Recently, I had the good fortune of stumbling onto a short film that I thoroughly enjoyed from beginning to end. While the short was shot on a non-existent budget (I read it was about $200), I saw a very unique vision here. Thomas Smith has a talent for making movies that a lot of us love but have almost given up on seeing anymore. It seems like most "kids" movies and most "grownup" movies are separated by a large gap nowadays. During my childhood, they seemed to be able to merge the two together seamlessly into a film both young and old could wholeheartedly enjoy. I just don't see a huge number of movies doing that today. There are a few here and there but not many. Thomas Smith and his cast of characters are able to do just that with their short film "The Night Shift".
The Night Shift by FightingOwlFilms
Fighting Owl Films (Smith's production company) is responsible for six short films since 2007. Each film shows an amazing progression from the last. It is fairly obvious Smith has found a very talented group that he likes to work with. He has worked with composer/actor/cinematographer Soren Odom on many projects. Odom's fan favorite role has to be the voice of Herbie, the skeleton and side-kick of The Night Shift protagonist, Rue Morgan. Morgan is portrayed by Khristian Fulmer. Smith may have found his lead actor in Fulmer, a charismatic stage and film actor (as well as stuntman) but he has definitely found his partner in the lovely and talented Erin Lilley on and off camera. Lilley is not just Smith's favorite film actress, she is also a producer, stage actress, voice over talent, amazing vocalist and most recently she learned stunt work for the feature film version of The Night Shift.
Mr. Smith recently agreed to do an interview with me and I will share that with you. We talk about his films, his influences, Jaws, barbeque, Herbie, spending time in a cemetary, The Rocketeer, Doctor Who and, of course, indiana Jones. The Night Shift is currently in post-production. I am very muchlooking forward to seeing it once it is ready. I also look forward to seeing what Fighting Owl Films and the very talented individuals behind it will do next. You should be too.
Here you go:
Joel: Would you tell me a little about your life before making movies?
TS: Well, I've been making short films since college, so we'll have to go a long way back. As a kid I was very imaginative. I did a lot of drawing, made my own cartoons and comics and characters. I also loved to play outside and with action figures, and I'd develop incredibly intricate stories for them to act out. I suppose that's where a lot of things began.
Joel: Congratulations on the feature film. I love The Night Shift short film. What were some of the largest obstacles going from the short to the feature?
TS: Thanks. Some of the biggest concerns involved finding locations, building sets and getting the creature makeup squared away. That's not to mention the summer heat everyone had to contend with.
Joel: If you had one word to describe what Night Shift is about, what would that word be?
TS: Fun.
Joel: What films or directors inspire you the most?
TS: I'm a big fan of early Spielberg and the wackiness of Sam Raimi and the writing of Joss Whedon. Also, I really admire Larry Blamire's work. Some of the films that have been big influences on me are Indy, Jaws, Army of Darkness, the original Wolfman and countless other classic and b-movies from the past.
Joel: Are there any movies or directors you think a lot of people may not have heard of that you would like to share?
TS: I think if anyone is unfamiliar with the work that Larry Blamire is doing and they have a fondness for classic films, they should definitely check out his work. The Lost Skeleton of Cadavra films and Dark and Stormy Night are some of the funniest films I've seen in the past few years and they're great homages to a specific period of genre films and filmmaking.
Joel: What would you like viewers to come away with after they watch The Night Shift?
TS: A sense of satisfaction and enjoyment. So many films that are released today just leave me unsatisfied, feeling empty. There's little plot, no characterization and everything tends to revolve around explosions and CGI set-pieces. I'd like audiences to remember that there was a time when you could (and still can) have genre pictures with special effects and action and adventure, but those things didn't overtake the rest of the film, and you had characters to connect with and care about. If Jaws were made today in someone else's hands, it would be all about the shark and the attacks. A big part of what makes that movie work are the very human performances given by the actors, the characterizations and the interaction of those characters. I don't necessarily watch Jaws for the shark, I watch it for the interaction between Scheider, Shaw and Dreyfuss; the shark is just a perk.
Joel: You have created a good amount of short films. What is it about Night Shift that you feel called for a feature film? Do you think there were more external or internal triggers behind the decision?
TS: It's something that just sort of happened. I enjoyed making the short and it was really well-received. I thought about doing sequel shorts, further installments in the characters' adventures, but decided that it was something that we could successfully branch out into a feature and keep the budget low. I had more stories to tell with these characters and there seemed to be an audience for it.
Joel: What was the biggest change in directing this time?
TS: The scale, mainly. Lots more people, costumes, props, equipment, sets and makeup to coordinate and schedule.
Joel: There seems to be somewhat of an innocent quality to The Night Shift that I don't see as often as I would like in genre film anymore. Is that something you consciously go for?
TS: For The Night Shift, definitely. There's a very innocent tone to the whole film and the short, which is something I had to keep in mind throughout the writing process and filming. Every film has a different tone, but I try to keep mine innocent and fun for the most part.
Joel: So, you are located in Mobile, Alabama? Off the subject of film for a moment, I love barbeque. Does Mobile have any good barbeque spots you would recommend for anyone passing through?
TS: I love BBQ too. There's nothing better. There are a few places around here that are good - The Shed, Dreamland and Saucy Q.
Joel: What's the most interesting story or bit of trivia about your local area?
TS: We have a battleship.
Joel: I'm sure you have a lot of interesting tales from making The Night Shift. What's your favorite?
TS: Spending long hours, both day and night, filming in a cemetery, something creepy is bound to happen. I don't know if it was because I was exhausted, but there were a few times when I saw someone unfamiliar out of the corner of my eye and when I turned to see who it was, no one was there. A few crew members had similar experiences. Also, one night we were filming near a particular grave and we had a light positioned near it. Any time we moved the light closer to the headstone, it would turn off. When we moved it away, it would come back on. Very strange.
Joel: Are you nervous about how people will react to The Night Shift?
TS: Of course! I think it's a solid and fun film and others who have seen early cuts of it have enjoyed it, so I think people will like it, but it's always scary. When it's finished, that's the point where it leaves my hands and is free to go out into the world and get kicked around if people so choose. Even if I had the next "Star Wars" on my hands, I'd still be nervous. There's just no way of knowing what the reaction will be, but I think and hope that it will be positive.
Joel: I am really excited to see The Night Shift feature film. Is there any news on how it will be distributed? Any festivals yet? How about in the Pennsylvania/Maryland/New York Area?
TS: We've had some interest from distributors, but we can't really move forward until we have the film 100% complete. We're getting there, though. As soon as it's finished we'll be sending it out to those interested parties and others and hopefully we'll be able to get the film out to a wide audience. We're also in consideration for screening at a few festivals and we've had some invites, but we're still awaiting confirmation on those.
Joel: Are there any choices you've made related to The Night Shift that you would like to have the chance to go in a different direction with?
TS: Not really. There are a few small things that I would change here and there, but nothing worth mentioning.
Joel: It seems like you have a very popular skeleton on your hands. Do we get any kind of history lesson on Herbie in the film? Will we ever get to see him when he was able to walk on his own?
TS: Everybody loves Herbie, kids especially, but he's such a diva. We get a few hints dropped here and there regarding his past and he takes some abuse, but I think keeping him helpless is part of his charm.
Joel: How do you view your path from your first project to The Night Shift feature? Would you recommend a different path for aspiring filmmakers?
TS: One big learning experience. All of the short films essentially served as mini film schools because I learned something new and encountered a different set of problems with each film. I think it's a good path to go down. Pick up a camera and just shoot footage, edit some together. It doesn't have to be a fantastic piece of art, it's just for experience. This also helps you to figure out what the film community is like in the area and who you can count on and who you can work with.
Joel: Do you think you have found your niche as far as subject material?
TS: I think so. It took me a while to get there. That's part of the helpfulness of experimenting with shorts. They really allow you to find your strengths, weaknesses and find the kind of stories you enjoy telling. Right now, I feel that my niche is "fun supernatural adventure." I'm comfortable with it and really enjoy it.
Joel: Do you have a set method of getting a performance out of your actors? Do you stick to the script?
TS: We hold rehearsals and I see what they're doing with their character and line delivery there. If I like it, I just let it go. If something is off or not what I want, we'll work on correcting that. I definitely stick to the script, probably one of the problems of letting the director also be the writer. However, I'm not opposed to some improvised lines or different takes of a scene as long as we get what's on the page down first. Later, in editing, I'll go back and see which worked best in regards to the context of the scene, its tone and in terms of the characters.
Joel: Speaking on future projects, do you have any concepts in mind at the moment?
TS: I've been kicking around a few ideas. It all comes down to what happens with The Night Shift and how it does. I have a few ideas that could be really fun follow-ups to The Night Shift, sort of the further adventures of Rue Morgan and the gang. The downside is that those ideas would require slightly larger budgets than what we were working with on this film. I'm also exploring a classic ghost story idea that I've had for a year or two and a fun horror-adventure centered around The Jersey Devil.
Joel: Do you have a dream project? How about dream actors?
TS: I would absolutely love to do something Doctor Who related. Maybe one day... There are quite a few actors I'd love to work with, from genre staples to some that I don't think get enough recognition or appreciation for what they do. There are just too many to name.
Joel: There's been a trend in Hollywood with remakes and reboots. In my mind, I see the trend being powered more by marketing than artistic reasoning, but I do enjoy seeing a unique take on previous films here and there. Is there a film or property out there that you would like to take a crack at?
TS: The Rocketeer. I agree that Hollywood's interest in remakes, reboots and long-delayed sequels to beloved franchises has a monetary root with zero artistic intent. I think the Platinum Dunes horror remakes have become the poster child for this formula. However, in the case of characters or films that never got a fair shake, but could really prove to be something special if given a chance, I think it's okay. The Rocketeer is one of those characters that never really took off, despite all of the right elements being in place. I love the original film and think a pseudo-sequel/reboot would click with today's superhero-happy audiences. Disney, call me...please?
Joel: So, you're a big Indiana Jones fan (everyone should be). Were you happy to see Indy back in part 4? Would you like to see another?
TS: Honestly, I really enjoyed Crystal Skull. I know it's popular to spew hate at George Lucas after the Star Wars prequels, and I'm certainly not an apologist for those films, but I think Crystal Skull was a solid installment in the Indy franchise. The film had its fair share of problems, but overall I actually prefer it to Temple of Doom. People complain about the fridge scene and the other over-the-top elements, but it's nothing too far removed from the ridiculousness that occurred in Temple. Raiders is the best, followed by Last Crusade, but there's plenty of room for the rest. I'd definitely like to see the further adventures of Indy, but I think it's time to recast the character (if that's even possible) and take him back to his 1930s pulp roots. The 50s just didn't feel "right" for the character.
Joel: Did you find a happy mix of digital and practical effects? Anything you might change on your next project?
TS: From a filmmaking standpoint, I prefer practical effects. They just have a weight, a realism to them that CG doesn't have. However, for The Night Shift, we had some dangerous stunts that we had to shoot - a few explosions, gunshots, etc. For a film on our budget, these things wouldn't have been possible without CG. Also, digital effects allow you to save time while shooting because if you need to do another take you don't have to clean everything up and reset the entire scene. The makeup in the film is all practical, along with a few other minor effects, but the big stuff and even some little thing that no one will ever notice would never be possible without digital effects.
Joel: It looks like you get to wear a lot of hats in your productions. Do you have a favorite and least favorite role?
TS: There's Writer Thomas, Producer Thomas, Director Thomas and Editor Thomas. I really prefer writing, because I can do anything I want. It's only later when Director Thomas has to figure out how to film something or make a scene or effect work does Writer Thomas get some hate. Editor Thomas pretty much despises everyone, because editing can be such a tedious process sometimes. It's also difficult to decide what to keep and what to trim, especially since Writer Thomas wants to keep everything in. The up-side to editing is that I have complete control over the pace and feel of the film. Producing wasn't bad either, though it caused a great deal of stress and headaches, but I really prefer the writing.
Joel: Is there is one thing you would like people to know about The Night Shift or Fighting Owl Films?
TS: A lot of hard work and effort went into The Night Shift and I hope people enjoy it. They can follow us online at our websites (www.fightingowlfilms.com), (www.thenightshiftmovie.com) or on Facebook and Twitter for all of the latest news and updates. If people like what we're doing, please pass the site or the trailer along to friends and family to get more people interested. Also, despite having zombies and various other creatures of the night in it, The Night Shift is actually a very family-friendly flick. It's something that audiences of all ages can enjoy.
Thank you for the interview Mr. Smith.
I understand some of the reasons behind why I like this guy's films now. Early Spielberg, Sam Raimi and Joss Whedon? Some of the best for me! The Rocketeer and Doctor Who?I love them both. The Rocketeer is the reason I have faith Captain America will be a great movie. His take on Jaws? Jaws is very nearly as perfect as film as there is to me. Taking Indy back to his roots and recasting? Sounds great. What do you think about Nathan Fillion? By the way, I liked Crystal Skull as well. Only, one thing I disagree with Mr. Smith on is Temple of Doom is my second favorite behind Raiders. While, Last Crusade was awesome, I would have liked a little less focus on Indy's Dad. Anyway,take some time and check out some of Thomas Smith's films. You won't be dissapointed.
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