just concentrate on fundamentally shooting the film. I made some mistakes that I deserve to be pointed out for, but that’s what first films are for and I learned a ton. Near the end of fimling, Chuck Greenwood (DP) and I were really clicking and when we started the next film in December of this year we picked up right where we left off. Producing is super important and though I have a lot of support from my producing crew I am involved a lot. Pre-Production is crucial for principal to work. I haven’t written any more scripts mainly because I’m so busy in production. But it’s a love hate job. Maybe I’ll write the sequel to “Besement.” I think there’s enough there for it. Let’s see how the public likes the film before I lock myself in my head for a month LOL.

TDQ: What project are you working on next?

BD: I produced and directed a film in December called “Between the Trees,” written by Sam Klarreich, about a guy having relationship troubles taking his buddies up to a remote hunting cabin where they find out the real troubles are in the trees that surround them. It’s another twisted little flick. I am also in development on a script about the dark side of horse racing. Veteran writer, Michael Kane wrote it and Abby somehow got a hold of it and sent it to me. I have been racing thoroughbreds for most of my adult life so it seems like a good fit. It’s drama though, so we’ll see. Dramas scare me!

TDQ: Where do you see yourself in five years?

BD: Ha. Check with me in 5 days. Seriously, though I hope to knock out a couple films a year as long as we keep getting distribution and it pencils. The business changes so much year to year that it’s hard to see if this is going to be a viable endeavour and for how long. Let’s hope so because I’m having a blast.

Check out Brad’s Facebook page.