Creators for web series "The Art of Zombie Killing" – Thomas Bosworth, Chris Kelly, Michael Kelly – talk to RAW about their collaboration and creative influences. Be sure to catch a screening of several Apocalyptic Doodle shorts at the Se San Diego Hotel on Thursday, August 26th!

Tell us about yourselves.
We are a group of three guys; Tom, Chris and Mike. Tom studied drawing/painting at the School of The Art Institute of Chicago, Mike studied acting at UCSD, and Chris studied Liberal Studies at San Francisco State University. Our passion for over-the-top action zombie movies inspired us to begin our  web series, The Art of Zombie Killing.

All time favorite film?
Chris- Dumb and Dumber
Mike- The School of Rock
Tom - It's a tie between Yojimbo and Seven Samurai

The biggest theme we deal with is personal growth through slaying zombies.

As a filmmaker, James Gutierrez, "thinks all of life is art" – making his the perfect film to screen at our RAW launch in San Francisco. Be sure to RSVP to see a live screening of his short film at Minna Gallery on Thursday, August 19th! He talks to RAW about the inspiration behind much of his work.  

Tell us about yourself. 
I was born and raised in Los Angles where I was involved with theatre and sports like most kids, focusing mainly on musical theatre and performance choirs. Most of my childhood and early adult life was spent as a performer and SAG actor in very forgettable television roles and regional theatre, whilst building a very impressive 'day job resume'. During that time, I found my way to an Army career as well.

How did you first get started in film? 
In 1999, I was tired of bit roles and decided to write and produce something, obviously i found that the creative experience and the empowerment of producing was more rewarding.

Any other films you've produced?
I have roughly 20 projects complete with half of those being written or directed by myself, some with film festival success, some having aired on television.

Tell us about "Language of Love."
Language of Love came about when I met a very talented writer, Emma Ko, in the London in 2005. Emma had been writing sporadically for television for years and wanted to do something of her own but wasn't sure where to start or how to run a production from the direction side of things. I agreed to partner with her on this film, which included co-directing, and editing the film, and we set out to tell the story of a guy who just needed a little help getting it right, as we all do at times.

From where do you draw inspiration for your work?
When writing, I usually think about my own personal experiences and how they affect my perspective, as well as the themes that are universal to everyone. When I have connective material that is unique, then I write about it. The inspiration of truth or honesty in the story drive me to do authentic work, at that stage everything is open to my creativity with the pen.

Do you engage in, or draw inspiration from, any other forms of art? 
As a filmmaker, I think all of life is art and therefore depending on the subject matter, I sometimes sample from other areas. For example, I enjoy urban art, so I wrote a screenplay about three teenagers who suffered a fatality whilst tagging/bombing, the theme was loss which is universal and connective, the situation and style had characteristics of urban art, the authenticity was in the detail of the lives and perspectives of the characters.

When you are not filming, how do you like to spend your time? 
I work on other skills that support my filmmaking; music is important in my life so I am learning the guitar to strengthen my understanding of structure, this way when I compose or sound mix I have that added skill. I also enjoy salsa dancing and pretty much maintaining some of my older dance skills, e.g. the ability to do some very unflattering ballet turns.

All time favorite film?
Too many to single one out, or for that reason to even have a top ten list, but The Princess Bride, Let the Right One In, Black Hawk Down, Jeepers Creepers and any David Lynch film.

Are there any filmmakers, past or present, who strongly inform and influence your work? 
I love most work by most filmmakers and find them all fascinating people, but think my artistic influence in narrative story telling all comes from my life, not the work of others. 

Are there any specific reoccurring themes or subjects that you explore and deal with most in your work? 
I try not to revisit themes but I seem to be drawn to the idea of hope when I collaborate with other filmmakers, I am a sucker for a happy ending.

Any previous films/collaborations that you are most proud of? 
I have just completed a NEO NOIR short film that was an amazing production with great friends in the UK and was also my swan song before relocating to the SF Bay. 

Why showcase with RAW? 
It is a chance to connect with artists and locals and use my voice to say hello to the city, the organization, and most importantly the friends of RAW.

Local filmmaker Maxwell Addae has always had a love for creating stories and an equal love for movies. He talks to RAW about his new film and his work. Be sure to RSVP to see a special screening of  "The Man in the Glass Case" at the next RAW showcase at Cinespace in Hollywood on Thursday, August 5th! 

Tell us about yourself. 
I’m from a modest-sized city between Dallas and Fort Worth, Texas called Arlington. Creating stories has always been a skill that I would marvel at. From a coup led by GI Joe action figures over an evil robotic island, to the secret world of invisible gargoyles that protected me in my third grade class, I’ve always been interested in characters, fiction, and journeys. So, deciding to become a writer/director was an eventual no-brainer that I revel in. Watching some of the masters at their craft is great motivation. I hope to be able to challenge, confuse, entertain, and inspire for quite a long time.

How did you first get started in film? 
After an unfulfilled attempt at pursuing a biology major, I kicked my parents out of my room (and my head) and vowed to follow my passion. After months of meditation, I realized that I had always told stories as a young man. The ability to create entire lives from your mind and to have those characters and stories internalized by people forever was always something that fascinated me. Whether it was by toys, invisible friends, my younger brother, or reluctant neighborhood kids, I realized that my affinity to create stories and my love of movies lead me to this beautiful, frustrating, visceral, fickle, career as a filmmaker. 

Tell us about "The Man in the Glass Case.”
My short is about a very diligent warehouse employee named James who has a unique perspective about life. James sees most things in life as absurd, or pointless and he really operates on a essential needs basis. Food, sleep, companionship, work, etc. He does this so naturally and honestly that when he commits a violent act against a co-worker, he truly has no concept of its significance. This causes trouble when he is confronted and challenged about his morality by his employer. Albert Camus’ beautifully told story The Stranger was the inspiration behind my film and helped set the film’s tone.

Any other films you've produced?
Yes, but I’ve tucked those away in a very secluded and dark place never to be seen by human eyes as they were done while I was still in school, therefore the technical issues were not only obvious, but a character all its own.

From where do you draw inspiration for your work?
A little bit of everywhere, but lately, from different types of people. Noticing the way they talk, walk, dress, their background, ideas, their relationships and contradictions. 

Do you engage in, or draw inspiration from, any other forms of art? 
Photography has always been a great way to study composition, lighting and learning about the ability to tell an entire story in one shot. I think the freedom that literature allows leaves me in awe. And music’s influence over the entire vibe of anything is powerful. 

What does a typical film-making day look like for you? 
A complete and thorough meltdown, then a rebuilding of my entire being from the ground up (privately). After that, I go over shots with my cinematographer, go over the upcoming scenes with the actors and start shooting. I like doing a few days of rehearsing to flesh out ideas, so on the day of shooting I leave the performance up to the actors and I try to allow them the freedom to freely go where the scene takes them.

When you are not filming, how do you like to spend your time? 
Usually staring at walls, but I’ve tried to incorporate more film viewing, collaborating with other artists and discovering Los Angeles’ many hidden gems.

All time favorite film?
My all time favorite film has changed every few years, but currently I have to say City of God. The story, the characters, the politics, the energy, everything about this film reminded me about the power that film viewing experience can give. What added to the enjoyment was the lack of special effects and Hollywood actors. Here was a great film because it was a great film, every aspect of what makes a movie was first class. 

Are there any filmmakers, past or present, who strongly inform and influence your work? 
Alfonso Cuaron, Darren Aronofsky, Paul Thomas Anderson, Spike Lee, Quentin Tarantino, F. Gary Gray, Stanley Kubrick, Christopher Nolan, Martin Scorsese, Steven Soderbergh, Zack Snyder, Woody Allen, M. Night Shyamalan, Park Chan Wook, Takashi Miike, just to name a few.

Are there any specific reoccurring themes or subjects that you explore and deal with most in your work?
I’ve really been into the idea of mental illness or mental instability as an opportunity to discover new perspectives about life. From A Clockwork Orange to The Dark Knight’s the joker, I like views that may be considered “off” as a great base to redefine our world and how we perceive each other. I think it’s a form of rebellion against practically everything and story-wise, that rebellion can be explored from different angles.

Why showcase with RAW? 
RAW is the perfect venue to introduce my film to a diverse audience. At festivals, everyone attending is interested in the film medium, but at a RAW event, attendees know that they will be experiencing an array of different art forms. That audience may have a wider knowledge of art mediums to pull from when creating their opinion about my film, creating a more perceptive audience and one that I am excited to share my film with.

Any current rising stars within the genre that you would recommend we look out for?
A young student filmmaker from Little Rock, Arkansas named Julian Andrew Walker.

To learn more about filmmaker Maxwell Addae, visit: www.maxwelladdae.com

Michael Buffo, director for "I Love Me," talks to RAW about his many influences and how he got into film. Be sure to RSVP to see a live screening of his collaborative efforts with Ali Zagari at the next Los Angeles showcase on Thursday, July 8th at Elevate Lounge! 

How did you first get started in film? 
My love for framing came from making skate videos as the West Coast Team Heelys Team Captain; a PR approach that the makers of the wheeled footwear took to get the word out about Heelys. I was invited to skate in their commercials after producing my own for the shoes.  Eight skate films later, I developed a fan base for my story-based approach to skating ... er ... Heely-ing.

Any other films you've produced?
A short film trilogy called "The Poor Cinema Series" in which each film was shot in a single evening in one location with 6-8 actors who improvised their dialogue from character descriptions and scene breakdowns. Commedia del'cinema, if you will. The results are really enjoyable character-driven shorts filmed with no budget.

Tell us about "I Love Me."
"I Love Me" is the story of how an investment broker looses his top client to a top commercial bank due to pressure from the economic shift and his subsequent natural downturn into despair.  Produced, written by, and starring Ali Zagari. I was enlisted by him to come on as the director/editor only. Ali is the creator of the story, the bringer together of the production, and is responsible for the quality of the content. I merely authored the cut under his demands.

From where do you draw inspiration for your work?
Great actors inspire me. Virtually every one of my films have been inspired by the talent of my close friends. To give them material no one else can; that inspires me.

Do you engage in, or draw inspiration from, any other forms of art? 
I'm an active actor, dancer, and skater. My purest moments come when I'm engaged in motion, free of excess thought, being a leader and follower at the same time. From this quiet place, I find my inspiration and jog down the road of the creative process.

When you are not filming, how do you like to spend your time? 
Ignoring my editing commitments. When that finally gets to me, I usually get to work and go full-force for a period of time. Once I start a project, I follow through until it's perfect. I may go past my deadlines but I don't stop until I'm proud.

All time favorite film?
"Match Point" by Woody Allen

Are there any filmmakers, past or present, who strongly inform and influence your work? 
Tito da Costa, Portuguese director of the surf/skate thriller I'm acting in, "Road to Red", (due out next spring) has been the most directly influential filmmaker in my career. With unbounded generosity, Tito has been my connection with tangible filmmaking in today's world. His grasp on the latest independent-accessible cameras and editing equipment and shortcuts is remarkable. Learn a thing or two at his blog www.radraven.com

Are there any specific reoccurring themes or subjects that you explore and deal with most in your work? 
The energy system of acting developed by Laura Fine of the Lionheart Institute of Los Angeles has been a driving force of my direction as a writer/director for the past five years. Focusing on developing a vocabulary for the unseen anatomy of the body with the actors has proved to be very effective for many directors.  As our society develops, so do our bodies. Our senses are growing as actors and as people. What we do with this advanced insight is up to us.

Any previous films/collaborations that you are most proud of? 
What does a giant 10ft canvas, a Krump battle, "Stomp the Yard", and rotten tomatoes have in common? The Artfight.  On June 27th @ 11pm, I produced a one-time performance-squatting event in a secret parking lot in the center of Hollywood. Directed by Dash Pepin, the ten members of our new theatre company, "Artnasty", performed a free, 45-minute performance piece to an audience of 100+ friends and fans. The result is a new genre; Graffiti Theatre.

Why showcase with RAW? 
RAW is taking an avenue of the purest intentions; supporting the artists themselves for their talents to speak to each other. I hope to take my turn on the wheel of networking that they have built. May the world greet me this summer with a firm hand and stairs to new levels of production.

Any current rising stars within the genre that you would recommend we look out for?
Shakespeare Santa Monica is performing for ten days beginning on July 24th "Love Labor's Lost" directed by my dear friend and brilliant stage director, Vincent Cardinale. The show will be an electrifying interpretation of a classic shakepeare comedy by giving the audience exactly what they want; relevance, inclusion, and full-cast dance romps on a tournament style tennis court! SSM always produces quality Shakespeare plays and this summer will be no different.