Filmmaker
Jeremy Gray, along with co-producer Raymond Moore, have
released cutting edge independent films using the lastest
in digital video technology. Jeremy's unique approach
has become the talk throughout Hollywood - and has even
attracted stars like Mike Marino. His latest productions
"Shacked up" and "3 Tables" suggest
Jeremy is a Filmmaker to keep a close eye on in the
months ahead. Publicity
Whore sat down to see what makes him tick, drives him
nuts and what lessons other aspiring directors &
producers can walk away with.
P.W:
Jeremy tell us about this new film "3 Tables"
that you just finished shooting. Is it really about
prostitutes, hitmen and lesbians lovers looking for
sperm donors?
Jeremy:
Now that sounds like Jerry Springer meets the Sopranos!
I think you left out the handicapped waitress. Yes,
these are the characters in the film, but I would say
it's more about the choices people make, and the outcomes
that accompanying them. We recruited some of the best
unknowns in the industry and they pulled it off. I've
always said that the best actors aren't working. "3
Tables" will prove that. People are going to like
this project, especially prostitutes, hit men, and lesbians.
P.W:
I understand you shot with the same types of digital
cameras used by George Lucas? What were you going for
that required this type of shoot?
Jeremy:
One word. Credibility! We shot our first film on the
Canon XL-1 digital camera. Lots of people didn't take
us seriously because they couldn't get pass that cheesy
video look. Audiences are used to seeing a certain look
based on what their eyes adjust to on television, and
the big screen. You don't want a good script, good acting,
and good direction to be wasted because your film is
hard on the eyes. If you can't give them a familiar
look, you may be written off as some cheese-ball who
just threw something together. Cheese-balls don't get
three picture deals, and rarely get Oscar nods. So,
for our second time around it was imperative to have
a familiar look, and the Hi-Def camera gave us just
that. It shoots 24 frames per second. It's like shooting
on film. "3 Tables" will have credibility,
and so will everyone else involved in the project.
Dude can you get any Cheesier?
P.W:
What is it like working with Mike Marino? Did "New
Jersey's Blue-Eyed Italian Bad Boy" pull off the
hitman role you were looking for? Is he really as good
as everyone keeps saying?
Jeremy:
Better! And I'm not just saying that because he threatens
to break my legs once a week. This is my second time
directing Mike Marino, and again he knocked the ball
out the park. He's a pro. No matter if it's rehearsal
or on the set, Mike brings a joyfulness that loosens
everyone up without losing focus on the task at hand.
He's always on time, prepared, and knows his role. As
"Jake" the hit man, he's both charming and
dangerous. Mike and I have become good friends over
the past few years and to this day I can never tell
what he's thinking until he says something. He just
has that face. Any moment he could crack a smile or
crack you in the head, or smile while cracking you in
the head. It's a talent very few actors have and you
can't learn it in acting school. I predict "3 Tables"
will be the launch pad he needs to take off on. You
heard it here first!
"Hey Yo, it's Mike Marino"
P.W:
What ingredients go into making a great film? What is
it that separates solid work from a timeless, unforgettable
masterpiece?
Jeremy:
You're asking me? My idea of a masterpiece is Bugs Bunny
at the Hollywood Bowl! Seriously, I would say the characters.
If you want to make an unforgettable film, have unforgettable
characters. I normally judge a great film based on recalling
the characters name in the film. If you walk away from
a film thinking of Orson Wells, Harrison Ford, Al Pacino,
and Denzel Washington...that's not good. But if you
walk away thinking of Charles Foster Kane, Indiana Jones,
Tony Motana, or Malcolm X...that's great. Rhett Butler
will always get top billing over Clark Gable. Secondly,
I would say the blend of sight and sound. I consider
myself a technical director, these elements are very
important to me. It's also important to some of the
best in the business. I think most of us could turn
down the sound and just watch, or close our eyes and
just listen, and know a Spielberg film by its sight
or sound. The same can be said about Spike Lee. Unforgettable
characters, sight and sound makes a great film. It's
gotta stick! The audience has got to take it with them
when they leave the theater.
"Got a problem with
Bugs Doc?"
P.W:
Jeremy tell us about your background and how you got
started as a filmmaker? Are you an 'actor turned director',
or was 'behind the camera' where you wanted to be all
along?
Jeremy:
Look at me. Do I look stupid enough to be an actor?
I'm just a filmmaker. My background is actually radio.
I was a board engineer for several radio stations in
the Los Angeles area. I was the guy playing the commercials
on the air, and made sure the host's microphone was
turned on before they started talking about whatever
it was they were saying. Normally, I just kept my head
down and worked on a script until it was time to push
a button. I have a little background in television.
I worked in television game shows for a while, "Family
Feud", "Classic Concentration". There
I was- the guy who got the bagels and coffee for the
guests. I finally moved up working as an assistant editor
on the show "COPS". Much love to everyone
at John Langley Productions...a great bunch of people
over there. But for the most part I made my living in
radio, but my heart was in filmmaking. I never lost
sight of that. And no, you will not see me in front
of the camera any time soon. I've always wanted to be
behind the camera. I want to watch everything.
"I went on Family Feud
and all I got was the crappy home version"
P.W:
With "Shacked Up" now finished and available
for rental at Hollywood Video, what's the next project
you'll be focusing on? Also, what are the post-production
plans for "3 Tables"?
Jeremy:
If you walk down the street and come across a fifty-dollar
bill you're going to pick it up. If you walk down the
street and come across a five-dollar bill, guess what?
You're going to pick it up too. That's what being an
independent filmmaker is all about. Taking what comes
to you. At least that's how it has been working for
me. I have a couple of scripts I would like to shoot,
but the funds haven't been there. My first two films
were written and designed strictly for the resources
that were available at that time. When I say resources
I mean resources, not money. Sometimes you just have
a location for a certain amount of time, or until someone
calls the police, or you may have a piece of equipment
that has to be back before someone realizes it's gone.
That's just how it is. So we just try to stay ready
for the next one. Editing "3 Tables" is priority
right now. It should be done by the end of January and
then we'll see what's poppin'. But it has gotta be right.
The right project. My GOD, I sound like an artist!
P.W:
If you could meet any film-making legend, dead or alive,
who would it be and what would you ask him/her?
Jeremy:
Steven Spielberg. Question: If he were starting his
career in today's Hollywood environment, does he think
he would be given the same chances he got when he started
his career back in the seventies? Today's filmmaking
is a lot different. Actors have more control on the
set. It takes ten guys to re-write one screenplay. I
just wonder if his type of filmmaking would be tolerable
today. I would ask Oliver Stone the same question. It
doesn't seem the industry is opening the door for more
filmmakers like them. Hollywood directors seem to have
become "Yes" men who yell action and cut.
Some aren't even going to the editing room.
P.W:
What advice can you offer to an aspiring filmmaker looking
to break into the business? What mistakes should they
avoid making at all costs?
Jeremy:
Breaking into the business! You really have to do just
that. Always remember Hollywood is structured to keep
people out. Don't take it personal. It has always been
like that. I don't care if you're black, white, whatever.
It's that kind of business. They make you earn it. There's
no 'one' way. There are thousands of ways to get into
this business, you just have to find YOUR way. You're
going to make mistakes. Don't be afraid of that. That's
how you learn. What was a mistake for me, may not be
a mistake for someone else. Sure, you're going to waste
time doing one thing. You're going to waste time with
certain people. Just avoid making the same mistakes
two or three times and you should be all right in the
end.
PW:
People are calling "Shacked Up" an urban version
of 'When Harry Met Sally'. What do they mean by that?
Jeremy:
Well people aren't calling it that. It just says that
on the back of the box! And it means they will say anything
to rent, or sell a movie. "Shacked up" is
not an urban version of anything. Especially not "
When Harry met Sally". There will never be another
"When Harry met Sally". Urban or anything
else. It's just marketing hype. The film wasn't even
titled "Shacked up". The original title was
"His and Hers". The so-called think tank at
York Entertainment thought the urban crowd (black people)
wouldn't relate to such a commercial title. Thus "Shacked
up" was born. It's not even an urban story. For
the record...I hate that title.
"Another Sappy Chick-Flick"
PW:
I understand this film spent over one year in post-production.
What made it take this long and what would you do differently
the next time around to speed up the process?
Jeremy:
Bad business deal. When you're too young and eager you
trust too quickly and you make a bad deal. It's one
of those mistakes you learn from. A little patence on
my part could have avoided a year long headache. I got
screwed...big time. The worst parts of the film were
due to me losing control in post. For no other reason
than these people just wanted to screw me. I kept up
with my end of the deal, and they didn't do the same.
It happens! You know you're in show-business when people
look you dead in the eye, smile, make promises, and
go back on every single one. I had to move heaven and
earth just to get my small film done. Thank GOD it all
worked out...and that's all I got to say about that.
PW:
Was your directoral debut what you were expecting? How
would you rate the experience overall?
Jeremy:
A perfect 10 - Despite the film not coming out exactly
like I wanted it to. I cut my teeth, got my first piece
done. Directing a feature film is the most physically
and mentally exhausting thing I've ever done. There
were times when I just wanted to yell "Cut! Nap
time!" The constant communication and management.
It was a lot. I expected the hard work, but I didn't
expect the constant thinking. You're always thinking.
You're either thinking about what's in front of you,
what you just did, or what you have to do next- Sometimes
all at once. It's something that can't be taught in
film school. You have to do it, and do it again if you
want to get better. On "3 Tables" I was more
prepared, had a bigger crew and more experienced actors.
But it still was exhausting work, and I still love it.
Let's do it again baby!
"Bo Derek cards are
way cooler than Pokemon"
P.W:
What books are you currently reading?
Jeremy:
Nothing right now. But I try to constantly read the
bible. Whether you're a believer or not, it's still
the greatest story ever told. Especially if you're a
screenwriter. The personalities, the conflict, the words,
the resolutions. It's a great read. And I'm a believer
so I really enjoy it.
P.W:
What's one that everyone should?
Jeremy:
Again I have to say the bible. Great read.
P.W.:
How do you define success?
Jeremy:
When I win an Oscar ask me again.
P.W:
Favorite film of all time?
Jeremy:
Toss up. Citizen Kane and Raiders of the Lost Ark.
P.W:
And lastly, what do you think about those Mad Scientist,
Dysfunctional, Real World rejects over at Publicity
Whore Magazine?
Jeremy:
Besides featuring me, they usually make great decisions.
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