Tag: #interview

#EdFringe #Interview By Lou with Julie Lake and Annie MacLeod about their show #ForgetMeNot #wildflowershow @julie__lake @anniemacleod @GreensideVenue

Interview By Lou with Julie Lake and Annie MacLeod
of Forget Me Not

Welcome to Bookmarks and Stages to talk about your fascinating show, Forget Me Not, which you’re performing at the Edinburgh Fringe Festival.

If you’ve ever watched Orange Is The New Black, then Julie Lake would be a familiar name. Since then she’s been more a creator of work on-screen and in music.
Annie MacLeod is and award-winning music and songwriter. 
Together, they talk about their show Forget Me Not, motherhood, being in their 40’s and re-inventing themselves and more…
Here’s the synopsis of Forget Me Not. You can find the Edinburgh Fringe link to their show at the end of the interview.

Synopsis

Orange is the New Black’s Julie Lake and songwriter Annie Macleod join forces in Forget-Me-Not, a true story of motherhood, lost love and hauntings set to original music and heart-exploding harmonies. Two estranged childhood best friends reconnect in midlife – both mothers, stifled by traditional roles and longing for more creative freedom, adventure, sexual liberation and a deeper sense of self. Through storytelling and song, they rediscover the power of their bond, finding the healing and freedom they’ve been searching for all along. A moving, magical celebration of motherhood, creativity, resilience and the transformative power of female friendship.

 

Now, let’s check out he interesting answers they gave about their show and more…

  1. Julie Lake: Who or what inspired you to act and how have you seen your career progress from being in the successful, Orange is the New Black?

I caught the acting bug at five—I wanted to be wild and expressive, but also connect with people in a way I couldn’t offstage. I was shy, secretive, and terrified of revealing too much. Writing used to scare me—I thought it might expose me as crazy or stupid. But since Orange is the New Black, I’ve shifted into creating my own work: pilots, screenplays, music—and now a live play. Turns out, sharing my inner world isn’t fatal. Just… occasionally awkward.

  1. Annie MacLeod: You’re an award-winning music and songwriter. What or whom inspired you to take this career path?

I’ve loved music and theater since high school – Julie and I performed together as teenagers, and I always dreamed of being on Broadway or performing as a musician. But I took a different path, became a nurse practitioner, and poured myself into caregiving and motherhood. For years, I made music in the cracks of my life, stealing moments when I could. But once my kids were out of the baby phase, I had this wake-up call—like, what happened to my dreams? I knew I needed to reclaim them. Our play tells the story of that transformation.

 

  1. Julie Lake: The play explores motherhood and the complex privilege and joy surrounding this. How would you describe the complications and what is it about this that makes it important to highlight?

When I became a mom, I slipped into a role that didn’t feel like me. I’d been a lifelong artist—filming a pilot at eight months pregnant that got into SXSW. But after my son was born (and then Covid hit), I disappeared into nonstop caregiving. I cried if I left him for an hour. I was secretly writing music, but had lost the courage to share it. I thought it was all over. Annie helped me find myself again. She saw me when I couldn’t. My song “Oldest Friend” says it best: “Be my witness when the fog becomes too thick, when I can’t see beyond these lines. Tell me something, that you see in these dry bones, when my worn heart has lost its shine.”

 

  1. Annie MacLeod: How did you come up with lyrics and music to convey the complexities of motherhood, so the story really penetrates into you audiences? There’s a song in the show called The Sacrifice that poured out of me during a time I was reckoning with how my own mother’s pain shaped my experience of motherhood. My dad left when I was a baby, and my mom—who struggled with depression—sacrificed everything to raise me. But in the process, she gave up her own desires, her light. I grew up thinking I had to shine bright enough for the both of us. That sadness, that ghost of unfulfilled womanhood, made its way into how I mothered. Writing Sacrifice was the only way I could process it—through poetry and music. The song helped me turn something generational and heavy into something healing.
    “I am your lifeline, but I’m not drowning too. You say, I come from you. Oh, I come from you.”
    That’s what I want to offer my kids—and maybe the audience too.
  1. Julie Lake: What is your acting process to convey the theme of grief of futures so the audience can feel something of what you feel and get the point across about this?

Honestly, I just hope I can get through the show without crying too much. I want the audience to really hear the story and feel their own feelings—not mine. So while I’m performing, I’m often trying to hold back. The truth is, there’s no way to fully explain in words or tears the depth or duration of what Annie and I went through. All we can do is tell the truth of what happened and trust the audience to connect it to their own experiences. And the songs do a lot of the emotional work for us, too –  they’re really the emotional landscape of this show.

6 .  Julie and Annie Re-invention is a big and fully loaded theme running through the musical. How complicated do you think it is to re-invent yourself in your 40’s, what are the positives and the challenges?

Both of us made big shifts in midlife—Annie left her career as a nurse practitioner to pursue music full-time, and Julie leaned into song-writing and performing her own music for the first time at 40. Doing this as mothers was especially hard. Our culture treats anything outside caretaking or earning money as selfish—but it’s not. Reclaiming your wholeness, your voice, your creativity, is one of the best gifts you can give your kids. It’s modelling. We want our children to see what it looks like to live in alignment, not abandon yourself. That’s not selfish—it’s brave, and it’s deeply loving.

 

  1. Julie and Annie: What do you hope the audience will gain from watching your show?

We hope audiences—especially mothers—leave our show feeling seen, inspired, and reminded of their creative spark. Forget-Me-Not is a love letter to the parts of ourselves that get buried in caregiving, shame, and self-doubt. We want women to feel less alone in their struggles and more empowered to reclaim their voices and dreams.

We’re also launching workshops and women’s circles specifically for Artist Mothers—to keep this conversation going beyond the stage. It’s about building a community where creativity and motherhood can coexist.

Are you an Artist Mother too? Start here to join the tribe: https://annie-wtb3mkl5.scoreapp.com/

 

  1. Julie and Annie: What inspired you to take your musical to the Edinburgh Fringe Festival and what are you excited most about?

Julie: I’d always wanted to go to the Edinburgh Fringe Festival, but I thought that ship had sailed, that I was too old. But when we started to conceive of this show, it just came to me again, that we could apply at least? And then when we got in I flipped out, I’d have to leave my babies to do it, face so many fears, play my music for people for the first time, but I knew in my gut it was the right next step for us. And I know we would have never made this show without the looming deadline of the fringe. It was too hard, too much work, too emotionally taxing, I mean we did 30 drafts, composed 6 songs, staged the play in NYC with our magnificent director, Peter Cook (Never Sleep Alone). I’m so proud of this show that we’ve created, and whatever else happens at the Fringe is just gravy at this point.

Forget-Me-Not runs August 1–9 at Greenside @ George Street 11:40AM.

Tickets to the show: https://www.edfringe.com/tickets/whats-on/forget-me-not

  1. Where can people follow you on social

Artist Mother Quiz/ Join the tribe!: https://annie-wtb3mkl5.scoreapp.com/

Wildflowers Website: https://wildflowersshow.com/

Julie Lake Instagram: https://www.instagram.com/julie__lake?igsh=ZTVocWF1NHpzZDVm&utm_source=qr

Annie Macleod Instagram: https://www.instagram.com/anniemacleod?igsh=MWp2ZmpwN29zOTZrMw%3D%3D

Wildflowers Instagram:

https://www.instagram.com/thewildflowershow/?igsh=bWo0MXlzZXJmazB5&utm_source=qr#

Julie Lake TikTok: https://www.tiktok.com/@julie__lake?_t=ZT-8yNvJCdWAiD&_r=1

#Interview by Lou with Renowned Magician, Kevin Quantum – Unbelievable Magic For Non-Believers @kevinquantum @ARedinburgh #MagicShow #Tricks #FamilyShow #Summer #EdFringe

Kevin Quantum, Unbelievable Magic
For Non-Believers

Assembly Rooms, Ball Room 
31 Jul to 24 Aug | 19:40
Tickets: Full price £16, concessions £15
Find out how to book after the interview

Let’s welcome magician extraordinaire who has a new show –
Unbelievable Magic for Non-Believers.

Kevin Quantum is becoming quite the stalwart at The Edinburgh Fringe with his amazing magic shows. I have seen 3 of them before and they’re all very different.
Discovered on Britain’s Got Talent, he was then trained by the almighty Penn and Teller. Today, I have the absolute pleasure of interviewing him about his illusions, joining the prestigious Magic Circle, another magic show he does and of course, what Simon Cowell is really like. The answers are fascinating!

First, here is a look at what his latest show is all about and then onto the interview and how you can get your hands on the tickets before they magically disappear before your very eyes.

Could it be magic? Kevin Quantum is Ready to Blow Your Mind

Are you a sceptic about magic? It can’t be real. Or can it? Former physicist Kevin Quantum was a non-believer – but an uncanny experience changed his mind. You might do the same – take a chance and go along to the first ever magic show for people who don’t believe. There will be spectacle, illusions, sleight of hand, trickery, danger, charm, comedy and maybe even the truly impossible. Kevin will also reveal the story of what turned made him realise that there may be more to the universe than meets the eye.

Scotland’s own international star of magic and Scottish Comedy Award nominee, Kevin Quantum, is fresh from the Adelaide Fringe where this brand new show was a five-star hit. This year the Edinburgh-based performer celebrates 20 years in magic. Trained by Penn and Teller and earning celebrity on Britain’s Got Talent, he is now an Ed Fringe favourite, amazing audiences with fun, fresh and mind-boggling shows each year. 

Think you know what’s real? Think again. Book now for big gasps and raw, unfiltered magic from a world-class showman. 

“A slick intriguing slice of magic…brilliantly different” ★★★★★ The Stage
“Master illusionist, unbelievable.” ★★★★★ Adelaide Advertiser

1. You are a former physicist. What attracted you to give that up, become a magician and appear on Britain’s Got Talent, where you found fame and an initial outlet for career longevity?

I didn’t really give up physics — I just started performing it. I was a PhD student designing fighter jet cockpits when I was chosen for a BBC reality show called Faking It. They trained me to become a magician in just four weeks, and I accidentally fell in love with the craft. Suddenly, my love for science collided with the storytelling and theatre of magic. As for Britain’s Got Talent — that gave me a way to reach millions in minutes. It’s one thing to perform at festivals; it’s another to blow someone’s mind live on primetime TV.

2. What was it like to be judged by the likes of Simon Cowell and the team on Britain’s Got Talent through all those rounds?

Honestly? It was far less brutal than you’d think. The team at Syco were incredibly supportive behind the scenes, and the judges gave refreshingly honest insights into my act — the kind of feedback that actually sticks. I still reflect on some of those notes today when I’m building new material. The whole experience pushed me to be sharper, clearer, and bolder on stage. You get very good at delivering something impossible in under 90 seconds. And you learn quickly what makes people lean in… or hit the buzzer.

3. You were fortunate to be trained by world-famous magicians, Penn and Teller. How did that come about and what was that experience like?

That was a once-in-a-lifetime thing. During Faking It, I was flown to Vegas to train with Penn & Teller. They were brilliant — sharp, generous, and refreshingly no-nonsense. They didn’t just teach me tricks; they taught me how to think like a magician. It shifted my brain from the scientific method to theatrical misdirection — while still using the same curiosity about the universe.

4. How do you go about curating a magic trick, whether it’s sleight of hand or other illusions, around the storytelling you do within your shows?

Story comes first. Always. I ask: What’s the feeling I want to create? Wonder? Fear? Laughter? Then I build the trick that earns that moment. Whether it’s a sleight-of-hand coin vanish or a Tesla coil firing a million volts through my body, the illusion has to serve the narrative. I like the audience to feel like they’re uncovering a mystery rather than watching a stunt.

5. How did you become a member of The Magic Circle and how has that enhanced your career?

To get into The Magic Circle, you have to pass a live exam in front of other magicians — no pressure. I joined early on and it felt like being handed the keys to a secret library. It gave me access to generations of knowledge and a network of the best minds in magic. It’s also a brilliant mark of credibility — especially when blending science and theatre as I do.

6. Your latest family show is called Unbelievable Magic for Non-Believers. How do you go about opening the minds of sceptics so they can enjoy the spectacle of magic that you perform?

I never ask anyone to believe in magic — only to experience it. The show invites sceptics in with logic, humour, and a healthy dose of self-awareness. We talk about free will, psychology, even probability… and then I smash those ideas with something that feels truly impossible. It’s not about fooling people — it’s about surprising them out of their certainty.

7. You also perform a show called Edinburgh Magic in the evening. How does that differ from your daytime show?

Edinburgh Magic is like slipping into a velvet-lined secret society. It’s intimate, luxurious, and aimed at adults who want to be dazzled. Think levitations, mind reading, and tricks that once fooled Houdini. In contrast, Unbelievable Magic for Non-Believers is for families and thinkers — it’s high-energy, story-driven, and a bit cheekier. Both shows bend reality, just in different lighting.

8. You appear a lot at the Edinburgh Fringe Festival. What attracts you each year to perform there?

The Fringe is chaos in the best possible way. It’s where new work is tested, limits are pushed, and artists walk a creative tightrope every day. I love the energy, the risk, the sense of a thousand stories unfolding across the city all at once. Plus, I live here — so it’s either perform or lend my flat to a juggler.

9. What’s next for you and your impressive magic career?

I’m developing a new immersive show called Magic Awareness Society — part government lecture, part magical resistance movement. I’m also touring Unbelievable Magic for Non-Believers to science festivals and international venues. And I’m quietly working on a show where the Sword of Damocles literally hangs above me — but that’s another story… and probably another insurance form.

Bookings:

https://assemblyfestival.com/whats-on/981-kevin-quantum-unbelievable-magic-for-non-believers

www.assemblyfestival.com

Tel: 0131 623 3030



#Interview By Lou with Toby Mitchell, Theatre Director about UK Tour of The Elmer Adventure, A Stage Adaptation of David McKee’s Books About That Patchwork Elephant #TheElmerAdventure #Elmer #Theatre #ChildrensTheatre #FamilyPlay #Summer #SummerActivities #TouringPlay

Interview by Lou with Toby Mitchell
The Elmer Adventure

Elmer The Patchwork Elephant is on tour in a highly anticipated, very colourful, very exciting new stage play – The Elmer Adventure, adapted from those worldwide famous books by David McKee. More about that in a moment.

Thanks to The Space InBetween, I have had the absolute pleasure to interview the Award Winning Artistic Director Toby Mitchell from “Tall Stories” (Room on the Broom, The Gruffalo and more… Discover more later in the interview) about this new play suitable for 3 year olds plus. 

Welcome Toby to Bookmarks and Stages.

Elmer was created by David McKee and first published by Andersen Press in 1989. There are 30 picture books in the series and more novelty titles. Elmer has since gone on to sell over 10 million copies in over 60 languages. In the original classic book, Elmer realises that it is his differences that make him who he truly is, and these differences are what his friends love about him. ‘The Elmer Adventure’ is a new show that brings together three David McKee stories, ‘Elmer’, ‘Elmer and the Tune’ and ‘Elmer and the Hippos’. 

Everyone is invited to come to see the show wearing their most colourful clothes and accessories.

 So, on with the interview and some rather fun cast photos.
You can find out at the end where you too can join in fun of stories, magical puppetry, playfulness, songs and humour about a quest, friendship, acceptance and more…

1. Who or what inspired you to become a director and what was your pathway into this profession?


I’ve worked as a performer and as a director. When I was performing, I gradually realised that I preferred seeing the whole picture, rather than focusing on a smaller part of it. I originally studied French & German at university (and did loads of music and drama alongside) – I did an MA in Theatre Practice a few years later. Tall Stories was a very small company until we came across The Gruffalo story, just before the book became famous, and excitingly, we managed to get permission to put it on stage!

2.  Elmer has had a very long life with many generations of children reading the books, meaning expectations are high. What made you decide to create a live action stage show of Elmer?

The stories are brilliant! Such life and humour and joy. Also, the world loves Elmer the Patchwork Elephant, and 10 million books have been sold internationally. David McKee wrote over 30 Elmer books, which have been translated into more than 50 languages. So we came up with a satisfying way of telling three of the stories together in one show that would involve an exciting onstage journey for our three storytellers/performers too. Elmer is a well-travelled elephant, and that’s why we wanted to bring him to life on stage in a magical way, and we specially developed a life-size puppet for a big reveal. 

3.  How did you go about getting permission to create the stage show and was this an easy or challenging process?

We were competing against three or four other companies, so it was both exciting and an honour to get the rights! And now, having the opportunity to translate it for the stage has been great fun! As well as co-creating the script, I had a hugely talented creative team on board: designer, composer, lighting designer, sound designer, costume supervisor, and many others. When the audience enters the auditorium, it really feels like they’re stepping into the heart of a magical jungle. At Tall Stories, we have become known for our unique design and audience interactions through all our shows. In particular, we have a style of ‘try it at home’ storytelling, and we know that children re-enact the story and dress up when they are back at home, which is great for their development.
You’ve talked about bringing playfulness and the magical spirit of Elmer to the stage. How was it to get inside the head of a 3 year old plus mindset and direct a play that would hold their attention and create magical memories?

Essentially, I’m still a big kid – many people who work in theatre are. When we bring picture books to life on stage, we’re able to bring so much more to the original text and pictures. The trick is to tell great stories and take your audience (younger and older) seriously. Then you need to add humour, music, songs, and (when needed) puppets. Our near-lifesize Elmer puppet is a thing of beauty. There’s also extra dialogue, jokes, music, puppetry – and we engage with and interact with the audience throughout the show. All of these elements add hugely to the audience’s experience and create great memories for families.

4.  How can people find out where to see the play and where can they follow you on social media?
The Elmer Adventure is on a UK tour until 20 July 2025. For more information visit  tallstories.org.uk/the-elmer-adventure and come and chat to us at https://www.instagram.com/tallstories/ 


5.   Have you any other projects in mind at the moment?

Always! I’m especially proud of our famous adaptation of ‘The Gruffalo’ and our show celebrates its 25th birthday next year!  ‘The Smeds and The Smoos’ is currently on tour, and The Gruffalo’s Child is on a national tour from September. Over our 28 years of existence (and 20 years as a charity), we’ve produced over 30 shows. I feel incredibly lucky to be able to spend my life making theatre for young children and families that captures their imaginations.
 

UK Tour Dates

Fri 27 – Sun 29 June: Norwich Playhouse, Norwich Booking LINK

Sat 5 – Sun 6 July: Chelmsford Civic, Chelmsford Booking LINK

Tues 8 – Weds 9 July: Storyhouse Chester, Chester

Tues 15 – Thurs 17 July: Sheffield Lyceum, Sheffield Booking LINK

Fri 18 – Sun 20 July: Lawrence Batley Theatre, Huddersfield

#Interview By Lou with Producer Nathan Hertz and Writer Avra Fox-Lerner on new film, Thinestra and more… @thinestra @nertzzz @avra.jr  @Tom_Brumpton_PR #Thinestra #Movie #Film

Interview with Producer Nathan Hertz
and writer Avra Fox-Lerner
about Thinestra

Interview by Louise Cannon

Welcome Nathan and Avra to Bookmarks and Stages to talk about your film and more…
Thinestra is a horror film that takes on the hot topic of diet pills where the type shown is like the popular one taken in the real world known as Ozempic that as a topic in the film and the answer is very personal to them and honest about mental health, diets and more…. We also talk about the film itself, classic horror like Jekyll and Hyde, how they celebrated the success at premiering at Raindance Film Festival, being picked up by Deadline and much more… The answers are in-depth, honest, personal and fascinating.

Without further ado, here is the synopsis and then we will get on with the interview, where you will also find links to where you can watch it…

Synopsis


A miracle drug delivers the overnight weight loss you’ve always dreamed of. But will it turn you into a walking nightmare? It’s a sweltering Christmas in LA. Penny—plagued by body dysmorphia and cycles of binge eating—impulsively takes Thinestra, a mysterious Ozempic-like drug. That night, she violently expels masses of fat in a painful and grotesque purge. But her discarded flesh returns… and like the Hyde to Penny’s Jekyll, PENELOPE is born. As her ravenous dopplegänger wreaks bloody havoc, Penny struggles to regain control. Can she overcome her hunger before it’s too late?

Styled as “The Substance” on Ozempic, “Thinestra” imagines a world not dissimilar from today in which quick weight loss drugs are readily available, but there is a price to pay. The cast also features Mary Beth Barone (“Overcompensating”), Brian Husky (“Veep”), Annie Ilonzeh (“SWAT”), Gavin Stenhouse (“Black Mirror”), and Shannon Dang (“Kung Fu”). “Thinestra” is produced by Alexandra Lubenova’s Dogplayer & Kelly Parker’s Mary Ellen Moffat, alongside Hitmaker’s Media and Stay Lucky Studios. Hertz, Joe Wesley, and both Macedo sisters act as executive producers.

  1. What attracted you to the horror genre?

    Nathan: I watched The Shining too young, and it kind of rewired my brain. I love the horror genre, but it encompasses a lot for me; I don’t make much of a distinction between horror movies and just… scary stories in general. I like to joke that Thinestra is Bridget Jones’s Diary meets The Fly.

Avra: I actually came to horror later, in high school. I was sick one summer and my dad had the entire Cronenberg canon on VHS. I spent a week sitting in a dark bedroom watching my way from Shivers to Dead Ringers and I’ve never been the same since.

2. The film covers the hot topic of weight loss pills, especially a fictionalised one called Thinestra, an Ozempic-like pill. What research did you do to make this believable and then credibly turn it into horror?


Nathan: I guess my research was mostly first-hand experience. I’ve struggled a lot with body image and weight loss—so when I heard about the new drugs hitting the market, I jumped at the opportunity to try them. Unfortunately, my body had a really bad reaction, and I was sick for over a week! I was left asking myself the same question that Penny, the main character in our film asks, how far am I willing to go to lose weight?

Avra: It’s funny I first wrote this script before Ozempic was even an idea in the world. Like Nathan, I’ve struggled with body image issues. I grew up in LA, a heavy set teenager and the daughter of a heavy set mother. I watched my mom go through starvation diets and early diet pills that had pretty nasty side effects and was also friends with girls who had full blown eating disorders. I remember being angry at myself in high school for not having the discipline to be anorexic because I always got hungry and ate something. At some point I began to fantasize about a pill I could take that would just make the fat melt away, but I also understood by that point in my life that nothing comes without a price, and so Thinestra was born.

3. The film looks at mental health and body dysmorphia. How important is it that films portray these issues, and why did you choose to explore them as a main theme?

Nathan: I think we’re living in a time where people are performing “wellness” while secretly falling apart. They’re posting ‘body positive’ platitudes while scrutinizing their own reflections in private. So  I think we’ve all become a bit too isolated in our issues on this subject—me included. Nothing brings people together like a common enemy… And when the villain is a distorted version of yourself—the part you’re desperate to escape—big bad body horror becomes the perfect genre to externalize that inner fracture.

Avra: I think there is a privilege of beauty that people don’t like to talk about or admit is real, but we are all subject to and affected by. It’s a knife that cuts both ways. In my opinion it isn’t doing great things for anyone, even those seen as “beautiful.” I believe, especially when we are young, we think – if I could just fix this one thing, everything in my life would be better. And especially for a lot of young women, that thing is the way we look. So it becomes an unhealthy fixation that is a stand in for everything we don’t like about ourselves. As Nathan says, body horror is a gift that allows us to externalize the internal. What is more horrifying than living inside your own worst enemy – your body?

4. There’s a Jekyll and Hyde theme with Penelope and her doppelgänger. How did you approach that without becoming too derivative, while still nodding to Stevenson’s novel?

Nathan: No mustaches! And… Jekyll and Hyde inhabit the same physical structure, whereas Penny is completely physically separated from Penelope (evil doppelganger formed from Penny’s discarded fat) yet linked psychologically. Penbelope is a physical manifestation of Penny’s binge state.

Avra: I think when writing horror, and especially monster horror, you’re essentially building off a collection of classic archetypes. There’s always a moment when a writer wants to reinvent the wheel and come up with a monster no one has seen before but … it never really works! I’ve learned to embrace the archetype monster as a base and then figure out what my personal take on it is from there. And I don’t feel like I see enough Jekyll/Hyde influenced stories! And it’s so scary!!

5. Congratulations on premiering at Raindance and being picked up by Deadline and others! What was that like and how did you celebrate?

Nathan: With a trip to London and one too many pints!

Avra: With a lot of dancing around my apartment and telling everyone I know!

6. Where can people follow you and where can they watch Thinestra?
@nertzzz
@thinestra
www.thinestra.com
@avra.jr  

And we are just starting our festival year, so we have lots of exciting screenings on the horizon.

7. What’s next for you?

Nathan: I’m developing a new feature called The Green. It’s a 1950s-set horror film (subgenre: people hunting people) that takes place on a golf course. It’s got mid-century Americana, humor, and plenty of blood in the sand traps!

Avra: I’m working on a folk horror script called Safe Haven about the cost of safety in an unsafe world and directing a play in New York City this summer called Transgression that is only horror in theme, not in genre.

#Interview By Lou with director, writer, producer, actor, musician Brandon Bernath about short film, Illionaire @brandon_bernath @Tom_Brumpton_PR #Films #Movies #Music #Illionaire

Today, I have the privilege of interviewing Brandon Bernath about new short film/music, Illionaire. It has been screened as part of the Dallas International Film Festival and at SXSW London. We also talk about inspiration, influences and what he is doing next, which sounds an exciting opportunity with his band, THE ABOMIC TOMS, which have featured on the BBC. Their most recent single, “RUN” landed placement in Amazon Prime’s hit new action/drama series, “Motorheads”. There are also links at the end for how you can see the film…

Brandon Bernath an accomplished writer, director, actor, producer, and musician based out of Los Angeles.

He has appeared in films such as “Queen Of Manhattan” alongside Rainey Qualley, (“Delilah”), Taryn Manning (“Orange Is The New Black”), & Drea de Matteo (“The Sopranos”) and “Shot In The Dark” with Jacqueline Toboni (“Grimm”), Austin Hebert (“Jack Reacher: Never Go Back”) and more…
Brandon was nominated for Best Actor at the 2017 CineFashion Film Awards for his role in the comedy short “The Selfie That Changed The World”.

He has been recognized in numerous publications for his work, including Rolling Stone Magazine NPR, & American Songwriter Magazine. He has collaborated with major brands and companies such as,L’Agence, Choose Love, Warner Records and more…
Brandon’s next project includes creating a series of shorts for the online fashion brand Vague Studios.

So, without further ado, let’s get down to business with the interview.

Brandon Bernath, who or what inspired you to become a director writer, producer, actor and musician and how do you manage to pull all those passions and talents together to make them work for you?

BB: I am a director, writer, producer, actor, and musician. I fell into acting at a young age and then pursued my studies in college and then law school. Coming back into acting 7 years later was a big struggle and forced me to create my own projects to star in, which led me to pursue more directing and producing opportunities. I am a project based artist. I find it easy to multitask in the mediums of art. Whatever the project is I find it natural to pivot to another medium if needed.

Your latest film, Illionaire follows rising New York rock and roll musician, Zoe Fromer and 3 demons in pursuit of Illionaire. How did you come to calling it Illionaire?

BB: Illionaire is the title of Zoe’s song.

The first time we see Illionaire, he is like a comic book character/hero in look and the way he acts. What inspired this characterisation?

BB: I have a deep desire to create real life looney tune characters that are relatable. I am deeply influenced by American genre films and American aesthetics.

You play with surrealism and humour in the acting that then turns into a rock music video like in feel and look. How did you arrive at the decision of this genre to play out the storyline?

BB: The genre is a surrealist comedy with sci-fi elements. I feel that is my aesthetic that I am exploring at the moment; a larger than life absurdist viewpoint based on American tropes, like greasers, burgers, fast cars, shiny colors, and rock and roll.

What is next for you and your very varied career?

BB: I am writing, directing, and producing more short content for fashion brands. I am finishing a feature script, and getting ready to open up for Billy Idol and Joan Jett at the kia forum in September with my band THE ABOMIC TOMS

Where can people watch Illionaire and where can they follow you?

BB: Here is my instagram https://www.instagram.com/brandon_bernath/.
Here is a link to the film: https://www.youtube.com/watch?v=zVobflw1UZY&list=RDzVobflw1UZY&start_radio=1

#Interview By Lou with Film, Conveyance Director Gemma Creagh @creagh_fish #GemmaCreagh @Tom_Brumpton_PR @glasgowfilmfest #Film #Movie #Horror

Interview By Louise Cannon (Lou) with Gemma Creagh

I recently had the pleasure to interview Gemma Creagh about her film, Conveyance, thanks to Tom Brumpton. Conveyance was shown at The Glasgow Film Festival earlier in the year.
We talk about this, the film itself and more… Firstly, lets start with the synopsis.

After years of living in sub-par rented accommodation, young couple Brian and Suzanne can’t believe their luck when they finally find their dream home – and at a price that’s almost too good to be true. Elated, they move into their brand new, stunning, sea facing South Dublin apartment, but they soon discover that this idyllic spot isn’t quite what it seems. When objects start moving of their own accord, Brian begins to suspect Apartment 19 in the Seaview complex is haunted by a malevolent spirit. He even calls in spiritual assistance in the form of a white witch to attempt to “cleanse the space”.

Suzanne, however, always the sceptic, barely hides the fact that she thinks he is being ridiculous. With tensions escalating between the couple, and as their living situation becomes borderline dangerous, Suzanne and Brian must face an impossible dilemma. How far will they have to go to keep their dream home?

The film has been covered nationally in Ireland following its premiere at the prestigious Galway Film Fleadh in 2024. This includes mentions by RTE Radio One, Irish Independent, Midlands 103, and the Dublin Gazette.

Welcome, Gemma, to Bookmarks and Stages. It’s a pleasure to interview you.

Thanks for having me!

 

  1. What or who inspired you to be in the business of directing and writing films?

I read an obscene amount growing up. Reading, then writing was something I’d always really enjoyed. I loved disappearing into my weird mind and building make-believe worlds. Not only is this a great way to pass time, it helps you figure things out, and was something I just continued doing all the way into adulthood. One day, just out of college, I got paid to write my first article. Then I submitted a funding application and was commissioned to write a web series for RTÉ.

Making films, and working in the industry in various roles, from training, to production, to administration,  hasn’t been easy… and as a writer, I’ve had my work rejected more times than I care to remember. However, I’ve stuck it out, and learned a lot over the years. Directing is quite new to me—this is my first longer-form funded film, and I absolutely adored every second of it. I hope I get to direct another one soon.

  2. Congratulations in Conveyance being shown at the Glasgow Film Festival. How did you all react when you discovered that your film was chosen for such a prestigious film event and how important a stage is the festival for films such as Conveyance?

Thanks so much! Myself and the whole team were all over the moon. The film premiered last July at the Galway Film Fleadh. This is a brilliant, Oscar-qualifying festival—I’d heartily recommend everyone go. The films are wonderful, and the craic is even better. We’d also screened at some lovely festivals around Ireland.

Finally, to be selected for FrightFest at the Glasgow Film Festival was the best international premiere I could have hoped for. This March,  Conveyance screened to a sold-out audience of over 500, alongside a really brilliant lineup of UK horror shorts. We were the only non-UK title, and this was the only short film section in the festival’s main programme. Myself, Chrissie Cronin (Suzanne in the film), and our collaborator Roisín Kearney met some really lovely people from the Scottish film industry. I really hope I get to come back to Glasgow with something else in the future. And FrightFest audiences? Absolutely brilliant.

    3.  Conveyance starts with a black cat, with the camera zooming in, making it look quite foreboding as tension immediately rises.
What was your inspiration behind this rather effective opening scene?

There is a really wonderful script consultant and teacher, Eilish Kent—here’s her website: https://www.eilishkent.com/about-eilish. She gave me my first break in the industry and very kindly offered to take a peek at the script. That cat was her suggestion, as a way to reveal more of Brian’s nature and the issues in his relationship with Suzanne early on. And funnily enough, that cat now gets us our first laugh at every single screening. Thank you, Eilish!

   4.  The food bubbles too much (which adds a bit of light humour) and then you cut to the sea roaring up, you also have the calm, serene, before the malevolent activity, it seems poetic in a way. Is this technique part of your directing style or something that fit together for this film in-particular and how did it come about?

I’m glad you noticed!  Those small moments were there to  create a sense of discomfort between each scene change. We used pre-laps—like the sound of Suzanne violently chopping blood-red peppers, or odd chimes or footsteps—to bridge the scenes and keep the energy slightly off-kilter. Sound played such an important role in all films, but horror especially. The violent transitions are a classic horror tool, so I don’t know if I’d get to bring them with me into a different genre. Come to think of it, they might make a dramedy all the more interesting though.

   5.  There is some paranormal activity in what should have been the perfect, dream house. What pulled you towards making the house uninhabitable in this particular way and do you believe in ghostly spirits?

So I don’t quite believe in supernatural things like ghosts… but then again, our human perspective on the world is limited—who knows what exists?  Plus, I still won’t watch anything spooky by myself late at night. So what does that tell you?

The apartment is beautiful, and of course it’s too good to be true. It’s a very direct metaphor for the stress that  so many in my generation (and the ones coming up behind me) are dealing with. This couple is stuck. On Maslow’s hierarchy of needs, their base level isn’t even being met. So yes, the flat is haunted, and even dangerous for poor Brian at times… but sadly it’s still less bad than the alternatives.

     6. What fascinates you about the paranormal and the techniques used to try to cleanse them from a place, like the house in your film?

Growing up, I loved a good ghost story. Horror is a great way to manifest those real-life fears—finances, love, pressure— in the form of some threat and process them through catharsis.

Our film is a bit of fun, but in real life  I’m very wary of people who claim to be psychics or say they have the answers in exchange for money. All our “cleansers” are a bit sillier and are nods to classic horror tropes. Fr. O’Leary is a lighter take on The Exorcist. Marian, our white witch, wants to believe she’s got all the folk horror rituals down. And Greg, the real estate agent, is our nod to the scariest horror of all—unchecked capitalism. He’s a love letter of sorts to American Psycho.

    7. There’s quite a twist at the end. I won’t say what, so it doesn’t spoil it for future audiences, but how important do you think it is to keep viewers guessing and to have it end in a manner that is, in my opinion, unguessable?

I’m delighted you think it was unguessable—that’s a relief! Because for me, as a writer, that ending was inevitable.

When you’re working on a script, it’s easy to get lost in parts or distracted by details. But for me, theme is key. On the surface, Conveyance is the story of a haunting—but at its core, this film is about Brian and Suzanne as a couple. They’ve spent so much time and energy stressed out by flatmates, parental pressure, house-hunting… they’ve missed something big: are they even suited to one another? In the beginning of our story, Suzanne barrels through everything without a second thought. While Brian avoids conflict so much that he misses aggressive cues altogether. This is their journey to discover if they are even really meant to be together.

     8. Have you got any other film projects lined up?

The proverbial drawer is overrun with ideas. I’m not sure which film project will bubble up next. I was very grateful to get Arts Council funding to write a play, and I’m also attached to some very exciting short films with really talented writers. It’s up to the fates to decide which project gets funded next.

     9. Where can people follow you?

You can catch me on LinkedIn and Instagram!

https://www.linkedin.com/in/gemmacreagh/  

https://www.instagram.com/creagh_fish/

“Thank you very much for your time.”

“Thank you so much for the lovely insightful questions!”