Date of publishing: 2nd
Brothers David and Scott Hillenbrand were born and
raised in Long Island, New York. After attending the
High School for Performing Arts in New York, Scott
received a BS in Theatre/Film from Northwestern University
in Evanston, Illinois. David Hillenbrand also traveled
to the mid-west receiving his undergraduate degree
in Radio/Television/Film along with a Special Concentration
in Music from Indiana University. He then received
a graduate degree from the University of Southern
California for Film Scoring. In 1991 the brothers
incorporated Hill & Brand Productions. Headquartered
in Los Angeles, Hill & Brand Productions is an
entertainment company specializing in the creation
and production of quality motion pictures, music and
theatre. Their 5th feature film “Game Box 1.0”
is an action adventure feature film set in the world
of a futuristic video game.
GameBox 1.0 starring Nate Richert and Danielle Fishel
is the story of a young man in his 20’s named
‘Charlie Nash’ (Richert) who is an expert
at testing video games. His life has become unbearable
since the tragic death of his girlfriend ‘Kate’
(Fishel) who was shot by a drugged out, crooked cop
named Ronald Hobbes. One day Charlie receives a mysterious
futuristic video game system that pulls him into game
worlds in the style of ‘Grand Theft Auto’,
‘Resident Evil’ and ‘Halo’,
- while forcing him into a coma in the real world.
Charlie realizes he must win the game to survive,
and with the help of the game’s Princess, who
is the exact image of Kate, he must battle the deadly
martial arts master Ao Shun, who takes the form of
Ronald Hobbes. Charlie must use all his expert gaming
skills to navigate through the dangerous streets of
a crime-ridden city, a zombie infested forest, and
a war zone on an alien planet. The film will be released
by Lions Gate Films April 10th on DVD.
the audio interview by clicking here (Zipped MP3 file)
do not direct link to this file, link to the page
did the idea for “Gamebox 1.0” originate?
David: Gamebox 1.0 was an idea that had been percolating
in our brains as we watched the evolution of video
games and how they've become even a bigger industry
then movies themselves, and we've watched the worldwide
phenomenon of online games and the, ”playstations”
and “x’boxes”, how it's all evolved
into its own, worldwide culture and phenomenon that
just, blows us away.
Scott: We've come up with a quote, that kind of
like sums up our feelings about what's happening,
with kids and older people as well is that people
standing in the real world
David: People are more concerned about their standing
in the virtual world than they are in the real world.
Scott: You know they're spending money online buying
virtual weapons and the idea that you can be anybody,
you know your fantasy person and almost conduct that
fantasy character within a game, and that is more
important to people than actually their standing in
the real world is kind of a frightening concept to
Linda Craddock: Where
did you guys learn your craft?
David: Well, Scott went to High
school of Performing Arts in Long Island New York.
Scott: And then I went to North Western University
in Chicago for radio, television, film and theatre.
David: And David, I went to Indiana University for
Telecommunications, film television radio and music
and then went to USC University of Southern California
for film scoring And then we both worked for a number
of companies for a little while gaining some experience
on film sets, movie sets, doing various things before
we wound up launching our own company, the first thing
we produced was a play actually, a Broadway style
play here in Los Angeles. And then we moved onto our
first movie from there and never looked back.
Scott: Yeah we made our first movie on 45 credit
cards, you know, between us, we amassed all these
credit cards and charged out a quarter of a million
dollars, made our first movie and that led to meeting
people and investors for the 1st, 3rd, 4th, 5th, 6th,
7th moving on to the eighth feature film and, so,
it's all paid off.
Linda Craddock: “Charlie”
was released from the game twice, why 2 times.
Scott: Why was he released?
Linda Craddock: Twice,
yes, two times he wanted to come out.
Scott and David: Why did the game
let him go?
Linda Craddock: Yeah,
It's interesting because we sort of view and we leave
it up to the imagination a little bit about what,
where exactly the game came from and what its motivation
is. To us to a certain degree there is a bit of taunting
and playing because the game knows that “Charlie”
is going to come back because of “Kate/Princess”.
And it sort of progresses as you see his hallucinations
become worse, and the pull to get him to play again
David: Its sort of a psychological thriller aspect
there where again, like Scott said, “Charlie”
is happier in the virtual world he's more alive, he's
reunited with “Kate” the “Princess”
and it's where he'd rather be, rather than the real
world. And it's sort of our way to, make people think
about that message about what's real and, what is,
what is worth living. Is living going and meeting
people online and having a virtual representation
of yourself. It's all of that kind of stuff wrapped
Scott: I think also the game, you know, to answer
your question directly, the games goal is to kill
“Charlie”. So it could have happened that
he could have been killed in the real world, but it
sort of doesn't happen because of his inner strength.
And the game knows that, like David said the game
is going to bring him back or he's going to voluntarily
want to come back to the game because he's been so
intrigued with. You know it's sort of like, we talk
about it in the sense like “Wizard of Oz”,
because, here it is, he's photographed his friends
and the bad guy and then the game takes from his memory
the concept of the “princess” or the dead
girlfriend and makes her the “princess”,
so it sort of creates the same triangle in, that was
the tragedy in his real life and helps him to create
that same triangle in the game, knowing that there's
no way that he's not going to want to come back and
deal with that triangle.
David: And you know Linda, it's always interesting
to us what our intent and intention is and then we're
always curious to see is there a lot of testing in
the movie. How did it strike you? When the game let
him out twice. How did that come across to you, was
it compassionate, was it evil, how did it strike you?
Linda Craddock: It
was compassionate trying to give him an opportunity
to adjust, it almost seems as though with each scenario
when he wanted out he was caught off guard, he wasn't
prepared for what was to come and he wanted out to
re-adjust. And I thought that was compassionate.
David: That's good. I think that interpretation
of it is, because again, the game has to slowly tease
and taunt him. You know he gets that phone call from
“Kaplan” his co-worker at the office and
at first you believe.
David: and then, “Chalies”
like, “wait a minute, did you call me”
and then he’s like “No I didn't call you".
And then he confronts the game and the game says a
couple sort of chilling things.
Scott: We made you think, you know. We had to do
what we had to do in order to get you to play the
David: And so it lures him slowly and then “Charlie”
in that same scene says "I want to see Kate."
and the game says "we know." So, it's kind
of this dangling carrot, which is voluntary, it's
willful - he takes the choice, to play.
Scott: Which is a dangling carrot, which is the
same thing that leads into the addiction, of video
games. Why is it that kids can just sit there forever
and play the same game over and over or just try to
get to the next level for hours upon hours and get
And how many times do you tell yourself "Alright
I'll just play for 5 more minutes, 5 more minutes
I know I can". It's almost like gambling
in a way, the addiction to gambling, "If I just
play a little longer I can win. I just", you
know "I can beat it”. I can get to the
next level." and all of a sudden you look at
the clock and hours have gone by.
Scott: Which is again comes to circles back to what
we were saying before so its kids and people today
have that kind of determination within a game to keep
going, to try to win, to get to the next level what,
where’s the misfire that their not able to take
that in their own life.
David: And it’s interesting that you saw the
compassion in there, I’m really happy that you
got that element to because we always find to with
a villain in a movie and really the game is a villain
there the villain is just completely one dimensional
and know its bad and know its evil, it’s a little
boring. If a villain can have a little compassion
in a somewhat sinister way, it makes him more interesting.
Don’t you think?
Linda Craddock: Absolutely,
Scott: There is one movie that we love that illustrates
that point really well. The movie, “In the line
of Fire”, with John Malkovich and Clint Eastwood.
Because even though John Malkovich is the bad guy,
in the movie he has some very valid points. Now it’s
not right what he does with those valid points but,
David: And even in the sci-fi world obviously being
your domain, the whole “Darth Vader”,
good/bad “Luke Skywalker”, good/bad delineation
where everyone has that little bit in you. It makes
it more interesting. (No, I agree. I absolutely I
agree. I really enjoyed it. It had a lot of levels
of emotions and a different flavor from scene to scene.
Linda Craddock: Yeah,
David: We’re glad you did.
Scott: I mean we feel what makes, I mean we’ve
actually have some relationships with people like
Ben Bova and some of the fathers of science fiction,
and you know to us what makes really good sci-fi material
is discovering the human nature of relationships in
characters within a world that is different…
David: Fantasy. And for us we wanted to create a
story that’s why the triangle thing of getting
the triangle to happen in the game you know was really
important to us. So, it makes us happy that, you know…
David: You picked up on it…
Scott: You picked up on that and you’re responding
David: And is grounded in reality while being fantasy
at the same time. All the different worlds he encounters.
Linda Craddock: How
was the scene between ““Charlie””,
“Peter”, “The Princess” and
the zombies at the cabin laid out.
David: Yeah, we wanted, again from a basic palette,
each world to be delineated and defined where crime
spree is more of a cold blue night feeling environment.
The zombie land is a bit more desiderated with a kind
of a tobacco filtered. It’s like brown tinge
with a more black and white type world. And then alien
planet going with the yellow look essentially.
But it’s sort of the same concept like, I think,
what you were going for. When their shooting behind
the burm, at the alien, that was a green like little
ramp that they were leaning up against. When “Charlie”,
they’re moving the rock and they’re coming
up out of the tunnel… there… you know
we created flats and platforms and things that they
can come in and out of and as if the only difference,
in a movie that didn’t have the CIG world, is
that they would be painted and textured, in the way
that you wanted them. Everything was green and…
like the sequence where they have to climb up the
ladders is a complicated sequence because your mixing,
you have, you know zombies chasing them, you have
them going, you have a ladder that you’re replacing.
David: You have two different worlds, one below
and up top with different color schemes there and
each one has to be able to be textured uniquely and
differently. We’re moving the camera a lot which
makes it very challenging.
Scott: But like when she opens the hatch and everything,
you know, the handle, and the way the hatch opens
all that is practically built. And then you just texture
on top of it and give it the look that you want.
David: We like the idea, I don’t know if you’ve
seen the movie “Pitch Black”, it’s
a slightly older movie maybe 10 years ago, now. Like
the first “Pitch Black” and that had sort
of a yellow filter type look that we really liked
and thought that captured the idea of a sci-fi type
planet. You see multiple suns and when you see some
of the wide shots of that environment from a CGI standpoint,
the guys built us like an entire globe, a world that
we could pretty much go anywhere within in the digital
Scott: And we went with a more
of a retro kind of alien, spaceship kind of concept
instead of going modern and what we might imagine
that you’ve seen in some of the “Star
Trek” and “Star Wars”. We wanted
to be have a kind of as if the creators of that game,
which often, creators of the games do, we kind of
park in back into the like maybe 50’s or 60’s
kind of spaceship look.
David: Like “The War of the Worlds”
type of flying saucers. By mixing modern and cutting
edge in futuristic and retro we kind of gave it, we
feel, a unique overall look.
Linda Craddock: The
echo effect with the audio that an enhancement from,
explain that. Describe the echo effect.
Scott: Okay, I mean, it’s, it’s a really
good point that you latched on to because we worked
very hard to… You have the real sound and dialogue
of the actors in the real world. And then what we
did with the game characters is we gave them kind
of a metallic game like sound that sort of echoes
in a slightly artificial way.
A way to delineate between “Charlie”,
the player, and then the characters in the game so
that again we’re reminded “Charlie”
is here and they’re all part of the game. And,
this is all leading towards the big question and discussions
we’ve had over Pete and “Peter”
because when he appears in the game…
Scott: In the cabin, which…
David: In the cabin as you mention, is a big question.
Is he real? Is he like “Charlie”? Playing
the game in the real world, that’s why he’s
Scott: It’s like his whole story, that he
says, “Oh, I found the game. I found your superintendent.
He let me into your apartment. I’ve started
to play the game.”
David: So that’s his story and we the audience
don’t know whether or not to believe him. We’ve
decided that the game would be clever enough that
even though its manufactured him and that story is
not actually true, which hopefully we won’t
do it to spoiler it to people, but that it made him
sound normal, it made him sound like “Charlie”.
Scott: the game made that choice because the game,
that shows the intelligence of the game. And then
when we realized that he’s bad…
David: When we realized he’s bad, you know
the cat’s out of the bag, I think we’ve
left him to sort of sound like he’s a real human
not a game character, in that way. But it really,
see we felt that if we played Pete like “Kate”
and the other characters, John and ...
David: Sherman, if we played them, him like them,
then you would know automatically he’s part
of the game, he wasn’t real. So we had to pull
you along, we had to fool you and the game is certainly
clever enough to be able to pull that of to make Pete
sound real just like “Charlie”.
Scott: And we created the sound of the digital sound
of the characters in the game with our mixer, Chris
David, who is an English chap and, he mixes our movies
and we came up with that kind of a sound.
David: And he works with lots and lots of big studios
features. Lots of sci-fi movies as well as very talented
guy, Chris David really did a phenomenal job and coming
up with that sound and that’s what we all –
because there’s always a million choices as
to what you can do and that was just an artistic choice
we made to make the delineations clear and hopefully
fool the audience and lead them along.
Scott: That’s great that you really picked
up on it, noticing it.
David: – especially seeing
it on DVD and not seeing it in the theatre.
Craddock: What approach
did you use to blend the right music and sound effects?
Scott: Well, obviously there are a lot of sound effects
in the movie and there’s a lot of music in the
movie and then it breaks down into two components:
the score and then the song.
David: and then the songs we wanted to have a variety
of sounds, again, delineating the games. “Alien
Planet” relies more on score being a sci-fi
kestrel score type sound. “Zombie Land”
is a mixture, again, of scary or kestrel and we used
a real orchestra in Romania, Bucharest Romania, “The
National Radio Symphony Orchestra”. It’s
a 75 piece orchestra and we went over there and conducted
Scott: David wrote the score. He has a different
name in the credits but has actually scored all the
movies that we’ve made and he composed and conducted
David: Scott actually is the music supervisor who
we get a lot of submissions from record labels and
Scott: We used a lot of music from a band that was
fairly popular a couple of years back called “Ghost
in the Machine”, and, there techno, when he
is riding the motor cycle in “Crime Spree”,
“King of my World”, in “The Zombie
Land” “Drop Down” a lot of these
songs if you like look at the credits at the end of
the movie are from this band called “Ghost in
the Machine” and we used the song to delineate
the words, like there’s a song called “Freeze”
in the “Crime Spree” that takes us into
that world so it has a very urban, hip-hop kind of
feel because we wanted to set the audience and make
it feel like the world that he was entering in, in
“Crime Spree” was not a very safe world.
David: and then your question about the balance
between the music and the sound effects at any given
moment or at any given scene, we together with Chris
David, had to decide which is going to be more dominant,
the music or the sound effects. Sometimes they both
play loud but other times emotions is better conveyed
through the music and other times emotions is better
conveyed through the sound effects. Obviously there’s
a percentage or a balance of each. Sometimes you can
say 60% music, 40% sound effects, and other times
it could be 80% sound effects and 20% music. So its
really the overall, obviously you have to hear the
dialogue and hear what people are saying as first
and foremost and create – I don’t know,
again what your viewing system is or was for the movie.
We did a lot of work with a 5.1 surround mix, your
hearing things swirling around you and the gun fire
is coming behind you, but in the “alien planet”
you get a sense of the other world battle that’s
happening in and around them and we have a lot of
fun fooling around with the full 3D sonic space that
surrounds the viewer.
Scott: actually for sci-fi type movies the advancements
in sound equipment and sound design had really changed
in the last lets call it 15 years. It gives you a
lot of latitude and flexibility to create, especially
in this kind of movie to really create the environment.
David: so we tell people to pop
the movie in sit back, crank it up and enjoy.
I listened to it on the wrong TV, now I have to bring
it downstairs and listen to it on my Sony, definitely.
David: Oh there’s a lot going
on in the 5.1, the rumble, the bass and I think if
you get another viewing of it ...
Scott: I don’t know if the
advanced screener’s copy doesn’t have
the 5.1 mixer or is it just the 2 track mix. It's
possible, the solicitation master, the one that goes
into black and white and every now and then for copy
protection. That may not have the 5.1. We should definitely
have Lions Gate so that you can see the other features
behind the scene and all that. If you call Shannon
who set this up, our publicist and tell her that you,
that the interview went well and your intrigued to
see the final product on DVD, then she can arrange
that and get it to you. Lions Gate did a really nice
job in the final ling of it, and packaging of it,
the quality and everything is top notch. We have to
say that Lions Gate has released a bunch of our films.
We also have a “National Lampoon” called
“Dorm Daze” and if you haven’t seen
that, it’s more of a college comedy kind of
a franchise. They’ve released “Dorm Daze
2” and they’re releasing “Dorm Daze
3”. We have a long standing relationship with
the studio and they are very, very supportive of film
makers. They are one of the most progressive studios
out there today. They are really just great to work
with because they allow us the creative freedom and
they also allow us to personalize the special features
on the DVD because you know somebody’s going
out and their either renting or their plunking down
anywhere between $15 and $20. From our perspective
we want to be proud of the product that we’re
making, like David said before we’re giving
the viewer something more than they’ve seen
before and hopefully its’ a learning thing,
a tool. We, as directors, watch other people’s
DVD’s and listen to the commentaries and everything
because there’s a lot to be learned.
David: And the thing that’s really cool on
that behind the scenes is because of all the green
screen work, its really interesting in the deleted
and extended scenes, your watching a scene that you’ve
seen in the movie with all of the CGI and all of a
sudden an extension of where we cut out what we didn’t
use for the final movie goes into green. And so you
can see it back to back, you see ...
Scott: What it looked like when we filmed it and
started editing it before there was any special effects
David: you get some more shoots, more angels, some
more dialogue, and at the same time get to see back
and forth what its like before and after, not just
from a behind-the-scenes point of view but cut together
dramatically right smack in the middle of the movie.
Craddock: The game
was a nice romantic story. Were there any other considerations
for the storyline or ending?
Scott: That’s a great question and it’s
really interesting because we talked about as far
as sequels and even a re-imaging/re-inventing of “Gamebox”
on a much larger budget. One thing – in the
extended scene I was going to say in the cabin, when
they talk about their conversation in the cabin, its
interesting because “Charlie” says at
that point and its not in the final of the movie but
only in the delete scenes or extended scenes there
we talked about “look, we can stay here together,
we can go live in the suburbs of the game, buy a house.
Now we know the rules, we know to avoid our ???, we
can live happily ever after, mow the lawn. That idea,
could you live in a game and stay there? Like you
said it was interesting, I would think that –
there’s a very clear answer that I want and
I know David will agree with what I’m going
to say. You know we could tell you that in our minds
we were opened to different endings, really we never
were because one thing that we are finding with the
movie and people’s connection to the movie is
that it has some spiritual overtones because the whole
idea is that “yeah” he could stay in the
game but the whole point of that concept and having
her in the game is that the only way, in our opinion
that “Charlie’s” going to get our
of his funk and realize that unfortunately in life,
tragedy happens to all of us but that doesn’t
give us, I mean its our belief that everybody on earth
has a mission and God puts us here, not to get too
spiritual, but we all have a mission
Linda Craddock: I
agree with you.
Scott: ok, and when we come into sync with who we
are as people, its when we identify and come to terms
with what that mission is and then embark on accomplishing
that mission. “Charlie’s” mission
in life was way greater then where it ended up where
the movie starts with the tragedy that happened to
him which he is unable as a person to move on in his
life and its only through the experience in the game
and the relationship with the princess who is really
the likeness of his girlfriend. And her being able
to say to him you have to move on. You are real and
you need to live your life. You know what you can
find happiness even in spite of tragedy, and that
is what you are meant to do in life. There are random
things that happened but you have to overcome that.
David: You can even look at the game and this is
why we think, when you really dive into the concepts
in the movie. Not only is the game sort of scary and
evil and its doing what its doing to “Charlie”
but you can also look at it as a gift. It becomes
a gift, this experience to “Charlie” to
do exactly what Scott just went through to learn,
to understand and to be able to move on with his life.
And the way he looks at the end, and we gave a little
bit of a twinge or a touch in the casting with the
girl he meets, the new waitress at the restaurant,
“Pamela” to sort of remind you of his
past but also tell the audience that “Charlie”
has a future and that there’s some kind of spiritual
connection in the universe because “Princess”
in the game says “you’ll find somebody”.
She calls him “Romeo” and this girl uses
the same word right at the same time in the beginning
when the other waitress says come on princess because
she’s dauntingly so she calls – its those
little touches to make you say maybe the universe
is coming together and we’re here to give you
a sign, to give you a clue, to help you to move on
and that is for us one of the things we wanted to
get across in the movie if we use coming, circling
back to our first concept that we told you that people
are more interesting in standing in the virtual world
than in the real world, well, that’s where “Charlie”
has been. He doesn’t care about his life in
the real world because it has no meaning because of
the tragedy and now through the experiences of the
game and surviving the game and beating the game,
he has a renewed sense that he does have a purpose
in life. Then he is able to move forward.
Out of any movie genre, science fiction, I think,
has always been at the forefront of exploring these
type of themes, of redemption. You can take a science
fiction movie at its basic level and enjoy Orson Scott
“Cars Enders” game and movies like this
and you can take it at face value but there generally
much greater than that and by being able to have this
thematic story about a character named “Charlie”
who needs to learn something and move on in life,
not only can you enjoy the video game experience that
he goes through, but that character moral experience
journey he takes is even of greater, we find, significant
and hopefully enjoyment to the audience.
Scott: again, everybody in life, it’s like
the goal of the game is to kill “Charlie”.
You know we leave it a little ambiguous where that
game comes from. Is it from some serial killer type
person who concocts this game in the middle of the
country and is going to try and kill people, like
a Unabomber, or is it an alien race that knows that
earth is a planet that has an addiction problem with
video games so their using that concept to see if
they can destroy people by killing them within the
video game. So, you know that phrase, if it doesn’t
kill you, it makes you stronger. Or a third choice,
you go the gift idea route and he goes the gift route
because he is able to overcome the game and, therefore,
becomes a gift. So he finds something that says, Scott:
“Jumanji” or even “The Last Mimzy”
that’s out now or opening now where something
is found coming from another world but it allows people
to learn something and reconnect with who they are
in a gift kind of way. Food for thought: In every
one of those ideas as far as we’re concern is
right. They’re all right interpretations, its
how – each viewer sees. That’s why we
find that with all the reviews starting to come out
very soon now and all the people calling us wanting
to do interviews, people are really finding on faith
level that like kind of creates the game experience
in a way that’s really never been done before.
And then at the character and emotional level a story
that you connect to because you really care about
the people and you want to see them overcome adversity
and their tragedies.
We had some nice compliments paid to us and we were
very honored where people have said that also, they
were happy that we didn’t glorify the movie
by the world of the video game tester. We played it
true and we had done a lot of research to what its’
like. These guys are like sitting in a cubicle, at
a desk, just playing video games and what their life
is like then going home and playing more video games.
Scott: And we can sort of relate
to it that we’re editing a movie, we’re
spending every day, you know, 10, 12, 14 hours a day
in a darkened room, cutting together a movie. Its
sort of like you sometimes feel like your living in
the world, the movie, or living in the world of the
David: I’m sure it’s the same for you
as a writer sitting in front of your computer coming
up with a story and ...
Scott: and how to tell – we’re trying
to give you as much from our souls as we can about
why we made this movie and how we made the movie and
answer the questions but also to give you a little
bit more beneath the surface because I think this
movie is pack with stuff below the surface.
Linda Craddock: Patrick
Cavanaugh and Danielle Fishel are big fans of your
work. Talk about your relationship that draws you
to their talent because I see that they have been
in your “Dorm Daze” series?
Scott: Both of them are very talented actors. And
Nate Richert which you might not have in your notes,
Nate Richert was also one of the stars in our movies
“Pinata: Survival Island: and so we had worked
with him before, too.
David: We like working with actors we’ve had
experience with before that really grew and to work
with them again. Lots of film makers do that, obviously
Steve Spielberg, Woody Allen often. People sometimes
use the same people over and over and over. Yes and
his comedies often have almost the identical cast
from movie to movie. Patrick is a, I will speak maybe
about Patrick first. He is a very talented, very gifted,
very good comic timing, very quick and he’s
also has a sweet face and passionate eyes. To work
with them as directors, he’s disciplined, hard
working, comes to work every day. Giving his all..
always has ideas, thoughts, thinking about the character.
That’s what we like in an actor to not only
give us what we’re looking for, but to probe
and challenge and offer suggestions and come prepared
with ideas, and its our job to pick and choose and
hone and craft and say we like that – well why
don’t you try this, why don’t you try
that and it’s a joy to work with him. Scott
you want to talk about Danielle.
Scott: Danielle is sort of the same, and we know
this because we’ve traveled with her on the
theatrical release of “Dorm Daze” and
she’s mobbed everywhere she goes.
& David: “Boy Meets World”
and “Topanga Lawrence” that character
that she created on that show. In order for a TV show
or a movie to reach a certain level of success, there’s
a reason, and Danielle is the reason that “Boy
Meets World”, I mean it was a great cast all
around, but that show was centered around her character.
She has a very likable, universal, every girl kind
of quality with a very sharp, fast wit. Like Patrick,
she’s very, very fast, her timing, her comic
timing is very good. We chose to work with her in
“Gamebox” because we thought it would
be really interesting for her fans all over the world
to see her in a role as far away as she had done to
date from “Topanga”.
David: And we wanted, even with the relationship
between “Charlie” and the “Princess”,
and Danielle did a fantastic job, she didn’t
have, we didn’t give her - and same with the
writers, the opportunity to know “Kate”.
We only learned about “Kate” as you’ve
seen through flashback and through the video “Charlie”
watches in his apartment. It’s a very short
time to get a sense of this very bubbly cute personality
that’s one side of Danielle Fishel, and I think
she really came across that way on that video to see
what their life was like together, and then we wanted,
very much a relationship like a “Han Solo”
and “Princess Leia” relationship where
their back and forth at each other snappy, quick and
Danielle being sharp and shrewd and clever like Scott
said, pulls that off really well, too, where she border
line “bitchy”, just like Carrie Fisher
and “Princess Leia”, but in a playful,
twinkle in the eye kind of way. To get that you know,
there’s love beneath the surface. And then the
challenge for Danielle was to see “Princess”
sort of ...
Scott: her own realization of who
she was, who the character of “Kate” was
through “Charlie”, and soften and grow
and start to see that side of her that makes her seem
more like “Kate”. When we were filming
that last scene, in the boiler room, which is kind
of the genesis where we just jumped off for this whole
last conversation we had, I mean everybody on the
set was crying. Even us, while we were filming it
because it was one of the last days of shooting and
was very early in the morning after a very long day
and both her and Nate had a connection, a really special
connection while they were making this film in their
characters and you really see it in her eyes how she
comes full circle in that end scene and its so compassionate
Linda Craddock: What
other projects can we look forward to?
Scott: Well, we have a few different
things on the horizon. We’re in the middle of
editing right now what is essentially the third in
the “Dorm Daze” franchise, so it's quite
different and special from “Dorm Daze 1”
and “Dorm Daze 2”.
It takes place in Romania and we actually went to
Romania and shoot in an 800 year old castle 8 hours
north of Bucharest, in the heart of Transylvania,
(wow). It’s a castle that looks “Harry
Potter” except it isn’t CGI, it’s
really there. If we had to describe – with our
“Dorm Daze” franchise, we didn’t
want to do the same thing from movie to movie to movie,
we wanted to keep it changing and fresh and what we’ve
done with “Dorm Daze”, “Dorm Daze
1”, if you haven’t seen it, “Dorm
Daze 1”, if you liked “Gamebox”
you should check out the “Dorm Daze” franchise.
“Dorm Daze 1” took place, well, the “Dorm
Daze” franchise is like a moiré or Shakespearian
kind of farce and the first one takes place all in
a college dormitory. The second one takes place at
a college at C program on a cruise ship, and the third
one is like “Young Frankenstein” meets,
like a college comedy that takes place in this great
castle with vampires and almost has the quality of
like a Danny Kaye movie where one actors playing multiple
parts that look identical and how that all works in,
so we’re in the middle of editing that and that
will be coming out soon. Neither under the name of
“Dorm Daze 3”, “National Lampoon
Dorm Daze 3”. We may call it something else.
David: And then we’re in preparation on a
large budget period, swash buckling sort of a classic
novel that hasn’t been done before. Like “Pirates
in the Caribbean” or a “Last of the Mohegan’s”,
that type of a movie, we are in preparation on that.
And we are also talking with a number of studios right
now and our independent group too about a sequel or
sort of a continuation of the “Gamebox”
type world. Like taking that concept and reinventing
it, putting it on a bigger scale. When we finished
the first “Gamebox”, we showed it around
to a bunch of the studios and they all said this is
amazing, this is incredible. If you guys had a 10
– 20 million budget, and we were able to put
huge, huge actors and stars in it, then this might
have been a different kind of release. So would you
be interested in reinventing it, using “Gamebox
1.0” as a launch pad at the first movie out
and taking it from there.
Scott: its funny the charm, we feel, of “Gamebox
1.0” being this, you know, a smaller budget
independent with Danielle and Nate, kind of connects
on its own level as opposed to it being Tom Cruise
or whoever. This movie’s a funny movie because
we shot the entire movie, principal photography in
12 days. And then it took us 2 ½ years to just
finish all the visual effects because unlike a studio,
that has a hundred people like at ILM (Industrial
Light & Magic) or some of the digital houses,
doing all the effects. We had 10 guys in a garage.
It really is like a garage band kind of movie kind
of put together like it was apple or Mac, apple or
IBM at the beginning. A bunch of guys in a garage
putting this together. That really is kind of the
environment that the movie was made in and both David
and I, and it seems that the public and reviewers
are embracing that and going, well that’s what
makes it really unique and good like what David said
because we didn’t have ...
David: Suits looking over us. We were able to do
it in a way that is a little more unique, special
– perhaps the spiritual side of it as well.
Craddock: Last question
and I say that because you guys have given me so much
information and input that you’ve actually eliminated
a couple of questions I had and it’s great because
its so much information, great feedback. What would
you do professionally if it were not movie making?
Scott: I wanted to be a baseball player, (laughter)
a tennis player – those are my top other choices
that I wanted to do ...
David: One thing that’s fun for us, to answer
your question, hopefully in the spirit of it but,
one thing that we really enjoy in the movie making
process is that you get to do a lot of different kind
of things and learn about a lot of different things.
And even the fact that we both wear different hats,
we both, sometimes we’re the writers –
sometimes we hire writers. We’re the directors,
we’re the producers, and we also work with the
music so at different times of the year, we get to
be a music guy or we get to be a director. So it’s
almost like living what you’re saying different
jobs. If we couldn’t do any of those, and again,
not to not answer your question. I agree with Scott
on the sports stuff. When I was young at one point
I wanted to be a doctor, either a Veterinarian because
I like animals or Pediatrician because I like children
but then I realized that I liked those things but
I had no interest in medicine in that way. But we
really have been fortunate to work in a variety of
things experience different things. The movie making
process is such a collaboration of professionals who
you have your grip team, your camera team, your electric
team, your make up artist. This is funny – in
about 10 minutes our make up artist whom we met in
and hired in Romania to work on “Dorm Daze 3”,
is, I think this is her first trip to the United States.
She’s coming for lunch with some of the people
we worked with there and to connect with people in
a foreign country.
Scott: It's speaking a lot of languages, which is
what David is referring to which is why – circling
back to what we were talking about what you were put
on this planet for – David and I will both say
in any interview, anytime, anywhere, under any circumstances
that we really believe that what we are doing, right
now, in our careers is what we were meant to do.
David: We are very fortunate to be able to do what
we enjoy, what we like to do. Like every good writer,
I am sure your’ the same, love to write. Your’
passionate about it and it shows in the work and we
love what we do and we love coming to work everyday,
editing, making a movie, telling a story, ...
Scott: We also like being in control of bring together
the team or artists because when you’re working
on a movie, when you’re shooting it, you’re
working at any given time with 125 – 150 people
that you personally get to hire all these people,
bring them together, ask them to kind of interact
and work together, almost like a Wall Street “A”
level company that just comes together for a short
period of time in order to accomplish the vision that
we have in our head and often our vision gets taken
this way and that way because we have with the collaboration
with the people that we work with over and over again.
So it really – we feel that we are right where
we’re supposed to be, doing exactly what we
are supposed to be doing.
David: Let me give you one more tidbit. I’m
also a magician and when we were younger, Scott and
I had a magic show business and we loved performing
magic at parties. You knew that we were brothers,
right, (laughter) both collaborating: As magicians
and doing shows!
David: In some ways we’re still in the movie
making process able to create magic. And that’s
always our goal. Wasn’t that poetic (laughter).
Never ended an interview in that way, not that this
is the end because if you have more questions, we’re
happy to answer them, but I like that.
Craddock: Are you
guys twins by any chance?
David: No, we’re 2 years apart, although Scott
has twin children.
Scott: Actually twin babies, a boy and a girl, they
will be 3 in June. It's funny, sometimes David and
I would go to someplace and people would think that
we were romantically involved and say they didn’t
know we were brothers. (laughter) But no David has
blue eyes, I have brown eyes and we’re brothers
and we share a lot of similarities, and yet we’re
different and that what kind of makes our relationship,
and our team, and our company really special because
being brothers, working together has really been special
and then bring together the similarities and the differences
and making them work creatively is always fun because
people often say I’m not quite sure how you
guys have done it, together so long.
David: It's funny, the way we direct is exactly the
way you hear us speak we don’t delineate you
do this, I do that, we do it together...
Scott: very organic in the moment.
Linda Craddock: Well,
David and Scott, I want to take the time to thank
you so much for this interview. It’s been great.
David: it’s always nice to speak to someone
didn’t just throw questions together, but really
thought about the movie and the specifics about it,
took the time to really guide it, our discussion in
a way that captures what we tried to do with this
particular movie, and always I think that’s
the challenge for a critic to come or a reviewer or
interviewer to see what kind of intent or movie the
film makers tried to make. Sometimes it’s a
popcorn movie, sometimes its art house, sometimes
it’s in between and to guide it in the spirit
of the intent.
Linda Craddock: : Well
Scott: We do appreciate it and
“Gamebox” is a very special project for
us because it's taken a long time to make and complete
to do it the way that we wanted to do it and in some
sense to us it’s the little movie that could
and we feel that if enough people see it, and it gets
out there that the world will see it because people
will tell people. This business is so word of mouth
and if something’s good out there it shines
and it gets passed around. So we’re hoping that
enough people see that it gets that word of mouth
about this interview on the forum