Director Paul Bright Chats With INFLUX Magazine

Reprinted from INFLUX Magazine

by Randy Krinsky

This Memorial Day weekend, I’ll be attending Comicpalooza – The Texas International Comic Con, probably the largest four-day pop-culture event in Texas.  This year’s convention includes more than 2,000 hours of programming comprising science fiction, fantasy, sports, video games, technology, role-playing games, music, film, television, and comic books.  Guests include artists, actors, athletes, authors, gamers, and musicians from a whole range of genres.  Some of the headliners include Academy Award-nominee Jeremy Renner (Avengers: Age of Ultron, American Hustle, The Hurt Locker), Colbie Smulders (Avengers: Age of Ultron, How I Met Your Mother), Hayley Atwell (Agent CarterCaptain America: The First Avenger), Chloe Bennet (Agents of S.H.I.E.L.D.), and Summer Glau (FireflySerenity).

Other notable guests will include comic book legend Stan Lee, George Takei (Star Trek), and many of the cast members from the hit television show, Gotham.  Additionally, Comicpalooza has brought in a slew of independent filmmakers such as Paul Bright, Amir Valinia, Michelle Mower, Mel House, Joe Grisaffi, Larry Wade Carrell, and Jackie Earle Haley. The day before the show started, I had the opportunity to sit down with film director Paul Bright.  Besides screening many of his previous films over the weekend, Paul has chosen to premiere his new film, Long Term Parking, at this year’s Comicpalooza.  He will also be participating in some panels over the course of the weekend highlighting the basics of independent filmmaking.  As the writer, director, producer, and editor of all his films, he is distinctively qualified to help a new generation of aspiring filmmakers. After a pleasant conversation about the uniqueness of southern sweet tea, Sonic Drive-In ice, living on all coasts, as well as the benefits of growing your own farm-fresh fruits and vegetables, we got down to a interesting discussion about his career and films

Randy Krinsky: There’s a lot of buzz around here today over the premiere of your new film, Long Term Parking.

Paul Bright: Well, great!  Cool, yeah, I’m delighted that it’s coming here to Comicpalooza.

RK: I read that you got your start  in the business when you ran a theater company.  How did you make the transition to features?

PB: I was growing up in Los Angeles. I was discovered as an actor at sixteen, and it was really a discovery.  I wasn’t looking for it and an agent actually found me and started sending me to auditions. I got hired right away, and at that time I was primarily shooting commercials.  So, I stayed in Los Angeles until I was twenty-three, and all I’d ever done in my life was acting; being in front of the camera.  I didn’t have any other real world experiences.  But I decided I didn’t want to stay within the Hollywood culture because I didn’t really like the way the Hollywood culture treats people.

RK: I’ve heard that quite a bit.

PB: So, then I moved all over the country trying to discover what else I could do with myself that would be fulfilling. In my mid-30s, I was living in Lockhart, Texas.  There was a community theater in Lockhart, and they were doing things like “Little Women” and Neil Simon comedies.  I volunteered for that, and, you know, bless their hearts, they’re sweet people, but at that time, the artistic director had never actually seen a play. So after a year of volunteering for them, some of the other people in that theater came with me and we started another theater two blocks up the street, in a town of 10000 people.  So now there are two theater companies!  What we wanted to do with our theater company, which I ran for three years, was to bring in plays that had just closed on Broadway, that had just been published.  I was bringing in stuff that I thought was higher intellectually; challenging stuff.  So we were doing avant-garde theater, we were doing controversial plays; hard-hitting gritty stuff, not family theater. Our audiences weren’t coming from Lockhart, they were coming from Austin, San Marcos, and Bastrop, and from all around.  So we were drawing in people from a big area.  After three years, I realized that there was no way, because there were no corporations in Lockhart, there was no real way to get corporate funding. I also realized that we were putting out ten to eleven productions a year; I figured in one year’s time, I could make a feature film that ultimately more people would see than in a full season of shows.  So I resigned from the theater and they, a couple of years later, merged back in with the old community theater so they could do “Little Women” again.  But unfortunately they took my theater name and merged it with the community theater, and I was like, “why did you do that!”

Anyway, So I made a feature film. I had no idea if anyone would ever see it.  It turns out it sold extremely well for that niche, for that market, which was a big surprise.  So the distributor then made this deal with me, saying “I’ll distribute anything you make,” and what a dream!  What filmmaker has a distributor say that to them?  So I started making a movie a year, and now Long Term Parking is my 8th feature film in ten years time.

RK: The independent film world has come a long way.

PB: Of course, the whole distribution world has changed a lot too.  DVD’s don’t sell like they used to, so a lot of the distribution is coming through online streaming. As an independent filmmaker, I now  have to do hybrid distribution deals which means I sell specific rights to a specific distributor for something unique: like, you do DVD’s for Germany, you do streaming for England, as opposed to just a blanket contract.

RK: I suppose you have to do that nowadays with the way the business has evolved.

PB: Well, you actually do because distributors can’t cover it all anyway and you’re going to get a lousy deal unless you are very specific about what you’re giving away rights to.

RK: Let’s talk about Long Term Parking.  How did this project come about?

PBLong Term Parking is adapted from a novel by Mark Kearby.  Mike had actually contacted me, asking me to turn it into a screenplay for him. I wrote the screenplay while I was living in New York.  Mike Kearby is known as a writer of  cowboy-western novels.  So this a completely different genre.  His fan base is not the fan base for this irreverent mafia-mobster-kind-of-movie, with you know, sex and people getting killed.  He shopped it around Hollywood and in the first two minutes of the film, a dog gets killed.  Well, in Hollywood, that is just like death; you don’t kill a dog in the first two minutes of a movie, that’s how you alienate your entire audience. So after shopping it around for a couple of years, I basically said to him, you know why don’t I just make this film for you.  We shot it in Smithville, Texas. I brought in actors from New York, that I’d known in New York. We had an actor from Los Angeles, a couple down from Dallas, one came down from Oklahoma; I was bringing in people from  all over.  I didn’t hold auditions for this because I knew in my mind exactly who would be the right fit.  There were a couple that I auditioned just by getting to know them and talking with them.  They were the people that I hadn’t met before but otherwise, I knew most of them and I said, please come make this film. This was a Screen Actors Guild film, so this is a union contract movie.  You have a bigger budget because you’re complying with all the union rules.  It was an interesting shoot.  The original story that we adapted from takes place in Fort Worth.  I didn’t have contacts in Fort Worth, but I did have contacts in Smithville, in the Austin area, because I’d been living in the area previously.  There were locations in Smithville that passed perfectly for Fort Worth.  On the very last day that I was here in Texas filming, I drove up to Fort Worth and took exterior shots that I then intercut into the film, to make it seem more like we were actually in Fort Worth.  The first couple of days that we were filming, this is in early December, it was a hot 85 degrees, sunny skies, I mean, it’s perfect summer-time weather.  Then a northern comes in and it is so cold, I mean so cold.  Of course, we’re trying to film a scene where our leading male and leading female actors are screwing in the back of a car with the doors open, right!  She’s hardly wearing any clothes at all for this entire scene.  We would do takes and then someone would cover her up with a jacket so that she wouldn’t be shivering between takes. I’m cutting all this footage together and I’m going, does it look like its cold, no, it looks okay, nobody will know!  Nobody will know that it was 35 degrees!

RK: That’s the peril of shooing in Texas!  Had you have been in Fort Worth, it would have been freezing.

PB: Yeah, they had ice storms! But you know, Texas weather changes daily.

RK: Or, multiple times a day!

PB: But it was a great shoot, a lot of fun. The cast was totally awesome.

RK: That’s good.  As I mentioned earlier, I’ve been hearing a lot of positive things.  Especially since your previous film have received so many positive reviews, especially Angora Ranch.  Being your first film and it’s got such good reviews, that has to feel good.

PBAngora Ranch was interesting because when it first came out, the initial reviews, what viewers were saying, was that they hated it; it was terrible!

RK: Really?

PB: They hated it!  Man, I got so depressed. I was like, oh my God, I just made this disastrous movie.  Well, what happened with Angora Ranch was that it hadn’t quite found the right audience yet. So what I’ve learned as a filmmaker is that nobody is going to love every movie they see.  There are going to be people who are going to see this movie tomorrow night and they are going to hate it, and I know that, it’s okay. I didn’t make this movie for them. I made this movie for people who get the joke!  Who find it absolutely hysterical. It’s alright when that happens.  The deal with Angora Ranch was that, and this was last year, someone that I didn’t know was watching the movie and he contacts me through Facebook; he finds me through Facebook.  He tells me that he loves this movie; it’s his comfort film.  He then starts sending me a check every month, automatically drawn from his bank account to support my filmmaking.

RK: Wow!

PB: Right?! So, a couple of months after he started doing this, I get a phone call on a Sunday morning and it was his daughter.  He had just died two hours before. And she’s calling me and says that I’m the first person she’s calling because I meant so much to her dad,  and I’d never met this man at all. It was my film that had touched him.  That was the message; films really can have a powerful impact on the way people perceive their lives, or how they get through the day, or all those things.  That was a really, really valuable tool to learn that power is actually there within filmmaking. The irony is, I don’t think Long Term Parking is going to change anybody’s life, but man if it gives them a good hour and half of entertainment, I’m thrilled!


RK: True, they aren’t all going to be “AFI Top 100.”

PB: Yeah, right, but Angora Ranch had emotional moments between the dad and the son; there’s a lot of family-related issues.

RK: It’s a great film.  Well now you’ve made, in your eight films, you worked in science fiction, action, comedy, documentary…

PB: I’m actually in pre-production on a feature-length documentary, but I’ve done a short film documentary.

RK: You’ve done a little bit of everything. You’re pretty well-rounded.  Do you have a favorite?

PB: No. I know filmmakers who make the same movie over and over again.  I have no interest in making the same movie over. If I’ve already told the story then there is no reason to change the names and location and shoot it again.  I’m much more interested in telling stories that show a different perspective on life that other people might not have seen or experienced.  There’s actually an underlying theme in all my films which is about hypocrisy and that hypocrisy is the root of all evil.  There’s a sense that some people say certain things but they don’t actually behave in the way that they speak. If anything, it doesn’t matter what kind of genre I use to get there, to tell that story, I much rather prefer to try to get people to think about the world differently than they’ve believed or perceived it to be.

RK: Hypocrisy is indeed rampant in today’s society.

PB: The hypocrisy is stunning.  What I have found is that when I have made films that have been harder-hitting, such as Goliad Uprising, people walked out of the screening and I’m just listening to them walkng out and they’re like, wow, what a depressing movie. You don’t want people to walk out terribly depressed, but at the same time, what I was doing was addressing  the issue of big brother government being controlled by corporate interests and that big brother government knows more and more about what you are doing at all times, and that they are doing everything they can to influence your attitudes and opinions on social and political issues.  A lot people just accept what they are fed by the media or by politicians and they believe what they are told to be the absolute truth; they don’t question it. So, yeah, the subject is depressing.

RK: It’s what you take from it rather than just saying it brought me down.  If the viewer took a message from it then you’ve accomplished your goal as a filmmaker, I would say.  If you took something from it other than the fact that it was depressing.

PB: Yeah, and I had made a film before that called Altitude Falling, which a lot of people had made the comment that it was a foreshadowing of what is going on more and more with government surveillance.  They saw it as what our government could evolve into and become; what our society could evolve into and become.  So they would message me and say that they saw it as a wakeup call.  So, what you do with that, I don’t know, but those are the kind of responses that  I love to hear as a filmmaker because it means people are thinking about the content and that it is having some kind of impact.  Bear in mind too that some people have watched Altitude Falling and said, wow, what a terrible movie!  And that’s just going to happen with every film.

RK: Earlier you were telling me where you were living, but I had read that you also had a little farm.  Where does that fit into a filmmaker’s life?

PB: I live in Oregon now. We’re on very small acreage and we’re in the woodlands, surrounded by timberland and by a meadow on the other side.  It’s very quiet, we see the stars at night, when it is not cloudy.  It is very, very remote.

RK: How does that fit into your filmmaking?  Do you draw inspiration from that, or do you get inspiration elsewhere and then maybe you go there to contemplate on it.  How does it fit in?  Is that where you get away from film, or does that help you make film?

PB: Hmm, I would say neither.  I’ve lived in a lot of places, as you’ve heard me say, and the work that I’m doing I’ve done in all of them. So, even living in this cabin in the woods, I’m still making films, and I’m making videos for the internet, multimedia content.  So, I’m still doing just as much work as I would be if I was in Los Angeles, New York, or Austin.  It’s just a different setting.  It’s funny because that specific place in Oregon reminds me a great deal of southern Colorado, which always felt like home to me.  It’s hard to explain but it feels comfortably right; it’s gorgeous, absolutely gorgeous.  There plenty of water; we don’t have to be concerned with over population because we’re in a place where people won’t be moving into.  It’s an ideal place to be.

RK: It has to be way healthier than living here.  Now, I know you’re participating in some panels this year at Comicpalooza.  What are you going to be involved in?

PB: Mine are all filmmaking panels, so I’ll be talking about how to VLOG; how to do a web-series; how to crowd fund, if you want to fund it by social media; how to find an audience for your movie.  I believe that is all the content for my panels.

RK: I know we’re running out of time, but I wanted to ask you about what you thought about the pros and cons of independent filmmaking?

PB: It’s two different worlds.  If you’re making a Hollywood studio film, the advantage is that they have a marketing budget behind it so it’s going to get a lot of publicity. The film is going to be distributed to movie theaters around the country; it’ll get DVD sales and it’ll make foreign sales as well.  So, ultimately, probably a lot more people will see your film if it’s a Hollywood film than if it’s an indie film.  The disadvantage is that you’re really an employee and there are tons and tons of people who are making decisions on how that film is made.  They are making decisions about who’s going to be in the cast, deciding whether or not lines of dialogue will be kept. They are overseeing the final edit of the film, usually, and telling you whether or not you can keep scenes in or take scenes out.  So what you’re doing is creating a product that a manufacturer makes, and by IRS standards, we are manufacturers, that’s how we’re classified by the IRS.  We’re manufacturing a product so that the studio can sell it to the lowest common denominator to get as many people as possible to buy that product.  If I’m an independent filmmaker, there is absolutely nobody telling me what I can or cannot put into a film. Even the people who will donate to fund the movie, they have no say as to what goes into it, they already have the gist of what’s going into it, the theme.

RK: They knew what they were buying into before they offered funds.

PB: Correct. They don’t have a voice in the editing, the script or who I cast, or how I choose to film it or any of that at all. So as an independent filmmaker you can really and truly tell the story that you want to tell as best that you can with the funds that you have available.

RK: So true. Very insightful. I really appreciate you sitting down with me.

PB: It’s been my pleasure.

RK: I look forward to your film and hopefully you’ll come back to Houston.

PB: I hope to, thank you!


Heavenly Duo Shoots from the Hip in LONG TERM PARKING

by Robyn Washington, Hollywood Movie Times

Just off Union Square on the southern edge of Midtown Manhattan Natasha Straley and Gary Lee Mahmoud reunited at the Hale and Hearty to regale me with stories from the film shoot of LONG TERM PARKING.  Both New York actors flew into Texas to lens the outrageously irreverent mobster movie last year.

GLM: Irreverent? My first thought was how absurd it is.

NS: Not it’s not. It’s darling. The script doesn’t shy away from being silly and in some cases a little offensive.

GLM: Some cases?ComicPalooza Gary Lee Mahmoud

NS: It’s all in good fun. There’s a lot of dark things happening in our world today. I think it’s good to occasionally step back and remind ourselves how important it is to keep joy in our lives.

RW: I’ve heard it was a fun shoot, despite the inclement weather.

NS: The ‘earthly’ cast got hit with some crazy Texas weather.

GLM: Sucks to be them.

NS: Luckily our scenes were all interior.  It doesn’t rain in heaven.

RW: Gary, you play an ethereal lawyer.

GLM: Paul (Bright) cast me because I have a reputation for playing jackasses. My character, Tommy Gallo,  is a seasoned yet overconfident lawyer. While he manages to stay focused on his official task as an aide to the dead, he takes a certain playful joy in his intermittent interactions with the recently deceased. He thinks he has the whole system all figured out… and he almost does.

RW: Whereas you, Natasha, were his right-hand woman.

GLM: Hey, hey, hey –  let’s not go there. This was a professional shoot.

NS: I jumped at the opportunity to play Marlene.

GLM: We went there.

NS: I usually get cast as characters who are pretty judgmental. This character was a fun detour down a playful and flirty road.

GLM: Not with me, I just want to point out.

ComicPalooza Natasha StraleyNS: Gary, you are hilarious.  We shot my love scene with Tony Bottorff (who plays Boston Nightly) the very first day. It’s always fun to meet someone for the first time and drop trou.

GLM: I should have been cast in that part.

NS: Oh Gary, you’d never fit in my dress.   Tony was a complete professional.  Everyone was.

GLM: Everyone was very down to earth – so to speak. The shoot was very straightforward. Cast and crew were very easy to work with. Paul knows what he wants in a shot, sets it up, and gets it – usually in two or three takes.

RW: And the film premieres in three days.

NS: I’ll be there! I love working in Texas. I’m so glad I could come back for the premiere and share stories with the fans who already read Mike Kearby’s novel.

GLM: Give everyone a kiss for me.

NS: Everyone? Really?

Long Term Parking premieres Saturday May 23 at 8:00pm at the ComicPalooza Theater in the George R. Brown Convention Center, Houston, Texas. General admission to the theater is for all pass holders at ComicPalooza.   This film is not yet rated.

What It Takes to Pony Up for a Comedy Film

ComicPalooza Louis Moncivias

Reprinted from Hollywood Movie Times

Eugene Stryker, Hollywood Movie Times

“This film reminded me how hard some folks work on chasing their dreams,” Louis Moncivias told me after playing the role ‘Pony’ in the sci-fi gangster comedy Long Term Parking.

“It reminded me how many behind the scene hurdles have to be jumped, gone around, gone under or busted through to make them come true. It gave me an insight of what passion can accomplish when you set your mind to it.”

Moncivias was talking about bringing Mike Kearby’s novel Long Term Parking to life as a feature film. The film premieres at Houston’s ComicPalooza May 23rd at 8:00pm. He talked with me by phone from his home in San José, Costa Rica.

LM: This was a risky script! It pushes the levels of making some people feel uncomfortable with its content. But when I truly thought about it, I figured, hell, that’s what makes it an interesting script.

ES: In the novel your character hangs out in the parking lot of an abandoned strip mall. The film places you on a horse ranch.

LM: Kristull Ranch in Austin, Texas was the perfect location for our scenes plus it fit my character perfectly. We had tons of different location on the ranch to choose from along with a tractor that was needed for one scene and plenty of pretty horses for background players.

ES: Tell me about your character in Long Term Parking.

LM: ‘Pony’ was a bad guy of sorts and skimming peyote profits from under the nose of ‘The Man’ Joey Sacs (Joel Lane Hudgins). If I tell you anything else, I’ll give away the surprises.

ES: No hints?

LM: I gladly buried my Bowie knife in Boston Nightly’s (Tony Bottorff) dog-gone heart.

ES: Was this the first film you’ve made with director Paul Bright?

LM: No. The first was at my place, Poquito Ranch in Austin. I got wind that he was looking for a location to shoot a couple scenes for Goliad Uprising. I am always trying to help the independent film community and gave him run of the place. He asked me what I wanted in return and I said a couple bails of hay for the horses will work. That man showed up in a 4 door sedan with bails of hay in the back seat! Do you know how long hay stays in the carpet and interior of a car? Poor guy! That’s when I knew I liked him and we’d become fast friends.

ES: It’s too bad you can’t make it up for the film’s premiere at ComicPalooza.

LM: Yeah, I can’t get away from my current project right now. But Paul tells me he’s planning a screening in Costa Rica at the end of July.

ES: That should be a blast.

LM: My hat is off to everyone who sets their mind to making a movie. Indie filmmakers exemplify courage at its best.


ComicPalooza Stephen J Voss

Reprinted from Hollywood Movie Times

Robyn Washington, Hollywood Movie Times

It’s hard to forget Dustin Hoffman’s rant in Wag The Dog about movie producers never getting the credit for nurturing a film to life. Fans love the actors and the director gets the applause at film premieres but nothing happens in movie-land without the money people.

Enter Stephen J. Voss, the Executive Producer of Long Term Parking who along with fellow Executive Producers Philip Arthur Anderson, Charles Barnett and Betty Zuspann will be premiering the movie at ComicPalooza on May 23rd in Houston, Texas.

I caught up with Voss for dinner at the original Ninfa’s when he drove up in his racing green Porsche. It’s the kind of car you’d expect a film producer to drive.

RW: You’ve been working on Long Term Parking for several years. When you first read the novel what did you think?

SJV: I enjoyed the plot twists and the low comedy. So many of the scenes immediately brought visuals to mind. I could see some of my friends being victims in it.

RW: Did you want the script to follow the novel exactly or did you expect there would be adaptations?

SJV: I fully anticipated there would have to be changes, to remain true to the feel of the story but still be achievable as an independent film.

RW: Mike Kearby’s novel uses very colorful language. Some of it was toned down in the film. Do you think audiences will get into the spirit of the story or do you think some people won’t get the joke?

SJV: What, there’s only one joke? (We both laughed.) I’m not embarrassed by colorful language, as long as it’s not meant to hurt. The amount of “colorful” language wasn’t over-the-top and didn’t serve as a prop in place of real dialogue.

RW: Many of the cast members and the director will be at the Houston premiere. This is also your hometown. Had you been planning to premiere the movie here all along?

SJV: Being at Comicpalooza is absolutely huge! We’re right where the fans are.

RW: You’ve been the Executive Producer on several of Bright’s films. What brought your partnership together originally?

SJV: I first saw Paul’s film Angora Ranch. I liked what I saw and started following his work. When I heard he needed some help with Abrupt Decision I was in a place to come aboard. We’ve been friends ever since.

RW: Angora Ranch released ten years ago. This is a long friendship.

SJV: I can top that. We were born in the same military hospital in Albuquerque, N.M. I won’t tell you who’s older.

RW: Long Term Parking is premiering as part of a double feature with Rocky Horror Picture Show on Saturday night. Do you think Long Term Parking will become a cult film like Rocky Horror?

SJV: Oh, I’d really like that! But I suspect the world has become a much more jaded place. I was incredibly shocked the first time I saw Rocky Horror, because I had grown up in a very sheltered, conservative Catholic household. I doubt anyone these days would have the same reaction. Long Term Parking may be too mainstream for a cult following.

RW: We’ve heard rumor that Mike Kearby is working on a sequel to the novel. Any chance you’ll do a movie sequel?

SJV: Definitely depends on the reception for the first one. I won’t rule anything out.

RW: As you know everyone comes in costume to ComicPalooza. Are you looking forward to seeing people dressed up as Boston Nightly or Marlene or Chel at next year’s convention?

SJV: Maybe I can get someone to make me a Boston costume? Or maybe Gallo? And I know some seriously buxom fierce women who would love this. Of course the original cast will be at the premiere this year and nothing’s better than the original.

Voss gestured to the walls of the colorful Original Ninfa’s as we dived into a sizzling plate of fajitas.

Tony Bottorff Riding High on Long Term Parking

Reprinted from Hollywood Movie Times
ComicPalooza Tony Bottorff
by Robyn Washington

Tony Bottorff made a noticeable entrance the other day when he rode into the parking lot on his 2015 Harley Sportster and tossed the keys to the valet. A risky move to trust that much horsepower to a teenager in a red vest. Needless to say, they didn’t attempt to move it and the bike sat in full view of the entrance to Abacus, our Dallas dinner spot on McKinney Avenue.

Bottorff’s newest comedy, Long Term Parking, is quite a “tail wagger.” We sat down to discuss the movie and his career.

RW: The role you play in this film is a departure from your other roles in film. Did you need to do anything to prepare to play this part?

TB: I wish I could say I did, but I let this one develop organically. I had Boston worked up fairly solid but knew from past experience that Paul Bright (film director) knows what he wants, so the first day of shooting kind of set the tone for Boston. Had I known it was going to be 38 degrees with a 30 MPH wind during my make out scene with Lisa (Sosa), I would have practiced bumping uglies in a meat locker with an industrial fan blowing on me.

RW: That’s quite a visual. Did anything go wrong during filming?

TB: Oh yeah. The weather would be hot one day and butt ass freezing the next. I think we all got sick before it was done. The one I remember was shooting with Gary Mahmoud in his office. I had to drink shots of Jameson, and trust me, I’m a cheap date when it comes to drinking. I’m asking Paul if we have some apple juice or something and he says, “I’ve got a case of Jameson, enjoy.” So I’m getting toasted before lunch, they’re fogging the office with this fog machine so thick it looks like the steam room at the YMCA, and Gary Mahmoud is killing me with his improv. I can’t keep a straight face to save me. I’ll tell you something, this was one of those film shoots where there was as much comedy between takes as there was during the shot.

RW: Can I spill the beans and tell people your character is a dog?

TB: I’m not a dog.

RW: Okay, partly a dog.

TB: Boston Nightly is a gumshoe bounty hunter who’s a true ‘guy’s guy’. He doesn’t sweat the small stuff and takes things in stride, loves his Jameson, neat, and his women hot. Nothing gets him worked up, not even looking down the wrong end of a gun barrel. He’s got a fun sense of humor, even when the jokes on him, which given his dog tail, is most of the time in this film.

RW: So you do admit your character has a dog tail.

TB: And teeth.

RW: This movie is very irreverent. What was your first thought when you read the script?

TB: My first thought? Well, I get an email from Paul saying he’s doing a film and I’d be PERFECT for the role of Boston. So I can’t wait to read it, right? I start reading and I’m killed on page three. I’m like ‘what the hell?’ I kept reading and was laughing out loud with the dialogue. My second thought, “Hey, I get to have sex in this! Bring it on!”

RW: What was it like to work with the other actors?

TB: It was awesome! This is my third film with Paul, and he never fails to assemble a great group of actors. Lisa and I had great chemistry! She would crack me up with her delivery even on the third take. And David Young and Gary Lee Mahmoud are comic geniuses. I would bust a gut laughing every day. Seriously, I couldn’t hold it together every time David would say “Do the dingus.”

RW: Should I ask?

TB: You gotta see it. Joel Hudgins, Brandon Gallagher, Dan Murphy, and Mary Farrar are awesome. And Natasha Straley, wow! She’s got perfect comedic timing and I get love scenes with her too? I’m like, thank you Mike Kearby for writing this!

RW: Mike Kearby’s original novel of the same name has a devoted fan club.

TB: I read Mike Kearby’s book several times before the shoot started. The guy writes so expressively. I mean, he’s got more names for bullets than guys have for their Johnson. The book is never boring and his fans have got to be just as awesome! He’s a cool guy. He came to the set when we shot at the bar. He’s the kind of guy you’d like to have a drink with and swap stories.

RW: Sounds like you’ve got a lot of stories to swap.

TB: Oh yeah. But not to print. It was a fun shoot. When you have a great group of actors that enjoy what they do and a director that let’s you have fun exploring the characters, you don’t want it to end.


Reprinted from Movie Times

by Eugene Stryker, Movies Today

We sat down with Lisa Rene Sosa at her favorite lunchspot in San Marcos, Texas overlooking the swimmers and tubers on the river to talk about her upcoming comedy film Long Term Parking.ComicPalooza Lisa Sosa

MT: In your newest movie you took a big departure from the dramatic roles of the past to play an outrageously funny character, Chel Caminetti. Tell us about her.

LRS: Chel’s a real ball buster. A big personality, blunt, irreverent and I use Boston (the film’s hero) for my own gains. Although I have a thing for him I’m not afraid to shoot him a couple of times to figure out what his game is. I like to think that Chel is the heart of Long Term Parking.

MT: You do shoot him, more than a couple times. But somehow he keeps coming back for more. What was it like to work with Tony Bottorff, who plays Boston Nightly in the film?

LRS: I LOVED working with Tony! From the very first day when I met him I knew we were going to get along great. Tony was easy going, open and funny — great things for an actress who also needs to kiss her leading man after just meeting him. I also loved working with everyone else, Joel Lane Hudgins, David Young, the entire cast. It was wonderful to see how everyone’s character evolved from what I read in the script to the actual actor performances.

MT: We got a sneak peak of the film at Movies Today, and it’s terrific! The director, Paul Bright, was right on target with the casting.

LRS: I don’t often audition or portray characters like Chel, and it was a real privilege to be cast as someone who’s her own woman AND a sexpot too. The script was funny, and some of my lines are my favorite from the films I’ve been in so far. I couldn’t wait to see how it would all come together. The more irreverent the better!

MT: Mike Kearby’s novel that was adapted for film has got a devoted following, I think probably because it’s so irreverent.

LRS: I am so looking forward to meeting the fans of Mike’s book. It’s great when there’s such a cult following with people who know the characters just as well as the actors do.

MT: What was it like to shoot the movie?

LRS: So we filmed over two weeks in December. Being in Texas our falls are pretty mild. Well, the first week was so hot. I mean it felt like summer really. But I thought at least we’re not freezing. Well, I spoke way too soon. That second week of filming felt like we were up north. I’ll never forget my last day of filming when we were at the storage facility. I was wearing this beautiful mink coat that Mary (Farrar) let me borrow and when Paul yelled “action” I’d take it off real quick, throw it to Mary, and film the scene.

MT: You’re kidding? You filmed those scenes wearing a skimpy blouse during a Blue Norther?

LRS: Paul would yell “cut” and I’d put the coat back on, and we’d all jump into the car to warm up before we had to get out and film again. We all took our turns getting sick. Within those two weeks I got sick, Tony got sick, so did Paul and Patrick (Henderson – sound recordist). Not the easiest thing to work when you’re sick AND have to do it when the weather wasn’t great. But we all soldiered on and finished our movie.

MT: Watching the film I guessed you were all joking around a lot. You had to be for you to play the part so naturally.

LRS: I needed to be comfortable being a loud personality, and showing off my body more than I’m used to. I let “Chel” lead me throughout filming, but I definitely took advantage of wearing fitted clothes. The longer I was on set the more I felt comfortable with both aspects of my character.

MT: Are you familiar with the song “June is Bustin’ Out All Over?” Your costume fit, ahem, very well. It sounds like a great shoot.

Being on set for this film was amazing. Paul and Tony were so inviting which makes any working situation a pleasure to be a part of. I hated leaving set at the end of each day, and couldn’t wait to get to work the next day. That’s when you know you love what you’re doing.

MT: And we love what you’re doing, too.

Long Term Parking premieres at Houston’s ComicPalooza on Saturday, May 23rd at 8:00pm.