A quick blog update… and my first script reading session

Happy Monday everyone! As you might’ve noticed, I haven’t been blogging much. Well, this weekend I caught a nasty cold… y’know, the constant sneezing, runny nose, etc. Luckily I don’t have a fever or cough but still it sucks and my nose is raw as I forgot to buy Kleenex w/ lotion on them :\

Well, some of you might’ve heard about my screenplay that I finished last July. On the spur of the moment I made this graphic just for the fun of it… little did I know I end up using them for the script reading months later.

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So, I thought I’d share a bit about the reading. It pretty much came about when I met Joanne (JoJo) Liebeler at one of the TCFF after parties, who happens to be the president of MNWIFT (I mentioned in this TCFF recap) She kindly offered her beautiful home for the reading and almost immediately we started planning for a reading in mid January. Thanks to my dear friend Kirsten Gregerson who helped me with casting, and she also did a splendid job reading a few supporting roles!

I had gone to only one reading before and it was a pretty big one. I’m glad my friends and I decided to do a small reading, there were only about 23 people, including the talents. It’s such a privilege to have Lucinda Winter from MN Film & TV Board, and Andrew Peterson from IFP MN among the audience. I had been fretting about the weather as MN Winter is so unpredictable, but thank the Lord that Sunday ended up being pretty warm and sunny!

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Top (from left to right): Shawn, Peter, David, yours truly, Kirsten, Sam, Holly, Noah and the narrator, Remy) – Thanks to my hubby Ivan for taking the photos!

We were so blessed to have been able to cast the seven talents plus one narrator. I’m especially thrilled to have Remy Auberjonois, an accomplished actor/filmmaker who’ve been in major Hollywood films and did theatre on Broadway with the likes of Philip Seymour Hoffman narrated the reading. I had featured him on my blog when he did the MN indie feature Blood Stripe (in which Kirsten also had a supporting role), one of my top 30 picks 0f 2016. I’ve also just seen him as Col. Brandon in Guthrie Theatre’s Sense & Sensibility last October. Remy added such gravitas to the reading with his commanding voice. The narrator is such a crucial role in the reading, and I couldn’t imagine anyone better to do the job.

The female lead Lily was played by Sam Simmons, a local tv host for EVINE Live whom I met back in April at MSPIFF. She happens to be from the UK who moved to MN a year ago. My story is set in the UK w/ British characters so it’s cool to get an actual native Brit as one of the leads. She’s absolutely brilliant as Lily. Not only does she look like who I pictured Lily to be, she also sounds lovely and conveyed the emotions of the character very well.

The handsome leading man Peter + gorgeous leading lady Sam
The handsome leading man + gorgeous leading lady

Again, thanks to Kirsten we somehow landed a massively talented Twin Cities actor Peter Christian Hansen as the male lead, Jacques. He’s starred in a bazillion plays in town in which he won two Ivey Awards, as well as a few film projects. He did such an amazing job as Jacques… he’s got a bit of a bad boy edge that makes him perfect for the role. Given his extensive theatrical background, he also gave a very expressive performance, complete with gestures, instead of just reading the script! There’s such a scorching chemistry between Sam and Peter too, which is electrifying to watch.

If you’re interested about the actors bio, you can view the flyer here

I absolutely LOVE every single actor who read the script… THANK YOU Peter, Sam, Kirsten, David Coral, Noah Gillett, Shawn Dunbar and my lovely friend Holly Peterson! It’s quite surreal to see my story came to live thanks to their performances. Thanks to Ted and D.J. for taping the reading. I’ve watched it a couple of times already and I’m still amazed at even the subtle performances of the supporting cast… even just saying a simple line of ‘Would you like a playbill?’ gets everyone laughing, well done Holly! 👍

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Now my plan is to make a short film of Hearts Want… hopefully to have it wrapped this year yet. It’d be awesome have the same cast from the reading, so fingers crossed that would happen.

Update:

We did shoot the short film in mid April. Here’s the blog update… and you can always follow the Hearts Want journey on Facebook!

In terms of blogging, well I will try to keep posting about once a week. But you will see more guest reviews for the coming months. Suffice to say, I may not be blogging about Oscar nominations tomorrow… it’s just too much going on for me right now to do so.

Wish me luck with the short film project, we will likely do the crowd-funding route to help with financing, so hopefully I can count on you kind and generous people to help out 🙂


Well that’s the scoop folks. You could say I have my work cut out for me.

TCFF Opening Night Film: ‘Blood Stripe’ – Interview w/ Remy Auberjonois & Kate Nowlin

Every year Twin Cities Film Fest selects a social cause to bring to light and this year the subject of the Changemaker series is veteran support. Five powerful films paint a picture of what our vets face post-combat and foster important discussions around how to better serve those who’ve given us their all, which starts with BLOOD STRIPE.

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A female Marine veteran, battling unseen wounds from her recent service in Afghanistan, flees her suburban life in search of solace and escape in the North Woods.

Directed by: Remy Auberjonois
Written by: Remy Auberjonois & Kate Nowlin
Runtime: 87 min
Cast: Kate Nowlin, Rene Auberjonois, Rusty Schwimmer, Tom Lipinski, Kristen Gregerson


Additional TCFF screening:
October 28 | 3:00 pm


I had the honor to speak to both the director Remy Auberjonois and lead actress Kate Nowlin, who also co-wrote the film. I interviewed them separately within the span of a couple of weeks. They are both so wonderful to talk to, I’m so inspired by their amazing talents, humility and generous spirits. I’m so thrilled to see the success of ‘Blood Stripe’, winning the Best Fiction Award at L.A. Film Festival is just the beginning. It couldn’t happen to two nicer people!

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Remy Auberjonois

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Q: What inspired you to that story about PTSD. Is that a personal thing for you is that something that somehow we come across something and then it’s like oh I want to make a story about this.

Remy: Oddly enough, the story was an organic outgrowth from the location in a way. We sort of decided to make a movie, first of all. Then we decided to make a movie on Lake Vermilion and then we were looking around to think about a story that we could tell that could feature Kate in a central role because I knew that I would have her full commitment and she would work all day every day. And I know what a wonderful actor she is. And and in doing that and figuring out what that character could be, we came upon the fact that there are a lot of veterans in that area. Once that opened up for us, then the story sort of took shape. There was been a tremendous amount of a lot of awareness about moral injury, about PTS, about veterans suicide and you know, it was sort of an undeniable aspect and military sexual trauma… there was an undeniable story where we felt that there was room to tell. It also appealed to me in the sense that I saw ways in which he could use the sort of tropes of a thriller film to get inside a sort of paranoid mindset. You know we’re not paranoid but hyper alert. So that aspect appealed to me as there are a lot of movies like that that I’ve really liked. Those that you know create a real sense of unease, and we wanted to try to get inside that.

I felt like the tools of both movies were a useful way to shed some light on that. And because we’ve seen a lot of documentary and we’ve read a lot about this thing that people call PTS or PTSD, we thought that telling a narrative story about it making a dramatic narrative feature about it was another way to contribute to that conversation, to that awareness. We were hardly aware of it except as regular consumers of news, but when we started looking into that character and things that that character might be burdened with, we started to really understand the scope of the really sort of epidemic of this thing. We thought ‘oh yeah this is something that we want to understand more about and we feel like the audience could as well.’

It’s me, Cinematographer Radium Cheung, and Underwater Camera Operator Steve Speers (who is a Minnesota cameraperson). – Photo by Andrew Messer
Remy, cinematographer Radium Cheung, and underwater camera operator Steve Speers (who is a Minnesota cameraperson) – Photo by Andrew Messer

Q: I think the fact that you are focusing on a female combat vet specifically sort of adds another layer of novelty to your film too, because there are so few meaty roles for women as it is. I know that’s what appealed to me immediately, I mean aside from the military aspect of it. And I’m sure it appeals to others as well.

Remy: Yeah, you know I’m a male filmmaker, and for me I didn’t really see a difference. I worked with a very high profile wonderful actress. At one point she was telling us, she was talking to a filmmaker friend of hers: ‘just write the part for a man and I’ll play it.’ And Kate and I in approaching this film, we wrote the part just for a person. It’s complicated… you know she does things that you don’t see women doing a lot of, but that women do. She’s chopping wood, she’s mowing the lawn, etc. She has a husband and then she has the potential connection with another man. She’d get to fight, you know. Not to give things away, but you know, we just wrote it for a good complex character for Kate who is a powerful, physically very strong woman and an emotionally deep actor.

Q: What a great combination, yeah. One of the reviews I read was from Variety, and the reviewer said that it’s kind of rare that you’re not using the method of flashback in this. And so narratively was that something that’s deliberate that you want the story to be in present but of course implies that something has happened in the past?

Remy: Yes. You know it’s interesting it was something that was unintentional in some ways and then became very important to us, as we’re going ahead. We’re going we actually have written an event that happened in the past and that was a factor of time and money that we didn’t get to shoot it. It was something that could happen in a totally discreet location. So we kept it out of our principal photography because our budgetary and time constraints were such that we couldn’t get that, in a way that satisfied me.

And then as we were looking at the footage and telling the story and cutting it, it really felt that there were there so much thing unsaid, I mean this is not a dialogue-heavy movie. Having that event felt like it would be incredibly limiting to what the audience’s understanding could be. I’ve since spoken to someone who made a comment about that very fact and said they appreciated that [the trauma] wasn’t pinpointed to one event. Kate was very interested in these people who were exposed to war time, in a foreign country for a year or 18 months, you know that kind of heightened experience is ongoing, extended… so what is that like. So to sort of narrow it down to say it was this one thing that created this condition is very limiting. There’s lots of things. Her relationship with a man in the film is very fraught. Maybe there was something there. She has some physical impact from the war that she carries. Maybe it’s that. We didn’t want to limit it. Plus, to shoot that [scene], it’s as if we’re trying to be a different kind of movie than we were. I had a scene that I could do that I could accomplish. We had it written and I knew how I was going to shoot it. But I eventually thought, you know Hollywood has made war movies. We’ve seen The Hurt Locker, American Sniper, we’ve seen a lot of great depictions of these wars and wars in general. Let’s trust that the audience has these associations and we’ll bring them in with that.

Remy, Kate, and producer Julie Christeas of Tandem Pictures – Photo by Andrew Messer
Remy, Kate, and producer Julie Christeas of Tandem Pictures – Photo by Andrew Messer

Q: I think that’s what they appreciate this reviewer appreciate. It’s like they just you know don’t spoon feed too much. You don’t want it to challenge the audience.

Remy: Yes, we wanted to respect and challenge our audience. I think some people find that infuriating because they want to be told something. And I think some people have really appreciated it. We had a guy on one of our screenings, he said I felt so smart watching this movie because I kept on being forced to make connections, to connect the dots. As a movie goer, I’m usually quite a head of a particular film. I don’t know that anybody is surprised by what happens in our movie, in terms of the sort of outcome insofar as you really know what the outcome is. And you don’t, we don’t make it very explicit.

Q:  For this film, did you talk to anybody like from the military field to make sure you get certain things right?

Remy: You know we did a lot of reading, we did a lot of watching. We also have a female Marine veteran on set with us. But we had already written the script by then and she was great in terms of validating a lot of the right thing. I sent it to that vet but because we weren’t shooting the war. It was a creative, imaginative exploration of the thing. So we watched some wonderful documentaries like the film Lioness, The Invisible War to see stories about female marines. A lot of really wonderful books, there’s one by Sebastian Junger called War. But we wanted to sort of imaginatively take the hallmarks and the symptoms and the sort of generalized story of what those people experience and then imagine it into our location and our story. We wanted it to feel authentic and we’ve been very gratified. You know, Kate spent four months in physical training for the film. We wanted to have a sense of authenticity but we also wanted to not be telling a certain story. And hopefully that that approach is the thing that makes [the subject] a little bit more universal.

Q: I see. It’s a character driven piece so it’s not about a specific event. 

Remy: Exactly. It’s a lot about the performance, about [Kate’s] understanding of it. There’s some of her own experience which she was able to bring to [the role], but she’s also just a very skilled actress and has a lot of technique.

Q: Last question. Is directing something you want to keep doing in the future?

Remy: Yeah I would love to get the opportunity to do it again. I have a couple of different projects in the beginning of story development and we’ll see which one I can get more traction on. I’m very much hoping to direct it again before too long. Maybe another film, and I’d love to direct episodic television actually. There’s a lot of exciting, wonderful thing happening in that medium, but it’s a difficult thing to get into. It’s hard to get a movie made, but at least it’s a discrete thing and in some ways it’s up to you.

Q: Yeah that’s true, but at the same time now it seems like there’s a blending between TV and films now, it’s not a big divide like was before. Lots of TV directors doing major, big-budget films and the other way around.

Remy: Yeah, who knows. We’ll see where it takes me.


Kate Nowlin

katenowlin

Q: What I got from Remy’s was that the story grew organically from the location in Lake Vermilion. So I’m just curious how do you approach that role of the female Marine. I mean do you have any military experience or or was there any research. Do you have to do more to prepare?

Kate: Oh god no, no military experience before. Tremendous research.

Q: How long did it take you to do that? I mean did you have somebody on set?

Kate: I feel like I’m still doing research. I started when we started writing in October and we were shooting in August. I was doing research the whole, the whole time we were writing and learning about the subject matter, which evolved organically. Once we just decided on the subject matter, we felt obviously a real responsibility to this type of story, as we would to really any story. But this one was, we realized it was a large undertaking and something I knew nothing about, from a strictly military standpoint. In terms of dedication and exploration of her strength and her vulnerability, and just being a human being, I think there’s ways in which we can all relate. So the military part, I did my homework and then eventually yes I met I spoke to a number of servicemen and women. There’s one in particular, a woman named Amber Patton who’s a Marine herself.

Q: Is her last name spelled like the famous general?

Kate: Yes Patton, like the general. She’s a Marine veteran, USMC got her in. And she was on site. We met here in Minnesota and then we offered her I said ‘would you read the script and consult with us?’ We had some questions and we talked about some story points, and then I said ‘what are you up to this summer?’ As she was interested to get more into it. I mean she was in the film industry but she wanted to keep working on that, and so we said if you want a job, we’d love to have you on our set as a production assistant. So she came on as a production assistant but obviously she served as a consultant. She just was like my right hand she was, an assistant to me and in many ways and in the creation of the story.

Q: That’s cool because you’d want to make sure that the story is truthful and accurate and she’d have the experience.

Kate: Well there were there were things that we could research, but there were very practical things about like how the uniform is worn, things like that. She’s been an invaluable part of the process, and she’s still you know, we’re still close and and she was an invaluable part of the team.

Kate in a scene on Lake Vermilion
Kate in a scene on Lake Vermilion

Q: As for Lake Vermilion, it seems that you both wanted to shoot the film there and it works because there’s a lot of veterans there, so that makes sense.

Kate: Yes, there’s a tremendous amount of veterans. There’s a woman in the town, when we were just considering that idea [of filming at Lake Vermilion], she had just been named soldier of the year by Army Times in Cook Minnesota. And so we kind of thought… even though we didn’t tell her story but we wanted to give a little nod to keep moving in that direction.

Q: Remy mentioned that you both wanted to add to the conversation about the condition of PTSD. Tell us a bit more about that.

Kate: We want to add to the conversation about the traumatic aspect, but also really more about the female soldier, the female Marine. It’s rarely depicted even though they make up about 15 percent of our military, 20 percent of our reserves. So they should be more represented. I think as we were writing there was this great New York Times op-ed piece saying why aren’t we telling the story [of female soldiers] in film. So we were like, ‘we’re writing something, we’re doing our part, we’re trying to do our part!’ So it was so interesting how it evolved, but yes we were trying to add to a conversation about a lot of things… women in media, how women are portrayed in the media. The female fighter, the female warrior, representing them, representing veterans issues, across the board. You know, so we kept sort of packing the bag.

Q: That’s great. I just think female driven narrative is still rare, which you would think by 2016 that’s not the case. But yet it is. That is why on my blog I always champion female-driven stories, especially independent stories. I mean if it’s something like Wonder Woman or whatever, those already get the studio backing, but the smaller stuff I really want to support. So I’m grateful you are working on this. 

Kate: Yes me, too. You know, it wasn’t our intention, conscious intention when we started. I mean we know Romney wants to direct and I was a resource of his. But it evolved into that and it became a very significant to us too. And I was aware that there was a lack, just in the scripts that I was being presented or the roles that I would read. I was just like ‘can we create someone full-fledged, someone who’s fully-dimensional… who happens to be a Marine.

Q: I was just wondering as I was reading the cast list. Your character is described only as Our Sergeant. Is it deliberate that there’s no specific name given to your character?

Kate: Yeah it is. It is deliberate. We want her to stand in for a lot of people like her, to be able to sort of let the audience project a lot onto her. Honestly, creatively, as we’re working the name just never came. We never had a name and it always just felt like that there’s a sort of space around her character so people could project whatever they want to. Not necessarily a name but that she is, in some ways, unaccounted for and that she’s nameless.

Q: So the fact that she is nameless is almost a message in itself.

Kate: I think so yeah I think so. And we actually, there was one point when we made her uniform. So on the one hand she’s standing in for someone’s wife, sister, daughter, we keep that open. Once you’re in the military and you have a title, that’s an important part of the identity. That comes first, in that mindset you’re committing your life, you know, to serving your country and then that is an important part of the identity. So that felt like that was going to be an important part, maybe more important than the personal identification. So when we she was in uniform at one point we created a name tag that we chose to be nameless in Norwegian because I’m Scandinavian and there’s a lot of Scandinavian people in Northen Minnesota. At one point we did choose a name. So it was Navnløs, which is Norwegian for nameless.

Kate, 1st. Assistant Camera Yousuke Kiname, 2nd AC Chris Savage (Minnesota based) – Photo by Andrew Messer
Kate, 1st. Assistant Camera Yousuke Kiname, 2nd AC Chris Savage (Minnesota based) – Photo by Andrew Messer

Q: Now this question, it’s up to you whether you want to speak to this or not but given the subject matter, I was wondering if you have dealt with something similar to your character and whether that impact your approach to the role or not.

Kate: No I really haven’t. Not to that degree. But I think as we’ve said, trauma is a universal experience. It doesn’t have to be military-related. So I can understand it, but no, I have not dealt with it, nowhere near anything she had going through. It’s interesting because I’ve been asked that question a lot and I think that. I guess my answer is no, but I understand what I understand about struggle. It’s my job to be able to portray someone who’s different than I am. That I have to investigate and find my way in the way that I can to create something in an authentic way. I think there are universal things that we know and that we share and feel as human beings and that’s my job to explore that. Because I was writing her, co-writing and co-creating her, I was able to track her so to speak.

Q: Cool. So how was that process when you’re writing. Co-writing with Remy. I mean how do you do that division work goes?

Kate: I loved the writing. We really just sat across the table from each other and sort of plotted things out. Once we got off the note cards you know at first we put everything on no cards and then we sort of sat down. We each had a computer in front of us and we talk through scenes, we created dialogue. I would sort of think about her voice when she did speak. Remy was really good at writing the sort of what we saw, the breakdown the scenes. The emotional journey, in some ways was hard to do because it was all brand new. And because we were doing it in such a really a relatively short period of time. it’s hard to kind of understand or quantify what that experience was. We were just sitting down every day for three hours doing what we could.

Q: How about the physical training. I mean you kind of have to bulk up a bit don’t you? I mean you probably already are a fitness enthusiast.

Kate: Yes I’m naturally athletic. Being forced to play sports growing up and I was a dancer as a kid and all of that. And then of course in graduate school or whatever you do a lot of movement training and stuff. But no, I work from probably about three and a half months, not a tremendous period of time but I work six days a week. I worked with a trainer once a week starting in May, June, July, August, so about three and a half months. That’s on how to get into the role, that’s a mindset. I had to transform my metabolism, my metabolic system. I was inspired by how strong they are and the rigors that they go through in order to become a Marine. And so I knew I had to do something I hadn’t done before and get a kind of mental toughness and physical strength also to set an example, to represent how strong these women are. I just want to create a different portrait of a female in the film. Something we don’t get to see very often.

Q: So now that you’ve written a film that you start in, what’s next for you? Do you want to keep doing it, being a content creator on top of being an actress?

A: Absolutely. Oh that’s you can’t go back. I feel like it’s it’s a hard thing to come back from once you start oncw you start making your own stuff. It’s more challenging in ways but you get to say more… it’s a much more dimensional creative space and I find that incredibly gratifying. I have never been happier from an artistic point of view as when I was making this thing, as we’ve been making this thing. As hard as it’s been, it’s so fulfilling so. And I found that over the course of it that I have things I’d like to say. I really enjoy the writing. Not like a soapbox, but I think that there are I think that there’s room for all sorts of stories and I’m drawn to what I’m drawn to. I like the research, I like immersing myself in new world from scratch.

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THANK YOU so much Remy & Kate for chatting with me about Blood Stripe!


Hope you enjoy the interview! If you’ve seen Blood Stripe, I’d love to hear what you think!

Indie Spotlight: I Am Not A Serial Killer (2016) & interview w/ casting director Kirsten Gregerson

I first heard about this project last year when my friend and fellow Twin Cities Film Fest staff member Kirsten Gregerson mentioned it to me. She had worked as a casting director for the independent thriller, director by Irish filmmaker Billy O’Brien, with Christopher Lloyd and Max Records (from Where the Wild Things Are) in the lead roles.

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Sixteen-year-old John Wayne Cleaver (Max Records) is not a serial killer—but he has all the makings of one. Keeping his homicidal tendencies and morbid obsessions with death and murder in check is a constant struggle that only gets harder when a real serial killer begins terrorizing his sleepy Midwestern town. Now, in order to track down a psychopath and protect those around him, John must unleash his darkest inner demons. Based on the cult novel by Dan Wells, this twisted, genre-bending thriller co-stars Christopher Lloyd and Breaking Bad’s Laura Fraser.

The early reviews out of SXSW has been pretty good, including this one from Variety: “O’Brien conjures an infectious sense of place on a small budget: dark but never dreary, haunting but oddly cheerful.”

Check out the trailer:

I’m looking forward to seeing this next Monday as part of TCFF Member Screening!

‘I Am Not A Serial Killer’ Screening
Monday, August 15th – 6:30pm

Showplace ICON – St. Louis Park

The screening FREE for TCFF members, it’s one of the great perks for being a member.
So why not sign up for a membership today?


As most of you know, I’ve always been interested in film casting. This week I had the privilege to chat with my friend Kirsten about the casting process of this film.

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1. You have a decade worth of experience as an actor in various TV/film productions, but this is your first job as a casting director. How did this project come about for you?

Yes, it is hard to believe I have been pursuing the acting/production path for almost 10 years now. IANASK is actually my 2nd Casting Director job. I cast the film The Jingle Dress in the late summer/early fall of 2013. Jakk Netland, a friend that also worked on The Jingle Dress with me, recommended me to the producers. Lynn Blumenthal was the first choice but she was out of town during the IANASK shoot.

2. How has your profession as an actor help you in film casting? Any particular challenges that stood out to you?

I do know what it is like to be on the other side of the casting process which is a plus. I have been told I make the actors feel comfortable and supported which I think helps bring out a more authentic and truthful audition. The challenge for me is caring too much and thinking about the actors that don’t end up getting cast, or worrying about the logistics of everyone getting to set that have been cast. I know these things are definitely out of my control, but I can’t help it. I am “Minnesota Neurotic” as I call it.

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3. Was Christopher Llyod already on board on the film when you started working? I’m curious too about the process of casting Max Records and Laura Fraser, did it involve an in-person audition?

Christopher Lloyd and Max Records were already on board when I started working on the film. They were cast through the Gersh Agency, as was Laura Fraser and her actor husband, Karl Geary (although the two of them were cast closer to the time of filming). I helped cast all the Minnesota talent and worked with Moore Creative and the Wehmann Agency. I am thankful for the agents and all the help I had moving forward with the casting process.

A special thank you goes out to Michelle Nagell, my dear friend and Extras Casting Director, Jessica Bergren and Brittany Cusack. All these women helped with the casting in the weeks leading up to the shoot and went up to Virginia to audition talent for featured extra roles in the film. Jessica, a Virginia native, was instrumental in helping us find the person to play the role of Max Bowen, the only friend of John Wayne Cleaver.

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4. What’s your favorite part about this job for you?

My favorite part is calling or emailing the actors and letting them know they have been cast. I know I always feel like I have won the lottery when I am cast, so it such an amazing feeling to be able to spread the good news to other actors. I also look at each actor in the film as a piece of a big puzzle that has so many moving parts. It is so gratifying to see how the finished product comes together on the big screen after months or years of waiting.

5. A general question about casting. What recent casting in either film or tv project that excites you?

I recently had the opportunity to attend Sundance with my dear friend, Stacey Thunder. She had a small role in the film, Tallulah (which is now on Netflix), and I had the chance to see the world premiere thanks to Stacey and the producer of the film, Heather Rae. The casting was spot on for that film. Allison Janney and Ellen Page worked their magic on screen just like they did in the film Juno. All the supporting cast were exactly the right actors for their respective parts. I was especially impressed with the performance of the third lead, Tammy Blanchard.

Special thanks to Kirsten for the insightful interview!


KirstenGKirsten Gregerson has almost a decade of experience in front of the camera as an actor. She has also worked behind the scenes in various capacities.

In 2013 she had the opportunity to cast a feature film called The Jingle Dress, and followed up a couple years later with the casting of the film I’m Not A Serial Killer.

I’m Not A Serial Killer had its world premiere at the SXSW Film Festival in Austin, Texas. She also can be seen in the upcoming psychological thriller called Blood Stripe starring Kate Nowlin and directed by Remy Auberjonois. Blood Stripe had its world premiere at the Los Angeles Film Festival in June of 2016 where it won the US Fiction award.

 


Hope you enjoy the interview! What are your thoughts on ‘I Am Not A Serial Killer?’