Hello again from the world of OneFilmFan.com! The ongoing connection with Frame 29 Films’ Drew Hall has yet again yielded another fantastic opportunity for an interview with a film industry veteran.  For over two decades, he has been a Producer on everything from videos to short films to feature length endeavors that have allowed him to work with some of the film world’s biggest names and brightest indie film directors.  Currently having wrapped production on the modern comedy “Nigel & Oscar Vs. The Sasquatch” (the review can be found here) with the aforementioned Drew Hall, the producing war horse took time from his busy schedule to do this interview for us.  Therefore, OneFilmFan.com presents the life and career to date of Producer, Scott Robinson.

One Film Fan: Ok, the broad strokes first! How were you first drawn to the filmmaking industry /profession? When did it become evident that it was going to be your career choice?

Scott Robinson: It actually started when I was 6. I took a trip to California with my parents and we went on the tour at Universal Studios. It was a little different in those days; less theme park, more behind the scenes. I was hooked. It was the first time I remember wanting to do something. It’s funny; I found myself in a surreal experience 28 years later. I was doing a TV special for Fox and found myself driving through the park after hours, on the same streets I had taken the tour all those years previous.

O.F.F.: How did you further learn/enhance your skill set (ie: mentors, influences, and schooling)?

S.R.: I think it started right away for me. I was one of those kids trying to entertain the family; singing, telling jokes, putting on skits at family gatherings. I think my interest really got moving when home video came out. Until that time, I was using the only entertainment-based outlet I had, local theater. I would act in the school plays and whatnot. But my father worked for Philips Electronics and came home with a video camera far earlier than many had access to something like that. I started shooting immediately and cutting things together as best I could, using two VCRs as an editing system. I’m showing my age a bit, but many out there will understand my pain.

I loved film and television in the 80s. Miami Vice, WKRP, MASH, LA Law, Magnum PI, Moonlighting; I watched them all. In film: “Raiders”, “Back to the Future”, “Aliens”, “Ferris Bueller”. But I think it was “Wall Street” that lit a fire.

When I was old enough to do something about a career, I knew I had to get to California as soon as I could. I moved to Los Angeles at 18 and attended Cal State – Northridge entering their Radio, Television & Film program.

O.F.F.: What was the very first project you produced and how did that experience prepare you for what was to come?

S.R.: It might seem strange, but I really don’t remember the first thing I “Produced” professionally, but I know it was probably a commercial. In the 90s, I worked with an old business partner and Director, Victor Currie, Producing local and regional ads as well as corporate. It was great preparation for things later in my career. At that level you can make a mistake here and there and it isn’t the end of the world. I think that’s where I really got to learn all areas of production including budgeting and managing a crew. I think I also held just about every position possible on a set. Something I would recommend for anyone trying to work in this business.

O.F.F.: You’ve been doing this for over two full decades, worked for Fox Television Studios, Fox Digital, A&E, and ESPN, PLUS your 3-year stint as studio Producer at Emmet/Furla films, where you’ve worked with some top actors! Tell us about it all!

S.R.: I don’t know how long-winded you’d like me to get here. There’s a lot that goes on in 20 years. While I was still working with Victor, we were very good at getting things done for very little money; and it all looked great. So we would have the opportunity once in a while to work on more “main stream” stuff; clips for shows and specials, some occasional editing for networks, a whole range of things actually. Again – a really good learning experience.

For Fox Digital, I was producing shorts as kind of a think tank for larger divisions of Fox. They wanted to see what really worked and what didn’t. This is also the period when I started moving more regularly into independent films. At Digital, I met Robert Green (“Waiting”). I eventually went on to Co-Produce “Crave” with him. It was my second film during the incentive boom in Michigan.

It was those early films in Michigan that lead me to Emmett/Furla. They were coming to Michigan and needed someone who was already on the ground there. It was a very busy time in the state. In a period of 16 months in Michigan, I had my hands in 6 different films. Working at Emmett/Furla is really trial by fire. Those guys move; one film after the next. I was mostly a Line Producer and Supervising Producer for them, as well as a studio exec on a few. When the incentive went under in Michigan we were planning “Freelancers” with Robert DeNiro, 50 Cent, and Forest Whitaker. The week before I was leaving to go back from Los Angeles, I was told to have the ticket changed because we were headed for New Orleans. I’ve mostly been in the southeast since then. After a few years and several films with Randy and George, it was time to move on and start producing my own films. It was a nice run and one hell of an experience.

  

O.F.F.: Onto your two current projects, “Aether” & “Nigel & Oscar vs. The Sasquatch”, currently completed and coming in 2015. What drew you to these films or how did the opportunity come about for involvement in both?

S.R.: It really started with “Convergence”. My partner, Chelsea Bruland, is an actress, stuntwoman and stunt coordinator. She had done “Sons of Liberty” with Drew and we had come out for the Mobile premiere. I met Drew Hall and he told me what they were trying to accomplish in Mobile, Alabama. The studio he was working for was trying to bring some of the New Orleans movie-making dollar to Mobile where there is also a tax incentive. I was just coming off of a yearlong stint with Freedom Films and it sounded like a nice opportunity for Drew and I to have some control over the movies that we’d like to make. I signed on to co-produce with Drew’s company, Frame 29 Films, and mine, Drama Free Zone. It’s worked out really well so far. After “Convergence” came “Nigel & Oscar vs. the Sasquatch” and now “Aether”.

O.F.F.: From a producer’s perspective, how was it similar and/or different to work on each film?

S.R.: I don’t think the filmmaking process was too different. Drew and I have a nice flow there. The biggest difference is in content. A psychological thriller is more in our wheelhouse. The comedy of “Sasquatch” was a bit more challenging. The whole idea of comedy is subjective and its difficult to get that right and it’s so important to run a good set for comedy. Filmmaking is stressful enough, but you’ve got to keep a happy family if you’re going to make comedy.

O.F.F.: Thanks to the excellent indie thriller “Convergence”, you’ve now had multiple chances to work with director Drew Hall. What do you see in that guy? (LOL) Seriously, though!

S.R.: Aside from being a talented writer and director, I think it’s the relationship that makes it work. Drew gets it. It’s not about ego; it’s not about studio nonsense; it’s about making a good film. It isn’t that we don’t have disagreements, we do, but when it’s about the finished product – those are good arguments to have. We both care.

O.F.F.: How do you find working with the actors involved with these two projects? Any zany anecdotes to share from being on both sets?

S.R.: It’s partially by design, but we’ve been very lucky on these films. We start with good actors; people who are right for the part. But then we do some research. Are these the kind of people we want to spend the next 6 weeks with? It’s more of a consideration for us than for most. We don’t deal with, forgive me, “actor bull@#&%”. On “Convergence” we had a very good cast. Clayne Crawford and Ethan Embry gave it their all. I don’t think anyone has seen this side of Ethan on camera before. Mykelti Williamson gave an incredible performance. And beyond their work, they are all good people and a pleasure to spend time with.

The cast of “Sasquatch” had a unique experience and they all handled it very well. We had kind of a film camp in the middle of the woods. Everyone was staying in cabins and we had to cater 24 hours because there was nothing else on the mountain. It’s difficult to eat, sleep and work with a family of 60, but we made it work. Neil Flynn and Tim Meadows were a blast; funny on and off camera. Then the triple threat: Paul Brittain, Adam Herschman and Christine Bently. They were very funny and a great team.

O.F.F.: How did producing these two efforts, being indie films, compare to some of the bigger budget fare you’ve done in the past? Prefer it? Same?

S.R.: It was a nice place to start for Drama Free Zone; we’re a small studio with big intentions. I love independent film. We can sit in a room with very few people and create a world, much like we’re doing with “Aether: The Rise of Specter”. There are some very obvious differences with the big budget stuff, I think it’s about choices, but you’re always solving the same problems. When you’re only dealing with a few million dollars, you just have to be more creative about it.

O.F.F.: So what’s coming down the pipe for you next?

S.R.: More, bigger, better. That’s the goal for me and the studio. Drew and I still have more work together coming up. We’ve got some action and some horror coming. And one heck of a task in getting “Aether” made. We’re going big budget there with an amazing team. There are 4 Academy Awards and 2 nominations in the crew alone. Also some really nice creative team additions coming that I can’t quite give any details on yet, but stay tuned.

Beyond that, Drama Free Zone has optioned a couple of scripts that we’re developing and should be in production on a thriller this fall with “Reflections”. I’ll be producing with Terry Rindal and Kevin Carraway directing. Look for that one… It’s a great script.

O.F.F.: Given, what I feel anyway, is the growing exposure of indie films into the world and public eye, do you feel that producing on such projects can ultimately trump the big Hollywood epics, given the depth of character and story indies tend to excel at as opposed to the often (though not exclusively) “surface” tone of larger productions?

S.R.: I don’t think you can ever trump the kind of money that goes into the “epic” film today. But I think there is room for both. Awards season is never about the amount of money spent and more often than not, it’s the little guy that gets noticed. It’s all story telling and there’s always an audience; whether you’re there to engross yourself in characters and a story or you’re there to eat popcorn and cheer with heroes.

What I do see is a change in the process. I’ve seen a lot of mistakes in the last couple of years. It’s a pretty small community in New Orleans and Mobile and you tend to hear about all of it. I’m seeing first and second time directors shooting $100M+ movies and it’s a disaster. The waste is incredible. I’ve worked on films from $1M to $65M, it’s normally about the true scope of the story. But when a studio is spending $200M on a film that could be done for $100M or even $150M, it can’t and shouldn’t sustain itself. They’re hiring the wrong people. And as we’re seeing in New Orleans at the moment, the state tax incentives won’t put up with it much longer either.

O.F.F.: Always have to ask this to end. What is YOUR favorite film of all time? Why?

S.R.: I have a lot of favorites, but I actually have an answer; partially because I get this question a lot. It was “Wall Street”. Not just because I think it was quintessential filmmaking of the 80s, but because it was that last straw that got me off my ass and out to California.

 

Yet another incredibly insightful look at the film industry from the perspective of someone who has truly been there for it all, much less being a direct part of the finished products we as moviegoers watch.  Another special “Thank you!!” to Scott for his willingness to do this interview and continued kudos go out to Drew Hall, a true friend and the one who made this happen!  Be watching this site, Facebook, and Twitter for ongoing news and posts about all the films from Frame 29 Films, Drama Free Zone, Drew, and Scott as they take us to new adventures on screen! Take a gander at the Drama Free Zone website! Check out Frame 29 Films at their website, Twitter, and Facebook Page along with Drew Hall’s Twitter, Facebook, and website.  Until next time, thank you for reading!