Q&A: Gillian Fritzsche, producer of “The Rock ’n’ Roll Dreams of Duncan Christopher”

Over the last few months, I’ve been posting a number of independent films, short films, student films in order to promote movies that you made. Today I want to feature another indie film called The Rock ’n’ Roll Dreams of Duncan Christopher. Written by Jack Roberts and directed by Justin S. Monroe, the comedy-drama stars Roberts as Duncan:

Just after his 30th birthday, awkward and mostly untalented Duncan Christopher moves to the big city of Tulsa to test his rock and roll dreams and face his demons in the brutal underground world of karaoke.

I spoke with Gillian Fritzsche, one of the producers of the movie, and had a great conversation with her, learning about how the movie came to be, and her efforts along with a group of cohorts with roots in their home state of Oklahoma, including Gillian’s husband Ryan (who edited and produced Duncan), to create a sustainable business making independent movies. Gillian was kind enough to agree to answer some questions. Read on as Gillian provides an interesting insight into the mind of a contemporary indie producer and screenwriter:

What’s your background as a producer? As a screenwriter?

I began writing in elementary school with a little Scooby-Doo-esque one-act that I wrote for my 6th grade class to perform. That project is still in development. [rimshot] Undeterred, I continued to write short stories and sketches and by my senior year in high school I actually was writing (and directing and producing) community theatre. I went on to study theatre and film in my undergrad, during which I took a screenwriting class and loved it. To cap my undergrad writing experience, I wrote a short documentary.

I put the pen down for a few years while I worked in theatre and got my masters in business. Years later, after moving to Los Angeles, the desire to write started bubbling up inside me again so I channeled those bubbles into a cute little MOW and in 2008, I enrolled in the Act One Writing Program. I wrote a rom-com as part of the program. Since then I’ve been hired to work on several treatments and a few screenplays. To date, I’ve completed three treatments, three screenplays, and a short film. I’ve not yet sold any spec scripts; but my husband and I are moving forward with plans to produce the short film I’ve written and we’ve got two other feature scripts in development that we’d love to produce together. And speaking of producing…

My producing experience began in high school when I was doing community theatre with my friends. I would produce the whole mess as well. Then, in university, once I got into film, I began serving in the role of First AD on my friends’ short films and thesis features. I’d also spent a lot of time, during my undergrad years, as an intern and executive/production assistant at several independent film companies all over North America. As a First AD, I learned the practicalities of film production, and at the film companies, I learned the business of film production. I also generated a few of my own little film projects (while in school) and learned first hand what it’s like to produce. They were small projects, but good practice. 

After getting my masters in business, I managed a theatre company and production managed professional theatre for a few years in Vancouver, British Columbia, Canada before moving to Los Angeles. Meanwhile, I continued doing short films as a First AD as well as one feature documentary until I went through the Act One Executive Program in 2007. Shortly after I completed that program, I was asked to join the producing team of “The Rock ’n’ Roll Dreams of Duncan Christopher” which has been my first feature film producing experience! So, you know, the typical path.

What are your movie credits?

Currently I am credited as a First AD on two award-winning short films, Ducks and The Hitchhiker, also, I’m credited as the First AD (Los Angeles Unit) on the documentary Expelled: No Intelligence Allowed. I was the First AD on a pilot presentation called Burn and finally, I am credited as a Producer, Costume Designer, and Line Producer on the feature film “The Rock ’n’ Roll Dreams of Duncan Christopher.” My full list of credits can be found on IMDb.

You’re married to Ryan Fritzsche who is a film, video, and motion picture editor. Could you give us some of his background, how you ended up in L.A., and what it’s like to be a couple working in the entertainment industry?

Ryan and I studied film together during our undergrad. We worked on a few projects together for our film production classes and even went on a ski trip together! I had a crush on him but he had no idea! He moved out to Los Angeles immediately after graduating and I moved back to Canada. Four years later, while I was working in theatre and indie film in Vancouver, Canada, we reconnected during a vacation I was taking in Los Angeles. We began a long distance relationship a few weeks later, and the following year we got married in Malibu!! Wow! But before all that…

After Ryan ended up in Los Angeles in 2001, he began taking jobs as a freelance editor and producing independent short films with his college friends. One of those friends, Justin Monroe, invited Ryan to start a production company with him — and Tandem Arts was born. Ryan has been working under the Tandem Arts banner as an editor/producer ever since. He’s a great producer and line producer and is a proud geek when it comes to video encoding and Final Cut Pro. He’s even been consulting on the Red One digital work-flow. Call him up! He can help.

Ryan was nervous about the two of us working together as producers. We’d worked together on his senior project during undergrad and had a good working relationship then (he was director, I was First AD), but he was nervous that our potential professional disagreements could affect our marriage. I felt like we should give it a go and see what happened. I’m a little more reckless than him sometimes. We first worked together, after being married, on Burn. He was the line producer and I was the First AD. We discovered that we work together quite well. We communicated effectively and I think our marriage was even stronger after that project.

So after three years of marriage (and after producing a feature film together), our relationship has remained sturdy. It’s easy to see how so many conflicts are not as personal as they might initially seem. I think it’s because we’ve built a solid foundation of effective communication that we can navigate the relationship complexities.

We’re planning on shooting a short film together (the one I mentioned above). Ryan will produce and I will direct; so we certainly haven’t bailed on the working relationship yet. In fact, we’re starting our own production company, a sister company to Tandem Arts. It’s called Breve. Look for us in the future!

Your most recent project has been the full-length indie movie “The Rock ’n’ Roll Dreams of Duncan Christopher.” What is the synopsis of that project and who are the principle above-the-line people involved in it?

From our press kit: Duncan Christopher is an ordinary guy that grew up the wealthy son of a suicidal rock star in a reclusive compound in Collinsville, Oklahoma. He’s just what a young man ought to be: mild-mannered, awkward, naïve, and whole-heartedly aimless. He feels destined to follow his late father’s footsteps to rock greatness. Like all the best heroes of Dungeons and Dragons (which he plays fervently), Duncan has an obstacle: he’s not that good.

After an introspective fall at his 30th birthday party, Duncan moves to Tulsa to really pursue his father’s legendary craft. He moves in with a jaded uncle and incorporates the help of his ever scheming, almost charming cousin to get a big gig. It is a city-wide karaoke competition. The winner gets to meet with a Chinese record label in Nashville.

A surprise to all, Duncan begins to work through dormant grief while singing time honored karaoke favorites like Feel Like Makin’ Love, Broken Wings, and Kiss Me. Duncan begins to deal with his father’s suicide and the audience loves his openness.

He advances through four rounds of karaoke and meets his biggest fear — Simply Irresistible — a karaoke champion that represents all Duncan will have to let go of to keep his soul.

The key artistic personnel are: Justin Monroe, Director; Luc Nicknair, Cinematographer; Ryan M. Fritzsce, Editor; and Sean P. Egan, Production Designer. The key actors in our little film are Marshall Bell (Stand By Me, Capote, Starship Troopers), Peter Bedgood (Chillicothe, Maggie Moore), Lizz Carter (Bad News Bears, School for Scoundrels) and our writer/producer Jack Roberts.

Can you describe the history of production for the movie? Any quirky, fun, strange stories (as there always are when making a movie) that GITS readers might find interesting?

Hearth Creative began in 2007 with a dream that art could have a positive impact on the communities in which it is created. And so a collaborative community of artists bent on creating social change was born. Their first project has been and is the feature film called “The Rock ’n’ Roll Dreams of Duncan Christopher.” Jack Roberts, founding member of Hearth Creative, and the writer of “…Duncan Christopher”, invited Justin Monroe, of Tandem Arts, to direct the feature film project. Together, they invited Ryan and I to join them in their endeavor. The project was taking place in their hometown of Tulsa, Oklahoma — a community in the midst of an artistic revitalization.

Jack and Justin worked on the film in Tulsa, while Ryan and I provided support from Los Angeles. We spent the first few months of the year writing a business plan and putting a team together — a creative team and a production team — and searching for ways in which the project could give back to the community in terms of artistic renewal, environmental stewardship, and community development. Also, we were engaged in figuring out ways in which our project could be executed in a “green” sustainable fashion, instead of the giant trash-generating, use and abuse of typical film productions.

During those early months, we produced a little vignette that showcased our main character, Duncan. We shot it on an HDV handycam in a coffee shop for no money (if you don’t count the dollars spent on lattes!). We then used this to showcase the quirky and endearing nature of our potential project. It worked! By the fall, we were moving into serious pre-production.

November 14 was the day principal photography officially began. We shot 24 days and completed principal photography on December 14. It was a whirlwind production! We had a fantastic Oklahoma City-based crew led by First AD Ty Dickson. This crew could lay dolly track faster than I’ve ever seen any crew lay dolly track! Our little film became a community effort. The filmmakers really felt that the City of Tulsa was behind our effort — both literally and figuratively. The weather cooperated, the city officials cooperated, and the community supported our efforts in droves. In addition to our mostly-Oklahoman crew, our actors and even the musicians on our soundtrack are mostly Oklahoman! This really is an Oklahoma film!

Some of the ways in which we accomplished our “green goals” were through the strict use of recyclable materials on set, the use of reusable mugs and cups by the cast and crew, the use of donated biodiesel (when possible) for our diesel vehicles, the use of found items for set-decorations, and the rental of costumes were possible instead of building new clothes. Where clothes were purchased, these were donated to a local Salvation Army or Goodwill at the end of production. These are just a few examples.

One little story, that writers might find interesting, is from pre-production. Ty Dickson, Jack Roberts and I were working at our favorite table at one of our favorite cafés in Tulsa, Coffee House on Cherry St, and we were talking about potential locations. We were about two weeks out from our start date and still had a few locations to secure.

We were talking about the locations for a scene where the main character is working at his dead-end job and his cousin confronts him. The script called for a Dollar Store job; but we were having trouble finding a Dollar Store-type place that would welcome us to shoot inside. Jack was thinking perhaps that we could switch the Dollar Store scene to a bookstore and find a local independent bookshop to shoot in. At this point we’d already secured a Skating Rink for some other scenes; so I suggested that we make that Dollar Store scene happen at the Concession Stand inside the Skating Rink! Jack, the writer-producer, took that idea and ran with it. He suggested that the scene could take place at the Skate Rental Counter! And it made perfect sense! So we scrapped the dollar store and called the Skating Rink to see if we could schedule an extra half-day there. And it worked out! That scene ended up a hilarious riff on glow sticks and keeping a straight line. It’s interesting to note, however, that this scene didn’t make the final cut.

How are you marketing the movie? How are you approaching distribution? Festivals?

We are engaging in the following activities:

We have begun distributing little vignettes on youtube.com as well as other videos:

 — Duncan Christopher on Seriousness

 — Duncan Christopher on Coffee Shop Girls

 — Our Trailer

An EPK (Electronic Press Kit)

We have a Facebook fan page.

We have a Twitter account.

We have a great little web page.

We’re connecting with people and really hoping to create a buzz about the film and a following of people that will get behind it with word of mouth.

We’re partnering with Tulsa businesses to generate a groundswell of support that will carry us into a successful premiere.

We’re hoping to premiere at a festival — one that’s a good fit — and then get a fair domestic distribution deal, followed by a good international distribution deal.

What’s your sense of where things stand re indie movies in the U.S.? What should indie filmmakers be looking to do? What areas to target that the major Hollywood studios are ignoring?

The digital distribution age is upon us. Just like the film “One Too Many Mornings” is doing — releasing their film online once they screen at Sundance (both digital download and DVD) — I think we’ll see more and more indie filmmakers utilizing CreateSpace and Amazon.com for distribution. Even Sundance is getting in on the game as you have blogged about Scott!

Now that advertising online is becoming more accessible with Facebook and Google ads, it’s not that difficult (except for the cost) for filmmakers to make a film for 50K and then market it online directing traffic to iTunes or Amazon.com with online advertising to sell their films! The crux will be, are these good stories? Can the filmmakers begin to develop brands and make consumers think, “I know these filmmakers always make a great film so I’m always going to download their films.” That will be the test. It might take time, but I think it might be going that direction.

What this means for the studios is that they may just stop picking up indie films and they make stick to the big budget tent pole four quadrant remakes they’ve been making. So indie producers will have to go into production with a distribution plan in place. This is similar to but different than the indie films of a decade ago. Most of them had a distribution plan in place; to wit, they sold the film before they made it — before they got the first shot off. The distribution would help them get loans, investment, and completion financing. So they’d make the film, knowing that it was already headed for distribution. These days, filmmakers are more than likely going to have to self-distribute, so they should have a plan in place for self-distribution and marketing before they even make the film, instead of aiming to sell it at Sundance.

Hearth Films, one of the co-producing companies on “The Rock ’n’ Roll Dreams of Duncan Christopher” is planning just that. They’re figuring out a distribution scheme so that the next slate of films they produce will already have distribution plans in place. It’s not easy, but it’s necessary. It’s the sport of the future!

What’s next on your agenda in terms of making more movies?

My husband and I are developing that short film that I’ve written. I’m going to direct and he will produce. I will continue writing (anybody need a treatment or a screenplay written?) and my husband is looking for his next narrative feature gig (anybody need an awesome editor for their feature film?).

Let’s say “…Duncan Christopher” turns out to be a successful movie. Based on that, and in an ideal world, where will you be in 10 years time?

In 10 years, my husband will be producing and/or editing feature films — just as he’s done with “…Duncan Christopher”. I hope to be writing and/or directing feature films — features that have something to say, something to ask, and something to make the audience feel like anything is possible. Also I’m taking classes at Groundlings right now because I want to return to and strengthen my acting roots. I’m a hyphenate (writer-director-actor) and proud of it! Also, maybe in 10 years time, we’ll have some mini-filmmaker children running around with their 2020 version of the Flip video cameras! That’s a lofty list of goals!

Finally, given your background both as a screenwriter and a producer, what are key elements you look for when reading a screenplay? What advice would you give an aspiring screenwriter?

I look for a unique voice in the poetry of the prose. Also, I must confess I have a weakness, nay, I yearn for proper format and structure — format and structure that is hidden beneath meaty fleshy characters and their emotions; but good format and structure nonetheless. Sure, Quentin Tarantino can write a script with a bunch of typos; but he can do it because he’s Quentin Tarantino! Aspiring screenwriters need to learn to communicate their story clearly. They should get a book on formatting and internalize it. Then write their story. They should clothe the structure with characters full of heart and hope. David Mamet’s Redbelt is an example of an excellently crafted screenplay. Back to the Future is also a great example!

I would also suggest that aspiring screenwriters read, read, read. Read screenplays and read books about writing screenplays. Read history. Read novels. Read poetry. And write, write, write. Develop a writing habit. My habit is irregular, but it’s a habit. Practice writing and figure out what lubricates your brain and emotions. Don’t fight it. Try new things: new music, new times of day, new coffee shops, new computer screens and perhaps even a new kind of tea! Figure out what helps and do that. It’s different for everybody but it’s good to know what helps get more and better pages out. Do you have to stay up until 3 am to get good pages? Do it. Do you have to get up early and go for a walk first? Do it. Work, work, work.

Here is a video on the making of The Rock-and-Roll Dreams of Duncan Christopher:

The movie’s trailer:

We’ve talked a lot on GITS about the possibilities that are emerging with digital distribution, but even with that, there is yet another issue confronting indie filmmakers: marketing. You can make a movie. You can make it available to buyers via the Web. But how to get a significant number of eyeballs to see your movie so that you can generate enough revenue to build a sustainable business model?

I don’t know the answer to that question, but I’m happy to promote movies like The Rock ’n’ Roll Dreams of Duncan Christopher and equally as important talk to filmmakers like Gillian and her crew to share what they’re doing to crack that nut.

If you have any ideas or thoughts, please share them in comments. And if you are interested in Duncan Christopher and/or would like to provide some feedback to Gillian, you can go here to reach her.

Congratulations and best of luck to Gillian, Ryan, and the rest of the Duncan Christopher crew.