Frightfest Interview: Edwin L. Marshall | Executive Producer, After.Life

 Hi Folks,  

It’s time for yet another musical interlude… no, no it isn’t.  As the Frightfest line up has been confirmed I thought I’d try my luck by going after some of the people behind the films.  Yes I know, thinking big and what better place to start than with a film I’ve been looking forward to for some time. After.Life.  

After.Lifefeatures an all star cast and tells the story of Anna Taylor (Christina Ricci, Speed Racer) who finds herself in the care of Undertaker Eliot Deacon (Liam Neeson, Star Wars Episode I) who tries to help Anna come to terms with the fact that she has indeed died in a car accident. Unfortunately for Anna she has trouble letting go of her earthly ties and trapped in the funeral home she tries to reach out to her boyfriend Paul (Justin Long, Drag Me To Hell).  Things go from bad to worse for Anna as time passes and this feature debut for director Agnieszka Wojtowicz-Vosloo packs all the right punches.  

So without further ado, I introduce you all (via e-mail) to Edwin L. Marshall Executive Producer of After.Life and now a debut director himself of Pastor Shepherd.  

Hi Edwin,  

DAMW: I guess I should start off with the obvious question.  What is it an Executive Producer does? I don’t have a clue.  There seems to be a lot of names listed as Producer on the After.Life imdb credits. Why so many?  

Typically an Executive Producer in features brings something to the project that helps it become a film. E.g., money, talent attachments or material. How the EP does that varies widely.  

DAMW: We also see a lot of celebrities like Jennifer Love Hewitt and Alyssa Milano gobbling up Executive Producer credits on their respective TV shows.  What’s that all about?  

In American television the EP is different than the same title on feature. In television the role of the executive producer is similar to what a producer does in feature. A producer in feature manages the day to day decisions of producing the film. Ironically, actors sometimes take EP cards in TV for the same reason they will have them in film – because they signed on to help get the project funded. But their role is closer to that of a feature EP.  IMHO  

DAMW: Okay, Okay so I lied about not knowing much about what an producer does but I thought it would be interesting to see how you viewed the job.  

Actually, even Producers don’t always know what a “producer” does.  It can be a rather vague title.  I like to say a producer does everything and nothing at the same time. Really. Think about it. They do not act in the movie, or write it (sure they might write, but then they are a writer that also produces, or a producer that also writes). They do not direct it (same rule applies as the writer remark). My wife is a public school teacher. So, I get asked the “what is a producer?” question quite often by her teacher friends.   

I answer, “A producer is a lot like a principal of a school.” The principal must be credentialed to teach and can teach students but needs to be in the office making sure that the school operates smoothly so the teachers can do their job. The principal has to do a budget for the school year, and keep the school on track with that budget. They have to make sure the day starts and ends on time. The principal makes sure the janitor shows up, the lights are on, the cafeteria serves food and all the day in day out details move forward. The principal/producer is there long before and long after everyone has gone home. Long after everyone goes onto other films. Long before most of the cast and crew come onto a film. The producer is truly the one constant in an “independent” industry of free-lancers.  

DAMW: How easy as a producer was it to get funding for a film like After.Life?  

One of the main tasks of the independent producer/s is to secure financing for the film (that, in and of itself is what defines them as independent). For every film, that is probably the most difficult part. Once the talent was in place for A.L it became possible, but it is never “easy”.  

DAMW: Is there a particular genre that investors are more interested in funding than others? Where does the money lie? RomComs? Horror? Thrillers? Porn?!  

Investors tend to be interested in films (genres) they like and business models that make sense. Dramas and comedies probably have a better chance of falling into the “like” category. But, horror, action & thriller gets the investor’s attention in the business side of things. The World Market (outside of the U.S & Canada) is where much of the sales can be found for independent film. That market typically does not respond best to U.S. comedies or dramas (since American issues & what makes us laugh are usually different). Essentially, the investor has a similar dilemma to that of many independent filmmakers.   

Do I go with my heart or my bank account?  

DAMW: Dealing with external investors have you ever had to deal with any that have wanted to have creative input into the work?  

Constantly.   

That is why most investors get involved. We work in one of the most creative and fascinating businesses there is. That is why you and I are here. If we just wanted to make money, we would find easier faster ways to do it. I have had investors that want to have a role in the movie. I have had ones that expect us to shoot in a certain country. They like certain directors, actors, writers.   

I am meeting with an investor currently that does not want to change or effect the story, but he is very interested in hearing the passion that the director, writer and star have for the project. (I have set up the meetings for the investor, director & writer today.) It might, on the surface, seem like he is only wanting to make certain that those individuals “like” the project. But, trust me, this guy is very smart and he understands that, if these individuals do not know their business and they do not have a passion for the project, then the film will not be imagined (created) on the screen. This investor will ask us to replace any individual that he feels does not fit the film. I am not concerned, they are all very good at what they do and the investor will like them. ; )  

DAMW: Did you as executive producer get to have a say in any of the creative points at any time during the production of After.Life?  

From day one I liked the script. So, I worked with the director to help the film attach talent and secure funding.  

DAMW: I hear Christina Ricci spends a lot of time very pale and naked throughout the film, did you make any set visits on the days that she was doing the ‘Necro Norks’ scenes? (Necro Norks, I apologise, I’m very crass)  

Christina seemed to be comfortable in her skin. She is a professional and was in a role that required nudity. She never made the request that we have a “closed set” during the nude scenes, however out of respect, only those that were essential to the scene were on set during those moments. My name is not Justin or Liam, I do not run camera or sound, so no I was not on set during the “Necro Norks” scenes.  

DAMW: I understand that it can be difficult to find a distributer to get films like this a nationwide release in the US, Adam Green had issues with his film Frozen which due to fan support ended up being shown in more cinemas than intended.  

Were you disappointed that After.Life had a very limited run in US cinemas, especially as the cast is just immense, Justin Long, Christina Ricci and Liam Neeson in the driving seat?  

The Theatrical presentation of a motion picture is what every film strives for. But we are in an age where many people are not going to movie theaters as much. And, many homes are installing their own mini-theater or home entertainment system. So, for me the bottom line is whether or not people are watching the movie. “After.Life” will be seen by MANY people on dvd & vod.  

It is rare today that independent films get large theatrical releases. More a sign of the times than whether a film is received well, or not. In some ways, the independent film gets “it’s day  in court” more today. Since, there are so many ways for it to get out there and be seen. Imagine the late 70’s just before the introduction of the VHS player. And, as I am sure you know, if it were not for that device, we would probably not have “Blade Runner” in our library of all time great films. BR received a VERY limited theatrical release.  

DAMW: On the flip side, how do distribution deals work for films like After.Life?  

There are more ways for distribution to work out than making a movie. Bottom line is sell the movie. If you do not do that, it was all for not.  

DAMW: With the release on DVD/Bluray scheduled for 6^thSeptember here in the UK, some of us will have the chance to see the film on the big screen at Film4’s Frightfest.  Frightfest for me, as a fan of horror is the biggest event on my film watching calendar every year, as it is for many others.  With news that After.Life has been accepted to be shown on the discovery screen, how does it feel for you to see the film being appreciated by festival organisers and hopefully genre fans around the world?  

I think it’s great that “After.Life” will play such a prestigious and appropriate festival. I am a huge festival fan. I haveattended festivals in many parts of the world. My favorite one in the U.S. where I live, is Telluride. It is a pure celebration of film that I try and attend every year.  

DAMW: Another thing that piqued my interest was the fact that Director Agnieszka Wojtowicz-Vosloo has only ever done one short before this feature according to imdb, what is the process for a director becoming attached to a feature and how did Agnieszka get the job? 

Agnieszka and I met in Sundancewhen her short film you referenced, “Pate” premiered there. I was impressed with her talent and we became close friends. She wrote “After.Life”  with the intention of directing it.  

The Silly Section  

DAMW: What would be your favourite film of all time and why?  

Depends on the day you ask me.  

DAMW: If you could be an animal what would it be and why?  

Human. We have opposing thumbs that allow us to hold cameras and make movies.  

DAMW: What’s your personal motto? i.e. Look Before You Leap / Life Is like a box of chocolates yatta yatta yatta.  

Measure twice, cut once.  

And Finally:  

DAMW: For you, how was the leap from Producer to Director with your film Pastor Shepherd? Can you tell us about it?  

Like everyone in production (well, almost everyone) I got into film assuming I would direct. Ten years later I realized that just wanting to be a director does not a director make. While on that journey I realized I liked producing, especially working closely with writers and directors. Helping them realize their vision can be very gratifying experience. In the year 2,000 I began calling myself a producer, rather than saying “I want to be a director.” It was very liberating to embrace what I enjoyed and could do without anyone else’s permission. To produce, that is.  

Over the years I have learned much from the decision to produce. I like to think I have become a better “filmmaker”. So, when I was at Sundance 2009 and an investor said, “Hey, I like this ‘Pastor Shepherd’ project and I want to fund it, but there are two requirements.” The first one was we had to be shooting that Spring and the second was I had to direct it. I thought, whatever it takes to get a movie made…and I said let’s go. Even though the script was not done and I had never directed a feature. As a producer I would have said, “Nah, not a good idea.” But my “I want to direct.” side kicked in.  

I did not realize how much I would enjoy directing. It has been one of the best experiences of my life. At the end of the month the film plays at a festival in NYC and I was just old it is playing another festival very close to where we shot it. I really savor the purity and raw nature of the film going experience that are at festivals; I believe there probably is not a greater experience than to have a film you worked on play in a festival.  

We just sold “Pastor Shepherd” to Synkronized and I am in the middle of delivering it. That is a large amount of work for such a small film (under $1m). If I had not done it as a producer already on other films, I would probably be freaking out as the director, but since I am also a producer I sort of enjoy the process…in a masochistic kinda’ way.  ; o  

DAMW: What’s next for Edwin L Marshall? Producer, Director or even acting wise? (Yes I spotted that one acting credit)  

Ironically, I got into film while taking an acting class in college, because it was required from my Speech class. I read for a Ray Bradbury short these independent film studies students were shooting on 16mm. I got the role, it was a monologue called “The Wind”. So, I had to show up everyday for five days and would sit on my mark in this closet and watch while they were “getting the shot ready”. I fell in love with what I saw them doing behind the camera and changed my major to film.  

Today, I do not pretend to be an actor. I did a bar scene in “The Last Word” (the role you mention above) with the EP of that film just for fun. Or, was it to network with future funding relationships?  ; )  

What’s next? In 2000 I started Harbor Light, a boutique development company in Los Angeles. We have a couple dozen projects working towards funding and production. Hopefully, at this film festival in NYC I will run into an Investor that is interested in one of them. And, he/she will say, “….but I have a couple of requirements.”  

And that’s it. The pain is over, the questions have come to an end and I thank you from the bottom of my heart sir for taking the time to answer an amateur bloggers questions. That was Dog Ate My Wookie interview number 3.  Three is a lucky number isn’t it?  

If you want to see what Edwin is up to check out the links below:  

• Pastor Shepherd Facebook Page
• IMDB Credits Page
• US After.life Bluray Order Page
• UK After.Life Bluray Pre-Order Page
• After.Life Trailer
• Frightfest

Puppy’s Closing Notes:  

I have to say that this was so informative that after reading it, I was considering sending an email Edwins way and asking him to adopt me into the Harborlight machine.  Of course having no money to get to LA or means of getting a visa, the expense would be all his.  I think I’m worth it and I’m sure some of you agree.  At the tender age of 29 (turned old on 3rd July) I thought to myself; had I read this five years ago I may have taken a risk and tried a career change however, I now fear it is too late for me.  Save yourselves, if you take anything from this interview let it be that if you put your mind to it you can achieve a really nifty career.  

Damn my slacker attitude, damn it to hell!  

I just want to thank Edwin again for taking the time to sit down and respond to my questions.  The problem with e-mail interviews is you can never ask follow up questions to the answers above as they’re written and you only ever see the finished product.  One day I’ll invest in some recording equipment so I can do these interviews in person or over the phone but then my Jersey schooling in etiquette would prevent me from asking a crass question like the “Necro Norks” one above… I really need a T-Shirt with that slogan on, it came to me when I saw a still from the film on the internet.  

Really, I should stop rambling now.  I loved every second of reading that, I hope you did too.  

Leave a comment below or on twitter… you know where to find me.