Behind The Lens: Hadrian Hooks

EMGWORLD SPEAKS WITH DIRECTOR HADRIAN HOOKS ON HIS DEBUT FILM ‘INTO THE WOODS’

What happens when six friends take a bet to stay in the woods of Hollywood Hills for 24 hours?  They pay the ultimate price.  First-time director Hadrian Hooks speaks with EMGWorld on the journey taken to complete his debut film ‘Into the Woods.’

EMGWorld: For those who don’t know, how challenging is it to complete a film?

Hadrian Hooks: It's very challenging.  It’s NOT easy.    

EMGWorld: Exactly what are those challenging steps to making a film?

HH: First, you have to get the script ready to show to other people.  They have to see something in it they like if you want them to invest.  Once the money is invested people have to truly believe in you, the script and the potential of the script making their money back for them.  Then, you have to get the right cast and the right people.  The cast has to be able to portray and act out the scenes and characters that you create.  Everything has to come together in a full mixed blend in order to produce a finished product.  

EMGWorld: As a filmmaker and movie fan, what directors stand out most to you as favorites?

HH: I've patterned alot of my style from Spike Lee.  I've pretty much seen all of his films.  I also like Quentin Tarrantino's style of directing.  I like Michael Bay's style of directing when it comes to motion with the camera and how he keeps everything moving all the time.  Those three directors are pretty much how I honed my directing skills.

EMGWorld: How many days did it take to shoot ‘Into the Woods?’

HH: We shot for 15 days.

EMGWorld: Why a horror movie?

HH: I'm a big fan of horror.  This is the genre where a lot of stars get their start.  I knew that for the first film we wouldn't have the budget for a big name or big star.  In comedy, dramas and action pack thrillers you need at least one recognizable name.  In horror you don't need any names.  It [Into the Woods] was an introduction of some great unknown actors who had an opportunity to show themselves on a bigger stage.  

EMGWorld: Are there any particular films you’ve studied to help hone your skills as a director?

HH: I studied a lot of films.  I watched maybe 20 to 30 horror movies a month before I finished the script.  Once I finished the script I watched 50 more horror movies just to get the different styles and things that made horror movies successful from the ‘Dawn of the Deads’ to the ‘Jasons’ [Friday the 13th].  

EMGWorld: What did you study most when watching those other films like Dawn of the Dead and Friday the 13^th?

HH: I studied the gore and killer scenes.  I made sure we had small elements of that in our movie.  Plus, I studied how they used the handheld camera in Blair Witch Project and used some of that in the movie too.

EMGWorld: What types of camera models and equipment did you use to film ‘Into the Woods?’

HH: We shot the movie with a digital Red camera.  It's called the Red 5K.

EMGWorld: What brand of editing software was used to piece together this movie?

HH: We used the Dobe system.

EMGWorld: Just how challenging was it to stay under the budget when shooting this film?

HH: We made the filming process equal to the budget.  Anything we did was already budgeted into the film.  Post production was kinda where we lost the budget, but everything else was budgeted.  Everything worked out the way it worked out.  

EMGWorld: How did you go about raising funds to produce this vision?

HH: First, we hit up friends and family members.  My partner Sal Maner started speaking to someone in his family who happened to know a woman interested in pursuing other things with her money.  We had a meeting and she liked the vision we gave her.  She [voluntarily] invested the rest of the money we needed.

EMGWorld: What was the best part of this entire process?

HH: When we started filming.  To see your vision about to come to life is a very surreal feeling.  Seeing something that you wrote or dreamed of come into fruition was the best part.

EMGWorld: What’s one thing you would recommend to someone also looking to shoot their first film?

HH: Just do it.  Don't let anyone stop you.  Don't let money, time or anything stop you from doing it.  If you want to be a director get a camera and some people who are just as passionate as you are and do it.  No matter what the circumstances might be just do it.  People start feeling your energy and you'll be amazed how things start to come together.

EMGWorld: This was your first time up to bat as a director.  Is there anything you would’ve done differently?

HH: I would've made sure everything from top to bottom would've been under budget.  Other than that the experience was fun.  It was a learning experience.  Anything that went wrong was a blessing because I know what not to do now.

EMGWorld: What’s one thing you would warn aspiring directors of looking to shoot their first project?

HH: Don't ask anyone for help in terms of making decisions.  When you have a dream and a process of how you want things to go you don't need a second man to tell you what you can and cannot do. Too many chiefs on any set will harm the process.  If you believe in it you do it.  If it's your project you stick to your guns and beliefs.  Don't give your dream or power to anyone else to do your film.  Once you do that you lose all of your power, focus and entertainment value.  

EMGWorld: How rewarding is it to see a packed audience watch your completed project on the big screen?

HH: To see people respond to the movie in a positive way was surreal.  I was so caught up in the moment that I don't think I really soaked it all in until later.  It's very good feeling to see your hard work pay off on the big screen and see people respond to it positively.  It was everything I could've dream of and much, much more..

EMGWorld: What’s the next step for ‘Into the Woods’ now that the film is completed?

HH: The genre for horror films expands far because everyone loves horror films, especially overseas. We are in talks to have it distributed.  I won't say who until the deal gets done, but we have four that we're approaching to distribute the movie.  We're trying to do limited theatrical.  If theatrical doesn't come through then we'll go straight to DVD, cable and foreign sales.  

EMGWorld: Are you looking to submit the movie to any film festivals?

HH: We've already done the Pan African-Film Festival.  If a distributor wants to keep the film in wraps then we won't do any more festivals.  If we need to do more exposure for the film then we'll do another festival so people can see it. We missed Cannes and Sundance.  The best one we can do is the Acapulco Black Film Festival in Miami, which takes place in June.  That one will be great.  

EMGWorld: Where can viewers and EMGWorld fans catch a peek of ‘Into the Woods?’

HH: We have a website, intothewoodshorrormovie.com, where we'll be posting the trailer and any updates on the movie.

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The Blackboard Spotlight: Jay Sloan

EMGWORLD CHATS WITH INDUSTRY VETERAN JAY SLOAN ON THE BASICS OF EXCELLING IN THE MUSIC BIZ

The music industry is considered to be one of the most glorified divisions in entertainment.  At some point in life everyone wanted to be a musician, singer or rapper.  For every successful artist or composer, there’s a team of individuals in the background working hard to keep that person successful.  EMGWorld chats with industry veteran Jay Sloan on the basics to succeeding in the music business.

Background: Sr. Director of ASCAP’s Rhythm and Soul division

EMGWorld: For those who may not know exactly how did you get started in the industry?

Jay Sloan: Like most people, I got my start in the industry through an internship.  I was majoring in Criminal Justice at Cal State LA and decided to accept an internship at Motown Records under Steve McKever in the A&R department.  After my internship with Motown I ended up working in Talent Management.  

EMGWorld: What made you switch from pursuing a career in Criminal Justic to pursuing your passion in the music industry?

JS: You could say I grew up around music thanks to my mother.  As a kid, my mother would take me to the studio where the Daz Band recorded.  My friend's godfather is Lionel Richie and sometimes we'd see him at the studio.  I always had a desire for music.  I just wasn't exactly sure what I wanted to do.  I knew I didn't want to be an artist, but I knew I had a love for music.  

EMGWorld: What would you recommend to those students who have a passion to work in the business but don't know how to go about it?

JS: Students should do their research first.  Find out the types of areas in the music business that interest you.  There's so many different areas and positions in this business than just A&R.  You have sales, marketing, legal, etc.  You have to do the research and figure out what's best for you.  I definitely recommend internships as well.  

EMGWorld: Would you say that attending college is necessary for someone who desires to work in the entertainment business?

JS: It's funny you ask that because I asked Steve McKever that question when I was an intern at Motown.  I told Steve I wanted to be an A&R.  He looked at me and said, "I could hire you right now, but I think you should finish school first."  I told him I was tired of school and ready to start working as an A&R.  While we we're talking he got a call from someone at MCA Records saying they just laid off some of their staff.  Most of those people may have not had a college degree.  Personally, I think you should go to school and get a Bachelor's degree.  I'd say you should also get your Master's or even go to law school.  The more education you have the more it'll help your career because it gives you opportunities.  

EMGWorld: Why should students jump through all those hoops if opportunity is sitting right in front of them?

JS: It's such a different day and age now if you think about it.  A lot of lawyers run [record] labels.  Your education gives you something to fall back on.  Most people don't retire in this business.  At some point, someone will knock on your door and tell you "your contract is up or we don't need you anymore."  If you're an attorney you can go out and work for a firm or start your own.  You can perform legal work or write contracts on the side.  You have to think about tomorrow, not just today.

EMGWorld: Exactly how critical is networking within the industry?

JS: It's extremely important.  At the end of the day we all get paid based off of relationships.  People say, "it's who you know," but it's really about "who knows you."  You have to offer something that people need or want.  

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“There's so many different areas in the music business than just A&R. You have to do the research and figure out what's best for you.” – Jay Sloan, Blackboard Spotlight

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EMGWorld: What would you say is the best way for someone to network when just a small fish in a big pond?

JS: It's going to be difficult because you're entering an arena where people already have established relationships.  You just have to figure it out on your own.  There's different places you can go, but it really depends on you.  I could tell someone to go to this particular event and they just stand in a corner.  It really depends on your desire and hustle.  

EMGWorld: What would you say is the biggest mistake someone can make when pursuing a career in the music business?

JS: I’d say not doing your research.  You don't jump into anything without taking the time to do your HOMEWORK.  You have to remember this is an [evolving] business.  If you go to medical school you'll still have to learn about the different medicines that come out.  You have to continue to educate yourself on new music and executives that work in the business.  The more you know the better off you are.

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“Your education gives you something to fall back on.  Most people don't retire in this business.” – Jay Sloan, Blackboard Spotlight

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EMGWorld: What’s the most effective way for an indie artist to promote their music?

JS: Just focus on the location you're in.  For example, Drake was in Toronto and he just built a buzz.  If you build a buzz people will find out about you.  If I go to a club in Atlanta and ask who's the hottest artist here and no one's saying you then you're not doing your job.  How do you expect to make a buzz in LA when you're not even building a buzz where you're at?  Just focus on the hometown and the buzz will expand from there.  Remember that quality will always find quantity.

EMGWorld: What’s the biggest benefit someone can take away from attending ASCAP's ‘I Create Music Expo?’

JS: [Knowledge] The Expo is really good because it covers everything from musical theater to film and television, children's theater, urban, children's music, gospel, pop, rock, etc.  Every year we get amazing people to contribute to it.  It's pretty informative.

EMGWorld: What’s the biggest benefit of being a member of ASCAP?

JS: [Unity] ASCAP is a member society ran by members.  BMI (Broadcast Music Incorporated) has a Board of Directors only filled with broadcasters.  How can you sit across a table and negotiate for a competitive rate against your own peers?  ASCAP's board is made up of songwriters and publishers.  So when our board sits across the table from a broadcaster they're trying to negotiate the best rate for themselves, as well as the writers that are signed here.

EMGWorld: What does it take for a songwriter to join ASCAP?

JS: Nothing.  Songwriters can go online to ascap.com and apply there for membership.  We have an office here in LA, Miami and Nashville.  The phone numbers are all located online at ascap.com.

EMGWorld: What’s the last piece of advice you would give to someone who wants to excel within the entertainment business?

JS: You must have a CLEAR understanding of what you want to do.  If you're undecided then you're going to go in different directions.  You have to do the research in order to figure out how you plan to get where you want to go.  You have to research the different paths within where you want to go in this business.

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The Blackboard Spotlight: Chuck Maldonado (Part 2)

THE AWARD-WINNING TALENT SPEAKS ON HIS CLOSE FRIENDSHIP WITH THE LATE LISA “LEFT EYE” LOPEZ

From Ne-Yo to Chris Brown, Chuck Maldonado has worked with some of music’s most popular artists.  His work can be seen in box office thrillers like Stomp the Yard and TV shows such as ABC’s “Dancing with the Stars.”  Chuck sits back on the hot seat to discuss his falls, struggles and rise to glory in the industry.

Background: Choreographer/ Dance Instructor

EMGWorld: For those who may not know exactly how did you get started in the industry?

CM: It's weird.  I use to be a high school teacher and had no clue I would be a dancer or choreographer.  I started an after school dance program for troubled kids.  From there we had these huge talent shows.  One particular night Lisa "Left Eye" Lopez from TLC came to watch the show.  Lisa was impressed with the choreography and wanted to know who choreographed the show.  I was introduced to her and we became friends.  For Lisa “Left Eye Lopez” to take notice of my talent was the beginning of when I realized "maybe I have something here." 

EMGWorld: You never went through the process of dance class?

CM: Not until later after I had spoken with Lisa.  As a high school teacher I had auditioned for the Atlanta Hawks in '97 during the first year they decided to have male dancers [not cheerleaders].  Out of 450 male dancers that had been training all their life, I never had any FORMAL training.  Out of those 450 male dancers, I was one of the three who made it.  

EMGWorld: What was going through your head when you were picked out of all those formally trained dancers?

CM: I said to myself, “this might be my calling.”  This is not a coincidence because I don't believe in coincidences.  I knew I had something.  At that point that's when I started training.  Our team choreographer, Jimmy Lopez, put me through training.  That's when I started training hard.  

EMGWorld: You never had the intent of saying I'm going to take dance classes and eventually I'll teach dance?

CM: Never.  I went to college [North Carolina A&T] and earned my degree.  I started working for American Express as a marketing manager and didn't like it.  I didn’t like “CORPORATE AMERICA” so I went back to school at Georgia State.  After getting my certification in education, I began teaching high school for the Dekalb County School District in Atlanta.  I did teaching and thought that would be it for me.

“She helped me change the way I thought so I could start manifesting things into my life that normal people don't get until they change the way they think, speak and act.” – Chuck Maldonado, on Lisa “Left Eye” Lopez, Blackboard Spotlight

EMGWorld: How did you go about making that decision to follow your heart and pursue dance?

CM: I was teaching and going back and forth doing dance jobs.  There were times I'd have to be out of town and times that I was too tired to teach.  That's when I went to Lisa [Lopez].  She said, “Just quit your job as a teacher.  I promise I'm going to make this happen for you.  You're going to be successful.  You're going to be a dancer.  You will fulfill your dreams.”  I stepped out on faith and told the school principal the next day I was going to pursue a different career.  They totally understand because I was already missing alot of work days anyway.  They knew where my heart was.

EMGWorld: When you started out did you ever come to a point in your career where making a living in the industry seemed unattainable?

CM: In the very beginning it was tough.  I couldn't pay my car note or my rent.  I didn't know what to tell my parents because they already questioned my decision.  I didn't have any more of my savings left.   That was a really hard time.  

EMGWorld: How did you ultimately overcome those tough times?

CM: After four or five months, I went to Lisa and told her my funds had depleted from what I saved up as a teacher.  I don't know what else to do because I can't go back to teaching.  Lisa said “I'm going to pay your rent, car note and everything that you need to get paid so you can concentrate on what you were meant to be.”  Every month she wrote me a check for all of my bills.  I would pay my bills and continue to train hard.  

EMGWorld: When did you finally get that opportunity to work as a ‘full-time’ dancer?

CM: My first opportunity was with her [Lisa “Left Eye” Lopez] first group Blaque.  I choreographed her group, danced background and home schooled one of the girls because she was under 18.   On tour, I was a teacher, choreographer and dancer.  I went from having ONE job, to NO job, to THREE jobs making six figures!  Lisa made sure I got all those jobs, which is unheard of.  That's a big deal for someone like that to do that for me because she didn't have to.  Lisa believed in me more than I believed in myself at that time.  

EMGWorld: Would you say Lisa Lopez has been the most influential person in your career?

CM: Lisa is definitely by far the most influential.  She started my career and had so much faith in me that she paid my bills.  She was my cheerleader.  She helped me change the way I thought so I could start manifesting things into my life that normal people don't get until they change the way they think, speak and act.

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“I always knew the importance of knowing there's something greater than myself and that's God.  Knowing that always kept me on the right path.”  – Chuck Maldonado, Blackboard Spotlight

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EMGWorld: When did you know you had officially ‘arrived’ as a dancer?

CM: The first time I felt I had arrived as a dancer was in 2001 when I had auditioned for Missy Elliot’s music video for “Get Your Freak On.”  They only picked 10 guys and 10 girls out of hundreds of people who were there.  I was one of the people selected to dance in the video.  Hi Hat was the choreographer.  She had never seen me before because I was still so new to LA, but she hired me.  That’s when I knew I was at the right place at the right time occupying the right space.  That’s when I knew this was it.  I literally was in tears when I booked it.  Lisa was still alive at that time.

EMGWorld: What was going through your mind when Lisa Lopez passed away?

CM: At first I didn't believe it when she had died because she was always doing crazy stuff.  She left tour once because she got so upset and went to Honduras.  People thought she might have been dead at that time.  When she died I couldn't believe it because I thought she was somewhere else.  Then her brother Ron and sister Raina called me and confirmed it was true.  

EMGWorld: Just how close to home did the news of her passing hit you?

CM: I use to call her 'Mama Lopez' because she was like a mom to me.  What hurt me even more at that time was that I was on tour with Tamia after just moving to LA.  Jobs were not coming as fast and I couldn't leave the tour to go to her funeral.  I never got to go to her funeral and to this day I still beat myself up about it.  I think Lisa would've definitely understood.    

EMGWorld: Would you say you’ve made sacrifices out of your love for dance?

CM: For me to leave my family was the biggest sacrifice I've made.  Family is so important to me.  I grew up in New Jersey.  I'm really close to my mom, my dad and my brother. 

EMGWorld: What advice would you give to artists and performers who want to work in entertainment?

CM: What worked for me was always keeping myself focused on the prize and never let anything get in the way.  If this is what you want to do don't let anybody tell you that you CAN’T.  I've never been involved in drugs.  I've never been drunk or smoked.  I always knew the importance of knowing there's something greater than myself and that's God.  Knowing that always kept me on the right path.  

EMGWorld: What advice do you have for those dancers out there who danced their soul out and failed to book the job?

CM: Dancers do not get upset and take it personal.  Don't feel like you're life has gone down the drain when you don't get the job.  You're auditioning not for that job, but you're auditioning for that choreographer or director.  Those people work all the time and they consistently have jobs.  You just didn't fit this particular one.  You may have not been good for that job, but you never know if they'll call you and say "hey I have another job you're perfect for."  

Stay tuned for Part 3 of our interview series as Chuck Maldonado speaks on the importance of training and effective ways to network within the industry…

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The Blackboard Spotlight: DJ Kelly G

EMGWORLD SOAKS UP WORDS OF WISDOM FROM VETERAN DJ AND BET EXECUTIVE KELLY G

Since 1999, DJ Kelly G has overseen the music and production of Black Entertainment Television’s franchise programs such as the BET Awards, 106 & Park, BET’s Music Matters, BET Live, Rap City, Uncut and BET Access Granted.  Prior to joining BET, Kelly G worked for Chicago’s Number One rated hip-hop and R&B station, WGCI.  He now takes a moment to educate EMGWorld with advice on becoming successful within the industry.

Background: Sr. Director of Music Programming at BET, Event DJ  

EMGWorld: For those who may not know exactly how did you get started in the industry?

Kelly G: I started out as a DJ [in college].  I went to North Western University.  I have a degree in Industrial Engineering and Management Science.  My colleagues would often tease me that I was a part-time engineering [student] and full-time DJ.  I loved music, but I didn't know anything about doing it professionally or making a living from it.  I was just DJing parties left and right.  

EMGWorld: How did you know that you were destined to be a DJ? 

KG: People are called to be something way before they are validated by someone formally.  For me, I just loved music.  I loved sharing music with others and as a result I ended up becoming a DJ.  This is in my blood.  This is what I'm going to do naturally.  

EMGWorld: When did it come to a point where you wanted to pursue music professionally?

KG: I got a job at Kraft Foods developing Windows software and met a guy in the mailroom that introduced me to the Program Director of the number one radio station [WCGI] in Chicago.  Since then I never looked back.

EMGWorld: How effective was it to have a teacher like Elroy Smith to show you the ropes at WCGI?

KG: It was a complete blessing and honor.  At the time, he was revered as one of the top programmers in the country.  He was able to teach me the concept of ‘playing the hits.’  He would tell me, “Remember Kelly when you’re DJing a party no one races to the dance floor to a brand new record they never heard of.”  He said, “The reason why you’re a successful DJ is because you play the hits.  You play music that people like to hear and sing along to.  It’s the same thing we do at the radio station.  We play music that everybody wants to hear.”

EMGWorld: What’s one of the most important things you learned from Elroy Smith?

KG: One of the things I learned from Elroy was passion.  This guy was passionate about radio.  He was a radio junkie.  Whenever we would travel to conferences the first thing we would do in the car is turn on the radio.  He would break down and analyze it.  He’d say, “Listen to that record” or “listen to that transition” or “listen to this announcer.”  He made me look at the landscape of radio and the industry differently.  

EMGWorld: What would you say made Elroy Smith so successful as a programmer in radio?

KG: He studied.  This guy was number one in his market for years, but he kept studying.  He continued to ask questions.  We’d be at an airport and he’d ask people “so what’s the hot station here?”  People would just give their honest feedback.

EMGWorld: 106 & Park debuted right around the time you hopped on board with BET.  Did you ever think that it would run as long, if not longer than the infamous Rap City?

KG: Yes.  The reason I believe "106 & Park" works is because we super serve that audience.  There’s no one [else] out there that is serving that audience.  BET has a history of serving its audience.  "106 & Park" is a platform that has its pulse on pop culture and creates pop culture.  It doesn’t surprise me that "106 & Park" is thriving and outlasting many other competing brands.  It’s a show that evolves and goes where its audience is.

EMGWorld: Would you say there’s still a high demand for a program like Rap City?

KG: I think there’s always going to be a demand for great music in hip-hop.  I just think how you serve that audience will change.  Back in the day, the only way we could see the new Busta Rhymes video was if we turned to BET.  Now you have much more options.  Some of the things that are in the development phase [at BET] will continue to serve that audience in the future.

EMGWorld: Which artists would you say have had the biggest influence on BET during your tenure?

KG: I’ve been here since ’99.  I’ve seen plenty of people benefit from the relationship.  That’s the history we’ve always had by shining a light on great talent.  To narrow it down to one single artist would literally be impossible.  Thousands of artists have benefited from what BET has done and vice versa.  We look at it as a family affair where we have developed these artists and they’ve helped develop us.  We continue that partnership.

EMGWorld: What would you say has made BET so successful over the years?

KG: We have a dedication to our audience and to our culture.  There's a responsibility we know we have and that we're forever growing and evolving just like our audience.  

EMGWorld: How much effect has the digital era had on music and its impact on BET?

KG: The digital era has had an impact on music in general.  We're flexible just like any other business would be.  Our audience is in the digital field so that's where we're at.  If you look at "106 & Park" you'll see that the show is pretty much a trendsetter when it comes to twitter.  We have an amazing "106 & Park" application, the 106 & app, which has close to half a million users.  We're definitely a force in digital.

EMGWorld: What gave you the inspiration to create a program like "Music Matters," which provides a platform to talented artists flying under the radar?

KG: I think one of my duties here at BET is to serve a greater purpose.  Martin Luther King Jr. said the true meaning of life is to see the onward movement of something greater than yourself.  "Music Matters" is just that.  It’s to see the onward movement of something bigger.  

EMGWorld: How does a program like "Music Matters" relate to what BET has done in the past? 

KG: For 30 years, BET has been a destination point for what’s hot, groundbreaking and next.  The first time you saw Mary J. Blige, Maxwell, Erykah Badu and all these other great artists was probably on BET.  "Music Matters" is just an extension of that history of what we’ve already done over the past 30 years.  There are a lot of artists out here who are very artistic, compelling and doing great music.  We wanted to give them a platform.  That was the main reason why we developed "Music Matters."  

Stay tuned for Part 2 as Kelly G speaks on the importance of getting educated, studying your craft, promoting music as an independent artist and more!!

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Back Then: A Comedy That Pays Homage To The 90s

EMGWORLD SPEAKS WITH DIRECTOR DANIELLE L. ROSS ON HER CINEMATIC CAPTURE OF THE 90's

Fans of the 70s can revisit the decade through the film The Inkwell.  80s fans have The Wood.  Now 90s lovers have a movie that describes their decade.  Read up on how Danielle L. Ross brings the 90s back to life in her theatrical release of Back Then.

EMGWorld: How long have you been a filmmaker?

Danielle Ross: I feel like I was BORN a filmmaker.  I started writing my first feature film in high school.  Ever since then I've never changed my mind.    In 2004, I filmed my first 'official' feature film He's Not The One.  It was a faith based film that received a lot of attention in film festivals.  To this day people still ask me about that movie.  

EMGWorld: It seems like faith based projects are making their way into Hollywood as sort of a revolution.  Would you agree or disagree with that?

DR: I agree.  It started in the direct to DVD market.  The success from my first film, He's Not The One, surprised me.  It wasn't made with much money, but came back making millions of dollars for the distributor because there was such a void in the marketplace for “faith based” films at that time.  I didn't know the desire was out there.  It's really grown into a platform where it's not just a direct to DVD niche, but begging to be shown on the big screen.  T.D. Jakes and DeVon Franklin are really driving the marketplace home and putting out what people are looking for.

EMGWorld: How does Back Then separate itself from other “back in the day” movies like The Wood?

DR: Other movies have revisited the 70s and 80s, but no one's really taken us back to the 90s and highlighted the things that were important to us in our era.  It's not an east coast film or LA film.   I grew up in Pasadena and we had a different existence from LA or other areas in California.  It was a lil bit of a bubble.  We were just regular people and I wanted to highlight the simplicity of that era. 

EMGWorld: Who are some of the cast members in the film?

DR: I had a great cast and a great casting director.  Michelle Adams did the casting.  She brought in an excellent cast.  I worked with Arie Spears of “Bold and the Beautiful,” the beautiful Malinda Williams known from the TV show “Soul Food,” Lauren Williams and Sabrina Rebel.  We had the privilege of working with China Lane and Taye Hecker, Debra Wilson, Angel Cornrow, Debbie Lewis, Gabrielle Dennis, Sean Riggs, Victor Caso and Matt Grace.  We had one of the most wonderful casts around.  

EMGWorld: What was it like working the cast?

DR: It was probably the most FUN I've had on a set as a director because everyone was so in tune with the vision.  They respected the fact that it was a personal story to me and could relate to it in some form of fashion.  Jason Griffin did an outstanding job with the wardrobes.  One actor would always come to me with a story on a daily basis and say "I use to wear overalls" and stuff like that.  I really enjoyed working with the younger kids playing the 90s era because I spent the most time with them.  

EMGWorld: What sparked your interest in developing the brand and company Independent Hollywood?

DR: I remember receiving some valuable advice when I was considering film school.  One of my mentors on my internship at Walt Disney Studios told me why don't you use the money you would use for film school tuition and put it into making a film?  I didn't realize that one decision would change the course of my career.  Ever since I began making movies on my own I've always had the entrepreneurial spirit.

EMGWorld: How does Independent Hollywood seek to help other independent artists out there?

DR: With Independent Hollywood, I've learned a lot from the five feature films I've made.  There are so many different aspects of the business.  Our main focus is to let people do what they love, but also learn how to EAT because you have to eat first.  Bringing together marketing, music, art and bringing them into one organization so other artists can learn to not only show their art, but learn how to MAKE MONEY from that art is the goal of Independent Hollywood.  We're showing people that you can make a film or web-series and not have to put it in someone else's hands.

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The Blackboard Spotlight: Gabriel Cassius

EMGWORLD SPEAKS WITH VETERAN ACTOR GABRIEL CASSIUS ON WORKING WITHIN THE INDUSTRY

From Spike Lee’s ‘Get On The Bus’ to starring alongside Denzel Washington in ‘Fallen,’ Gabriel Cassius has managed to gain in-depth experience in the world of acting.  The veteran actor takes a moment to educate EMGWorld on the ups and downs of working within the industry.

EMGWorld: When did you know you had officially ‘arrived’ within your field as an actor?

Gabriel Cassius: [Never]. I haven't reached a point where I've gotten completely comfortable in my career.  I've never felt like that.  The industry is so volatile.  One minute its up and the next minute its down.  You can never take a rest.

EMGWorld: What was the most difficult challenge you faced in your pursuit of acting?

GC: The most difficult challenge was for me to believe I could pursue acting without any formal training.  When I started out I looked at acting as something anyone could do.  I didn't have the proper respect for the craft.  It wasn't until I sought out formal training that I really understood how to approach material written for film.  It's really about having a respect for the craft and not assuming you can make it because you know someone else that made it without training.

EMGWorld: For those who don’t know, exactly how competitive is it to book work within the industry as an actor?

GC: It's as competitive as you can imagine.  I can't name another industry that's more competitive.  A very SMALL percentage of actors are actually able to make a living at it.  Out of 100%, maybe one or two percent make a living at it.  

“There will be prices you have to pay for the life you have chosen as an artist in entertainment.” – Gabriel Cassius, Blackboard Spotlight

EMGWorld: How pivotal was it to be apart of a Spike Lee film like Get on the Bus?

GC: It was extremely pivotal.  At the time Spike was one of the few African-American directors giving brothas a chance to showcase their talent and springboard on to other things.  I credit Spike Lee for where I am today.  ‘Get on the Bus’ was my springboard.

EMGWorld: What’s the best way for a newcomer to network within the industry?

GC: I don't know about networking.  There's no one out there to say "Hey I've been in this business for 15 years.  I've built up an incredible base with resources and now I want to hand it over to you."  There's no such thing.  People have their reasons for doing things.  If I'm a producer and see an attractive female I want to get intimate with then I'll get intimate with her and put her in my movie.  Other than that, I don't know anyone out there who's giving out breaks.  

EMGWorld: What would you say it takes to develop relationships with those people who have resources?

GC: You have to have something that somebody WANTS.  That's really what it comes down to.  That something could be talent, a certain look or maybe you're funny.  But you have to have something that somebody wants and be in the right place at the right time.  

EMGWorld: How would you say the casting process has changed since you arrived in the industry?

GC: I don't know how it's done today.  You have people who appear to be stars overnight.  When I came up it was about getting your pictures and resume together, send it out to as many agents and managers as possible and hope you get a callback.  When you get a callback, you then take a meeting with the agent.  The agent then sends you on auditions.  You show in your auditions why you're the best person for the job.  

EMGWorld: What was it like to work alongside Denzel Washington in the movie Fallen?

GC: Denzel was great.  Working with him on ‘Fallen’ was one of my best experiences in this business.  Denzel was very accommodating.  

EMGWorld: What’s the one thing you would warn other young actors of who hope to make a career in this business?

GC: I would tell them to look at the business as a whole as opposed to just as an actor.  Look to be CREATORS and sources of product than just taking acting classes saying to yourself, "I can't wait until someone writes me the perfect role and casts me in it."  You have to consider creating that perfect role on your own.  You can't expect someone out there to create the perfect role for you.  

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“I credit Spike Lee for where I am today.  Get on the Bus was my springboard.” – Gabriel Cassius, Blackboard Spotlight

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EMGWorld: Just how long would you say it takes to start seeing progress in a career as an actor?

GC: Don't give yourself a time limit.  I've heard people say, "I'm giving this 5 years and if I'm not a star I'll do something else."  You should go ahead and do something else now.  That attitude won't get you anywhere.  You're just wasting your own time if you feel there's a set amount of time you should make it in.  People like Samuel L. Jackson and Morgan Freeman were in the business for 20 years before you even knew their name.  You have to stick with it long enough.  This has to be something you're committed to for the long haul.  You have to commit to whatever it's going to take.  

EMGWorld: Would you say creating your own project is a quicker way for an actor to achieve creative freedom?

GC: Yes.  My best advice would be to also become a filmmaker and cast yourself in your own pictures because that is the state of Hollywood right now.  It'll take more work but it's the quicker route to creative freedom than just waiting for the perfect role.  You have to create your own opportunity.

EMGWorld: Would you say that's the most important lesson you've learned since you've been in the industry?

GC: Absolutely.  Creating your own opportunity is easier than sitting in some office and auditioning against 10,000 other people.  Don't be afraid to start SMALL.  Just start creating material and develop your craft all the way around.  In this industry, you have to consider becoming a jack of all trades.  People like Ben Affleck and Matt Damon are the perfect templates.  

EMGWorld: What’s one last suggestion you would offer to someone right before they make the leap of faith to Hollywood?

GC: You have to understand it's not going to be easy and this is a long journey.  There will be prices you have to pay for the life you have chosen as an artist in entertainment.  Don't look at the price as something forcing you to quit.  It's all about paying dues and understanding this is part of the price you have to pay for the life you've chosen.  Recognize it for what it is.    

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