SANE SHANE PART 2

Shane Ryan and Aubrey Jacobs in “Romance Road Killers.”

CCF: Emily Wryn - any confirmation on whether she will be the youngest woman to ever direct a feature? I know the youngest director ever is this10-year old boy from India named Kishan Shrikanth and as far as females, Nikki Reed was 14 when she co-wrote “Thirteen,” but other than that...

SR: I’m not sure. We did as many searches as we could try and the youngest girl that ever came up was 17, and I think it was actually a broken link. Asia Argento is who came up most of the time, being the youngest woman from Italy to direct a film (“Scarlet Diva”) at the age of 25. I think Jennifer Lynch was that age when she did “Boxing Helena.” But even if the youngest girl was 17, then Emily ties with her. The main confusing thing is, though, is at what point do we count the age? We started test shooting over a year ago, more than 10 hours worth of footage, as well as filming selected scenes, and this was when she was 16, making her the youngest. But we probably won’t be finished editing until she’s 18, since we still need to shoot the main portion/majority of the film. So, it’s kind of up in the air. But I can tell you for sure that she’s the youngest girl to both write and direct, as well as compose a feature film. As for Nikki Reed, I remember hearing about that, but since Catherine, who directed “Thirteen,” was her co-writer and also her mentor or Big Sister or something like that, I’m wondering if Nikki actually co-wrote the script or just told her life story and Catherine translated it. I’m betting it’s the later. Either way, it wasn’t director credit. But in the long run, it doesn’t mean anything unless the film comes out good, it’s just been an extra hook in discussing our movie.

CCF: Sadly, it’s usually those hooks busting open doors of opportunity instead of the actual film. So use it for all you can. But I think if we count Emily’s age at 16, were going to have to put you down for having started the film at age nine. (LOL) There’s your marketing... That really is amazing though that you’ve actually had at least the early stages of this film in your head that long... Tell me, how did you meet Emily and how did this project come about?

SR: I met Emily when she was 14 or 15. She regularly performs at a coffee shop in Lompoc where I sometimes hang out. Plus, everybody knows everybody around here, so she was also a friend of friends. After awhile, I decided to approach her about using her music in one of my films at some point. We talked about it for awhile, but nothing really happened. Then, one day, when we were discussing music and editing styles, we clicked. We had a very similar approach and method to what we created and it was all very personal for us. After that she instantly became involved in “Romance Road Killers.” So, I started listening to her music a lot more and realized I could use it in a couple short projects I already had going on. Then I started attending her performances more and filming them and was able to make a couple live music videos out of them. Emily ended up becoming very involved with the story of Jacob and Isabelle and asked if she could actually compose music specifically for the film. I was originally just glad she was letting me use already recorded songs. But since I’m heavily influenced by music, especially hers, I wanted to make sure she was fully prepared for the movie I wanted to make, so I had her partner up with me in all the research I was doing for the script. We quickly realized that we should write the film together and shortly after that we decided we should actually co-direct. It’s changed a lot since she came on board, but for the better. Emily’s incorporated a lot of her personal stories and knowledge of the subject matter, and we’ve been researching like crazy. In the past year we’ve watched over 150 hours of films and documentaries, read several novels and biographies, researched statistics, test shot and edited trailers, etc. It’s been pretty wild. And we haven’t even started the actual filming.

“People will pay a fortune for cheerleaders to go to France, but filmmakers making a movie! Are you kidding? Fuck off!” - Shane Ryan

CCF: Any luck with financing? I know that something you’ve been dealing with.

SR: It’s the hardest part. If we get name actors attached to the film we might get our financing, but so far locally, it’s been pretty unsupportive. We had some great contributions to our two fundraisers but we’d have to have a fundraiser every single day for a year to make that happen. We were hoping the city would back us up. They paid $15,000, which could have financed our entire film, for a tiny little ad, it was a quarter of an inch, in the Santa Barbara Film Festival program, but won’t give us a cent. It’s pretty disappointing considering the reason for their ad was to “attract filming” in the area and we are planning on using lots of local talent and businesses. And we had somebody else try to give us a grand but somebody else butted in and said we were scamming them, even though we’ve been all over local television and the papers, not to mention all over town shooting the movie. I don’t know, pretty frustrating. People will pay a fortune for cheerleaders to go to France, but filmmakers making a movie! Are you kidding? Fuck off! But we’re gonna shoot regardless if we get help or not.

CCF: (LOL) Yeah, what the hell do cheerleaders need to go to France for? Send them to Iraq. On second thought, just put them in your movie… I heard some distributors were already interested in the project?

SR: Yeah, one. A pretty good one, too. But again, they were interested until they saw we didn’t have any name actors attached. But hopefully that will come through. We currently have actor Kevin Gage (“Heat,” “Paparazzi,” “G.I. Jane,” “Strangeland,” “Blow,” “May,” “Big Stan”) attached to the film and cinematographer Jessica Gallant (“The Playaz Court,” “Dimples”) attached to shoot. So, we’re hoping that will convince the distributor to give us the little bit of financing we need. But we’re still pushing for a couple more names, just in case.

CCF: This is inspired by the same story that brought us classics such as “Badlands,” “True Romance” and “Natural Born Killers.” What do you think it is about this real life love story/tragedy that seems to attract so many writers and at the same time connect with audiences?

SR: I don’t think it’s just this story, look at “Romeo & Juliet.” We’ve been fascinated by teenagers/young adults in love, on the run, involving killing and murder, for hundreds of years. I think the Starkweather case just gave us a way to update the story, and also make it more intense by exploiting the fact that it really happened not long ago, in our own backyard no less. And yet a similar event happened just last year with a 14 year old girl and an 18 year old boy. But why, exactly, does it fascinate writers and audiences? Good question. I think for young people we can picture ourselves being these characters, living that ultimate freedom, for the short time it lasts, acting out on our hidden violent side, and, most importantly, falling in love, in which case it’s usually love at first site, i.e. “True Romance,” “Gun Crazy,” “Natural Born Killers,” and “Romeo & Juliet.” When all this stuff happens so fast and all at the same time there’s these heightened emotions, and that movie magic transpires on screen. And, as for older folks, they can remember those moments, and those dreams. It’s a very interesting thing, human behavior, and you get the full spectrum of it in these kinds of stories, which makes for some intense and exciting drama. It’s something audiences always enjoy, and it’s a kick to think up this kind of stuff.

CCF: I don’t think I have to really ask because it kind of seems to come out in almost your work, but you are a “Natural Born Killers” fan, right?

SR: Yeah, but I’m not obsessed with it like some people. I prefer “TrueRomance” over “Natural Born Killers.” I have lots of favorite movies. It’s definitely an inspiration but it’s not something I can watch that much. I actually prefer Oliver Stone’s “U-Turn” over anything else. It’s probably my favorite Stone movie aside from “Platoon”, but “Platoon” didn’t inspire me as a filmmaker, it just satisfied me as a film buff. “U-Turn” inspired me way more than “Natural Born Killers” as far as editing styles, random weird shit, and I even unintentionally stole a shot directly out of it for “So, We Killed Our Parents.” Sean Penn and Jennifer Lopez have a make-out session next to Lopez’s dead father while the corpse stares at them. I didn’t even realize this during filming. It was another subconscious thing, I guess. But the “Natural Born Killers” thing always gets brought up. I love the movie, but I’m not inspired by it the way everyone assumes. I don’t try to copy it, I don’t
worship it. If I do copy something, I’ll straight up say it.

CCF: Are there any other particular influences you have?

SR: I am heavily inspired by music, probably 10 times more so than other films, even though I’m a huge film buff and know little about music. Locations also inspire me a lot. “Isolation” and “Romance Road Killers” were intensely scripted based on interesting locations. I surely have lots of people and movies I admire, but there’s so many it’s never just usually, “this is my favorite so and so.” If I had to name a few I would say Jon Favreau’s the funniest man alive and he needs to star in more films. But put him and Vince Vaughn together, it’s an unstoppable laugh riot. I really like Soderbergh’s earlier work. Or things he made in the middle of his career. “The Limey” and “Out of Sight” are by far his best. “Jackie Brown” is my favorite Tarantino movie, it needs to be more recognized. I really like 1970’s films and then filmmakers that make new films with a 70’s style like “Undertow,” “The Brown Bunny,” Syriana,” “Plain Dirty,” “Sideways.” Or films that take place in the 70’s, “Moonlight Mile” and “Dead Presidents” being two kick-ass ones, with great soundtracks, too. A lot of people think I’m into horror films, but hardly. I don’t think I own even 5 horror films. I’m not big on gore unless it’s somewhat innovative. Tim Roth’s my favorite actor, though Denzel Washington, Mekhi Phifer, Josh Lucas, Gary Oldman, Sean Penn, Larenz Tate and Johnny Depp come pretty close. Samantha Morton, Nia Long, Chloë Sevigny, Monica Bellucci, Sanaa Lathan, Thandie Newton and Asia Argento are my girls. But Naomi Watts is my favorite and easily the best actress of her generation. She should have taken home the Oscar for “21 Grams.” Of course, “Monster” was the role of a lifetime, but Watts didn’t have to gain weight or put ugly make-up on her face to convince the hell out of me. I love Christian Slater, Wesley Snipes, Jean-Claude Van Damme, Mickey Rourke - the new Micky Rourke, Bruce Willis and Vin Diesel, go figure. They’re my guilty pleasures. Oh, Clint Eastwood’s pretty bomb. And, of course, Pacino and De Niro. How can you not love the masters? While some hated the films, “Domino” and “Man on Fire” had amazing editing styles. I absolutely loved them. It made me realize that those blended, high-contrast, fast-motion editing styles can work in a mainstream film. At least for me it worked. I don’t know, there’s too many, I’m sure, I could go on forever. But, ultimately, I try to let my main influences come from life itself.

CCF: We have some of the same favorites. Larenz Tate is so highly underrated in my book as is Asia Argento. I think once she comes into her own as a filmmaker, she’s going to be “the” female director... I loved “Undertow” and think David Gordan Green is a genius as is Vincent Gallo... Switching gears, you were in an episode of “That’s So Raven?” How the hell did that happen? Did you sneak on the set? I mean, the people at Disney were looking at resumes and were all, “Let’s see here, this kid did ‘Amateur Porn Star Killer.’ Not sure what the hell that is, but it just screams family values.”

SR: (LOL) That was embarrassing luck. I worked 3 days and got all my SAG vouchers from that. It was just random, I was signed up with an extra casting company and after my first day they called me and asked if I wanted all my vouchers and I said yeah. Ok, you’re on “That’s So Raven.” I get there and spend the first 2 days getting zapped. But I gotta fake it, of course.

Shane Ryan is so Raven.

CCF: You did a few other TV shows like “Desperate Housewives,” and “Jack and Bobby,” is acting in mainstream projects something you have an interest in doing more of or is it simple a way to help fund your own films?

SR: Neither really. It’s all just extra work, sometimes I get lucky, considering I rarely ever do it. I got to do a fight scene on “The O.C.” (I even got injured) and a little stunt with Billy Bob Thorton on “Bad News Bears” (I kinda got injured again) plus get featured on “Jack and Bobby” several times, but that’s about it. Josh Duhamel accidentally ran into me during a stunt on “Las Vegas” and it fucking hurt (I get injured a lot). But the pay is shit and the experiences usually suck on most of the other stuff. I won’t even get into the hurricane scene on the season finale of “Invasion.” Although, I did get to help Kyla Pratt and the other girls from the show “One-On-One” shake their asses for a “Coyote Ugly” dance when I played a bartender. Funny how even on a big set they just throw the stars of the show on top of a bar in high heels, without anything below them to catch their potential fall, and then leave it up to me, an extra, to catch them if they fall. And they tell me this right before they start shooting. Yep. But anyways, getting speaking lines on a big film, now that I wouldn’t mind. The whole deal is, is that I started directing because I wanted to act, but when I saw how difficult it was to get parts, I just kept making my own films, though I would love nothing more than to get a lead or supporting role and just get to fucking act. Maybe I’d actually be good at it if I could focus on just that. But after doing all these extra roles and being on big sets, I don’t really know if I’d enjoy acting in a big film. I like the whole guerilla-style thing. It seems much more honest, real, involved, and time and cost efficient. Not to mention dangerous, gritty, fun and exciting.

CCF: You got involved in making films at age seven. Is all of your craft a result of starting at such a young age and keeping at it or have you had to further your abilities with training?

SR: Both. My dad showed me what a jump cut edit was when I was five as a disappearing act. I thought it was awesome, because it was me in the jump cut, who suddenly vanishes. So, when I was seven, he started showing me how to edit with big expensive editing machines at his work. I used those machines (linear) doing traditional, straight-forward editing and storytelling, until I graduated high school. Then came at-home editing, with non-linear programs. It was a whole new world. So, from there, I started experimenting, and have been ever since. I grow, technology advances, things change. Not too long ago, I finally realized where some of the style I had came from. Originally, my whole deal was, is that all student films and underground/independent films shot on video suck. I really fucking hate that video look and if you’re shooting on video with no money it’s almost impossible to hide the corniness of it. Although now that HD cameras are getting cheaper I think that solution may be solved. But this perception of mine started back in 1999/2000 and I still haven’t used an HD camera yet anyways. So, what I started doing, was taking everything in the opposite direction. If I can’t make it look perfect, then I won’t even bother trying. I’ll just do the opposite; make it look as dirty and gritty as possible. Anything I can do to hide that cheesy video look. I can’t even watch a film if it has that video look, unless it’s a documentary or a mockumentary. I just hate it. So, I started experimenting with slow-motion, fast-motion and time lapses, contrast levels and eventually found ways of making the film look old. Now, that effect is really easy, but back when I made some of my shorts like “Lucifer’s Mind” and “Sane” it was a pain in the ass. I got to use it more effectively in “The Cleansing” and “The Pure Exodus.” But the best way to use the old film effect is to shoot it on HD or actually on film, then put in the effect, because it will actually look like damaged film, rather than damaged video that kind of looks like film. But I work on 5 dollar budgets, so. But what drew me so much to that style, I realized, was my dad and his fascination with old films. He started taking me to Charlie Chaplin film festivals and Hitchcock films and all kinds of old film screenings ever since I was little. I grew up on that stuff. So, subconsciously, I think I’ve been trying to capture that old style, that old feeling, in my films. Everything today is so materialistic, so fancy; “look at my ride, look at my hot bitches and bouncing asses, look at all the sweet clubs and restaurants they let me into, look at my dumb fucking yellow hummer,” it’s all just such bullshit. And everybody copies people that came right before them. I mean, look at how many people copy “Swingers,” “Lock, Stock and Two Smoking Barrels,” Darren Aronofsky and Tarantino. These films and filmmakers have only been around a few years, not to say I wasn’t inspired by them, but many young filmmakers think they’re gods, and act as if nothing came before them. I think these people need to go back to the root of film and use that as inspiration. I admit, when it comes to story, I don’t trace that far back, though I do love some Shakespeare and Edgar Allen Poe, but when it comes to visual storytelling, I’ll be watching some flick made in the late 1890’s.

Shane Ryan as Jacob in “Romance Road Killers.”

CCF: Speaking of that, you actually scored some old films. Tell us a bit about that project.

SR: I composed some experimental short films from the early 1900’s. It’s available on a 5-disc DVD box set through Image Entertainment - “Unseen Cinema” and I was the music editor on Fritz Lang’s “Dr. Mabuse” restoration, credited as Shane Gledhill, through Image. I think working on these types of films influenced me greatly. Thanks to David Shepard for saving these classics and trusting me with getting the job done.

CCF: Musically, were you self taught or where did you pick that up?

SR: Neither. Luck again. Self taught if I had to say, but I don’t consider myself a musician in anyway. I only wish. But what I have scored started with an Acid Music program. I needed music for my short films and just started experimenting. That’s all I’ve ever used, is the first Acid program I purchased, even for the classic silent films I helped restore. It’s pretty simple, but I’m not that good with it. Which is why I’m glad to have found Emily, I haven’t really had to score anything since. But scoring that many of my films and the oldies really helped a lot. I can communicate better with a musician or composer, I’m sure. I just can’t wait until the day I don’t need to edit anymore, because I will really be able to collaborate with the editor, or just know how to find the right one. I think all filmmakers should know how to do all things regarding production, including cinematography, producing, acting, editing, composing, writing, etc. That way when they direct a real movie with pros, and actually have to collaborate, they’ll know how, or at least have a good idea. And they’ll respect everybody and their jobs, too.

CCF: Your parents seemed to have really been supportive with you choosing a path in film, what do they think about some of your films?

SR: I’m not always sure. My dad hasn’t seen a lot of my new stuff, but he talks highly of me and brags about the stuff I do, so that feels good. With my mom, it’s tricky, because she’s blind and a lot of my stuff is very visual without words, so I have to explain a lot to her. And she’s not a big movie person in the first place, but we talk about films a lot, and what I’m working on. It’s also hard because she’s very religious and not as open-minded to films as my dad, though I think she understands more what I’m going for with them, that I really have to do this. I think my dad thinks it’s more of a hobby, or because I like doing it. Not because if I couldn’t create I’d probably have a mental breakdown. So, I think he looks at it more from an entertainment point-of-view, or for a solid understandable message, not as a way to vent, which is more how I treat it. I always say “I shoulda been a painter, that would have fit me much better.” Painting is an art form more fit for venting or expressing something very personal. I get in trouble with film because it’s too collaborative and people view it more for entertainment reasons, and less for art. But to get back to the question, I think my parents are proud of most of my work, though some of it I wouldn’t dare want to show them. I described “Amateur Porn Star Killer” to my mom a little. That was enough.

CCF: (LOL) Yeah, that was probably a bit awkward…. I want to make sure we mention “Love Last Captured” being an IFC Media Lab winner. Why don’t you tell us a bit about your feelings on that.

SR: “Love Last Captured” was originally going to be a feature like many of my short films, so we did some test footage for it. The film didn’t happen so I put it together as a short and decided to make it an anti-drunk driving message in memory of the girl I grew up with next door who was killed the year before. So, the film means a lot in many ways, even for how short it was and I’m glad in many ways to see it get picked over some of my more violent and experimental work.

CCF: And the world premiere of “Amateur Porn Star Killer” is going to be at the AOF Fest in Long Beach, right? What are your thoughts on that movie getting out there for audiences to see?

SR: I don’t think I’m ever even really sure how I feel about it. It will be interesting to see if anybody comes and how they feel about it. All’s I can say is the last sentence in the review you gave it describes it best. I love that quote and that is probably the closet to how I feel about the film. I think I really started questioning why we want violence in films, really for the first time, when I went and saw “Final Destination 2” in theatres. I had just received a bunch of shit for one of my films and then go to the theatre and watch people laugh hysterically, clap and cheer on kids and teenagers getting killed in the most gruesome ways. And it made me wonder, “why in the fucking hell do people in my town give me shit?!” And it also made me really wonder why people enjoy that kind of stuff in the first place. I’m not saying, don’t make those kinds of films. But it’s interesting why we want it so much. Same with sex, although that’s a little bit more understandable. But what’s even more fascinating is that the people who preach against those kinds of films - the films that portray it more accurately and more realistic, and for the evil it can be - are the ones who eat up these other films that make fun of the whole situation and really exploit it. So, I guess I feel, or hope, that people will see it the way you, and a few selected others, have seen it. Which is more to make us question ourselves, really. Our internal hunger, as you put it.

CCF: Well, Shane. I thank you for your time. Stay the way you are and keep making interesting films.

SR: Thanks so much for the interview and for your support to independent films and makers.

CCF: Thanks.

“Romance Road Killers” test footage.

HELP INDIE FILMMAKING

For those interested in helping to fund “Romance Road Killers” the following film credits can be purchased:

$20 – Individual “Special Thanks” credit will appear in closing credits of the the film, on the website and in the movie press kits.

$100 - “Special Thanks” credit to businesses and website in closing credits of the the film, on the website and in the movie press kits. This can be a money donation or $100 worth of services.

$500 - “Associate Producer” credit featured in the main title sequence, on the website and in the movie press kits. Plus a copy of the film.

$1,000 - “Co-Producer” credit featured in the main title sequence, on posters (when credits apply), on the cover of the video/DVD, on the website and in the movie press kits. Plus a copy of the film.

$5,000 - “Executive Producer” credit featured in the main title sequence, on posters (when credits apply), on the cover of the video/DVD, on the website and in the movie press kits. Plus a copy of the film.

For more info visit Alter Ego Cinema, call (805) 717-0007
or email RomanceRoadKillers@yahoo.com

- CCF, July 2006