Interview with Holly Mosher, Producer and
Kathleen Slattery-Moschkau, Writer/Director
Interview by Sam Quo Vadis
I recently had the opportunity to pose some questions to "Side Effects"
producer Holly Mosher and writer/director Kathleen Slattery-Moschkau. "Side
Effects" is a critically acclaimed romance/comedy/drama that presents a
satirical take on the pharmaceutical industry. It stars Katherine Heigl
("Roswell," "Grey's Anatomy") and Lucian MacAfee ("Virginia Jack," "The
Sleeper").
Tell us a bit about yourselves and how you came to
work together on "Side Effects." (By "a bit" I mean go into great detail. {grin}
)
Kathleen: I grew up in a small town in northern Wisconsin. I graduated
from the University of Wisconsin with a degree in political science (I also
played racquetball for the University of Wisconsin racquetball team). I always
had a passion for film, but in my younger years (high school and college), I was
always too "practical" to consider it for a career. Maybe due to how I was
raised or some other craziness, I felt like I had to graduate from college in
four years and go out and get a "real job." Even though I loved film, it NEVER
occurred to me to pursue it as a career or to even to take classes in that
direction as an undergrad.
My desire to be involved in film continued to eat away at me as I entered the
corporate world. By that time, I was already locked into life in Wisconsin… a
house, a husband, etc. I became a closet screenwriter because I felt it was the
one way that I could be involved with film and live in Wisconsin. Although I
have no formal screenwriting experience, I read tons of scripts, watched lots of
films, attended weekend writing seminars, read lots of screenwriting textbooks,
and began to take acting classes to better understand the use of dialogue, etc.
I also had some great people reviewing my work and giving feedback.
Fast forward a few years to "Side Effects" (which was not my first script).
The first draft of "Side Effects" practically wrote itself. I was writing from
the heart and writing from experience and trying to be as honest in my writing
and my goals as possible. I wanted to write a real woman who was facing an issue
that affects almost all of us… that issue of what we sell ourselves for
everyday… that fork in the road of do I pursue what I love and feel right about
or sell out for the big house in the 'burbs, the big SUV, the granite
countertops, etc. I also felt the backdrop of the script (the pharma industry
and how they operate) was critical for us as consumers and prescribers of
prescription medications to understand… it was a world most had not yet seen or
had very little understanding of. 63,000 drafts later (does the tweaking EVER
end?), we have the version of the script that appears on the screen.
I landed an agent in LA for "Side Effects." However, he wanted me to water down
the script significantly to make it more appealing to the studios. When I
started seeing the results of what he felt would "sell," I said no thank you, I
will make my own damn movie. (To be honest, the choice was not just as easy as
this. Living in Wisconsin, I knew I would be cutting myself from my only
Hollywood connection. In the end though, I just felt that I could not sell out
again. I lost sleep and weight over this decision, but the moment the final
decision was made, it felt amazing )
I made the decision to make the film at the end of April 2004. I raised the
money within 30 days and we were shooting with Katherine Heigl by July 19th
(less than three months from the moment I walked away from my agent). To be
honest, previous to this time, I NEVER thought of/considered making my own film.
Once I made the decision, I was scared to death but unbelievably invigorated by
the liberating thought of just doing it myself. That said, I still feel a little
shell shocked by this whole experience. It has been nonstop for almost two years
now. Every day I wake up and have to do 20 things I never have done before…and
it is challenging, exciting, exhausting, scary, and intoxicating as hell.
The day I decided to make the film, I immediately hired an entertainment
attorney who held my hand throughout the process of pre-production. He had
worked with Holly before and knew that this project would be right up her alley.
He knew she was looking for a project that was meaningful… was saying something.
I was fortunate because she loved the script and came on board for much less
money than she is worth. She and I work very well together. We bring different
qualities to the table which complement each other. However, the two things we
do have in common have been critical to making this very low budget project fly…
work ethic and persistence. To be going at this pace for two years requires
both. I am so fortunate to have landed a producer who cares so much about the
project and has been willing to work night and day to see it through. We are on
the phone and e-mail with each other constantly day in and day out and this has
been critical to taking "Side Effects" this far.
Holly: Kathleen had brought on the lawyer [I use], Dan Kattman, to help
her put her business plan together and to be her production consultant. So after
she had raised the funds for filming, he told her it was time to bring on a
producer to help run the show. I had used Dan for the two previous films I had
made in Wisconsin, and he knew that I was looking for films with a positive
political message, so he recommended me. Ten pages into the script, I knew I'd
like where it was going, so I chatted with Kathleen to get a feel for her and
what she wanted for the project. Within two weeks I was on a flight back to
Wisconsin to shoot and within four, we were shooting! It was the fastest
pre-production I've ever been through, but Kathleen had a tight deadline in her
mind, so I didn't want to do anything to put a damper on her enthusiasm.
I have to say it's been an absolute dream to work with her. We have been able
to truly work as a creative team throughout the whole process. I stayed on her
couch in the basement during filming and some nights we'd get home and go over
film terms and ways she could choose to shoot, so that she would know how to
talk to the DP about what she wanted. I think it has been an amazing balance of
what each of us is good at and also fully appreciating the others' talents while
forgiving our weaknesses.
Because the symbiosis was so easy and comfortable, I think it made the choice
to self-distribute obvious. I have to say that her sales background has also
taught me a lot and led us to really continually think outside the box with
every effort we make in marketing our film.
How did
"Side Effects" originate? What is it about?
Kathleen: "Side Effects" is a feature film loosely based on my decade
selling pills for the pharmaceutical industry. This experience provided a lot of
great material to work with… funny, shocking, and soul searching. The film is a
satirical insider's look at the daily marketing practices of the pharmaceutical
industry. "Side Effects" is fiction and follows the ethical, comical, and
disturbing experiences of a young woman caught on the inside of an industry out
of control. On a basic human level, it is a film that evaluates what we sell
ourselves for each day. I think this is why the film is resonating with folks so
much… even those who don't give a lick about the pharma stuff. Most of us at
some point or another have faced these choices… a life/career filled with
passion and integrity vs. selling out for money, benefits, and the charade of
the good life.
What were the three greatest challenges you faced in making "Side Effects"?
Kathleen:
* Very little money.
* Very little time.
* Did I already say very little money????
Holly: I'd say our biggest challenges were a lack of time-- we really
shot in 15 1/2 days and of course the lack of money. There are always things
you'd love to do, but with such limited resources, I had to get used to saying,
"No, but I wish we could."
We really could have used more time to get more locations, more actors, more
takes, more choices for editing. Some scenes we were really limited with where
to go in the editing.
You were able to make the film for less than $200,000,
yet the production values are better than in some films I've seen with five
times the budget or more. How were you able to stretch this budget and get
maximum value and production values for the dollar? What advice can you give
filmmakers who are making a feature film on a very limited budget?
Holly: I believe we were able to make "Side Effects" for such a low
budget yet maintain our production values because we had a team of people who
really believed in the project and who were willing to do things as favors and
just to be a part of something that they believed in so strongly. There is a
saying that I believe in: "When you really believe in something, the world will
conspire so that you can achieve your goal."
I have to say that on this film, none of us ever gave up believing in the
project or the message we are telling. I think we are at a point in history
where we are seeing the effects of corporate greed, so it is a time when these
messages need to get out there as a wake up call to the people. I think because
of that, we were lucky enough to bring this project to fruition at a point when
its message needed to be heard and I believe that is also why we have gotten so
lucky with Katherine's rising star and all the wonderful media attention.
I would say that filmmakers need to learn how to ask for favors with humility
and sincerity. Every time people do things for us, I have felt so grateful for
their efforts and I know that they sense that we consider everyone who worked
with us to be a part of our giant team. Everywhere along the line, we have seen
people join the team to be apart of the message of the film, and I think they
have all felt great contributing. On other projects when there has been more
money involved, I have to say that often it feels more just like a job. Here you
could feel the heart and soul along the way.
Tell us about the casting process. What was it like
working with Katherine Heigl and Lucian MacAfee?
Kathleeen: When I made the decision to make the film, I set a very tight
deadline for myself to begin shooting. I set July 19th as my shoot date come
hell or high water. The topic was too timely to drag out pre-production and I
knew I would have the best chance of landing a name talent for the lead if I
shot in the summer (those involved in television would be off, etc). The clock
was ticking and I did not want to hire a casting director until I had my funding
in place. Thus, in the first few weeks, I just picked up the phone and started
calling people's agents. I was lucky in that there was a good amount of interest
in the script and several agents asked me to send it to them. Because of our
time constraints, we had to give the actresses very short turn around time for
an answer. It was really fun to hear the general excitement about the script.
When I had my funding in place (at the end of the first month), I hired casting
director Dorian Dunas to help cast the lead. Dorian had previously cast
Katherine on other projects. We were very fortunate in that Katherine loved the
script and was willing to take on this little indie film. Things moved very
quickly… we literally signed her within a couple days of her reading the script.
Katherine was amazing to work with… she set a fun and relaxed tone on set and
delivered an outstanding performance… I was so impressed with her ability to
pull off both the physical comedy needed as well as the dramatic elements of the
film. I love how well "Side Effects" shows her outstanding range. She really was
perfect for the role.
Holly: I thought Katherine and Lucian were a dream to work with
because they truly understood that we were a low budget film with big heart. We
didn't have talent trailers, so they often didn't have the privacy to get into
character or all the usual standards that come along with a film production. We
also didn't have catering, and were getting a lot of donated meals. I know this
was really unusual for Katherine, but she was really gracious about this.
I have to say that they were both really fun, warm people. And Katherine has
an amazing sense of humor. I was cracking up at all the stuff she'd be saying or
doing to entertain.
How did you find the funding for the film?
Kathleen: I raised the money within 30 days from individual outside
investors. I was fortunate in that the people I approached were very excited
about the script, the potential for the film, and my passion for the project.
I think more filmmakers should consider this option, rather than waiting around
for someone else to give them the nod, give them approval. If we TRULY want to
make films-- how we want, when we want-- let's go out and raise our own damn
money.
What's the funniest thing that happened behind the
scenes?
Kathleen: The funniest? During the "intimate scene"… we were shooting
this very tender, lovely scene and Katherine and Lucian obviously had to be "in
the groove" to pull this thing off in a believable and intimate way. In spite of
the fact that it was 2:30 in the morning and cold as hell, they were REALLY
doing a nice job with the scene. It was very slow and sexy and the few of us on
the set were holding our breath because it was so amazing to watch their
chemistry unfold. JUST at the moment when Lucian is leaning in and their lips
are about to touch, a HUGE moth the size of a small plane flies up between their
lips and they both screamed. It was so damn funny. Nothing quite like shooting a
film in Wisconsin.
The scariest? Having to cut scenes on the fly because you realize you are
running out of time. You obviously earmark some scenes ahead of time as
potentially expendable, but suddenly you are out of earmarked scenes and in a
matter of moments you need to consider what NOT SHOOTING certain scenes will do
to the film/story overall. These types of decisions were excruciating, but
necessary.
The most unexpected? How fun and easy Katherine was to work with on set. Being
so low budget, we obviously did not have many of the accommodations, etc., that
she was accustomed to. She was rolled with everything we threw her way.
Holly: I'd say the most unexpected thing was getting five minutes on
CNN and a ¾ page article in USA Today after only having played at
Cinequest. The press has just loved this film!
What is the most valuable thing you learned from the
process of making this film?
Kathleen: Most valuable lesson learned? To take the bull by the
horns and do things yourself… realize that you do not need to wait around for
someone to give you permission to make the film, bring the film to the media,
bring the film to theaters, bring the film to DVD, etc. We each have more power
than we realize, but we need to recognize that power and have the ovaries/balls
to not just do things business as usual.
I talk to a lot of writers/filmmakers who are frustrated… but many of them are
just sitting around waiting for someone else to do something with their project.
Many of these people expend an enormous amount of time "networking," trying to
get to the powers that be and trying to get these powers to recognize them. If
those same filmmakers would take all of that time/energy spent networking and
actually USING it toward PERSONALLY moving their project forward…fundraising,
project planning, etc. MAKE IT HAPPEN, instead of waiting for it to happen.
At every step of the way, I had people telling me that I "couldn't" do
things…"You can't raise the money that fast," "There is no way you can be
shooting by July 19th," "There is no way that you will land a name
talent actress with your budget/timeframe," "You shouldn't cross genres or
include documentary components," "You can't shoot this film in two weeks"…this
is just a SMALL sampling. Every time I heard this, I followed my instincts
rather than their advice. I actually used these comments as ammunition to fuel
my motivation, my persistence. Life is too darn full of people saying "can't"
and I think this is exactly what holds a lot of writers/filmmakers back. Once
they hear can't, they don't. Step out of the box, out of business as usual, and
just do it yourself.
(Also, one practical pointer: when fundraising, be sure to budget money for PR
and advertising. Don't rely on some distributor to pick up your film (again,
waiting for permission). Even if one does, it could be your worst nightmare: You
sign away the rights and then they lose interest…or they don't pay you due to
funky accounting…or they completely miss the boat on who/how to market it…or
they re-edit it, change the artwork, etc., and it becomes a mess.)
Holly: I'd say that you really can take things into your own
hands from start to finish. I wouldn't always recommend spending so much time on
the film festival circuit if you have a film that may be viable for the general
public. A lot of filmmakers spend over a year just trying to get attention at
festivals and by the end of that year, they will be too burned out by festivals
to adequately pursue distribution.
I understand you ran into some "challenges" with the
MPAA. Can you tell us about them?
Holly: This has been interesting because the rulebook of the MPAA says
that you can't use any drugs in your advertising. And unfortunately this applies
to legal, prescription drugs as well. So they didn't approve of our posters or
our artwork, which [makes it] really difficult to figure out what to do. We have a film
about the pharmaceutical industry, and our message is about questioning the
safety of the drugs that everyone puts into their bodies. So you'd think that we
actually are on the same side as the MPAA. I think they wanted to use our film
to make a case in order to change the rules to state illegal drugs. But I'm not
sure if that will happen or not.
What would you like the audience to come away with
after seeing this film?
Kathleen: I want them to come away both entertained and maybe
knowing/understanding something they didn't before. I really wanted to have the
audience have some fun and I wanted the theme of what we sell ourselves for
everyday to resonate with them…to maybe give them cause for pause as they
reflect on their own choices. From more of a "message" basis, I also wanted them
to have a better idea of how the pharmaceutical industry operates behind the
scenes. I wanted to show them instead of just tell them. We are bombarded 24/7
by very effective drug advertising these days and I felt it was critical for
folks to think twice before they pop their next pill. In this aspect, this
project has felt very much like a David vs. Goliath venture. The industry spends
BILLIONS each year trying to get us to take their pills. Our film is SO SMALL
and SO LOW BUDGET that we hope we can at least make a dent in this issue. I
thought a fun and compelling FICTION film would be the best way to reach folks
with this message. Some of my favorite films are ones that entertain and educate
me…I sincerely hope folks get some of both with "Side Effects." (We did go on to
make a documentary on this topic as well.)
Holly: I hope it makes them question the influence the advertisements
for medication (and for anything for that matter) have over them. I know a lot
of people go to their doctor's offices because they've seen a drug advertised on
television. A lot of doctors are then put between a rock and a hard place if
they don't think it is appropriate for that patient. Advertisements [like these]
are only legal in the US and New Zealand.
Kathleen, how does the process of writing differ
from directing?
Kathleen: I love both. However, the REALITIES of directing (especially
given our budget)-- working fast and with very limited resources-- is both
challenging and exciting as hell. Writing is more of an escape, while directing
is dealing with both the creative component and reality.
I also think the act of directing will cause me to be a better writer…a more
thoughtful writer. To some extent while writing, we should let go of reality
(not worrying too much how a director will pull off a scene), but that said I
now fully "get" the other side of the equation…the tools that the director and
actors will need to bring the vision to the screen.
Although it was completely new to me (I had never been on ANY sort of set
before), I felt completely at home on set. Directing allowed me to use the
interests/skills that I am best at…while also allowing me to lean heavily on
others for things that are not my strengths (or my interests).
I definitely want to continue down both paths (writing/directing). Producing is
my least favorite aspect.
Holly, what advice would you give new filmmakers?
Holly: I'd say that if you are passionate about a project, even if you
have no experience, you can see that a film can be made. Try to surround
yourself with good people who also believe in your project and share your dream
and then treat them as team members whose opinions matter. Nobody likes a
hothead director who only wants things their way. The wonderful thing about film
is collaboration.
Kathleen, what was it like to direct your first film
and see your creation come to life?
Kathleen: Pre-production was such a blur that there was no time to be
nervous. We were working at lightening speed. However, the final days leading up
to the shoot, I have to admit I was VERY nervous. That said, the moment I
stepped on to set I felt at home…it just felt right.
I think it helped me immensely that I knew the material so well. Not only did I
write it, but I had basically lived the story for ten years. "Side Effects" is
NOT autobiographical but I KNEW the character and the setting so well. I saw
each scene of the film very clearly in my head. (That said, the realities of our
budget restrained that vision to some extent…no time for a lot of coverage,
etc.,…thus I had to marry the vision of the scenes in my head with the reality
of our budget, time constraints, etc.)
I spent a lot of time in pre-production storyboarding and creating my shot list.
This was critical in order to get the vision of the scenes from my head to the
head of my DP.
It was amazing to see it all come to life. As mentioned, Katherine was perfect
for the role and completely understood the character…that comes shining through
on the screen. Accepting/coming to terms with the realities of the budget also
allowed me to be proud of what we were able to accomplish with so few resources.
OBVIOUSLY we would have loved more coverage, more takes, more angles, more
EVERYTHING in order to really achieve my initial vision when I was "just the
writer." What we may be lacking in various areas of production value, etc., has
been made up for by the wonderful audience reactions to "Side Effects." It has
made me realize that many people appreciate/are interested in the guts/heart of
a film and not just polish.
Do you have other projects in development?
Kathleen: I am currently writing two other scripts, one on marriage which
I just did some preliminary shooting for. I am really excited about this and it
is hard to put it on the backburner while we are knee deep in the distribution
of "Side Effects." I'm already casting in my head…
Holly: I am trying to produce a film that is based on a classic book.
It also happens to be one of Kathleen's favorite books, so we may well end up
distributing that one ourselves as well.
What lasting memory or memories will you be taking
with you from this project?
Kathleen:
· An amazing feeling of liberation…a contentment that comes IN SPITE OF absolute
risk and lack of money, security, etc.
· Body and mind numbing fatigue. (smile)
· Gratitude to everyone who believed in and worked on this project. Gratitude
for such wonderful audience reaction IN SPITE OF the some of the low budget
nature (this type of gratitude is so hard to describe in words…it fills up every
cell of your body…it is an amazing and humbling feeling).
Holly: As hard as the whole process has been, I really have 98% great
memories from it.
Where can our readers go to learn more about "Side
Effects" and its release dates?
Kathleen: Readers can go to our "Side Effects" website at
www.sideeffectsthemovie.com to find out more about our remaining release
dates. The DVD will be available on May 16th. We just finished up the bonus
material of the DVD. Getting the DVD ready has been one of the MOST FUN
components of the project. I think audiences are going to have a lot of fun with
the behind-the-scenes footage, etc.
Thank you for taking the time to give us these insights
into the creative process and a look behind the scenes at "Side Effects."
Holly: Thank you, Sam!
Screenwriter Sam Quo Vadis is a multiple award-winning writer and the
founder of The Screenplayers, a cooperative organization of writers and
filmmakers. Most recently, he has written the pilot script, series bible, and
business proposal for "Chic," a drama/crime/mystery series set in the fashion
world for Treschic Films, Inc. He is also associate producer on the project. His
20-minute comedic short, "Babysitters," starring Taylor Bright, was produced in
Chicago. Currently, he is writing the pilot script, series bible, and business
proposal for "Mind Lords," a sci-fi/mystery/thriller series he has created that
is based on real world events.
Past accolades include being a winner in the Texas Film Institute (TFI)
and Telluride Indiefest screenwriting competitions, a CineStory finalist, a top
three American Zoetrope screenwriter (twice), and a semi-finalist in the Don &
Gee Nicholl Fellowships in Screenwriting, Moondance, and American Accolades
competitions.
His website is
http://www.studiostar.ca
