An Interview with Ritchie Anasky (Part 1 - Vision) Josh Darling has been contributing to Critical-Film.com more and more frequently, including a fantastic article documenting three films every aspiring director needs to see. His first interview for Critical-Film is a three parter with independent film maker Ritchie Anasky, writer/director of Actress Apocalypse. Actress Apocalypse was one of the three focus films in Josh's fist article "Three Films for Directors", alongside John Waters' Cecil B. Demented and Tim Burton's Ed Wood. . Part One - Anasky's vision and approach to film making. Part Two - Making "Actress Apocalypse". Part Three - Anaski's future projects.

JD: What was it in your life that said to you: “I need to make movie?”

RA: To be honest, it's when I learned it was possible...

To be a bit more precise (and for the sake of giving an answer with a bit more substance)... The catalyst (or synchronicity?) was a stroll into a Barnes and Noble in Orlando back in 1993. I spotted an issue of "Film Threat Video Guide" (a mag I'd never heard of prior) which featured this insane gore drenched Leif Jonker/DARKNESS cover story. Needless to say, I bought the mag and was very much inspired by the article about Leif and the making of his film, "DARKNESS"... The magazine also introduced me to the micro budget level of film-making... All of a sudden, making a flick didn't seem like this 'far out' dream (like I'd made it out to be)... There were guys and girls all over (with similar film-making ambitions) following their dreams and visions and making movies through sheer determination. That was it... My sign... I wanted IN and from that point on, every step I took was directed towards satisfying that *need* to make a movie.

Before moving forward, I need to give massive thanks to Leif Jonker... I actually gave him a call soon after reading his article and he was incredibly cool and helpful... A fountain of information regarding the entire process of making a film. Lots of the dudes making indie films these days seem to fancy themselves some sort of *celebrity* (due to their own self hype) and can't resist blowing their own horn every 5 seconds... Leif never came across like that and I remain incredibly appreciative to him (along with directors Tim "KILLING SPREE" Ritter and Ronnie "SINISTRE" Sortor) for the time they all took in helping me when I was starting out.

Anyway, all my life I'd been a creative type... Always had a camera in hand to capture or arrange crazy scenarios with the friends. Always big on capturing and documenting the moment... I actually first got the thought of making films on my own back while still goofing off at Riverhead High School in the 80's. I was inspired by the music of my fav band (Witchfinder General) and a love for the early 80's slasher flicks and entertained thoughts of how to combine the music with a movie... It was more a "wouldn't it be cool" kinda deal as opposed to something I actually believed I could accomplish.

JD: What was the first day of shooting like for you, or rather, what was the first day of being a director like for you?

RA: The first day of being a director on "I AM VENGEANCE" (original shoot back in Feb 1998) was pretty much an indescribable moment in my life. I mean, it was the realization of a dream, ya know? It's hard to put an experience like that into words. It was a long road leading to that actual moment and I was thrilled to be sharing it with a team of *class* people who'd been with me throughout the highs and lows of building the project. It was kinda surreal to have gone from the guy always talking about wanting to make a movie, to actually BEING there IN that moment and calling "action" for the 1st time....Seeing the actor sitting on the swing with the gun to his head (as was written in the script)... Man, it was too much... Just amazing to see.

If this question was in reference to the 1st day of directing "AA" (Actress Apocalypse)... Man, TOTAL opposite (of "IAV") on every level... I had ZERO enthusiasm going in and I was already regretting my involvement and wishing it was over before we even started... To make a long story short... We got off to a really atrocious start... Based on how wretched things went that first night, it's really a minor miracle that the movie was ever finished.

Day 2 of directing "AA"... It was like being transported to a different film... Things started looking up (well, as up as things could look while making "AA").

JD: What is your favorite aspect of film making?

RA: My favorite aspect of film-making is watching the figments of my imagination come to life before me... Watching the actors breathe life into the characters I created and then taking them to new levels through their own unique interpretations.

Outside of that, it's when things are happening... When things are really coming together and you're sharing the movie making experience with a like minded group of creative people. I've only experienced the process at its BEST on a few occasions but man, it's what keeps me going. I really love the teamwork aspects of making a movie.

JD: How much of the film for you is envisioning camera work vs. envisioning the edited finished product? I only ask this because your editing is wildly kinetic.

RA: With "AA" I always had my eye on the edited finished product while shooting and the challenge was just keeping on top of everything. The main thing I wanted to do was take all my 60's/psychedelic/LSD film influences and apply them to the documentary format... It had never been done before and I wanted to take to the risk... Do something a bit different, ya know? I also knew I wanted to carry on a fun little conversation with the viewer via subliminal comments (which I spread throughout the film) but unfortunately, I don't think many people caught on to that.

I was basically doing everything on "AA" that I'd planned on doing for "I AM VENGEANCE".

JD: What do you think the balance between the director's personal vision vs. the considerations of the audience are?

RA: I feel that the following quote by Mrs Anna Brownell Jameson say it all.... "He that seeks popularity in art closes the door on his own genius: as he must needs paint for other minds, and not for his own."

Anyway.....

At the micro budget realm of independent film making, I feel that the director's vision should be the primary focus as the films are labors of love rather than soulless *products*... This is where a director can really define him/herself artistically and I feel like one would cheat them-self by not taking full advantage of that opportunity. It's no secret that there's not a whole lot of benefits associated with being a no budget filmmaker but ONE thing we've got is a freedom for true self expression. We're able to experiment and take risks... We're able to tell stories (no matter how outrageous) from our own unique point of view and without the hassle of some idiot(s) meddling in our business for the sake of satisfying their own ego. We can actually go out and make the movie that we ourselves would want to see... I mean, ya gotta be real, ya know? These films have very limited appeal (it's a bummer, but it's true) so one might as well toss caution to the wind and just follow their own vision and remain hopeful that someone out there will connect with it or that the *right* person will see it and dig it.

Beyond that, I really feel that trying to envision or predict what some hypothetical audience wants is nothing but a recipe for absolute failure. You're basically castrating your vision right at conception because you start making choices based on what these imaginary viewers 'might' like... There's NO way to predict how any movie will go over with people, so for better or worse, I think the director just needs to be bold and do his or her own thing... While it's obvious that the no budget film-maker can't compete with the studios in terms of overall resources or hype job celebrities (etc- the list goes on -etc), they do have the ability to deliver a film with some actual substance and cinematic soul... That can give a film (no matter how low it's budget) a *chance* to stand out and maybe stand the test of time....I think the key is to take chances, experiment and not over-think everything. Remember, it's often the flaws that *make* a movie special to it's fans.

JD: Sometimes when working with a collaborator there is personal sacrifice that's involved in the process, but there is also gain when the ideas begin to hybridize. What would you say your biggest gain or loss would be?

RA: Collaborating with a partner is either the best or worst of times. At it's best, you have someone there keeping you motivated and helping you to enhance and elevate the material. The gain is in a situation like this is obvious.  I'm very fortunate to have an excellent collaborating partner in Greg Freeman (Vance from "AA") that I'm very much in synch with. There's never been any *power struggles* or personal sacrifices and the process of writing together is always a lot of fun and up-lifting. I can't wait till we get a chance to sit down and go back into the creative 'think tank' (as he likes to call it).

At it's worst, you might deal with someone who always thinks they know best and the experience is just a monumental waste of time. Every idea you offer, they'll know better and so on and so on... *Collaboration* under these conditions is akin to just banging your head against a brick wall.