Motionflicks.com

Justin Smith

Justin’s movies:
» Thomas Grey's Rainy Day

Motion Matrix was founded on the concept of delivering the finest independent short films available to the avid film watcher and filmmaker. All of the films that appear on MotionFlicks.com offer and represent some of the best in story, concept, production values and esthetics. Each filmmaker we work with to bring you these films has an interesting story of who they are, why they make films and what got them into the industry. Every month, we will highlight and bring you an interview with one of the filmmakers whose work appears on MotionFlicks. We consider these Producers and Directors part of our extended family and are pleased to be able to give our viewers some background on them.

This Month, we shine the spotlight on:

Justin L. Smith

Justin L. Smith, a bona-fide Air Force brat, grew up all over the United States. He graduated from James Madison University with a Bachelor’s Degree of Social Work and a minor in Theatre before moving to California to pursue acting and writing. He performed in a variety of roles, including a mentally ill teenager in independent film Butterflies Die and a suave nerd in the pilot The Up and Comers, before creating Reel Kid Productions as a forum to experiment with different theatrical mediums.

Under the Reel Kid moniker, Justin created and wrote Ninety % and Agent Minor, two animated episodics geared towards a teenaged demographic. While writing numerous short scripts commissioned by a local theatre group, Smith directed and co-wrote Restaurant, which featured one-acts originally published in Zoetrope: All Story. Thomas Grey’s Rainy Day was Smith’s first foray into film directing. Since then, Aaron Butler became a member of the Reel Kid family and the two have cut their teeth with Peanut Butter, Ninja Monkey, The Arizona Project, Fragments and Volvo as well as several music videos and corporate advertisements.

In their spare time, Aaron Butler edits the show “Laguna Beach” while Justin toils away in the Story Dept. at Bunim/Murray Productions for “The Real World.”

Reel Kid Productions is available for hire.

Where did you grow up and where are you originally from?

I am what you call an “Air Force Brat,’ so I’m not really “from” any particular region, but I am from the States. A bunch of them. Except for Maine. I never lived there. Those people are stupid. I moved about every three years on average, and sometimes once a year to different portions of a particular state. But I’ve lived in Los Angeles for the better part of 8 years, and I’ve never stayed anywhere else for that long. So I can be from here, I guess. Why not? As much as anybody can be “from” L.A. But I was born in Texas. Don’t hold that against me.

What was your first introduction to the world of filmmaking?

“Thomas Grey’s Rainy Day” was my first introduction to actually making a film. I’d been on film sets only in a performance capacity until then. Frustrated as a writer and especially as an actor, I decided to make my own short that highlighted my writing and performance capability. My ‘genius’, if you will. It wasn’t until I was knee-deep in responsibility that I realized I’d taken to directing something. If you ever want to see if you have what it takes to be a director, try pouring about twenty thousand dollars of your own money into something and see if you can figure it all out.

What was the first film project you ever worked on and in what capacity did your serve as?

I’m sure I don’t remember what the project was, but I’m also sure that I was an extra. Oh, wait – I totally remember now. Yeah. I was a stand-in for Vincent Gallo on “The Brown Bunny” set. That’s right. Man, I almost let that one slip by me. Jeez… Yeah. That was a good afternoon.

Did you attend film school and where did you go?

I attended James Madison University and got my degree in Social Work. I did not attend film school. Who needs to go to film school when you just want to be a writer/actor, right? That’s exactly what idiots like me think when they start their harrowing journey out here.

Is there a particular filmmaker who has had a great impact on your career and in what way have they affected you?

Lofty goal, to be sure, but I’ve always admired the career and work of John Cassavetes. If I tried to model myself after anyone, it would definitely be him. Everything he did exemplified beautiful, quality filmmaking. And Gena Rowlands? Meow.

What inspires you when you are working on a script or film?

At this point, I’ve only directed things that I’ve written, with the exception of “The Brown Bunny,’ which I was a stand-in for. I think I mentioned that. But when writing, what I’m inspired by most is limitations. Most people would think intentional limitation is a hindrance on one’s creativity. I have writer friends who can only think of the story, the characters and the situation at hand without any regards as to how impossible it might be to shoot. But when I write, I am usually thinking “what is the most unique idea I can come up with that will cost absolutely nothing to make?” Of course, I have projects written for far bigger budgets than I can’t personally afford. However, those scripts would go to someone or some company who can afford to make them. And if they can afford to make them, they can afford to take them. Personally, I don’t want to be the crazy guy at the bar that says to anyone who will listen “That movie made millions! And it was all my idea. But I didn’t get one red cent. Barkeep, another one for my friend here. What’s your name? Susan? Oh…Tom! Sorry about that. Burrrrrrrrp. So…what are you doing later?”

To have total creative freedom, you have to make your own stuff. And unless you can afford to make multi-million dollar movies on the side...well, I probably don’t need to go much further with this. Quite honestly, that’s inspiring to me. When I limit myself financially, I expand myself creatively. It’s sort of a pain in the ass, though, too. My friends will have me read their scripts and I’ll just say, “You can’t afford to shoot this, why are you writing it?” It’s right around that point when I usually get punched in the face.

Is there a particular stylistic form you tend to lean towards when making a film or developing a project?

I don’t think I have a particular form I try to model my work after or even a particular genre I prefer. I like my films to feel as real as possible. If I can make the audience feel like they are inside the story, then that’s the form I want to lean towards. Whatever form that might be. My favorite moments in movies tend to be the smallest, most insignificant ones. I’d like to make a movie full of small, insignificant moments that somehow convalesce into one hugely important moment.

As a filmmaker, what are your thoughts on the recent new advances in HD and Digital Video?

I love digital video. I think filmmaker’s today should learn how to use film, try it a few times, then forget everything and move to digital. It will make your movies sooo much easier. Granted, if you’re the kind of person who gives a shit whether or not your movie “looks like film,” then, you know, use film. Have fun going broke. However, digital looks pretty incredible already, and it will only get better. Of course, in a hundred years, we’ll be beaming out entire films directly from our brains, so…well, I’ll be dead. But filmmakers in general, I mean.

In your opinion, do you feel the future of film is threatened by the new advances in Digital Video and HD?

Absolutely. Filmmaking is such a new artistic medium. Technology is advancing and improving it all the time and Digital Video is just another facet of this. Of course, painters will always use paint. But now they can also use Photoshop. Musicians will always use instruments. But now they can use drum machines, Riesen, Garage Band, whatever. What I find funny about this argument among filmmakers is: For all the arguments out there about film vs. digital, I haven’t heard a single person complain about Avid or Final Cut Pro. Why? Because they make things easier. Digital Video is new technology. It makes things easier. Learn it. Embrace it. Shut up about how “film” is the only true form of filmmaking. You’re telling a story. No matter what your aperture is or what f-stop you use, you’re still telling a story. And if your story is good, your audience isn’t going to care too much about what it looks like. I’m not saying looks don’t matter at all. C’mon, we all have eyes (except for blind people or people that have had their eyes poked out). I’m saying that just because your film looks great does not mean that it’s any good. “The Cell”, for example, is a great looking piece of shit.

Do you prefer working on films, commercials or music videos and why?

Of course music videos are a little easier, technically speaking. There is no dialogue to mix, so that’s nice. Overall though, features are my passion. They are such an intimate, creative, exhausting experience that no other type of project can really compare. Now all I have to do is go make one.

What do you feel is your best piece of work to date and why?

My best piece of work is definitely my new film, “Volvo.” It is currently in post and will be finished before the end of the summer. It was a script I was very passionate about and so far it looks amazing. There is a preview up online at www.reelkid.net/volvo. I shot “Thomas Grey’s Rainy Day” over four days on film for around 20k. I shot “Volvo” over three days on 24p for just under $1,500. A step backward? No. That’s progress, my friend. When you can make so much more for so much less, you know you’re learning something.

How does your work as a screenwriter affect your decisions as a film director?

When shooting, I like to stick to the script. I take a lot of time with story, dialogue, character and rhythm, so I want to make sure what I’ve written comes across in the performance. However, once the film is shot and we’re working on editing, I have no problem cutting out lines, characters or entire plots. For example, my new film “Volvo” takes place inside, well, a Volvo and introduces us to three different sets of characters. I wrote it that way. We shot it that way. And in the end, we decided that the story was best served with only two sets of characters, so we eliminated the third set entirely. On the page, the script reads fine with the entire cast. On the screen, it felt different and distracting. Of course, the screenwriter in me was hurt and frustrated and I think he probably went on a bender or two. But the filmmaker in me realizes that scripts and movies, while related, are two entirely different animals. And you have to be willing to serve the film, not the script, when you’re on the cutting room floor.

What is the most difficult part of being a director?

I think it’s mostly just the waiting. At this stage, most of what people direct they also produce (at least in part). So you don’t get to concentrate solely on directing. You’re in pre-production day after day trying to organize and assess make lists and get everything ready for shooting. You think and think and write and make calls and sign papers and wonder if you’ll need this and where can you get some of that and why does a roll of gaffer tape cost so much and on and on and on. You try to think of every detail, just knowing that you’re missing some of them. The time clicks by slower and slower but you never have enough of it. And that night before the first day of shooting rolls around and it’s like you’re starting school all over again. It’s almost like a mild form of stage fright. You do all that work and all that waiting just to get to day one. Then you can direct. Once you start, though, it gets much easier.

When you story board your films, how long does the process usually take?

I’ve only storyboarded “Thomas Grey’s Rainy Day,” and I had to hire someone to do that. I can’t even draw a stick figure holding a stick, much less achieve depth of field with just my pencil and imagination (primarily because my imagination only works in one dimension). If I were to storyboard, however, I would start it pretty early. I like to get a good idea of how the project will look as early as possible. It’s much easier to know what you want when you know what you can get.

At what point during the process do you begin to consult with your Cinematographer or DP?

The DP is definitely one of the most important people a filmmaker can work with, and therefore I try to get one on board as soon as possible. Reel Kid Productions is primarily me and Aaron Butler, who (among many other capacities) is a hell of a shooter. We convalesce in a particular way that is beneficial to both of us and creatively, we’re very much alike. We have effective shorthand. However, if I didn’t have Aaron to count on, then I like the DP to be in on every step of pre-production, if possible. Mostly because (and this is important) I’m not a photographer. I can take a decent picture, to be sure, but I’m not a shooter. Not traditionally. I can’t focus on performance and nuance when shooting anyway, so the DP needs to be in on almost every aspect of the film as my second set of eyes and the guy who’s covering my back. That being said, I have no problem getting a new DP if the one I’m working with gets all diva on me. And DP’s out there, you know who you are. Don’t be divas. It’s bad for business.

What is your favorite format (16, 35, DV or HD) to work in and why?

As much as I love 35, and I really do love it, I have to give the edge to DV. The ONLY advantage 35 has is it’s look. But DV is smaller, easier, syncs sound, looks good, it’s much faster and is much cheaper…need I go on?

What is your favorite film of all time and why?

“One Flew Over the Cuckoo’s Nest” is my favorite movie. I love it for a lot of reasons. It was the first movie that I remember affecting me as a child. I didn’t understand the movie at all at that age, but I remember seeing Jack Nicholson choke the shit out of Louise Fletcher and was transfixed. Later on, I spent a lot of time with and around Social Workers and eventually got my degree in the subject, so mental health has always been fascinating to me. “Cuckoo’s Nest” is one of the rare films that actually tackle the subject in a meaningful and realistic way. Also, if you know how that movie was made, then you know those actors actually lived in the psych ward for most of the filming. Some of the actor’s are actually patients that lived in that hospital. You could never make a movie like that today, which makes it a relic. And, of course, it’s beautifully written, acted, and directed. It’s an all around perfect film.

What would you be doing if you were not a filmmaker?

Who knows? I’d either be a writer for reality television or I’d be giving 3-dollar HJ’s on the corner of Highland and Santa Monica.

Where do you hope to be in 5 years?

I don’t know, but I hope that I’m happy. And healthy. And rich. You know what? Don’t worry about the happy and healthy. I’m okay with just rich. No, I’m kidding. Money means nothing to me. At least not if I can’t enjoy it due to my failing health. Then all the money would just go to hospital bills, and where is the fun in that?

If you could spend an evening with any 5 people in history or present day, who would they be and why?

First of all, I would only pick two people because I hate crowds. I hate when five people are in a circle and talking about something and you have the perfect thing to say and so you wait and wait for the right opportunity to put it out there but before you know it somebody else has changed the subject and you’re sitting there with just a perfect gem that’s totally useless now because there’s nothing worse than, when a conversation is rolling, to say “Going back to that last thing…” because that’s just as lame as not saying anything clever in the first place and….ugh. I don’t care for it. I would only pick two people. And those people would both be non-human. Ernie from Sesame Street (but not Bert, because he’s just an all around downer, let’s face it) and probably Lion-O from The Thundercats. I’ve always wanted to try on that claw/shield thing. That thing was so effing cool. If Lion-O wasn’t available that night, I’d go with Cheetara, though. She had a sexy voice thing going. But then if Cheetara comes, Ernie isn’t invited. That cock-block can stay home.