Paris Film Awards

J. Stephen Meadows - Interview

Stephen Meadows is not an ordinary filmmaker. His story—like his projects—is a testament to perseverance and the belief that it’s never too late to follow your passions. Stephen didn’t begin his journey in Hollywood; he started as an instructor of architecture in San Francisco. But a chance opportunity came when one of his students, also a part-time casting director, cast him in a national wine commercial. Since then, Stephen has appeared in over 100 TV shows and features. Yet frustration with uninspired scripts ignited a deeper ambition: writing. Stephen’s most personal project, It’s Only Life, exemplifies this vision. Based on true events, it has garnered significant interest within the industry. With a stellar team that includes Oscar winner Eric Roth as story consultant, veteran casting director Mary Jo Slater and acclaimed cinematographer Cory Geryak to direct, the controversial film is poised to make waves.

What's the necessary ingredient to be a good actor/screenwriter?

Talent. Luck can come and go, but talent is God-given.

How old you were when you decided you wanted to make films?

Around ten. But growing up in a conservative family, I faced discouragement from my parents and the southern attitudes of the 50s and 60s. I became an architect as a way to make a living creatively with my drawing ability.

For you a film is?

An entertaining way to deliver an important message.

Your goal with this film is?

To make a film that resonates and encourages audiences to reflect on their life-choices and spirituality.

Do you have regrets?

Not following my passions sooner.

What’s the message of It’s Only Life?

That life is a temporary state of consciousness—a time to plan for our next avatar.

Biggest fear?

Not living long enough to finish this damn film.

Life lessons learned?

“Admiration for success without integrity affirms a regrettable disbelief in humanity’s purpose.” “No one ever went broke underestimating people’s intelligence.” “We all make the best mistakes we can.” - Character dialogue from my screenplays. But I try to abide by Mark Twain’s: “If you tell the truth, you don’t have to remember anything!”

Your experiences working with A-list actors and big budget films?

A-listers can change lines and demand retakes—privileges that come with their box-office draw. I recall doing 21 takes before the actor I was working with was content. The director was pulling his hair out. For new actors, attempting this might ruin your career. Big budgets also allow enough time for rehearsal, but sometimes studio writers are brought in to ‘fix’ scripts when they are not working. This can lead to a committee designing a horse that ends up as a camel.

Most influential person you worked with?

Probably James Keach. I did three projects with James and he was one of the few directors that encouraged me to take chances as an actor. In the 90s, many television directors of drama rarely discussed the characters with the actors, as they were under pressure to get it in the can.

Have you ever accepted a part even if you didn't like the project?

Many times. My agents encouraged me to take any role I was offered, as I was already 34. In hindsight, I should have declined several, but the phone would have stopped ringing.

What is your worst moment on set?

Once three people were shot because the network didn’t hire a professional armorer. The prop department mistakenly loaded the gun with birdshot instead of blanks. Since this happened outside the U.S., the story was suppressed.

Have you ever lied to get a part?

Yes. I once lied about my age for a role in what became LA’s longest-running play. After earning the director’s trust, I came clean, and he admitted I wouldn’t have landed the part if I’d told the truth upfront. Early on, I had an acting coach tell me never to let anyone in the crazy film business know my true age. I think he was right.

Would you like to win an Oscar?

It’s not a goal at this point in life, but everyone appreciates validation. I think it’s unfair to award a ‘best actor’ unless the contenders all play the same role. If you ask 100 people who won the award for best actor, many will know. Now ask them who won the Nobel prize and observe the blank faces. Our priorities are unbalanced.

Your opinion of AI in filmmaking?

It’s an amazing tool and inevitable that soon we will be able to make great films and create wonderful characters using simple prompts. Every writer/producer I know is waiting for the time when truly realistic films can be made from their desktop. At present, AI helps me create storyboards, and that’s taken place almost overnight. In a few years, producers will be able to deliver wonderful characters and the viewer will swear they are living actors. There will be regulations and restrictions, but how do you stop someone in Borneo from making and uploading them across the Internet?

Thoughts about the studio system for aspiring writers?

If you sell them your screenplay, be prepared to have it shelved or possibly changed to something you might not recognize.

Message to writers about selling their work?

Say ‘bye-bye’ and move on. It’s not yours anymore.

Your thoughts on screenwriting competitions?

They are quite worthwhile if you get the feedback and rewrite. As for climbing the Hollywood ladder, even if you win, don’t expect a lot of attention. Like most other businesses, it’s about building trust. That takes time and personal relationships. I discovered that most screenwriting competitions don’t consider a screenplay’s budget, so writer/producers wishing to make their own independent films are at somewhat of a disadvantage. Producing your own work is about being practical with your imagination.

Do you have a message to actors wishing for their break?

Realize that 95% of the money is made by 3% of the people. You can watch any acting class and pick out the talent. But unrewarded talent is a proverb in Hollywood. Also understand that actors are paid to wait and work for fun. Once I was on set for 26 hours before shooting my scenes.

Your charity work?

I used to write a check at Hollywood charity events. Then I discovered the percentage of my donation getting to those in need was far less than expected. In my early 50s, I wanted to make a direct difference and volunteered at Mother Teresa’s Home for the Dying in Lima, Peru. The following year I went to Sri Lanka after the Tsunami for Habitat for Humanity and built homes for the victims. I then became a volunteer in the ER at Cedars Sinai hospital. The rewards are immeasurable when you are hands-on, as well as inspirational for writers.

Why is It’s Only Life a non-profit film?

Only one in 50,000 independent film scripts make it to the screen. Of those, only one in ten make a profit. Independent films are a big risk for investors. With a non-profit film, the investor receives a large tax deduction, participates in the marketing revenue and supports an important humanitarian cause.

Difficulties making an independent film?

Raising the money.

What is your next project?

At 74, I don’t think too much about ‘next’ these days. It’s Only Life is the priority, although I have three other scripts I’d like to produce if time allows.

Directions filmmaking is headed today?

I usually see at least five films a week. The majority of choices prioritize entertainment over substance. When I wonder why there are not more thought-provoking films, I’m reminded that the answer to most questions beginning with “Why” is money and that Hollywood is in the business of making hits, not necessarily meaningful films. To me, this presents a challenging opportunity.

Your career journey is incredibly unique, starting as an architecture instructor and transitioning into acting, writing, and now producing. What motivated you to make these significant shifts?

I always wanted to act and produce films since a young age, but my career as an architect was doing well and I was locked in to a degree. When the opportunity came for me to jump in after earning a SAG card, I decided to give it a try. I also discovered that more teachers become actors than from any other field. I had another professor take my classes for a semester in San Francisco and came to LA with a referral to an agent, thinking I would go on auditions for six months, and if nothing happened, return to teaching in the bay area. I was very lucky to land the role on Santa Barbara shortly after arriving in LA.

You’ve mentioned frustration with uninspired scripts during your acting career. Can you share a specific experience that sparked your desire to write your own stories?

When Santa Barbara started, there was a revolving door of writers and directors, as the show was new and adjustments were constantly being implemented. As a fledgling actor, I had issues with some of the dialogue that was being written by a different writer every week it seemed. When I would rehearse with A. Martinez, I noticed he was always rewriting his dialogue and getting approval from the director in the mornings. I thought, “We can do this?” From then on, I was always trying to improve the words coming out of my mouth. As years went by, this resulted in being labeled ‘difficult,’ but I knew when something was working and when it was not. My thinking was, “Heck, I can write better than some of the scripts I’m reading.” My first screenplay I wrote in the early 90s and it was green-lit. I had LOI’s from actors like Jane Russell and Stuart Whitman as well as from one of the Beach Boys to create the music. Locations were scouted, the film was bonded and we were ready to go. Then the production company suddenly folded. I had spent two years of my life on the project and was so discouraged that I shelved the script and didn’t pull it out again until the pandemic.

Your screenplays have earned so many awards and accolades. How do you approach storytelling, and what do you believe sets your work apart?

I try to write stories that are easy to follow, as due to the multitude of choices with streaming, viewers sometimes bounce around but like to come back and not miss much. I also stick to the time-honored practice of being detailed in the stage directions, so a director/reader/actor clearly understands the scene. Screenplays I have read by great writers are generally dense and well explained. But a few notes I have received from young readers tell me to allow for more ‘white space.’ To me, this is babble and simply a trend, as I usually intend on producing the project.

The indie film market has changed significantly over the years. How do you see It’s Only Life fitting into today’s landscape?

There is a significant lack of introspective films today, particularly those dealing with life-choices affecting us all. It’s Only Life is a film designed to stand out for its unapologetic approach to some of the most important and difficult decisions we all must make at some point in our lives.

Looking back on your career, what are you most proud of?

Winning ‘Screenplay of the Year’ in Las Vegas was definitely a high point. I received some great reviews when I played an alcoholic cowboy in a project James Keach directed. Recently, a producer friend asked me to play Whitey Bulger in a series called Bloodhound. It was one of the best shoots I have ever experienced and the entire cast and crew were amazing. It also allowed me to play a true character, which is why I got into the business in the first place. Casting directors I worked with years ago always put me in the ‘leading man’ box and never let me out. Finally, I’m old enough to get really crazy on came

Links:

Stephen Meadows website: stephenmeadows.com

On IMDb: Stephen Meadows Filmography

It’s Only Life on IMDb: It's Only Life Screenplay

It’s Only Life non-profit: It's Only Life information

Kristina Schippling - Interview

After successfully completing her studies in german language and literature, philosophy, education, psychology and performing arts at MLU Halle-Wittenberg, HBK Braunschweig and UDK Berlin, Kristina Schippling successfully completed her dissertation at MLU Halle-Wittenberg with the interdisciplinary topic "On the mediation of film in textbooks". She also attended two years of courses for Meisner-Acting (Method Acting) with Hendrik Martz.

The art closest to your heart is writing. An interview about your current film production “Keep your Secret!” and, above all, your self-written screenplay is more than welcome. You write in a variety of fields: complex scientific texts, short stories, poetry, and even writing for the stage.

You’ve authored a psychological novel, a literary thriller, philosophical dialogues, and a novella. You write both solo and with co-authors. This is an incredibly diverse body of work, even just within the realm of writing. How did the screenplay come about?

I come from the arthouse scene. There was a time when I wanted to move away from the mainstream. Back then, I was acting a lot, appearing in various commercials, and even receiving offers for TV and reality shows, which I turned down. I wanted to create “real” art without any external purpose or utility. I was striving for free expression, to leave a mark, and I had ideals. That’s why I decided to study at an art academy alongside my university studies, enrolling at HBK Braunschweig. I wanted to live the ideal. But that was very naive.

I quickly realized that even in the realm of high art, you’re still part of a power discourse, subjected to processes of adaptation. Rejecting entertainment is just part of an image—a rebellious image stemming from a time when breaking taboos was still authentic. But that time has long passed, and this form of rebellion has aged. A taboo can only be broken once; after that, it’s no longer a taboo. I realized that the intellectual scene could also be stiff and unnecessarily exclusionary. I believe one must remain open to everything: to abstract art and to well-crafted entertainment. Seeking freedom, I felt like rebelling against high art by creating an entertainment film that, in its details, still contains elements of high art. You can’t entirely escape your roots, after all. But I wanted to shatter the stiffness of the intellectual scene and found it amusing to delve into the horror genre, laugh at cute monsters biting off heads, and play a bit of a prank on my intellectual image.

When I wrote my psychological novel about a wild vampire lady, I shocked a very prestigious publisher simply by choosing the vampire theme. I found it a bit silly. They wouldn’t publish it because of the subject matter. But I thought, how conventional have we become? Germany and Europe have a rich tradition of high-quality fantastical literature—think of E.T.A. Hoffmann. How can one exclude the fantastical? I understand the wish to distance oneself from a fantasy novel that has already been published 100 times in similar versions, and that’s why I wrote a psychological novel with vampire motifs—not just another fantasy novel. But when intellectuals behave elitist and reject a novel solely because of its vampire theme, they reveal a superficiality, failing to understand the tradition I’m drawing from and that this novel is far more than just another fantasy book.

Years later, I’ve taken my original pursuit of freedom in high art and flipped it. Now, I’m seeking freedom in entertainment. Interestingly, I currently feel more freedom in my creative process, which is fascinating to experience.

So freedom is very important to your work?

Absolutely. And since I’ve realized that I’m always operating within a power discourse—whether in high art or entertainment—and can never be completely free in my work, I often find liberation by discovering new fields of power and changing the discourse. Right now, I’m fascinated by diving into the world of the mainstream, moving large audiences, and experiencing crowded cinemas. These are entirely new experiences for me. My abstract works found an audience too, of course, but this energy—the vibrancy of a packed cinema—is something entirely different and enjoyable to witness. That doesn’t exist in "high art" in the same way. At the BIFFF premiere in Brussels, the entire audience enthusiastically chanted “Anneliese”, the name of the monster. It was eye-opening and deeply moving. This simple, raw energy was so refreshing. Freedom is crucial to me, both personally and creatively.

It’s noticeable that the screenplay has a very typical, classic dramaturgical structure, which is unusual for your work. The hero’s journey, with its stages and archetypes, is meticulously crafted and cohesive. This gives the story high entertainment value—it’s fast-paced without any dull moments. Everything feels tightly planned and well-coordinated. At the same time, there are so many allusions, deeper layers, and references in the details. How did the writing process unfold?

“Keep your Secret!” co-director and co-producer Ezra and I developed the plot together. We planned the story scene by scene, following the classic structure of the hero’s journey. Then, I wrote it, sticking precisely to our plans. In the details, I allowed myself to dive deep, adding allusions and references where they felt right to me. Some are very obvious, others less so.

In the art school context I come from, storytelling was entirely frowned upon. Anyone who attempted narrative work was essentially written off. But these are the lingering effects of an artistic rebellion that has long since solidified into a rigid system—a new kind of dogma. Art, which once represented a break from the entertainment system and was full of vitality, has become its own stiff system. I was so eager to rebel against this system by embracing a classical, clean narrative structure, entertainment against the tradition of German auteur cinema—just to see what happens.

I felt such joy in surrendering to the simplicity of just telling a story people might want to experience. To simply do it. After finishing art school, it felt liberating and cheeky to defy what they had spent years trying to suppress in me. It was a creative liberation.

Do you regret your studies at the art academy?

No, not at all. Otherwise, I would have lived my whole life with the illusion that there are people who truly live the freedom of pure art. And perhaps I even took this freedom seriously and lived it for a certain time—I definitely did. But in the end, it also has its mechanisms to exclude the masses, to differentiate itself, to establish its principles of exclusion. This ultimately makes it a lie; it can no longer fulfill its promise of being free art, not today. But I had to go through this long process to understand that. I needed that journey, and I love my abstract works for the joy of creation itself, without judgment as to whether they please others or not. I value that period of my life, just as I value the present time.

After the naivety of simply wanting to tell a story has faced rejection within certain artistic discourses for such a long time, I now find myself deliberately returning to it. To Peter Pan’s Neverland, to utopia, to what remains unbroken. That excites me greatly. Of course, the reflection of brokenness is hidden in the details everywhere. But a crowded cinema, the simplicity of laughing at mischievous little monsters creating havoc—that childlike joy—it’s healing for me. This return to a naive viewing of film, which, from the creators' perspective, is anything but naive and instead deeply professional and structured—that's something I'm fully aware of. But striving for a naturalism that is, in essence, considered old-fashioned and outdated, telling a story in the best possible way, which is practically scandalous from where I come from—that's something I find beautiful. Wanting to return to that kind of naivety. And it works. Audiences embrace that naivety; they want immersion, being able to dive into a story. They seek simplicity. And it moves me deeply.

Your perspective is truly fascinating. Could you share more about the quotes within your work? Why did you choose Goethe's „The Sorcerer's Apprentice“? Was it simply because he’s THE German writer, or were there other reasons? You also reference the pet names “Honeybunny” and “Pumpkin” from „Pulp Fiction“. What other quotes are included?

Yes, Goethes work is embodied by a magical incantation in German as our vampire lady Lilith enchants the broomstick to stab the vampire novice. Translating Goethe would be impossible. In the famous „The Sorcerer’s Apprentice“, the apprentice enchants a broomstick to make his work easier while the master is away. Similarly, in our scene, a broomstick is enchanted. The scenarios are somewhat alike, and using it as a magical formula felt very fitting—except that in our story blood flows instead of water.

The act of enchanting the broomstick also ties in with the vampire mythos, as a vampire can only die by being staked through the heart with a wooden stake.

We referenced „Pulp Fiction“ in a modified way: the boy is now called “Honeybunny” and the girl “Pumpkin”. This ties into the theme of feminism. The protagonist, a woman, wants to accept a place to study medicine in Göttingen but became pregnant by accident. Due to her socioeconomic background and lack of financial resources, she’s forced to choose between education and the child. She opts for social rising over the child. As an aspiring doctor dealing with abortion, this deliberate staging of a highly sensitive, contradictory inner conflict was intentional. The pet name reversal—where the boy becomes the “cute bunny” and the girl wears the proverbial pants in the relationship—points to feminist themes, deconstructing the traditional role of women as mere adornments for men.

There are also biblical quotes, character names, and elements in the story that allude to the central theme of the film: the exploration of good and evil, ethics, and morality, as well as subthemes like feminism and societal disparities between wealth and poverty. For example, the character Desdemona quotes the famous Bible passage where Jesus tells doubting Thomas to place his finger in his wound: “Reach out your hand and put it into my side” (John 20:27). The phrase "putting your finger in the wound" has become an idiom describing the act of addressing uncomfortable truths that evoke painful feelings. This is about exposing truths, which aligns with the film's title, 'Keep your Secret!'.

The four main characters each harbor secrets from one another, gradually revealed throughout the story, significantly impacting the plot. Ezra and I placed artwork in the set—a holiday apartment—created specifically for the film. These artworks subtly hint at the characters' secrets and lies, paying homage to Edgar Allan Poe’s „The Tell-Tale Heart“. In Poe’s story, the murderer believes he hears the loud beating of his victim’s heart, hidden beneath the floorboards, leading him to confess. Often, lies or secrets reveal themselves through indirect means.

Returning to the “finger in the wound” theme: this is not only about uncovering painful truths but also about guiding the doubting Thomas towards faith. Later, Lilith places her finger in Elias’ wound. On one side, we have the “evil” vampires attempting to redeem themselves for centuries by murdering a holy baby. This ties into conspiracy theories about „adrenochrome“ extraction, a modern echo of ancient ritual murder legends. On the other side, the “good” characters are humans bearing stigmata, the wounds of Christ.

The name Mary alludes to the Virgin Mary. All the character names were chosen deliberately. Lilith, as the apocryphal first wife of Adam, was too independent and thus replaced by Eve, who could conform to patriarchal structures. This is both a feminist commentary and a nod to the demonic and evil, while also leaving room for multiple interpretations.

The film plays with Christian motifs, questioning whether something deemed good is truly good, and vice versa. Trust is another significant theme. Lilith spends the entire story fighting to regain trust. As an outcast and cursed being, she yearns for family and belonging. Mary and Elias, along with their child, ultimately survive not because of their “holy” powers but because Elias manages to earn Lilith’s trust. The climax revolves around Lilith’s rage as an outcast, constantly deceived and betrayed.

The depth and complexity of your work are truly remarkable. The screenplay reads effortlessly and feels purely entertaining. But upon closer inspection, it reveals profound philosophical depth. Are you a Christian?

No, I’m not even baptized. I wasn’t raised religiously and come from a family of scientists. At the age of sixteen, I became deeply fascinated by all religions and read the New Testament in full and parts of the Old Testament out of curiosity. I’m equally interested in Buddhism and other faiths. Currently, I’m working on an audiobook exploring Buddhist ideas. I’m drawn to these ancient cultural legacies but wouldn’t choose one religion over another. I believe each holds its own truths.

What’s important to me is moving away from a black-and-white worldview, remaining in discourse, and avoiding totalitarian perspectives. Above all, we should be cautious in passing judgment. The ultimate truth should always remain open to discussion, and each person should discover it for themselves. Critical reflection and a more compassionate approach to judgment are essential to me. Trust and empathy are critical points, especially as we move towards a more narcissistic society where everyone prioritizes themselves. These ethical questions are central to my work.

This freedom and openness, even in terms of religiosity, is truly fascinating to hear. Are there any other references or allusions in the script?

There’s so much more to say. I’ve included several quotes from „Spring Awakening“ by Frank Wedekind in the script. It was the first play I directed years ago, and I still feel a deep connection to it. For instance, in a flashback scene where Lilith, still human and not yet a vampire, gives birth to a holy baby, she speaks some lines from Wendla in „Spring Awakening“. In the play, Wendla becomes unintentionally pregnant as a teenager. To avoid social ostracism, an abortion is arranged for her, but she dies in the process. To escape societal death, she’s led to real death. Lilith’s scenes in a flashback share similarities. She also has an illegitimate child and seeks help from the vampires, who need the holy baby for their salvation. Lilith dies as well but then becomes a vampire. In this scene, Lilith speaks Wendla’s lines foreseeing her own death, describing how a beast flutters in during her pregnancy.

Later, Mary dreams of Linus, who has died, beckoning her with the words, “Give me your hand!” This is another line from „Spring Awakening“. In the final scene of the play, Melchior encounters the dead Moritz in a delirium or dream. Moritz, who has taken his own life due to school pressures, repeatedly asks Melchior to give him his hand and join him in the afterlife. Melchior is ultimately saved by the masked man, a character symbolizing the playwright Frank Wedekind himself, breaking naturalism and the fourth wall by appearing as a deus ex machina to rescue his protagonist. Similarly, Linus tries to draw Mary into the afterlife in a dream sequence. The screenplay begins with a famous reference to the “holy sinner”, an obvious allusion to Mary Magdalene and a paradox—holy yet sinful, or more precisely, an oxymoron. It ends with a well-known Nietzsche quote: “All things done out of love happen beyond good and evil.” This line is spoken to Lilith, who has just become a vampire and believes her baby cannot be resurrected because of her sins. Her sins are absolved, as the baby’s death is unrelated to Lilith’s actions but rather a product of a socially unacceptable love. Again, this criticizes black-and-white thinking and hasty judgments, while posing questions about morality.

Lilith’s arc in the screenplay transitions her from a saint whose baby attracts vampires to being a vampire herself. This transformation is, of course, deeply biblical. Mephisto or Lucifer is a fallen angel cast out for rebelling against God’s hierarchy. Similarly, we incorporated a copy of José Saramago’s „The Gospel According to Jesus Christ“ into the film’s setting with an own cover design which shows a famous painting by Cranach depicting Jesus with the stigmata wounds. This bestseller and controversial novel portrays the holy family as ordinary people with human flaws. Similarly, the so-called holy figures in the script are portrayed as fallible and human.

It brings to mind the Chinese symbol of Yin and Yang—there’s light in every dark, and darkness in every light. It’s absolutely fascinating to uncover all these layers of meaning. The script itself discusses morality, good and evil, not just through its structure and character arcs but also through its dialogue.

Exactly. We created two paintings that hang in the vacation rental location used in the film. One shows a child with devil horns, and the other with angel wings. But it’s the same child, the same painting, just altered to show both the holy and the demonic. This raises questions about morality. Is a lie inherently bad, or can it protect someone from suffering? Does the end justify the means? Is an action intended to achieve something good inherently moral, or could it be considered morally reprehensible? And could the supposedly good itself be a delusion?

For example, the vampires’ desire to free themselves from their cursed existence, which is rooted in superstition and leads to the cruel deaths of babies. Killing an innocent baby is arguably the worst and most evil act imaginable, yet the goal—to achieve redemption—is noble.

Exactly. And Lilith’s character is deliberately designed to be full of contradictions and tensions. She yearns for nothing more than to be part of a family, yet for centuries, she has killed the babies of families in her quest for redemption. I intentionally use strong contrasts and provocations to highlight the moral questions.

Thank you so much for this in-depth interview. The screenplay impressed us immediately upon reading it for the first time. It prompts deep reflection on morality, societal issues like poverty, gender roles, and the type of society we live in—whether it’s one driven by self-interest—and the role of empathy. Above all, it invites us to contemplate truth itself. It’s a truly remarkable script with exceptionally well-crafted dialogue, compelling and multi-dimensional characters, and expertly structured dramaturgy. We’re very excited to see the film as soon as it is released! Thank you for the interview!

Thank you so much as well.

Carol Dorn - Interview

To her director's chair she brings a breadth and depth of experience adding strength as actor, stagehand, board op, set decorator, scenic artist, set designer, sound designer, musician, stage manager, company manager, production tour manager (Lincoln Center, Ballet Hispanico), lighting designer (Obie Nominated), gaffer, sound mixer, house manager, location wardrobe supervisor, screenwriter (optioned by New Line/FineLine, Universal etc.,) and producer. She has brought her expertise to both stage and film sets for Lincoln Center, Williamstown Theater Festival, WOW cafe, Five Lesbian Brothers, National Broadway Tours, and The Emmys Readings at HBO hosted by Arlene Dahl. Her various skills have been engaged by NBC, Entertainment Tonight, PBS, Bravo and The Toyota Comedy Festival. For New York Women In Film & Television she was honored to be selected as director, presenter and moderator for the 2018 Writers Lab winners created and funded by Meryl Streep and Nicole Kidman.

When did you decide you wanted to be an actor/director/screenwriter?

I think it started when I was around 4 years old. My whole family got cast in a production of SOUND OF MUSIC and it was successful enough to be toured in

the area. So what started in a town of 250 people - yes that was the size of our town - then grew to larger performances with audiences up to 1000+. I should add here that my father was a Lutheran Pastor and my mother was a teacher so performing was always there.

How did your family react?

They were supportive but they always wanted me to have a “back up”.

Do you have a Muse or a Role Model?

I have several muses. It depends on what “hat” I’m wearing. As an actress I always loved Ann Bancroft. As a writer/director I consider the actress I most

want to work with my current Muse. Right now that Muse is Kristin Scott Thomas. I’ve always loved her work - ALWAYS. But I felt her talents weren’t being really given room to stretch. I think I LOVED YOU SO LONG was really the first project that I felt gave her real room. So that just fueled me more. So my current feature that is pretty much ready to shoot was very much inspired by Ms Scott Thomas. In fact I have a couple of projects that have her imprint.

Who's your biggest fan?

I would guess it’s my family.

What brings you inspiration the most?

I can’t pin that down to one person or thing. A great performance will inspire

me. History inspires me. Music inspires me.

Which actor or director would you like to work with?

Well I have to go back to what I said earlier. I really want to work with KRISTIN

SCOTT THOMAS because I am dying to see what she would bring to this

character that was very much inspired by her talent. If I were acting right now I would really want to work with Betty Porter. I think her projects are so unique.

Have you ever seen a film that was better than the book?

Yes, DUNE! These past two parts were mind-blowing far beyond the books.

What's the movie that taught you the most?

Well I’ve learned different things at different stages. Before I knew

consciously that I wanted to write and direct I obsessed over a beautiful

French film DIVA. I became obsessed with it. I watched it over and over much

to the chagrin of my roommate. I just loved the music choices, the

cinematography, the script and most especially that everything wasn’t

spelled out. I loved the silent moments. And that is something that has still

stayed with me as a director. I really love giving an actor extended time to

have those emotional beats where nothing is said but the character has a

revelation or a discovery or a resolve. A brilliant example of that is Emma

Thomson in LOVE ACTUALLY when she walks from the bedroom room into the

living room and in that time she realizes the gift was actually not for her but

another woman and that her husband was having an affair. It is so powerful. I

want to give every talent I work with that time. This is also why it’s important

to have the right kind of editor too!

About your artistic career, have you ever had the desire to quit everything?

I’ve had to a couple of times. Not by choice. I sort of walked away when my

parents got frail and then they both died right in front of me about 5 months

apart. And that was it. The first year I was just going through the motions. I

didn’t feel connected to reality at all. Home was gone. Then I ended up at a

production of Uncle Vanya that Estelle Parsons directed at THE ACTORS

STUDIO where she had the audience on set and it was the first time I felt like

myself in years. I was home. It sounds kind of cliche but that was it. After that

I said to myself, “well, I don’t have to be a daughter any more, I don’t have a

partner, or children to be responsible for …and my parents sacrificed a lot to

see me get to where I was. So never again will I walk away.”

On set what excites you the most?

All of it. Especially walking through or rehearsing the scene with the actors. Then lighting and framing the shot.

And what scares you the most ?

All of it. Well actually it would be missing a shot. Thats why I love a lot of B roll. And honestly just letting the camera roll because you never know and you can always make something work if you have a good script and a good editor.

What's your next project?

A feature I wrote, DISCLOSURE FROM A CLOAKROOM, which we are planning on shooting in March of 2025. I am very exited because we have great people already committed to the project. Simone Belli (FERRARI), and multiple artists from THE NEW LOOK and SERPENT QUEEN and we are in talks with Kristin Scott Thomas’s reps to do the lead. This script was originally a play that premiered at the Tristan Bates Theatre in London years ago.

You can steal the career of an artist you really admire, who do you choose?

I would never steal anyone’s career. Wouldn’t want to. Everything I’ve

experienced has made me uniquely who I am as an artist. It’s my

responsibility to make those experiences translate to the screen (and stage).

There are so many I do admire though; from Hitchcock, Ridley Scott to Betty

Porter to Jane Champion to Tom Topper. I will add here that my parents

brought my sisters and I up with the approach of compete with yourself and

encourage others because you cannot be them and they cannot be you.

An actor/director/screenwriter is made of....

Every aspect of life.

For you Cinema is…

Tthe one place I can bring all of myself; my talents, experiences, dreams…it’s home, it’s family that understands you.

Do you think Black and white movies have a powerful impact?

OMG yes!! I was a lighting designer for many years in New York City and when you look at a black and white film the lighting has a whole different importance and I think in some ways it pulls you in emotionally inside the characters in a completely different way.

Have you ever dreamed of winning an Oscar?

Who hasn’t in this industry? Also a Ceasar, a BAFTA, Palm D’Or. But I also - equally - dream of my cast and crew getting awards for working on my projects. Seriously that would thrill me equally to be the catalyst for them.

Do you think you're gonna win it?

If I get the right talent for the roles I think it could be a definite possibility.

Louise Mason - Interview

Louise Mason is the director, cinematographer, costume designer and lead actress of her award winning horror/drama/crime/mystery thriller feature film Sewing A Nightmare. Sewing A Nightmare has won the Best Poster and Best Crime film awards at the October 2024 Hollywood Blood Horror Festival. She is also a photographer and fashion designer. Her fashion, costume and lifestyle editorials have been published in and on the cover of many magazines including, Arttells Magazine, Artego Magazine, Figgi Magazine, Marika Magazine, Le Desir Magazine, Unbound Magazine and many more. Louise has also worked on many other feature films and in T.V. and is a graphic designer. In her spare time she enjoys hanging out with her friends, volunteering, watercolor painting, watching movies and reading. She is also a dog lover.

The biggest challenge of being an actor\director\ screenplayer is… 

Getting the exact right take that precisely goes with the mood and pace of the film.

Choose an Actor, Choose an Actress...and now choose a story you would like to direct or play with both of them:

Right this moment I've been enjoying some bio-pics so I guess it would be that genre but I'm not really sure which story specifically. I think I would pick Daniel Craig and Isla Fisher to star in the film.

Who’s the first Aritst that let you understand you wanted to be an Actor\ director\screenplayer?

The Archers. That's right it's two people not one.

What really excites you artistically or emotionally?

Good rhythm and vibrant colors

Marlon Brando said “Never confuse the size of your Paycheck with the

size of your talent”. Do you agree?

Yup.

Have you ever been discouraged by someone about your life\career choices? 

Yes but I took it in stride and I'm happy with where I am in my life.

Do you think is harder for a woman being a Filmmaker? 

Yes

Do you think that Fame and money could easily change your own Vision as

a Filmmaker\actor\screenplaye?

Who’s the Movie star that made you dream for the first time? 

Drew Barrymore in Ever After

Make a wish about your career...

I wish for some big leaps in success

Talking about cinema\Showbusiness, how hard is to remain completly honest to yourself as an artist?

I've had an alright time with it.

The Film you have loved the most? 

The Red Shoes

And now, don’t be shy….the one that annoyed you the most?

There are so many films out there that I can't even remember at this moment. 

Your biggest artistic goal is… 

Right now it's to make it into more film festivals and to work on some music videos.

What profession other than your own would you like to attempt?

Racecar driving or horse back riding

How important is to be rewarded as an Artist?

The final product matters more than the reward

Do you have regrets? 

What’s the messagge you wanna express through your art? 

Life is complicated.

R. Scott MacLeay - Interview

Scott MacLeay holds a Master of Science degree in economics from the London School of Economics and left his doctoral studies to pursue a career in photography in Vancouver specializing in fashion photography and editorial portraiture. In 1979, he moved to Paris to dedicate himself full time to his exhibition work and has exhibited widely in galleries and national museums in North and South America, Europe and Japan. Since moving to Brazil in 2010 he divides his time between new media creations, musical composition for installations and exhibitions, the exploration of online interactivity and curating exhibitions for Brazilian new media artists. In 2011, he founded The Creative Process, a movement devoted to developing new media and interactive work in the South of Brazil. His experimental video works have won awards in international festivals in Paris, Cannes, Venice, Berlin, Madrid, Milan, London, New York, Los Angeles, Las Vegas, Chicago, , Tokyo, Shanghai and Hong Kong.

When did you decide you wanted to be an actor/director/screenwriter?

It was not really a decision to become a director. It was more of a slow evolutionary process. I began to make experimental videos in 1983 in Paris. At the time, I was head of the Photography Department at the American Center in Paris, an avant-garde, non-profit cultural institution renowned for its dedication to the media art and contemporary dance. My interest in video art was therefore quite natural given the environment in which I was working and in the mid-80s I was named Director of the institution’s Center for Media Art and Photography. For many years after my first experiments, I continued to work primarily in the areas of photography and contemporary music composition devoting myself fulltime to media art upon my arrival in Brazil in 2010.  

How did your family react?

Well, by the time I began making experimental videos, my family was already very supportive of my choice to be an artist. The real shock to them was when I left my doctoral studies in economics to pursue a career as a photographer in the mid-70s in Vancouver. They didn’t understand how I could give up so many years of hard academic work to enter a field that was almost entirely new to me at the time. But I was a very fortunate child, my parents always had faith in my judgement and my decision to become an artist was no exception. After the initial surprise, they quite quickly rallied in support of my decision. I owe a great deal to the open-mindedness of my parents.

  Do you have a Muse or a Role Model?

When I began my photographic adventure, 2 photographers had a tremendous influence on me: Ralph Gibson and Duane Michals. I had the privilege of attending public lectures of both these inspiring artists very early in my career and their respective unorthodox approaches to composition and storytelling had a lasting impact on my approach to the medium and on my later work in video.

When I began to make videos in the 80s, there were three video artists whose work I admired greatly: Gary Hill, William Wegman and Joan Logue. Although very different in terms of process and style, all shared an integrity that impressed me. They did not allow their deserved successes to get in the way of their ongoing dedication to discovering new conceptual approaches to storytelling.

Who's your biggest fan?

 I have two: my wife Helene and my daughter Adriane.

 What brings you inspiration the most? The human condition and our place in its evolving social fabric.

 Which actor or director would you like to work with?

 In general terms, none come to mind. As an independent new media artist, I am used to working on my own in the studio. However, there are many actors and directors with whom I would love to share some time conversing and confronting ideas: Tom Waits, Sean Penn, Isabelle Huppert, Pierre Richard, Charlotte Gainsbourg, Jim Jarmusch, Patty Chang and Gary Hill come to mind.

Also, recently I have created an international project “The Choir of Discontent” which for the first time involves the participation of several video artists/filmmakers from around the world including Joan Logue (USA), Hervé Nisic (France), Ana Carolina von Hertwig (Canada) and Flávia Baxhix (Brazil). It is a new experience for me and as such, it is both a challenge and a source of very productive stimulation.

 Have you ever seen a film that was better than the book? 

Terms like « better » and « best » can obviously be flattering, but at the end of the day, they are relatively subjective. I really cannot answer this question because, for me, it is like comparing apples and dairy products. Some films are more faithful than others to the storyline and character profiles of the books that inspired them and could be judged by this criterion. Obviously, I may prefer the perspective of the filmmaker concerning a particular story, but “better” is not a term I would use. For example, I have always admired Visconti’s “Death in Venice” and thoroughly enjoyed Thomas Mann’s book. Both deal with the same themes, but in my view, from different perspectives. While Visconti’s treatment concentrated on the specific character and dilemma of the protagonist, Mann’s original work appears to be broader and more social in perspective. I do not compare them. They were both ahead of their time and in my view, deserve to be treated as brilliant independent works.

What's the movie that taught you the most?

 Working, as I do in the field of media art, I cannot honestly say that there is a particular movie that taught me the most. If I had to choose one media artist whose approach taught me a valuable lesson, it would be the early B&W studio performance video works of William Wegman with his dog Man Ray. The discovery of his work in the early 80s, allowed me to discover that both the re-contextualization and re-conceptualization of everyday, apparently banal situations are capable of revealing some of the most relevant facets of our lives. The dry wit which permeates so much of this work is pure genius for me.

 About your artistic career, have you ever had the desire to quit everything? No.

 On set what excites you the most? The anticipation of the unknown.

 And what scares you the most?

Being too easily satisfied with apparent success of a shoot.  

What's your next project?

As I mentioned earlier, I am currently working on an international project entitled “The Choir of Discontent”. It is an interactive media installation and single channel video involving the juxtaposition of interviews with 30 men and women of different socioeconomic and ethnic backgrounds from around the world voicing their frustrations with daily life on both personal and social levels. The objective is to reveal the impotency of social media to respond to the frustrations expressed daily on various platforms. Never in human history have so many millions of people expressed themselves so freely and publicly every day without being heard. So many simultaneous complaints simply result in the creation of never-ending waves of “message noise”. No one is paying attention.  You can steal the career of an artist you really admire, who do you choose? There are so many artists that I admire, but I can’t think of anyone whose career I would like to steal. But if you put a gun to my head and obliged me to respond:

in the movie industry I suppose I would choose Charles Chaplin or Orson Wells;

in the visual arts, I would choose Gerhard Richter, Francis Bacon or Pierre Soulages in the musical field, I would choose Erik Satie or Bob Dylan, in the field of literature, I would choose Kurt Vonnegut or Hermann Hesse

in the philosophy of art, I would choose John Cage, in the field of dance, I would choose Merce Cunningham, in the photographic field, I would choose Duane Michals and the list goes on .... I would be incapable of choosing just one.

 An actor/director/screenwriter is made of...

. Open-minded, focused energy in the service of exploration.

 For you Cinema is....

 For me the term “cinema” refers to a commercial enterprise with increasingly rare incursions into the art world. My personal “cinema” is media art - that vast field of exploration of non-linear storytelling that juxtaposes innovative, experimental approaches to the conception, realisation and presentation of works in original time-space frameworks.