Last year, I interviewed Grace Chin. A few years prior, I did quick simple interviews with the filmmakers and summed it up as compact as possible. This year, I went all out and talked to each filmmaker individually, then combined them together into this extravaganza. Saturday night at Crazy8s was something exciting for sure, the movies were great, the vibe was it’s usual dosage of lively, there was plenty of people to talk to and things going on. But I’m not talking about the event this year, I’m letting these 6 filmmakers talk about their experience that took place prior to the gala screening. Jackie Hoffart (The Reveal), Hannah Yang (Red Light Rebel), Samantha Pineda (My Mother The Zombie), Spencer Zimmerman (Headcase), Amanda Wandler (W7éyle Moon’s Wife), and Mia Petrovic (Our Monsters) each spoke to me at different times over the span of two days last week, and here’s everything they had to say to the questions I provided. Don’t go crazy over the amount of words. Articles like these can be tough, much like filmmaking.
HNMAG: Congratulations on having your film featured. How was the overall experience?
Jackie: Yeah, overall it’s been life-changing, I would say. The experience is kind of like nothing else, mostly in terms of the community support you get. That’s obviously the sponsors helping out with the camera and equipment packages, the locations packages, and there’s so many people that have been through the system. So there’s all these mentors set up, so there’s a lot of folks that you can reach out to for support. That’s really special, it’s a Crazy8s experience that you can’t replicate anywhere else. It’s pretty exciting to make it all the way through, and you have such a condensed time period. You have basically 6 weeks from them greenlighting you to them producing the film then actually filming. It goes very very quickly, and I had a blast.
Hannah: Wow, this experience is unlike anything I have ever done. It is definitely like testing you as an artist, as a person really because you are trying to capture, at least in my case, a very personal story and personal film in 8 days. Just because of the time constraints, I think it’s a very unique challenge and also because it’s a big event for the independent film community. Lots of crewmembers, professionals, sponsors, and corporations come together to help you out.
Samantha: Honestly, it’s been amazing. I was really surprised, in a very good way, by how much they support each participant from the moment you’re in the top 12. I’m very grateful for all the mentors my team and I had throughout the whole process. It really helps you build community. I felt very sheltered and cared for the entire time, and it’s not something I take for granted. It’s been a life-changing experience.
Spencer: Thank you, it’s been crazy. Like, you kind of never expect this kind of thing to take off when you’re making films and submitting to grant applications and programs like this, it’s like a numbers game and you’re just like submitting thing after thing after thing. You never really kind of expect them to happen, but you can’t because most of them don’t. But then, when it takes off like this, it’s really exciting and surreal and you kind of have to take it in stride. I kind of assumed the role of ‘Devil May Care’ like what if we didn’t even though I care deeply. I think that kind of helped because this relaxed confidence about the project which maybe was lacking in previous applications. I’ve applied to this a handful of times and I have never even gotten past the first stage. This one went all the way to the end so it was a really wild experience. The making of the movie was like one of the best filmmaking experiences I’ve ever had, it was supported really really well by really wonderful sponsors but mainly we had an amazing crew of people who had come on board and gave their blood, sweat, and tears to this project and I feel so fortunate to have had them work on this movie and have had the chance to work with them and make something. It’s been really good.
Amanda: I think the overall experience was great, I really got a chance to learn a lot about film that I had never really knew before, from script all the way to post-production. I had the chance to meet some amazing people in the film industry which is part of the great experience.
Mia: The overall experience was really good, it definitely was crazy, they didn’t shy away from the name there. Really jam-packed but it was a really fun experience.
HNMAG: Have you made films before this particular instance or is it your first time?
Jackie: I haven’t made a narrative short since film school which I did in 2012, so it’s been a while. But I did make kind of an experimental short in 2015 that went to a few festivals. Then I also made 2 seasons of a storyhive-supported production. It was more of a documentary style about comedians in Vancouver called YVR Funny. I have experience as an independent filmmaker, but this was my first big opportunity to make a narrative short.
Hannah: I made my first short film in 2021 through the Mighty Asian Moviemaking Marathon, a challenge held by VAFF. That allowed me to meet so many people in the independent filmmaking community, which also led me to making my second short film, The Principles of Greenology, with a humble budget of $500. Our DOP for Red Light Rebel, Marc Yungco, also lensed that film. I also have a passion for music video directing, and have directed music videos for local artists, funded by RBC x Prism Prize and Creative BC.
Samantha: Yes, I’ve made a couple of shorts before in other countries, but this is the first time I’ve done something this big in Canada.
Spencer: I’ve been making stuff since I was like, 12 or something. Anywhere like goofy videos and movies, they’re kind of all the same. But I think my really first serious effort was making a short in film school in my third year. That would’ve been 2019-2020, I made this sci-fi drama space movie about an astronaut who loses his crew and has to decide if he’s going to continue his mission or not. That was a great experience but it was a student film and it went through COVID. It was a long process and took years to finish and this was the opposite experience. This was my second real effort at making something, and this is obviously the opposite in which you do it in 8 days which is crazy but I think experience from that previous movie that took months and months and MONTHS to finish gave me the set I needed to effectively make a movie on a timeframe.
Amanda: I’ve made films before, it was good as well. I made a short documentary with Telus Storyhive and I feel like every filmmaking experience is a great experience. Then I also did a 48 hour film project which was just crazy. You have to write, shoot, and edit a short film in 48 hours so I feel like the Crazy8s offered a lot more time for us to be able to make the film in 3 days of filming and 5 days of post-production.
Mia: I have some experience in filmmaking but I don’t have experience in directing. This was my first directing venture, but I’ve done film work in a lot of other aspects before. I’ve been working in film for about 2 years now.
HNMAG: Was there anything you learned during the shoot which you’ll be applying to your film shoots in the future?
Jackie: Oh, certainly. Nearly everything (laughs) I mean, they always tell you especially as a director that you can never overprepare and I really took that to heart. Just really prepare as much as I could and part of this project was born out of being unemployed so I’m lucky I have a lot of time to devote to the project. I can’t actually imagine going through this process and having a full time job. Being able to be prepared for the shoot days but also for the editing days and post-production days go so quickly. You really have to be quite confident in your story and what you’re trying to tell. If you’re looking for something specific though, I think I learned a little bit about trusting my instincts more, so there were definitely moments even during filming in my mind and my body I felt like ‘Ooh, I might need this’ or ‘I think it would be good to get this’ and on some occasions I was able to get it and some I wasn’t. I felt it later in the editing suite where I was like ‘Argh, I knew I was going to mess up and I did need it, but didn’t get it’. Just trusting your instincts, especially on the day you’re filming is a good takeaway. Another small thing would be you can never be too early to organize a truck driver. We struggled to get truck drivers on our shoot, and it’s a critical role. Sometimes it’s thought of at the last minute, and so get those truck drivers early.
Hannah: Something that I’ve learned from this experience that I will be applying in the future, would be how valuable it is to explore and discuss the story and the characters with your actors as much as possible. Without your talent portraying your characters you have nothing. Really making sure you build up a bond and a trust with your actors is very very important.
Samantha: I not only learned a lot during the shoot but throughout the whole process. We were very lucky to have a very talented and kind crew. Choosing the right people for the film is key to making it work, and I’d love to bring the same team onto my next projects.
Spencer: Oh man, yeah. They say that 90% of directing is the casting of the movie, which is absolutely true because you can only tell an actor to do what they are able to do. If you have good actors, you don’t really need to give them much. But that same thing goes for the crew of the movie, the people make the movie. I can only guide the ship but you’re only as good as the people who are acutally moving the movie forward. 90% of directing a movie is also the crew that you choose so picking the right people, the people who you like and share taste with, and enjoy working with and are your friends, make an enormous difference then. I mean, if I could make a movie the same way we made this movie, then it would be such a pleasure and a privelege. I absolutely need to carry that kind of mentality into the next project I do.
Amanda: Absolutely, I mean I think that the biggest thing I got from this as a learning experience would be to prepare as much as possible. We did a lot of prep, but I feel like we could’ve done a lot more. Just prep and make sure that you’ve got everything you need to start the actual production.
Mia: There was definitely a lot that I’ve learned, mainly how to collaborate with a team from a leadership perspective and how to be able to take everyone’s ideas and turn it into something really beautiful.
HNMAG: What was the biggest hurdle you had to overcome?
Jackie: Funding was certainly a challenge. Basically, Crazy8s provides you with $2000 which is essentially enough to feed your crew and you have to sort of come up with the rest through in terms of your practical costs. Having to very quickly fundraise was the biggest challenge I would say.
Hannah: I think the biggest hurdle for us was honestly logistics of trying to secure some very challenging locations. I really wanted it to be practical and finding an intersection that was not heavily crowded or busy that was safe and wide enough, had the traffic light, the pedestrian light, was a challenge. Getting in touch with the cities and seeing which municipalities were open to an independent crew coming in that didn’t have a lot of money who wanted to shoot all night as well was very difficult. But we ended up working with the city of Delta after finding an intersection which took me about 150 hours of research on my end online and driving around in person. The city of Delta ended up being very accomodating of us.
Samantha: Time, especially in post-production, as we had only four days to complete it. Coming from such an intensive pre-production and shoot, by the time you reach the coloring and sound mix, you’re already very tired, and post requires a lot of attention to detail.
Spencer: The biggest hurdle is getting it through the pitching process and getting it into making the movie. Once it’s greenlit, it’s kind of on rails. You get a timeline, you get deadlines, making the movie is challenging, you don’t have that much money and time, and you don’t have that many resources. But then, every movie ever doesn’t have that much time or money ever, you always need more of those things. The making of the movie was challenging, we had a lot of locations. I think there’s like 6 or 7 different locations in the movie, so each day we were at 2 different spots. We had to structure the movie so we could shoot 2 locations a day, and locations that would serve 2 different purposes each day of the shoot. That was obviously a big logistical challenge, takes forever to find locations because you’re driving around from spot to spot but that’s just making a movie. Making a movie is hard no matter what.
Amanda: Definitely the time crunch aspect of Crazy8s, but at the same time I got to thinking of would I have been even able to do post-production or something where you don’t have a deadline, it’s like it goes on longer maybe if you hadn’t a shorter deadline, so basically the biggest hurdle was time, especially when we were doing filming because it was three days and at the end we were rushing to get the shots that we needed but yeah.
Mia: The biggest hurdle I had to overcome was sort of my own anxiety about film and creating the film and whether or not I would do well and how I kind of react to it.
HNMAG: Did you have to balance finance carefully or did you find the sponsors to be very generous?
Jackie: We were very lucky to have quite a few people be able to support the film finanically so we were okay in terms of fundraising but the credit card still needs to be paid off so there’s still some ways to go in terms of fundraising and never mind, like future submissions to film festivals and entry fees.
Hannah: Yeah, oh my goodness. Crazy8s provides a lot of crazy amazing and kind support, sponsorship in the form of gear, locations equipment, cameras, and as well as $2000 cash. The rest is up to the team, and in this case, executive producer as well. It was my responsibility to fund it. I’m just one person and to use my personal savings for this film was scary. I think in order to do things well in that situation is you need to have producers who you trust wholeheartedly and have your film and best interests in mind who are just really great at their jobs.
Samantha: The sponsors were very generous but we did have to be careful with the financing. I was very lucky to have three amazing producers with very different skills, and they managed to secure some other sponsors and organize a private fundraiser. It was challenging at times. I’m very grateful for all the work they did and how they handled everything.
Spencer: Oh yeah, absolutely. The challenge of Crazy8s is you get an equipment package and a lot of industry support, but only get $2000 cash and you get three days to shoot, 5 days to edit, that’s it. So any movie is hard to make but of course, when you have these really specific timeframes and budget numbers, it kind of takes the challenge into new territory. You have to get really creative with how you’re pulling stuff off. Finding ways of getting favours from people and saying ‘Okay, I can’t pay you with money but maybe I can pay you in another way. Maybe we can trade favours, I can put your logo in the movie or maybe you can be a producer.’
Amanda: Yeah, so the Crazy8s do provide $2000 cash but they also provide a lot of sponsorship, $5500 of equipment sponsorship. I also did provide some of my own funds as well for the production because this story was really important to me and I really wanted to do to make it the best that I could. The budget balancing is definitely a big part of the hurdle as well when you’re creating the film.
Mia: I think my producers did a really amazing job of pulling that so I didn’t have to focus too much on the aspect which was really nice. My lead producer ended up funding a large portion of it, we got a lot of sponsorships and some donations so that really helped out a lot.
HNMAG: Doing it in such a short time must’ve been streneous, but do you think you could pull off equal results in a shorter period of time?
Jackie: I can’t imagine a shorter time period of 6 weeks of prep, and 8 days to get a film finished. I’ve taken part ages ago in weekend filmmaking compettions and those are always really fun. But it’s always good to be able to like just get enough of everything that you need together to get organized, prepare properly with costumes, make-up, and produciton design. Be able to sit down with your DP and discuss the shots, lighting, and that stuff. I don’t know if I would want a more compressed experience than this. I don’t feel hungry for a shorter experience than Crazy8s
Hannah: I don’t think so, I don’t think film is one of those arts that are meant to be rushed. It can be and it’s a good challenge, I don’t think that’s necessarily how you make your best work, and how you express youself in the best way. The reason why Crazy8s is still a valuable experience because their ability to bring together a community for you and for you to give back also and connect with other people and find other filmmakers trying to do the same thing is invaluable.
Samantha: I don’t think so.
Spencer: Shorter? No. I think this is the shortest I would be comfortable making a movie. But what’s interesting about it is you have three different days to shoot, then 2 1/2 days to edit, then another 2 1/2 days to do the other post-production stuff, so your sound-mixing, colour, visual effects, all that stuff. The three days to shoot really isn’t that crazy, most short films are shot in 2 to 3 or 4 days, so that’s kind of like our course with any movie. We did have really full days and a lot to shoot, but it wasn’t like crazy-crazy. What was crazy was we had less time to edit the movie then we had to shoot the movie, and we had less time to do the music and visual effects. That usually takes weeks or months on a film like this, and we had 5 days to do all of it. I think that was the hardest part in a lot of ways, getting through that section of it and kind of really being like ‘Okay, all of the effort, weeks of preparation, days of shooting funnels into 2 people in a room together fighting against the machine to wrestle the movie into something watchable and unique in less than 72 hours. In a lot of ways, that’s probably the most challenging part of doing it. Would I do it again? In a heartbeat, it was so much fun. Would I do it in less time? Not a chance.
Amanda: I feel like it was fun, being it was a challenge. Going forward, it’s nice to have time if you need it, so I would say I would lean towards time if I need it when I’m working on a film.
Mia: I think I would prefer a little more time, I think I could do something pretty good in a shorter amount of time. I think we did a really good job considering the fact that our two lead characters were minors.
HNMAG: And what kind of equipment were you able to use? Did you have some of your own or look into other resources?
Jackie: Thankfully, part of the whole process is that we’re paired with gearhouses who supply us with equipment so we were prepared with SunBelt LES and shot on an ARI Mini. The gear was all provided, you can’t beat that. That costs so much money.
Hannah: So I’ll start with camera, we were sponsored by Inspire Image which is a camera rental house in Vancouver. They provided an ARI Alexa which was beautiful, provided a good image. Everything we needed to lens this film, and for grip/lighting equipment, all that was provided by SunBelt. As well as Sparky’s which is a local rental house as well. Also supported by Enlarge Vision, they are owned by people in the industry here and they are so suppotive, small but mighty. But we also have big companies in the city who work with huge productions who are willing to give us a hand.
Samantha: We were sponsored by Keslow and other companies. We used an Alexa Mini with anamorphic Kowas. I wanted lenses with texture and bokeh because I was going for a tale-like feel. We also used the DOP’s Alexa Mini as a second camera for our splinter unit.
Spencer: Yeah, we got really lucky. We had really wonderful sponsorships through Crazy8s, so Panavision sponsored our camera equipment so they gave us an excellent badass camera called DXL2, it was huge, a large format camera mainly used for visual effects stuff. I think it was mainly for David Fincher in Gone Girl a way back. It was just a dream to use a camera like that, it was so cool, it really makes you feel like you’re making a real movie and we had these really amazing pannings. Everyone dreamed of making a moive with a Panavision camera so that was really really cool. Then MBS was our sponsor for the equipment and electric stuff so they gave us this amazing grip and electric package. That gear is kind of standard in a lot of ways, but what we were doing had a lot of weird specific pieces and were able to pull through with those things, and so I mean anytime anyone gives you anything for free, it’s amazing. But in this case, in particular, we were really fortunate to be with MBS, then Whites or Sunbelt, provided locations equipment which again, is so important when you’re shooting a movie like this. We were outside for half the shoot, which means you just need way more stuff. Set of tents so people can be out of the rain, you need carpets for the inside of the houses that you go in, because you don’t want to track mud inside and you need all this gear to make it possible for a crew to be there for the day that they’re there. I think you can really underestimate how important locations equipment is and we had an amazing sponsorship with them.
Amanda: Yeah, they provided a lot of equipment. I don’t have a lot of techinical knowledge of all the equipment that we use. Our DOP was on top of that, and our sponosrs provided us with all this amazing equipment which i feel like we were able to use and the DOP did a great job. I think we made a great film for the time and budget.
Mia: For the camera, we had a Venice 1. It was really cool since we were doing animations we had to have something make proxies at the same time. For the other gear, we had the Cook Anamorphics which were really beautiful and they made such an amazing job to bring anamorphics to life for the film.
HNMAG: How many members did your crew consist of, and how did you find them?
Jackie: We had something probably around 100 people who were reached out to even beyond set, on-set we had about 40-50 people a day. It was a pretty big crew for a short film.
Hannah: Our crew on the biggest days was I think about 80 people. In terms of finding crew, it starts with the head of departments so I like to interview my HOD’s, and was about finding somebody who already had an idea of what I was trying to go for. If they didn’t, could they pivot, or could we riff back and forth? Could they organize and what was their exprience like? So it was pretty much like a job interview and that was by means of industry connections or contacting people that I heard of. Then from there, they were hired as crewmembers and found people within their departments.
Samantha: I wanted to have a small crew, but it just kept growing and growing, we ended up with 50 to 60 people. I had some crew on board when I applied to Crazy8s, but most of them joined through recommendations or personal connections. I was looking for a certain vibe on set and wanted people who were not only amazing at what they do, but above all, kind and calm. In the end, it paid off, and I think we all had a great experience working together.
Spencer: Kind of like fluctuated day by day, so I would say like 40-50 people. I think that’s including cast, like maybe 55 with cast on some days. I have worked in the industry long enough to have a lot of friends who work in the industry as well and kind of the fortunate thing about being in my position was I was out of school for like 4 years now. Everybody who I went to school with and my friends who I kind of come to know in Vancouver, they kind of found their spots in the industry and have kind of become professionals in the things that they do. I was really lucky to have a lot of friends who are just professional arts people, special effects people, and people who want to come out and help on this movie. There’s just like a handful of things where you have to sort through things like call, email and beg somebody to help on this project. It’s the stuff like the special effects and makeup, stuff that I don’t know. But thankfully, I did know one person through the company I work for. I owe great thanks to Chris Ferguson for making that happen, and for being willing to make this amazing prosthetic head for the project.
Amanda: I think it was approxamitely 44 people including cast and crew. That was a bit of a challenge for me because I live in Kamloops, so we obviosly had to shoot in vanocuver. I met with some producers and they were able to recruit some of the people that they knew and were available and willing to donate their time. Then we had an amazing casting director who helped us with casting.
Mia: We had about maybe 60, somewhere around there. How we found a lot of it was that people we knew, people that reached out to us. Or people producers knew, since I trusted my HOD’s I allowed them to pick their own team and go with who they trust.
HNMAG: And locations, how were those found? Did you come across them in the past?
Jackie: We were really really lucky to be able to film in Little Mountain Gallery. We had two locations: a comedy club and then a house that contained all the rest of the location so we were able to get LMG to come on as a sponsor, and so that was incredible. Then on top of that we also had a family whose son is a comedian and so the comedy community came otgether to support this project. It was a family out in Port Moody who volunteered their home and we had never been out there before. They didn’t know us, they just saw our call out on Instagram and vounteered which was kind of insane and is totally amazing. We just got really lucky because it was a cute house and there was a lot of set dec we could already use, and had everything we needed.
Hannah: Locations was our biggest challenge, I already spoke abou the intersection but our other biggest location was a church. I wanted find a small humble community church. There are a lot of those in Metro-Vancouver, however it is quite a bold ask to go to a church and ask if you can film something that challenges their institution and might create a little bit of controversy. We were actually rejected by a church because they didn’t agree with the POV of the film. That was both like a very emotional and professional challenge for me. I wrote about my own personal expereince but having that rejection from a church where I wanted to tell my story was really hard. We ended up finding the Vancouver Unitarian’s church and they were very open and accomodating of us.
Samantha: Locations were a real struggle, as I was looking for a specific kind of house with character. Our amazing location manager, Owen, found a gem in New West, but the permits were challenging, mostly due to time constraints. We basically locked the house just one day before the shoot.
Spencer: Honestly, everything that we found was a new location that I hadn’t seen before. We checked out a lot of the old locations that we had used on previous shoots or had seen people filming at before, didn’t really fit the bill. But we had an incredible locations manager, Brooke James and she did an amazing job helping us find and secure these locations. Our main spot was this overpass where we had a big chunk of the movie taking place. We found that scrolling around on Google Images, and then we decided that was the spot and if we could make it happen. Then we had this amazing restaurant, and that was a real challenge because it’s hard to ask a restaurant to be closed for 6 hours while you film there. It has to be a specific kind of window that works for them, maybe it wouldn’t have been open anyway which was what happened with us in the lodge. With us filming in there, they kind of wanted to be a sponsor in Crazy8s and kind of get their name out there in that way, we needed a really specific restaurant, it can’t be any restaurant kind of like a higher nicer place, it had to look fancy and there aren’t many of those that are open to doing what we’re doing. Then the other main thing was this house that we had to have. It was very specific, it needed a driveway, and doors kind of lined up in a certain way to facilitate blocking. The owner of the house Janice was so welcoming and I think she had a great time with our crew.
Amanda: Locations were quite a difficult feat for us, again because I don’t live in Vancouver, I don’t have connections with people willing to use our locations but we did have one of our producers scouting for locations, and then our creative producer offered a house for us to use and it was an inlaw’s house. Then we were looking at a bunch of parks which could double as cemeteries, so then we settle don a park in North Vancouver just bceasue it was a beautiful park and great location.
Mia: A lot of searching, one of the owners of the house we ended up with working at, we found out when we got there we realized the owner was one of the actresses of one of my producer’s films. That was pretty cool, it worked out that way. We mainly used soundscouter to find our locations.
Amanda Wandler – Write / Director / Producer
Crazy 8’s Film Society
Photo by Craig MInielly
HNMAG: Now how much planning went into the original concept before you pitched to Crazy8s?
Jackie: Co-producer Gillian Bosale and I developed the idea together so we sat down and decided to put together a Crazy8s pitch. Basically we just sort of tried to merge things that we were real and happening in our separate lives. For me, it was that I was starting to take testosterone and was paranoid to tell my parents, and for her it was that she was pregnant and thinking about having a gender reveal party. Of course, I had some issues with that, some questions about why you would want to do that. Out of that kind of conflict came the story. It wasn’t really a long jestation in terms of story writing, so from September it was mostly writing to October and I was still doing drafts in November. Revisions came along till we got to the top 12 and then with the story editor we did more revisions. There were small revisions throughout the production process to the script.
Hannah: I had this idea about a year ago, and then I started developing it. So writing drafts, writing my directors’ vision about a month ana a half to 2 months before Crazy8s. I would say it’s about a year in the making since it’s conception.
Samantha: Not much. Loretta, the writer, had the script for a while, and we were already looking for funding. When the opportunity with Crazy8s came up, we were mostly ready to pitch. I did the first video pitch on my own, and then we worked together on the in-person one. The script changed quite a bit from the original version. It started as a horror-comedy but slowly evolved into more of a drama with magical realism. I really wanted to explore the subject of grief and the chaos that comes with losing a family member, and focus more on the mother-daughter relationship.
Spencer: Like almost none, the idea came from Pat, he’s the co-writer and he plays the talking head in the film. He basically reached out to me a month prior to the deadline and asked if I was interested in doing Crazy8s and things like that happen all the time. You write a concept, and it usually never happens. Pat emailed me this idea and I was down to do it. I kind of came over the night of the pitch and we basically just cranked out the whole thing in one night. We just decided to wing it and see what would happen.
Amanda: I spent a lot of time, quite a few hours coming up with the concept. It actually started off different from my original pitch because I worked with the Crazy8s provided mentors to develop the script further and bring it to that next level. I think the script ended up being a lot better with the help of those mentors. It was like definitely a lot of hours, rewrites, to come up to the final draft of this cript and we were still making changes up to a couple of weeks before the shoot on the script.
Mia: A lot of planning, around 8-10 months. I went through maybe 13 drafts where I got to the point where I thought I can pitch. I had all my crew and producers before we even got to the top 40 stage.
Wow, that was a lot of info, don’t you agree? Well, Crazy8s was still eventful and by the judging of all these filmmakers they had quite the experience. I myself had a real experience at the gala and the afterparty. But everyone knows that goes. Crazy8s has that kind of environment where you recognize just about everyone and it’s the best event you could ever go to. This interview was certainly like no other, but keep an eye out because there just might be more! Shawn Bordoff is looking into conducting interviews as well, so keep an eye out for those. They just might get even more info. Let’s also keep watching for more Crazy8s in the coming years. The content is getting better and better.
