In an age where the art of film making is available to anybody with a digital camcorder and the ability to upload to YouTube, it seems that everywhere you look you see the phrase “independent film”. These acts make some of us in the actual art of making REAL independent films feel as we're losing some credibility, to a point. Personally, I feel that that phrase 'independent film maker' is something to be proud of.

The independent film world is bigger than it's ever been! This is becoming the most sought-after artistic profession of the new century. We're the new rockstars! For God's sake, we even have our own prime-time series showcasing the worlds 'best' undiscovered talent. There is something about the words 'prime-time' and 'independent' being in the same that makes me cringe just a bit.

For those of you who do not actually take hand in creating independent films, it would be very difficult to understand the hardships and sacrifices that we go through to turn and idea into a cinematic journey... if only for our own viewing pleasure. We don't sleep. We don't eat. Rent gets behind, bills pile up... and for what, people ask? Well, when you finally see your creation on the screen (whatever screen that may be), the hunger is satisfied, tiredness becomes a euphoric relief and the bills.... well, the bills are still there.

Director Peter Judson knows this procedure all to well. But he has taken that reality and given the public a chance to see first-hand these trails and tribulations on what it takes not only to make an independent film, but the people you have to deal with even after you get your film off the ground in his documentary NOBODY WANTS YOUR FILM.

Starring Steve Buscemi, Peter Stomare, Sam Rockwell and many, many other great actors (who all portray themselves, I might add) shows all these attributes to film making and much, much more.

Peter Judson took some time to answer some questions for IIE on his unique and interesting documentary.

Jacob Sanders (IIE ) - Peter, first off, congrats on NWYF. When was it that you started making films?

Peter Judson (PJ)- Well I was acting, directing, and writing theatre in NYC after I graduated from under-grad at Skidmore College in 1987. I wrote a multimedia play in 1988 and shot and edited, on video, the film sections of the piece for an off-broadway production. Eventually I shot a 5 minute section of that piece on b&w film and that short, called “Nowon”, ended up going to the very first Sundance Film Festival (at least the first time they called it the Sundance Film Festival) back in 1991.

IIE - Who were your inspirations to become a filmmaker?

PJ -Terry Gilliam's “ Brazil ” plus some early Scorsese and Woody Allen.

(IIE ) - Where did you study?

PJ -BA in English from Skidmore College I got my
MFA in Film from New York University.

IIE - What was your first project?

PJ -That would be “Nowon”.

(IIE ) - Now, on to Nobody Wants Your Films. The plot of this film is very interesting and unique. Where did the idea for this film come from?

PJ -Well actually I was hired as the assistant to the producer/co-writer, Brandon Cole, on the independent feature “13 Moons”. That original film was shot digitally and I was responsible for buying all the equipment during pre-production. As I told you I was trained at NYU in the grad film program and had actually produced and line-produced 4 low-budget ($100,000-$300,000 range) features while in and out of graduate school so I was well trained to help organize the tech side of the pre-production of the original film.

As well Brandon had me shoot all the auditions. As I was doing that I began to shoot what Alexandre Rockwell, the director, was saying to the actors between filming their auditions. Brandon nodded his approval and the idea began to take hold. Then once the production started all my hectic pre-pro work ended. It was then that Alex actually asked me to shoot behind the scenes footage for the dvd. He also had his assistant do the same.

So during the shoot most of my time was spent shooting on the set. But part of my job as well was driving some of the actors around which is where I all the car interviews came from, figuring at the time they would help give the work a through line. At the end of production I was promoted to post supervisor and flew back to NYC to do that job for the next six months. After that ended I went back to LA and started to play around with the footage on a laptop figuring that I would learn how to edit on a computer.

When I was at NYU they didn't have avids or any computer editing systems yet and we cut everything on film. As I cut the footage it began to show me that some sort of film was there. At the same time the distribution for the real film fell apart and the next year and a half NWYF took over my life as I lived off of my credit cards, eventually creating the final film. But because I was trained as a narrative filmmaker I never saw NWYF as a documentary which is why I think the film turned out the way it did.

IIE - There are many titles I have seen this film associated with- Documentary, Mockumentary, Mock Documentary and just simply a film. What category would you place this is in?

PJ -I think it is its own sort of thing. I was really having the feeling that I was directing performances in the editing room and not making a documentary at all. It's through these improvised moments that we get to know these performers in a more intimate way than the normal on the set movie.

IIE - With an all-star cast, who all portray themselves in the film, really shines a light on what is possible in movies today, saying that films do not need to be made or filmed a 'certain' way. Was this an aspect that you felt personal about, and is it why you chose to take this direction?

PJ -The material at a certain point seemed to direct me as much as I tried to direct it, if that makes sense. Almost as if the directing was an improvisation along with the performances.

IIE - What was it like working with this amazing cast?

PJ -It was amazing, as you can imagine, to have the kind of access I did.

IIE - The general consensus seems that NWYF has been well-liked by critics, very respected by others in the industry (as this is something that most of us go through while making independent films) and embraced by fans. Are you at all surprised by the quick buzz that it obtained?

PJ -There've been quite a lot of surprises along the way but it was a lot of work to get it to that point as you can imagine.

IIE - What is the one thing about the production of this film that you will remember for the rest of your life?

PJ -The improvised nature of the whole thing as well as the our ability to reach a worldwide audience through the internet.


IIE - Besides a great project, what did you take away from this experience, and how did it shape you as a director?

PJ -I would really like to do more of these kind of unscripted projects and as a director I think it has allowed me to be guided by the material as much as I want to guide it.

IIE - With the rising success of NWYF, would you venture toward this style again?

PJ -Yes for sure.

IIE - Do you have any projects in the works right now?

PJ -I've got a few things in the works that will be hopefully get greenlit soon… we'll see.

IIE - If you weren't making films, what do you think you would be doing right now?

PJ -Writing a book or novel… some form of communication with an audience. I've realized that it isn't the medium but the actual communication that's important.

Well, Peter, we really appreciate you taking the time to give us a little background on yourself and your projects. All of us here at Image Icon Entertainment wish you the best of luck in your career.

PJ -Thanks so much.