7 Questions...

I will be posting a bit about this gent this week....he was in an interesting film that I saw this summer called the Mannsfield 12. I will be talking about that film this week along with a film that he directed called Section 8. First up is a short interview. It has some very valuable suggestions in it that concur with some of your comments on making independent film. For you would be filmmakers out there, listen up:

Q&A With Carl Gilliard

Question #1

There have been a couple of movies on the radar from you this past year. One was a film called the Mannsfield 12, which I thought was a very powerful, affecting film. The other was Divine Intervention, a comedy. What are the differences and challenges/benefits of working in both genres? Was is hard working on such emotional subject matter on the former movie?

CG: Every project takes on its own personality. It was very different working on MANNSFIELD as opposed to DIVINE. BOTH were very pleasant, but in different ways. I appreciated VAN ELDER for offering me DIVINE because I needed it after MANNSFIELD. (I started DIVINE about a week after wrapping MANNSFIELD). At MANNSFIELD, we shot at the LINCOLN HEIGHTS JAIL, which was formerly the LA COUNTY JAIL. The space was cold, creepy and was crawling with loud birds. It wasn't terribly difficult to 'become' an inmate in jail because we were ACTUALLY IN ONE. Additionally, the material was so compellingly raw and emotionally moving. We shot those SOLITARY CONFINEMENT scenes in REAL SOLITARY CELLS. But this cast was so amazing as actors and as people.

We ALL got along famously and though we don't talk everyday, it is like OLD HOME WEEK when we see each other. It was a GREAT experience. Very intense with regard to the material, but a great experience. Lastly, working with C. Ross, Jr. was a dream come true. I have known him since his days at AFI and was happy that we finally found a way to work together. He is a very skilled director. You trust him to not just make you look good, but you know that when you're in a CRAIG ROSS film that it will be a visual, enjoyable piece of work. I started talking to VAN ELDER and his Producer, LISA DeWitt while I was shooting MANNSFIELD.

When I read this script (Divine), I knew that I wanted to do it because IT WAS A COMEDY and so different from MANNSFIELD. They offered me the role about 10 days after reading the script and off we went. Working on DIVINE with the likes of veterans like JAMES AVERY, ROZ RYAN and talented newcomers like WESLEY JONATHAN and LAZ ALONSO was also a blast. It was much lighter on this set, but we had to shoot some very difficult church scenes and had a limited amount of time to get it done.....but you know.......somehow......by the Grace of God....it always GETS DONE!!! I'd work with VAN ELDER or CRAIG ROSS, JR. in a heartbeat again if given the opportunity....

Question #2

What is working in an ensemble atmosphere like? It seems to be a commonality in Black Film these days.

CG: I love working in an ensemble especially when you're blessed to have committed and talented actors. Ensemble films are fastly becoming more common not just in Black Films, but films in general. My experience has always been pleasant in this environment. There were 'decided' leads in MANNSFIELD (Aaron Spears) and in DIVINE (Wesley Jonathan & Jazsmin Lewis), but both films did have an ensemble flair with plenty of opportunity of those around them to equally contribute to the process. Also, when you work in an ensemble, people seem more relaxed and I think it's because there isn't a lot of undue pressure on any one actor to 'carry' the film.

Question #3

I know that you directed an independent film called "Section 8". A lot of my readers are filmmakers and future screenwriters. How were you able to fund your film? What were your biggest challenges? Any advice for those wanting to go the same route?

CG: Funding is THE most challenging part of making a film; at least for me. In the case of SECTION 8, I made that film with my partner, TONY WINTERS for an incredibly low amount of money. We had made another film in 2000 called RETIRING TATIANA. TATIANA actually cost us about 50, 000.00 more to make. TATIANA has become somewhat of a little 'cult' film. We shot it on DIGITAL before it was as popular as it became a bit later. We used mostly friends to act in the film. Most ALL of the actors were personal friends of Tony and myself.

We shot that film over a year. We'd run out of money, shut down....raise more money, then resume shooting. Most of the money raised for both SECTION 8 and TATIANA came from FAMILY & FRIENDS. Every film has a different story on how to raise funds, but I have found that more often than not, it's some friend, family or personal contact. In the case of SECTION 8, Tony and I wanted to make another film. WINTERS had written a play called SECTION 8 and he had a primary funding source in place. (Who dropped out AFTER we started REHEARSALS) You ask of challenges, making a film.........ANY FILM is rife with challenges......raising money, hiring and scheduling actors & crew.....it's a total collaborative process. We decided to put SECTION 8 up as a play, then SHOOT IT FILM style on the stage in HIGH DEFINITION without the audience.........so, in a word.....SECTION 8 is a play shot as a film.

We had huge success with film festivals with SECTION 8, which was very gratifying to me as a Producer and a first time director. It has been generally received very positively, I think, because of it universality, performances and story. I am very proud of it. Advice? I would say to not give up. If you don't have money and are looking to make a film, keep it as simple as possible. Simple, yet compelling story. Make sure that your script is as tight as you can get it. Utilize your relationships. Find crew, actors and production people who share your vision and call in favors. This town is FULL of TALENT..........and most of them are a phone call away....

Question #4

You've also done a great deal of television acting. Do you have a preference for film or television acting? Why?

CG: Ha Ha Ha. I am an actor, IW. I have a wife and kids including ONE at HOWARD UNIVERSITY. So I enjoy working in any medium. Yes, I want people to like the films (or television) that I do. But ultimately? I like making money and my wife loves when I make money!!! :) Okay. Seriously. (Well, I was SERIOUS, but THAT wasn't THAT deep for interview purposes) I do like FILM a great deal more because of the time that is taken to get the work done. Directors in film also seem to be a bit more vested in the process and in the characters, so that is more rewarding as an artist.

Television is cool mainly because of the immediacy of it. You shoot a TV SHOW, then a month later, there it is and THAT's cool too. I am an actor. I feel privileged to work in any medium because this isn't REAL WORK in the way that working on a AUTO ASSEMBLY LINE (which I did at FORD one summer in college in DEARBORN, MI) or working 12 hours a day as a bus driver for 20 years as an example. This is a blessing. True, I'd love to do it more consistently (most actors want to work more), but to go to work on a film and shoot for a month or shoot a commercial and work for 5 or 6 hours, then go to your mailbox and pick up checks is a crazy blessing and I love that. I have been blessed to work in ALL ASPECTS of the business, but the one that has been most financially rewarding for me is TV COMMERCIALS. I do commercials so that I can do FILMS & TELEVISION. That said, we work in a tough business. One that we choose to work in. It isn't a right. It is a privilege that I don't take for granted. It takes lots of hard work, a positive mental outlook and attitude and most of all perseverance. If you don't have those things, coupled with at least a little talent, find yourself something else to do.........

Question #5

What projects do you have coming up in the future?

CG: I am currently co-producing a film play production called "PEACHES" with good friend MICHAEL WHALEY. "Peaches" stars Wendy Raquel Robinson, Dorien Wilson & comedian Buddy Lewis. Whaley is also directing. The play will run for 2 performances at The Los Angeles Theatre Center and will be filmed for DVD release through IMAGE ENTERTAINMENT. I just shot an action/drama short called 'Nose Candy' with director Lydia Martinelli as an actor. That film stars Mark Anthony Williams, Raymond Williams and April Parker. It's about an FBI Sting to bring down a ruthless drug dealer and killer. There are also two other projects that are being developed for me to work as a Producer on. It's a little early to disclose what they are. We're still working on bringing them to fruition. I also have a national COKE COMMERCIAL that needs to start running!!! :)

Question #6

CG: A subject that comes up here quite often is the dissatisfaction with what "The Hollywood Machine" is producing in the way of Black Cinema. What, in your opinion, can the public at large do to change things?

Well, IW I am very pleased with what HOLLYWOOD is doing. Think of it this way. BLACK ACTORS are continuously atop the the Box Office charts. Do we have some ways to go?? Sure. But we have much to be thankful for and to be encouraged by. Denzel Washington is consistently opening films at 18-22 million or better, Tyler Perry has been very successful doing what he does, David E, Talbert just opened a film at Number 2, Morgan Freeman is atop the B.O. with The Bucket List, THIS CHRISTMAS opened strongly with an ensemble cast of relative unknowns......

We have more BLACK DIRECTORS and PRODUCERS working than ever before. James Lassiter (Will Smith's Producer), Broderick Johnson (Alcorn Entertainment Founder), Will Packer, Kasi Lemmons, Kelly Shane (wrote recent film RENDITION)....not to mention more Black Actors than ever opening films. Sam Jackson, Halle Berry, Jamie Foxx, Will Smith, Denzel Washington, Forest Whitaker (who also directs films cross genre).......and a host of newcomers including Laz Alonso, Jurnee Smollett and on and on. As I mentioned before. This is a tough business for EVERYONE. It is hard for EVERYONE who is in it. But as I see it, technology has created accessibility for everyone who wants to get in the game. Anyone can get an HD camera and shoot a film and by doing THAT successfully, you can create your own success. With regard to the 'studio system', it is what it is and it ain't changing.....It is not there purely to produce art, it is there to make a dollar and to make as much money as humanly possible to make it's shareholders happy. This is show business with an emphasis on the BUSINESS more than SHOW.......and as I see it? A film with a cast of color with any quality is a virtual success guarantee.

That speaks volumes to an industry that at one time almost NEVER featured a black lead actor, much less a black ensemble and to a country which just 40 years ago wouldn't think of seeing a film in large numbers with BLACK LEAD ACTOR. Today? Will Smith is America's most bankable actor.....and this is a dude who was The Fresh Prince Of Bel Air. I know that he didn't get there with a negative attitude and complaining about the 'system' (no offense IW)....and before any of us say well......he's WILL SMITH......you got to remember where WILL was in 1996. Did ANYONE predict that he would be doing what he is doing today? I did FRESH PRINCE back in 1996 and there is ONE THING that I remember about him. He was hugely positive, cordial and very easy to work with........... Advice to all my people? Accentuate the postive and build on it. There is plenty there to be encouraged by.

Question #7

Any thoughts you would like to relay to the readers?

CG: Just stay positive, try to have a personal life outside of this business.....stay close to God as you know Him and have fun. If you can't do that or have a hard time keeping a mental balance.....get out and do something else.........:)

I thank Carl so much for taking out time to share his thoughts with my readers. He is definitely keeping it positive. To find out a bit more about Section 8, please visit the film's myspace at www.myspace.com/section8themovie , tho I will be talking a bit about it this week.