SB: The Canness Film Festival was tough for me. I was hoping for some insights into our film. What we got were some random insights anchored by personal axe grinding. It is hard to ignore that these critiques did not address the actor's performances, the cinematography, the editing, i.e. the merits of any film etc. So ultimately the critic decides, do they want to report or do they want to grind their axe? Luckily the axe grinders and those who listen have dangerously short attention spans, so we will get our day in the sun and the nay sayers will be none the wiser..
As far as why the critics went that way, I don't know. The film as it left my editing room, had not ever been screened for a big audience, so I was bracing myself for the unknowns. At that point I was no longer objective so I can only say that like any artist before the unveiling, I was nervous.
JPM: Did you work/interact with Sarah at all? If so, was it like working with her?
SB: Unfotunately, Sarah and I did not get a chance to meet or work together and I have not had a chance to discuss the film with [her]. I hope she likes our final version.
JPM: Are you and Richard completely satisfied with this final version of ST? Fans are already eagerly anticipating the Director's Cut.
SB: I am very satisfied with the final version of SLT. Richard did alot of processing of back story after the film was shot, so integrating that info. into the film was difficult, but proved to be fruitful. The additional backstory seems to keep the audience more focused on the narrative and helps to pace the film up.
JPM: You're an editor and a composer. Are you interested in venturing into directing, writing or producing in the future?
SB: As a Film Maker I would do just about any project that interested me. I like things that inspire a little adrenaline and fear in me.
JPM: What advice would you give to people aspiring to work in the industry?
SB: Obviously the most important general thing I can say here is that making movies is a team game. But choose your team like you were interviewing people to protect you from snipers.
(Who isn't touting themselves as a 'producer' these days?)
It only takes like eight people to make the film from behind the camera. Your core creative group is the most important thing and chemistry is rare. So when you find a Sean Mckittrick, a Richard Kelly, a Ged Bauer, a Darren Roberts, a Patrick Barry, a David Esparza, a Stephen Poster, an Alec Hammond, and a Patrick Barry you know that they are the people that help you realize your talent and potential.
I love working with these guys and our sense of team seems instinctual.
JPM: Are you currently working on any projects?
SB: I am presently working on Richard Kelly's next film called "The Box".
