Interview by Geno McGahee
I recently had the opportunity to watch a film called BLESSID, a horror/drama film that tackles the topic of suicide. BLESSID is a beautiful film. It is shot incredibly well and has an artistry to be appreciated with a slow burn story that gets more compelling by the minute, ending in a third act that raises the intensity with a satisfying conclusion. BLESSID did everything right and, as with every film, the foundation was the screenplay and it was built on solid ground.
Scared Stiff Reviews had the opportunity to sit down with the writer of BLESSID, Robert Heske, to discuss the film, the process and his other artistic ventures, including graphic novels.
When was the first time you picked up a camera?
The only camera I’ve picked up is an iPhone. I’m a writer by nature who ended up stepping into producer shoes to make my script. Once the camera starts rolling, I’m the guy who gets the coffee.
What motivated you to make a feature film?
Interesting story that. I’ve wanted to be a writer since college … when I didn’t get into the creative writing class because all I knew how to write about was frat parties and girls. It wasn’t until I was 30 that I started to write screenplays seriously. Fast forward twenty years and I have had some graphic novels published, a few shorts produced, several films optioned … and Blessid is my first feature that was actually made. And it was completed because I decided I was the one to do it.
When I was 50 (I’m 52 now), my mom was dying in a nursing home of Alzheimer’s. She didn’t recognize me anymore. But she did recognize a younger version of me in a cheesy photo clock with my picture that she’d kept hanging on the kitchen wall (even though the cheap plastic hands fell off after a few weeks). That picture clock ended up being a visual metaphor that bookends the beginning and end of Blessid.
I didn’t realize it at the time, but Blessid was a memorial of sorts to my mom, and a fire lit under my arse to “create something” … before I ended up in a nursing home with nothing but fading memories and regrets.
BLESSID was a very sharp indie film. How long did it take to shoot and what were your overall experiences?
Because I was pretty much a one-trick pony and not a Robert Rodriguez, I had to rely on great crew and cast. And that is exactly what I got. I won’t say I was “lucky” as I was pretty discerning in who I wanted to work on the film. But when I brought Rob Fitz on board as Director, he leveraged several crew connections from his over a decade of working in makeup and special effects on blockbuster films shot in Massachusetts (American Hustle, Ted, The Fighter, etc.).
Job #1 was to get a competent and fast-working DP, and Silas Tyler was more than up to the challenge. Silas also edited the film, and we pretty much wore him out – but he got it done and did a magnificent job. John E. Seymore helped me produce and cast, which was sorely needed. Other key members were Kurt Bergeron (Production Designer), Alanna Keenan (Wardrobe), PJ Hand (two departments as key grip and gaffer), John Gage (Sound Mixer and Sound Editor), Federico Chávez Blanco (original music score), Eric Altieri (Assistant Director), Nichole Pleau (Makeup) and Alex Ferrari (color correction/post-house Numb Robot).
As for cast, we don’t have big names but we did get pretty much who we wanted. Rachel Kerbs (Splinter) rocked it in the lead role – Blessid is pretty much her showcase – while Rick Montgomery Jr., Gene Silvers and Chris DiVecchio nailed the adult leads. Gina Pardi and Madeline O’Brien (who played Amanda McCready in Ben Affleck’s Gone Baby Gone) did great on a fast timeline too. Kudos also to Kate Jurdi, Kevin O. Peterson and Jennifer Gjulameti excelling in smaller supporting roles.
We left little time for pre-production (less than six months) and shot the film in 15 days – 2 days in September 2012 for the flashbacks, 12 in November 2012, and 1 day of pickups in April of 2013. We shot over 10 pages a day for much of the shoot – which is crazy when you consider most indies shoot 4-6 pages and blockbusters shoot only a few pages a day.
Overall, the experience is/was exhausting and sometimes unnerving – especially when 95% of the film is self-funded. A key takeaway was to have a great crew and cast (check-check), and next time get somebody else to pay for the film!
For the indie filmmakers out there that are looking to make a feature, what would you advise them to do and not to do?
- Know going in what is the goal of the film – is it for art or to make money?
- If for art, then get the best crew and cast possible – and take risks, be willing to make mistakes.
- Don’t count on your friends as cast and crew – get the best people possible!
- If you are making the film for money, spend half your budget on one known actor who has had success already in that genre.
- Speaking of genres – horror, action and holiday films with cute kids and animals are the best bet for distribution.
- It really is true – sound is just as important as picture. Get a sound guy who is as “pro” as your DP.
- Try not to use your own money – because you will spend more than you anticipated and have a LOT of explaining to do to your wife!
In short, I did almost everything wrong and still made a very solid movie.
Educate yourself like crazy – don’t waste money going to film school to be the boom on somebody else’s film. Make your own movie, make mistakes and try to enjoy yourself while you’re doing it. It will cost you a lot less and you’ll learn a lot more.
One last lesson: save money for post production – about 25% to 30% of your budget – for color correction and marketing for distribution.
What is the most difficult part of filmmaking?
Post production – waiting for your film to get done. And then waiting to hear from film festivals. And then trying to get distribution. Argghhh!
What is the most satisfying?
Watching your movie over and over. Not seeing any huge holes. And realizing, “Dang, this really IS a movie!”
Who do you consider your film influences?
Anybody who made a really good indie film. (“Indie” meaning with no-name cast and a shoestring budget). They’ve got balls!
What is your favorite movie?
1) Back to the Future
2) Braveheart
3) Halloween
4) Old Abbott & Costello comedies
What do you think of the current crop of mainstream major films?
I hate regurgitated ideas and tired genre formulas. It’s partly why I’m proud of my film – sure, it’s a drama, but it is defies convention a bit, touches on a social issue and has a great ending and message.
I actually have a difficult time finding a movie I want to rent anymore. Although every once in a while I will be surprised by an inventive horror film (read: NOT found footage) or a well done drama that touches the heart. I also like a lot of documentaries and think these are some of the best “films” being made nowadays.
Ideally, what movie would you like to make?
I want to make my best script, which is a really great comedy called LOVE STUPID.
I also want to make my vampire graphic novel (The Night projectionist) and my animation script (Mighty Lemming).
Funding anyone??
What is your next project?
That, my friend, depends on the distribution of Blessid! 😉 Although a psychic did tell me that this film would be the first of several, which would be more profitable than Blessid. I’ve got several scripts completed, and several ideas percolating.
You have created some graphic novels. Can you tell us a little about them?
I have done a few horror graphic anthologies, contributed to others, and self published a series of one shots called COLD BLOODED CHILLERS.
Here are the two most notable works:
THE NIGHT PROJECTIONIST (published by Studio 407)
On the eve of Halloween a small group of movie goers attend the final showing in an old movie theater, not knowing it could be the last thing they ever see! All hell breaks loose when the theater is surrounded by a coven of vampires, and the only person who knows why is the mysterious night projectionist. But is he going to help these people or get them killed? Soon a bloody war rages through the theater with the body count multiplying by the minute. A no holds barred, tale of bloody revenge that puts the bite back into vampire stories!
BONE CHILLER (published by Heske Horror)
WINNER: Bronze medal, 2009 Independent Publisher Book Awards. From the writer of THE NIGHT PROJECTIONIST (soon to be a motion picture) comes a darkly disturbing 140-page horror anthology featuring 8 great scares and 2 chilling extras. BONE CHILLER carves up the best of COLD BLOODED CHILLERS, the horror noir series that Broken Frontier says is perhaps the very best of the independently published anthologies available today. Enter a world where Man is the worst kind of monster imaginable — and be prepared to lose some serious sleep!
Any closing thoughts?
I’m a firm believer that the only ways to make an indelible mark in this life are a) through acts of kindness and b) leaving behind great content. And if you can do both, even better! Everyone has a story to tell – even if it doesn’t sell. Go tell it!!
And on a self-promoting note, follow Blessid on Facebook at www.facebook.com/BlessidTheMovie and on Twitter at www.twitter.com/blessidthemovie .
We’ve recently completed the film and are in the midst of submitting to film festivals and getting distribution. So far, we’ve won an Award of Excellence from The Indie Fest. But our journey has just begun…
