Tag Archives: Filmmaking

Cultural Interview: Anna Martemucci on Filmmaking & Choosing The Chair

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In the early episodes of Starz’s The Chair, which debuted OnDemand and on Starz Play today and makes its linear review at 11/10c, neither director making their own versions of the same script are intended to be experts. Anna Martemucci is as much of a first-time director as Shane Dawson (who I spoke with earlier this week), and so the cameras capture lost of the initial uncertainty that comes with stepping behind the camera for the first time for her film, Hollidaysburg.

At the same time, though, Martemucci is also positioned as the insider, whose existing relationship with Zachary Quinto’s production company and her Periods. Films collaboration with her husband Victor Quinaz and brother-in-law Philip Quinaz fit into more traditional models of how independent films get made. Her story is therefore less about shaking an existing professional identity in favor of a more legitimate one, as is the case with Dawson, and focuses more on her self-identification with the role of filmmaker within the context of this rather strange experiment that nonetheless offers a valuable opportunity.

I spoke with Martemucci about what made her take on this experience, how it made her reflect on her place in the industry, and how the series’ narratives fit her conception of her work and her goals as a filmmaker.

Cultural Learnings: When I spoke with Chris Moore he mentioned you had been working with him on some other projects before this came up—what made you ultimately agree to be a part of The Chair instead?

Anna Martemucci: If I remember correctly, I think I had about a month to think about it from the moment that Chris really looked me in the eye and was like “I’m serious, do you want to do this?” And I was like “Oh shit, okay.” [Laughs] I knew it would be an incredible opportunity, but I definitely took my time, and I remember telling my family on a trip—anyone I love and trusted, basically, I ran it by them, and it was funny because they all got the same kind of pained expression on their face when I said “reality show.” And they all said the same thing, which is “Don’t trust Chris Moore.” [Laughs] “He’s going to want to make a TV show and not a good movie, just remember you’re special, and blah blah blah blah blah. Don’t lose your mind and give them a good TV show and in the process ruin your life.” [Laughs]

So it was scary when people you love and trust are giving you stinkeye and being like “Maybe don’t do this,” but at the end of the day it was far too wonderful an opportunity to pass up. And I say it in the show, but I know so many people who have spent many, many years being frustrated in the business and wanting so badly to get their first movie made. And anyone, including people who aren’t trying to be directors like writers trying to get their first screenplay made, it’s not an easy business. So the fact that my creative dream had appeared, and I had the opportunity to make it come true, and the only thing I had to do was allow myself to be filmed? I was like “Well, alright.”

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Cultural Interview: producer Chris Moore on designing Starz’s The Chair

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Starz’s The Chair—which debuts on September 6 at 11/10c—is both a documentary reality series and a competition, so one might be tempted to refer to it as a reality competition series. However, at its core The Chair—which chronicles two filmmakers, Shane Dawson and Anna Martemucci, as they each make their own movie based on the same script with the winner earning $250,000—is a filmmaking experiment, similar to producer Chris Moore’s earlier—and soon to be revived, without Moore—series Project Greenlight. The difference is that instead of having a competition to select the filmmakers involved, Moore hand-selected his filmmakers to create the most interesting competition for the documentary, and to develop the movies with the best chance of succeeding as low-budget independent features.

I spoke with Moore about how he went about developing the series, the decision to turn this into a formal competition (rather than just a filmmaking experiment), and how his experience with the series has evolved as the experiment continues into distribution and promotion.

Cultural Learnings: From a “casting” perspective, were you ever considering other options, or did you land on Anna and Shane fairly early?

Chris Moore, Executive Producer, The Chair: I did have a list, although I will take a little bit of issue with the term “casting.” The biggest issue with this—and when we did Project Greenlight years ago—was that we need people to want to see the movies. And The Chair was not designed to be a first-time director thing, so some of the other people on the list were experienced directors, or second- or third-time directors. And I couldn’t talk any of them into it because of the competition nature, and because of the super low-budget nature. And the hardest part of it was that I had to raise all the money independently because people were like “I get the documentary, that’s genius, and I think the idea of two directors making the same script is awesome too, I would watch it.” The thing that I couldn’t get is movie companies, because they would say to me “Dude, how are we going to get our money back on two movies? It’s hard enough getting people to go see one movie, how are they going to go see two?”

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