1. What made you decide to direct this film? Had you always wanted to direct?

I didn’t really even make the decision to direct the film it naturally evolved and before I knew it I was directing the film and it feels as though it was always meant to be that way.

I was initially producing and starring in the film. I was going to play the role of Billy, which ended up being played by Jonathan Tucker who did fantastic work and I couldn’t have found anyone more perfect for the role. Once I added the director hat I knew I couldn’t act in it as well because I am such a crazed freak when it comes to my work. I need to focus on one thing and one thing only and for me that was directing.

2. Your background as an actor, how did it help with directing? What other elements did you feel you had that prepared you during the film?

I have always had the urge to direct and I come from a film background. My father ran the AFI film school for around 14 years and now runs the film school at Chapman University. He has been a director all his life and I think it has always been in my blood. Working on set as an actor, I always watched whenever I could to see what methods and techniques the director was using. I would watch on the monitor, always soaking in whatever knowledge I could… So yes I always had the urge to direct.

My background as an actor helped so much during the filming of Flying Lessons. I was able to really connect deeply with each and everyone of my actors. I know what actors need, when they need encouragement, when they need the camera rolling because I have the keen sense to know when the actor is at the breaking point of finding something beautiful and exciting in the scene. I know when an actor isn’t getting what they want or need from another actor, I can see it in the body language and in the face and eyes.

I know actors so well since I have been doing it for 19 years now that I think I was able to create a deep layer of trust between the talent and myself and for this film, nothing was more important! This was my first time behind the lens and I know and understand when actors of caliber, which I am blessed to have had work with me, become weary of a first time director, no matter who is executive producing or who says what.

I gained the trust of all my actors quickly and that was key for me because I needed them to trust my vision and trust I knew and know what is best for this film as I see it.

I was as prepared as humanly possible to direct this film. I did storyboards of the entire film prior to principal. Going into filming I knew in my head how I saw every shot, every scene, every angle, and every line of dialogue in the scene and how I wanted every frame to look. I was and will always be open to new ideas because I do believe filmmaking is a team effort.

I owe so much of the actual preparation to direct Flying Lessons to my father first and foremost. He was with me every step of the way during prep and really guided me on how to make my film the best it can be and then left it in my hands to create my own life force which is Flying Lessons because as my dad would say, “at the end of the day, it is you who calls the shots, you who yells action, you who controls the energy and flow on set, you.” I don’t think I could have done it without him. I am so grateful and humbled by everyone’s belief in the film and me.

3. How would you differentiate yourself from other directors, is there a specific vision and or genre of films that you are going after?

Differentiating myself from other filmmakers is a tricky question and always a tricky thing to do. In Flying Lessons specifically it wasn’t about the creativity as far as camera work and angles were concerned, it was much more about finding the right place for the camera to sit and letting the scene unfold and the actors unfold within their loose structure. This is a character drama piece and to me it was and is most important in that genre that the audience has every possibility to connect with the characters and become involved in the journey.

The next film I am going to do is a combination of a character drama but also has a huge element of being a thriller at the same time and I find that exciting because I can really go there cinematically.

I find that the truth about how directors define themselves is always a bit obscured and if i’m going to go against that grain and be honest, I am different from any other filmmaker in the sense the is my heart and soul that defines the projects I do.

As far as camera work and shots, I take little pieces from everyone I know and everyone I admire as an artist and director. Pieces from Scorsese, Malick, Kubrick, Kazan, Greengrass, Cassavettes, Cohen Brothers, Paul Thomas Anderson and Darren Arrenofsky.

4. Will you direct again and what about your future in acting?

I will always continue to act as its something that lives in me and I love very much.

5. What were some of your highlights and or memorable moments as a director during production? Please elaborate on any of the talent you worked with.

Working with Hal Holbrook was the biggest and most memorable highlight for me during this process. He is a brilliant actor and a wonderful human being.. I found him to be inspiring to me in so many ways above and beyond how brilliant he is as Harry Pleasant. By the 2^nd day on set he knew everyone’s name and would test himself and almost always was right! He never complained once working in heat that was grueling hitting as high as 103degrees! He is a true solider and warrior and he should be recognized for that in every way possible. I wish there were more people in the world like him and more artists in the world like him. I would be honored to work with him again and am blessed to have had this opportunity to work with him.

6. With how far you have come and opening for the Santa Barbara Film Festival, how was the overall experience. How do you feel people will react to this film?

Being asked to open the 25^th anniversary Santa Barbara International Film Festival is such as honor. I feel so grateful and humbled to be recognized in this manner and to be the first film in the festivals history to open that isn’t a studio film! It feels like it was meant to be and we have come full circle seeing as we shot almost the entire film in the Santa Ynez Valley which is part of Santa Barbara County. I am so excited and nervous for Feb 4^th and I hope what people take with them after watching this film is that they found something within this film and is interwoven story lines that they can relate to and connect to.

I hope people love the film and leave the theatre moved and with a sense of hope and freedom, that through all difficult things there is always a light at the end of the tunnel and we have to fight and struggle and stew in it sometimes to get there but we can and will get there if we try hard enough and if we believe in ourselves and in others. Sometimes it takes a friend to show you the way, a family member, a lover or a stranger but seeing the light and knowing its worth finding is what I hope people feel from this movie.

Dalit Gwenna Fashion Stylist & Costume Designer

Dalit Gwenna| Fashion Stylist | Costume Designer | Los Angeles | New York | Portfolio | Press| Bio| Contact

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Los Angeles, CA – Sometimes you have to go deeper to find the truth, and then come to terms with the unexpected results. Cris D’Annunzio, emotionally and physically outgunned in childhood, investigates his past with LOL revelations, and suspenseful twists in places that are otherwise safe. The mysterious circumstances surrounding his father’s death seem to indicate Mob involvement…and whether digging up Hoffa or Nuzzo, the journey is full of surprises.

CRIS D’ANNUNZIO was raised in a traditional East Coast nuclear family – in the sense that his grandparents, both Italian immigrants, lived in the house and there were always bombs going off! He survived to attend Princeton University, where he played football. Cris got his start in acting when he was ‘discovered’ by the John Houseman Acting Company while moving instruments for the symphony orchestra at Chautauqua Institute in upstate NY – his summer job during college. The experience of riding his bike to the theatre and performing stuck with him. After a brief stint in the NFL with the Buffalo Bills, Cris embarked on an acting and writing career that has taken him from the stage to the screen – both big and small. LA Stage appearances include COBB at the Falcon Theater, award winning COCKRAOCH NATION at LATC, and the World Premiere of Beth Henley’s SISTERS OF THE WINTER MADRIGAL. NY credits include MISS JULIE at Manhattan Theatre Club. Selected FILM credits include Ridley Scott’s AMERICAN GANGSTER and CHASING 3000 with Ray Liotta, which Cris wrote. Cris has had numerous TV roles which include appearances on WITHOUT A TRACE, and LAW AND ORDER.

Mike Myers Director/Producer– helmed the critically acclaimed production of FAITHFUL at the Ruskin last season. Other directing credits include THE COMPLEATE WORKS OF WILLIAM SHAKESPEARE (Abridged), THAT MAY WELL BE TRUE, MITIGATING FACTORS, PICASSO AT THE LAPIN AGILE, LA CAFÉ PLAYS, SGNARELLE-THE IMAGINARY CUCKOLD and BEYOND THERAPY. He has produced more than 50 projects since 2002 and is a co-creator of the Ruskin’s critically acclaimed CAFÉ PLAYS, a monthly offering of one-acts that are done in 10 ½ hours from conception to staging. Mr. Myers is also a Santa Monica Arts Commissioner.

Brandon Baruch LIGHTING DESIGN
Recent Los Angeles Designs: Orpheus Descending at Theatre/Theater, PROJECT: Wonderland, Doomsday Kiss, and Ken Roht’s 99 Cent Only Calendar Girl Competition at Bootleg Theater; Scarcity, Mercury Fur, and Fatboy with NeedTheater; Son of Semele Ensemble’s Tragedy: A Tragedy; and Celebration Theater’s A Christmas Carol. Other productions include the West Coast Premieres of The Big Random, A Beautiful View, and Say You Love Satan; and the World-Premieres of Fafalo, Muscles in Our Toes, and Wildboy ’74 (which Brandon also designed at the 2008 NYC Fringe Festival.) Brandon is the Resident Lighting Designer for NeedTheater.

www.maryandernie.com

www.maryandernie.com