Interview with Keith Fulton & Louis Pepe

<body topmargin=0 leftmargin=0 marginheight=0 marginwidth=0> <table cellpadding=0 cellspacing=0 border=0><tr> <td valign="top" colspan=2 height=80 BGCOLOR="#000000" TEXT="#F7F7FF" bgproperties="fixed" background="04000500dvldtc.png"> <div> <FONT SIZE="5" COLOR="#FFCC66" FACE="Arial" ><B>Reel Movie Critic.com</B></FONT><B>     |     </B><A HREF="index.htm" TARGET="_top" TITLE="Reel Movie Critic.com"><U><B>home</B></U></A></div> <div> <A HREF="id2021.htm" TARGET="_top" TITLE="Open Hearts"><U>Open Hearts</U></A>   |   <A HREF="id2012.htm" TARGET="_top" TITLE="Marcus Theatres in Gurnee, Illinois"><U>Marcus Theatres in Gurnee, Illinois</U></A>   |   <A HREF="id2011.htm" TARGET="_top" TITLE="Boseman and Lena"><U>Boseman and Lena</U></A>   |   <A HREF="id2010.htm" TARGET="_top" TITLE="Spirited Away"><U>Spirited Away</U></A>   |   <B>Interview with Keith Fulton & Louis Pepe</B>   |   <A HREF="id1882.htm" TARGET="_top" TITLE="Rivers Tides"><U>Rivers & Tides</U></A>   |   <A HREF="id2023.htm" TARGET="_top" TITLE="Till Human Voices Wake Us"><U>Till Human Voices Wake Us</U></A>   |   <A HREF="id2022.htm" TARGET="_top" TITLE="Poolhall Junkies"><U>Poolhall Junkies</U></A>   |   <A HREF="id2008.htm" TARGET="_top" TITLE="new"><U>new</U></A>   |   <A HREF="id1948.htm" TARGET="_top" TITLE="Boat Trip"><U>Boat Trip</U></A></div> <div> </div> </td> </tr><tr> <td valign="top" width=210 BGCOLOR="#000000" TEXT="#F7F7FF" background="041d2c00dvldtc.png"> <div> <B>Home Page for</B></div> <div> <B>      </B><A HREF="http://newbookdiscounts.com/" TARGET="_top" TITLE="http://newbookdiscounts.com/"><U><B>Books</B></U></A></div> <div> <B>           </B><A HREF="http://www.reelmoviecritic.com/travelforless/id364.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/travelfor"><U><B>Travel</B></U></A></div> <div> <B>                </B><A HREF="http://www.reelmoviecritic.com/" TARGET="_top" TITLE="http://www.reelmoviecritic.com/"><U><B>Movies</B></U></A></div> <DIV ALIGN="LEFT"></DIV> <div> <B>                   </B><A HREF="http://www.reelmoviecritic.com/travelforless/id361.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/travelfor"><U><B>Great Web Sites</B></U></A></div> </td> <td valign="top" height=400 BGCOLOR="#000000" TEXT="#F7F7FF"> <div> Interview with Keith Fulton & Louis Pepe</div> <div> <B><IMG SRC="1494dd260.png" border=0 width="733" height="550" ALIGN="BOTTOM" HSPACE="0" VSPACE="0"></B></div> <div> <TABLE BORDER="0" CELLPADDING="2" CELLSPACING="1" WIDTH="501" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 1489 WIDTH="495"><div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="592" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="588"><div> <B>Directors Louis Pepe and Keith Fulton </B></div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 20 WIDTH="588"><div> <A HREF="http://www.reelmoviecritic.com/20031Q/id1865.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/20031Q/id"><U><B>Lost in La Mancha</B></U></A></div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="588"><div> Interview with Keith Fulton & Louis Pepe</div> </tD> </tR> </TABLE></div> <bR> <div> Finally there is a film about making a film that does not focus on eccentricities of movie stars. Unlike many documentaries that have on camera interviews or the director is a personality in the film, such as Michael Moore in "<A HREF="http://www.reelmoviecritic.com/holiday2002/id1658.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/holiday20"><U><B>Bowling for Columbine,</B></U></A><B>"</B> directors Keith Fulton and Louis Pepe are behind the scenes kind of guys. They create the suspense by smartly editing the material and using time to allow the people being filmed to become comfortable with the camera. The result is that they are not focused on acting for the camera, but rather to let the camera catch them doing what they would be doing were the film crew not there. By spending time with the cast and actors without a camera on, these folks became less self-conscious when the film was rolling. </div> <bR> <div> When asked how a documentary is structured, Keith Fulton's answer is that you start with an `angle' and then "run in the direction it takes you." In fiction, you have the conflict and emotional highpoint of the film not only in your mind but on paper before you begin filming. In a documentary, this is created after the movie has been shot. While editing does have a major impact on what conclusions you draw from a documentary, everything you see is a fact.</div> <bR> <div> <FONT SIZE="3" COLOR="#CCFF33" FACE="Arial" ><A HREF="http://www.reelmoviecritic.com/20031Q/id1865.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/20031Q/id"><U><B>"Lost in La Mancha"</B></U></A></FONT> is about director Terry Gilliam's effort to bring his dream of more than a decade to reality by filming "The Man Who Killed Don Quixote." It was to be the story of an arrogant ad executive (Johnny Depp) who stumbles back into 17<FONT SIZE="1" COLOR="#FFCC66" FACE="Arial" >th</FONT> century Spain and meets Don Quixote (Jean Rochefort). With a budget of 32 million dollars, and a project that was more than ten years in the making, we see that this process of making a movie, can become a total disaster no matter how hard you work to prevent it from happening.</div> <bR> <div> Using creative techniques such as animation rather than dry interviews, which provide a dusty and educational feel in many documentaries, directors Fulton and Pepe elevate this art form to a new level. They clearly have the ability to go with the flow. </div> <bR> <div> Terry Gilliam put his heart and soul into making the film only to see that even the tough can't really get going when it gets truly ugly. NATO jets that were to fly overhead while the film crew and actors were taking lunch, were coming and going at all hours. At a time when there was to be no rain, they got a flash flood that not only ruined scenes but was life threatening. Individual Investors, members of a mutual fund, showed up to be entertained and were given the red carpet treatment. Unlike Hollywood studios, they did not have the deep pockets to roll with unforeseen delays. Throw in insurance guarantors who can decide that a normal illness can be an act of God and invoke a clause that allows them to close down production rather than pay claims, and it's a wonder any film gets made. </div> <bR> <div> The directors' "fascination with how things work" allowed them true insight into the process of making a film.  This is something that is high risk, not only for independent filmmakers working out of their basements on their first movie. Even for the "big boys," there's high anxiety, not only for raising the money, but what MPAA rating they get, finding a distributor, or not meeting any number of expectations by the public, investors, critics, etc. Even famed directors like Martin Scorsese have to deal with that. His recently released $100 million plus film "<A HREF="http://www.reelmoviecritic.com/holiday2002/id1774.htm" TARGET="_top" TITLE="http://www.reelmoviecritic.com/holiday20"><U><B>The Gangs of New York" </B></U></A>is a prime example. </div> <bR> <div> Keith Fulton & Louis Pepe will soon use their documentary filmmaking skills to produce fiction films. Look for exciting things from them. This "behind the scenes" view of making a film is fascinating. </div> <bR> <div> <TABLE BORDER="0" CELLPADDING="1" CELLSPACING="1" WIDTH="621" BORDERCOLORLIGHT="#C0C0C0" BORDERCOLORDARK="#808080" FRAME="BOX" RULES="ALL" HSPACE="0" VSPACE="0" > <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="617"><div> George O. Singleton  © 2003</div> </tD> </tR> <tR> <tD VALIGN=TOP HEIGHT= 19 WIDTH="617"><div> <A HREF="mailto:Reelmoviec@aol.com" TARGET="_top" TITLE="mailto:Reelmoviec@aol.com"><U><U>Reelmoviec@aol.com</U></U></A></div> </tD> </tR> </TABLE></div> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> <bR> </tD> </tR> </TABLE></div> <bR> </td> </tr></table></body>