Framing Film - Two Guys and a Film - Update Interview

Hey everyone,

Today we're bringing you an update interview with the wonderful Canyon and James from Two Guys and a Film. If you haven't seen the first interview we did with them, make sure you check it out too, the first part is here and the second part is here. 

It's really exciting to see how far they have come and now that they have made two films, they are now making five films (yes five!) at one time to add to their slate. 

You can find out more about their project, but also help support them by visiting their website. Just click here!

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Ferenc Igali: So you're taking the big leap after having completed your first two feature films - what does it feel like now that you have that experience under your belt?

Two Guys: It's always exciting when we're talking about making new movies. Canyon and I have a kind of company mantra "Get back on set!". If we set that as our goal, then everything else becomes all about achieving it! 

FI: What have you learned so far that you hope to use in this next stage?

TG: We've learned a lot more about the business side of filmmaking, something we were more naive about going into the last films. We really feel like were better equipped on these films which will ultimately lead to bigger success!

FI: Obviously you guys are expanding, adding more projects to the slate - what's the general plan here and where does the company go from here on out? 

TG: The next five films is just the next step in our progression as filmmakers. We've done the slate model with two, and proven that we can handle multiple projects at the same time. Now it's time to up our game and go for five! Looking to the future of the company long term, we aim to build an independent studio that allows us to keep creating awesome films as well as bringing up other first-time directors.

FI: You advocated combining sources of funding previously  - what made you return to the crowdfunding model for this endeavour and how does it combine into the overall plans?

TG: Well, our approach to crowdfunding is different than most, meaning we aren't relying solely on it for the films budget. It has to be considered in your budget as an indie filmmaker, but you can't stop there. We really believe that you should explore every avenue available, which is what we are going to do. We are turning to crowdfunding to raise the development funds only for the next slate, and like I said not the entire budget. The larger portion of the budget will come from Private Equity, Tax Incentives, and Gap Financing. 

FI: Where will the money you raise go?

TG: There are a lot of development costs that we need to cover before we can go out and raise the full budgets. Things like hiring a Casting Director to start casting the films, a legit Line Producer, Legal and Start Up fees.  These are all costs that we need to pay for before we can really start moving forward. We also have investors around the country interested in investing, however we need to travel to meet and close these deals, which also costs money! Development is often thought of as playtime money, but it's not. We actually need this money to move this slate forward.

FI: What can we expect from this next slate of films? 

TG: Five awesome action packed stories in genres that we all love. Sci-Fi and Horror!

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Canyon and James have sent us their press release with details all about their five films. While the majority are horror based, such as 'Extinction' which "is about a group of military elite who travel deep behind enemy lines to investigate a viral outbreak" and to us sounds like a rather good zombie film (Don't we all love a good zombie film!?) 

And if you don't know this about the misses...well you do now, she hates films based around sharks. They freak her out! However Two Guys' found-footage film, 'Beach Day Massacre' which "follows a group of marine biology students as they document a series of fatal shark attacks" might just sway her!

Among the five films is also a Sci-fi thriller titled, '68 Minutes' "about a former scientist who breaks out of a mental institute in order to stop a device that could potentially create a universal time crisis" 

To find out about the other two films and more details about their project, make sure to check out their website, just click right here!

But You Didn't Hear it From Us,

The Mr and Misses

Framing Film - Two Guys and A Film - Interview Part 2

Hey guys - the second half of the interview with the two wonderful guys can be found below. In case you missed it and somehow stumbled onto this second half, the interview part 1 can be found here.

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FI: We've heard great things from you guys about leads like Robyn Buck, as well - so what's it like on set? We see all the photos - but how is it directing your first feature length films?

C: Robyn has been amazing.  We saw so many talented women for the role of Ruth in Hard Sun, but when Robyn walked into the room I knew it was going to be her.  It’s been awesome getting to see her and all the other actors grow as artists through the process.  For most of them, it’s either their first leading roles, or first dramatic roles, so it’s been really fun.  As a director, it always feels great when you’re able to push an actor past their comfort zone and allow them to tap into something they didn’t even know they had.  I do that a lot with Ben Begley.  He works a lot as a comedic actor and so I’m always casting him against type in things.

J: Just like Hard Sun, Get Away saw a lot of actors stepping up to take their first leads. At the same time this was my first time stepping up into directing a feature, which is a very different game. I’ve learned a lot about myself as an artist and that’s really helped me understand how to work better with actors. I remember one shoot day on Get Away, we were already on hour 18 and we had a very heavy scene to do. And one of the actors was having some trouble connecting with the scene, so I sat with them and did take after take trying different techniques, tricks if you will. It took another 3 hours to shoot but when they nailed it, everyone felt it. That was probably one of the coolest moments as a director I’ve had.

FI: You guys are at the LA Film Festival - one which we hope to attend in the future - what's it like there? I know you guys have been Tweeting frequently - but what's it like meeting with fellow filmmakers who share a boat with you and seeing some of the 'bigger films' - talking to distributors, and networking with others in the industry?

C: I love film festivals and LA Film Fest is one of my favorites.  I think I’ve attended the last five or six years in a row.  It’s just an awesome energy.  You’re surrounded by people who either are part of the filmmaking process or just have a genuine love for film.  There’s always great parties and you never know who you’re going to strike up a conversation with.  Plus, I really enjoy the idea of going to see films that I know nothing about.  Sometimes, you discover an amazing film that you would’ve never seen otherwise.  And then sometimes you end up watching a film that is just plain awful.  But I always love those moments as well because it really makes me feel good about my own work.

FI:  How has the funding process been? You advocate places like IndieGoGo and Kickstarter - but you emphasise frequently the need to find other avenues of funding. Can you share some insight into this process and any recommendations you'd make to new film makers?

J: People always ask me how to raise money for their first film and I always start by asking what their plan is. Most people don’t have an answer to that question or they say they are going to crowd fund for their budget but they don’t even have an audience built yet. The biggest piece of advice I give them is to look at crowd funding as only a part of the budget, and to look at other avenues like equity investors and pre-sales as other viable and attainable parts of their budget. There are more ways to finance but these are just a few of the main ways you will raise money for your film. Also, I’ll note that the type of film you are making plays heavily into this because it’s easier to finance a genre (action, horror, sci-fi) than it is to finance a drama or comedy(comedy being the hardest).

FI: How has the forming of your own actual company been? An arduous process? 

J: Super easy.

C: The actual process was super easy, though next time we’ll structure things a bit differently.

FI: Favourite films and reasons why?

J: Gladiator – Ridley Scott did a fantastic job of combining story with action in a way that you don’t feel a lack of either in the film.

C: Braveheart is number one.  Say what you will about Mel, but that movie is perfect.  I think there’s an innate desire in the heart of every man to fight for the things you believe in and I think that film more than any other, speaks to that part of our soul.  Plus it has the best speech in movie history.  James always gives me crap about this one, but Titanic is also one of my favorites.  Technically it was years ahead of it’s time.  Same thing with Avatar.  I really enjoy the technical aspect of filmmaking just as much as I do the creative side.  So any time I see filmmaker’s pushing the boundaries it gets me really excited. 

FI: Top 5 favourite directors - and their 'best' films?

C: Wow, just five?  That’s going to be tricky.  Let’s see what I’ve got on Bluray here. Tarantino (Pulp Fiction), Kevin Smith (Chasing Amy), Baz Luhrman (Moulin Rouge), David Fincher (Fight Club), Peter Jackson (Return of the King)

J: Ridley Scott (Gladiator) Michael Bay (Bad Boys) Alfred Hitchcock (Where do I start?) Christopher Nolan (The Dark Knight) Yeah, I’m going to have to go with David Fincher (Fight Club) also.

FI: If you could work on any movie currently in production/already released (other than the two brilliant ones you guys have going already) - which movie(s) would it be/have been, and why?

J: You mean someone else’s project? Not sure I know how to answer that.

C: Man that’s a tricky one.  I think the Lord of the Rings trilogy.  I would’ve just loved to shadow Peter Jackson for two years.  I don’t think that guy slept the entire time.  Insane.

FI:  How's directing your first feature film going? Obviously you exercise a large amount of control (creative and literally) as the director - so how does that play out on the set of an indie feature?

J: Best experience of my life other than getting married, ha ha. Seriously though, it’s been the hardest thing I’ve ever had to do, but at the same time it’s been the most rewarding.

C: Yeah, its been an amazing experience.  As far as control goes, I’m learning with each thing I direct to learn to let go of that a bit.  Not to say that it’s not my vision.  It totally is one hundred percent from beginning to end.  But I used to try and control everything and get everything perfect and that was no way to live.  Too much stress.  Now I’m learning to just roll with it.  Plus I’m learning to listen to other people’s thoughts and suggestions.  My thing is this, if I’m the only one coming up with ideas and solutions, then the film will only be as good as me.  But by involving everyone, it becomes so much bigger and better than me and my capacity at the time.  Plus I get all the credit in the end anyway.  (laughs)

J: Yeah, that’s one I had to learn the hard way on GA.

FI: Obviously you guys are shooting two films, back to back. How did you/do you decide on the process of who got to shoot what where and in what order? Basically - how do the two guys in "2 Guys and a Film" get on? Is it hard splitting time between each other's films, as well as being producers? 

J: We chose to do Hard Sun first because it’s more of a festival film, so we wanted to try and get that one in the can and through post to hit some of the bigger festival deadlines. It’s rather easy splitting time actually, since we shot Hard Sun first it’s always in a different stage than Get Away. So for example while HS might be in sound design, GA is starting vfx.

C: Yeah.  Even though we were shooting two films back to back, we’re not like the Cohen Brothers or anything.  I directed Hard Sun and James directed Get Away.  That was always the plan.  We both were Executive Producers on both films and then we each acted as producer on the ground on the other’s film.

FI: Risks - how is it for independent filmmakers to take risks (obviously not ones dangerous to anyone's health!), but with things such as creative solutions or concepts? Obviously you need a notoriously good ability to adapt and improvise - but how far do you need to push your own work to get it to where you want? Or even perhaps to a place you never thought it could go?

J: I would almost go as far as to say if you aren’t willing to take risks, then you have no place making films. You have to be willing to put it all on the line for something as big as a feature, at least on the indie level.

C: I agree.  I’m to a place in my life where I trust those things that scare the shit out of me more than those things that don’t.  The things that don’t scare me keep me complacent.  It’s when I take risks and feel like quitting that big things happen.

FI:  Everyone's favourite topic - budgeting! How do you guys approach it? Any sagely advice to share that you've learnt from your first two features so far?

J: I would say the biggest thing is having a plan. Like I said earlier there are many ways to raise money, but you can’t just hope someone comes along and gives you a million dollars, you have to do the work to find it.

FI: Finally - the most important thing you wish you had known when you started out?

J: Budget more for post and deliverables.

C: Proper production sound.  We skimped here and it cost us a lot of time in post.  Luckily it all worked out, but I’m definitely going to have a full production sound crew from here on out.

Thanks for the interview guys, we’ve had a blast coming on.

FI: Thank you guys for coming on - we really appreciate all the people who have/do sit down with us for an interview to explore their process, especially when they are working on two feature films!

Right

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Right, that ends our interview with these two lovely guys - I'll copy the text verbatim for you guys (not that we're skimping, or anything) from the last post about links and sharing! 

Stay tuned over the course of today/this week - we have several new reviews coming up, as well as our first addition to our greats line. As always, from the bottom of our hearts, thank you, dear readers! This blog would, rather obviously, be nothing with you guys. But you didn't ... you know the score!

Just another set of links, incase you guys missed it the first time round - remember to go and support these guys if you enjoyed the interview/want to find out more!


Link to their IMDb page.
Link to their Facebook page.
Link to their Twitter page.


Remember guys - if you liked the interview, share it with friends. ReTweet - share it on Facebook - shout it from the mountain tops, but just share it! As always, we welcome comments and feedback - but remember, the more exposure we get, the better it gets. Not just for us - but for the filmmakers themselves. More exposure leads to more interviews and more opportunities to be entertained/informed by (potentially) hidden/rising talent. Also - the more exposure we get, the more we can help out rising stars like Canyon and James, who heartily deserve it!

(Plus, you know, more interviews means more original content for you guys to read.)

As usual, our Twitter can be found at @bydhifu!

But most importantly, just remember, you didn't hear any of this from us,

Ferenc and Georgia

Framing Film - Two Guys and A Film - Interview - Part 1

Hey dear readers - don't say we don't spoil you for jumping onto our bandwagon early. As you know from our interview with Dave Vescio, Framing Film is a series that attempts to focus on understanding film making and adding to the discussion. We try, as any interviewer within the movie industry, to look at the process that goes into each film. Why? Because each process is relatively unique, special and possibly entertaining.

However, unlike other outlets, we don't specifically focus on A-listers, big budget films or legendary directors (but those will all hopefully fall into this interview series at some point during it's tenure!). We focus on as much variety in our interviews as possible. As interesting at is to read how the studios make films with $200 million, it is also equally important to see how features with access to less resources still end up being so great.

For this interview series, which much like any global mega studio approaching any new project, it will come in two parts. It features the two talented, and upcoming filmmakers over at 2GuysandaFilm. The '2 Guys' in the film are Canyon Prince and James Thomas (and their informative/entertaining Twitter feeds can be found here and here respectively!). The two guys have recently attended the LA Film Festival and are hard at work shooting their directive feature film debuts, "Hard Sun" and "Get Away".

Now these guys aren't just in the industry for themselves - which is what really caught our interest. Not only do they share constant behind the scenes photos, but they also engage with many of their fans/would be collaborators quite frequently - are genuinely two great guys - and on top of that, they also share first time filmmaker tips that may provide insight for novices. Which is exactly why you should 'Like' their Facebook!

Without further ado -






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FI: So, could you tell us a little bit about yourselves and how 'Two Films and a Guy' came into being? Backgrounds, any peculiar stories or life changing moments where you had an inkling/knew this is what you wanted to do?

J: Two Guys and a Film was really born out of a passion both Canyon and I share for filmmaking. Canyon and I had worked on a couple of music videos, a webseries, and a show open for a TV pilot and really became friends from that. And so I took Canyon out to sushi for his birthday, I think it was in December of 2011, and told him that I’d been kicking around the idea of doing a feature film and immediately he was like “I’ve been thinking the same.” So we came up with this idea to shoot two features, one he would direct and one I would direct, and we would shoot them back-to-back. By January 3^rd we had scripts written and were location scouting for the films. The rest is history!

FI:  Out of interest - how did you guys come up with the name "Two Guys and a Film"? Obviously quite straightforward, but is there a story behind it at all?

J:  We wanted something funny but simple. So we got together to think of a name, and we threw out tons of names all of which sucked. Then after sitting and starring at the wall, finally Canyon was like “What about Two Guys and a Film?” And I was like “That’s funny and simple. I like it.”

C: We were so over names by the end I just said sarcastically “Why don’t we just call it Two Guys and a Film”  And then it stuck.

FI: Before we start talking companies and directing, what inspirations did you have when you set out - and what goals are you hoping to achieve? Obviously you both have directorial debuts coming up - which we'll talk about in a bit - but how where do you hope to take Two Guys and a Film?

J: We had to have crazy tunnel vision with these projects and really keep our eye on the goal of getting these two films in the can. It really wasn’t until we finished Get Away until we thought more about the broader goals of the company. Since the films, we’ve expanded into television with the pilot “Faculty Lounge” that we’ve just acquired and are in the process of packaging.

C: Yeah.  It really was just about the two films in the beginning.  But once we finished production I really started feeling like there were bigger things on the horizon.  So lately, it’s been about finishing what we’ve already done and looking forward to all the other things we want to do within the company.  It’s an exciting time.

FI: Can you guys talk a bit about 'Broken Home' - one of the shorts listed on your company page?

J: Broken Home was really just a quick action scene that we shot for our IndieGoGo pitch. It was also a test shoot for Get Away.

FI: I've been keeping up with your pictures - you guys use a 5D on set? Georgia is a photographer, so she would know more about this - but other than the color grading test you've uploaded to your blog - what differences do you find between shooting on a more 'conventional' camera like the Red series and on cameras like the 5D?

J: Yeah, we used the 5D and the 60D with Zeiss CP.2s. Red cams are still great cameras however they are slower and require a lot more man power and time to shoot with than we knew we would have on these films. And since the graded footage looked so similar we went with the cost effective Canons.

FI: Equipment wise, what set up do you guys have? Do you loan out equipment like tracks, dollies, booms, etc? Or do you have a stock currently?

J: The cameras we owned but most everything else was given, lent, or rented.

C: Yeah, I used to have a lot of gear, but recently have gotten rid of most of it.  We just rent the equipment we need or lots of times the people we hire come with a bunch of their own equipment.

FI: For software - do you guys use all of your own stuff? Can you break down your post-production process for us a bit and your workflow?

J: We shot on SD cards so ingesting footage was simple. We cut the films in Avid, which was the biggest switch for us because we’d previously only cut in Final Cut. From there we would go to Davinci for color and finish in After Effects for the vfx work that needed done. We’ve had an amazing team working on the sound design lead by Sean Hines.

C: AVID and Davinci Resolve have been the two newest additions to the arsenal.  They’re both amazing and I won’t work on anything else.

FI: Frequent collaborators? People who you've worked with in the past who joined you on this new venture perhaps - if any?

C: I tend to collect a few people from project to project.  I’ve kind of been building an Apatow style family for the last several years.  James and I had worked on several projects together before we decided to start the company and shoot these films.  J Michael Briggs, one of our producers and actors in Hard Sun, I’ve know for a decade and a half.  We always work together.  Tami Carey, who plays the role of Lucy in Hard Sun, is another one I work with a lot.   She’s been in basically everything I’ve directed the last few years.  My DP Stephen Snavely is another one who I’ve worked on multiple projects on.  I just love surrounding myself with talented people whom I enjoy being around.  You spend a ton of hours with people making a movie so you better like them.

J: I work very much the same. I always say if your not doing this with people you like, then why do it. The lead in GA, Dave Finn, worked with me on a webseries I directed and I brought him in for GA. Between people I’ve cast in past projects and people Canyon has cast previously we pretty much hand picked roles in GA. I’ve done this same thing with crew also. As a director, especially younger director, it can be hard to get people to believe in what you are doing. So, when I work well with someone and they can get behind the project, I keep them around.

FI: How important is networking to independent film-makers?

J: Hugely! It’s probably the most important thing you can do especially if you’re a first time filmmaker. Other people who’ve been there and done that and share solutions are the reason Canyon and I were able to tackle some of the problems that came up on set so easily. If you are trying to make a film, you need to surround yourself with people who’ve made films, it will push you to make sure you finish yours.

C: Every filmmaker should be networking.  There are so many great organizations like Film Independent out there.  Go and become a part of those communities.  And go support independent film.  Attend festivals.  Talk with people.  You can’t make a movie by yourself, and you’re not going to meet people sitting in front of your AVID all day.  Trust me, I know.

FI: Any social media tips to share with upcoming filmmakers, considering how important it is becoming in today's age?

J: Build your audience day 1. Don’t wait until after you shoot your film to build it. As soon as you either have the script or at least have an idea of what the film will be about, get online and build your audience.

C: Social media is all about engagement.  I see so many people using it incorrectly and then complaining that it doesn’t work.   You have to treat it like real life.  Like real human interaction.  You can’t just talk “at” someone all day long and expect them to help spread the word about your film or product or whatever.  You have to cultivate these relationships.  It has to be a two-way interaction.

FI: You guys mention that you shot the show opening for a new pilot - can you tell us about that, the experience and all? What was the live taping like?

J: Yeah, we shot the opener for a pilot called “The Men’s Room” in which Canyon directed and I helped produce.  

C: The live taping was just like any other.  Live audience, soundstage, the works.  James and I actually attended the taping of it and watched from the audience.  We were hired to shoot the show opener video that played at the top.  If the show gets picked up, we’ll be in charge of all the “film” content of the show.  All the pre-recorded stuff.  Kind of like SNL’s Digital Shorts.

FI: You guys obviously run a Behind the Scenes Experience - but you regularly do updates on location scouting that we follow with avid interest. Can you talk a bit about that? How hard/easy is it to find that perfect location for independent film makers who don't have access to multimillion dollar budgets? 

J: It’s not easy, and it takes a lot of work. Not only are you going all around town searching for locations that might work but also you have to work with the owners and make deals that make sense for both sides. We were fortunate enough to have amazing people donate locations or give us great deals.

C: You need to have a great sales person, a great negotiator to get your locations for you.  Someone who doesn’t understand the word “no”.

FI: We've followed your casting news/updates/photos for 'Hard Sun' and 'Get Away' - we also know you guys are still looking for funding - so could you talk about both films? Plot (like the fragile X-syndrome angle?) - casting - difficulties/triumphs on set, etc? Anything significant that your first feature directorial debuts are teaching you?

C: This is probably a whole separate interview in itself.  We’ll save this one for the sequel.



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Tune in towards the end of this week to hear more about the set and leads on their new films, talk about the LA Film Fest, funding an independent film and forming your own company, their experiences directing, risk taking and of course - our standard fare of questions about favourite influences/films!


Just another set of links, incase you guys missed it the first time round - remember to go and support these guys if you enjoyed the interview/want to find out more!


Link to their IMDb page.
Link to their Facebook page.
Link to their Twitter page.


Remember guys - if you liked the interview, share it with friends. ReTweet - share it on Facebook - shout it from the mountain tops, but just share it! As always, we welcome comments and feedback - but remember, the more exposure we get, the better it gets. Not just for us - but for the filmmakers themselves. More exposure leads to more interviews and more opportunities to be entertained/informed by (potentially) hidden/rising talent. Also - the more exposure we get, the more we can help out rising stars like Canyon and James, who heartily deserve it!

(Plus, you know, more interviews means more original content for you guys to read.)

As usual, our Twitter can be found at @bydhifu!

But most importantly, just remember, you didn't hear any of this from us,

Ferenc and Georgia