Interview with Princess Cut Writer/Producer/Director

I’ve known Paul Munger for a few years and I’m excited about his latest film project. Paul is an award-winning filmmaker and I originally met him electronically through social media exchanges about filmmaking. He lives a quiet (not counting the noise generated by all his kids), high moral lifestyle and loves the medium of film.

Princess Cut is a love story that suggests true love is worth waiting for and based on how Paul and his wife live daily, the values depicted in the film will be worth watching.

Mimi SagadinLet me take pause for a moment and give a shout out to my friend Mimi Sagadin who is one of the leads in the film. Mimi and I meet at a film conference where she taught actor workshops and I taught screenwriting workshops. We had a great time chatting about the art of film and improving our craft. Not only was she a generous, loving and humble person, but I also learned that Mimi is very careful about the films she stars in, which speaks highly of Paul’s writing efforts.

So without any further ado, here is my latest conversation with Paul…

CJ: Where did your inspiration come from for your latest film Princess Cut?

PAUL: One of the foundational desires of the human heart is the yearning to love and be loved. My wife and I drew from our own experiences in trying to navigate the maze of romance and these became the core elements of the story. Additionally, some events that happen in the movie are loosely based on insights  penned by bestselling relationships book authors such as Eric & Leslie Ludy, Joshua Harris and Voddie Bauchum.  The books themselves make their way onscreen through organic and interesting scenes. You’ll have to watch the movie to find out how!

CJ: You’re promoting the film as a faith and family friendly film. What key elements of the film reflect that genre?

PAUL: I’m absolutely convinced that there’s a wide group of people across the country who can identify with me and my dilemma. As to identity, first and foremost, I’m a Christian.  And secondly, I’m a family man, with 8 children ranging in age from 13 to 1. Now here’s my dilemma: When we have family movie night, I’ll head to the video store with high hopes, but almost invariably I’ll have a really tough time finding something suitable for all of us to watch together.  We’re simply looking for quality stories that affirm our faith and don’t include offensive elements such as profanity, nudity, and graphic violence. Those are some of the guiding principles that embody Princess Cut, and we expand the value by adding in positive portrayals of family life and the Christian faith.

CJ: You found new talent in Ashley Bratcher, while bringing on board veteran of faith-based films, Jenn Gotzon. What was it like working with these two?

Ashley BratcherPAUL: These two actresses are splendid jewels.  Rising Carolina talent and lead Ashley Bratcher is really one to watch. As a versatile method actor, she dove into the role of Grace with extraordinary fervor.  I was impressed and grateful that she always came super prepared.  Not only did she take direction extremely well but her timely input on scenes or wording of dialogue beautifully enhanced the final product.

Jenn GotzonJenn Gotzon was the first talent I brought on board.  I always knew I wanted her as part of the team, having had the privilege of working with her on Alone Yet Not Alone and The Screenwriters. Equally as talented, she brought her experience to bear in the role of Brooke. Jenn’s dedication to go at the performance until we nailed it was an invaluable asset during some long shooting days crowded with cast and a host of extras!  Factor in an always positive attitude and winning personality, and you’ll see on-screen why I wouldn’t have wanted any other person for the role.

CJ: In what way did the film challenge your directing skills?

PAUL: Honestly, I never thought I’d be the one directing Princess Cut. But it turned out to be one of the most delightful experiences of my life. When you have a talented team like I was blessed with, it makes your job so much easier.  We had one of the most harmonious sets of which you could ever dream. But of course there’s always hurdles to overcome. For instance, when one of our key actors became sick we had to make some critical decisions that required massive reshuffling of the schedule.  In God’s providence, this turned out to our benefit.   And throughout production, I was constantly challenged to find new and better ways to clearly communicate my desires to the cast and crew. But in the final analysis, I learned and grew so much, and wouldn’t change a thing.

CJ: You have a Kickstarter campaign to raise the final funds to post the film. How are you getting the word out and how would you like people to help?

PAUL: After months of research and careful preparation, we launched our campaign on the crowdfunding site Kickstarter because of it’s name recognition and powerful tools. As the name suggests, crowd funding happens best when there’s a crowd! To me, that’s the exciting thing happening here, is that together we’re building a community, a family of engaged viewers who interact and share in this journey of love.  Our desire is to encourage the pursuit of selfless relationships and to build up and benefit families everywhere. If you share that goal, we’d be most grateful if you would share your thoughts and feelings about Princess Cut with your family & friends through Facebook, Twitter and your blog.

CJ: What is the most important take away you want the audience to have after watching the film?

PAUL: It’s the same core we’re trying to impart to our own children that we’ve woven into what we hope will be an entertaining love story, and it happens on both a horizontal and vertical plane: Give love time to blossom into maturity! That only happens when you’re patiently waiting on God’s timing (vertical), purely seeking the best for the one you profess to love (horizontal) instead of greedily grasping after what they can give or do for you.

CJ: Since I have readers from 144 countries and your crowdfunding allows for international participation, I hope several people will help you reach your goal.  Thank you for taking time to answer my questions.

PAUL: Thank you for the questions and asking about Princess Cut, it’s really an honor!  Be blessed!

Tried & True #14 — Avoiding the Not-So-Dream Cast

Every story creates an artistic expression from which an emotion rises to invoke change within its audience. That emotional pulse brings a rhythm to the screen based on the look, feel and actions of the characters. Rarely does the director have the opportunity to hand pick his cast based on his analysis of the screenplay, but when it happens…Everyone is positively impacted by it.

auditionsMost films are not made with a dream team cast, however, directors do have the opportunity to mix and match the actors to find a new formula that can also bring about an emotional change factor, albeit a variation from the original intent. The alternative can some times generate a greater impact, while at other times it will fall short.

In the independent world of Tried & True, our developers picked a dream team that would perfectly contour the film to meet our original commitment. But, with the changes made in the screenplay’s focus and the shifting of the love story to the B-plotline, what was an earlier rejected not-so-dream cast has once again been placed back on the table for consideration.

Actors Rejected Then Re-Selected

I feel for the actors that get rejected by a director during the audition process. Each has earned their right to win a role, but none of them can know how the perceived character traits might instantly be adjusted when a lead unexpectedly changes – Forcing the recasting of supporting characters.

PacinoIn Tried & True, Antonio Marcellus is an Italian mobster who hires our hero’s father to bring about his 24th exoneration. He is impeccably dressed with the latest fashion, loaded down with expensive jewelry and sports a jet-black ponytail. Al Pacino was our first choice based on whom we selected as our hero. Since our lead never got to contract, we shifted to a new lead, which forced a new mobster. We then looked at Mark Strong, but our lead changed again and we considered yet another actor.

In the meantime, we were simultaneously considering Gary Oldman, Kevin Costner and Mark Strong for the role of Alten Stafford, our hero’s father. These men are all excellent actors with managers that can protect them from this yoyo approach, which continues to change until all leads are signed. In our case, we have three leads that must first be perfectly balanced in screen strength for the story to work.

The shifting of schedules, changes in budget and higher offers that remove talent from the negotiation table create the yoyo effect – All because the director wants the best possible combination. Thankfully the rejected actors know that a change in fit caused the rejection, not their skill. Still, I feel for actors who fit and then don’t because the lead was changed, especially if they become a fit again once yet another lead signs.

Supporting Cast Supports, Not Outshines

The other element that can lead to a not-so-dream cast comes about when a supporting actor is hired that outshines the lead. While this sometimes sneaks up on a director due to an oversight in auditions, it becomes obvious to everyone once the film hits the silver screen.

A friend of mine was hired to play a lead in a drama. Her greatest performance was captured in a scene that would have been ideal for her next reel, but a supporting character overshadowed her. Had she included it in her reel, she would have lost all credibility as an actor. Unfortunately, the director focused so much on the supporting characters that the leads were undermined, the story wavered and the film flopped.

Its incidences like those that cause the rejected actors to be thankful they weren’t cast. Everyone loses when a supporting character outshines a lead and only the director has the control to make sure it doesn’t happen. This can also be the time when it becomes painfully obvious when a director has hired a friend or a relative to play a role they aren’t suited for.

I’ve come to the conclusion that no matter how much you want to work with a certain actor, the story should drive the talent selection process. And, those actors who are patient and great at what they do, will eventually find ideal roles from directors fulfilling their story requirements over their desires.

As for Tried & True, the latest script changes have forced us to relook at the leads, and therefore the entire cast. Some characters will probably survive the change like Detective Yeager who I’d like to fill with a specific theater character actor. Other roles will continue to change until the last lead actor is signed.

Copyright © 2014 by CJ Powers

Tried & True #13 – The Director’s Horrifying Rewrite

© Pixelbliss - Fotolia.comWhen I think about Friday the 13th and all of its horror, I can’t help but consider the horrifying feeling a writer gets when the director starts hacking at his work. It gets even more complicated when the writer is the director and a part of a team of writers, which is my case with Tried & True.

For the past two weeks I dove into my script analysis from a director’s vantage point. I found a dozen scenes that didn’t move the story forward and I also found half dozen scenes that need to be added to the story – All to focus the story more tightly on the protagonist.

Ruthless Script Analysis

I do several analysis passes on a script in order to prepare for filming and discussions with each of my department heads. During the process, it becomes obvious which scenes are cinematic and which ones would make for a nice Movie of the Week (MOW).

My standard is to make the story so fascinating and cinematic that it has to play on the big screen. I also want to make sure the story is easy to follow and any complexities are used more as a garnish for the discerning viewer, rather than a plot interrupter for those who can’t or choose not to follow such details.

What I find interesting about the process is how many scenes stay intact with minor changes that tweak the perspective. I expect the pacing of the film to increase with the add precision or focus on the main character’s goals, but no matter how many times I’ve done this I’m always amazed at the new clarity that rises within the plotlines.

Complex stories always fail at the box office, but simple stories surrounded in a complexity of details do extremely well. It’s like listening to a great speaker. If he’s on point with his message, no matter how many supporting facts or stories he shares, people will always walk away knowing his specific three points with a desire to implement his recommendation.

Horrifying Cuts Bring Happiness

So the hacking began and I noticed a slight twitch in my pride. It was hard cutting scenes, but the final read was well worth it. Not to mention the benefits of reducing the page count to something more palatable for a courtroom drama.

I also noticed that the process helped me catch the typical contrived scenes that always seep into family friendly films. While these trite scenes have no place in a drama, they are endearing and hard to cut. The only solace received from cutting these scenes comes from the fact that no one notices they were cut. In other words, since they didn’t advance the story they couldn’t be missed.

Considering what elements in a scene must remain or be shifted to another scene makes for an interesting process. I sometimes wonder if I completely deleted a scene would it impact or change the story. If there is no impact, then it is one that must be cut. If, however, a couple elements are important, but could be relocated, then the scene is also worth cutting.

It’s only when the scene elements are so well integrated into the scene and critically important to the story that I have to keep it in the script. In those cases, I may have to find a way to punch up the scene to something worthy of the silver screen, or reanalyze the story structure to make sure I hadn’t veered off the path of clarity.

Horrified Co-Writers

One of the biggest issues during the analysis process is making sure you do something to save face for the other writers. I’m fortunate with Tried & True screenwriter Guy Cote, as he is always willing to bend on scene content when the replacement idea is far better or more focused than the previous draft.

Producer Anthony DeRosa is also willing to bend if he knows the scene works better for our audience. Since the film was written for Millennials, with added scenes that will help the Baby Boomers to embrace the story, we have quite the fine line to walk in how each scene is presented.

As for the Gen X audience, they too should be pleased with the story, but none of the scene elements were created with them in mind. However, GenXers are very resilient from having to play middleman between the Millennials and Baby Boomers that they will certainly be able to enjoy the story, if not embrace it.

Well, its time to get back to the script, as I’m still trying to figure out how to get rid of one last contrived scene. I’m hoping to shift into preproduction in the near future with the hopes that we can begin filming in late August or early September. So, the only real horror would be if I couldn’t have the script ready in time. Happy Friday the 13th.

Copyright © 2014 by CJ Powers