Drama
On the set of “Lady in the Locket”
As I pulled up to the coordinates on my GPS in West Jordan Utah, a film crew was set up outside a small house at the dead end of a street.
“Roll Sound. Roll Camera,” came the call from set.
Quietly I made my way up the driveway to not draw attention from the actors performances. I had arrive on set at what appeared to be the end scene of “Lady in the Locket” with Scarlett Diamond, John Fricke and Kylie Rohead on the front porch.
After a few minutes, the scene was completed and the lunch was called. After a quick lunch I sat down with Rob Diamond on the same porch that they and previously finished filming to discuss his current film “Lady in the Locket”.
“Lady in the Locket is about a family secret that needs to come to light,” says Diamond. “She’s held on to the secret for selfless reasons. It has a lot of healing aspects for the little girl and her dad who lost their wife and mother.”
This film was an evolution in Rob Diamonds body of work. Diamond has a talent to write, direct and produce his own films. He also finds time to teach actors and run an acting agency. But this time he commissioned Kerry Stewart to write “Lady in the Locket” rather than write it himself.
“She’s worked with me diligently for a couple of years and is a fantastic writer. I told her what type of story I wanted: a small town, some sort of mansion, that sort of feel. And she came up with a really good first draft and I helped her develop it.”
As we explored the theme of “Lady in the Locket” the conversation took a natural turn to Rob Diamond’s upcoming film “Shadow of Vengeance.” Described as a vigilante film with heart, the movie explores societal issues through the lens of a Congressional Medal of Honor winner and school teacher.
“Think of an old school Charles Bronson vigilante film like John Wick or Batman stripped down to the heart,” said Diamond.
Throughout the interview, Rob Diamond emphasized his commitment to storytelling that is both entertaining and enlightening. “Story is story. I choose the ones that really speak to my heart. Lady in the Locket, Shadow of Vengeance, Lucy Shimmers and the Prince of Peace; I tell them because there’s something about those stories that I feel need to be told. I want that to be part of my legacy.”
Our conversation also touched on the local filmmaking community. Rob Diamond shared his belief that a filmmaker’s success doesn’t diminish the success of others and encouraged a supportive community within the filmmaking industry.
“Utah is in good hands with the cast, the filmmakers and the crew,” said Diamond. “A rising tide floats all boats. And if someone else is successful, that doesn’t take away from my success. There’s room for everybody.”
Initially I asked asked Rob what makes a ‘Rob Diamond film’ but later in the interview we discussed the tendency to categorize filmmakers into specific genres, with Rob expressing his preference for heartfelt stories over rigid genre labels. He cited personal experiences and inspirations, emphasizing the power of storytelling to deeply impact audiences.
“A pretty well known actor from L.A. found me after he watched my movies. I even labeled myself saying that I mostly make heartfelt faith based drama. He was he was like, ‘Why are you labeling it? I watched your films and it’s beautiful cinema.”
By the end of the interview Rob Diamond reaffirmed his dedication to creating films that resonate on a profound level, irrespective of genre boundaries. “Storytellers are storytellers. We could tell a story in any genre we want. I’m comfortable in any genre, but the ones that my heart tells me to make are the ones that I listen to.”
“And we’re back. We’re Back,” came the call from inside the house.
Lunch was over and it was time for Rob to get back to the last day of “Lady in the Locket” and it was time for me to head to the next set and hear what stories the filmmakers were ready to tell.
Drama
Chicken Coop
In a recent interview at the Desertscape International Film Festival, Joseph DeGoyler, the writer and director of “Chicken Coop” reflects on indie filmmaking, emphasizing creativity, and the pursuit of storytelling.
DeGoyler’s vision for “Chicken Coop” stemmed from a desire to challenge himself creatively, aiming for a minimalist yet impactful storyline. As he puts it, “I wanted to write my version of a Hallmark movie, maybe make it an anti-Hallmark movie… something that I could shoot on like an iPhone at my parents’ house.” This approach highlights the essence of indie filmmaking—embracing limitations to foster innovation.
His filmmaking journey was marked by perseverance and adaptability. DeGoyler’s candid remarks on the evolution of the project echo the iterative nature of creative endeavors. “After many, many months, many, many drafts… we decided to go a little bit softer to make it a little bit bigger scale,” he shares. This willingness to pivot and refine demonstrates the resilience required in the filmmaking process.
Navigating the film festival circuit presents its own set of challenges, yet DeGoyler’s pragmatic approach underscores the importance of seizing opportunities close to home. While aiming for prestigious festivals, he acknowledges the significance of local platforms like Desertscape and Kanab Film Festival. “For me, it’s just kind of like, after the big five, it’s really just what region do you want to hang out in?” he explains. This grassroots approach not only fosters community engagement but also amplifies exposure for indie projects.
Central to “Chicken Coop’s” success is the careful curation of its ensemble cast—a process characterized by scouting talent at film festivals and prioritizing passion for the project. DeGoyler’s emphasis on actors’ investment in the script underscores the collaborative spirit essential to indie filmmaking. “It was important to me that they were actually excited about the project itself,” he notes, highlighting the symbiotic relationship between script and performance.
Beyond filmmaking, DeGoyler’s diverse creative pursuits, including podcasting and video production, offer valuable insights into the interconnectedness of artistic endeavors. While acknowledging the overlap between mediums, he stresses the primacy of filmmaking as his “first love.” This multipronged approach not only fuels creativity but also cultivates a dynamic skill set essential for storytelling in the digital age.
For aspiring filmmakers, DeGoyler draws parallels between writing and exercise. “The most important thing… is just being consistent with it. So whatever you’re doing, be consistent with it and don’t be precious with it,” he advises. This ethos of continuous growth and productivity echoes throughout his creative journey.
Joseph DeGoyler’s narrative embodies the spirit of indie filmmaking—forging ahead with passion, adaptability, and a relentless pursuit of storytelling excellence.
Drama
Breakup Season
“Breakup Season” kicked off with their World Premiere at the Desertscape International Film Festival in St. George Utah. Written and Directed by the H. Nelson Tracey, “Breakup Season” encapsulates the essence of human connection amidst the backdrop of a small town. With a stellar cast including Chandler Riggs (Walking Dead) as Ben and Samantha Isler (Captain Fantastic) as Cassie, the drama brings to life the intricacies of relationships and the resilience of the human spirit even in less than ideal circumstances.
“I’ve always wanted to make a movie,” shares Tracey. “Le Grand Oregon stole my heart, and from there, the screenplay took shape. It’s been a journey of love and dedication.”
Interviewing the talented Chandler Riggs, we delve into the complexities of portraying a breakup on screen. Despite the challenging subject matter, Riggs reflects on the friendships among the cast, making the experience both fulfilling and seamless. “The camaraderie among the cast was just so great. It really made our jobs very easy to just be there for each other every single day and support each other in and out. It was great.”
Samantha Isler, who portrays Cassie, highlights moments that unfolded off-screen during production. “It’s a small, small place. And so we got really familiar with all of the local establishments. It was so much fun. I mean, we really just became such a family and we have so many memories on and off.”
An enthusiastic Tracey shares the significance of the film’s premiere. “None of these people have seen this film. So it’s a special occasion. It is the very first time it is playing in a movie theater. For a long time, it lived in my head and then it lived on my computer hard drive. And now, it lives in a movie theater.”
As the film kicks off its festival run, Tracey assures eager audiences that this is just the beginning and invites audiences to follow their journey. “We’re on Instagram at @BreakupSeasonMovie.’ I think that’s honestly the easiest catch-all for updates and we’ll keep you updated.”
Drama
Love Grandma
“Love, Grandma,” is a deeply personal short film that captures the essence of Matt Spear’s experience with his grandmother in hospice care.
“This short is basically exactly how I remember the day going” said director/writer Matt Spear. “It was my first time around death this close,” emphasizing the profound impact of witnessing his grandmother’s final moments. He vividly recounts the surreal feeling of seeing her lifeless body juxtaposed against the world outside, seemingly oblivious to the tragedy within.
As the story progresses, Spear delves into the duality of the experience—moments of grief intertwined with the mundane aspects of life that persist. The hospice bed, once a focal point of the living room, disappears within an afternoon. “Suddenly it was as if nothing had happened. Her chair sat there like it had my whole childhood,” he muses, capturing the bizarre sensation of life moving forward despite the profound loss.
The production of “Love, Grandma” becomes an extension of Spear’s personal journey. Collaborating with a team of talented individuals, Spear sees his vision come to life on set. “Having an idea you’ve developed and have had close to you, especially such a personal one, and then to connect with friends and find yourself on set seeing that vision come to life and collaborating with other incredibly talented people to elevate that idea is incredibly rewarding,” he shares.
Making a movie is not an easy thing to do. Spear reflects on the difficulties of getting started and the search for the perfect location, an essential element in conveying the story’s emotional depth. “Location is such an important part in telling a story, and I’m glad we didn’t settle,” he remarks, underscoring the dedication to authenticity in the filmmaking process.
When asked about potential changes if given the chance to go back, Spear acknowledges the perpetual desire for more time in pre-production but expresses contentment with the final result. “I am really happy with what we were able to come up with and happy with the final result. I think it stays true to my experience which was really important to me going into it,” he reflects.
For aspiring filmmakers, Spear offers practical advice on entering the production space, advocating for aspiring individuals to connect with local production companies and express interest in production assisting. He emphasizes the value of being a Production Assistant (PA), a role that provides a gateway to the multifaceted world of filmmaking.
“Love, Grandma” invites audiences to reflect on the delicate balance between life and death, the surreal moments that linger, and the resilience of the human spirit in the face of loss. To follow Matt Spear and discover more about his future projects, he encourages audiences to connect with him on Instagram @mspear33 or visit his website mattspear.me.
