THE POP GROUP

Q&A: JEREMY LALONDE ON SEX AFTER KIDS

Writer-director JEREMY LALONDE is raising money via crowd-funding platform IndieGOGO to make SEX AFTER KIDS, his second feature film. It features an amazing ensemble cast of some of Canada’s best acting talent (KATE HEWLETT, ENNIS ESMER, KRISTIN BOOTH, CHRISTINE HORNE, DAVID TOMPA, among many others), and is being produced by JENNIFER LIAO.

Jeremy (right) on set.

We asked him some probing questions about the new movie, crowd-funding, and the life of an independent film-maker.

So. What’s Sex After Kids about?

Outside of the obvious, it’s really about how having children changes you as a person and your relationships with others.

Where did the inspiration come from?

I have a three year old and a three month old, and as you can imagine, my wife and I don’t quite get the alone time that we used to. I’m a fan of ensemble films and I’ve been looking for a strong concept for one for awhile, and this one literally slapped me in the face off the cover of a parenting magazine, and I couldn’t believe it when I realized that no one (that I’m aware of) had really tackled this issue up front. The stories came together pretty quickly after that.

Give us the tagline…

An edgy ensemble comedy about what happens when you’re too tired, uninterested, or annoyed to seduce the person you love, loathe, or haven’t even met yet.

What’s your movie’s comparable?

Young People Fucking meets Love Actually.

The great indie film-maker’s dilemma: Why IndieGOGO over Kickstarter?

We had a big debate over this, actually. By and large they are the same. Kickstarter known more widely, I think. And they each have slightly different features. The biggest reason was probably that Kickstarter requires an American bank account whereas IndieGoGo doesn’t. Also IndieGoGo doesn’t have an all-or-nothing policy when it comes to the funds. If you don’t raise your total amount you still get what you raised (minus 9% if you don’t raise your full amount – they knock it down to 4% commission if you do – so it’s pretty important to raise all your money!)

Where’s the money going?

Every penny is going onto the screen. Some have asked what we’ll do if we don’t raise our entire budget. Truth is that the budget we’ve selected covers everything from pre-production to post. So if need be we can apply to other places for the remainder of the funding, but I’m hoping to avoid that. Ideally this will be an artist owned project outright. The money will go from everything from paying our actors to sending the film to festivals. Because we’ve been open about how much we’re raising I think I plan to keep an open dialogue about how much money we spend on everything. I know when I was starting out that’s something I always wondered.

What’s the secret to low budget film-making?

Writing within your limitations. Don’t write a big chase sequence or something that requires extravagant locations, props, or costumes. Write something that people are going to want to see, and something that actors will want to do. Hire crew that’s passionate and needs opportunities to take their craft to the next level. And ideally connect with people who can help you in different aspects. Low budget film-making is about favours. And be realistic about what you can achieve.

So you wrote the film with your budget in mind? You have a pretty big -and great- cast for your budget…

Yep. I planned to do this the way that Edward Burns has been making movies recently. When I first pitched it to my producer Jennifer Liao I was a little more extreme even – I said that we could probably do it for $10K, but thankfully she talked some sense into me and I know now that it wouldn’t have worked. The reality is that we’re making a film for the budget that most people spend before lunch on their first day of production. $50K is the minimum we need, and if we can raise more that’ll just afford us to do more with it, apply to more festivals, etc… But my rules were simple for writing, I had to keep the locations to a minimum as well as the shooting days for each character. All of the cast is working for TIP scale, which is a special low rate that you can get. I’m very fortunate to have the cast that we have and I’m excited to work with them. Some are returning from my last film, some I’ve worked with in other capacities, and some it’s my first go round.

And what about you? Have you done anything we might have seen?

I made a film called THE UNTITLED WORK OF PAUL SHEPARD that was in the theatres last October. You can find reviews for it on National Post and other major papers in Canada. It’s still on SuperChannel and should be on Netflix and iTunes in the near future, and we’re preparing a DVD that you can purchase (although you can purchase the DVD in a media package connected to our Sex After Kids IndieGoGo campaign (and those will be autographed!). I work mainly as an editor and my last few projects were Wipeout Canada and Princess. I’ll be working on the second season of You Gotta Eat Here shortly, while shooting Sex After Kids at the same time.

Click HERE to check out the film’s IndieGOGO page.

This entry was published on March 13, 2012 at 12:50 am. It’s filed under Uncategorized and tagged , , , , , , , , . Bookmark the permalink. Follow any comments here with the RSS feed for this post.

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