Interview With Shaun Rose: The Star/ Co-Writer And Director Of Making And Unmaking

Written by Luke Barnes

Hey Everyone! I recently had the chance to have a chat with Shaun Rose, the writer/actor/director behind Making And Unmaking a very personal documentary film that chronicles Rose’s experiences within the film industry around the film of him making Upstate Story. We discuss the creative process, whether the toll of Hollywood is worth it, and mental health. I hope you enjoy.

Q: If you were to sum up Making and Unmaking in a word what would it be?

A Therapeutic. Another word would be extensive or exhausting.

Q: What was your message with this film? To inform? To share?

A: Initially it was just me trying to get so many feelings out in the midst of production of ‘Upstate Story’ as they both overlapped. I was in a deep crisis period. I will say that many who have watched the film consider it educational in regard to the creative process. Not just the no budget tier of filmmaking.

Q: What was the inspiration or catalyst for you making this film?

A: Just wanting to heal or get better. My mental and physical health were in pretty rough states due to so much I was going through. I wanted the film to act as a sort of journal or diary where I could vent.

Q: Would you describe the struggle you and other filmmakers go through to get films made as worth it?

A: Most of the time. There are horror stories out there. Mainly in Hollywood where filmmakers have expressed regret over certain projects. For myself, I have no regrets at all. It might be hard and at times frustratingly difficult, but the finished product has always been worth the hardship.

Q: What advice would you give to young filmmakers working in the industry right now?

A: Keep writing and filming. There are a plethora of affordable cam options out there for you. Even modern cell-phones are being used frequently. Go for whatever you want to do.

Q How did you find the production of Making and Unmaking different from that of your other projects?

A: I’ve only experimented with the documentary form in college so that was a departure from the norm. Many years in between. I also just started using DSLR’s too for the documentary so that was a learning curve. I was late to that party.

Q: Did you find the format of Making and Unmaking, freeing or constrictive?

A: Very freeing, but at times overwhelming. As a documentary, I feel the possibilities are endless or more flexible. Just stick to the truth no matter what. It’s the editing that becomes hard. Trying to keep the story moving along all the while keeping a smooth edit going is where it gets tricky. We only had 1 cam to use during the interview sections, so we had to film each interview 2 times at different angles. From there, try to splice it together. Trying to place the music by Jake was also tricky. Considering it’s a documentary, it was especially tricky. I just took his tracks and placed them in a way to compliment as opposed to overwhelm. I hope I did him justice.

Q: If you won an award who would you thank?

A: My children. Adrianna and Keenan. My co-creators on the film. My Father, Andrea, Jake and Charles. My family, critics who gave my work a chance. A bunch of my friends who have been very close to me in my darkest times. People to confide in during both personal and creative rants. And those that have passed who made a strong impact on me as a person. Gracelynn, Sue and Darlene.

Q: What are your closing thoughts on the film industry in general?

A: I’m concerned about where it seems that comedy is headed. For centuries, comedy has largely consisted of others laughing at the misfortune of others. It’s always been offensive to some degree or other. There are so many different realms of comedy as well and nowadays, I fear that we’re heading into territory that minimizes what we can laugh at. Perhaps I should say censorship in general.

Q: If you could go back in time to when you were young and just starting out in the film industry, would you tell yourself to go for it, or to rethink?

A: Go for it. It’s difficult, but getting your works out there, seen and appreciated, makes all the struggle worth it.

You can check out Making and Unmaking right now on Youtube, and as always you can find a review of the film on my site!

Body Brokers: The Human Trade

Written by Luke Barnes

Body Brokers is a crime thriller film directed by John Swab. The plot revolves around the for profit drug rehabilitation system in the United States, and the various predatory tricks and cons people within the industry are using to stay rich.

This film serves to do for the drug rehabilitation system what The Big Short did for the stock market. Providing us the audience with an in-depth, albeit it fictionalised, view into the world of body brokers, characters who prey off junkies going in and out of treatment centres to make their money through various contracts.

Honestly, the fact that this is a thing in the real world is terrifying, and it’s the same kind of terror that you had when you realised that I Care A Lot also has a lot of grounding in reality. Our systems are deeply flawed.

I thought the performances were all very good here, Frank Grillo was the stand out, but he was supported nicely by Michael Kenneth Williams and Jessica Rothe, who is definitely the scene stealer of the film. My one complaint on this front would be that the main protagonist Utah (Jack Kilmer), is fairly bland and predictable

Overall, this film is harrowing, and it opens your eyes to just how easily corrupted our systems are- filling you with even more existential dread and terror of the world around you.

Pros.

The premise

Exposing the injustices and the wrongs of the drug rehabilitation world

Making a few strong points

Rothe, Williams and Grillo

Cons.

Kilmer

The ending is manically depressing

4/5

Luz: Romance Behind Walls

Written by Luke Barnes

Luz (directed by Jon Garcia), is a romantic drama film about the friendship and romance between two men, which blossoms within the walls of a prison.

This is a heart wrenching film for so many reasons. It is both beautiful and soul crushing.

I think in terms of representation this film is very needed, as LGBTQ+ love stories are often sorely over looked in the romantic drama genre, and yes to a degree that is being rectified in recent years, but there is still a noticeable gap, and films like this are filling that- and I for one think that is commendable. Hopefully, soon the romance genre will be more reflective of all kinds of relationships.

The love story was very powerful and effecting, I thought the writing was just right as it managed to walk that line between expertly playing with your emotions, but also never feeling overly sentimental.

The leads have a great deal of chemistry, and you do believe that they are genuinely in love, which adds to the emotional impact of the film. I thought both performances, commanded my attention and impressed me.

Overall, a fantastic and powerful romance film, with a real heart and soul.

Pros.

The chemistry

The representation

The emotional weight

The performances

Cons.

The side characters are a little underdeveloped

4.5/5

Locked Down: Has Lockdown Boredom Lead You To Get Into A Police Chase Just For The Hell Of It.

Reviewed by Luke Barnes

Locked Down is a comedy drama heist film directed by Doug Liman. The plot follows a recently separated couple as they are forced to spend lockdown together, eventually the two get wrapped up in a heist that could change their lives forever.

I have been aware of this film for quite a while, but I have never really felt the urge to watch it… That should be indicative as to where this review is going. Personally, I am of two minds as to whether films about the pandemic should be made, seeing as we are still living in one- is it too soon? When does it become bad taste?

Having now watched it, I can say it is very ‘meh’. I don’t feel in any way enriched for having seen it, it left my mind immediately. That said it is entertaining enough and is not a bad film.

The way the film tries to portray the lived reality of lockdown is very Hollywood-ized, they are supposed to be regular people, but I don’t know any who has gone for a motor bike race with the police as a means of finding something to do with themselves during the lockdown, though hey maybe I don’t know ‘cool’ people.

The lead performances from Hathaway and Ejiofor, are both good and do anchor the film in something watchable, but even they can’t liven the film up and struggle against an all too familiar script.

Overall, maybe it is too soon for lockdown films.

Pros.

The performances

It is watchable

Cons.

It is too soon for films about lockdown

The script is weak

The cameos are weak and don’t add anything

2/5.

Moxie: Inclusive, Until It Isn’t

Written by Luke Barnes

Moxie is a comedy, coming of age film directed by Amy Poehler. The film sees high school student Vivian (Hadley Robinson), become bored with the sexist statis quo of her highschool and with a little punk rock guidance from her mum (played by Poehler), decides to bring about a feminist revolution at her school. It is based on the book of the same name by Jennifer Mathieu.

I am not going to lie; this one was hard to get through. When I heard the early in the film line of why should we care about The Great Gatsby “it was written by an old white dude, about an old white dude”, I cringed so hard I turned the film off. However, as I intended to review it I put it back on later; also whilst I have you I just want to say it is heavily debated that F. Scott Fitzgerald did not in fact write The Great Gatsby, with some believing it to be the work of his wife Zelda- so yeah.

That one line speaks for the entire tone of the film. I applaud the ideas on display here, the film does make some solid points, but it also beats you over the head with them again and again and takes any of the fun out of the film, instead making it feel like a lecture. Feminist ideas have been conveyed in tons of films, in a more accessible and lets face it better written way, Booksmart and Misbehaviour both come to mind, but much like the comedy films of Will Ferrell this film thinks loud and brash is the way forward.

Overall, I will be blunt this film is deeply contrived in the writing department. The cringe factor gets unbearable as the film goes on. Which is sad because if you turn off the holier than thou politics for a second, there is actually quite a wholesome coming of age story buried somewhere deep down. The struggles that Vivian and her friends go through, are very familiar to anyone who has ever been outcasted before or made to feel lesser, this film could have been a rallying moment for the outsider a moment to seize your power and reclaim your life. However, in its incredibly over the top efforts to seem inclusive, it ignores and excludes others who might feel the same.

It’s ironic.

Pros.

Hadley Robinson is a strong newcomer

Poehler has a few funny jokes and honestly this film could probably do with more of her as she is the best thing about it (in an acting sense, to be stressed).

An important message of empowerment

Cons.

Ignoring others who might feel left out and excluded from the awful highschool experience

Focusing far, far too much on politics

Forcing its message down your throat, rather than trying to actually handle it in a meaningful way

Some of the cringiest dialogue I have ever heard in my life.

1.5/5

Rain Beau’s End

Rain Beau’s End is a drama film directed by Tracy Wren. The plot focuses on a lesbian couple who adopt a child with a genetic condition that makes them more likely to be violent, as such they have to find a way to help and support the child whilst revaluating their own acceptance.

This film has a lot to say about how LGBTQ+ couples are viewed within society, pointing out the higher standard and the subconscious judgements that they face on a daily basis, and how though we view ourselves and our society as progressive we still have a ways to go to better ourselves.

This film brought a tear to my eye twofold, both because there are beautiful moments that punch you in the heart with enough force that you think it is going to break and also because parts of it are desperately sad.

The performances from both Amanda Powell and Janelle Snow are transcendent, they real and genuine. You sink into these characters, forgetting that you are watching a film and think instead that you are having an outer body experience watching friends you have known all you life as they are tested; though it might be confusing that was a compliment towards the films writing.

Overall, an important film that prompts much needed self-reflection.

Pros

The lead performances

The emotions

The comments on society

The ending

Cons.

Some of the supporting characters could be stronger

4/5

Reviewed by Luke

Nomadland: Vast and Empty

Nomadland is a drama film directed by Chloe Zhao. We follow Fern (Frances McDormand), a homeless woman who travels across America in her van looking for a family, a community, the American dream…. Something.

This is a strikingly addressing film, it is beautiful, and it is haunting. It allows us to see a look into fringe America, the area usually forgotten by Hollywood, a place where there are no good guys and bad guys, and there is certainly no happy ending- there is just life, complicated, often obtuse life.

From a cinematography stand point I don’t think I’ve seen a film that makes America look so vast and so empty. The vista and the establishing or wide-angle shots throughout this film are simply breath taking, if this film does not win for anything else it should see some awards love for its cinematography.

The film is very depressing, and I can only recommend it for you to watch if you have either a happy film lined up for afterwards or if you are properly prepared for it, this film bummed me out so much I had to take a break midway through and do something else.

I didn’t love this film, and I think as far as awards contenders go this is on the weaker side. Mainly these issues come from a storytelling perspective, as the film doesn’t really have a story, it almost plays more like a documentary capturing a journey.

Overall, I think this a very bold first film for Zhao and I am eagerly awaiting her Dracula film, and though the film is beautiful, it is also quite weak on story and massively depressing.

Pros.

McDormand

The cinematography

The fringe focus

Cons.

It is depressing

The story feels quite weak and a bit too segmented

3/5

Reviewed by Luke

Dementer: Cults Can’t Live With Them, Can’t Maintain The Safety Of Those Around You Without Them.

Dementer Is a horror film directed by Chad Crawford Kinkel. The plot sees Brandy (Brand Edmiston), escape a rural cult, later taking upon work at an assisted living facility for adults with special needs: to try and make up for her dark past. However, that very dark past threatens to tear back into her life and effect those closest to her.

The horror in this film is very effecting, mainly because it is so personal and human. As I have said in other reviews, with demons and ghost there is a degree of fantasy there you can convince yourself after the film that they don’t exist. However, the threats in this film, cults, and local evil is very real and not as easily pushed from one’s mind.

Edmiston make for a solid lead, we like her and want to see her life turn around and it does that despite the challenges she faces. Honestly, the personal journey her character goes through in this beautiful and very well constructed.

My one critique of the film would be that there are several lulls over the course of the film where things slow down, these bits lost my attention and took me out of the film. Moreover, the ending also doesn’t feel as satisfying as it should and instead feels rushed which makes the film end on a sour note

Overall, a very harrowing film that despite a few lulls and a botched ending manages to scare and leave a mark on the viewer.

Pros.

The scares

The very real sense of danger

Edmiston

Cons.

The lulls

The supporting characters need more development

The ending felt a little rushed

3/5

Reviewed by Luke

Interview with Alexander Jeremy The Writer/Director Of F r e d And Milk Run

Written by Luke Barnes

Hey Everyone! I recent had the chance to sit down and chat to Alexander Jeremy, the writer director behind f r e d and the lockdown thriller Milk Run. We talk about filming during lockdown, dancing through grief and the films of Russian cinematic giant Andrei Tarkovsky. I hope you enjoy!

Q: Who is your filmmaking inspiration?

A: I think it’s quite a lot of things actually. Film wise, from super strange niche stuff, like Tarkovsky/Bresson or something like that; things that kind of push the boundaries. Then on the flip side, pretty straight down the line films like Star Trek, The Last Samurai and the Avengers movies! I also get a lot of inspiration from music and the whole music world. I love weird electronic music and rap.

Q: Do you have any funny on set stories?

A: Not particularly hilarious but just one of those unexpected moments whilst filming; in f r e d, there’s a bit where Fred dances through a restaurant. We just shot that with no prep and no warning to the restaurant (naughty) – but at the end, a random guy started dancing with him. I love things like that.

Q: How would you describe the production of either F r e d or Milkrun?

A: F r e d was my first serious “piece”. Everyone was going out on a limb and we had no idea what it was going to turn out like, it felt a lot like a train in motion and we just kept up a long with it. Milkrun was strange, because I shot everything by myself on the cheapest of gear I could afford. So it was incredibly rough and “lofi” as I call it, it was not at all like a proper set – but I quite like that, makes it feel more like a bunch of kids with cameras. I think we should value short films made with nothing that are rough around the edges, as opposed to super high-budget, professional ones, clean ones – I always find them less interesting, (less risk?).

Q: How would you describe your experience with Lockdown filmmaking?

4. It’s been an incredible time for me as a filmmaker, you’d think it’d be the opposite. If you’re willing to accept that shooting in Lockdown with nothing is probably not going to get you into Cannes or Sundance, and you can focus more on the love of it, practice, play etc – then in that sense, it’s been lovely. The super affordable gear and equipment these days are making filmmaking so accessible, it’s awesome. I want a Black Magic Pocket 6k Pro very badly!!

Q: How key was tapping into the fear and paranoia of the British lockdown for Milk Run? How close to life was your spoof?

A: I love the old silent films, so I wanted to do something like that – also because it meant I wouldn’t need sound which cuts costs massively and makes everything much easier to shoot. In terms of the paranoia, and especially at that time (during the end of the second lockdown), you’re constantly in waves between paranoia and “fuck it”. I myself have probably swayed too far in each direction at one point, so I guess I wanted it to be a reminder not too swing too far in any direction.

Q: If you could go back in time to when you were a filmmaker first starting out what would you say to yourself?

A: Make more, keep going, be patient…and what I try to tell myself now is to focus on the fun, the joy, the creating, making good work – and try to forget about everything else. I think focusing on your “career” might make your work mediocre.

Q: With F_r_e_d what was vital to you when trying to convey the grief on screen?

A: Just the silence, I think. How someone is there, with you, every day and then isn’t. Also, that with grief you cry one minute, dance the next, cry, then laugh, then numb, then cry – all over the place.

Q: Dance is obviously a central part of the narrative in f r e d, why is that and how did the idea come about?

A: F r e d ended up a very ambiguous piece, people read lots of different things into it – so I don’t really want to say too much. However, I’ll say the dance came from the fact that it’s so opposite to grief, and I thought it would suit Fred’s character – you can’t place him, he feels more like a force, a spirit, then a living person.

Q: Sequel ideas or potential new endeavours?

A: No sequels in the works! Just more projects. I have another film coming out very soon, called Crowning, written by Hannah May Jessop. That film I think continues to explore stylistically some things I was tapping into with f r e d; a kind of stylistic awkwardness, anti-cinematic – to make you feel slightly unnerved – it’s not following the cinematic rules that we take comfort in, so you don’t know what it will do. Then, combining that with the silent era call-backs of Milkrun. Let’s see what happens with it! Please follow @crowningfilm !!

Q: If you ever win an Oscar or other award who would you thank in your acceptance speech?

A: My Mum and Dad, my late friend Josh, and Keith Johnstone. (And agent + wife I imagine!)

You can check out F r e d and Milk Run, on Youtube, Vimeo and other streaming services now and of course you can check out reviews of both on my site now!

Minari: The American Dream

Minari is a drama film directed by Lee Issac Chung. The plot follows the life of a South Korean/ American family as they try and achieve their own version of the American dream. The film explores themes of family, and legacy and what it means to be a success.

This is a beautiful film on many levels and deserves all the awards, not just Best Foreign Film or some other token: looking at you Golden Globes, sort your racism out.

There is something about this film, something that is hard to put into words. You spend half the film afraid that something bad is going to happen, there is this sinister sense of foreboding that hangs over the film, but it often leads to subversion. The bad things that do happen are not what you are expecting them to be, and as a result surprise you and that surprise cause you to revaluate how you see things and what you view as important.

All the performances are excellent here, Steven Yeun and Han Ye-ri are deserving of all the awards buzz they are getting, both of their performances carry a lot of emotional weight and resonance.

However, the performance I would most like to focus on as I think he often gets ignored, both in this film and others, is that of Will Patton. Patton plays a kind hearted neighbour who helps out the Yi family, and who the rest of the town thinks is odd. Patton fully sinks into this character and brings to the front a truly rounded character that is not defined by any one thing, and who does not overshine anyone, but who does impress while he is on screen. Patton truly makes the most out of his supporting role.

Finally, I would like to draw attention to relationship between David (Alan Kim) and Soon-ja (Youn Yuh-jung). It is not often we get films that reflect on the grandmother, grandson relationship as this one does, but it is much appreciated. Personally I thought this was the sweetest part of the film, watching the relationship bloom between the two of them over the course of the film (as David as never met her prior to the events of the film), it brought a tear to my eye.

Overall, one of the best films I have seen in a long time. Wholesome, lovely and truly special.

Pros.

The grandmother/grandson focus

Analysing the American dream

Yeun and Ye-ri

Patton

The emotional impact

Cons.

None

5/5

Reviewed by Luke