Jay Brandon on writing a legal thriller

Jay Brandon’s Against the Law features Edward Hall, a lawyer stripped of his license due to a criminal act in the court house. When his sister is brought to trial for murdering her estranged husband, he takes to her defense.  Mr. Brandon will be joining fellow lawyer turned novelist Manning Wolfe at BookPeople on June 24th at 2pm. We caught up with him early to discuss the court system and writing about it.

Against the Law: A Courtroom Drama Cover ImageMysteryPeople Scott: How did the idea for Against the Law come about?

Jay Brandon: I hadn’t written a legal thriller in a while, I wanted to write other kinds of books.  One day when I was visiting Houston, where I went to law school, an old friend of mine took me to their Criminal Justice Center, a twenty-story building filled with courts and so many defendants.  The elevators were a problem, he said. They were so slow and so crowded it took forever to get up or down. The local joke was “the Justice Center, only twenty minutes from downtown Houston.” That gave me an idea: a crime inside a courthouse.  Who would naturally commit such a crime? A lawyer. That was the beginning. I’ve never had a courthouse itself figure so prominently in a novel. Ironically, by the time the book came out the Justice Center was non-functional, knocked out by Hurricane Harvey.

MPS: Edward possesses a jaded look out on his sister’s case. Is that due to the system or his circumstances?

JB: It’s because of his experience within the system.  He knows that the vast majority of defendants are guilty of their charge.  Worse, the system doesn’t know how to treat one who’s not: “the irregularly shaped pebble that rolls down the conveyor belt with all the other peas, into the can.”  Besides, Amy is the perfect candidate. When one member of an estranged couple is murdered, where do you look for your prime suspect?

MPS: Because of the nature of Edward’s case, sibling dynamics are explored. What did you want to explore in that?

JB: That just grew out of the material.  Edward is disbarred after having been convicted of his crime.  I tried to think of a case that could bring him back to the legal world; a family member in jeopardy seemed right.  I’ve written about families before, it’s a fascinating subject, but this time, maybe because the book is set in Houston, the family is rich and well-known.  Edward and Amy’s father is a world-class diagnostician. Amy has followed in his footsteps to become a doctor too, and married a doctor as well. Edward, who started out as the favored son, fell into disfavor a little when he became a lawyer, and a criminal lawyer at that.  His prison stint sealed his status as the black sheep of the family. But the case brings Edward and Amy closer than they’ve been since they were children. They learn secrets about each other, they depend on each other – even against their parents to a certain extent. But of course Edward can’t forget that she’s very likely a murderer.  But wouldn’t you try to help your little sister escape prison even if she was.

MPS: The book has a lot of twists and reveals that fit so well with the pace and flow of the story. How much was planned ahead?

JB: I used to outline novels very rigorously, 20 or 30 page outlines.  Now I just take a lot of notes and when I feel I have a good grasp of the idea (usually about 10-15 single-spaced pages of notes), I start.  So much of the plot is planned, but a lot of it develops as the story grows. I love creating characters, it may be my favorite thing about writing.  Plotting is harder, it’s like algebra problems. At a certain point the characters start taking over. They do what they’re going to do, not what I had planned for them.  If they don’t start taking over their own lives and stories, they’re not very good characters.

MPS: As a lawyer, was there anything you wanted to get across about your profession?

JB: What a village the courthouse world is.  Most lawyers aren’t criminal lawyers, most lawyers seldom or never go to court.  Criminal lawyers do almost daily. So that building is its own world. Gossip sometimes seems to be the primary business of the courthouse.  We all know each other’s business, or think we do. It’s great for storytelling. There are romances, rivalries, intrigues. It’s like high school, except they’re also sending people to prison.

MPS: What do writers who are non lawyers get wrong?

JB: One other thing I wanted to convey that non-lawyers often don’t understand about the adversarial system of trials is that people can oppose each other vigorously without being hostile.  Once I tried a case, defending someone accused of vehicle theft, and I won. It wasn’t exactly a technicality, but it was some creative lawyering, I have to say. The judge said “not guilty,” I turned to my client, he said, “What now?” and I said, “Now you get to leave.”  He thanked me and started walking out while I stayed at the counsel table. He looked back to see the two prosecutors I’d just won against converging on me and he looked anxious for me. What he didn’t see after he went out was the prosecutors shaking my hand and congratulating me.  We knew each other, we’d worked together in the past, and they didn’t begrudge my victory.

The prosecutor in Against the Law embodies that.  He and David were competitive colleagues in the DA’s office and now they’re pitted against each other.  But the prosecutor isn’t a jerk about it. He knows how important the case is to Edward, but he has to do his job.  But he does it in a collegial way. It’s not always that way in the practice of law, but when it’s done right it is.

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Q&A with Mike Nemeth: institutions as the enemy

The Undiscovered Country Cover ImageMike Nemeth uses the thriller in interesting and unique ways. He often has an institution as the enemy. With his second Randle Marks novel, The Undiscovered Country, it is the combination of family and the health care system. We talked to Mr. Nemeth, who will be at BookPeople June 16th at 2pm with Tim Bryant about how he tackles this form of crime writing.

MysteryPeople Scott: Did you know you had another novel in Randle Marks after Defiled?

Mike Nemeth: Yes, I had planned three standalone stories, all with Randle as the protagonist. Basically, a series of life challenges, told as thrillers, that illustrated the themes I wanted to make readers aware of.

MPS:  Elmore Leonard said he always liked using someone out of prison as a protagonist because they could go anywhere morally. What did that part of Randle allow you to play to?

MN: Elmore Leonard is my inspiration for dialog and pacing, so I’m happy you brought him up.

In The Undiscovered Country Randle says, “I had picked up an abiding lesson from prison: I had a license to be disinhibited. I could do most anything to survive. Everyone in prison learned the same lesson.” He had been to hell and back so he feared no punishment for his behavior. He had complete freedom, and so did I as his director. He’s the scoundrel we root for.

MPS: One could argue you took a Pat Conroy-style southern family drama and gave it a thriller plot. What about family did you want to explore?

MN: Pat Conroy? I’m blushing! Southerners have an exaggerated sense of tribe combined with a deep-seated need for self-discovery and those characteristics drive the story along.

MPS: The Georgia setting also plays an important part, particularly when Randle investigates his family’s past. Was there anything you wanted to say about the south?

MN: My friend Johnnie Bernhard, a writer from Mississippi, said it best: “In the South, the past is never past.” I wanted the ambiance as well: heavy air, sultry nights, passion always close to the surface.

MPS: What impresses me about your books is how when most crime fiction and thriller authors have their hero take on the system, it’s usually in the form of one antagonist or two, but you are able to portray the whole bureaucracy, whether the legal system or health care, as the enemy. How do approach that aspect of your novels?

MN: I personalize the institutions. In Defiled, Tony Zambrano (Randle’s lawyer), Judge Matthews-Bryant, and Lieutenant Callahan behave generically to represent the legal system but in a specific, very personal circumstance for Randle and Carrie. In The Undiscovered Country, Dr. Metzger and Dr. Kaplan are the medical establishment. So we do have antagonists, but they abide by the universal truths of their institutions. I want the reader to get the point of the story, but I always want the reader to feel that Randle is battling specific people.

MPS: I’ve heard you’re planning a trilogy with Randle Marks. Can you tell us anything about the final chapter?

I regret now calling this a trilogy because there are so many interesting challenges I could give Randle. The next installment is about the decline of the middle class in America. Randle takes a job in the high tech industry and faces the moral dilemma of whether all advances in technology are intrinsically “good” despite their impact on society. Outsourcing, automation, artificial intelligence and robotics are relentlessly stripping away the jobs on which the middle class depends. Without a super-consumer middle class, where would America be in the world order? The thriller plot revolves around the return of Carrie to threaten Randle’s life reboot and his discovery of his true identity. Of course there will be murders to solve.

 

SCOTT BUTKI’S INTERVIEW WITH RUTH WARE

Ruth Ware’s fourth book, The Death of Mrs. Westaway, is another one of her great psychological thrillers.

The Death of Mrs. Westaway Cover ImageWare previously wrote three excellent novels: In a Dark, Dark Wood, The Woman in Cabin 10, and The Lying Game. The latter two were on the top ten bestseller lists of The New York Times and the U.K.’s Sunday Times. All three books have been optioned for screen.

This book is good, similar fare full of twists and suspense. The story revolves around Hal, a young tarot card reader, down on her luck. She attends the funeral of a woman who has left her a mysterious inheritance. But it appears Hal was not truly the intended recipient which leads to many complications, plot twists and difficult situations

Ware was nice enough to let me interview her by email. My sister, Ellen Butki, helped me formulate the questions. Thanks to both of you.

Scott Butki: How did this story about this young woman develop?

Ruth Ware: I always find it hard to unpick all the threads that come together to make a story, but I suppose that having written three books about women who found themselves in a life changing situation mostly through no fault of their own, I wanted to write something about a character who brings the action down on themselves – someone who sets out to commit a crime. But I found it impossible to write Hal as a true anti-hero. She makes some questionable decisions, but I liked her more and more as the book went on. 

Image result for ruth wareSB: What do you think of those who compare you to Agatha Christie, as both of you not only are famous for twists but also for putting characters into situations that can lead to paranoia and violence?

RW: I take it as a huge compliment! I’m a big fan of Christie and I think her plots are pretty much second to none – so many of the features we take for granted about the genre today, she more or less developed. I would be very happy if I wrote something even a quarter as twisty and genre-defining as And Then There Were None.

SB: In your writing process, which do you see first: the overview (characters/setting/plot), the ending, or the major twist?  Do you add more twists while editing?

RW: It’s really hard to pick apart because they all come together more or less at the time, and different books develop differently. With Cabin 10 I had the ship first of all – the first image that came to me was of a woman waking up in the middle of the night in a locked cabin and hearing a splash. But who that woman was and what happened next developed at the same time, because the one influenced the other.

In a Dark, Dark Wood the physical entity of the glass house only came to me quite late on, about a quarter of the way into the book – but again the motives of the protagonists and their particular characters developed hand in hand. Character is plot, and plot is character. What we do and why is shaped by who we are – and vice versa. The twists are a bit separate – I have to figure those out as I go. Sometimes the pieces don’t fall into place until really quite late.

SB: Identity seems to be a common theme in your books. Is that intentional? Do you want readers to take away something about identity or some other lesson while reading your books?

RW: Do you know, I had never really thought about this before, but you are right! I am not sure why that is – except that I’m endlessly fascinated by people and the versions of themselves that they show to the world versus the people they are inside. I guess it’s that fascination showing. I don’t really write with an intentional lesson or message in mind – I would never presume to dictate to my readers what they should or shouldn’t find in my books, though of course there are always subjects I’m interested in, and I suppose I do often hope to make people think and question some of their assumptions.

SB: Do you believe that deeply buried secrets will/must always be revealed (in books and/or in life)? Where does this belief stem from?

RW: Actually, I am a firm believer in healthy repression 😉 Of course in books secrets usually come out – it’s back to that Chekovian idea of a gun above the mantelpiece. If you reveal that a character has a deep dark secret, there’s no point in putting it in the plot unless it’s going to come out at some point, otherwise you may as well not bring it up at all. In real life, though, we all have secrets – large and small – and bringing things out into the open isn’t always the right course of action. I think my books often show the enormous damage that can be done when secrets surface.

SB: What are you working on next?

RW: Another book of course! It’s a bit too early to talk about it though – I don’t want to jinx myself.

Going Home Again: An Interview With William Boyle

The real emotion and strong sense of place made William Boyle’s The Lonely Witness our Pick Of The Month for June. The book concerns his character Amy, who played a smaller role in his debut novel Gravesend, who has put her wilder ways behind her, delivering communion for the shut ins in her Brooklyn neighborhood. The job leads her to witnessing a stabbing and dealing with it in a way that both puts her in danger and has her flirting with her past life.

Bill was kind enough to let us ask him some questions about the book, it’s location, and influences.

MysteryPeople Scott: When you were writing Gravesend, did you know Amy had a bigger story in her?

William Boyle: I wasn’t thinking about a bigger story involving Amy as I was writing Gravesend but when I finished it she was a character that I really wondered and worried about. I named her Falconetti after the actress Renée Maria Falconetti from Dreyer’s The Passion of Joan of Arc, one of my favorite films, so that—just that great name—was a draw to return to her. Pretty soon after I finished Gravesend, I was thinking about the poster for Hal Hartley’s Fay Grim, that iconic shot of Parker Posey, and I imagined a book called Falconetti. I didn’t know exactly what my approach would be—I didn’t wind up starting work on the book (which became The Lonely Witness) until early 2017—but I saw Amy as some kind of cross between Sara Gran’s Claire DeWitt and Willy Vlautin’s Allison Johnson. I liked the idea of her and Alessandra having had this whole relationship that we don’t see and then she stays behind in Alessandra’s neighborhood. My grandmother’s 90 and she was getting communion delivered at home, and I just started to see that this was what Amy’s life had become. I knew some things about her past from Gravesend; others revealed themselves as I wrote.    

MPS: You dig into that noir concept of the past coming back in a unique way. What did you want to explore with that concept?

WB: In a lot of ways, I think the book is about the ghost of past identities, how we can be all the versions of ourselves we’ve ever been simultaneously. I like the double action of the title. Amy witnesses crimes, but witness also has religious connotations. The book is haunted and even driven by Amy’s tortured spirituality. It’s not just that she was shaped by the crime she witnessed as a teenager; she was shaped by her mother dying, by her father leaving, by her Catholicism. All of these things are ghosts she can’t shake, which leads to a life of trying on new versions of herself, seeking something that fits. I love the idea of having a character like her driving a noir narrative—someone that’s neither one dimensionally good or bad, but who is a complicated and confused yearner. I just watched this great film, Christina Chao’s Nancy, and Andrea Riseborough’s character in that film really brought me back to Amy in a good way. Nancy does worse things than Amy, but they’re both searching for meaning, trying to understand how to exist in the world. They’re outsiders, on the margins of normal existence.

MPS: Besides familiarity, what does Brooklyn provide for you as a writer?

WB: It’s the landscape of my imagination. I spent—and continue to spend—so much time there that I can just think of a battered house on my block, and it’ll spark a story. It’s familiarity, definitely, but it’s also the mythology of it. To think of all the stories, the way it’s changed and changing. My part of Brooklyn is not the hyper-gentrified part people think of—the changes are interesting and really speak to a lot of what’s still great about New York City. I also like the idea of the way things change around people. My grandparents were in their house for sixty years, and everything changed around them. The house tells those stories. The sidewalk out front tells those stories. The weeds in the backyard tell those stories. I like walking around and seeing old signs that have been covered up or faded away. I also feel this melancholy when I’m back there that, I think, informs everything I write. I’m interested in people who are trapped in the neighborhood, chained to it, who live—essentially—a small town life in a big city.     

MPS: Scott Phillips once told me you can only really write about a place once you left it. Does the distance help you in any way?

WB: That’s definitely been true in my experience. But there’s also something about returning to a place a certain way. I’m back in Brooklyn a lot, probably two months a year, and when we’re there we stay with my mom and we visit my grandma in her nursing home in Coney Island (where she’s been about a year), and there’s something about being there that way that’s so intense, that brings me back so fully to my childhood and formative years, that really feeds my imagination. I’m hanging out with my mother, visiting her at work, meeting people at my grandma’s nursing home, seeing neighbors, taking lots of walks up to the avenue for groceries and coffee and to-go food. I’m back on the ground. I’m seeing all the same religious statues in yards, I’m seeing the same houses, the garbage in the streets, the El rumbling by, and I’m thinking about time in a way that I never quite have. I don’t know what it’d be like if I was totally removed from it—that’s just distant to my personal experience. Frankly, it scares and saddens me to think that someday my connection to Brooklyn might be more tenuous.

MPS: All your characters are vivid, even someone at the end of the bar for one page. Do you have a particular approach when writing those “smaller” characters?

That’s one of the real joys of writing for me. There are many writers and filmmakers I admire who make the most of every bit part, but I don’t know if anyone does it as meaningfully as David Lynch. Look at Twin Peaks: The Return. You’ll meet a character once—like Max Perlich in his brief cameo—and you wonder about him and marvel at his existence in the show. That’s the kind of thing a lot of people would cut—there’s no purpose, they’d say—but it adds layers of mystery and builds the world. You can have this whole story-within-a-story that’s moving and unexpected. I think my approach with those characters is just to see them as fully as I can, to try to witness their pain, to have this whole other story under the surface that brings the world to life. In The Lonely Witness, one of my favorite minor characters is Lou, who hits on Amy at Homestretch. He wasn’t there until he was, and that’s part of the joy, too. Painting away from the edges of the scene in the name of discovery.

MPS: Will the next book be in the shared world of Gravesend and The Lonely Witness or something completely different?

WB: The next book is set in the same Brooklyn neighborhoods with some parts in the Bronx and even a stretch up in the Hudson Valley. It takes place in 2006. It’s pretty much the same world of Gravesend and The Lonely Witness, but there are no direct connections beyond place. It’s really inspired by Jonathan Demme’s great screwball noirs, Something Wild and Married to the Mob, with maybe a little Shane Black mixed in there. It’ll be out this time next year, maybe sooner. The new book I’m working on is set in my neighborhood in 1991. The one I’m thinking about for after that will take place in the ‘80s. Again, the connection there will just be the place, though there might be some very minor character crossovers here and there.                                                                                                                                                         

Interview with Joe Lansdale

CrimeReads, the new crime fiction site, spun off by LitHub and partially overseen by our former Director Of Suspense, Molly Odintz, has been getting a lot of attention in the past few months. Recently, they asked MysteryPeople’s Scott Montgomery to interview his friend Joe Lansdale. So, hopped up on medicine for Cedar Fever, Scott discussed politics, religion, and writing. Check it out if you dare to know the results.

 

 

Q&A with Ricky Bush

Ricky Bush puts his love and knowledge of the blues into his crime fiction. In his latest, The Oaxacan Kid, blues collector Foster Cane is on the hunt for a recording performed by a Latino harmonica player. His search leads to a human trafficking ring and his father’s killers. Billy will be joining author and filmmaker John Shepphird May 5th at 2PM, but we caught up with him earlier to discuss writing and music.

The Oaxacan Kid Cover ImageMysteryPeople Scott: Which came first, the character of Foster Cane or the story about the Oaxacan Kid?

Ricky Bush: My story germinated around the idea of a collector of rare blues records intent on tracking down an obscure bluesman. So, I guess I fleshed out Foster Cane first. During the ’60s a folk music revival was afoot and a lot of musicologists began discovering early blues recordings and started scouring the Mississippi Delta looking for those musicians. They recorded them and brought them out of obscurity, which launched a blues revival. The Oaxacan Kid became Foster’s target. Since few Hispanics have recorded blues, I thought I’d add that twist.

MPS: The blues world serves as a back drop for your books and you are an accomplished harmonica player. What do you want to get across to the reader about the music?

RB: Blues music reflects the human condition. The music is much more bipolar than some people realize, swinging from sad and lonely to upbeat and joyful. Yeah, there are a lot of blues about losing a good woman (or man), but plenty more about finding a good woman (or man), and all life experiences in between.

MPS: Do you see anything it has in common with crime fiction?

RB: Crime fiction is all about the blues. The genre reflects the human condition in much the same way. Plenty of blues recordings are crime stories personified. Check out Pat Hare’s version of ‘I’m Gonna Murder My Baby’ from 1954. Sad thing is that he did just that. Another good example is Lazy Lester’s ‘Bloodstains On The Wall’. That’s crime fiction.

MPS: Family runs through the novel with Foster and his antagonists both having to deal with their relations. What did you want to explore in those dynamics?

RB: You’re right. Family dynamics drive the plot and theme throughout The Oaxacan Kid. The Morenos are as tight knit as the Cane family. One is more intent on the preservation of criminal enterprise and the other is intent of the preservation and safety of the family. ‘The Godfather’ and ‘The Sopranos’ explored those dynamics in depth. The ‘Breaking Bad’ series dove into the same waters. I think just exploring how far one will go for love of family, whether it’s controlling criminal territory or the attitude of ‘not with my family, you won’t’ will always create the tension needed to drive a story.

MPS: You use Houston well. Other than familiarity what does the city provide you as a writer?

RB: I grew up sixty miles south of Houston and have lived ninety miles east of Houston for over thirty years. My wife’s from Houston, so I know pretty much know the city. Spent tons of time in the excellent blues venues in Houston and my first protagonists are blues harmonica musicians who gig in Houston and those blues clubs serve as models for my first three books. Houston is constantly dealing with human and sexual trafficking and historically has been a conduit for drug smuggling from Mexico. The Oaxacan Kid explores those themes.

MPS: If you were introducing someone to the blues, what three albums would you tell them to listen to first?

RB: Gotta start with the roots. ‘The Complete Recordings of Robert Johnson’ is essential because he’s the most influential for those that followed. Muddy Waters ‘His Best 1947-1955′. He took the blues from Stovall Plantation to Chicago, amplified it, and created the greatest blues band ever. He introduced the world to Little Walter, the greatest harmonica player-ever. Howlin’ Wolf ‘The Definitive Collection’. The Wolf’s blues is gritty, down in the alley, gut bucket blues on par with Muddy’s influence on the genre.

Q&A with John Shepphird

John Shepphird is not only an award winning crime author, he also has spent years as a director of movies in the low budget arena for cable networks like SyFy and ABC Family. He puts that to use in his latest novel, Bottom Feeders. A put upon director struggling to shoot a period drama on a shoe string budget not only has to put up with a diva of a leading lady and tight schedule, but soon someone is knocking off members of the cast and crew with a bow and arrow. It’s a classic whodunnit with a fun insider’s look at the temporary community a film crew forms. John will be here on May 5th at 2PM with fellow crime writer Ricky Bush. We found some time to talk with him earlier about crime fiction and film making.

Bottom Feeders Cover ImageMysteryPeople Scott: As somebody who worked on film sets in the past, you captured the weird bubble of a society it creates. What did you want the reader to know about film work?

John Shepphird: You rarely see the actual world of low-budget film-making represented and I thought I’d write what I know. Having directed nine TV/straight-to-video movies and hours of television, I’m part of the community of artists that create entertainment found on the fringe of your cable guide–SyFy Channel, Lifetime, USA Network and ABC Family. Contrary to what people are led to believe, there is very little glamour in movie making. You have to get up very early. The hours are brutal and schedules change day-to-day. This is especially true in low budget. There have been plenty of books, movies and TV shows depicting the world of stars, agents, limos and personal assistants. That’s all so cliché. I wrote about the people who aspire to bat in Hollywood’s major leagues.

MPS: While edgier, the mystery is in an Agatha Christie amateur-sleuth. Did a tale with a non-professional investigator in the lead present any sort of challenge?

JS: I love a whodunit. It’s the perfect balance of structure and character. That was my jumping off point. The cast and crew on a set becomes a temporary family with many similar dynamics found in an actual family, including all the dysfunction. I like to put my characters in a pressure cooker, then take a deep-dive into their best and worst behavior. Sondra, the San Bernardino County Deputy Sheriff, is the one outsider, a professional investigating the brutal murders — but she is not the primary focus to drive the mystery. She has challenges and flaws of her own and it’s her perspective that serves to escalate enlighten the story.

MPS: While the book has a unique voice and take its roots are hard planted in the traditional whodunit. Did you draw from any influences?

JS: I’d met author Michael Nethercott at the Bouchercon World Mystery Convention in Albany just as his first novel The Seance Society came out. It paid homage to Agatha Christie, but also Arthur Conan Doyle and Rex Stout. I don’t necessarily read cozies. I write dark suspense and noir, but I liked the book so much I bought copies and gifted it to friends and family. I’d been thinking about starting a whodunit but it was this book that inspired me to take a crack. Bottom Feeders started out as an exercise, then the characters took on a life of their own.   

MPS: Which character is the closest to you or someone you worked with?

JS:. Every character is derived from people I’ve worked with, and not necessarily on the films I wrote and directed but also the projects I was hired on as a crew member. Director Eddie’s perspective is probably the closest to mine as he tries to navigate the treacherous waters, and not go down with the ship. There’s a lot of things to worry about, believe me. Many who work in film and TV are very passionate about what they do. I have great respect for them. We’re all a little crazy, sure, and most of us will admit it. I dedicated this book to them.

I dedicate this novel to the legions of hard-working craftspeople and performers who have carried sandbags, set lights, cobbled together wardrobe, swung microphones, memorized dialogue, painted sets, dusted faces, pulled focus, teased hair, coordinated chaos, hit their marks, and built it all up only to tear it down again—making something out of nothing. To the dreamers and the schemers in the low-budget trenches, this is for you.

MPS: Did writing about a subject you knew so well actually present any challenges?

JS: If anything I wanted to include more of the details baked into low-budget filmmaking but they don’t necessarily advance the story. Once the action kicked in I couldn’t slow the pace to explore nuance. The technology has changed, but the fundamentals of motion picture production has remained the same–cut to the chase.      

MPS: How many times have you wanted to commit murder on set?

JS:. I’ve never had urge to kill cast or crew because they’re like family. There are a few executives and producers I’d considered taking a swing at back in the day. Ultimately nature took its course. In the span of my career three executive producers have been incarcerated for securities fraud including Jordan Belfort, the actual “Wolf of Wall Street” depicted by Leonardo DiCaprio in the film. Another producer was jailed in a surrogacy/medical-tourism scheme. The world of independent film is ripe with personalities. There are hidden agendas. Get movie professionals together and horror stories will be swapped. We’re all just crazy enough to jump back into the flame.