Tyson Kroening and Evan Cannon are two of the brightest up-and-coming independent film mavericks in the industry. After successfully collaborating on and finding distribution for the film, ‘I Will Not Take Care of You,’ they embarked on a full-length documentary film about Scorpiusfest titled, “Spectacular By Comparison”. Upon the completion of the documentary, they made a bid to become new owners and management of the small film festival out of Park City, Utah, in order to carry its vision forward. ScorpiusFest has since, taken on a vibrant, new life-force and began to explode under their direction.

 Scorpius Magazine was recently able to interview Tyson Kroening, the primary driving force behind the documentary and the new direction of ScorpiusFest.

Scorpius Magazine: What has the transitional experience been like to go from being an independent filmmaker to taking on an international, independent film festival?

 Kroening: It’s been a learning experience for sure. Wasn’t something I expected, or honestly really ever wanted to do, so, I was certainly not as prepared for it as I’d have liked.  It just kind of happened and I ran with it because I didn’t wanna see the festival die after everything you’d (Steffon) put into it. Seemed like a real shame to finally put out a documentary so people can learn about it only to end the movie with, “And it’s gone.” Ultimately, I’m glad we did it and I think we’ll (or at least Clarence and Brittany will) continue to get better at running it, even if I’m sorta floundering in the shadows.

Scorpius Magazine: Tell us about how you met Evan Cannon and the odyssey of working on “I Will Not Take Care of You”?

Kroening: I first worked with Evan years ago in corporate land at a small company called Craftsy. We quickly became friends and continued to work together after that job had run its course. When I decided I wanted to do “Take Care” I was at a different corporate job and wanted to make something that wasn’t. I knew I didn’t have the resources to make a full feature, but I could provide post, so the pitch to my friends was, “You can write whatever speaks to you as long as it’s within the theme, you shoot it, and I’ll handle everything else.” To my surprise, many said yes and Evan was one of them. From there we decided we should keep making movies and so Subjective became a real thing.

Scorpius Magazine: What can you tell us about the new ScorpiusFest crew?

Kroening: Biased as hell here, but I think they are wonderful people. Brittany is brilliant graphic designer who handles all the branding, Clarence (who was also a filmmaker from “Take Care”) handles everything on the backend. Together we all watch the movies and make the calls on what screens and whatnot. We are trying to run it in the same spirit you did. Filmmakers first, money 5th.

Scorpius Magazine: In the wake of the success of the new chapter of ScorpiusFest in Boulder, Colorado, what can you tell us about the experience, memorable moments, and after-thoughts?

Kroening: It honestly felt a lot like making SBC – we didn’t know if it would work at all. We were all very pleasantly surprised by the turnout and the enthusiasm of those who submitted and attended. The entire time I was so worried we weren’t doing well enough to make the gamble worth it for the Dairy Arts Center where it was held, but at the end of the day they declared it a success and asked us to come back. So, we’re gonna do that with a new edition in March 2027. It was all pretty memorable to be honest but also so exhausting that it’s kind of a blur – you’ll have to ask Britt or Clarence if you want specific highlights.

Scorpius Magazine: ScorpiusFest is now being produced by independent filmmakers, for independent filmmakers, have you found it to be particularly rewarding, considering that fact?

Kroening: It is rewarding, yeah. The film festival circuit isn’t quite what it used to be. People aren’t getting massive deals on their indie movies anymore and there’s more than a few laurel mills on submission sites that are more interested in the entry fee than the work itself. No judgement to any of our peers, but it’s something I’ve experienced firsthand trying to navigate that world, so to have this festival exist as a place for people to come with no preconceptions of grandeur to share their work and be around people who give a shit about it, is cool. I’m glad we get to facilitate that opportunity for people.

Scorpius Magazine: What thoughts might you have regarding ScorpiusFest 2027 and is there anything particular you would like to mention or highlight concerning it?

Kroening: It’s three days instead of two this year so we don’t have to do screenings quite as early or as late. Which is a win for everyone, I think.  I also think it will be good and that everyone should come. Please and thank you.

Scorpius Magazine: In the after-glow of the distribution of, ‘I Will Not Take Care of You,’ are there any new film projects in the works for you?

Kroening: Overall, it wasn’t a hit, but it wasn’t made to be. I’m just glad we made it. We’re finishing up a documentary now about Irish / Welsh Folklore called “Fae Folk: A Search for Connection.” That’s sorta the primary thing on the plate the moment. But both Evan and Connor (the other thirds of Subjective) have scripts in the works that’ll come at some point after.

Scorpius Magazine: What are the most exhilarating aspects of both filmmaking and producing ScorpiusFest?

Kroening: For making movies: I like seeing the pieces come together. Especially in documentary where there’s no guarantee you’ll even find anything. When a moment clicks in post it’s something special. For ScorpiusFest: Seeing the filmmakers get recognized and have their work screened in an actual theater and what that means to them is awesome.

Scorpius Magazine: What can you tell us about the digital release and distribution of, “Spectacular By Comparison,” in August 2026?

Kroening: We don’t have an exact date yet, but we’re told it should be streaming on Tubi in August. We’ll let everyone know on the socials when we have a real date.

Scorpius Magazine: What is your vision for the future as a filmmaker?

Kroening:I hope we can keep making stuff our way. I’m so uninterested in making something that’s “marketable” for success’s sake. Don’t get me wrong, I think it would be awesome to one day make something that wound up being liked by other people, but we’ve not had much luck there and aren’t really attempting to change that, so I really just hope we can keep scrounging up the means to continue making things. Even if it’s just for us and the folks at ScorpiusFest that’d be enough. Not really any bigger vision than that.

The post Scorpiusfest 2026 Ignites Successfully in Boulder, Colorado Under New Management appeared first on Scorpius Magazine.

To say Justin Hunt is an innovative, dark horse filmmaker would be an understatement. Hunt is one of the most celebrated writer/producer/directors of our age. His films have been distributed in over 100 countries. He is fearless in his unrelenting passion to take on some of the most important and plaguing social issues of our day. White Whale Pictures, Inc., his production company, has become one of the hottest brands in the industry. As a journalist early in his career, Justin won over 40 broadcasting awards. Hunt has since won over 100 film festival trophies worldwide with his films and screenplays. He’s produced seven feature films, including ‘Rotten Apple’, which has garnered several ‘Best Documentary’ and ‘Best Director’ awards and nominations. 

Scorpius Magazine was thrilled to recently enjoy the honor and privilege of interviewing Justin Hunt.

Scorpius: What was your life like in early childhood and what were the most powerful movie and television influences during that era that may have inclined you to gravitate towards the path that led you to become a broadcast journalist and filmmaker?

Hunt: My early life was extremely unique and nomadic.  I grew up in a family in the world of horse racing, which was a fascinating landscape and we moved around a lot.  Both of my parents are in the Hall of Fame for, so our family was quite popular everywhere we went, and that led to a lot of rare experiences.  As far as movies and TV shows, I recall several of the old TV shows like Hill Street Blues, The Rockford Files and Barney Miller, which were full of a creative mixture of drama and humor.  A few films that stuck with me from my youth are Watership Down, Jeremiah Johnson, Butch Cassidy and The Sundance Kid and Cool Hand Luke.  Those had an impact.

Scorpius: What was it like being raised by horse racing professionals?

Hunt:  It was definitely an abnormal childhood.  I saw a lot of things that kids shouldn’t see, but it was pretty cool having parents that entire communities came out to see when we would come to town.  However, there was a dark underbelly to it all that exposed me to a lot of the uglier side of life at an early age.

Scorpius: Who were the most influential directors and documentary filmmakers for you?

Hunt:  To be honest, I don’t really have any documentary directors that I model myself after, although I do appreciate the work of Tiller Russel (Nightstalker).  In terms of narratives, directors that I consider to be inspiring to my work are John Ford, The Coen brothers, Stanley Kubrick, David Fincher, Paul Thomas Anderson, Quentin Tarantino, George Roy Hill, John Hughes and Steven Spielberg.

Scorpius: What was life like as a broadcast journalist for an NBC affiliate and what was the hardest story you had to report?

Hunt: I loved being a journalist. I enjoyed being ‘inside the ropes’, so to speak, as well as dealing with the community and being the first to know when something happened.  There are too many stories to name that were difficult, but seeing innumerable dead bodies, families dealing with tragedy, things of that nature were never fun.  On the other hand, there were also stories that had a happy ending that made it worthwhile.

Scorpius: What was the most rewarding aspect of being a broadcast journalist?

Hunt:  I think being a source of credibility for the community, the person they count on to know what’s happening in their environment, was probably the most rewarding.  Having people approach you and tell you they appreciate what you do and how well you do it.  That always feels affirming when you’re trying to do a good job.

Scorpius: Would you tell us a little about each of the films you produced, maybe a memorable moment from each and which was your personal favorite to work on?  Army Men, American Meth, the Speed of Orange, Far Too Far, Addicted To Porn: Chasing the Cardboard Butterfly, the Post.

Hunt: That’s a very broad question, but I can tell you that they were all very difficult to produce, but they were all extremely rewarding because of how they affected people’s lives.  Touring various countries with the films and seeing how they impacted different people in different ways.  Talking to them and hearing their stories and how the films helped them to deal with certain issues in their lives.

Scorpius: What was it like to work with James Hetfield?

Hunt: As a kid that grew up listening to Metallica, seeing them as bigger than life, it was pretty surreal, at first, to be in their world and to work with Het.  But, as we got to know each other, the wow factor wore off and we just became two men that each had our own life issues and we discussed those as friends.  It was also challenging because working with James is not the same as working with Metallica.  His involvement was personal and not tied to the band, so the weight of their popularity didn’t really play a part in the exposure of the two films we did together.  I’m grateful for the experience and his being part of the films.

Scorpius: What is the most rewarding aspect of your work and what drives you emotionally and creatively as a producer/filmmaker?

Hunt: There are a lot of things that I find rewarding.  The creative process, working with people that I love and respect, seeing the finished product and the impact it has on audiences around the world.  In terms of the documentaries, I enjoy seeing them being used to change and improve people’s lives.  As for the narratives, it’s always a surreal experience to see something that started out as a spark of an idea in my mind make it through the entire creative process to a theater full of people.  That’s extremely rewarding.

Scorpius: Is there an wild, or poignant experience you may recall, during the production of one of your films that made a major impact on you and your perspective?

Hunt: There are tons of them.  I would have to say living with the meth addicts (for American Meth) and seeing that kind of existence first hand was an eye opener.  On the narrative side, being able to direct really great actors who bring your words to life is something I’ll never grow tired of.  Directing Val Kilmer was also a singular experience.

Scorpius: What can you tell us regarding any future projects you are currently engaged in?

Hunt: I have several in the works, both in film and television, that I’m working to get funded and produced.  As I get older, I feel a pull to focus more on the writing, but you never know where life is going to take you, so I just try to be open to whatever presents itself.

Scorpius: Would you ever consider directing a major motion picture if you were approached by a major studio?

Hunt: Absolutely.  Step two is getting that call.

Scorpius: If today were the last day of your life, what wisdom or thought would you leave the world?

Hunt: That, no matter what kind of work you’re in or just living life, in general, being honest and authentic with people, ALL people, will get you farther than anything else you can do.  It’s not hard to take the shady route, to hurt others to get what you want, to be dishonest, but that’s not the kind of legacy I want to leave on a professional level.  And it sure as hell isn’t the kind of mark I want to leave as an example for my children.

The post Internationally Acclaimed filmmaker, Justin Hunt is Awakening the World and Redefining the Art of Documentary Filmmaking appeared first on Scorpius Magazine.

Hailing from Southend-On-Sea, England, Kristian Fitsall is one of the most notably unique and provocative independent filmmakers of recent years. His specialty of bringing drama and comedy together to create deliciously original and hilarious Dark Comedies, has begun to define him as a writer/director.  His brilliant new film, ‘Don’t Bury It’, comes in the wake of his wildly successful recent films, ‘Wallace Gets the News’ and ‘Teething Problems’. The film delves into the issue of mental health and the potential chaos and damage that can result through its avoidance. It has already become a huge hit at festivals and among critics, throughout the world.

Scorpius: What are some impressionable experiences early on in your life which had a powerful impact on you as a storyteller?

Fitsall: The way I fell in love with movies was at sleepovers, staying up late with friends watching trashy horror films. I think that’s why I’m so drawn to horror – particularly campy, midnight-movie-type horror. It’s the communal experience of laughing and jumping together. That, and when my family bought their first VHS camera. From then on, every hangout was either watching or making films – filming silly videos of us going around on our skateboards or trying to fake car crashes with my toys. I just got used to having a camera in my hands. That led to making music videos for friends once people started getting into bands, then short films once I was old enough to know what a script was. I’m constantly chasing that same thrill I felt when I first held a camera.

Scorpius: Where did the inspiration come from for “Don’t Bury It?”

Fitsall: The inspiration, as with most things I write, came from trying to make myself laugh. The image of someone carrying their washing machine and all their other broken appliances into the garden and just chucking them in a hole – I found that funny. Then it was about building out from there: discovering who this character is, exploring themes of mental health and grief. But that juvenile humor remained in the fabric of the film, particularly with our B-movie inspirations and the playful-but-bleak tone.

Scorpius: Which film that you have produced, would you consider your personal favorite and why? Some memorable experiences while producing it?

Fitsall: Don’t Bury It is definitely my favorite so far. It’s the biggest thing I’ve made, which meant a bigger crew – and that means more cool people to hang out with on set. I think my favorite thing will always be the most recent project, because it contains all the lessons learned from everything before it.  I have a very specific memory of losing light on day three – our final shooting day – and realizing we didn’t have time to shoot the final scene as planned. So, I chaotically worked out a backup plan with our DOP Bobby whilst he was still in the hole, covered in dirt, ready to shoot. Then several weeks of anxiety waiting to see if it would pay off in the edit. Thank God it did.  I also remember sitting on the driveway of the house we’d rented after we wrapped, with just the core team who’d I’d been working with for several intense weeks at that point, letting the feeling of being finished wash over us. That was a really special moment.  Another recent favorite is a music video for my own song (SO FAR SO GOOD by 0121Kristie), which involves a narrative told backwards and stars me getting dragged through mud, tied up, beaten up, and thrown into a bog. One of my first times on camera, doing all my own stunts, getting covered head to toe in mud – pretty memorable.

Scorpius: What is your favorite aspect of being a director and storyteller?

Fitsall: I’m a writer first and foremost. I love those moments sat alone at my laptop when a story or scene suddenly clicks and you can see it – then you’re rushing to get the words on the page before they disappear. Seeing those words brought to life by actors on set is always amazing.  I’m a big fan of collaboration, so I’m happy for actors to tweak lines and make the characters their own. That means I get to experience the film for the first time again when I see them perform it.  I’ve also learned a lot from doing music videos and love visual storytelling – finding purely visual ways of getting something across, or exciting ways of shooting it. In Don’t Bury It, lots of the rigs were built so we could play with perspective in the hole – cameras attached to shovels, all that kind of thing. I love those moments of seeing the crew’s input on the film, things that I’d never have thought of myself.

Scorpius: What did you enjoy the most regarding your experience at Scorpiusfest?

Fitsall: As a Brit, it was amazing to come out and see how you guys do it. Seeing how true it is that everything’s bigger in America, but also seeing the similarities to UK festivals. Realizing it’s just a bunch of film geeks like myself sitting in a dark room watching movies, then going to the bar and talking about them afterwards.  It was my first time in Colorado. In the same trip we hit ScorpiusFest and Durango Film Festival, so it really felt like we were taking Don’t Bury It on tour and introducing Americans to some of the quirks of British humor.  I was worried people wouldn’t get it, but pretty quickly into the screening I realized those quirks mostly consisted of people falling over and things that sound like fart noises.

Scorpius: What can you tell us about any future projects which may be in the works?

Fitsall: Can’t say too much at this stage. I’ve been writing a lot, and David – the producer on Don’t Bury It – has been reading scripts. We think we’ve decided what the next couple of projects are going to be.  I’m hoping to get one shorter made, then move on to something bigger. But it’s too early to jinx anything by giving it away just yet.  I also film a lot of music videos between projects – recently, mostly for my own music under the name 0121Kristie. It’s a great way to experiment with new visual styles and do things you couldn’t get away with in a standard short film. They’re all on YouTube if anyone wants to check them out.

The post Kristian Fitsall is Blowing Up on the International Film Festival Circuit with ‘Don’t Bury It’ appeared first on Scorpius Magazine.

Jakob Rippe discovered his affinity for filmmaking as a child growing up in Southern California. As an aspiring young filmmaker, he created content for brands such as Bell helmets, Sony Music, and Porsche North America. He has also worked with multi-platinum record producer Kiddominant. With ten short films under his belt, he has currently been surfing the film festival circuit with his latest film, ‘One for the Road,’ which was a huge hit with audiences at Scorpiusfest 2026 in Boulder, Colorado.

Scorpius: When did you realize you wanted to become a filmmaker, and what movies and directors were the most influential on you, from an early age?

Rippe: I knew from a very young age, probably four or five, that I enjoyed making videos and showing them to friends and family. I was also obsessed with the gear used when making movies, seeing the water towers when we would drive down the freeway in Burbank, or meeting anyone from television (especially newscasters) in person. Oddly enough, I feel that despite my past and current work, filmmaking is an ever-elusive dream that I will continue to chase. I know I’m doing it, but I rarely FEEL like I’m doing it. The movies that inspired me as a kid range from Pixar’s Cars to That Thing You Do! By Tom Hanks. Those were (and still are) two comfort movies that bring together my love of 50s-60s design with a heartfelt connection between characters. One director who has always been impactful to me is the late John Hughes. His way of capturing life, especially during those transitional teenage years, is something that will always feel timeless and relatable to many. His humor and writing style captivated me from the first scene and left a lasting desire to rewatch his works over and over again.

Scorpius: What are some impressionable experiences early on in your life that had a powerful impact on you as a storyteller?

Rippe: I’m not sure what the experiences were, but I know they are there. There are strong themes of longing for connection, struggling with loss, and fear of the unknown throughout my work, yet I can’t seem to place any specific impactful moments that would have caused such a traumatic response. It could be a subconscious reaction to the world around me, as I’m always observing my surroundings and absorbing energy near me. I’m an empath. It could also be a culmination of events that, while small individually, created patterns early on in my mind. On the more uplifting side of this, I do know that my ventures into storytelling came from a place of wanting to explore the world and other people’s experiences in it. Storytelling has always been a way to have fun and build experiences, regardless of where I am or who I’m with. A crucial factor for this is being an only child with a busy mind that was always running at full speed when I was little.

Scorpius: What can you tell us about the first film you made when you were six years old?

Rippe: That takes me back! It was called “Year by Year” and was more or less a collection of home videos I made that aimed to show what childhood was like as a kid growing up in Orange County, California, in the early 2000s. My parents were very trusting and let me use the family camcorder to film myself doing all kinds of goofy things. Was there any storyline? No. Did any of the segments make sense to anyone besides me? Also no. A few of my friends from school thought it would be cool to “make a movie” and wanted to pitch in too. We had dreams of a major premiere. One friend even learned to use WordArt to make tickets. Hahaha! Fast forward about a year and a half later I made my first real short. It was about a farmer, a werewolf, and a maiden in distress. I had wanted to make a fun movie for Halloween, so my dad and I wrote a short story. When it came time to film, my dad worked the camera and editing software, I played the farmer and werewolf, and my mom played the maiden in distress. It actually came out pretty good, considering how archaic the editing software was in those days. It took a couple of hours to export the four-minute video in 480p!

Scorpius: Which film that you have produced would you consider your personal favorite and why? Some memorable experiences while producing it?

Rippe: I’ve had fun with just about every project I’ve produced, but my favorite probably has to be a short called “Anniversary”. The story itself is tragic- a man falls asleep at the wheel, resulting in a crash that kills his fiancée on their anniversary. He has to live with the grief of knowing that his action, while an accident, took the love of his life. The “anniversary” now plays a painful juxtaposition to the pure joy of being in love and the harsh emotions behind an abrupt loss. The reason this film was my favorite to produce came from the circumstances behind making it. I was in my senior year of college, and this was my thesis film. It also happened to be April 2020… in the midst of the global pandemic. I shot almost everything myself, which forced me to think creatively. I wanted a thesis film to be proud of, so I didn’t compromise with lighting, sound, or camera movements. I would set up a scene by tearing apart a room in my house, decorating the set so that it would fit the character, prop a boom pole overhead using lighting stands, and adjust the balance on the tripod to get gravity to gradually tilt the camera, creating motion. I had one scene that required a prop to land a specific way. After a few attempts, it was clear that getting this effect naturally was going to be virtually impossible. I reconfigured the prop to increase the weight on one side so it would fall perfectly with every take. I also experimented with green screen and chaser tube lighting to create a moving picture car in my backyard. It was far from perfect, but I created something that would have been impossible without perseverance and creativity. When I first sent the script to my professor, she asked how many people I expected to have on my crew and how I intended to film it during the pandemic. I smiled, naively, I may add, and said I planned on filming it all myself and told her some of the tricks I was going to use to bring my vision to life. She wished me well, but strongly advised that I choose an easier story to tell. I’m glad I was stubborn and stuck to my initial plan.

Scorpius: What is your favorite aspect of cinematography, and who have been some of the most influential cinematographers in your life?

Rippe: A few cinematographers that come to mind right off the bat are Linus Sandgren, Robert Richardson, and Roger Deakins. Linus has such a unique way of pushing the boundaries of what cinematography can be with camera movements, especially his practical transitions that create beautifully complex motions (Check out his work in the behind-the-scenes documentary of Jay Kelly to see how complex these motions can get). I am a huge fan of collaborative work between a director and their cinematographer. Linus’s work with Damien Chazelle in La La Land and Babylon are great examples of how two creative minds can flow into a gorgeous final result. Robert Richardson is also a great example of how a cinematographer and director can work well together. His work with Quentin Tarantino is proof that collaborative effort is the best superpower for pushing the limits of art and creative expression. Roger Deakins’s work is simply gorgeous. I don’t know how else to describe it. 1917, Shawshank Redemption, and Fargo – these are just a few examples of how cinematography can truly inspire me. I’m also a huge fan of directors who aren’t afraid to grab a camera and shoot their own films. Steven Soderbergh, Robert Rodriguez, and early Quentin Tarantino films are next-level inspiration to me because they prove that a kid with a camera and a dream can create stunning films that captivate audiences and launch careers.

Scorpius: What did you like best about your experience at ScorpiusFest?

Rippe: Everything was great. I don’t know if I can pick one specific thing that stood out above the rest. The staff were all super friendly, the discussion panels were helpful and interactive, and the filmmakers and their projects represented a wide range of genres, styles, and themes. Put all of that in an awesome venue in beautiful Boulder, Colorado, and you have a winner! This was my first time in Boulder, and I absolutely fell in love with the small-town charm. One of the things I loved was that it was a small enough festival that everyone was approachable, but large enough that every screening was virtually sold out. I haven’t experienced that degree of audience interaction and filmmaker involvement in any other festival I have attended. It was such an exciting feeling, the buzz of the crowd during Q&As after each screening, and getting to meet and talk with the filmmakers following each film block. Lots of great networking with filmmakers from across the country all weekend long. I’m already making plans to attend next year’s festival!

Scorpius: What can you tell us about any future projects that may be in the works?

Rippe: I don’t currently have a project in production or post, but I do have a few projects nearing pre-production. I am always writing and love to bounce ideas around with fellow writers and directors. I hope to direct a short this summer with some friends; we have a few ideas for stories that we would like to create. One of the cool things about my passion for writing is that I’m never far from a story that we can turn into a film! I really do need to get back out there, though, and produce more of my own projects. Lately, I have been working a lot on client projects, which has been great, but nothing compares to making my own films with my friends!

Scorpius: Is there a dream project that you may have always wanted to direct?

Rippe: I have several. There’s a list of actors, composers, and cinematographers that I would love to work with. I could probably take up a whole separate interview on who that is and why I chose each artist on that list. In terms of projects as a whole, there are two main ones in mind. One is a period piece set in the 1920’s about a mob family. I don’t currently have a full story or script in the works, but I do often find myself worldbuilding the city, characters, and motivations behind their crimes. The second project is much less complex, but would still be a challenging task in its own right. It’s an action film that honors my great aunt and uncle, who lived in San Clemente during the rise of surf culture. I have an outline for the story, but I want to dive in (pun intended) a bit more before really getting into the writing process. It would be set in the present day, but talk about the lifestyle and mentality that came to be during this pivotal time in Southern California culture.

Scorpius: Is there a particular muse or driving force behind your work as a filmmaker, and what is it?

Rippe: One particular muse? No, I don’t think so. I take inspiration from the world around me, and my mind is always running with ideas of “what if this?” or “how about that?” Inspiration comes from music, the news, people watching, personal experiences, and even other films. I think from a more technical standpoint, I push through moments of professional challenges to be a role model to my younger self and pursue goals that I have dreamt about since I was a child. From a director’s perspective, once I’m heading into pre-production, my driving force is to create an environment where the cast, crew, and anyone who may be impacted by our shenanigans feels informed and respected. I want to prepare enough on the front end that everyone who works with me feels confident in the project and can be proud of the work we do as a team. It’s never been “look, I’m the director, I’m in charge” to me. Yes, I have to take control and make decisions that affect everyone on set, but I am always willing to collaborate, hear differing ideas, and admit when I’m wrong or when someone has a better way of doing something. That, to me, is when the best art is made.

Scorpius: If you could leave one word of advice for younger filmmakers, from your experience, what would it be?

Rippe: Fascination. That’s the one word of advice. The longer explanation behind that is to try your hardest to keep that eager spark that excites young children with nearly everything in their lives. Keep that sense of wonder, hope, and optimism about the world and the people you meet. Things can be scary; it can be so easy to fall into anger, fear, or loneliness, but try to fight those negative feelings. Keeping an open mind to the places I’ve traveled, people I’ve met, or experiences I’ve had has really allowed me to view the world in multiple perspectives- and that is crucial to the creative process. From there, if there’s something specific that interests you, chase that dream. Whether it’s filmmaking, music, writing, restoring cars, playing a sport, cooking… ANYTHING you enjoy doing is worth doing, even if others don’t like your style or you aren’t recognized for your talents. It doesn’t always have to be your career, either. I’ve known too many colleagues who have forced themselves on a steep, slippery slope to making a career out of their hobbies until they experience massive burnout. It’s okay to do something for the love of doing it; not everything has to be for profit. As long as you keep that fascination, hold onto an open-minded sense of wonder, and pursue your passions, you’ll live a pretty satisfied life.

The post Jakob Rippe Is Creating Waves in the Industry with His Unique Style appeared first on Scorpius Magazine.

Ryan Russo began his inspired journey as an independent filmmaker from the origin of visual storytelling. He has since garnered multiple awards from around the world for his exceptional films as well as gained international recognition for his innovative filmmaking prowess. His recent film, ‘Boiling Point’ is stirring conversations among audiences and filmmakers throughout the industry.

Scorpius: When did you realize you wanted to become a filmmaker and what movies and directors were the most influential on you, from an early age?

Russo: It’s hard to pinpoint a single moment, it was more of a slow realization. I grew up obsessed with practical special effects and history. I’d spend hours trying to recreate things I saw on screen, whether it was the mechanics of a gunshot effect or the details of a historically accurate uniform from a period film. That curiosity was really my first entry point into filmmaking. I was also watching films at a pretty young age that I didn’t fully understand yet, but that almost made the experience more impactful. I wasn’t focused on the plot as much as I was on the atmosphere and immersive setting. I became especially drawn to period pieces, drawing inspiration from directors like David Lean, Sergio Leone, and George Roy Hill.  Films like Barry Lyndon, Doctor Zhivago, and The Sting really struck a chord with me. What stayed with me wasn’t just the storytelling, but the visual language and the attention to detail. Seeing shots and sets that felt like they were drawn directly out of a painting was something that completely stopped me in my tracks. That sense of visual storytelling has stayed with me ever since and continues to be a major source of inspiration in my own filmmaking.

Scorpius: What are some impressionable experiences early on in your life which had a powerful impact on you as a storyteller?

Russo: Some of the most formative experiences for me early on weren’t tied to a single moment, but rather to repeated exposure to stories and worlds that felt completely different from my own. I never really felt particularly connected to the modern world or contemporary films, so I naturally gravitated toward stories set in other times as a form of comfort and escape. A lot of that was shaped at home as well. My Dad would often have mob films playing, and I would watch them with him, taking in those worlds without fully understanding everything at the time. My Mom, on the other hand, would put on English period pieces, which further deepened that fascination with history and distant eras. My Mom was a painter, and she always made a point of taking me to art museums and galleries wherever we went. She continually encouraged my creative interests, and those experiences definitely played a big role in shaping the filmmaker I’ve become today. I think that early exposure to visual art is still at the core of how I approach filmmaking. In every film I direct, I try to emulate a certain painting within a frame, whether that’s through composition or production design. For example, the opening shot of Boiling Point was directly inspired by Gennady Dobrov’s Farewell Glance. That kind of reference point helps me ground a scene visually and emotionally, and it’s something I continue to draw from in my work.

Scorpius: Where did the inspiration come from for “Boiling Point”?

Russo: Boiling Point started as a joke in passing I had with a friend about how ridiculous the concept of cockfighting is, and how it could become even more ridiculous. That conversation slowly evolved from aggressive betta fish, to crabs, and eventually, after someone in a bar drunkenly told me crabs were “too pedestrian,” I landed on lobsters. Watching films by Chaplin, Keaton, and Chaney really inspired me to challenge myself and the team to rethink the approach entirely. What had initially been written as a contemporary piece gradually shifted into a silent, period-inspired film. Telling this absurd story through the language of silent cinema felt like a way to heighten both the humor and the challenge. It allowed the story to lean even further into its own strangeness, while also pushing us creatively in terms of performance and visual storytelling.

Scorpius: Which film that you have produced, would you consider your personal favorite and why? Some memorable experiences while producing it?

Russo: In all honesty, Boiling Point! It was the first film I made since high school, and the entire experience from pre-production through post was truly unforgettable. I had a great cast and crew, many of whom were friends and family, and I honestly couldn’t have asked for a better set experience. That being said, there were plenty of memorable moments along the way. After writing the script, we struggled to find a location that fit my vision. After exhausting most of our leads, my location scout and I reached out to a local fire chief in Sedalia, Colorado, to see if he knew of any spaces with a large, open interior suitable for the ring. He ended up taking us to a Christian youth retreat where he served as a caretaker. What made it especially strange was the history of the property. Before being converted into a retreat, the site had been owned in the 1920s by Diamond Jack Alterie, a hitman for the North Side Gang, rival of Al Capone’s Chicago Outfit. After being exiled from the gang, he relocated to Colorado and allegedly ran an illegal gambling hall and brothel out of that very building. It felt almost serendipitous that we were making a short film about an illegal gambling hall set in the same era, in a space that had once functioned in an eerily similar way. That connection ended up becoming one of the most memorable and unexpected parts of the entire process.

Scorpius: What is your favorite aspect of being a director and storyteller?

Russo: My favorite aspect of being a director and storyteller is the ability to build immersive visual worlds, especially when working within different time periods. I’ve always been drawn to visual storytelling and the idea that so much of a story can be communicated through composition, production design, and atmosphere before a single line of dialogue is spoken. There’s something really powerful about trying to transport an audience completely into another era that I strive to emulate when directing or writing. I love the process of researching, designing, and shaping every detail so that it all feels cohesive and lived-in. That kind of immersion is what excites me most about filmmaking.

Scorpius: What aspect did you enjoy the most regarding your experience at Scorpiusfest?

Russo: What I enjoyed most was the exchange of perspectives. Being in a room with both international and local filmmakers created this constant exchange and dialogue. I ended up having some really memorable conversations with a group from Great Britain after their film, and it was equally exciting to discover and connect with local filmmakers I hadn’t encountered before and would love to work with in the future. The entire event was put on wonderfully and I’m hoping that we’ll have something ready to submit for next year!

 Scorpius: What can you tell us about any future projects which may be in the works?

 Russo: We’re currently in production on a WWII psychological thriller titled Charcoal. It follows a young American GI in the aftermath of the Battle of the Bulge, as isolation and trauma begin to fracture his sense of reality after he becomes the sole survivor of his squad. This is a massive project that I’ve been working on for about 6 years, I’m very much looking forward to sharing it with the world and hopefully submitting to the next Scorpiusfest.

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hrower has won countless awards ( IMDB films and awards ) around the globe for his provocative and emotive documentaries and short films as he continues to rock the Independent film festival circuit with each new masterpiece. He is well-known throughout the world for championing disabled artists and bringing to light the disgraceful discrimination of disabled artists within the film and music industry. His documentary film, “Disabled Artists Showcase: Creating Our Spaces,” among many such projects, has already given a resounding voice to disabled artists around the world and brought to the attention of the film and music industry, the importance of addressing the issue of discrimination against disabled artists.

Currently, Thrower is in collaboration with Demeter Lorant a multi-award-winning Filmmaker from Hungary on  Beyond The Limits, a new short film series project that explores disability in the Twilight Zone. The project features uniquely original sci-fi, horror, and fantasy stories from the perspective of mentally and physically disabled people. His latest autobiographical, full-feature documentary, “New Borning: A Bronx Tale,” has been blowing up throughout the film world. Recently, Thrower garnered two awards at Scorpiusfest for Best Documentary Short (Disabled 

Artists Showcase) and Best Music Video (So Hip-Hop).

Scorpius recently had the honor and pleasure of sitting down with the iconic filmmaker/artist. Upon entering any room, his presence is immediately recognizable and powerful, yet he exudes a relaxed savvy, and humble demeanor.

As I began my conversation with the iconic filmmaker, I sensed his genuine nature and candid personality.

Scorpius: What can you tell us of your career as a stage actor/playwright and what are some of the most successful theatrical runs you’ve done? Memorable experiences in theater?

Thrower: My inaugural role as Duke Senior in Shakespeare’s “As You Like It” performed in the picturesque setting of Fort Tryon Park in NYC, was both exhilarating and nerve-wracking. Stepping into the world of theater at nearly 35 years of age was a daunting prospect, but the thrill of bringing a character to life on stage was intoxicating. From there, my passion for the craft only grew, leading me to delve into portraying a diverse array of historical figures at the Castillo Theater. It was at the Castillo Theater that I found my niche, immersing myself in roles that ranged from the iconic Malcolm X to the revolutionary Patrice Lumumba, from the legendary Paul Robeson and Jackie Robinson to the irreverent comedian Richard Pryor to just name a few. Each character presented its own set of challenges and rewards, demanding both emotional depth and historical accuracy in portrayal. Performing the Patrice Lumumba character in Martinique, with the esteemed playwright/poet, then mayor, Aimé Césaire in attendance, stands out as a particularly poignant moment, highlighting the power of storytelling to bridge cultures and generations.

Scorpius: What is the most powerful and influential force that inspires you as a filmmaker/storyteller?

Thrower: Perhaps the most profound influence on my artistic journey has been fatherhood. Crafting impromptu bedtime stories laced with the sounds of classical music for my three sons sparked my love for storytelling. This experience ignited a desire to communicate my ideas and experiences to a broader audience. It was this innate passion for narrative that ultimately led me to venture into the realm of filmmaking.

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Scorpius:  Scorpius originally discovered you just four years ago when we had the unforgettable pleasure of watching one of your recent short films, “Rubbish Robbers,” a hilarious, black comedy which became a huge hit at independent film festivals around the world and starred, Calle Hellevang Larsen, one of the most popular comedians in Norway. There was also a tour de force performance by Sigurd Sele. You have before and since produced a couple of other masterpieces, including: Haikeren(The Passenger) (2013), Mordier Actum(2021), and Skuddene Pa’ Boergenhus(2021).

What can you tell us about the back story to each of these films?

Teig: The backstory of “Haikeren” or “The Passenger” is quite curious—I met an American in Norway, Carl Elmore, after connecting through a filmmaking website. We shared ideas, and one concept he brought to the table involved a man endlessly driving around with hitchhikers. I transformed this into a short film about a solitary figure picking up a blind hitchhiker, desiring only company, not particularly concerned with the hitchhiker’s destination. We were incredible happy to cast Kristofer Hivju, known for “Game of Thrones,” as the main character. His participation was not only lucky but also an immensely educational experience for me.

“Rubbish Robbers” arose from a completely different source. In my efforts to secure funding for the post-WWII film “Skuddene på Bergenhus” and repeatedly facing rejection, I channeled my growing frustration into a new script. My intent was to write something easily fundable, set in a single location, and during a two-day whirlwind, I conceived a story about a team of professional robbers featuring Calle as the beyond belief hopeless fool. Initially perceiving it as too absurd, I shelved it, only to rediscover and appreciate its humor a year later, much to the producers’ delight. Despite Calle’s busy schedule, we shaped our production timeline around him, and to our amazement, “Rubbish Robbers” has enjoyed international success, defying my expectations about region-specific humor.

Thanks to the success of “Rubbish Robbers,” “Skuddene på Bergenhus” finally received the green light. The story materialized all at once one day, but I felt I did not have the skills to be able to write it at that time, but post-“Haikeren,” I had honed my skills. It took a committed eight-year partnership with my producer Trude Refsahl to create what became my most significant film to date.

Scorpius:  Looking back on your childhood, what was one of the most powerful and impactful experience you may have had that influenced and inspired you to move in the direction of storytelling and filmmaking?

Teig:  Reflecting on my childhood, a potent memory that nudged me toward storytelling was listening to the beloved Norwegian children’s story “In the Forest of Huckybucky” by Thorbjørn Egner. At age five, I took passages from the play and got my friends at kindergarten to make it into a play with me directing. We showed it to the other children and the adults after a couple of days rehearsing, revealing early signs of my directorial inclinations.

Scorpius:  Can you name one particular filmmaker who has been your greatest inspiration in your career as a filmmaker?

Teig:  Filmmaker inspirations shift, but the action-adventure epics of the 80s, crafted by geniuses like Steven Spielberg and George Lucas, had the most profound impact on me, giving me the desire to recreate those kind of cinematic experiences.

Scorpius:  Who has been one of your favorite actors to work with on your recent projects and what are possibly some experiences have you had with them which may have influenced your choice?

Teig:  Choosing a favorite actor to work with is a challenge, more like impossible; however, working with Kristofer Hivju for my first film was incredibly instructional. Observing him inhabit his role and provide a wealth of different adjustments for each take showed me the depth of an actor’s craft. However, every actor I’ve worked with has left an indelible mark on my films and me.

Scorpius:  What is the most powerful driving force behind your filmmaking?

Teig:  The most powerful driving force in my filmmaking is the compelling need to bring the stories that abruptly appear in my mind to life, much like sudden inspiration struck for the novel I wrote. It’s a long and arduous journey from thought to screen.

Scorpius:  You’re known for being a dedicated husband and father, how has your family influenced your career as a filmmaker?

Teig:  My family, particularly my wife Marianne, is the cornerstone of my filmmaking endeavors. With me balancing a full-time job at TV 2, managing film and book projects, running a publishing company, and venturing into computer game development with the talented Darroch McNaught—all would be unfeasible without my family´s support.

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Scorpius Magazine had the recent privilege of interviewing Lorant,  one of the independent film world’s most provocative and innovative visionaries,

Scorpius: What is the most unforgettable and impactful moment from your childhood that compelled you to move in the direction of becoming a filmmaker?

Lorant: I cannot really boil it down to one specific moment, it was a gradual shift towards horror and science fiction. Around the village where I grew up it was quite easy to find dead animals or animal corpses, I always found that fascinating. At the age of around 10 I got introduced to the Steve Jackson / Ian Livingstone fighting fantasy books and I became a huge fan and book collector, even going as far as to map the surrounding forests and swamps as the world of Titan. I was around 12 or 13 when I saw John Carpenter’s The Thing for the first time and it has stayed my favourite horror movie ever since – I think seeing that really opened up the door for me to become a film director.

Scorpius: Of the first films you produced earlier in your career, which was your favorite and why?

Lorant: I’ve made a bunch of amateur films before 2003, even a feature film which I haven’t seen for more than 20 years. It was a great experience but I wouldn’t go back to them, they are no diamonds in the rough for sure. My first really successful attempt at a short film was 2003’s Lag, which is about a guy who wants to kill his wife’s lover, but time shifts and he actually shoots himself – much like you have a lag in multiplayer games and sometimes bullets get delayed. It had a great festival run and got an award gor best editing at The New York Short Film Festival. That was the first time I was really satisfied with what I did and it felt like a real movie.

Scorpius: What inspired you to move in the direction of animation and what can you tell us about where your passion for it began?

Lorant: My father is a painter so I was interested in visual arts since I was born but a still image didn’t seem to cut it for me. I was around 13-14 when I first tried playing around with Autodesk Animator Studio Pro for DOS and I was amazed that I can create animations with it from my own drawings. Until around the age of 17 all I wanted to be is an animator and work on animated films or series, but when I actually got to a proper animation studio where they were doing classical cell-animations I realized that sitting in a dark room for 10-12 hours a day and drawing phases of characters for months might not be for me, so I moved on to live action filming, but animation stayed with me it’s just not my main focus.

Scorpius: You founded Full Screen Studio in 2010, which has become  one of the most successful studios in Hungary and Europe. What can you tell us about its evolution and success?

Lorant: In 2009 I started to create special projection mapping animations  as an experiment and I submitted one of them to a national mapping contest here in Hungary called Paint Up! – there I’ve actually won the first prize. After that I got a lot of inquiries from different companies and agencies to create mapping animation for them – after a while I had so many projects that making a studio was the only solution to keep up with them – so I’ve founded Full Screen Studio together with Gábor Sz. Nagy, who I used to work with as a VJ back in the day. For the first few years we exclusively worked on events creating animations and we took part in a lot of competitions around the world. We took home awards from Poland, France, Japan and a lot of other places. After 2015 we slowly started to shift our focus to TV productions, creating animated backgrounds for talent and music shows. Right now, we are shifting our focus again, this time to be a full-time film production studio.

Scorpius: What can you tell us about the era in which you were producing music videos for indie bands? Which bands created the most memorable experiences and what can you tell us about them?

Lorant: I started to make music videos back in 2000 and kept making them until around 2010. It was a great era for alternative and underground music in Hungary, the club life was buzzing and a lot of legendary foreign bands were playing gigs in Budapest. I’ve managed to work with alot of amazing Hungarian bands and also some foreign ones. Mostly I tried to stay with music I liked, so I did a lot of videos for rock and metal bands like Blind Myself, Idoru, Thimble or Embers. In 2009 I even managed to go on a small European tour with Machine Head as their VJ, sleeping in the same tour bus with Rob Flynn was an amazing experience as a long time Machine Head fan.

Scorpius: Possessed by Aliens, what can you tell us about it?

Lorant: It was a more light hearted experiment after creating one too many way too dark films. I’m proud of that short film, it looks and feels great, although I’m not sure I will ever venture back to such a family friendly story. Our main actress playing the granny was Márta Holler unfortunately passed away shortly after shooting finished. She had a huge body of work in film, television and theatre. It’s a strange feeling that my short film was her last project, if she can see it from where she is I hope she is satisfied with how the film turned out.

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Viking Filmmaker From Norway Is Taking Over The Independent Film World

Cover Photo by Armstrong Lian    Pandora Film

Anders Teig IMDb

By Steffon Olsen

Recall one of the most memorable experiences form your childhood.

Once, two of my friends and I went into the woods carrying an air rifle. Of course, in Norway, weapons are not available everywhere, but air rifles were used for hobby shooting. So my friend had got hold of one and some bullets, and we were walking into woods in the mountain nearby where we lived. We walked for quite a while following a track under the power lines, as you might call it.  When we got to one of the large steel masts. My friend decided he wanted to climb it. So my other friend and I are standing on the ground looking at the daredevil climbing to the top and sitting next to the power cables, inches from  certain death. On the ground my other friend gave me the air rifle, and as I was checking it out. Suddenly, our friend at the top came screaming down. “It’s the cops, it’s the cops!” Apparently somebody had seen a group of boys carrying a rifle walking into the woods, and had alerted the police, and they sent a police helicopter. The helicopter was circling right above the massive steel mast my friend had just climbed, and as he was descending to the ground. I said to my friend standing next to me. “What if I shot them?” I put the rifle to my shoulder and pulled the trigger. The rifle went off. My friend had loaded the rifle without telling me. My heart stopped, I felt like I had my life sucked out of me. I was standing frozen on the ground until our climber hit the ground. “Run!” He shouted in my ear. We roamed downhill into the woods and hid in the mountain for hours before we hid the rifle and went home for a very late dinner. Luckily nothing ever came of it but I don’t think an air rifle bullet can do any harm to å police helicopter. However, every time I think of this I get the chills. It was not a pleasant experience, it was just being a 14 year old doing an extremely stupid thing.

You mentioned a place called “Blood Town” regarding your childhood in Bergen. 

I grew up just outside a place called “Blood Town” which is on the shadowy part of the city due to the sun being hidden behind one of the seven mountains surrounding the city.

Blood Town got its name from a lot of red houses that were built in the early 30s to help people who were homeless or just socially unequal. It was the red color of the houses that gave name to the town. However, after the houses burned down and they were rebuilt and painted yellow, the area still bore the name Blood Town. There were a lot of people who were suffering from drug addiction and psychiatric patients living in the houses when I grew up. Every time we had to go to the larger

city beyond, we had to pass through Blood Town. Being young and in my teens it didn’t feel very safe. However, it shows Norway’s social democratic status; that the local council makes sure everybody gets housing, so even if it’s a bad name and the place had a shady reputation, it really is a great example of how Norway takes cares of their own.

What was college like before you dove into film?

I studied psychology at the University of Bergen in Norway. This is because I have always been interested in personalities, and the human psyche. If I want to make films, and write about human beings, then studying psychology should be second nature. I believe everyone who writes are interested in the human condition and that is what psychology studies. However it was also a lot about biological processes in the brain and the nervous system which was a bit more mathematical but having a year of Psychology at University level has helped me a lot in my writing.

You had the opportunity to work with Sir Ian McKellen. What was that experience like?

I went to film school at Surrey Institute of Art and Design in Farnham, just south of London in the UK. I majored in screenwriting and Directing. This school is well known for the production based approach, and we made films on both digital and 16 mm film. One of the films we were making was a film about gay rights in Great Britain. A very talented filmmaker called Elliott Kerrigan had written a  touching script. There were big parts in the shortfall. Voice over was part of the story, and we had not yet found out who could do this. So one day in the edit bay, Elliott said: “wouldn’t it be great if we had Sir Ian McKellen do the narration?”.  Being young and blue eyed we all just went ahead with the idea, thinking it might happen. We found his email address and contacted him. Two days passed, and nothing. So we understood we were just foolish youngsters, we thought,”who were we to contact such a big star?” On the third day we got a reply. He was happy to read the voice over, and he recorded it on a soundstage somewhere in the world where he was filming. We were all just in awe. It really opened my eyes to not be too shy to ask even the biggest stars because they might happen to say yes. A good lesson for a young filmmaker.

“The Passenger” is such a remarkable film to be produced as your first offering. How did it come together?

My first professional short film was a script I had written a couple of years prior. It had been buried, untouched, in my “digital drawer”. It was written based on an of idea of Carl B. Elmore’s. Though I really liked it, I didn’t really push it before I got in contact with an editor named Audun Fylling. We got the production company DUO Film to take the film on and they got us funding from the local film council. We were casting for the main role and I really wanted Kristofer Hivju. He had just landed the role of Thormund Giantsbane in Game of Thrones. We all thought the ship had sailed on him, but the experience with Sir Ian McKellen led us to ask and see if we could be so lucky to have him star in our film. As with Sir Ian McKellen, we got a positive response. It was a joy to work with such a classy actor. I learned a lot by working with him. Just the details in discussing of the character and the story was a joy. The film is about a lonely guy who picks up a blind hitchhiker just to have some company. Instead of driving him to his destination, he just drives around the city in circles. The film stars only two characters, Fredrik Hermansen and Kristofer Hivju gave some really great performances.

You won three awards at Scorpiusfest 2021 for Rubbish Robbers. You won Best Director, Sigurd Sele, Best Actor, and the film, Best Short Comedy Film. Where did your inspiration for the film originate?

While I was waiting to start the editing process for “The Passenger” I was feeling quite nervous. Did we get all the shots? Did we have a movie at all? I sat down and thought I would try to write a one-location action/comedy short. In my nervousness and eagerness to get the editing finished, I wrote the craziest shit I ever have written. It was so much blood and gore and it would cost at least $250,000 dollars to make for a 10 minutes short. So I did what any sane person would do. I put it away and thought, “This will never get made”. A couple of years later I was reading through some of my old stuff, and this script made me laugh. So I thought, I sent it to Linda Bolstad Strønen and Marie Fuglestein at DUO Film and they loved it. We were asking for funding, but it was insanely expensive. So I rewrote out the most gory and blood-filled stuff and we ended up with a much more doable script. We were ready to shoot but we had one more thing to get through; the casting of 

the main character. I have always been a fan of one of Calle Hellevang-Larsen, one of Norway’s top comedians and I wrote the script specifically for him based on his persona. We contacted him, but he just was super busy and we had to postpone. I really could not make the film without him, since the film was written for him. Over a year later he found a hole in his schedule for us, and we got all the shots we needed in two days. Many times during the waiting process I doubted myself and if it was worth waiting. I always came to the conclusion that it was better to wait then to regret not waiting to get the best cast possible. It turned out not only Calle, but Sigurd Sele, Torgbny Anderaa, and Fredrik Hermansen came on board. It was the perfect cast in this dark comedy.

Mordir Actum – RØST?

This has been such a fun project. I was hired by Vigdis Nielsen to be one of two directors of the 2020s version of RØST, a workshop for young and up and coming filmmakers. The concept is to have youngsters,15-25 years old, who either have been to film school or just want to learn filmmaking to be part of a semi-professional shoot. There is a professional director, DOP, sound recordist on set and a professional editor and sound designer in post production. All the professionals have the roles of mentors for the youngsters, and we are running the set as if it is a professional set so the kids really learn what is expected on a film set.

You’re a published author and you own a publishing company?

In between my films I wrote a novel. It is a horror/crime story with supernatural elements set in Bergen and Paris in the 60s. I wanted to shorten the process from writing to publishing and learn everything about publishing, so I started up a publishing company called Bergen Bokbryggeri, which means “Bergen Book Brewery”. I learned how to design a book professionally and got it published and sold well enough to make a nice profit. It also got me into publishing and I have had the pleasure of helping several other writers publish their books. I run the publishing company in such a way that I help the authors get the best deals for printing their book and get good deals in design. Every penny the book sells for goes directly back to the author. This is an important project for me, because I believe that everyone who has a story to tell should be able to get it out into the world.

What is it like to work in the Norwegian television industry?

I have been working at TV 2, Norway’s largest commercial TV station for 15 years. I’m currently working in the Master Control Room. I enjoy this very much. Although filmmaking and publishing take a lot of my time, I am very happy being part of such a great working atmosphere.

What can you tell us about your latest film, Jacob and the Quisling?

In August my latest shortfall will be finished in post and ready to send to festivals around the world. It is a film I am very proud of. Again I have had the luck of having every actor we wanted coming onboard. The team behind the camera was stellar, and I am excited to show everyone what we have made. Its called “Jacob and The Quisling”.  It’s a story about a young boy who befriends a quisling on death row. I’m  so very happy that my producer has been so patient and stayed with the project through all the years it has taken to get it fully funded. The budget is about $200,000 dollars.

Do you have any feature films in the works?

I have several feature films that are written and ready to go. I feel with the experience of my short films and other projects the timing to move to features is right now. I have a spec script right now. The concept is like Good Will Hunting meets WarGames. It’s a story about a young genius who discovers the mathematical formula to foresee every random event. I have a ‘one location’ feature about a bunch of young men trying to move across borders hidden in a container on a ship, and the ship goes down. I’m also just finishing a drama/thriller about a family being torn apart when their young boy is trapped at home while someone breaks into their house. No, it has nothing to do with Home Alone!

All these films are mid-budget projects and I’m hopeful to get these up and running.

Of course I would love to direct someone else’s script as well. Having done the Røst film, Mordir Actum, where I directed someone else’s story, was such a great experience and something I am definitely looking forward to doing.

I’m also developing some really exciting episodic projects with Sigurd Sele who is starring in two of my upcoming films. Though it’s too early to disclose any details. I also, especially want to mention how grateful I am to my wife for being by my side all of these years. She’s been so amazing. Filmmaking takes a lot of time and can put a lot of  strain on any relationship.

You can expect to hear the name of Anders Teig in movie theaters around the world. This Viking ship has just set sail.

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The most cutting-edge writers and directors of independent sci-fi, fantasy, and horror films have descended upon Provo this week from distant planets and hellish dimensions. The occasion is Jonathan Martin’s Filmquest. It features more films than even Sundance Film Fest. The international genre film festival is quickly becoming one of the hottest tickets in the independent film world. It takes place at Velour Live Music Gallery in Provo September7th – 15th.

The fiercely independent spirited festival includes panels, workshops, parties, and features a myriad of cinematic flavors This year’s lineup includes “The Devil and the Blacksmith”, which has already received a standing ovation at it’s screening. Other successful features anticipating awards this year include “Alive”, “The Insufferable Groo” starring Jack Black, “Prospect”, starring Pedro Pascal of “Game of Thrones”, and “The Witch Files.” The short films and animation line-up this year is epic. It includes Charles Pieper’s “Malacostraca”, “Foxwood” “Skincreepers”, the Silver, and “Distortion”. Animated shorts include “Meeting MacGuffin” and “Attack of the Potato Clock”. Web Series featured include “In Absentia” and “Geek Lounge”. Countless other films, in the aforementioned categories are all contenders for this years Filmquest awards.

Filmquest is earning its place among the largest genre film festivals in the world with no end in sight. Take the time to check out filmquest.com and sample the endless feast of the tastiest sci-fi, fantasy, and horror films you’ve ever experienced.

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