Standing up, stepping out, and demonstrating a steadfast resolve to take what’s been created, turn it into something worthwhile, and then have the joy of seeing it get the attention it so rightly deserves, a symbol not of ego run amok, but of the sweat and toil it cost to see it all be made manifest. Sound dramatic? Well, yes, it might be, but it more than sums up so many of the elements that make up the independent film community and those who are a part of it, striving to make their mark and present strong, character-driven narratives through the medium of film that will change the face of cinematic offerings. It’s no easy task, regardless of what echelon of the film industry said individuals find themselves within, for even with the best story, a superior cast, the greatest crew, and a fully focused director, there’s no guarantee the final product will ever been seen by more than a handful of people.

Well, while this critic’s experiences with so many indie filmmakers does come down to that at times, which only makes me more glad I was one of those people who did get to see a given project, there are also those who manage to get into the limelight through festivals, winning awards, and then watching their film have a chance to truly shine and gain exposure to a larger scope of potential viewers. I firmly believe this overall concept shall be the case for the newly releasing short film titled “Fanboy”, a 40-minute comedy directed by the newest artist I had the total honor of speaking to on the phone for forty-five wonderfully enjoyable minutes about growing up in Hollywood, being consistently exposed to sets thanks to her highly regarded actor father, having a total crush on Apollo, experiencing the world of filmmaking thanks to her rather well-known writer/director/producer husband (whom I of course gave her a chance to dish on), women as filmmakers, and now choosing to stride into the director’s chair herself with “Fanboy” and projects past and future to show exactly what a woman can do, and do very, very well!

It is my joy to present the following excerpts from my interview with the daughter of Lorne Greene, the wife of Sam Raimi, and a truly genuine human being, writer/director Gillian Greene.

One Film Fan: Before we get to the queries regarding your new short film “Fanboy”, I’d like to have you provide for our readers, in broad strokes if you wish, a little background about you, your journey into the world of film & TV (ie: schooling, mentors, etc), and what it has all meant to you thus far as a career, especially given a noticeable gap between the TV years and the jump into directing, which was in 2014 with “Murder of a Cat”, correct?

Gillian Greene: Yes. I grew up on sets. My dad was an actor. Lorne Green was his name, and he was on a TV show called “Bonanza” and then “Battlestar Galactica”. He did movies in-between, so I grew up in the business. I took a two-year Sandy Meisner Neighborhood Playhouse training course. My acting teacher’s name was Joanne Baron. That’s where I really learned the art of acting and really began to appreciate it and love actors. I don’t necessarily think I was the best actress. As much as I loved actors and could appreciate them, I think I would get always a little self-conscious and decided that it was just too nerve-racking for me going on auditions and that I wanted to become an agent. I was still in college and I interned at an agency. That’s where my future husband was represented, so we met at a bowling party when I was 20 years old. He was, I think, maybe 28, 29, and he had just finished directing “Darkman”, so he had already had a prolific career. That was his fourth movie, and he was only, like, 28. We just hit it off right away. I, for the next 15, 20 years became his, for the lack of a better term, silent producing partner.

I would read all the scripts that came in. I was also the liaison between him and his agents because he’s an artist. He’s not that good on the phone. Of course, I loved to talk on the phone, so I would always talk to his agent. I would read scripts. I would cast his movies and always worked hand-in-hand with him and then watched dailies, be in the editing room, be on set. I did that with him for many years. I think that’s the gap you’re talking about, until about 10 or 12 years ago, I made a birthday video roast for him. Yeah, I got everyone in town to be in it because everyone, I called them up and I said, “Hey, will you be in Sam’s video?” They’d immediately say yes, so I got some great people like Joel and Ethan Coen, Russell Crowe, Quentin Tarantino, Judd Apatow, James Franco, Tobey Maguire. The list goes on and on, and I also wrote scenes. I wrote skits for his agent, really hilarious skits for his agent and the head of Sony.

I had so, so much fun, and fell in love with it and then also fell in love with Post (Production), which is where you edit and putting the whole thing together. I remember playing it. We rented out a restaurant for his birthday, and you could hear a pin drop. It was silent, and everyone loved it. Not to brag about my own movie, but I thought I did a really good job. I had so much fun doing it. I’m like, “Oh, my God. I’ve got to direct something else now.” Yeah, I caught the directing bug at that point, where it started out as a fun thing. Then actually you don’t know this, and I don’t know if you want to print this or not, but “Fanboy” was actually the next movie, and it’s being released now because, at the time, there was no platform for a 40-minute film. It was too short to be a feature, and it was too long to get into film festivals. What it did become was my calling card, though, for my feature, which I made. I had a premiere at CAA, which is where I repped. I had a lot of people come and got really good feedback. I was reading The Black List one day, and I saw “Murder of A Cat” on there. I read the script and I loved it. My agent called the writers and their manager. They watched “Fanboy”, and they said, “We love it.” I met with them, and they said, “You know, you’re hired.” 

That became my calling card, and I just delved right into “Murder of a Cat”. This has come back recently. I don’t know if you want to hear the whole story why we’re doing it now, but we really only had one copy of the movie, and I wanted to put it on video so I wouldn’t lose it forever. We did that, so watching it again, I said, “This is really good. Everyone is so funny in it. I want to put it out there.” That’s when my producer said, “You know, let’s do it”. The feature that I just also got attached to, those guys watched “Fanboy”, loved it and “Murder of A Cat”, as well. They were like, “You’ve got to do it.” They really encouraged me, so that’s why it’s coming out now, and I’m really glad that it is because I think it’s, even more so than the feature I made, is really uplifting and, like you said (in my review of the film here), it’s sweet. It has a good message, but it also makes fun. It’s also satire and makes fun of Hollywood, you know? Because, at the end of the day, you can’t take it too seriously, and you’ve got to laugh at yourself, and you’ve got to laugh at all the characters in Hollywood, including myself. We all have personal, real problems.

O.F.F.: Right. You know, I’m going to have to take a little bit of a quick sidebar here. You just absolutely blew my mind. I did not even put two and two together that you’re Lorne Greene’s daughter (as I apparently missed that little tidbit when looking up the bio)! I used to watch “Battlestar Galactica” in my childhood every single week, like, religiously. So, that’s incredible.  

G.G.: Oh, that’s so nice. Thank you. Funny other story, I would go to set every day. I was in love with Richard Hatch, so I would always be on set. I even followed Richard to Hawaii one year! I made my Mom and Dad take me to Hawaii because I knew Richard was going. He’s recently passed away, but I saw him about six months before he passed. He never told me he was sick. We had dinner one night, and I asked him, “Did you know that I was in love with you?” He said, “No. I had no idea.” I was, “You’re kidding me. I followed you everywhere.” He said he had no idea. Yeah, and then I didn’t talk to him for a little while, and I heard it on the news. I’m like, “Oh, my God. He didn’t even tell me,” but it was nice to hear some anecdotes about my Dad.

O.F.F.: Now, we can’t forget to at least mention that you do happen to be married to a certain rather well-known guy in Hollywood named Sam Raimi. Do you find yourself challenging each other as filmmakers, obviously in the best ways of course, now that you’re getting into writing and making films as well?

G.G.: Yeah. Sam, look, he’s such a pro. I think I’ve helped him. I don’t even know if challenge is the right word, but I’ve helped him with casting. I took acting class for years, and he never did, so I bring something to the table when he’s casting movies, just as far as actors are concerned. He’s helped me conversely with story. Whenever I have a question about the story or a shot, the composition of a shot, or even editing. Should I cut this out here? Should I cut that? He always has the right answer, and he doesn’t even have to think twice about it. I think he’s just done it for so long that he just knows, inherently knows. He could do it blindfolded, and I think that’s what happens when you do something for so long. I think Malcolm Gladwell said that. It takes either 10 years or 10 dozen hours to be good at something. He’s really, really good at what he does, so I always go to him with any kind of question because I just trust he knows the right answer.

Sometimes I’ll disagree. I remember once on “Murder of A Cat”, we were losing light. He was on set, and he didn’t come on set a lot, but he was on set that one day. We had to speed up the shot somehow because we were losing light. I don’t know if you saw “Murder of a Cat”, but Fran (Kranz) was on one of those ambulance stretchers. It was not a moving shot, but Sam was like, “Just make it one moving shot. That way you can just cut out. You don’t have to have close-ups.” He suggested something that made total sense, but I didn’t want to do it. I’m like, “No, that’s not how I envision it. That’s not my plan. I’m just going to risk losing the light.” So, at the end of the day, I do what I want to do, but I do really value and appreciate his expertise, insight, and advice.

O.F.F.: That’s awesome! Ok, onto your current project, the beautifully crafted short film “Fanboy”. 

G.G.: Thank you for your lovely review. It was so nice. I’m glad you enjoyed the film.

O.F.F.: Absolutely. You know, as a real quick thing before we get into the film, my personal journey has ended up immersed in independent cinema and Indian/South Asian cinema. It’s been an incredible experience, though, more because I truly have found so many films with such raw passion for truth. Affecting stories–human stories–and character driven narratives, things that just impact me so deeply. That’s why a film like yours was so amazing to me because I actually related to it, I mean directly related to it.

G.G.: Wow. Well, it was so much tongue-in-cheek, but there is I think a depth to it, even though it’s supposed to be irreverent and makes fun of everybody in the movie. I think it is, and thank you for saying that, heartwarming. You feel for Fran (Kranz’ character), and you care about him. 

O.F.F.: What initially inspired you with the concept of the film in particular?

G.G.: That’s a good question. I just find the humor in things, and I think just growing up in this business and being rejected myself many times, just find the humor in that. Oh, I will tell you also, now that it comes to mind actually, there’s a real Jeremiah Brennan. He was my friend’s boyfriend, and they would come over all the time. He was this funny character from Beauford, South Carolina. I guess the idea just came to me, and he was an actor. I said, “You know, you’re so funny. Let’s make a movie with you.” Of course, this is after when I already knew I wanted to make another movie, so it just came to me. I said, “We could even put Sam in it.” We’d done some practice scenes at the dinner table with him and Sam. I’m like, “Okay, this is going to work. It’d be great. You guys are so funny together.” I’m like, “Sam. You’re just going to be in it, period.” Then sadly, we would rehearse scenes.

I wrote the script with the other writers. I came up with the story, worked with two writers, Dean McCreary and Chester Hastings, who were amazing. Then we’d go over scenes with Jeremiah. He just didn’t have the acting shots that I needed. The other thing was I was casting the movie with John Papsidera, who’s a very big casting director, and so everyone he brought in for the other roles was great. Every time I would cast somebody really great, I’d go home and work with Jeremiah, the real Jeremiah, and he just never was as good. I thought, “What am I going to do? The whole supporting cast is better than my lead?” I sadly had to fire the real Jeremiah and I auditioned Fran Kranz. Fran just blew us away. Fran Kranz was just–I don’t know how. I’m sad. I don’t want to make a movie without him, basically, because he’s just so great to work with and so funny and kept us laughing all day on set. He’s just a great ad-libber and just kept us on our toes and kept us entertained all day long. Sadly, the real Jeremiah–he didn’t talk to me for a year after that!

O.F.F.: From my perspective anyway, the film does come across as this wonderfully innocent relatable comedy, but then dives deeper into notions of being an underdog, striving for a dream, never giving up, dusting yourself off when knocked down and knowing to stay the course, even if things might not work out. In creating this story, maybe with those underlying themes in mind, how important is it to you that it all impacts viewers not just from an entertainment standpoint, but likewise speaking to those out there trying to pursue their own dreams?

G.G.: Yes, “Fanboy” is very much about that. It’s about going after what you want, giving it everything, and not giving up. What you get in the end might not be exactly what you thought you were going to get, but it’s definitely going to bring you what’s supposed to happen to you. I think the main thing for me, which I don’t know if it came across well or not, was that it’s about the journey and not the end result because at the end of the day, none of us are going to get out of this alive. It’s not about winning the Academy Award. It’s just about the process and enjoying the process because sometimes it’s not in our control. Most of the time it’s not in our control. Whatever happens is going to happen, so as long as you’re having fun and enjoying what you’re doing and you’re proud of yourself, which I think Jeremiah, that’s why– I don’t want to give anything away. I was about to!

O.F.F.: Right! Please, no spoilers!

G.G.: Yeah! But it’s really about the journey, and hopefully that’s the message that comes across. 

O.F.F.: The fact that there are moments to treasure for what they are and that you get to realize the value of those in and of themselves, even if the other results aren’t necessarily what you were thinking or what you expected, like you were saying. I know I picked up on that, anyway. I really did. That’s what meant so much to me because on a quick personal note again, that feels like my journey right now for the last five years from where I started to where I am now. It’s that kind of “Wow, there are so many particular moments that have become milestones in continuing to push forward and ideally gain the end result.” Again, I don’t know what that’s going to look like. There are no guarantees. But, I’m going to keep having these moments that I will treasure for the rest of my life. I think that really did come across. 

G.G.: Absolutely, great. Thank you for saying that.

O.F.F.: Well, in regard to the cast, just in getting the experience to direct such an absolutely fantastic group of character actors, I was amazed. Between Fran, Jed Rees, J.K. Simmons, David Paymer, Matt Lanter, Emily Arlook, Reggie Lee, Mike Binder, we could just keep going. What a body of work represented between them! What was it like to work with all them?

G.G.: God. I mean, they’re all pros. They’re all great actors. Dileep Rao is also in it. Everyone was just very, very professional. I auditioned them, and I think that’s one of my strengths is just recognizing not only being a great actor but being right for the part, so it made my job easy. I was just really blessed that all these actors wanted to do it and were willing to do it. Again, we had a blast on set, and it was just super fun. We all had a good time. Yeah, what a treat for me to be able to work with actors like that. Actually, if I had a bad actor or somebody that was not trained, I don’t know what I’d do. That would be really hard, so I’ve been spoiled.

O.F.F.: You’ve gotten some good luck getting inroads to working with such well-established talent. My goodness. 

G.G.: I know, and mostly just they’re all trained, so you can give them direction, and they know what to do. They’re in the moment, and they’re really answering and listening, and they’re reacting, as opposed to line readings that come off false. That would be hard to then being like … I don’t even know if we’d have the time to do that, so I was really lucky that they’re all really professional and great. 

O.F.F.: I think the final result showed that because, especially with Fran’s character in particular, I love watching an actor play a wanna-be actor because he’s so good that I forget in a way as a viewer that he’s a professional actor since he’s being so good at acting awkward, odd, out of place but all because he’s trying to pursue what he’s trying to pursue. I’m like, “Wow, that’s a testament to his acting talent.”

G.G.: Yeah. He really, really is that good. He should be super famous now. He’s a working actor. He’s always working, but he’s never quite—I don’t know if you want to put this in, but he deserves to be an A-list actor because he’s that good. That’s why I had to fire the real Jeremiah.

O.F.F.: Of course, because your husband Sam does end up playing a very integral role in the film, I was going to give you a chance to potentially throw him under the bus–

G.G.: Oh, I’m so happy to throw him under the bus. You think I can’t?

O.F.F.: Oh, no! Please, if you want to! (laughing here, mind you!) I was hoping that he was perfectly behaved on set because I know he’s no stranger to acting in front of the camera, in addition to being, from what I’m guessing, a total character behind the camera, as well.

G.G.: Yes, he is. He’s a pro at acting. I know Mike Binder because Sam starred in one of Mike Binder’s movies, and Mike played the acting teacher, as you know. By the way, it’s so funny. That acting scene is just my favorite scene in the whole movie, mostly because of Mike and Jed, too. Sam is so helpful, but he’d always want to give me different performances, so I’d have stuff to work with and funny bits. That was a double-edged sword, because then he’d do something so funny, we’d do a different angle on it, and I’d say, “Do that exact same thing or do that again.” He could not repeat the performance. He’d do something completely different, and I’d be like, “No, no, no.” He didn’t remember what he did. He’s the same way as a chef or a cook. I’ll say, “That spaghetti pasta was amazing. I want you to do it the exact same way.” He cannot repeat it. It’s very frustrating, so he’d do really funny stuff, but he only did it once. I got it if we got it.

O.F.F.: At this point, with this newly growing venture into directing thanks to “Fanboy” releasing Friday March 22nd on Amazon, you’re definitely coming into a time I personally enjoy witnessing–a new age of women filmmakers making a serious mark on all levels of cinema. From independent films to efforts like Patty Jenkins helming “Wonder Woman”. What does it feel like to be able to really come into more of what you’re wanting to do with directing in a moment when women are getting a lot more notoriety, which is more than well-deserved?

G.G.: Well, look. There are so many more opportunities for women now, though I think we still have a long way to go. Maybe that’s something to do with them hiring me. I don’t know, but it couldn’t hurt, because it is the Year of the Woman. We are making great strides, so I’m really happy about that. I do think we have a long way to go, though. For instance, you mentioned Patty Jenkins. I think the way women direct other women is really important, also. You know, Patty Jenkins versus Michael Bay–they both see women very differently. Michael Bay sees sex symbols and yet, with Gal Gadot, who is a sex symbol, she is portrayed really in good taste as a superhero, too. So, it’s just very different the way women portray other women, which I think is really great that that’s happening. 

O.F.F.: What projects at this point are on the slate for you once “Fanboy” is out and getting its time in the sun? What’s next?

G.G: Well, I’m directing a movie called “The Caterpillar”, which is a little more serious. It’s not as irreverent, and it’s not as much of a comedy. There’s a lot of humor in it, but it’s a father-son story. It’s about a father and son who lose their mother/wife. They were always a little disconnected, and they have to come to terms with the loss and also with each other, but there’s levity. It’s a very human story and light to funny, so there’s a lot of that in there. The writer is a playwright originally, so the writing is pretty brilliant with a lot of subtext. It’s in the vein of “Wonder”. Oh, so I’ll tell you. It’s called “The Caterpillar” because Jake is his name. He’s eight years old, and his Mom dies on Halloween but had made him a caterpillar costume, which he never wore. He decides to put it on and not take it off. It’s really how his Dad deals with that, how his sister deals with that, how the kids at school, the principal, the teachers, the grandparents, how everyone deals with this kid refusing to take off the caterpillar costume. It’s very heartwarming, a story about hope and transformation, even though it’s tragic at the same time. I like movies that make you laugh and cry, and this one made me laugh and cry.

 

O.F.F.: I’ll say I’m right there with you. I want something that impacts my emotions across the entire scope. To me, that’s the mark of a truly well-written and well-executed film, so you’ve already got me hooked. I am going to be waiting to see it. 

G.G.: Oh, thank you.

O.F.F.: Independent film, like “Fanboy”, is a medium still somewhat stuck in the shadows as it were, with distribution and overall notoriety/exposure still very much a work in progress. Yet, as I’ve previously hinted at or directly stated, so many of the best stories, characters, and just raw passion for film is found in the indie film community. How important is it in your opinion that indie film might finally get its earned day in the sun?

G.G.: I recently went to the AARP Awards with Blythe Danner, as her date. She took me as her date. She did a movie with Hilary Swank and Robert Forster (the film in question is “What They Had”) and a couple other famous people. I was sitting next to the director, and it won all these awards, but no one ever saw it. I think a lot of it is the distributor, but it was about two people with Alzheimer’s, and I didn’t see it either. I had never even heard of it, and so much of it is out of our control. Like I said, you got to do it because you’re passionate about it, and that’s the only way anything will ever get done is if you don’t give up and persevere, but then again, it’s about the journey. You really have to enjoy it and love it and love your movie because the rest is completely–how many people go to see it? Who knows, but you know, it’s hard to get any movie made these days.

Even Sam and last couple of movies he started to make, even though they’re bigger movies, have a bigger budgets, and an A-list filmmaker, those were hard to get off the ground. I think in general, it’s really hard to make any kind of a movie. You just have to not give up and see your vision through, but then let go when it’s said and done. People are going to judge it. It’s art. I remember in “Murder of A Cat”, I was so proud of it, and then I got some really bad reviews. I’m like, “Holy, moly. What’s wrong with these people?” That was really upsetting, so I think after you make it, you just got to be so proud of what you make. Hopefully, one is proud and then you got to let go, and then it’s out of our control. That’s why, again, it leads back to the theme of “Fanboy”. It’s about the journey. You better enjoy the journey and have fun. So, I think one of the questions that I saw that you were going to ask is what my favorite movie is. Did I beat you to the punch? 

O.F.F.: Yes, you did actually!

G.G.: I just remembered that because my favorite movie–I mean, I have a lot of favorite movies–but the one that really inspired me to direct was “Little Miss Sunshine”. (Directors Jonathan) Dayton and (Valerie) Faris are actually friends of mine, and they came to the “Fanboy” premiere. I was so proud to show it to them. That movie was so, so great, and Michael Arndt wrote the script, and he wrote a brilliant script. That inspired me to. I think that’s what I was trying to make, “Fanboy” and “Murder of A Cat”, that similar tone. I don’t know if I achieved it, but that was my goal.

O.F.F.: Well, Gillian, I know you have to go. I’m so glad this opportunity came about to be a part of “Fanboy’s” journey plus be able to share that directly with you as well as connect with you. You’ve just given me additional inspiration, honestly, to keep focused on independent cinema and continue to be a voice for that, because it deserves support, and the masses need to know about it. Thank you so much for being willing to take the time. This has been truly wonderful

G.G.: Agreed. Thank you so much. It’s been such a pleasure talking to you.

 

This is such a fantastic example of the quality souls found in the Hollywood-based indie film world, and to have opportunity arise to connect with them continues to be one absolutely fulfilling experience, with Gillian Greene being no exception to this truth. With the constant awareness of a grounded mentality, wholly invested enjoyment, and excited, underlying anticipation of what is yet to be gained from “Fanboy’s” release on Amazon and the upcoming feature film her directing aspirations get centered on next, there’s just no denying we are seeing the emergence of a fresh force in the indie short and feature film world, which may not long be able to contain this consummate creative. All this critic knows is that it is more than evident in her voice and enthusiastic demeanor that big dreams reside within Gillian Greene, and I for one cannot wait to see the results of those dreams being made into reality. How about you?

Please make sure to check out “Fanboy” beginning on March 22 on Amazon and let your opinions be known. A humble and heartfelt “Thank you!!” to Gillian Greene for her time and talents! We look forward to what comes next!

As always, this is all for your consideration and comment. Until next time, thank you for reading!