Diane Foster, Allison Lobel & Kelly Grant - Behind the Scenes of 'Easter Bloody Easter' - Coast To Coast Creatives

Episode Transcript
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Joe Funk (00:09):
Welcome to Coast to Coast Creatives, a podcast for
and about working professionalartists within the entertainment
industry.
I'm Joe Funk, and here weinterview actors, directors,
photographers, writers and many,many more.
Today, we'll be chatting withDiane Foster, alison Lobel and
Kelly Grant.
Together, they form thecreative powerhouse behind the

(00:32):
upcoming film Easter BloodyEaster.
Alison discusses the writingprocess for this film and how it
feels to watch her firstfull-length screenplay be
brought to life.
Kelly, stepping into the roleof producer, talks about the act
of juggling the technical andartistic sides of production and
how her role as an actorinformed her judgment in her new

(00:54):
role.
And Diane, the director andstar of Easter Bloody Easter,
provides insight ranging fromthe hiring of department heads
to seeking domestic andinternational distribution.
Please check out the links inthe show notes to see how you
yourself can watch this film,and please be sure to go and
pre-order your copy today oniTunes.

(01:14):
All right, let's dive on in withDiane Allison and Kelly of
Easter Bloody Easter.
We are now rolling.
Everything you're saying isrecorded and can be used in a
court of law.
Welcome, everybody.
How are we all doing today?

Diane Foster (01:32):
Awesome Great.

Joe Funk (01:35):
I love it.
I love to hear it.
You're all calling in from LosAngeles, los Angeles area, and
with us we have Diane Foster,alison Lobel and Kelly Grant.
How, how is it going?

It's amazing.
It is a whirlwind experiencereleasing a film and we are
moving and grooving and talkingto a million people and it's
amazing.
It's amazing, very, verygrateful.

Allison Lobel (02:00):
Yeah, I've never experienced anything quite like
this because, yeah, I've beenworking on many indies
throughout the years but neverhave gotten like press and like
a big premiere.
So it's really just so exciting.

Joe Funk (02:12):
I can't wait and the premiere is the end of March,
correct?

Yes, at the New Art Theater.

Joe Funk (02:20):
And this has been quite a process, especially for
you, allison, because you arethe writer of this project.
How long have you been workingon Easter, bloody Easter?

I wrote it in 2020.
And it took me probably likethree months to write.
And then I showed it to Dianeand Kelly and they really loved
it and we're like let's makethis movie.
And I spent probably about twoor three months doing more
rewrites in 2021.
And yeah, then we shot it andnow it's coming out.

Joe Funk (02:50):
I love that.
I'm so excited.
So many people have thosestories about writing and
creating projects during theCOVID times, during the lockdown
times, when it's like I havenothing else to do.
I'm locked in my apartment.
What can I do to be creative?

Exactly.

Joe Funk (03:05):
And you two, you three of you, you, you have worked
together, known each other foryears now.
Give us a little bit of abackstory on your relationship.

Yeah, we have known each other a long time and
have worked together severaltimes and it's just been amazing
.
We met at acting school inBeverly Hills and we actually
did a play together in BeverlyHills and San Francisco and that
sort of set everything offbecause we loved working
together so much.
And both shows went really,really well and we were like we

(03:35):
want to keep doing this andactually at first we were going
to take it on the road.
We were talking about doing theplay in Texas, we were talking
about doing it in New York, andthen the pandemic hit and we
were like, ok, we kind of haveto shift because we can't do the
play anymore, because you know,nobody can go out and see us
and you can't be in a publicforum.

(03:56):
And then Alison wrote the movieand it was just sort of the
perfect balance of everything.
It was the experience that wehad working together on the play
and then her incredible,beautiful mind of making this
world of Easter, bloody Easterand, you know, putting them
together.
It was really exciting to thengo on a journey of making a film

(04:19):
together, which is a wholedifferent thing than doing a
theatrical production.

Joe Funk (04:23):
Oh yeah, very, very different experience, and you
all wear multiple hats on thisproject as well.
Let's go down the line andexplain your various roles
within Easter, bloody Easter.

Okay, I guess I'll begin.
I am the director, star of thefilm and producer, and the
production company that I have,wally Bird Productions, was the
one who put the movie together.

Hi, I'm Alison Lobel and I'm the writer and I'm
also an actor in the film and aproducer and actually composed
a couple songs.
But we have an amazing composeralso who did the rest of the
music, mark Vogel.
He is incredible and he madethis incredible tapestry of
scary sounds for all themonsters.

Joe Funk (05:07):
Yes, I saw.
I saw some something in writingabout the music and I can't
wait to get into that later.
And Kelly, how about you?

Kelly Grant (05:15):
I'm Kelly Grant and I wear the hat of actor and
first time producer.

Joe Funk (05:21):
Amazing.
So, yeah, you're all balancingso much within this project and
this, this sounds like quite aunique project.
Let me let me direct thisquestion at you, allison, since
you are the writer, withoutgetting into any spoilers, give
us a little overview of the plot.

Sure, easter Bunny Easter.
It's a horror comedy about anevil Easter bunny, a jackalope,
destroying a small town, texas'sEaster celebration.
So yeah, they get warningsabout these evil bunnies that
are coming, but they put on theEaster celebration anyway and
there's a lot of gore and deathand hilarity that ensues.

Joe Funk (06:01):
I think it's funny when I hear you describe these
scripts that you work on.
I've talked to you aboutseveral of your scripts before
and you are just such a lightbubbly person and then you come
out with there's comedy, but youcome out with some horror films
, so there's some gore in there.
Where does this come from?

It's a good point .
I'm actually a scaredy cat too,so I can't watch really scary
movies.
But I think that's the reason Ilike writing horror is because
the way my brain works is anoveractive imagination, and so I
picture the creepiest, grossestthings, and so I can put them
on paper very easily, becausethey're what keep me up at night
.
And actually that's how I gotthe inspiration for this film.

(06:43):
It was during the pandemic.
I was taking a bath and I heardlittle skittering noises on my
rooftop and I was like listen,it's probably a tiny little
animal, but it was creeping meout so much and I was like
that's fun.
It's fun when something smalland sweet can be so scary.
And I'd heard at some pointthat it's really good to write a
holiday movie because they'rereally easy to pitch out,

(07:03):
because streamers are alwayslooking for them, and so I was
like you know what that could be?
A bunny on the rooftop.
And I just flowed with that andI was like I'm gonna make a
scary bunny movie, do you?

Joe Funk (07:13):
do you have?
This is for all of you.
Do you have a favorite holidayfilm, like a nostalgic film that
you look back on?
They're like oh, this remindsme of Christmas, this reminds me
of fourth of July is.
Do you have any favorites?

Oh, my gosh For horror in particular, or just
any in general.
Oh yeah, I mean absolutely Forme.
I Halloween is, you know,classic, obviously to watch at
Halloween, but also, like I lovehome Alone, I literally watch
that every Christmas, like I'm alittle kid, like I just love

(07:48):
that movie so much.

Joe Funk (07:50):
Oh yeah, Can't go wrong there.
How about you two?

For me probably.
Hocus Pocus is one of myfavorite Halloween movies and,
joe, you and I have watchedMuppet, christmas Carol that's
got to be my favorite Christmasmovie of all time.
Oh, I love that movie too, yeahFor me.

I watch like every Christmas movie every year and
all the bad ones that come out.
But Elf, I think, is Christmasfor me.

Joe Funk (08:15):
I love it.
I love it One of my favoritesand the tone, just from watching
the trailer kind of reminded meof this.
I love and we've probablywatched this together.
Allison I love Krampus kind ofreminded me of this.
I love and we've probablywatched this together, allison I
love Krampus.
It came out seven or eightyears ago, a Christmas horror
film with a lot of camp and alot of humor in it and a lot of
practical puppets and thingslike that.

(08:35):
It's like, oh, this just looksright up my alley.
Yes.

I love that comparison.
That is perfect, exactly.

Joe Funk (08:44):
Yeah absolutely.
That's a.
That's a Christmas staple ofmine.

Every year I force somebody to sit down and
watch Krampus with me becauseit's so good and this is a
tangent, but I was in NewZealand and we went to the Weta
workshop where they built allthe stuff for Lord of the Rings.
They also did Krampus and so wesaw some of the practicals for
that and I was blown away.
I love that movie because ofhow they used the puppetry and
everything.
We definitely leaned into thatin our film as well.

Joe Funk (09:10):
It's a lost art form of puppetry and miniatures
within filmmaking.
In my opinion, here in Atlantathere's a museum here that is
like the National Museum ofPuppetry, where they have all of
the Henson, dark Crystal,sesame Street, everything like
that.
So if you're ever in Atlanta,come check that out, because

(09:31):
it's really cool to see all ofthese puppets, all of these
animatics and things like that.

So yes, I would definitely go there.
That sounds amazing.

Joe Funk (09:41):
Yeah, check it out.

I'm totally into that.
We used all practical effectsin Easter, bloody Easter.
We had um Jesse Velez of Raptorhouse effects who did our demon
bunnies.
He created the hand um onWednesday Netflix.
Oh cool, yeah, which wasincredible to have him and and
all these you know, demonpuppets.
And then we had a couple ofdifferent, um, wonderful special

(10:04):
effects People.
Then we had a couple ofdifferent wonderful special
effects people create thejackalope costume for that
character, and again, all of ourblood was done in camera.
All that stuff.
You know, I grew up watchingthat kind of stuff and it was
really important to do it incamera and not, you know, have
to rely on it.
You know, doing it in post.

(10:24):
I think there's somethingreally special about seeing it
done when you're doing it incamera as opposed to afterward.

Joe Funk (10:32):
Yeah, let's talk a little bit about that Because,
like we said, it's kind of alost art form and a lot of the
reasons why they move towardsdigital effects is budgetary
reasons.
It's because, you know, we cancreate this amazing, amazing
landscape, the CGI landscape ona computer, or we could have

(10:52):
these technicians working on allof these miniatures and that
could take weeks or months toget that final, final image.
So when it came to EasterBloody Easter how did that
factor into the budget and howimportant was it to bring those
practicals to life on screen?

Yeah, it was really important to do it in
camera because I think that thenature of the film is very much
quirky and we wanted, you know,we wanted to up the camp value
certainly of the film and Ithink doing it in camera, as
opposed to doing it in post,really elevated all of the

(11:32):
different kills Definitely.
And I think you know, budgetwise we were really lucky
because we got incredible peopleto do our special effects who
really know what they're doingand wanted to do it, and we
talked through every single kill.
We talked through, you know,how each thing was going to be
laid out, how it was going tohappen.

(11:53):
And you know, I think, thatoriginally there were some
things that Alison wrote thatwere amazing.
I think at one point, like thewhole town was destroyed and it
was, like, you know, stevenSpielberg style, and I was just
like Alison we can't do it thatway.
We cannot have the airplane hitMulver, texas, you know.

(12:14):
So we had to kind of dial backsome of it and we figured out a
way how to do it that would workfor our budget but was also
really exciting for the audienceand that, you know, we were
able to really hit.
Those things have a high killcount, as they say, which is
important, certainly in horrorfilm and and really just bring

(12:35):
the magic of practical effectsto this film.
And we are so grateful to theartists that we have because
their talent really shinesthrough on this and it was
important for us to do that.

When you have a character that's CGI, it's a lot
harder to like, latch onto it,and I think it's so much more
fun to have a villain that'slike real and solid and like the
bunnies are actual creatures.
So, yeah, I always find it moreinteresting watching practicals
than CGI.

Joe Funk (13:03):
Yeah, that's exactly what I was going to bring up.
You all have an actingbackground so I'm sure you
appreciated having that physicalinteraction on set versus.
You have to go in as thedirector, diane, and say it'll
be here later, we're going tohave a monster here later.
Kind of use your imagination.
It's such a different game tobe interacting on set even if it

(13:23):
is with a puppet.

It was more fun that way, like even the
jackalope, like he was a bighuman, and then in the costume,
like it was easy to react to him.

So I appreciated that, that effect yeah, he was
like seven feet tall with thecostume on because it's so huge
and then it has ears and youknow, horns and all of that
stuff.
And it was really cool becausehe was Jamie Klein, who played
the Jackalope, did all thephysicality of the Jackalope,
and then Miles Cooper, whovoices the role, was there on

(13:57):
set and he was reading thedialogue right next to camera as
Jamie was doing the physicality, and that really allowed us to
interact with him and reallyplay and I think, at the end of
the day, that's that's reallywhat it's about.
Creativity is about playing andwe we were able to do that
because, you know, everyone wastotally in and was like let's,

(14:20):
let's go there.
You know, this is a giantjackalope and we are talking to
him.

Joe Funk (14:28):
I love it and you've brought all this nightmare fuel
to life.
Alison, Thank you so much formaking your own personal
nightmares, a feature film.

You're very welcome .

Joe Funk (14:33):
I appreciate it, and we're kind of delving into the
world of producing.
Kelly, I'd like to hear alittle bit about.
You said this is your firsttime producing, correct?
Yes, how did you find both thebalancing act of acting and
producing?
But how was producing overallfor you?
How was the experience?

Just a huge learning experience for me and,
like Diane has done this in thepast, so like watching her and
like all these moving parts thatshe had to keep track of, and
like we were in productionmeetings.
So usually as an actor, I justhave to worry about my, my line,
scripts and when I need to beon set.

(15:16):
And now it's like, oh, there'sso much before shooting, like we
had meetings every week and youknow the script was changing a
lot and locations, so it was alot of work really.
And just going back to Diane, Idon't know how she does it
because it can be overwhelming.

(15:36):
I'm like how do you keep trackof all this?
So, being a very organizedperson, I think matters as a
producer.

Joe Funk (15:43):
Yeah, nice person I think matters as a producer.
Yeah, and which aspect ofproducing did you find the most
surprising?
As far as surprisinglydifficult, something like I
didn't think about this aspect.
What part of the producing madeyou stop and pause and be like
well, now I have new respect forproducers everywhere.

I think it's everything that can go wrong and
you got to be a fixer.
Well, I think it's everythingthat can go wrong and you got to
be a fixer.
So, because that you can'treally prepare for that, you can
go in as prepared as possible,but then you also have to have a
cool head, and it's neverespecially watching Diane, it
was never.
We can't do this.
It's how are we going to do itand how are we going to move

(16:21):
forward.
That was always the mindset, soto me, that was like the
biggest learning thing that Igot from it.

Joe Funk (16:28):
I imagine you have to put on a really good face and
not show, oh no, how are wegoing to figure this out?
How are we going to puzzle thisback together?
The rest of the crew has tolook at you and be like, no,
they got it covered.
They understand what's going on.
Diane, one more time, all ofthese titles that you had.
List them out for us, please.

Okay, hi, I'm Diane Foster and I am the
director, star producer andproduction company for Easter
Blood Easter.
This is my feature filmdirectorial debut.
Yes.

Joe Funk (17:03):
Okay, tell us about that.

How has the experience been, Honestly, the
most amazing thing other thanbeing a mom.
Truly, this has been the mostamazing experience ever.
And when Alison wrote thescript, she said to me I want
you to direct this.
And I was like what?
Oh my gosh, really me, and youknow, I just have been producing
forever and I have done, youknow, music videos that I've

(17:28):
directed and things like that.
And I really appreciated thatso much because it gave me the
confidence to to move forwardand say like, okay, I can do
this.
Somebody who I love and admireso much and in Alison Lobel, who
is supremely talented and justan amazing person, um, you know,

(17:49):
believes that like I can takeher script and like, make this
world on film.
And, um, I loved every minuteof it and I'm like now I'm like
a director monster, I'm like Ican't stop, I want to do, I want
to do every, I want to directevery movie ever because it's so
exciting.
It really is, and I think thatmy type of personality lends

(18:11):
itself to directing.
It really does.
It's like I love it.
I love working with actors, Ilove talking to the crew, I love
creating a world and, um, it'sjust, it's something that I've
really found in myself.
It is, it is a lane for me thatI'm I'm really excited to
continue doing, and I cannotwait for audiences to see this.
I think what Allison wrote, andthen you know me being in the

(18:35):
director's chair and being ableto, you know, bring it to life.
It was a really incredibleexperience and I just want to do
more and more.

Joe Funk (18:44):
I can't wait for you to do that.
And, and what was the mostdifficult thing, between
specifically jumping, betweenacting in the project and
directing, how do you, how doyou, juggle those two roles?

Yeah, I think that was the most challenging part,
was sort of, you know, goingback and forth with that,
because you know Jeannie, therole of her, I mean, she's a
very dynamic woman and she has alot going on in this film.
So it wasn't just kind ofstepping in front of the camera
and just reading lines.
It was a lot of work to, youknow, create this woman and her

(19:18):
world and all of that.
And I think, you know, honestly, having a wonderful team that I
trusted was really important toknow that I can be in front of
the camera.
And you know, we worked formonths and months in
pre-production and really andtruly I say this to anyone who
is making a film you must dothat work, you must do that

(19:40):
foundational work inpre-production, spend as much
time as you can before you everstep foot on set, because those
relationships that I created inpre-production were vital to me,
trusting that I was going to dothis scene and I can say, can
we move on?
And that we've got it Okay,great, we can move on next.

(20:03):
And if I didn't have thatfeeling with all of the team
that we made duringpre-production, I would not have
been able to be comfortableenough to then say, okay, we can
move on, and then once I get tothe edit room, oh no, like,
what do I have?
So I knew, going into it, okay,I feel really good about this,

(20:24):
my particular portion, I canmove on.
There were definitely sceneswhere I was like I want to see
playback, but on a film likethis we don't have a lot of time
to do that.
So I had to trust.
I can't watch every scene.
I do, you know, I couldn'twatch it back over and over
again.
So I just needed to myself,first of all, be prepared as an
actor and do my due diligence ofwho I was as this character of

(20:47):
Jeannie and then be able to justflip that hat back and forth of
like, okay, cool, we got itmoving on, and then come behind
the camera and watch the actorthat I just acted with and then
direct them.
So it was, it was exciting and,honestly again, I think with my
type of personality, it just itworks.

(21:08):
So I love that, I love thechallenge and, um, you know I
would do it a million times overagain.

Joe Funk (21:15):
Yeah, I think that the key takeaway from there is the
trust that you have in yourco-stars and your department
heads.
Kevin Smith, the director,always says that the best
directors are the people thathave complete trust in their
department heads.
They say, ok, you are artdepartment, you're going to
bring me the best ideas and I'mgoing to say yes or no to this.

(21:37):
We're going to work me the bestideas and I'm going to say yes
or no to this.
We're going to work togetherand move forward.
But it's bringing the directorsome of some of your best ideas
and then yes, or knowing thoseand passing on those if you have
to.
And I'm sure you've alreadyassembled such a, such a great
team from being the head ofWally Bird.
So how many of these crewmembers have you worked with
previously?

Well, interestingly enough, some of
the department heads I hadworked with on other Wally Bird
productions and I knew, ok,these people are going to be
really great to to work withagain, especially like the hair
and makeup team.
A couple of the producers wereactually people that I had never
worked with before in thatcapacity.
I had worked with them, maybein a different capacity, maybe

(22:21):
they had done different roles ona film and I saw, okay, you
know, these people are reallyengaged and they give their all
to it and that was a key factoras well, and I think it really
came down to, you know, everysingle person who stepped foot
on set.
We interviewed prior to themactually stepping foot on set.
It was really important to bringa certain kind of energy to the

(22:44):
set.
You know we were going to beworking long hours and because,
you know, I had to wear so manyhats and because Allison and
Kelly also had to wear so manyhats, it was really important
that we had a very cohesive teamthat was like, ok, we're all in
, I'm going to pass thisfootball and you're going to
catch it and run to, you know,the end of the line there and

(23:07):
score a touchdown.
Like it was important to to dothat with people who know more
than me and you know, if you cando that, then you're you know

(23:30):
you're golden because you knowthese people are bringing their
expertise and their passion forit and I really think that was
the thing.
At the end of the day, some ofthe people we knew, some we
didn't, but we worked again alot in pre-production to really,
you know, ensure that once wegot on set, we were, you know,
we were going to be able to takeany challenges that came to us

(23:51):
head on.
And sure, at the end of the day, things are constantly changing
on a film set, but we wereprepared, going into it and we
had those relationships of youknow we're working, you know,
every single week, getting onZooms and talking to one another
and talking this through.
That we had that trust movingforward, going into it

(24:12):
conversations, how Wally Bird is.

Joe Funk (24:17):
I think you describe it as being committed to
fostering diversity and equalityacross the board.
Can you talk a little bit abouthow that was accomplished on
this production?

Yes, that is vital to the mission of Wally Bird
Productions.
We want to see, both in frontand behind the camera, people
who are diverse.
We want to see a lot of females, both in front and behind the
camera, people who are diverse.
We want to see a lot of femalesand we were able to do that on
this film.
We were actually awarded thereframe stamp from Women in Film
, which is a collaboration ofthe Sundance Institute and IMDB,

(24:49):
for having gender parity.
We were incredibly lucky andgrateful to have a 95% female
identifying crew and we alsohave a very large cast.
We had a lot of females in thecast as well and it was just
great to look around and be like, wow, look at all these badass

(25:11):
females on set every single daywho are just bringing their A
game.
And I just love, love it so muchbecause I think, historically,
women a lot of times our storiesare written by men and it's
just hard to actually go likewait a minute, that doesn't feel
right because that's not how welive it, because we actually

(25:34):
live in those shoes every singleday.
So I think being able to notonly give opportunities to the
stories of women, but also tothe roles in, especially
leadership positions, is soimportant, vital to my mission
at Wally Bird, that we are, youknow, moving that needle forward
and making sure that women areseen and heard, and we are are

(25:57):
hearing their stories and we aregiving them the opportunities
that they don't normally get.
And I just want to keep lookingaround my sets and seeing
incredible, diverse females allthe time.
We're going to keep doing thatat Wally bird and I'm so
grateful that we did that onEaster bloody Easter and also
that we were, you know, seen forit from the reframe stamp from

(26:21):
Women in Film.
That's a huge, just a hugeaccolade to get, especially with
all the films that they do givethat to, so we're really
grateful to have it.

Joe Funk (26:32):
Congratulations on that.
And it is more difficult thananyone could imagine to have all
of these departments filledwith women, because the
breakdown by department ispretty vast Men versus women,
like the percentages.
I remember when I worked at theDirectors Guild we got the

(26:52):
breakdown of the directors andthose were closer to equal.
But then we also got thebreakdown from the
Cinematographers Union and thatwas like 95% men, male DPs and
5% women.
So it's amazing what you'redoing.

Thank you so much.
Yeah, the numbers are actuallyhorrifying.
It's like watching a horrormovie.
It's like wow, and I think youknow, year after year, it just
you know, it's, you know, wewant to have females in this
position and we're like goingthrough the weeds trying to find

(27:42):
them.
Um, because the numbers are sosmall.
Um, and Alexa Cha, who is ourcinematographer.
It was her first feature film.
She has now gone on to, uh,work at universal music group
and she does all kinds of musicvideos for huge pop stars.
And to see her go from, youknow, her feature film debut as

(28:06):
a cinematographer to now doingwhat she's doing, it just it
lights me up and I love that.
And just seeing all theincredible women that we worked
with and what they're doing.
And you know, it's really aboutthe women who have come before
us, who are the trailblazers,who have been able to allow us
to be in these positions.
And I think, you know, as longas I live, I'm going to continue

(28:27):
moving that forward for thewomen that are behind me and
also for the women that havecome before me to say thank you
for, you know, giving me theopportunity to be in this
position.
It really means a lot.
So, yeah, we have to keep doingit and if you are in a position
to be able to hire people,really think about that, that

(28:49):
you want to, you want to givewomen and you want to give
people who are diverse anopportunity, because you know
they don't normally get to do it.

Joe Funk (28:57):
Yeah, exactly.
And, allison, I want to knowhow does it feel to see your
script transformed from the pageinto a full production, and
were there any moments that wereparticularly surreal on set?

Yeah, it was very cool.
I've written many things butI've never had anything produced
before, so it was one of thecoolest things was just the
first day showing up and seeingall these people working
together to make something thatI'd written like just seeing all
the tents get set up and likepeople in the costumes and
makeup and all the artdepartment and everyone who'd

(29:36):
read my script and imagined whatit would be.
And nothing was exactly how Iimagined it would be.
But it was just even betterbecause there were so many
different minds and creativeideas that were forming.
That was like grander than Icould have ever imagined.
And I think the most rewardingwas the first day I saw the
jackalope on set and just beinglike, oh my God, this monster is
is real, I imagine it and nowhe's here, like that had to be

(30:00):
the coolest thing that's everhappened to me.

Joe Funk (30:02):
So, yeah, just it was just unreal seeing my script
come to life and we we mentionedearlier that with with the
script, diane said well, we, youknow we can't have what.
Was it?
A helicopter crash?
What happened?

I don't know if we specifically had a helicopter
crash, but we did have a a big.
The whole town got destroyed.
We did have a motorcycle jumpover a cliff and that had to go.

Joe Funk (30:25):
Yeah, I want to know how that is going to affect your
screenwriting moving forward.
Do you still want to shoot forthe stars?
Are you going to try to be alittle bit more pragmatic with
your scripts and have thatadaption process and figure that
out with the budget?
Where are you going to fall nowas a writer?

That's a really good question.
I think, yeah, I like in afirst draft to just like let my
mind go where it wants to go andjust feel it and like not worry
too much about budget.
But having said that, I'veactually already written the
sequel to Easter, buddy Easterand I would say it's quite a bit
cheaper than the first one.
Like it's going to be huge andgrand and amazing.

(31:06):
But I think I do have a morepractical mind for what costs a
lot of money and I think,subconsciously, I must have
thought about that while I waswriting this, because I'm like,
oh, I actually have thoughtabout that while I was writing
this because I'm like, oh, Iactually have less locations
this time and thank goodness youdidn't destroy the town and I
didn't have a helicopterbuilding.

Joe Funk (31:24):
Thank you, You're welcome.

Diane, yeah, so I think I still like to go where
my mind goes, but I think I havea better idea of what budget I
actually have going forward.

Joe Funk (31:36):
Any other genres that you want to dabble in?

I actually am currently writing a kind of
enchanted kind of movie.
I worked as a party princessfor many years, and so I am
writing for the first timesomething that is not horror at
all.
It's pure comedy, fish out ofwater kind of film.
So that's been fun.
I keep wanting to throw in someblood or some murder and I'm

(32:00):
like this movie doesn't needblood and murder.
It's a different thing, andyeah, so I've been dabbling in
that, but I think I'll alwayswrite something funny.
I think that's just what I liketo do.

Joe Funk (32:11):
Jumping off of that, let's talk a little bit about
bringing Kelly on board as aproducer, our first time in this
role.
What was the conversation thathappened between the two of you,
and why now for producing onyour end, kelly?

I think the three of us I don't know this again
came from the play and then itwas just always the three of us.
We're always like we're doingthis, we're moving this forward,
and I wasn't really expectingto be a producer but Diane and
Allison have always like kept methere and I was willing to.
I was excited to learn Like Inever had quite the thought of

(32:49):
producing or the opportunity.
So I don't know if it was evera conversation you got.
It just kind of happened and Iwas like OK, let's go.
I have a lot of more learningto do and a lot more watching
Diane do what she does because,like she said, it does take a
personality to do it.

(33:10):
But I did like it.
I liked being a part of, I likeseeing the movie like from the
ground up.
That was really exciting.
So I like being involved, Ithink that from the very, very
beginning and just seeing thiscome to life, because it's kind
of it's amazing, like how amovie ever gets made.

(33:32):
Oh yeah, it's a miracle.

And I will say Kelly is an amazing producer,
because Kelly is a great personand she keeps great
relationships, and that's reallypart of being a great producer

(33:55):
is, and I think she doesn'trealize what an amazing producer
she is, as well as an amazingactress and just a beautiful
person, period.
So I hope that you continuedoing it, kelly, because you're
absolutely fabulous and, by theway, we have a lot more of these
Easter films to make, so youare definitely producing those

(34:16):
as well.

Joe Funk (34:19):
Sounds like you're coming back, kelly, I think so,
whether you like, it or not,you're a producer now.
Yep, it's in me now let's talka little bit about the
distribution process.
For a project like this,distribution is one of the most
daunting aspects as a filmmaker.
It can stop a lot of creativesfrom even taking a chance on

(34:42):
their projects.

What was the distribution process like for
Easter, bloody Easter for thisfilm and filmmaking and I
learned a lot through thisprocess.
Yes, I, you know, run WallyBird Productions but never had,
quite you know, the trajectoryof doing it, from inception all

(35:06):
the way through distribution,and it is a ton of work and it's
a sort of like a mystery.
You know, you make a movie anda lot of people don't talk about
distribution, they really don'tgo into the ins and outs of it,
because there is so much to it.
You know we spent, you know weshot for it was almost 20 days,

(35:28):
something like that, which is,you know, pretty standard for an
indie film and then we spentabout a year and a half in
post-production and the moviewas actually done in 2023.
It was done last year, but I hadhired sales agents to come on
board the film, because my ideafrom the beginning with this

(35:51):
film was, you know, I had done alot of film festivals,
certainly with all the otherfilms at Wally Bird Productions,
but really this film was likewe want to go direct to
distribution and we want to bein millions of households all
over the world and in order todo that, we wanted to obviously
get a sales agent on board rightaway and I had taken

(36:13):
distribution courses and thingslike that on online platforms.
Stage 32 is an amazing one, soI knew that going into it, so
hired the sales agent and theywere like you know, this movie
is wonderful, they loved it andit's going to sell really,
really well, but we have to waituntil 2024 for it to come out.

(36:36):
So it was a whole nother year.
The movie was already done, butwe were just kind of in a
waiting game of making it happenand, of course, everyone was
reaching out like when's itcoming out?
When's it coming out?
And I'm like just be patient.
And I think that's the otherthing is like as a filmmaker,
just like you know, stay true tothe vision.
Don't let people push youaround of like it has to come

(37:05):
out now, do it when it'ssupposed to and do it do it
right.
And, um, you know, the amazingthing about this film is that
every distributor that we wentout to I would say almost every
distributor we went out towanted to put the movie out.
Um, and even when I went out tosales agents, it was like I
contacted them directly and theyall were like we want this
movie.
And what a thrilling, amazingthing to hear yes, yes, yes, yes
, especially in this business,because you normally hear no all

(37:27):
the time.
So I knew we had somethingreally special, you know, going
through that process.
So once we had the sales agent,it was really, you know, up to
them to then sell to.
You know, find a distributorwho was going to put us out
essentially worldwide.
And you know, we're coming outwith Gravitas Ventures in

(37:48):
America and then we are, we alsosold to Latin America, we also
sold to the UK, so we will bedefinitely in those this Easter
and then, you know, we're goingto be in every territory in the
world.
It's just a matter of time andgetting out to those places.
So the process is long, you know, and I think the thing that

(38:10):
filmmakers need to know aboutthe process of distribution is
there's a lot of delivery and alot of technical aspects to
distribution yes, your film, butthere's also other things
clearance, title reports,captions, subtitles.
There's all these things thatyou don't think about when you

(38:30):
are making a movie and then youhave to kind of do that on the
other side and you're like oh, Irealized I need to do this,
which also costs money.
It is not cheap to go throughdistribution.
So there is a whole process andyou have to, you know, be
cleared and there's allcontracts and all these kinds of
things.
So it really is very much thebusiness of show.

(38:52):
So I think it's important forfilmmakers to understand that
and I really want to dive deepinto that more and and obviously
happy to talk to you about itfurther, but also like just to
talk to other filmmakers aboutthe process of distribution,
because there really is a lot.

(39:13):
See it, you know you have yourdistribution, you get that, you
get your distribution partnersand then you have to plan a
release, and that release isyour publicist and the people
that are marketing the film withyou from the distributor.
So there's teams of people thatare it's their job to do this.

(39:33):
So you're constantly meetingwith them and talking to them,
and it's about taking the brandof the movie and then putting it
out worldwide to audiences, andwhat does that look like?
So distribution is, I would say, sort of like the sixth tier of
filmmaking, um, and it reallyis part of the process and you,

(39:54):
you, you have to be willing togo through it and do it, because
it does take time, energy andmoney to do that.
So, knowing that, movingforward and going into your film
, these are going to be thingsthat you have to do.

Joe Funk (40:09):
And I imagine you also have to battle some of the
stigma of left brain, rightbrain, artistic versus technical
.
A lot of people will say I'mjust the artist, I don't really
want to dive into the businessside, but to be successful you
got to blend both of thosetogether, correct?

Absolutely and also really being able to
separate you as the creator andespecially for me on this film,
as the director and sort of whatI envision and that creative
part, and then also the producerside, which is like, well, you
know, this is the way that ithas to be or this is the way
that you know they're wanting topresent it, and sort of melding

(40:53):
those two things together andnot being emotional about it.
You know you really have toremove the emotion when making a
film, you know.
You know you're creative andthere's a lot of emotions that
come with that, which isbeautiful and wonderful.
But as far as this being abusiness which it is show

(41:13):
business, you have to you reallyhave to, you know, have your
head on straight of oh, this is,this is what it has to be and
this is how we're going to moveforward with it.
And just being able to separateyourself really is is really
important and not take thingspersonally, I think is the
biggest thing.
And you know we are releasing afilm and there's going to be

(41:33):
people who love this movie.
There's going to be people whoabsolutely hate it and you know,
going into it, going like wemade what we wanted to make and
we love it.
I love this movie so much itmakes me laugh hysterically when
I just even think about some ofthe scenes, and I'm excited for

(41:56):
that and I know that audiencesare going to love it.
But you always have people inthe mix.
Not everybody loves everything,and that's okay.
I don't love everything.
So being able to separateyourself and go, I'm not going
to take this personally.
It's not for everybody, andthat's okay.
I don't love everything.
So being able to separateyourself and go, I'm not going
to take this personally.
It's not for everybody, andthat's cool.
But I know the audience, whothis is for and that's who we
made this movie for.
We made this movie for us andwe made that for them as well.

Joe Funk (42:19):
And when you're talking about having to
disconnect yourself from some ofsome of your emotions when it
comes to the artistic product,I'm curious, allison, did you,
did you have to do a lot of thatwith presenting this script and
saying, well, this has to bechanged, this like I like this,
we'll keep this.
Was it difficult for youemotionally to see this in the

(42:41):
development process, the pre andthe production?

Definitely.
I mean, it's always hard toseparate yourself from your art.
But yeah, I had a really goodteam with me giving me notes and
oftentimes I'd get some notesand I'd be like I don't know
about that.
And then I think a couple daysand I'm like, oh, they're
totally right, I definitely needto change it.
So yeah, the script changed somuch.
In the months leading up toshooting.

(43:05):
I was writing all the time andat first it was really.
It was hard and I think it mademe a much better writer to be
able to like disconnect a littlebit and just like look at the
film practically as opposed tolike it.
Being my child and I'vedefinitely done that more since
writing this film because I'velearned not to look at it kind

(43:27):
of as I would as an audiencemember you know the way I'll
watch a movie and be like, oh, Iwish they'd done this and this
and this, and thinking aboutthat with my film I'd be like
how would I feel if I weresitting down and watching this?
Would I be kind of bored?
At this point, it definitelyhas helped me a lot as an artist
to be able to go in things alittle more practically, as well
as being able to jump in and beon the journey and just be the

(43:51):
artist.
So like it's good to have both,to be able to look at things in
all the different ways.

Joe Funk (43:56):
And you always hear people say don't go into
business with your friends,don't lend money to your friends
, don't do creative activitieswith your friends, because you
never know what sort of wedgethat that can cause within
friendships.
For all three of you, how wasdealing with being friends and
being professionals and artists?
How did those all blendtogether on this project?

I mean it was wonderful.
Honestly, the pre-productionstuff was stressful.
Going into it, like I was likeI've never done anything like
this before, but the minute wewere all on set together it was
the funnest thing I've ever donein my life.
Like everywhere I looked, I waslike I love that person, I love
that person and everyone isworking their asses off and it
was one of the best filmexperiences I've ever had.

(44:40):
Being on the set Like it wasjust an absolute joy.

Yeah, I agree with Allison Like every day was just
a all.
Of August was a blast Like, andit felt like family and any day
I get to be with these two I'mlike it's a good day.
And then we get to act togetherLike, yes, that's why we're
doing this, we just like eachother.

Yeah, I will.
I will also say thosesentiments as well.
I mean I love Alison and Kellyso much as people, but then
being able to create with themand, you know, go on this
journey of Jeannie Carroll andMary Lou is just like wow, how
could it made our friendshipeven stronger?

(45:25):
I mean, I look at both of themas like my sisters, like I would
stop traffic for both of them,I would do anything for either
one of them, and I think,working together in that
capacity, it really made merealize what incredible people
they both are and like, oh wow,I have some really incredible

(45:48):
badass women that I'm friendswith who are not only talented
but like good people, and thatjust makes you feel good and it
makes you like trust yourself,that, like you know, oh, I'm,
I've got great people in my lifeand it really has given, I
think, our friendship a level toit that you know I actually

(46:10):
don't have with anyone else andit's really, it's really
beautiful.

Joe Funk (46:14):
What I enjoyed was looking through your IMDB for
this project and saying, oh, Iknow that person, I know this
person, I know this person, andyou're all so good at
maintaining good relationshipswith good people, which is so so
important to this process.
Let's talk a little bit aboutthe music of this film and how

(46:38):
that came to be.

Yes we had it Go for it, Allison.

Okay, well, I'll talk a little bit and you should
talk more because you know Markmuch better than I do.
But I just want to say MarkVogel created this amazing
tapestry of music for this film.
He created different themes forour jackalope and for genie and
it really helps tell the storyand it's very it's got that
classic like 80s camp A lot oftimes.

(47:03):
That really is the creaturefeature music and we have an
album coming out with all thesongs and, yeah, I am blown away
by what Mark did for this film.
It really it's what made thefilm work, because I saw the
early cut and I was like this isfantastic.
And then I saw it with all themusic and I was like, oh my god,
this is epic.
Mark really did a magical jobwith this film.

Yes, absolutely, mark Vogel is a dream.
He is like, he's become like mybrother through this process.
I met him through we have thesame publicist and she was like
you know, you have to meet him.
And we met and it was instant,we were just instant connection.
And when Alison had written thescript and she had, she had
already had some songs and she,she knew that I was a singer and
she was like I want Jeannie tosing in this and, um, you know,

(47:53):
we're going to have other peoplesinging in it at the Easter
Palooza, um, and I was likefantastic.
And went to Mark and that wasvery, very early on in the
process and I just said you know, do you want to make an Easter
film about a giant jackalopekilling people?
And he was like I am totally in.
And we worked tirelesslytogether to create the sound of

(48:17):
this.
And Mark is somebody who is sotalented, we work so well
together.
I would just say to him I'mthinking this and he would go oh
, yeah, like this, and then do,do, do, do, do on the piano in
the studio and I'm like yeah,that's it.
And that is how the entirething came to be.
We just went back and forth.
He created the Jackalope theme.

(48:38):
He literally created a themefor every single character in
the film.
There are seven, over 75 piecesof music in the film, and that
is not even including songs.
So it is a very musical movie.
That's why I say all the timeit's very much like a Rocky
Horror Picture Show, becausepeople are going to be singing
along to this movie as much asthey are going to be laughing

(48:59):
and screaming at the same timetime.
So what an amazing process towork with him, somebody who
really knows themselves as amusician and can bring a sound
which you know film and sound,film and music together and that
is the.
That is it.
And we also had Pekah Thomas,who's the sound designer and,
between you know, all three ofyou know us working together.

(49:23):
It was just a really magicalcombination.
We have a soundtrack coming outwhich is incredible, which has
you know us working together.
It was just a really magicalcombination.
We have a soundtrack coming outwhich is incredible, which has,
you know, there's 10, 10 songsthat are on the soundtrack.
There's even more songs in thefilm.
So we're really, really excitedabout it because they are very
like their Easter classics andwe really wanted to make songs
that people could sing everysingle Easter and that is

(49:47):
absolutely what you're going toget with this movie.
So it's incredible and just theway that he, you know, kind of
came up with different thingsand you know, we we recorded
bunnies, like actually eatingcarrots, and then kind of worked
that sound, you know, it wasall these like really kooky kind
of creative things to createthe sound of not only Easter,

(50:11):
blood Easter, but Wahlberg,texas and these people who live
there and what it.
What an amazing experience andand yeah, I'll work with Mark a
million times over he really, hereally got it.
He really got the movie movie,he got the humor, he got the
horror element and people arejust gonna absolutely love it
when they hear it and that thatsoundtrack will be available on

(50:34):
spotify.
And yes, and it's also oncollector, a limited edition
collector's vinyl, which is soexciting because the uh record
itself is peep yellow colored,so it is a really cool
collector's edition.
You know we're not making a tonof them, it's limited so you

(50:56):
absolutely have to get it whileit's hot.
We're working with LBC BadgerRecords, which is a cool Long
Beach, you know, record company,and yeah, they're putting out
the vinyl and it's really cool.

Joe Funk (51:09):
You're making all of our nostalgic hearts so happy.
You got the vinyl, you got theBlu-ray, you got the DVD.
We can have all our physicalmedium for this one.

Yes absolutely.

Joe Funk (51:20):
Let's talk a little bit about and this is again for
all three of you what do youhope that audiences take away
from watching Easter, bloodyEaster.

I hope that they have just the time of their
lives.
I hope that they scream alittle bit and laugh a lot and I
hope that they just rememberthese creatures and that they
think about them that night whenthey try to go to sleep and
they get a little scared the wayI would.

Yeah, I just hope everyone just has a blast and
laughs and gets the song stuckin their head and I want it to
be like a rewatch, like youwatch because, like Rocky Horror
and you know, like Diane wassaying, you want people to dress
up and just like, have it be.
This thing they watch everyEaster.

Yes, I would also say that I think I want people
to take away.
I want them to have an amazingtime.
I want them to laugh, screamand sing along, and I also want
them to look at the world thatwe created and go, wow, I really
love that town of Wahlberg,texas.
Those are some crazy kooky asspeople and look around at it and
just go like that's the worldthat we all live in.

(52:35):
And I think that's what's evenmore exciting is that we have a
super diverse cast and everyoneis so wonderfully talented in it
and I and I hope that audiencesgo like.
This is so cool that people thatyou wouldn't normally see
together in this movie aretogether in this movie and that
they enjoy it, they laugh, andthat they, they continue, they

(52:56):
watch it with their familiesover and over again.
I think that's.
The other exciting thing isthat it's horror comedy, but it
is not um, it is something that,like, you can watch with your
grandma, but you can also watchwith your like five year old
nephew.
You know it's like it's reallyfor all ages, and I think that's
what's so exciting about it isthat we finally have an Easter

(53:16):
film that families can watchevery single year together as a
tradition and go like let'swatch Easter, bloody Easter, and
have a blast and just laughtogether, sing together and, you
know, keep doing it for yearsto come.

Joe Funk (53:31):
I love it.
I feel like we need a film tofill that slot, because we all
have the Christmas films, we allhave the horror films for
Halloween, but there's a fewthat kind of fall through the
cracks.
And that's Thanksgiving, eventhough they they have planes,
trays and automobiles is usuallywhat people go to there.
But as far as easter goes, Idon't really have a film that I
would, that I'd be reaching forand and you've talked- now you

(53:53):
do, now, I do, now, I do, andyou talked a bit about.
You've mentioned rocky horror acouple of times and how, uh,
that's an interactive experiencewhen, when you're watching that
film.
Was that something you had inmind before shooting or is it
like, did you find that in theediting process?
Where did that idea come about?

Yeah, definitely, that was through the editing
process.
I didn't think of that likegoing into it, I realized that
we had a lot of music as we weregoing through and I think,
through the editing processworking with Mark, you know, we
already obviously had songs.
Alison had written some songsto be in the film but through
that process I was like, oh wow,we're like creating a lot of

(54:36):
music and watching through theedit and then working in the
studio with Mark, it was likethis really, this needs this
sound and this needs this music.
And it just became more andmore musical.
As sort of we went through itand it was so exciting because
I'm like, oh my gosh, that'stotally, first of all, my
background.

(54:56):
I come from musical theater.
So as a musical theater nerd, Iwas like I am so excited about
this and I think other peopleare going to be too, and sort of
, as we went through it and thecharacters are so unique and
like each character has its ownthing.
It's had its own look.
It's like own.
You know you're you're going towant to be like Eugene at

(55:16):
Halloween.
You know you're going to wantto be Mary Lou.
You're going to want to.
You know you're going to wantto be these characters at Easter
, whatever.
And I think, as we went throughit, I really started to realize
, oh, wow, like, this is so muchlike Rocky Horror and you know
the songs are so fantastic andyou know you just are singing

(55:39):
them.
And Pekka Thomas, our sounddesigner, who's so incredible
and we were very lucky to gethim kept saying to me this movie
is an earworm.
It is an earworm, it juststicks with you in your ears
over and over again.
He's like I'm just walkingaround the grocery store and I
just hear carol saying this inmy ear.
Right, I hear these, these,these.

(56:00):
You know the dialogue from thefilm.
So it's just exciting.
Because someone like that, whois a you know, many time Emmy
award winning sound designer,for him to have an earworm of
this movie was like, okay, we'vedone something really really
right.
Um, so yeah, I think, um, Ithink people are going to really
get that, uh, when?

(56:21):
When they watch it.
So it's exciting.
We want people to dress up andsing along.

Joe Funk (56:26):
You know, every Easter , Are you going to bring any of
that, that dressing up, thatquirkiness to the premiere?
Are there any plans for thatyet?

Oh, yes, yes, yes, yes, we absolutely are going to
.
There's going to be manysurprises.
I don't want to, you know,divulge too much, but there is
going to be some very fun peoplewho are going to be on the red
carpet with us, who are going toshow up in a very exciting way.
So I guess you'll just have tobe there to see it.

(56:57):
But, of course, everyone who isin the virtual world they will.
They will get to see it becausewe will absolutely have a
videographer there capturing itall.
Yes, and someone you might know,joe, might be there, dressed up
in a certain way, of course Iwould assume no less from this,
this production at this pointand and I'll also say that the,
the dress code for our premiereis um easter, best dark easter,

(57:22):
or glamour cowboy, or a littleof all if the uh listeners are
not in the Los Angeles area.

Joe Funk (57:29):
Now's a great time.
Why don't you plug wherever wecan follow you on socials and
how we can watch it at home?

OK, I'll start.
You can follow me at DianeFoster Official on Instagram,
facebook and TikTok.
You can follow WallybergProductions, which is my
production company, at WallybergProductions on Instagram,
facebook and TikTok.
You can follow WallybergProductions, which is my
production company, at WallybergProductions on Instagram and
you can also pre-order the filmright now on iTunes, apple TV.
Please go to the link in my bioon Instagram, Facebook and

(58:00):
TikTok.
You'll get that link right away.
It is imperative forindependent filmmakers to get
lots of pre-orders on theirmovies, so we appreciate and are
so grateful for the support.
It helps us get elevated oniTunes and Apple TV so that more
and more people will see it.
So if you pre-order, whatyou're doing is giving
independent filmmakers anopportunity to have their work

(58:22):
seen, and we have over a hundredcreatives working on this film
that were just passionate andwanting to do it.
So I implore all of you toplease go and support and
pre-order with the link that Iam sure that you will put in the
notes.
So we appreciate it.

Joe Funk (58:39):
Yeah, and Kelly and Allison, you want to plug some
of yours as well.

Sure, I'm on Instagram and Facebook at.
I am Kelly Grant and if you'reinto charcuterie, follow
Formagin Fair as well, whichwe'll have some at the premiere,
because I just started a littleside business.

Joe Funk (58:59):
That's awesome, that's so cool and Allison.

Yeah, you can find me on Instagram and TikTok
at Allison Lobel.

Joe Funk (59:07):
Amazing.
I'll again put all of theselinks in the show notes so
everyone can go and please checkthem out.
Well, thank you so much, allthree of you, for being here
today, for chatting with usabout Easter, bloody Easter.
This was really informative,and I'm even more excited than I
was beforehand to see this.
I already got my preorder oniTunes, so I'm even more excited
than I was beforehand to seethis.
I already got my pre-order oniTunes, so I'm ready to go.

(59:29):
I'm ready for this and I hopeto see some really, really cool
pictures from the premiere.

Thank you so much , Joe.
This has been so fun talking toyou from across the country.

Joe Funk (59:39):
I miss you.
I miss you too.
I wish I could be there withyou guys.

I wish that too, we wish too.
We wish to.
You're always so wonderful andcan't thank you enough for all
your great questions and youramazing energy, and just support
in general has beeninstrumental.

Joe Funk (59:55):
So thank you, thank you so of course, of course, and
you're all welcome back at anytime.
I'm sure we got the sequel thatyou might be producing.
You have many other projectswith Wally Bird.
You guys are officially friendsof the show.
Come back anytime, please.
Thank you so much.
Thanks, joe.

Allison Lobel (01:00:13):
Thank you guys have a good rest of your day.

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Diane Foster, Allison Lobel & Kelly Grant - Behind the Scenes of 'Easter Bloody Easter'

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}Diane Foster, Allison Lobel & Kelly Grant - Behind the Scenes of 'Easter Bloody Easter'