Q & A PART 2 WITH DIRECTOR JASON PAGNONI

CORRESPONDENT NICK MANERCHIA SITS DOWN WITH WRITER/PRODUCER MICHEL GREY AND DIRECTOR JASON PAGONI TO DISCUSS THEIR UPCOMING FILM DAYS OF POWER.

PART 2

NICK: WHAT INITIALLY DREW YOU TO THIS PROJECT?

JASON: I WAS INITIALLY INTRIGUED BY THE PROJECT BECAUSE IT CLEVERLY COMBINED STORY ELEMENTS I AM VERY INTERESTED IN AND PASSIONATE TOWARDS. FOR INSTANCE, THRILLERS, MUSIC, HORROR, ACTION, STRONG FEMALE CHARACTERS, AND ANIMALS.  THE SCRIPT TOUCHED UPON ALL OF THOSE AREAS AND BLENDED THOSE INGREDIENTS IN A ENTERTAINING WAY.  IT WASN’T PREACHY OR OVERBEARING WITH FACTS YET IT STILL BROUGHT AWARENESS TO A TOPIC REGARDING THE HORRIFIC ACTS OF ANIMAL CRUELTY TAKING PLACE AT THESE PUPPY MILLS.  I THOUGHT IT WAS A FRESH APPROACH TO SHED LIGHT ON THIS TOPIC THROUGH A THRILLER NARRATIVE AND USE THAT TO DELIVER A MESSAGE THAT SERIOUSLY NEEDED TO BE HEARD.  MORE TYPICALLY, SOMETHING LIKE THIS IS DONE THROUGH A DOCUMENTARY OR A PUBLIC SERVICE ANNOUNCEMENT AND THIS WAS A MORE EXCITING ANGLE FOR ME AND MY CREATIVE STYLE TO APPROACH THIS STORY AS A FILMMAKER.    

NICK: I HEARD ABOUT ALL OF THE DELAYS IN REGARDS TO FILM CAUSED BY THE TERMINAL 3 LAX SHOOTER? CAN YOU TELL US A BIT ABOUT THAT?

JASON: WELL, THAT WAS A TERRIFYING SITUATION. I STILL THINK ABOUT IT EVERY TIME I HAVE TO TRAVEL AND GO TO THE AIRPORT.  I STRUGGLE WITH FLYING AS IT IS AND THEN HAVE TO FACE FIRST HAND THE NOTION OF SOMEONE SHOOTING UP THE PLACE WAS BEYOND SCARY. THANKFULLY, I NEVER PERSONALLY SAW THE SHOOTER BUT I HEARD SEVERAL SOUNDS WHICH I LATER REALIZED WERE GUN SHOTS BEFORE I SAW WHAT LOOKED LIKE ABOUT A HUNDRED PEOPLE RUNNING AND SCREAMING.  THEY WERE ALL IN UNISON AND IT WAS LIKE A RUSHING HEARD OF CATTLE.  AT THAT POINT, YOU ARE REACTING ON PURE ADRENALINE AND INSTINCT BECAUSE YOU HAVE NO TIME TO THINK.  HONESTLY, WHEN I SAW ALL THESE PEOPLE RUNNING, MY INITIAL THOUGHT WAS A PLANE WAS ABOUT TO CRASH INTO THAT PARTICULAR AREA OF THE AIRPORT TERMINAL.  SO I JOINED THE HEARD AND JUST RAN IN HOPES TO ESCAPE THE COLLISION.   I HAD NO IDEA AT THAT MOMENT A SHOOTER WAS IN THE TERMINAL.  IT WASN’T UNTIL LATER WHEN WE WERE ABLE TO GET MORE INFORMATION THAT THE DETAIL OF THE SHOOTER WAS CONFIRMED. I DID HEAR TALK ABOUT IT WHEN I FOUND MYSELF ON THE TARMAC AS A LARGE GROUP OF US WERE HIDING BEHIND THESE STEEL CONTAINERS BUT NOTHING FACT BASED AT THAT MOMENT.  IT WAS SOMETHING LITERALLY OUT OF A MOVIE. HERE I WAS GETTING READY TO HELM MY FIRST FEATURE FILM AND UNEXPECTEDLY FOUND MYSELF BEING A PART OF WHAT FELT LIKE A SCENE FROM DIE HARD.  THE GROUP OF US ON THE TARMAC WERE EVENTUALLY TRANSPORTED TO A HOLDING AREA ON THE AIRPORT WITH MANY OTHERS AND HELD THERE FOR SEVERAL HOURS BEFORE WE COULD LEAVE.  IT WAS FOR OUR PROTECTION BUT EXTREMELY LONG AND JUST A VERY SURREAL SITUATION.  IT TOOK SOME TIME TO GET MY LUGGAGE AS IT BECAME PART OF THE CRIME SCENE AND COULDN’T BE RELEASED SO THAT HELD ME UP FROM GETTING TO THE EAST COAST WHERE ALL THE DEPARTMENT HEADS WERE MEETING.  THE SITUATION DID CONTRIBUTE TO SETTING THE PRODUCTION BACK BUT THE SET BACK ALLOWED FOR SOME ADDED TIME TO TIGHTEN UP THINGS BEFORE WE BEGAN SHOOTING LATER THAT NEXT SUMMER.  THE BATTLES ON THIS PARTICULAR FILM WERE CONSTANT AND THIS SITUATION WAS THE START OF WHAT FELT LIKE CLIMBING MOUNT EVEREST EVERYDAY.  

NICK: HOW DOES IT FEEL TO HAVE YOUR FIRST FILM BEING RELEASED?

JASON: IT DEFINITELY FEELS SURREAL TO FINALLY HAVE THE FILM GETTING A BIRTH TO THE PUBIC.  THIS PROJECT LITERALLY AND FIGURATIVELY NEARLY KILLED MANY OF US INVOLVED SO I’M EXCITED FOR PEOPLE TO FINALLY EXPERIENCE THE RIDE THIS FILM IS AND HOPEFULLY GET ENTERTAINED WHILE SIMULTANEOUSLY BECOMING A BIT MORE COGNIZANT OF THE TOPIC OF ANIMAL ABUSE WE DISCUSS.

NICK: IS MAKING A FILM HARDER THEN YOU THOUGHT IT WOULD BE?

JASON: YES AND NO (LAUGHS). I HAD BEEN MAKING FILMS THROUGHOUT MY COLLEGE DAYS. I ATTENDED TWO REALLY INTENSE AND HIGHLY COMPETITIVE ART SCHOOLS BOTH IN NEW YORK AND CALIFORNIA AND, WHILE AT BOTH INSTITUTIONS, I WAS MAKING SHORT FILMS SO I WAS USED TO THE HIGH PRESSURE AND DEMANDS OF MAKING A FILM TO A DEGREE.  LIKE MOST GRADS AT THE SCHOOL, I DID FINAL PORTFOLIO PROJECTS AND WAS LUCKY THAT ONE OF THOSE PIECES LED TO A PROFESSIONAL GIG NEAR THE END OF MY RUN.  THAT SEGUED INTO ME WORKING AS A DIRECTOR MAKING INDIE ROCK AND METAL VIDEOS AND EVEN A FEW COMMERCIALS BUT ALL THOSE WERE SPRINTS IN COMPARISON TO THE MARATHON OF MAKING DAYS OF POWER.  FEATURE FILM MAKING IS A HARD ENDEAVOR ANY WAY YOU CUT IT AND A REAL JOURNEY TO EMBARK ON AND AS A DIRECTOR YOU PLAN AS BEST AS YOU CAN FOR THAT JOURNEY, BUT DEPENDING ON A MULTITUDE OF ELEMENTS THE TREK CAN BECOME VERY ARDUOUS AND SOMETIMES EVEN PERILOUS.  WHAT I HAVE LEARNED IS MAKING FEATURES REALLY TAKES ITS TOLL ON EVERYTHING IN YOUR LIFE SO IF YOU ARE TRULY SERIOUS ABOUT THE CRAFT YOU HAVE TO BE WILLING TO SACRIFICE EVERYTHING FOR IT, TIME WITH FAMILY, FRIENDS, RELATIONSHIPS, PERSONAL SPACE AND PERSONAL TIME BECAUSE IT ALL GETS AFFECTED AND CAN EVEN CAUSE SOME OF THOSE THINGS TO LITERALLY GO AWAY. YOU REALLY HAVE TO BE COMMITTED AND LOVE THE WORK SO IT’S DEFINITELY A TOUGH AND DEMANDING ENDEAVOR.

NICK: CAN YOU TELL US A BIT ABOUT YOUR PROCESS AS A DIRECTOR?

JASON: WELL, FIRST I READ THE SCRIPT AND SEE IF I HAVE ANY CONNECTION WITH THE MATERIAL.  I USUALLY CAN TELL FAIRLY QUICKLY IF I AM GOING TO BE IN TUNE WITH THE PROJECT BECAUSE I START GETTING IMAGES OF SHOTS AND HOW THINGS WILL PLAY OUT WITHIN THE SCENES WITH EASE. I KNOW I’M CONNECTED BECAUSE THERE IS NO REAL TUGGING OR PULLING IT OUT AS THE VISUALS JUST START TO FLOW FOR ME. IT REALLY IS LIKE A DAM BREAKING IN MY MIND’S EYE.  AS I PROGRESS THROUGH THE SCRIPT, I’LL START TO SKETCH ROUGH THUMBNAILS OF IMAGES I’M GETTING AND ANY NOTES THAT I HAVE ON MY IDEAS.  THE INITIAL REACTION IS ALWAYS THE FOUNDATION LAYER FOR ME AND I TRUST IT BECAUSE IT’S HOW I’M FIRST RESPONDING EMOTIONALLY TO THE MATERIAL.  ONCE THAT PHASE IS DONE, I’LL GO THROUGH THE NOTES THAT I MADE AND USUALLY THOSE NOTES ENTAIL THINGS THAT WERE SPARKED UP IN MY IMAGINATION SUCH AS REFERENCES OF PAINTINGS, PHOTOGRAPHS, FASHION STYLES, FILMS, COMIC BOOKS, MUSIC THAT ALL IN SOME WAY CORRELATE TO THE EMOTIONAL RESPONSE I GOT FROM WHAT I READ.  I PULL FROM MANY SOURCES.  I’LL THEN START FINDING THOSE REFERENCES AND GETTING TOGETHER A BOOK FILLED WITH ALL THIS INSPIRATIONAL MATERIAL WHICH I’LL USE AND SHOW WHEN NEEDED TO CAST AND CREW.  IT’S MY DIRECTOR’S BOOK AND SOMETHING I HAVE ALWAYS DONE AND IT’S A GREAT TOOL TO FLESH OUT AND EXPRESS THE VISION I HAVE FOR THE PROJECT I’M WORKING ON.   THIS ALSO HELPS ME IN TALKING TO ALL THE DEPARTMENT HEADS WHEN I NEED TO SHARE MY VISION TO MY DIRECTOR OF PHOTOGRAPHY, PRODUCTION DESIGNER, ETC.  I CONTINUE TO READ THE SCRIPT A FEW MORE TIMES AND REFINE MY STORYBOARDS.  I USUALLY PERSONALLY DRAW AND STORYBOARD EVERYTHING I DO.  ON DAYS OF POWER BECAUSE OF TIME AND THE SCALE OF THE PROJECT I WORKED WITH ANOTHER ARTIST AND BETWEEN THE TWO OF US WE STORY-BOARDED THE ENTIRE FILM.  IT TOOK ME ABOUT A MONTH AND A HALF BECAUSE OF OUR SCHEDULES AND HOW WE HAD TO FIT IT IN BUT WE GOT IT DONE AND THEN I COULD SEE THE ENTIRE FILM IN FRONT OF ME.  I USE STORYBOARDS MORE THAN I DO SHOT LISTS.  I’M A EXTREMELY VISUAL PERSON AND PREFER TO SHOW THE SHOTS I’M TALKING ABOUT IN PICTURE FORM THAN IN WRITTEN WORDS TO CAST AND CREW.  IT’S NOT HOW EVERY FILMMAKER WORKS, BUT IT’S HOW I LIKE TO WORK.  MY TRAINING AND BACKGROUND STARTED OUT IN PAINTING AND PHOTOGRAPHY SO THE VISUAL LOOK AND DESIGN OF THE FILM IS EXTREMELY IMPORTANT TO ME.  ONCE, I HAVE THE VISUAL ARCHITECTURE FAIRLY LAID OUT, I THEN CAN START CONFIDENTLY WORKING WITH ALL MY OTHER COLLABORATORS AS WE MOVE FORWARD.

NICK: WHAT OBSTACLES DO YOU FEEL LIKE YOU FACED IN TACKLING THE SCRIPT AS A DIRECTOR?

JASON: THERE WERE SO MANY OBSTACLES (LAUGHS) SO IT’S HARD TO NARROW THEM ALL DOWN. I’LL SAY THIS MICHEL WRITES BIG AND WHAT I MEAN BY THAT IS THE SET PIECES SHE WRITES ARE NOT SMALL AND HAVE A GRANDEUR.  THERE IS A LOT GOING ON REGARDING DRAMATIC EVENT AND SCENES INVOLVING MANY CHARACTERS.  FOR A FILMMAKER LIKE ME, WHO LEANS MORE TOWARDS THE VISUAL, THAT IS A VERY ENTICING PLAYGROUND TO FLEX YOUR CREATIVE MUSCLES IN BUT IT’S ALSO VERY TRICKY WHEN YOU DON’T REALLY HAVE THE APPROPRIATE TIME OR THE REAL RESOURCES TO EXECUTE IT THE WAY IT’S WRITTEN AND THE WAY YOU SEE IT.  SO THE BIGGEST CHALLENGE WAS MAINTAINING THE STORIES AUTHENTICITY WHILE ALSO KEEPING IT VISUALLY RICH AND EXCITING IN THE MEANS THAT WE HAD AVAILABLE.  IT WAS A CONSTANT STRUGGLE TO MAKE SURE THE QUALITY LEVEL OF WHAT WE WERE CREATING AND CAPTURING ON CAMERA WAS AT THE HIGHEST LEVEL AND AESTHETICALLY SUPPORTED THE STORY.  IT NEEDED TO LOOK AND FEEL LIKE THE FILMMAKERS CARED SO PEOPLE WOULD TAKE THE FILM SERIOUSLY AND BE ENGROSSED.  I FELT A GREAT RESPONSIBILITY IN MAKING SURE THE FILM’S MESSAGE WAS TOLD IN THE MOST COMMERCIALLY VIABLE WAY SO IT COULD REACH THE LARGEST AUDIENCE POSSIBLE AND KEEP THEM ENGAGED.

NICK: WHERE DID YOU FIND YOUR VISUAL INSPIRATIONS FROM FOR THE FILM?

JASON: I PULLED FROM A WIDE VARIETY OF SOURCES, BUT I’LL DO MY BEST TO GIVE YOU SOME IDEA OF THE PRIMARY ONES.  AS I MENTIONED, MY BACKGROUND STARTED IN PHOTOGRAPHY AND PAINTING SO A GOOD PORTION OF MY INSPIRATION COMES FROM THE FINE ART WORLD.  FASHION PHOTOGRAPHY AND PHOTOGRAPHERS WHO SHOT FOR VOGUE MAGAZINE LIKE HELMUT NEWTON, RICHARD AVEDON AND MARIO TESTINO WERE CERTAINLY VISUAL INSPIRATION.  I ALSO LOOKED AT THE PHOTOJOURNALIST SEBASTIAO SALGADO’S WORK WHICH IS JUST BEAUTIFULLY PHOTOGRAPHED BUT HIS SUBJECT MATTER IS VERY DIRE AS IT DEPICTS THE POOR AND POWERLESS. HIS IMAGERY IS ATTEMPTING TO GIVE A VOICE TO THESE INDIVIDUALS WHICH I FELT CORRESPONDED APPROPRIATELY TO WHAT DAYS OF POWER WAS ATTEMPTING TO DO FOR THESE ANIMALS.  I REFERENCED A LOT OF PAINTERS. VARIOUS WORKS FROM CARAVAGGIO BECAUSE OF HIS DARK SUBJECT MATTER AND THE HIGHLY DRAMATIC WAY HE LIGHTS HIS IMAGES.  THEY ARE UNFORGETTABLE AND SO EMOTIONALLY FRAUGHT WITH ENERGY.  I ALSO WAS REALLY INSPIRED BY ANDREW WYETH PAINTINGS.  HIS CHRISTINA’S WORLD PAINTING WAS ONE THAT I ALWAYS HAD IN THE BACK OF MY MIND ON SOME LEVEL.  HIS PAINTINGS TO ME HAVE THIS SUBLIME MELANCHOLY VIBE TO THEM AND THAT WAS ALWAYS A INTRIGUING ELEMENT I THOUGHT COULD WORK IN THE FILM.   THE MOVIE SEVEN HAD A LARGE INFLUENCE ON ME CREATIVELY WHEN I WAS THINKING ABOUT THIS PROJECT AS WELL.  THE CINEMATOGRAPHER FOR THAT FILM DARIUS KHONDJI SHOT PERFUME COMMERCIALS SO HE LIT THE SCENES WHICH WERE VERY GRIMY WITH A MORE GLAMOURS EYE TOWARDS THE DARK SUBJECT MATTER AND IT WAS THAT BALANCE OF GLOOM AND BEAUTY I FOUND VERY PREVALENT IN DAYS OF POWER.  A JUST AS EQUAL REFERENCE FOR ME WAS THE ORIGINAL TEXAS CHAINSAW MASSACRE (1974).  THAT FILM INTERESTINGLY IS USUALLY THOUGHT OF AS VERY BLOODY AND GORY BUT IT ACTUALLY SHOWS VERY LITTLE FOR BLOODSHED.  WHAT IT DID BRILLIANTLY WAS CAPTURE A ENERGY THAT WAS SO INTENSE, RAW AND VISCERAL THAT IT REALLY KICKS YOU EMOTIONALLY.  IT’S EXTREME AND SCARY BECAUSE YOU FEEL THE GRITTY NATURE OF THE WORLD AND THE UNHINGED QUALITY OF THE FILM MAKING. THAT VIVACITY REALLY COMES OFF THE SCREEN AND THAT WAS ITS REAL POWER.  IT’S FILLED WITH SO MUCH TEXTURE AND SO ROUGH AROUND THE EDGES.  FOR ME THERE WAS NO QUESTION THAT THOSE QUALITIES WERE SOMETHING I HAD TO BRING TO OUR FILM.  THAT HARD HITTING VISCERAL QUALITY THAT SHOOK THE VIEWER EMOTIONALLY.  DAYS OF POWER I FELT ALWAYS NEEDED TO HAVE THAT KIND OF BITE AND THAT’S WHAT I AIMED FOR CREATING.  THERE WERE SOME OTHER FILMS SPRINKLED IN THERE THAT HELPED ME FLESH OUT MY IDEAS REGARDING THE MORE GLAMOROUS SIDE OF THE STORY.  FILMS THAT WERE RICH IN GLOSS AND VERY VISUALLY SLICK LIKE FLASHDANCE AND MOULIN ROUGE.  ALL OF THESE PIECES WERE GREAT FUEL FOR MY CREATIVE AND EACH ONE IN THEIR OWN WAY DEFINITELY HELPED ME TO KICK START MY OWN SPIN TOWARDS EVERYTHING.

NICK: THE FILM IS NONSTOP ACTION WAS THAT YOUR INTENTION?

JASON: I ALWAYS WANTED THE FILM TO HAVE A MOMENTUM TO IT.  A GO FOR THE THROAT SORT OF ATTITUDE.  A FIERCENESS TO ALL OF IT.  I FELT GOING IN THAT TO DO THIS STORY JUSTICE, THE FILM WAS GOING TO HAVE TO BE AS RAW AND INTENSE AS POSSIBLE IN BOTH TONE AND VISUAL PRESENTATION.  IT NEEDED TO BE AGGRESSIVE, NOT ONLY EMOTIONALLY, BUT IN HOW THE “ENERGY” OF THE IMAGES READ TO A VIEWER IN ORDER TO HEIGHTEN THE REALITY AND TRULY PUNCTUATE THE REAL SENSE OF THE GRITTY, DIRTY, AND VIOLENT WORLD THAT THESE ANIMALS FACE EVERYDAY.

NICK: CAN YOU TALK A BIT ABOUT THE TWO WORLDS AND HOW YOU MERGED THEM?  

JASON: WELL, MILOW’S POP STAR LIFESTYLE IN MANY WAYS IS CONTROLLED AND PROTECTED BECAUSE OF HER CHARACTERS STARDOM. IT’S A GLAMOURS LIFESTYLE SHE IS USED TO LIVING.  SO MY PLAN WAS TO GIVE SOME SENSE OF THAT “SECURE” FEELING IN HOW I CAPTURED IT PHOTOGRAPHICALLY.  I ORIGINALLY WANTED TO CAPTURE THOSE MOMENTS WITH A MORE HITCHCOCKIAN APPROACH USING REALLY SPECIFIC CONTROLLED CAMERA MOVES THAT ARE VERY CALCULATED BUT THAT STYLE TAKES A LONG TIME TO SET UP AND WE DIDN’T HAVE THAT TIME SO I HAD TO APPROACH THOSE MOMENTS A BIT DIFFERENTLY BUT STILL KEEP THAT SAME MINDSET. SO THE MOMENTS WITH THE BAND PRIOR TO THEM ARRIVING ON THE FARM AND MOST OF THE CONCERT SCENES WERE SHOT PRIMARILY USING A STEADICAM RIG WHICH GAVE ME THAT SENSE OF CONTROL BUT STILL LENT SOME ENERGY TO THE IMAGES. SHOTS ARE ALWAYS MOVING AND HAVE A GENTLE DRIFT TO THEM BUT NOT ERRATIC OR JARRING.   WHICH I KNEW I COULD BLEND MUCH MORE EASILY WITH THE OTHER WORLD OF THE FARM EVEN THOUGH THAT ENVIRONMENT WAS GOING TO BE UNHINGED AND VERY CHAOTIC.  THE FARM WORLD IS A DANGEROUS PLAYGROUND OF ANYTHING GOES AND IT’S VISCOUS.  SO IT WAS TRYING TO CONVERGE THE TWO WITHOUT MAKING IT SO OBVIOUS OF A SHIFT IN AESTHETICS BUT STILL HAVE THE TWO ENVIRONMENTS CONTAIN THEIR OWN IDENTITIES AND PERSONALITIES.  BECAUSE I KNEW I WAS GOING TO PHOTOGRAPH THE FARM WITH A VERY ROUGH AROUND THE EDGES ATTITUDE.  THE FARM WAS GOING TO BE MOSTLY HAND HELD AND SHOT AGGRESSIVELY IN ORDER TO BETTER FEEL THAT TENSION, ANXIETY, AND FEAR WITHIN THAT WORLD SO YOU FELT WHAT THE ANIMALS AND ULTIMATELY WHAT OUR CHARACTERS ARE EXPERIENCING.  THIS MERGER WAS ALSO HELPED ALONG AND FINESSED WITH THE EDITING AND SOME OF THE TRICKS WE DID THERE AS WELL.  THE EDITING WAS ALWAYS INTENDED TO BE STYLISTIC SO WE DID A LOT OF EDITORIAL FLOURISHES IN THE MOMENTS EVEN OFF THE FARM BUT WE KEPT THOSE MORE ELEGANTLY HANDLED.  AS OPPOSED TO THE EDITING ON THE FARM WHICH IS MUCH A HARDER CUT, CHOPPIER, AND STYLISTICALLY BRAZEN.  AS WE PROGRESS THROUGH THE STORY, I WANTED THE FILM TO FEEL AS IF IT’S GOING OFF THE TRACKS A BIT AS IF IT WAS FALLING A PART TO HELP CORRELATE ALONG WITH THE LIVES OF OUR CHARACTERS.  I ALSO DID LITTLE SUBTLE SHIFTS IN COLOR AND SATURATION WHEN COLOR TIMING THE PICTURE AND THINGS IN SOUND DESIGN TO ALL BETTER TIE EVERYTHING TOGETHER.  THIS STORY IS TOLD IN A NON LINEAR WAY SO IT WAS ALWAYS A CONSTANT CHALLENGE TO KEEP ALL THESE ELEMENTS GROUNDED TO THE STYLISTIC ATTITUDES I HAD SET FOR EACH OF THE PARTICULAR MOMENTS IN THE TIME LINE THAT THEY WERE INTENDED, BUT NOT FEEL OUT OF PLACE AS A WHOLE FOR THE ENTIRE PICTURE AS ALL THOSE MOMENTS FINALLY CAME TOGETHER AS A COMPLETE MOVIE.

NICK: DO YOU THINK PEOPLE WILL LEAVE THE FILM FEELING UPSET OR WAS THAT YOUR INTENTION? 

JASON: IT’S HARD FOR ME TO SAY HOW PEOPLE ARE GOING TO REACT TO THE PICTURE.  I THINK INITIALLY A LOT OF VIEWERS MIGHT FEEL RATTLED OR JOLTED EMOTIONALLY. THE FILM’S TONE IS AGGRESSIVE AND HAS A INTENSITY ABOUT IT AND PEOPLE MIGHT NOT KNOW HOW TO FEEL OR REACT IMMEDIATELY AFTER IT’S OVER.  THIS I ALSO CONTRIBUTE IN PART TO THE VELOCITY OF THE PICTURE.  THERE ARE CLOSE TO FOUR THOUSAND CUTS IN THE FILM AND THE FILM RUNS FOR AN HOUR AND FORTY MINUTES.  SO IT REALLY DOES PLAY WITH THE SENSES.  TO A DEGREE, I TREATED THIS STORY LIKE A DARK FAIRY TALE.  LIKE A GRIMM BROTHERS’ STORYBOOK TALE OF CAUTION AND, ALTHOUGH I WANTED TO KEEP THE WORLD GROUNDED AND HAVE IT PLAY REALISTICALLY, BECAUSE OF THE SUBJECT MATTER AND THE CHARACTERS, I FELT AN EQUAL URGE TO VISUALIZE THIS KIND OF FANTASTICAL FABLE QUALITY TO THIS STORY. SO CERTAIN THINGS I STYLIZED A BIT TO MAKE THEM MORE FANTASTICAL AND EVEN MORE NIGHTMARISH TO KEEP IT ENTERTAINING BUT THAT WAS ALWAYS A FINE BALANCE. THE FACT IS THE SUBJECT MATTER ISN’T PRETTY AND THAT’S THE REALITY. THE TRUTH IS ALWAYS HARD TO SEE OR HEAR AND WHAT IS HAPPENING AT THESE MILLS TO THESE DOGS IS VILE AND HORRIFIC.  THESE FACILITIES ARE CONCENTRATION CAMPS FOR THESE ANIMALS SO IT’S GRIM SUBJECT MATTER.  IF IT’S UPSETTING THEN IT’S HITTING AN EMOTIONAL NERVE AND THAT’S IMPORTANT BECAUSE HOPEFULLY IT WILL GET PEOPLE TO REALLY UNDERSTAND HOW SERIOUS THIS SITUATION IS AND MAKE A STAND AGAINST THESE PUPPY MILLING COMPOUNDS. IF PEOPLE LEAVE UPSET, THEN, MAYBE, THEY ALSO COME OUT LEAVING WITH MORE AWARENESS WHICH WILL HOPEFULLY GIVE THEM THE MOTIVATION TO HELP CHANGE THINGS AND THAT IS A POSITIVE THING IN MY EYES.

NICK: WHAT WAS YOUR FAVORITE MOMENT DURING FILMING?

JASON: THERE ARE ACTUALLY A FEW BUT THIS ONE JUMPED TO THE FOREFRONT OF MY MEMORY SO I’LL MENTION THIS ONE.  IT WAS A MOMENT I TOOK FOR MYSELF WHEN WE WERE IN BETWEEN SET- UPS AND THE CREW WAS WORKING ON GETTING THE OTHER SET READY TO SHOOT FOR THE REMAINDER OF THE NIGHT.  THE CAST WAS OFF GETTING MAKE UP AND WARDROBE HANDLED. SO I TOOK A WALK DOWN TO A SET ALONE THAT WAS NICKNAMED THE FORTRESS.  IT WAS A SET I HAD VISUALIZED IN MY HEAD FOR A WHILE AND MY PRODUCTION DESIGNER HAD NEARLY FINISHED BUILDING IT ALONG WITH HIS TEAM.  I WALKED DOWN INTO THIS SPECIFIC AREA TO SEE HOW IT WAS ALL COMING TOGETHER AND THERE I FOUND MYSELF INSIDE THIS STRUCTURE WITH ALL THESE CAGES.  IT WAS A BIT SURREAL BECAUSE I HAD SEEN THIS PLACE ONLY THROUGH REFERENCES, SKETCHES, STORYBOARDS AND OTHER MATERIAL I HAD CREATED TO SHOW WHAT I HAD ENVISIONED BUT HERE IT WAS IN REALITY.  THE DAYLIGHT WAS SETTING SO IT WAS GETTING DARK AND IT WAS ONE OF THOSE MOMENTS WHEN YOU FEEL AS A ARTIST THAT EXCITEMENT OF SEEING YOUR VISION COME TO ACTUAL LIFE BUT, SIMULTANEOUSLY, I FELT A BIT OF SADNESS BECAUSE I REALIZED THERE ARE REAL PLACES LIKE THIS WHERE LIVING, BREATHING ANIMALS ARE HOUSED IN EVERYDAY BEING ABUSED, TORTURED, AND KILLED. THE SET WAS ALWAYS INTENDED TO BE NIGHTMARISH BUT IT FELT EXTRA HORRIFIC JUST THINKING ABOUT THAT IDEA. I HAVE A MORE HYPERBOLIC STYLE TO MY SENSIBILITIES AND TO MY WORK SO I DID PLACE A STYLIZED CREATIVE STAMP ON THIS SET BUT IT WAS ALWAYS GROUNDED IN HARD REALITY. IT WAS AT THAT MOMENT AS I WAS STANDING THERE THAT I REALLY STARTED TO PROCESS THE NOTION THAT WE WERE MAKING A FILM THAT HAS THE POTENTIAL TO TRULY HELP THESE ANIMALS.  THESE CREATURES THAT ONLY HAVE LOVE AND AFFECTION IN THERE HEART.  THEY DIDN’T HAVE A VOICE OR ANY POWER TO SPEAK UP AND WE WERE THE VOICE.  IT’S AT A MOMENT LIKE THAT YOU REALIZE YOUR ART THE WORK THAT YOU DO CAN ACTUALLY MAKE A LEGITIMATE DIFFERENCE AND UP TILL THAT POINT I NEVER REALLY HAD THAT FEELING BEFORE.  AND THAT WAS CRAZY TO ME BECAUSE I HAVE BEEN CREATING THINGS FOR THE MAJORITY OF MY LIFE AND HEARD OTHER ARTISTS TALK ABOUT IT BUT I NEVER EXPERIENCED IT MYSELF.  I JUST CREATED THINGS THAT I ENJOYED OR WAS EXCITED ABOUT BUT THIS PROJECT’S SOUL HAD A REAL PURPOSE. THAT WAS REALLY VERY COOL FOR ME.

NICK: DO YOU FEEL LIKE YOU HAVE SUCCEEDED AFTER ALL OF THE THINGS YOU WENT THROUGH TO FINALLY BE BRINGING THE FILM INTO THEATRES? 

JASON: ITS HARD TO SAY IF I HAVE TRULY SUCCEEDED OR NOT.  I’M NOT SURE I CAN ANSWER THAT BECAUSE I DON’T FEEL IT’S FOR ME TO DECIDE.  I CAN TELL YOU IT’S A BIT OF A MIRACLE THAT IT’S HERE HITTING THE THEATERS NOW AND BEING SHOWN TO THE PUBLIC.  I’M PROUD THAT WE ALL SURVIVED IT AND IT’S GETTING RELEASED BECAUSE A LOT OF BLOOD, SWEAT, AND TEARS WENT INTO IT.  IT’S OUT OF MY CONTROL IN WHAT IT DOES COMMERCIALLY OR HOW PEOPLE RESPOND TO IT BUT I DO KNOW HOW MUCH WORK WENT INTO MAKING IT AND HOW MUCH WE EACH GAVE OF OURSELVES AS ARTISTS IN GETTING IT TO REACH THE BIG SCREEN AND FOR THAT I’M PROUD.

NICK: THERE WERE SOME SCENES IN THE STORY THAT SEEMED TO COME OUT OF NOWHERE WAS THAT INTENTIONAL? AND IF SO WHAT WAS THE REASON?

JASON: WELL, AS I MENTIONED THE FILM’S STORY IS TOLD NON LINEARLY SO WE HAVE FLASH FORWARDS AND FLASHBACKS THROUGHOUT THE ENTIRE PICTURE.  ITS A STORY THAT YOU HAVE TO IN SOME WAYS PUZZLE TOGETHER YOURSELF.  I HAVE ALWAYS BEEN A FAN OF FILMS THAT TOLD A STORY LESS TRADITIONALLY AND MADE YOU THINK A LITTLE BIT. SO WHEN I READ THE DAYS OF POWER SCRIPT, I APPRECIATED THE WAY IT WAS WRITTEN STRUCTURALLY BECAUSE IT TOLD ITS TALE IN A FRACTURED WAY.  IT NEVER REALLY CAPTIONED ANYTHING EITHER TO STATE TIME LINES WITHIN THE STORY SO THE PAST AND PRESENT HAD A BLENDING ON SOME LEVEL ON THE PAGES.  I LIKED THAT ELEMENT BECAUSE IT DOES REQUIRE YOU AS A VIEWER TO MAKE SOME OF YOUR OWN CONCLUSIONS AND CONNECT THE DOTS. SO I CARRIED THAT OVER INTO THE FILM WHEN MAKING IT.  HOLLYWOOD FILMS ARE MORE TRADITIONAL STORIES THAT ARE UNDERSTOOD BY PEOPLE RIGHT AWAY.  THEY ARE MUCH MORE WORRIED IF EVEN FOR A MOMENT SOMETHING HAPPENS THAT IS NOT REALLY UNDERSTOOD BY EVERYONE.  THIS FILM WAS DONE INDEPENDENTLY SO CERTAIN RULES WE COULD BEND AND BREAK MORE EASILY.  WHAT I FEEL IS SOME OF DAYS OF POWERS CHARM IS THAT IT HAS THAT BIGGER COMMERCIAL FEEL TO ITS PRODUCTION BUT IT’S TOLD IN A MUCH MORE NON TRADITIONAL COMMERCIAL WAY.  IT GETS DOWN INTO AREAS WHERE THINGS ARE MORE ABSTRACT AND WHERE THINGS ARE FELT.  A LOT OF THIS FILM WAS ABOUT ENERGY FOR ME AND FEELING THAT ENERGY.  IT’S MUCH MORE INTUITIVE.  I DON’T THINK IT’S A NEGATIVE THING IF YOU COME OUT OF THE THEATER WITH SOME QUESTIONS ABOUT THINGS OR HAVE A STRANGE FEELING THAT YOU CAN’T DESCRIBE RIGHT AWAY.  I THINK A LOT OF PEOPLE GET SCARED, CONFUSED, AND EVEN ANGERED SOMETIMES BECAUSE OF THAT UNCERTAINTY BUT I THINK THAT’S WHAT IS PRETTY MAGICAL AND POWERFUL ABOUT CINEMA. TO QUOTE DAVID LYNCH, HE SAID “LIFE IS COMPLICATED SO FILMS SHOULD BE ALLOWED TO BE COMPLICATED TOO.”  I DEFINITELY AGREE WITH THAT STATEMENT (LAUGHS).  THE OTHER THING IS THIS FILM IS THE FIRST IN A THREE PART STORY SO IT’S THE FIRST IN A PLANNED TRILOGY.  THERE ARE CERTAIN ELEMENTS OR QUESTIONS THAT WILL TO A DEGREE BE ANSWERED IN THE FUTURE STORIES.  WITH ALL THIS BEING SAID, THERE WERE A FEW THINGS I WOULD HAVE LIKED TO HAVE ADJUSTED BUT THE COLLECTIVE CONSENSUS AT THE TIME WAS TO INCORPORATE AND LEAVE CERTAIN THINGS IN AND I HAD TO RESPECT THAT DECISION.  I DIDN’T HAVE FINAL CUT ON THE FILM, BUT IF I WAS GIVEN THE CHANCE, I WOULD MAKE CERTAIN TWEAKS. WHETHER THOSE TWEAKS WOULD CHANGE ANYTHING REGARDING YOUR QUESTION I COULDN’T TELL YOU, BUT IT WOULD BE MORE TO MY LIKING AND VISION.

NICK: WHAT’S YOUR FAVORITE SCENE IN THE MOVIE?

JASON: THE KITCHEN SCENE WITH ALL THE VILLAINS HAVING DINNER IS A PERSONAL FAVORITE.  THERE WERE SOME REALLY INTERESTING AND PRETTY BIG PERSONALITIES IN THAT ROOM.  ACTORS AND PERFORMERS WITH SOME GREAT FACETS WHICH WAS PRETTY COOL.  THOSE WERE VERY COLORFUL CHARACTERS IN THE STORY SO TO HAVE THEM ALL IN ONE ROOM AND SEEING THE DYNAMICS OF THEIR RELATIONSHIPS INTERACT WITH ONE ANOTHER IN A SUPPOSED NORMAL SITUATION LIKE EATING FAMILY DINNER WAS A WILD MOMENT TO CAPTURE. AND I HAVE TO MENTION THE FINAL SHOWDOWN THAT PITS OUR CAPTIVES AGAINST THE TWO MOST PROMINENT VILLAINS IN THE FILM FRANK AND TRAVIS.  I CAN’T BELIEVE WE ACCOMPLISHED THAT SCENE GIVEN ALL THE SET BACKS AND HURTLES WE CAME ACROSS WITH THAT ONE.  IT’S A BIG ACTION MOMENT INVOLVING A CHASE SEQUENCE AND I’M PRETTY PROUD OF HOW WELL IT CAME TOGETHER CONSIDERING ALL THE CARDS WE WERE DEALT.  IT WAS SUCH A BIG MOMENT IN THE FILM BEING THE CLIMAX AND IT NEEDED TO “ROCK THE HOUSE” AS MUCH AS WE COULD SO WE ALL PUSHED EXTREMELY HARD ON THAT SCENE.

NICK: WHAT IS YOUR PROCESS IN HOW YOU HANDLE ACTORS?

JASON: FIRST, I LIKE TO TAKE SOME TIME TO GET TO KNOW THEM MORE PERSONALLY BEFORE WE START CHATTING ABOUT THE SCRIPT OR CHARACTER.  THAT ALLOWS ME TO GATHER DETAILS ABOUT THEM AS HUMAN BEINGS AND NOT PERFORMERS THAT I CAN THEN USE TO EVENTUALLY HELP THEM ALONG THE JOURNEY WHEN WE SHIFT GEARS AND ARE WORKING ON THE STORY FOR THE FILM AND THE CHARACTER THEY WILL BE PORTRAYING. I DON’T USUALLY LIKE TO RESTRICT THEM TO ANYTHING. I REALLY LIKE WHEN ACTORS TAKE RISKS AND ARE NOT AFRAID TO BE DARING, BOLD, AND FEARLESS. I LIKE TO ENCOURAGE THAT IN THEM AS MUCH AS POSSIBLE.  I MEAN THERE ARE MOMENTS WHEN YOU NEED AN ACTOR TO DO SPECIFIC THINGS FOR A SCENE OR FOR THE CAMERA.  SOMETIMES, TECHNICALLY, THEY HAVE TO LAND OR BE IN A CERTAIN AREA BECAUSE MY CAMERA NEEDS TO MOVE A CERTAIN WAY OR LAND IN A SPOT TO CAPTURE A SPECIFIC FRAME AND FOR THAT I WILL NOT COMPROMISE.  ONCE, WE HAVE CHATTED A BIT ABOUT THE CHARACTER AND THE STORY AND ALL OF OUR IDEAS HAVE BEEN LAID OUT ON THE TABLE, IT’S REALLY THEN HANDED OFF TO THEM TO EXECUTE IN THE FASHION THEY FEEL IS THE MOST TRUE TO THEIR CHARACTER AND THE STORY.  WHAT MY MAIN OBJECTIVE IS FOR THE ACTORS IS REALLY TO CREATE THE ENVIRONMENT WITH ALL THE TEXTURES AND LAYERS WITHIN THAT WORLD SO THEY CAN CONFIDENTLY AND COMFORTABLY IMMERSE THEMSELVES INSIDE IT.  ONCE THE VISUAL PARAMETERS HAVE BEEN CREATED AS AUTHENTICALLY AS POSSIBLE, I ALLOW THEM AS MUCH FREEDOM WITHIN IT.  IT’S A COLLABORATION AND I TRUST THAT THEY ARE GOING TO SERVE THEIR CHARACTER WITH A GREAT RESPECT SO I DON’T TRY TO PARENT THAT TOO MUCH.  SOMETIMES, YOU DO HAVE TO ADJUST THINGS TOGETHER BUT THAT’S JUST PART OF THE COURSE. IT ALL REALLY BOILS DOWN TO CREATING A TRUST WITH EACH OTHER AND A MUTUAL RESPECT SO THEY ARE WILLING TO GO THE LENGTHS AND PUT THEMSELVES OUT THERE.

NICK: YOU FACED MAJOR CHALLENGES DURING FILMING DID YOU HAVE DAYS THAT YOU WANTED TO JUST GIVE UP?

JASON: THERE WERE DEFINITELY DAYS I FELT BEYOND BEAT UP SO YES IT CROSSED MY MIND FROM TIME TO TIME BUT I’M NOT A QUITTER.  IT’S INTERESTING NOW LOOKING BACK BECAUSE IT’S REALLY HOW YOU REACT TO CERTAIN SITUATIONS THAT MAKE ALL THE DIFFERENCE. HOW THE STRESS AND WORRY CAN TAKE ITS TOLL ON YOU. I HAVE LEARNED HOW TO MANAGE THAT ASPECT BETTER NOW AND NOT EXPEL AND WASTE SO MUCH ENERGY WORRYING ABOUT IT ALL.  I THINK THAT COMES WITH EACH EXPERIENCE AND REALLY UNDERSTANDING HOW TO BALANCE THOSE INITIAL EMOTIONAL REACTIONS AND LEARNING TO PACE YOURSELF.  I’M PRETTY RELENTLESS AND I WILL NOT GO DOWN WITHOUT FIGHTING TO THE DEATH, BUT KEEPING UP A PACE THAT REQUIRES THAT KIND OF ENERGY FOR AS LONG AS I DID IS ALSO NOT THE HEALTHIEST (LAUGHS). SO, YES, I DEFINITELY HAD DAYS WHERE QUITTING CROSSED THE MIND, BUT IN TRUTH IT WAS NEVER A REAL OPTION FOR ME.

NICK: YOU HAD ALL OF THE ELEMENTS THAT THEY SAY NEVER TO DO IN FILM MAKING, DOGS, CHILDREN, RAIN, FIRE, NIGHT ETC.. WHAT WAS THE TOUGHEST ELEMENT?

JASON: WE DEFINITELY BROKE A LOT OF THE CARDINAL RULES ON THIS PROJECT. IT IS CERTAINLY CRAZY BECAUSE THIS FILM DOES HAVE EVERYTHING YOU TRY TO STAY AWAY FROM OR KEEP MINIMAL ESPECIALLY WHEN YOU ARE DOING AN INDEPENDENT PRODUCTION. IT’S MOSTLY BECAUSE OF HOW MUCH TIME AND RESOURCES IT TAKES TO DO THEM CORRECTLY AND SAFELY AND USUALLY INDIE FILMS ARE WORKING WITH VERY LIMITED MEANS. ITS HARD TO SAY WHICH ONE WAS THE TOUGHEST ONE TO HANDLE BECAUSE EACH ONE CAME WITH ITS OWN UNIQUE CHALLENGES.  I’D SAY THE BIGGEST CHALLENGE OVERALL AGAIN GOES BACK TO THE MAINTAINING OF THE VISUAL QUALITY AND STYLE THAT I HAD SET IN MOTION FOR THE FILM ESPECIALLY UNDER THE TIME AND WITHIN THE RESOURCES WE HAD FOR THE PICTURE.  WE DEFINITELY PULLED A LOT OF FAVORS MAKING THIS FILM AND, THANKFULLY, WE DID HAVE A LOT OF SUPPORT BECAUSE OF THE MESSAGE THE FILM IS TRYING TO GET ACROSS.  WE ACTUALLY WERE ABLE TO EXECUTE AND WORK OUT ALL THESE THINGS BUT IT DEFINITELY TOOK ITS TOLL ON EVERYONE INVOLVED BECAUSE OF JUST HOW MANY OF THESE ELEMENTS WE DID HAVE TO ACCOMPLISH.  DAYS OF POWER WAS A MONSTER IN SIZE AND SCOPE WITH ALL THE ELEMENTS THAT WERE WRITTEN IN THE STORY.  THIS WAS A PRETTY INSANE PROJECT TO TRY AND ACHIEVE WITH THE TIME AND RESOURCES WE HAD TO DO IT UNDER.  MY ATTITUDE HAS ALWAYS BEEN GO BIG OR GO HOME AND I WAS A FEW YEARS YOUNGER WHEN I FIRST GOT THIS PROJECT AND AT THE TIME HAD A BIT MORE OF A RENEGADE MINDSET SO I JUMPED IN WITH ABSOLUTELY NO FEAR.  I DON’T KNOW IF I WOULD MAKE THAT SAME LEAP TODAY UNDER THE SAME CIRCUMSTANCES (LAUGHS).

NICK: HOW WAS IT WORKING WITH THE DOGS?

JASON: THE DOGS WERE GREAT.  SURPRISINGLY, WORKING WITH THE DOGS WASN’T AS DIFFICULT AS I THOUGHT IT MIGHT BE.  INITIALLY, I HAD A FEW CONCERNS REGARDING THE HIGH NUMBER OF THEM IN SPECIFIC SCENES BECAUSE OF HOW LIMITED OUR TIME WAS TO GET ALL THE COVERAGE NEEDED TO MAKE THOSE MOMENTS COME TOGETHER BUT WE WERE ABLE TO COORDINATE ALL OF THAT AND IN THE END IT WORKED OUT JUST FINE.   THE OTHER CONCERN I HAD WAS GETTING PERFORMANCES OUT OF THE DOGS THAT WERE ACTUALLY FEATURED CHARACTERS IN THE STORY BUT WE ENDED UP WITH TWO GREAT DOGS FOR THOSE ROLES SO WE DIDN’T HAVE TOO MUCH STRUGGLE.  THEIR OWNERS WERE WITH US ON THOSE DAYS AND EACH ONE HAD THEIR PERSONAL TRICKS TO MAKE THE DOGS PERFORM THE DESIRED REACTIONS I NEEDED FOR THE MOMENT.

NICK: WE HEARD THAT VFX WAS USED TO CREATE MORE DOGS THAN YOU HAD AND IN OTHER ELEMENTS OF THE FILM. HOW IMPORTANT WERE THEY IN THE MAKING OF THE FILM?

JASON: THE VFX WERE VERY IMPORTANT TO HELP SUPPORT THE ELEMENTS WE ACTUALLY CAPTURED PRACTICALLY.  WE ENHANCED AND ACCENTUATED A LOT OF SCENES TO HELP ELEVATE MOOD OR HELP DRAMATIZE THE ATMOSPHERE.  THERE ARE CERTAIN THINGS WE JUST COULDN’T CAPTURE ON THE DAY PRACTICALLY SO VFX WERE USED TO HELP THAT ALL ALONG AND GET THE DESIRED RESULT AS BEST AS WE COULD.  WE DID A LOT OF SKY REPLACEMENTS, ADDED BUGS, BIRDS, DID ELABORATE CAMERA MOVES OR TRICKS, ERASED LIGHTING CABLES OR RIGGING, CREATED FULL CITY VISTA SHOTS, THE LIST GOES ON.  THE FILM ACTUALLY HAS OVER 600 SHOTS THAT NEEDED VISUAL EFFECTS WORK DONE TO THEM.  A GOOD MAJORITY OF THAT WORK WAS CLEANING UP THINGS OR ENHANCING A SHOT’S ATMOSPHERE AND VISUAL DYNAMICS.  IN REGARDS TO THE DOGS, WE DID ADD THEM TO CERTAIN SHOTS MOSTLY IN AREAS OF SETS THAT WERE JUST NOT SAFE FOR THEM TO BE INSIDE BECAUSE OF HOW STRUCTURALLY THEY WERE BUILT.  SOME AREAS OF THE SET BECAUSE OF TIME WERE BUILT MORE JUST FOR THE CAMERA SO VISUALLY THEY WERE ON POINT BUT NOT FOR ACTUAL USAGE.  WE ALSO DID A LOT OF TRICKS TO DIRTY THEM UP BUT THAT WAS A COMBINATION OF BOTH VFX WORK AND ACTUAL PRACTICAL MAKE-UP WORK DONE ON THE DAY OF FILMING.

NICK: WHAT’S UP NEXT?

JASON: I’M PREPPING A SHORT FILM THAT IS AIMED TO SHOOT EARLY SUMMER OF THIS YEAR.  IT’S A SCIENCE FICTION REVENGE THRILLER.  A BIT OF A DARK LOVE STORY AND SHOULD BE A LOT OF FUN.  I’M ALSO IN DEVELOPMENT ON ANOTHER FEATURE A FANTASY HORROR FILM THAT I’M CURRENTLY WRITING.  OUTSIDE OF THAT, I’M WORKING A LOT ON MY PAINTING.  IT’S A MUCH MORE LIBERATING WAY TO CREATE AS AN ARTIST BECAUSE THERE ARE NO RESTRICTIONS, RESTRAINS OR COMPROMISES OTHER THAN MY OWN ABILITIES AND IMAGINATION.  I PLAN ON HAVING A GALLERY SHOW VERY SOON. THAT’S REALLY WHAT’S UP NEXT FOR ME.