![]() Making movies is hard and I don't know if I'm naturally self-confident in my life. I’d edit my movies forever if I could, not because I'm trying to perfect it, only because I love investigating the different alley ways. The editing is my favourite, because I love the art of montage and juxtaposing images, trying to tell a story, and what you can say with the form. When actors and the cinematographer find a moment you could never have thought about in the abstract, when you were working on it beforehand, that’s the most exhilarating part. The shooting includes my absolute favourite thing, but they’re these isolated buoys. If it's a period piece, I want all of the verisimilitude of that to be in place, but you can start to use research as a tool for procrastinating.ĭirecting is personally one of my least favourite parts of the process, if not the least, because they back the compromise truck up to your house and you start loading stuff in. If I use the genre form, I want to contribute, or say something about that genre. I love the research and the coming up with the ideas, developing it from nothing and starting to see the movie in my head. JG: I like the bookends of the process the most, and the middle part is a necessary inconvenience. I’ve heard novelists and directors say that the joy is in seeing the work complete, not in the process of writing or directing. Even with those, writing or making films is a difficult process, and many creative types struggle with doubt and self-criticism. PR: The creative act requires confidence, self-belief and self-esteem. Everything I make is going to be on basic cable. I'm not comparing myself to those, but you do that thing and you think it's all going to be like this. JG: That’s my Rocky moment right? That's my Citizen Kane. PR: If Broadcast Signal Intrusion is downhill… They actually played it on MTV, so I peaked with my first movie, and it has been all downhill ever since. A friend and I made a spoof of Terminator 2, called Terminator 3 School Day. The first movie I made was in my freshman year of high school. Starting to go further down the road with the dramaturgical elements, the semiotics and the art of montage, it just became an obsession earlier enough. My friends would have pictures of Ken Griffey Jr on their wall, and I’d have pictures of James Cameron.Īs I was getting into the art of shot-making and telling stories, the movement in the frame, the music, the dialogue and the soundscape gave me an added dimension that I wasn’t getting with conventional drawing. It was a big deal because not only was it a phenomenal movie that holds up to this day, but there was a lot of behind-the-scenes information on grocery store newsstands. I wanted to go further than what sequential art was, and I was a fan of movies, but I was lucky that between my eighth grade and ninth grade years, the movie Terminator 2 came out. ![]() It was a dream, but I hit a ceiling of not only my own talent, but the ability to recognise that there were people better than me - my heroes. Jacob Gentry: In the early to mid-Nineties, when I was very young, I wanted to be a comic book artist. Paul Risker: Why film as a means of creative expression? Was there an inspirational or defining moment for you? In conversation with Eye For Film, Gentry discussed his love of genre clichés, having his Rocky and Citizen Kane moment early on, and his attempt to modernise the Seventies conspiracy thriller. ![]() No stranger to horror, he directed the feature film The Signal, and the made-for-television slasher trilogy, My Super Psycho Sweet 16. Gentry's previous credits include the ensemble drama Last Goodbye, which explored the connections between a diverse group of characters, including a horror actress, runaway teenager, an alcoholic preacher and a rock band and the time travel sci-fi drama, Synchronicity. Finding similar signal intrusions, he slips down an obsessive rabbit hole when he realises that they may be clues that will reveal what happened to his missing wife Hannah. In director Jacob Gentry's “historical fiction”, written by Phil Drinkwater and Tim Woodall, video archivist James (Harry Shum Jr.) discovers what he believes to be a broadcast signal hacking. Those behind the hijacking were never identified. Broadcast Signal Intrusion Photo: Courtesy of Fantasiaīroadcast Signal Intrusion is inspired by the Max Headroom signal hijacking of two Chicago television stations in 1987.
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