In 2010, I began interviewing fellow independent filmmakers, screenwriters, editors and passionate film fans.  In 2011, I created an entire section on this site dedicated to these interviews.  Below you’ll find all 17 2011 interviews covering everything from writing to promoting your finished film.  You’ll meet dedicated and talented people with a ton of great wisdom to share.

I’m still learning about the interview process and I’m eager to meet and share more fantastic stories with you.

Thanks again to everyone for the great interviews!

Ron Suppa: Author, Screenwriter & Teacher

Get Your Short Film Into Major Film Festivals

Art of the Guillotine: Creating A Film Editing Community

Feature Film Focus: Producing Cody Fitz

Producing A Web Series & Becoming A Regular

7, Rue de L’Arbalete & One Shot Short Films

A Filmmaking Addict

Cyber Punk Meets Sci Fi In The Short Film: There Are No Heroes

Discover The Voice Inside

From Ontario to Los Angeles: An Actresses Journey

Damn Your Eyes: Making The Most of your Budget

Standing Out Amongst The Crowd: Pitching A Short Film

Junko’s Shamisen: From Vision To Reality

No Short Cuts: An Editor’s Tale

Finding Your Voice: An Independent Filmmaker Profile

Write A Slasher Movie & Get It Made

Finding Your Muse: Creating A Short Film

AN EXCLUSIVE INTERVIEW WITH GORDON BURKELL
FOUNDER OF ART OF THE GUILLOTINE

Gordon Burkell is passionate about editing.  So much so that it led to the creation of aotg.com.  A website dedicated to editing techniques, theory, tutorials and more.  Since I discovered Art of the Guillotine, it’s been a staple in my daily surfing routine. 

With the launch of their all new iPhone App, the site has once again evolved as a true destination for people who love to edit.  I recently had the chance to talk to Gordon about what inspired the site, how it has evolved over the years and what’s next for Art of the Guillotine.

When did you first become interested in Post Production?

I actually started on set as a boom operator and after many late night shoots in Canada’s cold winter months, standing around waiting for everything to get perfectly set up I realized the set is a very boring place to be. I then met Joe Serafini, who ran Crunch Recording Group at the time and he allowed me to come on as a young apprentice and learn from his post sound guys. But it wasn’t until I met Alan Collins, who had worked with David Cronenberg and Roger Corman that I began to fall in love with post production but more specifically film editing.

Alan was originally from the England and he had a love for cultural theorist like Roland Barthes. He also was really interested in editing theory and he made me see film and post production very differently. When he began to direct I began to cut his films and it’s because of him I’m in editing.

What does being an editor mean to you?

For me, I see editors as artists and storytellers as well as complex problem solvers. I’ll never forget being handed a 100 hours of documentary footage from a director who had no idea if there was even a story. We spent countless hours molding the documentary. It was like someone dropped a vase and it shattered into a million pieces and I was required to place it back together perfectly, I knew it could be done, it would just take time and patience and of course a steady hand.

For those who haven’t visited yet what is Art of the Guillotine?

Art of the Guillotine is a site that aggregates, organizes and disseminates information about film editing for film editors, students and academics. Using our systems and our new mobile apps one can choose the type of editing news they want and have it appear in their user accounts. So if you are an academic and you want only theoretical articles and submissions, that is what will appear in your account. If you are an editor and only want industry news, not blogs and tutorials, then you can choose that. The site caters to your interests and your needs!

Recently we’ve also begun to branch out, with the success of Art of the Guillotine, we acquired the domain aotg.com and have begun transferring things over to this new site, of course you can still access the site through artoftheguillotine.com. With this branch out we also purchased trimbin.com a site that is still young and just starting but is not just editing specific, it allows anyone in the industry to submit film related content and then users can vote on the best submissions which move to the top.

We also have Postchat on twitter each week so people can discuss post production from various angles. This is a Twitter based meet up spot that allows people to discuss things, people wanting to take part can simply search twitter for @postchat. Also, they can check out postchat.wordpress.com although that will be changing to postchat.aotg.com very soon.

What inspired Art of the Guillotine?

I do a lot of documentary editing and was asked by the local university to come give a talk about it. Of course, I showed some work, discussed some basics but then, as I am the product of working with Alan, I began discussing theoretical ideas and how they applied to my work. For example creating a circular structure for a documentary about Native Canadian culture, circular narratives are a fixture in Native Canadian storytelling.

At the end the students wanted to know where they could find more about this on the internet. I had no idea. So I decided to start a paper list of links. Any time I went to a school to talk I would hand out this list. Well, the list got so lengthy that it encouraged me to teach myself HTML, CSS and Javascript and create a very basic and ugly site (It was two shades of brown and white) so that students could easily access it. I wanted the name to mean something to the older editors who might find it, the ones like Alan who inspired me. So I adopted the name Art of the Guillotine.

When that site started to get out of hand, aotg’s current developer/programmer, Richard Munro came on board and we’ve been building ever since, always improving. We work late nights and cut during the day.

What steps did you take to gain an audience initially?

Initially, we just contacted a few schools in the area and sent the list and visited industry events to spread the word. It hasn’t been a speedy process, we’ve simply let people know and slowly built upon it.

Building a greater audience requires constant evolution. How has AOTG evolved since it’s inception?

It has evolved dramatically . We started as paper, then basic HTML, then database driven and as of November 2011, we now have our enhanced mobile app. But as I mentioned before, we’ve done this on our off hours over a long stretch of time. It’s taken many years to get to where we are and it always means a lot to me when I get emails from editors and students thanking us for the site. At the moment we have over 10,000 articles, videos, audio and more! All at the finger tips of the user. Students can easily search our database to get information.

In fact, I received the greatest compliment from a PhD student who was writing her dissertation on current editors’ techniques. Her work didn’t have much to go on aside from articles found in just a few books but not many publishers release books with interviews anymore. She told me my site, with our podcast interviews and the Association Video Series involving the American Cinema Editors, the Canadian Cinema Editors and the Australian Screen Editors became key in her research.

I got so excited to think that we are now a reference point for thought and we could be seen as a resource established and credible enough to be used in academic research. This was always a goal and now it has come to fruition!

You’ve created an amazing community around your site. How have you used social media tools to your advantage?

Twitter and FaceBook are a must and if you really search MySpace you might find us, although I don’t update that one anymore. We just launched a Youtube channel and use ustream.tv for our live events.

I have to admit though, I wish I could tweet and chat more on twitter. I try to but then I get so busy that I forget to answer a tweet for a day or so and I feel so badly about it. I enjoy chatting with everyone on twitter so much but in chaotic editing rooms it isn’t in the forethought of my mind.

Talk a bit about the inspiration behind your new mobile app and the development process?

The inspiration was really the students again, I now teach editing at universities and the students are mobile and I wanted to make sure they could access us in a visually engaging way! I also use an iPad a lot in the cutting room and wanted to be able to engage in my site and its content. As well, I wanted to get the ACE, CCE and ASE videos in people’s hands. Now you can listen to us interview the top editors, watch the top editors, find events and get your news all on your phone or tablet. We currently are only on the iPhone and iPad but we are launching an Android version in January.

What are your goals for AOTG in the future?

The goal is to follow our initial goal, create a space to aggregate, organize and disseminate film editing information. Information should be as easy to access as possible. So we are working to make it so. We have some big announcements coming in 2012 so continue visiting for more exciting updates and news!

What is next for you?

For myself, I continue to work on AOTG.com, it’s my passion. I love editing but even more I love helping out editors! It is so rewarding to have students come to me with questions and being able to say “here’s a group of videos you should watch” or “read up on this theoretical perspective”. This is so much more than I had when I was in their position!

I am working on a small hundred page book on film editing techniques/theories that most publishers are scared of, so if I can’t find a publisher brave enough to publish it I plan to code it into a eBook and provide it on aotg.com.

What is your favorite film from an editing perspective?

Tough but fair question! I do have several and it usually comes from different editing perspectives. So for example, action scenes is one film, love scenes another, dialogue another. I will say with no word of a lie that the movie I’ve seen most in my life is Battleship Potemkin, I’ve seen several different cuts and love the film. Originally I hated it and it wasn’t until I rewatched it and rewatched it to help teach myself Eisenstein’s theories that I began to respect it and eventually love the work.

However, one movie that always moves me is The Hours. It’s a tough film to watch from an emotional perspective but the scene in which Leonard Woolf and Virginia Woolf are at the train station arguing about going back to London is quite possibly one of the best edited dialogue scenes I’ve ever scene. Of course, as I point out to students it is a team effort. The director did a phenomenal job with the actors and the angles and camera shots are fantastic. As is the cinematography and screenwriting.

On a side note, my favorite guilty pleasure film is the original Planet of the Apes. What a great film, and for some reason, CityTV here in Toronto, has a huge window on it and they show it all the time.

Special thanks to Gordon Burkell for the interview.

Be sure to check out Art of the Guilloting at www.aotg.com.  Download the mobile app here.

Follow on Twitter @artguillotine

AN EXCLUSIVE INTERVIEW WITH KURTIS HARDER
WRITER, PRODUCER & DIRECTOR OF ‘CODY FITZ’

Producing an independent feature film is a lot work and requires the highest level of passion and dedication.  That’s why I love the behind the scenes tales of pulling them off.  This story is about a Canadian filmmaker from Alberta and a film called Cody Fitz.

I had the opportunity to discuss the project with Kurtis Harder to find out how the film was made including details on the screenplay, casting, grant applications, stories from the set and more…

What is Cody Fitz and what inspired the film?

Cody Fitz is a feature length narrative film that looks into the appearances of people verses who they actually are, as well as the idea that depression can hit anyone regardless of your background, situation or people around you.  In late 2010 a close friend of mine took his own life.  I was kind of thrown off and realized that most of the time you don’t really know the people around you, and I wanted to somehow portray that to people.

The films follows three new roommates who’ve just moved out on their own.  Cody, the main character struggles day to day, Tom who seems to have it all together, and Cameron who comes from a repressed home trying to figure out how to live on his own.  The three plan a trip to Tom’s cabin to kick off break and Cody slowly starts to regress into his own world.

What were some of the challenges you faced when crafting the screenplay?

A surprising challenge I fell into was I found myself writing scenes with locations I had no idea how to access.  I had written scenes that included an underwater sequence, two car scenes, a club and a large cabin location I had been talking to somebody about the possibility of shooting at, but hadn’t even begun to confirm.  I was a little stubborn to change them after I had the sequences in my head, so finding the actual locations became the real issue.

Cameron, was originally a small supporting role with little impact on the story, began to slowly develop into this side plot as I was writing it and finding a medium of having him within the story took some time.

Take us through the grant application process?

The grant application, in my situation, was almost as much work as shooting the actual film.  Having to sit down and be able to show exactly what you are going to do throughout the entire film process includes details such as; complete shot list, scene breakdowns, location information, complete project description going through each detail, film festival research, and a full budget looking into where each dollar will go.  It was a solid months work and in the end was nearly 200 pages.

I had looked into the different grant streams I was able to apply to and the one I went after was through the Alberta (our province) Foundation for the Arts which stemmed from our provincial government.  It’s agenda is to provide individual artists the means to grow artistically through a project that shows that our area has a strong arts community.  As an oil province our film community is often lost.

My application was sent in for March 1st and we were awarded the grant in mid July, while shooting.

What tips would you give indie filmmakers about to apply for their first grant?

Research.  Every grant stream is slightly different in what they look for when disbursing funds.  Try to find a stream that fits what you or your film is trying to say.  I would also recommend trying to find a producer or two who’ve been successful with the grant that you are looking into and seeing what they did differently from others that applied.

What was it like to receive the grant knowing your vision was going to become a reality?

We were slightly unconventional as we had raised a percentage of the money we were going after and had already started shooting the film.  We received the grant on our third day, which was very exciting.  It allowed us to take our film to the next level and cover all of the problems we had been facing with the limited budget.

Can you describe the challenges of casting Cody Fitz?

Casting surprisingly went fairly smoothly with the exception of casting one of the leads Tom played by Camilo Lopez.  We looked into a number of options such as one of the large actor’s unions but, as a low budget project, we decided to cast out of colleges and universities.  We held auditions at a couple of institutions in our city and spoke with some of the drama departments in order to meet people who were simply looking for an outlet to show their talent.

We had cast nearly all of the supporting roles and spent nearly two months, slowly getting closer to our shooting date.  I had been working as a camera assistant on a number of projects throughout this period and on one particular short film I spoken briefly with one of the actors; Camilo Lopez.  It didn’t cross my mind at all that he might be a perfect fit and by chance after his only day of filming he decided to come back to hang out on set on our second day and we spoke again.  I talked a little bit about the film and he ended up coming to one of our open auditions and it was set in stone.

An interesting side story that wasn’t really an issue, but was rather humorous was casting the role of Cameron.  We had auditioned a number of actors for the role and I wasn’t set on anybody originally.  I had acted as a minor role in a television station last year where I met a teenager the same age as me who also worked on the technical side of film in Set decoration and Props.  I knew of him before we had met as he had originally wanted to become a stunt performer for film and run into a bit of trouble with the law for a few stunts he did on his own, ending up on national news (See the story here)

When he found out I was doing a feature he begged me for an audition and I told him that the role available (A suppressed teenager who’s struggling with himself as a person) didn’t really fit his outwardly almost over-confident personality.  He disregarded this and came in wearing glasses that didn’t fit his eyes and nailed the part.

What was it like for you on day ONE of your feature film before yelling action for the first time?

We knew going in that the first day was going to be the most difficult, so we planned for a short easy day at our Bowling Alley location with only a couple pages to shoot to ease our crew as well as myself into a good team ethic.  We had a few hiccups figuring out how everyone worked together but as we prepped to have a good amount of time we were able to figure out a good workflow with everyone involved so when we got to our second day we were on a good mentality.

What was life like on set?  What were some of the challenges you faced and ultimately overcame?

On average, surprisingly, it was a fairly relaxed set.  We averaged around 10-12 hour days (with a couple crazy ones).  A big challenge was that we had a large cast, locations, and scenes with many people to keep in contact with.  Our lead producer/production manager Dustin Saxton came up with a near-perfect organizational system in which we were able to have an easy way of knowing when we needed to contact people and a priority system of looking into which problems needed to be dealt with first.  With only two people on the producing side (Dustin and myself) Dustin would often come to me with a couple of pages of things we had to accomplish in a few days and we’d assign ourselves part of a check list.

We were able to find an amazing crew, but as we didn’t have a lot of money Dustin ended up taking on tasks like Catering and Props, while I acted along with directing as camera operator for a majority of the shoot.  There were a few moments where things got pretty stressful but we were always able to push through as we made sure that we always had end of the day meetings with the two of us and our cinematographer, and kept communication as a huge focus.

Describe the post production process and how things are progressing as your release date approaches. (editing, sound, music etc…)

We are currently in the picture lock stage, starting Audio Mixing and Color Correction to be completed by the end of this month (November).  As we shot on Red we moved over to Adobe setup from Final Cut Pro for the visual editing as they have added support for Red footage.  We’ve partnered with about 15 artists/bands for the soundtrack.

Many independent filmmakers stick to shorts at first.  What advice would you give to someone looking to make their first jump to feature films?

Look into every aspect.  Things will go wrong and the only way to get through is to be as prepared as possible.  We went at it a little ambitiously with shooting more locations then we had days and it worked out for us, but if there weren’t a few keen people like our production manager I believe things could have gone very differently.

Find things that you have access to.  On a first feature film, finding funding is extremely difficult, so improvisation is key.  We looked into four aspects that we thought made a film look more ‘expensive’; Underwater Photography, Aerials, Car mounting and Steadicam.  We did everything we could in order to get these elements in our film.  We shot through an underwater window room used for judging diving competitions for our underwater and for the Aerials we were able to find a pilot that agreed if we paid the rental for a plane he would fly for us.  Neither were conventional but worked as it was a fraction of the cost.  For the Car mounts and Steadicam, I was able to talk to a couple local industry professionals that agreed to bring their gear out for a day for us.

I wouldn’t however recommend just jumping into a feature immediately.  I spent two years camera assisting on various sets and directed a number or shorts as well.  Simply watching how a real set should look like is incredibly useful when going about it on your own.

What’s next for Cody Fitz?  What’s next for you?

We will start submitting to festivals by the end of November for a premiere sometime in spring of next year.  I’m currently starting work on a new script and moving out west to Vancouver, BC at the end of this month.  I’ll be spending the majority of this year in the festival circuit with the film and be looking into distribution.

Special thanks to Kurtis Harder for the interview.

You can check out the film’s website at www.codyfitz.com

Follow the film on Facebook here.

EXCLUSIVE INTERVIEW WITH MICHAEL HOLSTEIN
PRODUCER OF THE REGULARS

What do you get when you take the concept of Food Network’s Diners Drive Ins & Dive’s but substitute them for Bars, Taverns & Watering Holes?  You get THE REGULARS, a new web series that explores what it takes to become a regular at a local pub.  In the show, Oscar & Tanner are on a mission to discover the most unique bars and fit in with those who inhabit them.

But what goes into creating a web series?  How do you pull it off?  I interviewed producer Michael Holstein to find out more.

What inspired The Regulars?

Me turning 40 — it’s a big scam so I can escape my house and babies and go to a lot of cool bars.  No, really, as a fan of quirky bars, of travel, and as a producer of reality TV, it just sort of evolved naturally.  Diners, Drive Ins & Dives (DDD) was absolutely an influence - I love that show – and it just felt like there should be a bar version.  Originally this program was going to have elements of DDD mixed with Man vs. Food – for example, the host(s) would have to do certain contests or challenges – but instead we decided to make it more organic and more about fitting in and becoming a Regular.  So ultimately I think where we landed was DDD meets Cheers.  The show is ideally about people as much as it is about places, and for every cool bar in the country, there are 1000′s of unique and interesting people who hang out at them.  Hopefully on the road, we’ll discover those people and the places.

When did you decide to make the project a web series?  Was a full episode format discussed as well?

We’re still in conversations and negotiations about TV vs. web, and there are merits to both.  TV obviously gets us more easy access to viewers, bigger budgets and opens up some nice sponsorship and branding opportunities, but the web allows us some more freedom of content and more freedom to monetize the show.  I think where this show — along with others we’ve done or are working on — will land is somewhere in between TV and web; something highly interactive and available anywhere, any time.  We think that’s ultimately where media is headed and we think a show like this, along with Spotlight, the music show we’re developing now, can be the tip of the spear.  We’re probably just a few years away from it not mattering if the show “lives” online or on-air, since viewers will be able to watch it however and whenever they want regardless.

How did you go about funding the project?

It’s a pretty low cost program to produce – another reason we loved the concept so much – so it’s self-funded with some of our funds and some investor cash for now.  We’re in conversations with potential sponsors, but I think that decision will come after we decide if the best home for this program is on cable or on-line.  Obviously there are some natural fits — travel boards, beer or liquor companies, autos, etc. — but we’ll figure out the stage two funding at the right time.

Casting is critical in a show like The Regulars.  How did you discover Oscar and Tanner?

We did a nationwide casting and came out of the process not wowed by anyone — too many anchormen or stand ups, and this role required a more natural presence, not forced schtick or phony sounding interviews.  It’s a tough role to play.  Tanner and Oscar are both regionally well known.  Oscar is a very talented radio personality – he was on a PM drive show in DC for many years, and now stars in two huge podcasts (The Big O and Dukes Show and the Mike O’Meara Show).  I was a fan of his radio work and thought he’d be great on TV as well.  After meeting with him I knew he was right for the part.  I knew Tanner from some of his media appearances as well – he’s done a lot of radio, some reality pilots, and as the brother of Chris Cooley from the Redskins, he’s just a guy you see out and about.  He has a great dry wit and subtlty that plays perfectly against Oscar’s more gregarious nature.  I think they’re a great team, and their chemistry is pretty natural.  They’re also very, very different personalities, so there’s always the potential for some conflict on the road as well.  We’re also lucky to have a kick-ass musician, Benny Marchant (www.bennymarchant.com) who will contribute original music to the show, both for the road trip and when we can work it out, in the bars we go to.  He’s awesome on camera too, so really we have an amazing team in place, and we’re lucky to have them all.

The Regulars is dependent on the bars Oscar and Tanner visit.  How did you find them?

One of my partners found the Troubadour, which was absolutely perfect.   She just stumbled across it online when looking for quirky bars within a days drive of DC, and after meeting Jim McCoy, the owner, we knew instantly it was the perfect spot.  It couldn’t have a been a cooler or more inclusive place.  We have a growing list of about 100 places across the country we plan to go, and as this show gains viewers, we’re getting more and more suggestions and requests.  There is no shortage of funky bars in the country, and we want to see as many of them as possible.  Finding them and visiting them is not the worst part of my job, although it may do bad things to my liver.  Ideally, we’ll find some bars where the guys really do feel like regulars right away, and some that aren’t so welcoming – that kind of conflict should make for an interesting show, and it’ll be a test to see if the guys can win over a hostile or skeptical crowd.  The one downside to the Troubadour is that everyone was too nice!

Delivering new content is key in any web series, when it came time to shoot, did you plan an entire season at once and shoot or break it up one episode at a time?

We shot this as a pilot – just a one-off episode to introduce our hosts and the concepts.  When we make the cable or web decision, we’ll map out a whole season plan so we can minimize travel time, stretch our budget as far as we can and get to visit as many cool places as possible.  It’s such an easy show to shoot, and there’s such a huge upside to the bars we feature that we’ll never suffer from a lack of options.  Also, since the shows stand alone, it’s easy to syndicate, and allows new viewers to jump in at any time.  In an ideal world, we’d have each show run 30 minutes, feature two bars, and we’d roll out 20 or so new eps per year.

What are some of the challenges you faced making The Regulars?

Casting was definitely the biggest issue.  We spent a lot of time and saw a ton of applicants.  The concept was fairly easy to develop, but finding the right hosts was a slog.  Of course funding is an issue too, and that’s where we are now — deciding how best to fund the series, and what means of distribution is best for it.  Once we get a cable pick up or online sponsorship deal, I think the rest will fall into place.  The next big challenge will probably be keeping the guys out of trouble on the road!

How have you promoted the project? (social media, marketing etc…)

So far it’s all word of mouth and social media.  And I think that’s where we’ll stay.  I’m not a believer in paid media for something like this.  I like to grow projects organically, and we have a built-in audience already with Tanner and Oscar, from their other media ventures.  From there we’re hoping that the content is engaging and people spread the word about it.  And as the show evolves and becomes more and more interactive, we hope that’ll drive traffic too.

What’s next for The Regulars?

It looks like we’re headed south for the next episode, although we have a ton of amazing bars to chose from.  We’d love to get to special events too, so we encourage folks in small towns, big cities, and anything in between to submit their ideas about where to shoot to info@theregulars.tv.  From a business standpoint, what comes next is a deal, and we hope to resolve that part quickly too, so we can stay on the road through the fall.

What advice would you give someone looking to start their own web series?

Go for it.  It’s cheaper to produce than you’d think, and if you have a good concept, solid talent, a fleshed out idea and the balls to dive in, your chances of making something of it are pretty good.  Just make sure you proceed with care — have a good EP to make sure the pieces you need are all in place, the releases are signed, the financing is right, etc.  With the growth of web-based content and the ease of access to social media for promotion, getting a show “on-air” — which can now just as easily mean on-line — is easier than ever.  I’m happy to speak to any aspiring producer — they can reach out to me directly at mholstein@hotmail.com.  The time has never been better for content producers, so dive in and take a chance on your ideas.  It’s not without risk, but in this day and age, it’s probably a safer thing to bet on yourself than to put money into the stock market!

Special thanks to Michael Holstein!

Check out The Regulars here.

You can follow the show on Twitter here and Facebook here.

EXCLUSIVE LOOK AT PRODUCING A ONE SHOT SHORT FILM

Giovanni Fumu’s short film 7, Rue de L’Arbalete features a single shot that lasts more than 7 minutes.  Any long shot presents interesting challenges but telling an entire film using a single shot is extremely difficult to pull off.  It requires careful planning and precision in it’s execution.

Take a look at the film then read on for the director’s take on the project.

As you can understand shooting this short wasn’t easy at all. Since I was writing the script I wanted it to be done with a single shot because I wanted to give the perfect idea of real time passing by.  It took two days to shoot it. The first day I directed the actors in a “theatrical way” without the camera. We tried every single scene one by one and once I was satisfied I made them doing the all thing together.

I never stopped the action, I always followed them with a notebook writing down what they had to change in the next rehearsal. In this way they never lost the energy. We blocked every action thanks to my assistant director who was outside the windows giving the right timing to the actors.  (He was our traffic light, as I always told him.)  I was the camera operator too so it was easier for me since I knew exactly what they were doing and how they moved in the space.

Thanks to all this preparation we could make it! The good take arrived pretty late though, the 13th if I remember well.  We had trouble with shadows, mistakes in the dialog, the mic fell down during the sex scene.  I fell down with the camera too.  In the end, we made it and were confident we did something interesting.

Special thanks to Giovanni for the insight. 

Check out his site here: The Sponk Studios.