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Exclusive: World's first blind feature film director to share historical
vision
a.. March 15th, 2011 11:59 am ET
By Joe Belcastro
Tampa Film Examiner
When information first came across my college dorm room styled looking desk
(I keep it real.Simple), regarding a blind director shooting a feature film,
my initial thought was, "Man, I need to interview this guy right away." That
thought was followed up by, "This may dethrone Troll 2 as the Best Worst
Movie Ever." Then, "No way this is possible and the guy is being used as a
gimmick."
After my mind finally matured for a moment, the following line was written
to open my first article about this surprising - and now inspiring - act,
"Avatar and Inception were considered must-sees. You can now add The Bunker
to that list."
The guy - blind guy - who directed The Bunker is Joe Monks. The 43 year-old
Monks, owner of the production company Sight Unseen Pictures, is about to
make history as the first ever blind filmmaker to direct a feature film,
which will attain some form of distribution. How does he know he is the
first? He did his research. After placing extensive phone calls with Variety
and The Hollywood Reporter, both famed media outlets could not register any
hits on a blind filmmaker shooting, completing and then distributing a
feature film. Even with all my cleverness and disbelief, my personal fact
finding mission could not disprove what Monks was telling yours truly. By
all accounts, he will be the first ever blind director to achieve this feat.
Still, doubts on how this production was executed were plentiful. When I let
a few people know about my interview with a blind director, they all
responded with very similar questions. How does that work? How does he amass
a crew? Who would waste their time? One of Monks' responses added to this
growing debate.
"With compiling the crew, I set up the meeting, and I had already built one
of the flats for the set. Twenty four-Twenty five people showed and they saw
that I still had all ten fingers, and that got them over the hump."
You read that correctly. Monks was building sets for his own movie. And it
did not stop there. He designed the light rig for the primary set of The
Bunker. By having a consultation with a guy who did indoor and outdoor work
for ESPN, he confirmed Monks' design would work flawlessly.
So thus far, Monks had convinced a crew - who he never met prior to the
initial meeting - and already designed and built most of the sets. In case
you forgot, the man lost his sight. However, that was not always the case.
Prior to losing his eyesight, after a long battle with diabetes, Monks'
passion was writing fiction. He made a name for himself penning graphic
comics that mainly tackled the horror genre. Finding success and having one
of his properties optioned as a film (Chance Meeting), he was ready to
attempt arguably his greatest challenge to date. Writing and directing a
feature film. Having the "lights go out," this being his greatest challenge,
has obviously been laid to rest. It is.
Clearly, this has already taken place, so the next boggling question was
whether or not the guy truly took on all the duties a typical director would
be saddled with on a set.
Monks recalled an example during the shoot to help answer this query.
"Most directors look for the same couple of things that we all do. You want
to hear the lines ordered correctly, you want to hear the emotional stuff,
you want to hear what is written on the page. For me, I put two people from
the crew into positions, that I trusted. I knew the DP from his sample reel
and films that we talked about, which we used as reference points, which
helped me describe what I wanted and he would transcribe that onto the
frame. Then we had my script supervisor with me, and I would say, Carmen, I
want to see this, this and this in the scene. Then I would physically walk
through it with the actors while everyone was on set watching. I would
literally play every part to tell them how I kind of wanted it to look."
Like most studio productions, Monks always had the camera rolling during
rehearsals just in case he felt they nailed it. On independent productions,
time is very valuable and one needs to take advantages and risks in getting
what they want. As for the performances, he subscribes to staying as
hands-off as possible. By doing so, he believes he may gain a perspective
other sighted directors might not be in tune to.
"If they can convince me that this is the scene as I envisioned it. And I
can't see it, there are no visual cues, there is no music, nothing that will
distract you. I'm going to hear the performance and nothing else. And I
think that is where I have the advantage over some sighted filmmakers."
Now everything in this article suggests this production went smoothly. But
that's definitely not the case my friends. The Bunker production ironically
had its share of horrors when it started shooting. From replacing cast
members at the last minute, to dealing with all of mother nature's weapons
(two hurricanes in 2005 and snow storms in NY), the worst possible scenario
was dealt. The death of a vital crew member. A somber Monks briefly tells
the tragic tale.
"The film is near completion, and I'm hearing out distribution deals. All I
need is about 3 minutes of music to work into the score. So I was placing
lots of calls to Gary Finneran (music supervisor), but never received a
response."
"I decided to go on Myspace, cause he could access that from anywhere. And
the page has been turned into a memorial. I'm like, what the hell is this?
There was a reading and it became clear.Gary's dead. He committed suicide
about eight days before. That was one of those things where you go, what
else can possibly happen."
"Since he didn't copyright the music, I had to start from scratch. It was a
shame, for this was going to be his (Gary) first film."
After dealing with that hardship, Monks, with the support of his wife Pam,
pressed on with a nearly completed film. Not only were the music rights in
limbo, but a few scenes needed to be shot up in New Jersey. Monks did not
want to half-ass his first effort, yet the funds were all used up. Pam
suggested they try soliciting support via Kickstarter - a funding platform
for all sorts of independent projects.
"I didn't really understand exactly how the Kickstarter thing worked. So I
looked into it and decided we'll try it and see what happens."
So what happened.
"We got a great response - not just from the backers - everybody always says
you have the backing and those people help you out - absolutely, they're
great. I'm thrilled for anybody who contributed from a dollar up."
In less than two months, The Bunker raised and surpassed its goal of
generating $5000.00 to compile the necessary footage. The support didn't
stop there.
"On Twitter, Myspace and Facebook and all these social networking sites. The
various communities that pitched in were just unbelievable. We had disabled
people tweeting about the film." Groups from all over ranging from diabetics
to the Latino community - he has a Latino heritage - all embraced the film
and took it upon themselves to promote Monks' work. This overwhelming
response reduced the chatty Joe Monks down to just two words when asked
about what went through his head upon hearing this news.
"Very humbling."
At this point, the logical question to ask is why haven't any of the major
studios been all over this? To a certain extent, a few "known" distributors
have made so-so efforts with Monks, but in the end, Monks decided to go with
somebody that is looking to innovate the way a unique product such as this,
can be distributed with today's technology. Enter Russell Hess of Commodity
Films.
Russell Hess is a veteran in the world of filmmaking and his creative
business mind is always on. He's had roles in major studio releases along
with doing numerous voice-over duties on a variety of commercials and
narratives. These days, his focus is on producing and innovating the
distribution process. Five years ago, when he first heard about what Joe
Monks was getting into, he extended a hand.
"I was more interested and fascinated by the idea of what he was trying to
do, as I was not overly concerned about the final product."
By keeping in touch, the two finally had a meeting in December 2010 and the
bond was formed.
"Pardon the pun, but Joe needed to 'see' me, in order to believe me."
Monks echoed these feelings.
"I had six solid distributors who showed initial interest." (Although he
refrained from naming the ones who blew him off, he assures that they are
very well known in the business).
Monks was intrigued by the various forms of distribution that Russell could
offer. Russell proceeded to give him a detailed outline and a structured
marketing plan. He opened up his resume and Monks checked him out. Right
then and there, Monks was sold.
"Honesty is something you can't really quantify."
Now that Russell and Joe are moving forward together - and with the film
being completely ready for distribution - what plans does Russell have with
this gem of a product?
"We are already in the process of reaching out to several film festivals in
local, national and international areas. Logically and honestly, it is a
matter of business logistics. If it is accepted by one of the major film
festivals, that potentially has a market attached to it. And if they want
the worldwide rights, the business has to go where it needs to go. So the
festivals with the most clout will win."
As of today, Russell is awaiting a response from Cannes. If accepted into
the mega-festival in France, this is where the recently completed product
will make its worldwide debut. Joe Monks on the other hand, will be making
his first appearance since completing his film at the 5th annual Gasparilla
International Film Festival in Tampa, Florida. He will partake in his own
Q&A panel with festival attendees and is receiving an award for his
incredible achievement in filmmaking.
From that point, the duo will entertain other film festival offers as they
see fit. They expect offers right out of the gate, but they do not plan on
answering all the possible suitors projected when they announce The Bunker
is ready to rock.
Probably a novel idea at this point to alert the readers - that have hung
with this odyssey-like story/interview - on what the flick is all about. Not
entirely sure the plot even matters at this point for one would think people
will seek this out just to see if a blind guy can competently direct a
movie. To be fair though, here is the official synopsis:
The Bunker is a psychological thriller/horror film which revolves around the
kidnapping of a congressman's daughter. Julia, better known as Jewel to her
friends and family, is a teenage runaway who is unwilling to live within the
rules and boundaries set by her parents. She has run away once before, and
her father's connections have kept that quiet. This time however, an
election cycle is about to begin, and the scandal of a runaway daughter has
congressman Robert Jennings taking desperate measures. Which include having
half the NYPD out quietly looking for his daughter, and desperate enough to
pay privately to have her found and brought back home. The problem for those
looking for her though, is that she is no longer on the streets, and is
instead imprisoned in an underground bunker. Having been kidnapped by a
sadistic serial murderer, Jewel knows exactly how much longer she has left
to live, but will it be long enough for anybody to find her?
Monks sums it up rather nicely.
"Psychological torture film. Race against the clock scenario. Kind of like
Panic Room."
Finally, the last portion of the chat with Joe Monks and Russell Hess was
more of a reflective approach. As an artist, the response one wants from an
audience is all over the place. I posed the question to Monks - in a very
playful and shallow manner - if he would be bothered by a marketing campaign
that simply highlights the fact that he is blind, and overlooks (no pun
intended) his talent. In other words, does it matter to him if he is the
proverbial hot chick with the amazing rack, who kind of gets what she wants
but in the long-run, will not be taken seriously. Here's a few of Monks'
candid thoughts on the matter.
"There are certainly plenty of naysayer's. Message boards and emails said,
what are you, an idiot? Stick with the comic books and don't waste people's
time trying to make a movie you can't see. Since I'm rather belligerent
about doing what I want, I had all the more intention to prove them wrong."
"Wow, a blind guy directed the movie. Either it will be kind of cool, or it
will be a cinematic Hindenburg."
"The few people who have seen the film have said it is not crashing and
burning. It's a good indie effort."
(Fangoria magazine raved about a rough cut of The Bunker without having any
bias or interest in the film).
Overall, Monks does not mind people focusing on the blind theme, but he
hopes that people will not put much emphasis on that down the road. He
wouldn't mind losing the advantage of having the blind card as what some may
refer to as a gimmick. But in the end, he doesn't really worry about it.
"Every filmmaker just wants a chance. What can I say? I got dealt a hand of
blind cards. And its like when people say, life gives you lemons, make
lemonade. Well, I got these cards, the lights have gone out, I'm going to
open a lemonade stand. These are the cards, I'm going to play them. I'm not
going to hide that fact (loss of sight), whether it helps or hurts. Everyone
has their hand to play and this is mine."
Russell also chimes in on this concept.
"There is an interesting opportunity here. For a second, We can set aside
the financial possibilities of this endeavor and any personal and
professional successes.
I would have to think that being a filmmaker myself and coming from that
side, I believe this film will have an overall appeal to the masses. Of
course we can use the blind angle because it is unique and new. I expect
three or four movies down the road, people are going to forget so much about
the sensationalism about Joe being the first blind feature filmmaker.
In addition to this mass appeal, this film should appeal to every filmmaker
on every level. if a man without sight can direct a film? Every filmmaker
who exists, past, present and future should have the ability to learn what
Joe has done."
What Russell was getting at is how valuable this product is outside of
money. The educational value later on is virtually priceless.
Staying with priceless, no matter what the masses will think of Joe Monks'
The Bunker, they will always remember it. The majority of people who have an
appreciation for cinema, may reference this work for years to come. It's the
equivalent of seeing the one-legged Zack Gowan compete in professional
wrestling. He may not be the next great star, but he definitely made his
mark when he was given an opportunity. And that's all Joe Monks ever wanted.
A shot in the dark.
Best,
Joe Monks
Every day you haven't written is a day you've written off...
Chanting Monks Press
http://www.chantingmonks.com
Sight Unseen Pictures
http://www.sightunseenpictures.com
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