This is a transcript of SYS Podcast Episode 135: Writer / Director Curt Wiser Talks About His New Film, Cam-Girl.
Ashley: Welcome to epsode #135 of the “Selling Your Screenplay Podcast.” I’m Ashley Scott Meyers, screenwriter and blogger over at www.sellingyourscreenplay.com. Today I’m interviewing writer, director Curt Wiser, who wrote and directed the new film, “Cam-Girl.” He’s great example of someone who is building a career for himself who livesb outside of Los Angeles. He lives in Orlando Florida. And has basically spent his career doing some independent films from Orlando. So, it’s a great example of someone who’s out hustling and is not actually moved to Los Angeles. So, stay tuned for that.
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So, I’m now deep into production of my crime thriller feature, “The Pinch.” We are shooting July 9th through July 29th. So, I’m pre-recording a bunch of Podcast episodes in late June, so I’ll be able to keep publishing the Podcast through July, while I’m out shooting the film. I’m going to try and put out updates through the various social media channels. So please follow me on Twitter, and that’s – www.twitter.com/ashleymeyers. Or like SYS on Facebook, that’s – www.facebook.com/sellingyourscreenplay. Or subscribe to our YouTube Channel, which is, www.youtube.com/sellingyourscreenplay. And I just set-up and new InstaGram account which is www.instagram.com/ashleyscottmeyers. I will be someone who will be shooting some behind the scenes footage. So I will try to get that posted to YouTube and Facebook, as we are shooting. And I will have my cellphone, and just try and snap some pictures. And I’ll try and publish those to Twitter and InstaGram. So, keep an eye out for all of that, and wish me luck. So, I will keep new episodes coming out through July. But I won’t be able to give real time updates, so check out my various social media channels. For those real time updates on the shooting of, “The Pinch.” And once the movie is completed, I’ll be back again, and I will give a full wrap-up of the entire process of shooting the film. So, that’s what I am working on, now let’s get into the main segment.
Ashley: Welcome Curt, to the “Selling Your Screenplay Podcast.” I really appreciate you coming on the show with me.
Curt: Thanks Ashley, glad to be here.
Ashley: So, to start out, I wonder? If you could just give us a quick over view of your background. And how you got into the entertainment industry. And bring us all the way up, maybe to the point where you wrote and directed this recent film,
“Cam-Girl.”
Curt: Sure, well, It’s kind of the, if there is a current theme as there is now. The theme is, really nobody ever has one set path. In my case it was, I started out in computer animation. So, I got a vouchers from University of Central Florida, in computer animation. And that became very helpful because then when it finally came time to finally make, “Cam-Girl. I did all my own visual effects. So, it all comes down to what kind of resources you have. So, it really came down to that. It was another thing I had in my arsenal there to use. And I’ve always been, you know, enthralled with movies and writings, so. It’s just kind of all tied together. And in a way, visual effects, when I saw the movie, “Fight Club.” It kind of opened my eyes. That visual effects, that it’s film making with no boundaries. So I saw what was able to be done. At an early level, in that movie. And I was like, wow, this is something I really want to get into. When I want to explore.
Ashley: Yeah, yeah, yeah. So, take us back, so now you’re in college, you get this degree. And then what were your first steps outside of college. Did you start to work professionally? Did you work as an intern, as an animator, in special effects maybe? Maybe just take us through some of those steps.
Curt: Okay, well, I mean, the main thing is, I do a lot of writing, like a writer writes, you know. So, I have to admit, the “Web Cam Girl.” It was originally called, “Web-Cam” now it’s “Cam-Girl.” That’s a whole other topic, we could address is the changing of titles. But, that was the third script I wrote. And, basically, I did a few short films before that. One animated one, and one live action. And the live action one was actually. Somebody paid me to, you know, direct and produce their short film, which was pretty interesting, so that was a fun experience. But, I mean, that’s a good piece of advice that has some proving ground, do a few things. Including, especially, if those short films. In my case, that became a way that got me recognized by IMDb. I highly, highly recommend that because the various first thing you do, is people look you up on there to see if you have credits. I mean, it’s become, I mean, IMDb has become like the resume for anybody within the industry. And it’s just like, for instance. If you had a pluming emergency, would you hire a Plummer that is never worked on a pipe before? Or, probably not, right? It’s the same thing. People look at that as you know, like what credit does this person have? And one of the first things they do is, they look you up on IMDb. And I do know, It has changed the way now, they. It’s a collaboration between IMDb and
“Without a Box.” So, that’s definitely one path. If they submit up to a recognized festival, Without a Box. It’ll put it on IMDb. So, that’s a huge way to get in there. Other than that, this is the way I had to do it. Because it was back in, prior to that, it was back in 2006. That animation short film that played festivals. Is, you need to have a link, something to prove. You know, like an outside source. Not your personal website, something to prove that it was released at festival, released or distributed.
Ashley: Yeah, yeah. So, let’s talk just a minute, about that. You said, you got hired to direct and produce somebody else’s short. How did you get that job?
Curt: Okay, I actually, I mean, how it goes. It’s all networking, in fact, a lot of the people that end up helping me in the end with, “Web Cam-Girl.” I met through work, or through those people. Like the guy I needed at work, which was. I work in entertainment. A technician in a theme park in Orlando Florida. In that case, it would, somebody who works for the legal department. And he’s also a writer here. He has produced a credit and everything. As a, on a feature. And it was shortly after that he also wanted to make a short films and stuff so. I was in contact with him. And about “Cam-Girl” made it possibly helping out with “Legal” which he actually did. He ended up becoming an Executive Producer. And advising as far as “Legal”, it all came from there.
Ashley: Okay, good. So, let’s talk about you, your career outside of Hollywood. Your living there in Orlando. And maybe just take a minute. There is some parallels between the terrible tragedy that just happened there in Orlando. So, maybe you could just discuss that a little bit. And then we’ll dig into, “Cam-Girl.”
Curt: Right, thank you. Because there are some parallels you said. I with your message, they didn’t acknowledge the tragedy that we had in Orlando Florida, at the, “Paul Shooting.” Paul’s the Night Club. Such our correction is, based in Orlando Florida. So, yeah, our heart goes out to the 49 victims, the first responders, their bravery. And actually personally knew one of the victims. Where it kinda hit close to home.
Ashley: So, have you considered moving to Hollywood. I get a lot various Emails from people. Say, hey, I’m outside of Hollywood. Can I actually make a go of it, being a film-maker, or a screenwriter? You found that there is advantages and disadvantages to being in Hollywood. What is your kind of experience, and why haven’t you moved to Hollywood?
Curt: That is the question ain’t it? And it’s an important one for people need to ask themselves. In my case it became, here it is. The main pro, as far as that goes. Is because it’s not as common here. You’re not in New York, or L.A. where everybody and their brother has a script in hand, with a hand open. The, you can actually get resources, get locations, you can get people involved. Like I am just in the process of casting and getting a crew together. It’s just amazing how it is, the talent that is here in Central Florida. And I’m sure that’s the case in a lot of places. Whether it be like, Austin Texas, I’m sure. We need another really good example of that. So, I mean, just try to see. Reach out to your local film community, go on message boards, you know, do online postings. Then I think you’d be surprise what you can achieve. So, it’s a matter of that, what can you? Because it’s interesting what you find outside of one of those main cities that do film production. That are more interested in getting involved.
Ashley: Yeah, yeah, yeah, for sure. So, let’s dig into “Cam-Girl.” Maybe to start out you can give us a quick log-line for the film. And then we’ll dig into some of this specifics.
Curt: Sure. “Cam-Girl” is about a single mother works as a web-cam stripper. Who is pushed to her limit. She is held hostage by an unknown gunman.
Ashley: Yeah, okay, that’s enough, a nice sysinct log-line. Where did this story come from?
Curt: Okay. So, it was shortly after graduating from college I was, you know, that age, 27. It’s one of those things. It’s like your soul changes, kinda what’s going on? In fact, I’ll never forget it, it was New Year’s Eve party. After I lost a few rounds of, I finally lost it at beer pong. I found a way to sit alone for a little bit, as writers tend to do. And when I was doing that I thought you know, my god, I have to do something, write at least two scripts. Yeah, the first one actually kinda had a place in a few contests. Which I also recommend every writer, you can do. Go to contests, try your, the resources you have on your site. Try “Ink-Tip,” try “Black List.” Anyway, so, that can give you some motivation. But it just, you know, how can I get to that next level? I need a produced credit. So, then I thought of, okay, what is the most marketable idea I can come up with, you know, that can be made on a low budget. So then I started thinking of these kind of these limited locations, contained films. So, then I started thinking, okay, it would help if I know if the protagonist worked. A job that worked out of a home. So, it’s like, okay, what kind of job like that, okay, cam-girl? As soon as that came to me, I was like, okay, this is original. At least it was very original at the time. And it’s marketable, and it all stemmed from there. Like the reason why they are there. It’s basically the protagonist realizes that it might be a client of hers that’s stalking her, you know. She’s trying to figure out, who this person is. You know, how she is, you know, being kind of an emotional terrorized, having to defend a home. So, it all kind of stems from that kernel, an idea. A single location, and a job that can take place out of the home.
Ashley: Yeah, yeah, yeah. So, how did you know, that this? Like when I watch a trailer for the film, that’s one thing that occurred to me, right off the bat. I mean, to have sex and violence, you know, it’s a contained thriller. You know, anything having to do with sexy girls is kind of a marketing hook. How did you kind of know this was marketable? Did you just feel like it’s intuitively that was what? Or did you talk to some producers, and distributors?
Curt: Well, yeah, I definitely, and I am definitely a big advocate of the school of Roger Corman. I think he’s brilliant, oh, man, I think it’s great he finally got an honorary Oscar, long overdue. Anyway, and I do highly, highly, recommend his book, how he made 100 movies in Hollywood, and never lost a dime, that’s a phenomenal book. But anyway, it’s a very much like, it’s one of those things like, I saw the poster as soon as I had that idea. I saw that yeah, this is marketable, this is original. You have those key ingredients, there, you should really, really try to flush it out and pursue it. And in a lot of ways Roger Corman, that was especially in the early days that was what he did. He had a poster at first, or a title. It’s like, oh yeah, I’m going to need to hurry up and hire somebody to write the thing. So, that was like an after-thought. It was like, oh we can sell a lot. In some cases, like, these companies would pre-sell something just based on that. You know, a log-line and a poster, oh yeah, let’s write this thing. How could someone be interested it’s like, and then they actually did write it. After, I admit, as far as I know, during the process, on your Podcast, briefly I spent about a year researching and outlining it. I honestly did not know the researching it. I did not know a hold of “Cam-Girl.” That whole thing, I really, I swear to that. So, I actually did like, on YouTube, you can actually find like they do like promotional stuff, for their own services. I did look at that for experience. But now what was really helpful was, I read a book called,
“Candy-Girl.” Which is some of your listeners might know, it’s an auto biography by a Diablo Cody. Now famous screenwriter. Diablo Cody, writer of “Juno.” But before all that, she was a blogger. And she blogged about her experiences as a stripper. And a, imagine that? Producer, eventually found her blog, and contacted her. The funny story is, she’s like at first she ignored me. And I go, this weirdo I don’t know? You know, this is unsavory. But it’s like, no, no, we’re legit, maybe this is something and it got expanded into a book. And the rest is history. And it’s an amazing book, and you can tell that she’s a phenomenal writer from that early stage and that helped me get into the mind set of what a somebody in that kind of adult industry profession would go through. In fact, I gave that to book to Aaron Cline, who we cast as the lead, to research. It may have helped her a bit, get in that mind set.
Ashley: Yeah, yeah, okay. So, let’s just talk about your writing process a little bit. You said, you did research for about a year on this. How long then did it take for you two to come up with an outline, or did you even outline? And how long did it actually take you to write the screenplay?
Curt: I definitely outlined. So, yeah within that same year I was mostly. Basically it’s a, I guess it could be called the, “Lawrence Cass” method, because I know he’s a big proponent of it, the index card method. And I just like it because it’s very free. And there’s no, there’s nothing precious about it. You just have the idea, you jot it down. But you eventually use it, or you won’t. And because you bulletin board at the end of it. You can actually just put things together. You can find a home for it, so, it’s like everything. It’s a visual cue, if it’s a line of dialog. In my case there’s a lot of dialog wrote ahead of time. And then of course you have like a brief description of each scene. But, yeah, you have the scenes outlined and then you figure out what else, what these other cards, what can be homed? What scene can they be placed in and then you can really kind of figure out how this stuff should be structured. And I think it’s just really helpful. So now, that once I did all that, and this was kind of a really interesting thing for me. It was never, I had an experience like that before. I wrote the first draft in 13 days. It just came on my own like an animal, I mean, to get out. So, I think that really, like I even called off of work one day so I could have like a three-day weekend, to just really continue working. That’s how I know this is, there could be something there. And ever since then, I’ve been trying to do it that way. Because I think, if you really write quickly, at least try and get the first draft first. Write quickly not worrying about typos and such. It really is a stream of consciousness, it really kind of get a sense of the, the pacing comes out in how you read it, in a way.
Ashley: But you spent almost, sounds like a full year, researching and outlining. So by the time you got to the writing process, you had really prepared yourself for these 14 days.
Curt: Absolutely.
Ashley: Okay, so what’s, just talk about, what is your process like with some of your other projects you’ve written? Is that pretty typical, is it to spend a year on researching, is that normal for some of the other scripts you’ve written?
Curt: Yeah, it’s used to working out that way. Like on the latest I’m writing. I’m trying to see if it could be my latest produced feature credit, which is called,
“39 Stand.” It’s a romantic comedy. I had that idea, I’m like, okay, there’s something here. And basically kind of just thought about it for a bit. And then I’ll outline it, and same thing. Now, it’s actually got know actors attached to it. So I am excited about that. It’s got Serena Vincent, who people know from, “Cat Scratch Fever 2.” Also one of the Power Rangers. And Anna Marx, who was in, “The Sessions.” That’s probably her best well known credits. So, label that and see where that could go?
Ashley: Yeah. So, let’s back up to “Cam-Girl.” Now, you’ve got this script written after 14 days. Where’s your development process look like? Do you have some friends that you send it to? Do you read it and just put it away in a drawer for a couple of days? What does the development process look like, going from the first draft to the second or third draft?
Curt: Well, that’s, this is where it gets interesting. I did a lot of things, I started all at once. I, you have to form it a production entity, an OLC, that’s a common thing that’s a OLC, it can be a production. So that’s immediately what I did. That, I immediately built a website. That also became a main resource trying to cast and built a crew. I immediately went ahead like, this is going to happen, no matter what. I mean, I think I didn’t have to go the whole, you know, Kevin Smith credit card route. But a you know, if I had to somehow find a way to finance it. I would have, but eventually I’m sure, click, it was definitely written to be like this is going to happen. So, I went ahead with that. And part of that was all up. So, I put up casting places online. All the kind of main websites that you know, be aware of, AMD and Craigslist and such. And in those testing calls, at the very top of it is, the log-line. It was intentionally written to also promote the story, promote the script itself. And in doing that, here’s where it gets interesting. I actually had a producer contact me. And said they wanted to read the script. I a, his name was Jason.
Ashley: And this is in the Orlando section of Craigslist? You know, just posting a casting order? So, you put the log-line in there?
Curt: Yes.
Ashley: Okay, okay.
Curt: Yeah, I’m not sure I might have actually put one in? In the posting in L.A. I don’t recall, I might have? And I know you have to pay, you know, like $20.00 bucks, or whatever it is? But, yeah, its possible, I know primarily I put it in the Orlando area. But, yeah, so a, a caster by the name of James Aubrie who actually has worked with the Corman. Roger Corman is a director, he directed, “Looking For Trouble.” But anyway, he’s the one who initially reached out to me. And he and his trusted friend that will become the Executive Producer. They were the ones that got it off the ground, financed. So, that’s the main trick is like there is no one way to do it. But try, it’s so much easier to try and find a way for producers to come to you. If you have somebody who comes to you interested. Well, for one, you know they’re interested. Two, they feel less like they are being sold to.
Ashley: And that’s a little too, he just saw your ad. He was looking on the Orlando section of Craigslist and saw your ad?
Curt: He did say, I saw your listing on a site, I don’t remember what it was? GoDaddy.com or whatever? It’s a website, it was.
Ashley: Yeah, yeah.
Curt: He was like, yeah, looks great. I’ll send a script right away, and I did. That was one of those, Oh, yes! It was just one of those send an Emails, glowing I think as I was reading it.
Ashley: Was most of your crew, they just put up ads in the local Orlando area. Did you already know a bunch of local film makers, Cinematographers, hard to get on? Or were those people found also through Craigslist?
Curt: Well, the director of photography, he actually was one of the Executive Producers, so he has a lot of experience in that, he has his own production company. And he shoots commercials and so forth. So, that was a great way to save money. And the work did not a insult at all. So, we are all very pleased with how it all turned out. Otherwise, really didn’t know a lot of the people like for instance, the make-up artist I knew for years. She worked at a theme park in on of those kinds of. An entry version of a job, you know, she did like she had a little stand where they do like temporary tattoos, for like face painting and stuff. And she was working in one of those places. And now she has a full-fledged career. She’s like in the union, and like she’s just a phenomenal make-up artist. And some people refers to me through other people, after I had them attached as a crew. The Production Designer I knew, he was a close friend, since high school, Keith Norstein.
Ashley: Okay, okay. That’s a great story. Let’s back up just a little bit. Just, some of your other scripts. Are they, in fact, let’s stay on Cam-Girl a second, then we’ll back up. When you wrote this script, did you do anything with it? Other than you were determined to produce it. Did you send it to the “Black List?” Enter it in contest. Did you start to push it out, just to see if a producer would buy it from you?
Curt: Yeah, I did, at the time it was just, “Ink Tip.” And I actually had tons of reads. They in fact, the head of Ink Tip, eventually even contacted me. Around the same time that financing said, “Hey, You have a lot of script reads. Have you been following up with these people?” And so forth, you might want to do that. In a way I did a few new times. But I was definitely pretty much of the mind set where, if they really are interested? Then I think I would have heard from them, if they really responded to the script. Which is exactly what happened with our Executive Producers. But, it was a huge boost of confidence, it was a validation early on. Like, okay, this script has some legs, I think there’s something here. I did at least one rewrite for these Executive Producers. They were attached, and one for sure afterwards based on some of their thoughts, very valuable notes I think, to add more conflict.
Ashley: So, yeah, yeah. So, as we started the interview you mentioned that you had, had another script you had entered in some contests. Maybe you could talk about that a little bit and what kind of success you had. And how that impacted your career?
Curt: Sure, that was a little script called, “Tragic Kingdom.” Which is one of those things where it’s the exact opposite. It is set in a theme park. And is loosely based off of a book I read called, “Disney War.” And it was about the whole kind of boardroom skirmish that happened between Isner and Cassenburg there. And kind of without using any words, names and such. It had a lot of element to it. That it kinda had a multi-aspects of it. It had some of the employees, it had the drama with the boardroom executives. It just showed kind of the whole world of how the “Greatest place on earth,” isn’t quite exactly what it is or appears to be. It clicked at least with crative screenwriting. It got on the considered list on that one. It also was at
“Blue Cat” a semi-finalist.
Ashley: Okay, and did it, any of this, just getting some of these places. Did that bring anything in? Or was it just a confidence booster?
Curt: For me it was a confidence booster, so yeah. So, then it just became like something, okay, I need to keep writing. I think.
Ashley: So, let’s talk about, you mentioned another script. Where you had some actresses attached to it. Maybe you could talk about that script. How you got that script out into the world. And how you got these actresses attached.
Curt: A, we held auditions. And I think that was really important. I had actual scenes, like I had like you know, ahead of time. Besides the scene I think would be more difficult or more challenging.
Ashley: Now, you’re specifically talking about, I’m specifically talking about you mentioned a script where you and one of the girls from, “Cabin Fever.” Is attached to one of your scripts.
Curt: Oh, that one, “One Night Stand.”
Ashley: Yeah, yeah, yeah. “One Night Stand.” That one. It’s a great hook, It’s a great high concept title. So, Kudos on that.
Curt: Yeah, we briefly rewrote the log-line for that one. Is tensions rise, sparks fly, when a woman is cutting it enough. Where she’s turning a one-night-stand into a 30 day affair.
Ashley: Nice.
Curt: So, basically, that’s a true story, now another one. An ample amount of these connections, those cases where work, he gets more work. The make-up artist right there on Cam-Girl. She actually, because she’s had an extensive career since. She’s a and has worked with Anna Kumart. Marks before I’ve noticed that when I’m looking through credits. So, I reached out to Sarah. She reached out to Shanica and then we got the scripts to her, she was attached. And gave feedback to rather than rewrite. And she Anika has worked closely and is a good friend off the screen, with
Sarina Vincent. So, that’s how she became involved.
Ashley: Okay, okay. And have you gone back to like, what are you doing now, to get that. Now you’ve got some attachments with actresses. What are you doing to actually push that project forward? Have you gone back to the Executive Producers of Cam-Girl?
Curt: I did, a, I didn’t have any new scripts or anything. I contact them and updated. They seem to be very interested in that lower-budget. Which at this stage, especially with this film. I would like it to be, it’s a matter of what’s the next goal. And my next goal is to have some of this produced on a budget. Even if I’m not their director. Which is great that I, with Cam-Girl, I set out to become a writer director with this project. And now I did. So, now it’s a matter of I would really just like to have
something made on a budget. And maybe possibly be put on the writers guilt, etc…. maybe move forward with that and this project.
Ashley: Yeah, yeah, yeah. So, how can people see “Cam-Girl?” Is, do you know what the release schedule is? What it’s going to be like? Are you starting to get it out on the DOD platforms?
Curt: It is all over the digital shows, as it were, DOD. And again, it’s loaded with, in fact our visual listeners here’s our DVD Ooo!! It’s in boxing. But, it’s a on Amazon, Barnes & Knoble.com, Best Buy and all that. And the DOD is in the works. Do you know, through the distributor, they said, it’s going to be on cable video on demand at some point. And then we’ll see from there. I don’t exactly have an exact date yet, for On Demand. But the DVD is available everywhere.
Ashley: Nice, nice, nice. I always just like to end these interviews, ask the guest to share their Twitter handle, Facebook page, whatever you’re comfortable with? Just so people can kind of get to know you better and follow along with what you’re working on in the future.
Curt: Absolutely. I really would, I’ve had over the past year or so, the rule makers have actually been kind enough to reply to my Emails and stuff. High level and means, so I would like to pay it forward and do this the same. I can’t read sweet plays unfortunately. It would be Ink-Tip or Black gloves or something? Other than that? Feel free to contact me, I can be reached through Twitter, @cam-girl_atthelike_Camgirlmovie and at Facebook – Cam-Girlmovie, at Blog Spot, it’s going to be Cam-Girl movie@blogspot.com, and our website, which is constantly updating, we have a shop now button. We have all that right there. A lot of there updates. Be there, as far as the other sights. But the official website is – www.webcamthefilm.com.
Ashley: Perfect.
Curt: And I have an Email address that can be found there on a link to the official website.
Ashley: Perfect, perfect. I’m going to grab all that stuff and I’ll put it in the show notes, so people can click over to it. Well Curt, it’s a fascinating story. I really wish you luck with this film. Thank you for coming on and talking with me today.
Curt: Thank you Ashley, been listening for a while. So it’s been an absolute honor to now be a guest.
Ashley: Thank you, thank you.
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That’s the show, thank you for listening.