September 18, 2025 • 43 mins
In this colorful and deeply personal episode, Staci Layne Wilson shares her remarkable journey from a childhood surrounded by Hollywood legends and horseback riding to becoming an award-winning filmmaker and bestselling author. Born and raised in Los Angeles to a famed musician father (Don Wilson of The Ventures) and a glamorous pin-up model mother, Staci’s life has always been steeped in creativity. Yet, her entrance into filmmaking wasn’t planned—it evolved naturally through her work as a horror novelist and entertainment journalist. With a passion for storytelling and a love for visual style, she eventually directed short films and features that showcase her unique blend of artistry, grit, and genre flair.
Throughout the conversation, Staci Layne Wilson reflects on the confidence she gained through small, creative victories, her experiences navigating the film world as a woman, and her desire to tell authentic stories—whether through film or memoir. Her book So L.A. offers a humorous yet heartfelt look into her unconventional upbringing, filled with wild stories like meeting Malcolm McDowell weekly or being invited to the Playboy Mansion as a teenager. With future projects on the horizon, including a documentary on her father’s legendary band, she continues to blend past and present into meaningful art that captures the spirit of Hollywood’s golden oddities.
Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.
Throughout the conversation, Staci Layne Wilson reflects on the confidence she gained through small, creative victories, her experiences navigating the film world as a woman, and her desire to tell authentic stories—whether through film or memoir. Her book So L.A. offers a humorous yet heartfelt look into her unconventional upbringing, filled with wild stories like meeting Malcolm McDowell weekly or being invited to the Playboy Mansion as a teenager. With future projects on the horizon, including a documentary on her father’s legendary band, she continues to blend past and present into meaningful art that captures the spirit of Hollywood’s golden oddities.
Become a supporter of this podcast: https://www.spreaker.com/podcast/bulletproof-screenwriting-podcast--2881148/support.
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Speaker 1 (00:03):
You are listening to the IFAH podcast Network. For more
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Speaker 2 (00:12):
Welcome to the Bulletproof Screenwriting Podcast, Episode number four thirty seven.
Your dream doesn't have an expiration date, Take a deep
breath and try again. Kat You Whitten.
Speaker 1 (00:22):
Broadcasting from a dark, windowless room in Hollywood when we
really should be working on that next draft. It's the
Bulletproof Screenwriting Podcast, showing you the craft and business of
screenwriting while teaching you how to make your screenplay bulletproof.
And here's your host, Alex Ferrari.
Speaker 2 (00:41):
Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
I am your.
Speaker 3 (00:44):
Humble host Alex Ferrari.
Speaker 4 (00:46):
Now.
Speaker 2 (00:46):
Today's show is sponsored by Bulletproof Script Coverage. Now. Unlike
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Enjoy today's episode with guest host Dave Bullis.
Speaker 3 (01:39):
On this week's edition of the podcast, I have a
really cool guest and award winning filmmaker, TV host and
Amazon number one best seller for her book Sola, a
Hollywood Memoir. We're going to talk about all the good
stuff Dead Central, hosting shows, the BBC, how she got
all these really cool gigs, growing up in La surrounded
(02:01):
by celebrities, with two celebrity parents, all that and much
much more with guests Stacy Lane Wilson. You have a
very interesting background and you have a very interesting sort
of way you've got into the film industry. You were basically,
you know, you were born into the end of this
industry because you have you wrote a book, so La,
(02:21):
a Hollywood Memoir. Uncensored Tales by the rock Star and
pinnup model and you talk about obviously and like you
say in your bio, you are a unicorn because not
only were you born and raised in LA, you're still
in La. So right, so you know, being you know,
being born in LA. Do you feel that you were
just basically you had you felt compelled or maybe even
(02:44):
sort of sort of like driven to go into the
film industry, you know.
Speaker 4 (02:49):
Not necessarily, and it didn't happen until fairly late in
my life. But I feel like there is a lot
to the argument of nature versus but I got on
both count's nature and nurture in the creative world. So
I'm just a creative person and that's how my mind works.
So I do feel I was predisposed to doing something
(03:13):
in not necessarily the industry quote unquote, but just doing
things that are more creative than technical, say or mathematical.
That's just not my thing. And my parents are both
the same, So I feel like that I just inherited
sort of that predisposition to be a storyteller. My dad
is a storyteller through his music, my mother through her writing.
(03:35):
So I feel like that's just why I am what
I am.
Speaker 3 (03:41):
So when you were sort of growing up, you know,
and I imagine you obviously growing up in that area.
Did you see like a lot did you go to
school or maybe even know like famous people, Like did
you go like hang around famous people or maybe were
they coming by the house. The reason I bring that
up Stacy's I actually had a guest on the show,
and he actually, when he was younger, he celebrities were
(04:04):
calling the house and they used to call him on
the landline phone and he would answer and he'd go,
why is Moe from the Three Stooges calling me or
calling my dad? I mean, you know why?
Speaker 1 (04:13):
You know?
Speaker 3 (04:14):
So, did did you have anything like that?
Speaker 4 (04:16):
Well? Apparently I don't remember it because I was quite young,
but my mother actually had an illicit affair with Bobby Kennedy,
and so he would call and come over, and you know,
apparently we had conversations, but I was only I was
like two when he died, so I don't remember much
about that. But apparently I could hold my own in
(04:38):
a conversation with Bobby Kennedy. And then my mom was
also friends with Alan Sherman, who was a singer songwriter
kind of the novel key comedic songs. He put out albums,
you know, when that kind of thing was popular. One
of his songs was Hello Abada, Hello Flata, you know,
some kind of thing about the camp U. I don't
(05:00):
know the whole thing, but so he and I were
apparently friends, and I don't remember that either, But as
I got a little bit older, I did talk to
some of my dad's friends, Like I do remember that
Glenn Campbell was his neighbor up the street in Sherman Oaks, California.
So my father, being a musician, knew a lot of
the really great singer songwriters of the era. So I
(05:23):
remember talking to them to some degree. But when I
was a little kid, I was really really interested in
horses and horseback riding, so that was kind of horses
were my best friends.
Speaker 3 (05:34):
Really, So did you when when you were a little
kid and when we were on horses, did you actually
want to like maybe go into the questrine or maybe
become like an actual like something to do with horses
more than anything else.
Speaker 4 (05:48):
I did to some degree, But then I looked at
my bank account, I was like, oh, wait a minute,
this isn't a good idea. But when I was a
little kid, I was definitely really, really into it. I
showed horses, and in fact, one of my main competitors
when I was showing ponies was Urve Villachez, who was
tattoo on the Fantasy Island TV show. He had ponies
(06:11):
being of diminutive stature. I suppose that's why. But so
so I used to show and really was into training
horses for a long time in my life. And I
actually did start out with that sort of as a
business goal, and I did it for quite a few years,
but it just really is a drain on the old
(06:32):
bank account. And as much as I love horses, I
eventually had to say goodbye to them. And I still
love horses, but I just don't own them anymore. But
it was a really great sort of the juxtaposition for
me as a young girl growing up in Los Angeles
with my parents being who they are, that I was
able to have that outdoor life and to really be
(06:55):
brought down to earth, so to speak, working with horses,
because they don't care who your parents are or who
you are. They just care that you're going to treat
them well and that you're going to, you know, be
a good person, and that is really important when it
comes to working with animals and training courses, and I
feel like that has filtered out into my everyday life
and talking to people and being in business and being
(07:18):
a writer and all those things really gave me a
great foundation as a kid.
Speaker 3 (07:23):
So when you mentioned they don't care who your parents are,
did did any did you ever find out? Like when
growing up or even when you're in your teenage years,
you know, did anyone ever? You know, it's almost like, hey,
can I ever you know, get to do something with
your dad, or hey can I ever get to do
some of mom? Did you ever experience that growing.
Speaker 5 (07:40):
Up to a degree?
Speaker 4 (07:42):
I mean, my mom is not you know what you'd say,
is famous, but she was a pin up model back
in the day, and it was kind of funny. You know,
when you're growing up and you're especially those awkward early
teenage years where you really don't want to stand out
or be different, So you know, people looking at my
mom's centerfolds or whatever, my friends, was kind of funny
(08:04):
and awkward, but it was also cool. And as far
as my father goes, he is Don Wilson, the guitarist
for The Ventures, and that is the number one selling
instrumental band of all time. They did songs like wife
My Vot and Pipeline and vipe Out and whatnot. So,
you know, back in the early eighties, late seventies, early eighties,
(08:27):
as I was a teenage girl growing up, a lot
of the guys in school knew where the Ventures were
because they were learning how to play guitar and whatnot.
But personally I was very much into harder rock like
led Zeppelin and the Rolling Stones and groups like that.
So to me, like the Ventures were not exactly uncool,
(08:48):
but not exactly you.
Speaker 5 (08:49):
Know, my cup of tea as far as music.
Speaker 4 (08:51):
So it was kind of funny to hear my friends
say how much, you know, they really loved the Ventures.
I was like, really, my dad's famous.
Speaker 5 (08:58):
I didn't really see that.
Speaker 3 (09:02):
Yeah, it's one of those things like I was saying
about the guy had on the podcast whose father was
was was an entertainment lawyer, and he would say, you know,
why are all these people calling the house? And he
was kept saying, Dad, you know what is going on here?
And it's just stuff like that. It's just so interesting,
you know, always growing up and your your your parents,
your parents or you know, in demands or or people
(09:23):
want to meet them and it's you know, when you're younger,
you're like, why why do all these people want to
come meet my parents? What is going on here?
Speaker 4 (09:30):
Right?
Speaker 5 (09:31):
Yeah?
Speaker 4 (09:31):
I mean it's hard to have perspective on your parents
when you're that young. Of course, now I do, and
especially having written my book, it's given me a lot
of great you know, like I say, a perspective of
yours and to really appreciate their talents. But you know,
to me, they still are just my parents.
Speaker 3 (09:50):
So uh so, Stacey, when you when you were growing up,
you know, you mentioned that you got bit by the
sort of filmmaking bug a little later in life.
Speaker 2 (09:59):
We'll be right back after a word from our sponsor
and now back to the show, so we.
Speaker 3 (10:08):
Know around you know, what age were you when you
finally decided that you wanted to sort of go into
to the film industry.
Speaker 4 (10:16):
Well, I actually started off as an entertainment reporter, and
I sell into that more or less through writing horror novels.
I was approached by a couple of horror websites like
horror dot Com and cine Fantasticeek magazine had also approached
me to see if I wanted to be an la
correspondent to write movie reviews. And it really wasn't anything
(10:39):
that I had endeavored to do, although I always liked movies,
and I found out that I really had an aptitude
for it, and so here we are, like, you know,
sixteen years later. I got it started in two thousand
and one, and so I'm still doing that, still reviewing
films and still interviewing actors while I'll so pursuing my
(11:01):
own career as a filmmaker. And that actually started just
through being inspired by an Edgar Allan Poe poem in
two thousand and ten. I believe that was the first. Yeah,
that's my first foray into filmmaking was in twenty ten
with a short film, a trip Take of three short
films based on Annabelle Lee. And I just knew actors
(11:26):
through my other career as a film journalist, and so
that's how that all just kind of came together pretty organically.
It wasn't something that one day I will come and said,
I'm going to be a filmmaker. So it just seemed
like a natural evolution from what I had been doing,
(11:48):
and the fact that I did write fiction before.
Speaker 5 (11:50):
In the nineties.
Speaker 4 (11:52):
Those two things, the marrying of storytelling and technology and
then a basis of knowledge in film is really what
I feel led to led to it. And so since
then I've made several short films and also wrote and
directed to feature films and it's still a part time
thing for me, although I do enjoy at writing is
(12:13):
still my number one love.
Speaker 3 (12:17):
So do you write your you know, your own scripts
that that you go in to direct and maybe even produce.
Speaker 4 (12:23):
Yes, I do.
Speaker 1 (12:24):
Uh.
Speaker 4 (12:25):
I actually though my two feature films which were produced
by Blanc Being Productions, which is Michael Bean the actor
and his wife Jennifer Blanc, and they're both actors, but
they both got and started a production company and the
two films that I wrote were based on ideas from
(12:45):
one of their partners who gave me sort of the
skeleton of an idea, and I was predisposed already to
liking the subject matter of both films. So it worked
out really well because it almost feels like they're my creations,
but really they are based on stories by Loney Ruman,
who's one of their producing partners. And then so I
(13:07):
wrote the scripts to you know, specific locations and a
specific budget, and then was given the wonderful opportunity to
direct them, and it was really, you know, a great experience.
They are super you know, run and gun, Roger Corman style,
grind housey sort of movies. So we actually shot both
(13:29):
features at five days each, so you know, basically five
twelve hour days shooting about seventeen pages a day. And
I think it was really a great sort of introduction
into directing features for me because it was really challenging,
but in a fun way. So I think now that
(13:50):
I've done this, I can do just about anything. So
it's really a great confidence builder too.
Speaker 3 (13:56):
Yeah, it's funny you actually bring them up. I actually helped.
I actually helped them with a kickstarter they were doing.
I think it was The Night Visitor.
Speaker 5 (14:05):
I think, yeah, yeah, yeah, I know that.
Speaker 4 (14:08):
Yeah, they've actually done a couple of sequels to that
now since.
Speaker 3 (14:11):
Really because I actually that's it's a small world. I'll
tell you, Stacey doing this podcast, it's a smaller and
smaller world.
Speaker 5 (14:21):
That's good.
Speaker 3 (14:23):
So so when you first started, you know, you know,
wanting to do movies, I and you mentioned you didn't
just wake up one day and want to become a filmmaker.
You know, it's it's it's kind of. I feel that
most people who want to make a movie, or you know,
even go into this industry, they usually have almost like
this almost like a predisposition into it. It's almost like
(14:46):
they have like this itch that they just need to scratch.
And you know, when they go to make a movie,
it's always one of two things that I that I found.
It's either that they do the running gun style. It's
where it's like no, no, I'm sorry, let me take
that back. They either do one or two things. They
do the they do like no planning at all, or
they plan this thing so much that becomes analysis through
(15:06):
paralysis and they don't do anyone and they never get
to film it. So it's one of those two things.
So but once you start getting into it more and more,
you start building a team, you start building a whole
like network. Now, I think your story is different because
I think you had a better network going into it,
because again, you're in LA, you're doing, you making all
(15:29):
these connections, you're you're viewing movies as you're a movie reporter.
So when you went to make your first movie, you know,
do you feel that you already had a better footing
or a better understanding then maybe the average filmmaker.
Speaker 4 (15:44):
Well that is probably on a you know, case by
case basis. Like you say, everyone brings their own measure
of talent and their own sort of life experience into
creating something as ephemeral really as a film. Even though
a film you know, does last forever, it's still when
it's coming together, it's kind of an alchemy. So each
person brings their own thing into it. So we're all unique.
(16:07):
But I do feel really fortunate that I know the
great talented people that I do know, and in Los
Angeles there is you know, obviously a greater concentration of choices,
you know, people that you know, and also just through
being an entertainment reporter and knowing these people on a
different level, I really kind of already knew what their
(16:30):
work ethic would be and what your sensibilities are. And
so when bringing together, say, you know, my first cast
for my short film, the star of that, who's sort
of our Edgar Allen Poe character is Ogre from Skinny Puppy,
and I had met him through being an entertainment reporter
(16:51):
when I covered his feature musical film called Repo the
Genetic Opera, which is directed by Darren Bausman. So we
already had sort of a connection and a report, and
I knew the things that he liked, and he knew
the things.
Speaker 5 (17:04):
That I liked.
Speaker 4 (17:05):
So there is a good shorthand there, which you really
need when you're working on a low budget or a
no budget film, because you don't really have time to
get acquainted with someone. You kind of have to dive
in and already know what you're dealing with. So having
a pool of people like that already and just being friends,
I think really helps. So I would say, yes, that's
(17:28):
a long answer to your short question.
Speaker 3 (17:31):
No, No, I completely understand, Stacy. I tend to ask
very open ended questions, you know, just to sort of
get a good response to that, you know, a longer response,
and I always think that's a good thing. And I
just want to follow it up by asking when you
made your first film, what were some of the biggest
takeaways for you that you put into your next film.
Speaker 4 (17:56):
Well, I actually, although I'm known in the horror genre
world and Edgar Allen Poe certainly is horror, but I
also feel like it's an arty sensibility where you can
really stretch the imagination and interpret the subject matter as
you like. So my next film after that was also
(18:17):
very experimental, and having the basis of shooting the Key
to Annabelly, which is my first short film, I really
felt freed up to be even more artistic and experimental.
My next film was called The Night Plays Tricks, which
is based on a Bob Dylan song called Visions of Johannah,
(18:40):
and it's almost Maya darren esk. If you've seen Meshes
of the Afternoon, you know it's kind of like that.
So I really felt confident that I could express myself
in a sort of slightly opaque artistic way and yet
still get a story across. And having a good editor
(19:02):
really helps with that. And my editor and DP on
that second film is justin Cruz and so it's really
nice having a DP who can also edit, which is
also the case with my very latest, most recent short film,
So I feel like the DP is kind of editing
in his mind as he's shooting, and having that artistic
(19:23):
sensibility like I have is really makes for a great collaboration.
So that is what sort of spurred me on to
continue making films, was to know that I could still
be artistic because to me, style in cinema speaks volumes,
and that is really what I wanted to be able
to do, so that really gave me the confidence to
(19:45):
move forward.
Speaker 3 (19:46):
So you mentioned your latest film, I mean, could you
talk a little bit about that.
Speaker 2 (19:52):
We'll be right back after a word from our sponsor,
and now back to the show.
Speaker 4 (20:01):
Absolutely. It is called Psychotherapy and it stars Brooke Lewis
and Ricky Dean Logan, and it's sort of a two hander.
It's a very short film, it's just under ten minutes,
and Brooke had brought me on to write and direct
it as part of a showcase for her because she
(20:22):
is known for doing sci fi and comedies and things
that are pretty light and this is more of a
psychological thriller. So she wanted me to write something to
her strength as a dramatic actor. And then she brought
on Ricky, who is also a very good actor. But
I haven't actually met hn before we started shooting, so
(20:44):
that's another fun challenge that I enjoyed too. On the
flip side of working with people that I know, is
also just sort of diving in and having fun with
people that I don't have experience with. So that's the
part of the excitement of making a film, and so
this short film is sort of Brooke and My we
(21:04):
would both love Brian de Palma's films, so it's kind
of our homage to Dress to Kill a little bit
with the psychiatrists and the patient having a verbal tet
a tet And so far the film has won several
awards both for acting, directing, and writing, and it's only
been on the festival circuit for a few months, so
(21:26):
very encouraging. And our DP slash editor Stephan Colson is
really really super talented and so all those elements together
that's the fun thing, as opposed to say writing a novel,
where it's very much just with you and it's your
you know, sort of everything is contained within the writer.
Speaker 5 (21:47):
To see how a.
Speaker 4 (21:51):
Script that I wrote evolves and sort of flowers with
the different talents of the other people. So it's just
a different kind of satisfaction, but it's they're both really
interesting ways of expressing yourself artistically. And so yeah, this
latest short film is probably the one of the least
(22:12):
artistic shorts that I've done. It's more linear and more
like I said, it's a it's a thriller. But I
was able to add something visual flourishes that I wanted to.
So it's been really great.
Speaker 3 (22:26):
And and that that's amazing because you know, it goes
on with what I was with I was trying to
get at before, was you know, always bring something new
from your old project to your new project. And what
I mean by that is you're bringing experience, you bring confidence.
I think I think a lot of filmmakers, or even
when I see a lot of read a lot of
books or or what have you about filmmaking, they don't
(22:46):
really talk about confidence. And if you don't really have
any confidence, you know, in yourself or the project, or
the script or anything else, you know, I think that
shows it almost becomes like you're like, okay, can you
know what I mean? It kind of up getting maybe
even a very passive sort of feel for the whole thing,
you know what I mean. And I think confidence is
something that a lot of people don't talk about. And
(23:09):
one of the ways that I feel that that filmmakers
can build confidence is by small victories. And what I
mean by that is you make a project, maybe even
going out, like Mark Duplas says, going out with your
friends on a weekend and making a movie for a
hundred bucks, or or doing something else, or maybe winning
a local contest or something like that, and then sort
of being able to sort of parlay that into something else,
(23:31):
if you know what I mean, Stacy.
Speaker 5 (23:33):
Oh absolutely.
Speaker 4 (23:34):
I mean it's like when you're learning how to swim,
you don't dive into the deep end. You kind of
stand on the steps for a little while, and then
you wade into the shallow end, and then as you
see that you're not going to drown, you go a
little bit further and a little bit further. So yeah,
I think that's definitely true. Sometimes, you know, I see
(23:56):
as an entertainment reporter, I don't really I know what
kind of connections these people have. But sometimes you see
a film director who's given his very first project and
it's a blockbuster with say, you know, Warner Brothers or Sony,
I'm like, wow, that must be rearly intimidating, you know.
Speaker 3 (24:13):
You know, Stacey, you and I have the same mentality
with that. I have seen other people who've gotten projects,
maybe not even blockbusters, but it's like their first time film,
and they walk down they and they have like one
hundred thousand dollars or five hundred thousand or a million. Yeah,
And I sit there and I go, how did they
get that money? Like, where did they get that from?
Speaker 4 (24:36):
You know?
Speaker 3 (24:36):
I once knew a person who basically his first time out,
he got a bunch of grants and stuff like that,
and I said, you know, you know, how do you
how did you do that? And he basically said he
had a girlfriend who at the time, her mother was
very big into She did a lot of charity fundraising,
and she knew a ton of people, and that's how
(24:57):
he got these grants. And basically they're just they're not
even grants that you like apply to so to speak.
They're grants that, you know, if you pitch to them
at a you know, at certain intervals, they'll be like, Okay,
you could have this money, you could have that money.
Well that's how we raise some money. But just to
go back to where we're talking about, you know, yeah,
some people are out of left field and suddenly they're
(25:17):
directing the next Godzilla film for like two hundred million dollars,
you know.
Speaker 4 (25:21):
Yeah, yeah, I mean I think for me personally, just
knowing my dairy autonomous freelance or personality, I would be
not as happy working with a huge budget like that,
where so much hinges on the success of the film
(25:42):
as opposed to the joy of making the film and
creating something that you like. I don't know that I
would really, you know, I definitely know I wouldn't feel
comfortable having you know, producers breathing down my neck every
day about you know, how much money is being spent
and you know, look at all there right on this.
That's a lot of pressure to me for my part filmmaking.
(26:04):
Of course, I want to be able to make enough
money to pay my rent, and so far, so good,
but I don't really aspire to be a huge, you know,
a director making a blockbuster. However, having said that, I
am really proud of Patty Jenkins, who's directed Wonder Woman,
and she's done a great job with a huge blockbuster
(26:26):
like that. I had interviewed her several years ago when
she did Monster and that was sort of like a
very you know, personal film that she was able to
put her own stamp on, and she's weathered the storms
and look at her now. So I think it's great.
It's fully good time actually to be a female creator
in the film world, and hopefully I'll be able to
(26:50):
glean a little bit of that good fortune myself as
I move ahead in my career.
Speaker 3 (26:55):
You know, I was just talking about Patty with her
cinematographer from Monster, Stephen Bernstein, and he and I were
talking about Patty and and we were just talking about
you know, wonder Woman and everything like that. So it's
just again you brought that up. It's just a small again,
I know, I keep repeating with Stacy, but it's a
very small world.
Speaker 5 (27:14):
It's good. I like it, yeah, but but it is.
Speaker 3 (27:18):
Yeah, it is a good time, you know, for for
female directors and you know, female producers too, because even
like somebody like Gailhard on The Walking Dead, you know,
I think she kind of sort of I don't know
how many interviews she does. I don't know me she's
one of those people that sort of gets in the background.
But you know, it's it's just, you know, it is
(27:38):
like I can see more opportunities coming down the pike.
And it's also great things too, Like I have to
mention Carol Deane who runs the Grants of the Heart's Productions.
She's phenomenal. And there's also great people out there, like
like Jennifer Gersani lead Jessup, Clara, Alessandra, all these great
people out there working, uh you know, went out in
(27:59):
your neck, of which they.
Speaker 4 (28:01):
Well, absolutely. I just attended the Etherea Film Festival last weekend,
which has been going on for about five years now.
Speaker 5 (28:09):
Previous to that.
Speaker 4 (28:10):
It was called Gissero or it was more focused on horror,
and now it's more genre, you know, based with different
elements of that. And that is Heidi Honeycutt and Stacy
Hammond who run that festival, which is pretty much you know,
focused on the female in fact that they each film
has to either be written, directed, or produced by a woman.
(28:32):
And this past weekend, Roger Corman came out and presented
the Lifetime Achievement Award to Stephanie Rothman, who was his
protege and she actually directed the first three New World
Pictures I think. And this is back in the early seventies.
So Roger has always given people, regardless of gender or race,
(28:57):
their big breaks and early on, you know, before it
was quote unquote trendy. So it's really nice to see
a woman like Stephanie Rothman being recognized today for the
work that she did, which is really pretty pioneering in
the early nineteen seventies. But I mean, you could even
go back on this subject to the early era of
(29:19):
talkies and silent films, when women like Mary Pickford were
producing and it was a lot less gender biased than
for a short period of time until real money started
coming in and then it was, you know, taken over
by males. But I feel like, you know, we're definitely
experiencing a bit of a renaissance here. So it's a
(29:40):
good time to be a filmmaker period, but even better
to be a female filmmaker right now. So I'm feeling
pretty good about where I am.
Speaker 3 (29:47):
Yeah, and you know, it's interesting to see where all
this is going to. I'm always interested to see too, Stacy,
where you know, Netflix is going, where Hulu's going, where
all these avenues are going.
Speaker 2 (29:59):
Will be right back after a word from our sponsor,
and now back to the show.
Speaker 3 (30:08):
I mean, I've heard so many different things that are
rumbling down the pike, and it's just also interesting right
now and how everything's sort of coming together.
Speaker 4 (30:16):
Oh yeah, there are a lot more women working in
television and film. Film is sort of, you know, still
a bit more gender biased, but it's becoming less so
that I in television. I mean, if you just read
the credits, you'll see so many more female names below
the line than you do in the film.
Speaker 3 (30:35):
Yeah, very true, very true. Uh yeah, and and you
know that that'd be interesting to sort of discuss, you know,
why that why that is? But uh but I we
would be because I don't have I don't know the answer,
but I don't We're not going to talk about I
was good to say it's a good thing. I don't
even have a theory. But but I did want to
(30:55):
talk about your book, so lay a Hollywood memoir. I
do want to talk about this, you know, you know,
and I want to ask you know, sort of you know,
what inspired you to actually write the book. I know
you were working as a movie reporter. You know, you
started doing you know, all this film work. You released
a book in March of this year, twenty seventeen. So
what was sort of the impetus to write this book?
Speaker 4 (31:19):
Well, I started writing it last year, just a couple
of weeks before my birthday. It was a milestone birthday,
and so that is really what made me think. You know,
I've I've lived long enough life to be able to
have an interesting story. But I hold on just a
second here, Hi, thank you, Sorry about that.
Speaker 5 (31:44):
That is something you can edit out.
Speaker 3 (31:47):
I'm going to leave it in stacy. I think it's funny.
Speaker 4 (31:49):
How Yeah, I just got a plushel delivery. It's my
stack of cash for the next movie I'm directing.
Speaker 5 (31:56):
Oh nice, Okay. So yeah.
Speaker 4 (32:01):
So the impetus to write the book was last year
and my birthday month, and it was a milestone birthday.
So I felt like it was time for me to
tell my story because I had an interesting enough story
with enough perspective to talk about it. But I'm still
young enough and quote unquote with it to be able
to tell the story to you know, in an interesting manner.
(32:25):
So that was part of it. And then another part
of it is that with the you know, advent of
social media, that people know who I am, but they
express a lot of interest in my parents, my dad
and my mom, and I'll post pictures and I'll get
so many great responses, but their stories really haven't been
told on a personal level. So for me, that was
(32:47):
one of the reasons that I wanted to write too,
was to kind of give my mom and dad's stories
and in a candid way, but definitely not you know,
a mommy dearest kind of thing at all. But my
mother when I was growing up, she was an alcoholic
and she went through some really tough times, and my
parents divorced when I was very young. So there are
(33:08):
things to talk about in that regard where it wasn't
just you know, with cream and fluffy clouds childhood. So
there's you know, things that I want to talk about
in that regard. And my parents did read the book
after it was published and they both approved, so that's good.
So that's truly what the impetus was, because I feel
(33:30):
like I have some pretty interesting stories to tell in
a different perspective than probably most people.
Speaker 3 (33:37):
Yeah, and that that's sort of goes back to what
I was mentioning too, was, you know, just growing up
in la and still living there is an interesting perspective.
And I just want to ask Stacy, what is maybe
just one, just one story from the book, maybe your
most favorite or the most you know, interesting from you
from your perspective, just something from the book. Maybe, is
(33:58):
there any any just one story you could tell from
the book.
Speaker 4 (34:02):
Well, there are so many stories because it covers many
different facets of my life. So I mean, we could
talk about the very irate alcoholic monkey that my mom
brought home one day when I was about seven years old,
and it was as my new pet, which was kind
of fun. Or we could talk about you know why,
(34:23):
Malcolm McDowell told me I could call him my boyfriend
later in life, when I was interviewing him just about
every week for the Sci Fi Channel.
Speaker 5 (34:32):
We had sort of this.
Speaker 4 (34:33):
Fun little relationship and he's a great guy. Or we
could talk about the days of nineteen eighties hair metal
on the sunset stripped. Oh, that was an odious time. So,
I mean, there's really a lot to talk about. So
I couldn't really pick one story, but there's a lot
of little little kernels, and you know, part of my
(34:53):
wanting to do this was to be able to tell
these stories in a humorous way. So a lot of
feedback that I'm getting is really ratifying and that people
are finding, even in the more difficult times in my life,
that there's always a temper of humor to it. You know.
Speaker 3 (35:09):
One story that I saw from from from the Amazon
homepage for your book was party at the Playboy Mansion.
And I know this is I just every time I
hear about the Playboy mansion. The first thing I think of,
and this just goes to show you where my head's at,
Stacy is Paully Shore, because there's a story that somebody
(35:30):
was told about Pauli Shore where he every year, every
year he would know, he'd be at a Playboy Mansion
party and he would go up and he would just
tell everyone he was thirty years old. Well, finally someone said,
you know, Paulie, you've been thirty years old for the
past twenty years, so you know, And it's just and
they actually made liter of it in the TV show Entourage.
They actually brought that joke back, which I actually I
(35:51):
thought was pretty cool. But yeah, no, it was just
I just thought it was funny. But I mean, a
play party at the Playboy mansion and it's heyday, I mean,
so exactly that stuff.
Speaker 4 (36:02):
Like that back when it was exciting. Yeah, it was
really neat to be able to go to that part.
I believe it was nineteen years old, eighteen or nineteen
years old at the time. And Phap's girlfriend Carrie Lee,
who I believe she stued him for palamony later on,
but anyway, she was kind of out scouting the clubs
for goals to invite to the parties, and so we went,
(36:24):
and my friend Peg and I she was sort of
my bad influence, which every kid needs to have her
growing up, the bad influence friend.
Speaker 5 (36:33):
So we went and it.
Speaker 4 (36:35):
Was really interesting to see it back then, especially since
there was still a mistique to it, whereas now I
did return for another party about three years ago and
things had really changed quite a bit. And also just
the public perspective of the Playboy Mansion now that it's
been demystified, it's just not as exciting. It's actually kind
(36:57):
of cheesy. So it's kind of neat for me to
have that eperience from the perspective of decades apart to see,
you know, how it was in the in the eighties
to how it is now, and so I do talk
about that in the book. Yes, And another thing about
my book that maybe historians will find interesting is that
I am an architecture box. So I do go into
(37:19):
all the places that I've visited and then talk a
little bit about who built them and what their history
is and what they look like, so those kind of things,
you know, adding those details. It's really a lot of
fun for me when I was writing the book to
to be able to do research on the things that
I really enjoy and to be able to tell stories
about them from a different perspective, not just the salacious,
(37:41):
you know, Playboy Matched in Grotto perspective.
Speaker 3 (37:44):
So let me ask you, Stacy, is the Rainbow Born
Grill as legendary as they say?
Speaker 5 (37:51):
Yes, it is.
Speaker 4 (37:52):
There's been so much going on there throughout the years.
Speaker 5 (37:56):
Yeah.
Speaker 4 (37:57):
In fact, I did an interesting inner with the guys
from La Meekly. We actually did our interview there at
the Rainbow so we could talk about it history and
and it's really has not changed its staycore in many decades.
And I don't know if you know, but Motorheads front
man Lemmy he used to hang out there. In fact,
(38:19):
he practically lived there. He had rented an apartment just
within stumbling distance so he could hang out there all
the time. And when he passed away a couple of
years ago, he was such a fixture at the Rainbow
that they had actually commissioned a bronze statue of him.
And so he's still there at the bar.
Speaker 3 (38:37):
You know, I had a friend of mine out there
who went out there, and he actually, you know, knew
a few people who used to talk about the rain
of bar and Grill and they call it the Bow
and you know, and I know he and I always
and one of the guys telling stories would always he
was one of those guys that if he would always
tell impellish stories. So I wanted to ask, you know,
(38:59):
to be like, I wanted to ask you straight, you know,
straight from you Stacy about it, just about if it's
actually as legendary as they say.
Speaker 4 (39:06):
Yes, And I actually got to meet Jimmy Page there.
Who's my my hero growing up? I mean, I love
Jimmy Page and led Zeppelin. That was my jam when
I was a kid and a teenager. So I actually
had gotten a fake ID out of the back of
like Hit Parader or Cream Magazine so I could go
to the Rainbow when I was underage. And I saw
quite a few really cool rock stars there, but my
(39:28):
favorite sighting was definitely Jimmy Page. And then it sort
of came full circle when as an entertainment reporter I
got to actually interview him where the documentary called it
might get loud. So it was really fantastic to be
able to have my Jimmy Page moment on two totally
different levels. One as a fangirl and one as a
(39:50):
entertainment reporter.
Speaker 3 (39:53):
And see that. That's why you know, I'm glad we
got to talk, Stacy, because you have those those sort
of dual perspectives of things.
Speaker 2 (40:01):
We'll be right back after a word from our sponsor,
and now back to the show.
Speaker 3 (40:10):
Seeing petnam as fans and then seeing them as an interviewer.
I think that's really cool.
Speaker 4 (40:14):
Yeah, yeah, I do too, and I really appreciate it.
So I definitely talk about that in the book and
what it feels like to actually have those experiences. So
hopefully people will appreciate that aspect of it too, and I'll.
Speaker 3 (40:31):
Make sure to link the book in the show notes
as well. And Stacey, I just want to ask, uh,
I just want to ask also, you know what what
what next? What do you have next in the pipeline?
You know, are you what sort of movies are you
working on next?
Speaker 4 (40:45):
Well, I'm so immersed in the book right now and
psychotherapy festival.
Speaker 5 (40:50):
Run, but I don't have a lot ironed out yet.
Speaker 4 (40:55):
But my next hopeful project is to write and erect
a documentary about the ventures because, believe it or not,
in spite of their incredible legacy and long running career.
There's never been a documentary made about them, So if
no one else is going to do it, why not me?
Speaker 3 (41:15):
Exactly. You see an opportunity or you see something that
you would buy that's not out in the market, and
you go out and you create it.
Speaker 5 (41:23):
Yep, exactly.
Speaker 3 (41:26):
So Stacey, just in closing, I know we've been talking
for about forty minutes. Now, is there anything that we
can get a chance to talk about that you maybe
want to talk about now, or anything you sort of
want to say to put a period at the end
of this whole conversation.
Speaker 4 (41:39):
I'm i going to say thank you so much for
having me on the show and to talk about my
various different things. I know it's sometimes difficult to concentrate
on one specific line of questioning with someone who does
so many different things, but you know, I really do
appreciate having a forum like this to be able to
(41:59):
talk to you and to talk to your listeners, and
just looking forward to meeting everyone so they can certainly
find me online and I'd love to interact with folks
who also enjoy film and music.
Speaker 5 (42:12):
And thank you.
Speaker 3 (42:15):
And my pleasure, Stacey, and I thank you so much
for coming on where can people find you out online?
Speaker 4 (42:21):
Just about anywhere I can give you the rundown. So
I'm on Twitter as Stacey Wilson. That's st A c
I w I L s O N and the same
on Facebook, and then on Instagram, I'm Stacy Lane, which
is my middle name, so that's s t a c
I l A y n E. And my website is
(42:43):
Stacylanewilson dot com. So that's sort of the catch all
for if you forgot all those social media things, you
can go to my website and contact me there. In fact,
I encourage you to do so.
Speaker 3 (42:55):
But thank you so much for coming on the podcast,
and I wish you the best so much time.
Speaker 4 (43:01):
Okay, cool, thank you.
Speaker 2 (43:03):
I want to thank Dave so much for doing such
a great job on this episode. If you want to
get links to anything we spoke about in this episode,
head over to the show notes at Bulletproof Screenwriting dot tv.
Forward slash for thirty seven. Thank you so much for
listening to guys. As always, keep on writing no matter what.
I'll talk to you soon.
Speaker 1 (43:20):
Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproofscreenwriting
dot tv.
You are listening to the IFAH podcast Network. For more
amazing filmmaking and screenwriting podcasts, just go to ifahpodcastnetwork dot com.
Speaker 2 (00:12):
Welcome to the Bulletproof Screenwriting Podcast, Episode number four thirty seven.
Your dream doesn't have an expiration date, Take a deep
breath and try again. Kat You Whitten.
Speaker 1 (00:22):
Broadcasting from a dark, windowless room in Hollywood when we
really should be working on that next draft. It's the
Bulletproof Screenwriting Podcast, showing you the craft and business of
screenwriting while teaching you how to make your screenplay bulletproof.
And here's your host, Alex Ferrari.
Speaker 2 (00:41):
Welcome, Welcome to another episode of the Bulletproof Screenwriting Podcast.
I am your.
Speaker 3 (00:44):
Humble host Alex Ferrari.
Speaker 4 (00:46):
Now.
Speaker 2 (00:46):
Today's show is sponsored by Bulletproof Script Coverage. Now. Unlike
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Enjoy today's episode with guest host Dave Bullis.
Speaker 3 (01:39):
On this week's edition of the podcast, I have a
really cool guest and award winning filmmaker, TV host and
Amazon number one best seller for her book Sola, a
Hollywood Memoir. We're going to talk about all the good
stuff Dead Central, hosting shows, the BBC, how she got
all these really cool gigs, growing up in La surrounded
(02:01):
by celebrities, with two celebrity parents, all that and much
much more with guests Stacy Lane Wilson. You have a
very interesting background and you have a very interesting sort
of way you've got into the film industry. You were basically,
you know, you were born into the end of this
industry because you have you wrote a book, so La,
(02:21):
a Hollywood Memoir. Uncensored Tales by the rock Star and
pinnup model and you talk about obviously and like you
say in your bio, you are a unicorn because not
only were you born and raised in LA, you're still
in La. So right, so you know, being you know,
being born in LA. Do you feel that you were
just basically you had you felt compelled or maybe even
(02:44):
sort of sort of like driven to go into the
film industry, you know.
Speaker 4 (02:49):
Not necessarily, and it didn't happen until fairly late in
my life. But I feel like there is a lot
to the argument of nature versus but I got on
both count's nature and nurture in the creative world. So
I'm just a creative person and that's how my mind works.
So I do feel I was predisposed to doing something
(03:13):
in not necessarily the industry quote unquote, but just doing
things that are more creative than technical, say or mathematical.
That's just not my thing. And my parents are both
the same, So I feel like that I just inherited
sort of that predisposition to be a storyteller. My dad
is a storyteller through his music, my mother through her writing.
(03:35):
So I feel like that's just why I am what
I am.
Speaker 3 (03:41):
So when you were sort of growing up, you know,
and I imagine you obviously growing up in that area.
Did you see like a lot did you go to
school or maybe even know like famous people, Like did
you go like hang around famous people or maybe were
they coming by the house. The reason I bring that
up Stacy's I actually had a guest on the show,
and he actually, when he was younger, he celebrities were
(04:04):
calling the house and they used to call him on
the landline phone and he would answer and he'd go,
why is Moe from the Three Stooges calling me or
calling my dad? I mean, you know why?
Speaker 1 (04:13):
You know?
Speaker 3 (04:14):
So, did did you have anything like that?
Speaker 4 (04:16):
Well? Apparently I don't remember it because I was quite young,
but my mother actually had an illicit affair with Bobby Kennedy,
and so he would call and come over, and you know,
apparently we had conversations, but I was only I was
like two when he died, so I don't remember much
about that. But apparently I could hold my own in
(04:38):
a conversation with Bobby Kennedy. And then my mom was
also friends with Alan Sherman, who was a singer songwriter
kind of the novel key comedic songs. He put out albums,
you know, when that kind of thing was popular. One
of his songs was Hello Abada, Hello Flata, you know,
some kind of thing about the camp U. I don't
(05:00):
know the whole thing, but so he and I were
apparently friends, and I don't remember that either, But as
I got a little bit older, I did talk to
some of my dad's friends, Like I do remember that
Glenn Campbell was his neighbor up the street in Sherman Oaks, California.
So my father, being a musician, knew a lot of
the really great singer songwriters of the era. So I
(05:23):
remember talking to them to some degree. But when I
was a little kid, I was really really interested in
horses and horseback riding, so that was kind of horses
were my best friends.
Speaker 3 (05:34):
Really, So did you when when you were a little
kid and when we were on horses, did you actually
want to like maybe go into the questrine or maybe
become like an actual like something to do with horses
more than anything else.
Speaker 4 (05:48):
I did to some degree, But then I looked at
my bank account, I was like, oh, wait a minute,
this isn't a good idea. But when I was a
little kid, I was definitely really, really into it. I
showed horses, and in fact, one of my main competitors
when I was showing ponies was Urve Villachez, who was
tattoo on the Fantasy Island TV show. He had ponies
(06:11):
being of diminutive stature. I suppose that's why. But so
so I used to show and really was into training
horses for a long time in my life. And I
actually did start out with that sort of as a
business goal, and I did it for quite a few years,
but it just really is a drain on the old
(06:32):
bank account. And as much as I love horses, I
eventually had to say goodbye to them. And I still
love horses, but I just don't own them anymore. But
it was a really great sort of the juxtaposition for
me as a young girl growing up in Los Angeles
with my parents being who they are, that I was
able to have that outdoor life and to really be
(06:55):
brought down to earth, so to speak, working with horses,
because they don't care who your parents are or who
you are. They just care that you're going to treat
them well and that you're going to, you know, be
a good person, and that is really important when it
comes to working with animals and training courses, and I
feel like that has filtered out into my everyday life
and talking to people and being in business and being
(07:18):
a writer and all those things really gave me a
great foundation as a kid.
Speaker 3 (07:23):
So when you mentioned they don't care who your parents are,
did did any did you ever find out? Like when
growing up or even when you're in your teenage years,
you know, did anyone ever? You know, it's almost like, hey,
can I ever you know, get to do something with
your dad, or hey can I ever get to do
some of mom? Did you ever experience that growing.
Speaker 5 (07:40):
Up to a degree?
Speaker 4 (07:42):
I mean, my mom is not you know what you'd say,
is famous, but she was a pin up model back
in the day, and it was kind of funny. You know,
when you're growing up and you're especially those awkward early
teenage years where you really don't want to stand out
or be different, So you know, people looking at my
mom's centerfolds or whatever, my friends, was kind of funny
(08:04):
and awkward, but it was also cool. And as far
as my father goes, he is Don Wilson, the guitarist
for The Ventures, and that is the number one selling
instrumental band of all time. They did songs like wife
My Vot and Pipeline and vipe Out and whatnot. So,
you know, back in the early eighties, late seventies, early eighties,
(08:27):
as I was a teenage girl growing up, a lot
of the guys in school knew where the Ventures were
because they were learning how to play guitar and whatnot.
But personally I was very much into harder rock like
led Zeppelin and the Rolling Stones and groups like that.
So to me, like the Ventures were not exactly uncool,
(08:48):
but not exactly you.
Speaker 5 (08:49):
Know, my cup of tea as far as music.
Speaker 4 (08:51):
So it was kind of funny to hear my friends
say how much, you know, they really loved the Ventures.
I was like, really, my dad's famous.
Speaker 5 (08:58):
I didn't really see that.
Speaker 3 (09:02):
Yeah, it's one of those things like I was saying
about the guy had on the podcast whose father was
was was an entertainment lawyer, and he would say, you know,
why are all these people calling the house? And he
was kept saying, Dad, you know what is going on here?
And it's just stuff like that. It's just so interesting,
you know, always growing up and your your your parents,
your parents or you know, in demands or or people
(09:23):
want to meet them and it's you know, when you're younger,
you're like, why why do all these people want to
come meet my parents? What is going on here?
Speaker 4 (09:30):
Right?
Speaker 5 (09:31):
Yeah?
Speaker 4 (09:31):
I mean it's hard to have perspective on your parents
when you're that young. Of course, now I do, and
especially having written my book, it's given me a lot
of great you know, like I say, a perspective of
yours and to really appreciate their talents. But you know,
to me, they still are just my parents.
Speaker 3 (09:50):
So uh so, Stacey, when you when you were growing up,
you know, you mentioned that you got bit by the
sort of filmmaking bug a little later in life.
Speaker 2 (09:59):
We'll be right back after a word from our sponsor
and now back to the show, so we.
Speaker 3 (10:08):
Know around you know, what age were you when you
finally decided that you wanted to sort of go into
to the film industry.
Speaker 4 (10:16):
Well, I actually started off as an entertainment reporter, and
I sell into that more or less through writing horror novels.
I was approached by a couple of horror websites like
horror dot Com and cine Fantasticeek magazine had also approached
me to see if I wanted to be an la
correspondent to write movie reviews. And it really wasn't anything
(10:39):
that I had endeavored to do, although I always liked movies,
and I found out that I really had an aptitude
for it, and so here we are, like, you know,
sixteen years later. I got it started in two thousand
and one, and so I'm still doing that, still reviewing
films and still interviewing actors while I'll so pursuing my
(11:01):
own career as a filmmaker. And that actually started just
through being inspired by an Edgar Allan Poe poem in
two thousand and ten. I believe that was the first. Yeah,
that's my first foray into filmmaking was in twenty ten
with a short film, a trip Take of three short
films based on Annabelle Lee. And I just knew actors
(11:26):
through my other career as a film journalist, and so
that's how that all just kind of came together pretty organically.
It wasn't something that one day I will come and said,
I'm going to be a filmmaker. So it just seemed
like a natural evolution from what I had been doing,
(11:48):
and the fact that I did write fiction before.
Speaker 5 (11:50):
In the nineties.
Speaker 4 (11:52):
Those two things, the marrying of storytelling and technology and
then a basis of knowledge in film is really what
I feel led to led to it. And so since
then I've made several short films and also wrote and
directed to feature films and it's still a part time
thing for me, although I do enjoy at writing is
(12:13):
still my number one love.
Speaker 3 (12:17):
So do you write your you know, your own scripts
that that you go in to direct and maybe even produce.
Speaker 4 (12:23):
Yes, I do.
Speaker 1 (12:24):
Uh.
Speaker 4 (12:25):
I actually though my two feature films which were produced
by Blanc Being Productions, which is Michael Bean the actor
and his wife Jennifer Blanc, and they're both actors, but
they both got and started a production company and the
two films that I wrote were based on ideas from
(12:45):
one of their partners who gave me sort of the
skeleton of an idea, and I was predisposed already to
liking the subject matter of both films. So it worked
out really well because it almost feels like they're my creations,
but really they are based on stories by Loney Ruman,
who's one of their producing partners. And then so I
(13:07):
wrote the scripts to you know, specific locations and a
specific budget, and then was given the wonderful opportunity to
direct them, and it was really, you know, a great experience.
They are super you know, run and gun, Roger Corman style,
grind housey sort of movies. So we actually shot both
(13:29):
features at five days each, so you know, basically five
twelve hour days shooting about seventeen pages a day. And
I think it was really a great sort of introduction
into directing features for me because it was really challenging,
but in a fun way. So I think now that
(13:50):
I've done this, I can do just about anything. So
it's really a great confidence builder too.
Speaker 3 (13:56):
Yeah, it's funny you actually bring them up. I actually helped.
I actually helped them with a kickstarter they were doing.
I think it was The Night Visitor.
Speaker 5 (14:05):
I think, yeah, yeah, yeah, I know that.
Speaker 4 (14:08):
Yeah, they've actually done a couple of sequels to that
now since.
Speaker 3 (14:11):
Really because I actually that's it's a small world. I'll
tell you, Stacey doing this podcast, it's a smaller and
smaller world.
Speaker 5 (14:21):
That's good.
Speaker 3 (14:23):
So so when you first started, you know, you know,
wanting to do movies, I and you mentioned you didn't
just wake up one day and want to become a filmmaker.
You know, it's it's it's kind of. I feel that
most people who want to make a movie, or you know,
even go into this industry, they usually have almost like
this almost like a predisposition into it. It's almost like
(14:46):
they have like this itch that they just need to scratch.
And you know, when they go to make a movie,
it's always one of two things that I that I found.
It's either that they do the running gun style. It's
where it's like no, no, I'm sorry, let me take
that back. They either do one or two things. They
do the they do like no planning at all, or
they plan this thing so much that becomes analysis through
(15:06):
paralysis and they don't do anyone and they never get
to film it. So it's one of those two things.
So but once you start getting into it more and more,
you start building a team, you start building a whole
like network. Now, I think your story is different because
I think you had a better network going into it,
because again, you're in LA, you're doing, you making all
(15:29):
these connections, you're you're viewing movies as you're a movie reporter.
So when you went to make your first movie, you know,
do you feel that you already had a better footing
or a better understanding then maybe the average filmmaker.
Speaker 4 (15:44):
Well that is probably on a you know, case by
case basis. Like you say, everyone brings their own measure
of talent and their own sort of life experience into
creating something as ephemeral really as a film. Even though
a film you know, does last forever, it's still when
it's coming together, it's kind of an alchemy. So each
person brings their own thing into it. So we're all unique.
(16:07):
But I do feel really fortunate that I know the
great talented people that I do know, and in Los
Angeles there is you know, obviously a greater concentration of choices,
you know, people that you know, and also just through
being an entertainment reporter and knowing these people on a
different level, I really kind of already knew what their
(16:30):
work ethic would be and what your sensibilities are. And
so when bringing together, say, you know, my first cast
for my short film, the star of that, who's sort
of our Edgar Allen Poe character is Ogre from Skinny Puppy,
and I had met him through being an entertainment reporter
(16:51):
when I covered his feature musical film called Repo the
Genetic Opera, which is directed by Darren Bausman. So we
already had sort of a connection and a report, and
I knew the things that he liked, and he knew
the things.
Speaker 5 (17:04):
That I liked.
Speaker 4 (17:05):
So there is a good shorthand there, which you really
need when you're working on a low budget or a
no budget film, because you don't really have time to
get acquainted with someone. You kind of have to dive
in and already know what you're dealing with. So having
a pool of people like that already and just being friends,
I think really helps. So I would say, yes, that's
(17:28):
a long answer to your short question.
Speaker 3 (17:31):
No, No, I completely understand, Stacy. I tend to ask
very open ended questions, you know, just to sort of
get a good response to that, you know, a longer response,
and I always think that's a good thing. And I
just want to follow it up by asking when you
made your first film, what were some of the biggest
takeaways for you that you put into your next film.
Speaker 4 (17:56):
Well, I actually, although I'm known in the horror genre
world and Edgar Allen Poe certainly is horror, but I
also feel like it's an arty sensibility where you can
really stretch the imagination and interpret the subject matter as
you like. So my next film after that was also
(18:17):
very experimental, and having the basis of shooting the Key
to Annabelly, which is my first short film, I really
felt freed up to be even more artistic and experimental.
My next film was called The Night Plays Tricks, which
is based on a Bob Dylan song called Visions of Johannah,
(18:40):
and it's almost Maya darren esk. If you've seen Meshes
of the Afternoon, you know it's kind of like that.
So I really felt confident that I could express myself
in a sort of slightly opaque artistic way and yet
still get a story across. And having a good editor
(19:02):
really helps with that. And my editor and DP on
that second film is justin Cruz and so it's really
nice having a DP who can also edit, which is
also the case with my very latest, most recent short film,
So I feel like the DP is kind of editing
in his mind as he's shooting, and having that artistic
(19:23):
sensibility like I have is really makes for a great collaboration.
So that is what sort of spurred me on to
continue making films, was to know that I could still
be artistic because to me, style in cinema speaks volumes,
and that is really what I wanted to be able
to do, so that really gave me the confidence to
(19:45):
move forward.
Speaker 3 (19:46):
So you mentioned your latest film, I mean, could you
talk a little bit about that.
Speaker 2 (19:52):
We'll be right back after a word from our sponsor,
and now back to the show.
Speaker 4 (20:01):
Absolutely. It is called Psychotherapy and it stars Brooke Lewis
and Ricky Dean Logan, and it's sort of a two hander.
It's a very short film, it's just under ten minutes,
and Brooke had brought me on to write and direct
it as part of a showcase for her because she
(20:22):
is known for doing sci fi and comedies and things
that are pretty light and this is more of a
psychological thriller. So she wanted me to write something to
her strength as a dramatic actor. And then she brought
on Ricky, who is also a very good actor. But
I haven't actually met hn before we started shooting, so
(20:44):
that's another fun challenge that I enjoyed too. On the
flip side of working with people that I know, is
also just sort of diving in and having fun with
people that I don't have experience with. So that's the
part of the excitement of making a film, and so
this short film is sort of Brooke and My we
(21:04):
would both love Brian de Palma's films, so it's kind
of our homage to Dress to Kill a little bit
with the psychiatrists and the patient having a verbal tet
a tet And so far the film has won several
awards both for acting, directing, and writing, and it's only
been on the festival circuit for a few months, so
(21:26):
very encouraging. And our DP slash editor Stephan Colson is
really really super talented and so all those elements together
that's the fun thing, as opposed to say writing a novel,
where it's very much just with you and it's your
you know, sort of everything is contained within the writer.
Speaker 5 (21:47):
To see how a.
Speaker 4 (21:51):
Script that I wrote evolves and sort of flowers with
the different talents of the other people. So it's just
a different kind of satisfaction, but it's they're both really
interesting ways of expressing yourself artistically. And so yeah, this
latest short film is probably the one of the least
(22:12):
artistic shorts that I've done. It's more linear and more
like I said, it's a it's a thriller. But I
was able to add something visual flourishes that I wanted to.
So it's been really great.
Speaker 3 (22:26):
And and that that's amazing because you know, it goes
on with what I was with I was trying to
get at before, was you know, always bring something new
from your old project to your new project. And what
I mean by that is you're bringing experience, you bring confidence.
I think I think a lot of filmmakers, or even
when I see a lot of read a lot of
books or or what have you about filmmaking, they don't
(22:46):
really talk about confidence. And if you don't really have
any confidence, you know, in yourself or the project, or
the script or anything else, you know, I think that
shows it almost becomes like you're like, okay, can you
know what I mean? It kind of up getting maybe
even a very passive sort of feel for the whole thing,
you know what I mean. And I think confidence is
something that a lot of people don't talk about. And
(23:09):
one of the ways that I feel that that filmmakers
can build confidence is by small victories. And what I
mean by that is you make a project, maybe even
going out, like Mark Duplas says, going out with your
friends on a weekend and making a movie for a
hundred bucks, or or doing something else, or maybe winning
a local contest or something like that, and then sort
of being able to sort of parlay that into something else,
(23:31):
if you know what I mean, Stacy.
Speaker 5 (23:33):
Oh absolutely.
Speaker 4 (23:34):
I mean it's like when you're learning how to swim,
you don't dive into the deep end. You kind of
stand on the steps for a little while, and then
you wade into the shallow end, and then as you
see that you're not going to drown, you go a
little bit further and a little bit further. So yeah,
I think that's definitely true. Sometimes, you know, I see
(23:56):
as an entertainment reporter, I don't really I know what
kind of connections these people have. But sometimes you see
a film director who's given his very first project and
it's a blockbuster with say, you know, Warner Brothers or Sony,
I'm like, wow, that must be rearly intimidating, you know.
Speaker 3 (24:13):
You know, Stacey, you and I have the same mentality
with that. I have seen other people who've gotten projects,
maybe not even blockbusters, but it's like their first time film,
and they walk down they and they have like one
hundred thousand dollars or five hundred thousand or a million. Yeah,
And I sit there and I go, how did they
get that money? Like, where did they get that from?
Speaker 4 (24:36):
You know?
Speaker 3 (24:36):
I once knew a person who basically his first time out,
he got a bunch of grants and stuff like that,
and I said, you know, you know, how do you
how did you do that? And he basically said he
had a girlfriend who at the time, her mother was
very big into She did a lot of charity fundraising,
and she knew a ton of people, and that's how
(24:57):
he got these grants. And basically they're just they're not
even grants that you like apply to so to speak.
They're grants that, you know, if you pitch to them
at a you know, at certain intervals, they'll be like, Okay,
you could have this money, you could have that money.
Well that's how we raise some money. But just to
go back to where we're talking about, you know, yeah,
some people are out of left field and suddenly they're
(25:17):
directing the next Godzilla film for like two hundred million dollars,
you know.
Speaker 4 (25:21):
Yeah, yeah, I mean I think for me personally, just
knowing my dairy autonomous freelance or personality, I would be
not as happy working with a huge budget like that,
where so much hinges on the success of the film
(25:42):
as opposed to the joy of making the film and
creating something that you like. I don't know that I
would really, you know, I definitely know I wouldn't feel
comfortable having you know, producers breathing down my neck every
day about you know, how much money is being spent
and you know, look at all there right on this.
That's a lot of pressure to me for my part filmmaking.
(26:04):
Of course, I want to be able to make enough
money to pay my rent, and so far, so good,
but I don't really aspire to be a huge, you know,
a director making a blockbuster. However, having said that, I
am really proud of Patty Jenkins, who's directed Wonder Woman,
and she's done a great job with a huge blockbuster
(26:26):
like that. I had interviewed her several years ago when
she did Monster and that was sort of like a
very you know, personal film that she was able to
put her own stamp on, and she's weathered the storms
and look at her now. So I think it's great.
It's fully good time actually to be a female creator
in the film world, and hopefully I'll be able to
(26:50):
glean a little bit of that good fortune myself as
I move ahead in my career.
Speaker 3 (26:55):
You know, I was just talking about Patty with her
cinematographer from Monster, Stephen Bernstein, and he and I were
talking about Patty and and we were just talking about
you know, wonder Woman and everything like that. So it's
just again you brought that up. It's just a small again,
I know, I keep repeating with Stacy, but it's a
very small world.
Speaker 5 (27:14):
It's good. I like it, yeah, but but it is.
Speaker 3 (27:18):
Yeah, it is a good time, you know, for for
female directors and you know, female producers too, because even
like somebody like Gailhard on The Walking Dead, you know,
I think she kind of sort of I don't know
how many interviews she does. I don't know me she's
one of those people that sort of gets in the background.
But you know, it's it's just, you know, it is
(27:38):
like I can see more opportunities coming down the pike.
And it's also great things too, Like I have to
mention Carol Deane who runs the Grants of the Heart's Productions.
She's phenomenal. And there's also great people out there, like
like Jennifer Gersani lead Jessup, Clara, Alessandra, all these great
people out there working, uh you know, went out in
(27:59):
your neck, of which they.
Speaker 4 (28:01):
Well, absolutely. I just attended the Etherea Film Festival last weekend,
which has been going on for about five years now.
Speaker 5 (28:09):
Previous to that.
Speaker 4 (28:10):
It was called Gissero or it was more focused on horror,
and now it's more genre, you know, based with different
elements of that. And that is Heidi Honeycutt and Stacy
Hammond who run that festival, which is pretty much you know,
focused on the female in fact that they each film
has to either be written, directed, or produced by a woman.
(28:32):
And this past weekend, Roger Corman came out and presented
the Lifetime Achievement Award to Stephanie Rothman, who was his
protege and she actually directed the first three New World
Pictures I think. And this is back in the early seventies.
So Roger has always given people, regardless of gender or race,
(28:57):
their big breaks and early on, you know, before it
was quote unquote trendy. So it's really nice to see
a woman like Stephanie Rothman being recognized today for the
work that she did, which is really pretty pioneering in
the early nineteen seventies. But I mean, you could even
go back on this subject to the early era of
(29:19):
talkies and silent films, when women like Mary Pickford were
producing and it was a lot less gender biased than
for a short period of time until real money started
coming in and then it was, you know, taken over
by males. But I feel like, you know, we're definitely
experiencing a bit of a renaissance here. So it's a
(29:40):
good time to be a filmmaker period, but even better
to be a female filmmaker right now. So I'm feeling
pretty good about where I am.
Speaker 3 (29:47):
Yeah, and you know, it's interesting to see where all
this is going to. I'm always interested to see too, Stacy,
where you know, Netflix is going, where Hulu's going, where
all these avenues are going.
Speaker 2 (29:59):
Will be right back after a word from our sponsor,
and now back to the show.
Speaker 3 (30:08):
I mean, I've heard so many different things that are
rumbling down the pike, and it's just also interesting right
now and how everything's sort of coming together.
Speaker 4 (30:16):
Oh yeah, there are a lot more women working in
television and film. Film is sort of, you know, still
a bit more gender biased, but it's becoming less so
that I in television. I mean, if you just read
the credits, you'll see so many more female names below
the line than you do in the film.
Speaker 3 (30:35):
Yeah, very true, very true. Uh yeah, and and you
know that that'd be interesting to sort of discuss, you know,
why that why that is? But uh but I we
would be because I don't have I don't know the answer,
but I don't We're not going to talk about I
was good to say it's a good thing. I don't
even have a theory. But but I did want to
(30:55):
talk about your book, so lay a Hollywood memoir. I
do want to talk about this, you know, you know,
and I want to ask you know, sort of you know,
what inspired you to actually write the book. I know
you were working as a movie reporter. You know, you
started doing you know, all this film work. You released
a book in March of this year, twenty seventeen. So
what was sort of the impetus to write this book?
Speaker 4 (31:19):
Well, I started writing it last year, just a couple
of weeks before my birthday. It was a milestone birthday,
and so that is really what made me think. You know,
I've I've lived long enough life to be able to
have an interesting story. But I hold on just a
second here, Hi, thank you, Sorry about that.
Speaker 5 (31:44):
That is something you can edit out.
Speaker 3 (31:47):
I'm going to leave it in stacy. I think it's funny.
Speaker 4 (31:49):
How Yeah, I just got a plushel delivery. It's my
stack of cash for the next movie I'm directing.
Speaker 5 (31:56):
Oh nice, Okay. So yeah.
Speaker 4 (32:01):
So the impetus to write the book was last year
and my birthday month, and it was a milestone birthday.
So I felt like it was time for me to
tell my story because I had an interesting enough story
with enough perspective to talk about it. But I'm still
young enough and quote unquote with it to be able
to tell the story to you know, in an interesting manner.
(32:25):
So that was part of it. And then another part
of it is that with the you know, advent of
social media, that people know who I am, but they
express a lot of interest in my parents, my dad
and my mom, and I'll post pictures and I'll get
so many great responses, but their stories really haven't been
told on a personal level. So for me, that was
(32:47):
one of the reasons that I wanted to write too,
was to kind of give my mom and dad's stories
and in a candid way, but definitely not you know,
a mommy dearest kind of thing at all. But my
mother when I was growing up, she was an alcoholic
and she went through some really tough times, and my
parents divorced when I was very young. So there are
(33:08):
things to talk about in that regard where it wasn't
just you know, with cream and fluffy clouds childhood. So
there's you know, things that I want to talk about
in that regard. And my parents did read the book
after it was published and they both approved, so that's good.
So that's truly what the impetus was, because I feel
(33:30):
like I have some pretty interesting stories to tell in
a different perspective than probably most people.
Speaker 3 (33:37):
Yeah, and that that's sort of goes back to what
I was mentioning too, was, you know, just growing up
in la and still living there is an interesting perspective.
And I just want to ask Stacy, what is maybe
just one, just one story from the book, maybe your
most favorite or the most you know, interesting from you
from your perspective, just something from the book. Maybe, is
(33:58):
there any any just one story you could tell from
the book.
Speaker 4 (34:02):
Well, there are so many stories because it covers many
different facets of my life. So I mean, we could
talk about the very irate alcoholic monkey that my mom
brought home one day when I was about seven years old,
and it was as my new pet, which was kind
of fun. Or we could talk about you know why,
(34:23):
Malcolm McDowell told me I could call him my boyfriend
later in life, when I was interviewing him just about
every week for the Sci Fi Channel.
Speaker 5 (34:32):
We had sort of this.
Speaker 4 (34:33):
Fun little relationship and he's a great guy. Or we
could talk about the days of nineteen eighties hair metal
on the sunset stripped. Oh, that was an odious time. So,
I mean, there's really a lot to talk about. So
I couldn't really pick one story, but there's a lot
of little little kernels, and you know, part of my
(34:53):
wanting to do this was to be able to tell
these stories in a humorous way. So a lot of
feedback that I'm getting is really ratifying and that people
are finding, even in the more difficult times in my life,
that there's always a temper of humor to it. You know.
Speaker 3 (35:09):
One story that I saw from from from the Amazon
homepage for your book was party at the Playboy Mansion.
And I know this is I just every time I
hear about the Playboy mansion. The first thing I think of,
and this just goes to show you where my head's at,
Stacy is Paully Shore, because there's a story that somebody
(35:30):
was told about Pauli Shore where he every year, every
year he would know, he'd be at a Playboy Mansion
party and he would go up and he would just
tell everyone he was thirty years old. Well, finally someone said,
you know, Paulie, you've been thirty years old for the
past twenty years, so you know, And it's just and
they actually made liter of it in the TV show Entourage.
They actually brought that joke back, which I actually I
(35:51):
thought was pretty cool. But yeah, no, it was just
I just thought it was funny. But I mean, a
play party at the Playboy mansion and it's heyday, I mean,
so exactly that stuff.
Speaker 4 (36:02):
Like that back when it was exciting. Yeah, it was
really neat to be able to go to that part.
I believe it was nineteen years old, eighteen or nineteen
years old at the time. And Phap's girlfriend Carrie Lee,
who I believe she stued him for palamony later on,
but anyway, she was kind of out scouting the clubs
for goals to invite to the parties, and so we went,
(36:24):
and my friend Peg and I she was sort of
my bad influence, which every kid needs to have her
growing up, the bad influence friend.
Speaker 5 (36:33):
So we went and it.
Speaker 4 (36:35):
Was really interesting to see it back then, especially since
there was still a mistique to it, whereas now I
did return for another party about three years ago and
things had really changed quite a bit. And also just
the public perspective of the Playboy Mansion now that it's
been demystified, it's just not as exciting. It's actually kind
(36:57):
of cheesy. So it's kind of neat for me to
have that eperience from the perspective of decades apart to see,
you know, how it was in the in the eighties
to how it is now, and so I do talk
about that in the book. Yes, And another thing about
my book that maybe historians will find interesting is that
I am an architecture box. So I do go into
(37:19):
all the places that I've visited and then talk a
little bit about who built them and what their history
is and what they look like, so those kind of things,
you know, adding those details. It's really a lot of
fun for me when I was writing the book to
to be able to do research on the things that
I really enjoy and to be able to tell stories
about them from a different perspective, not just the salacious,
(37:41):
you know, Playboy Matched in Grotto perspective.
Speaker 3 (37:44):
So let me ask you, Stacy, is the Rainbow Born
Grill as legendary as they say?
Speaker 5 (37:51):
Yes, it is.
Speaker 4 (37:52):
There's been so much going on there throughout the years.
Speaker 5 (37:56):
Yeah.
Speaker 4 (37:57):
In fact, I did an interesting inner with the guys
from La Meekly. We actually did our interview there at
the Rainbow so we could talk about it history and
and it's really has not changed its staycore in many decades.
And I don't know if you know, but Motorheads front
man Lemmy he used to hang out there. In fact,
(38:19):
he practically lived there. He had rented an apartment just
within stumbling distance so he could hang out there all
the time. And when he passed away a couple of
years ago, he was such a fixture at the Rainbow
that they had actually commissioned a bronze statue of him.
And so he's still there at the bar.
Speaker 3 (38:37):
You know, I had a friend of mine out there
who went out there, and he actually, you know, knew
a few people who used to talk about the rain
of bar and Grill and they call it the Bow
and you know, and I know he and I always
and one of the guys telling stories would always he
was one of those guys that if he would always
tell impellish stories. So I wanted to ask, you know,
(38:59):
to be like, I wanted to ask you straight, you know,
straight from you Stacy about it, just about if it's
actually as legendary as they say.
Speaker 4 (39:06):
Yes, And I actually got to meet Jimmy Page there.
Who's my my hero growing up? I mean, I love
Jimmy Page and led Zeppelin. That was my jam when
I was a kid and a teenager. So I actually
had gotten a fake ID out of the back of
like Hit Parader or Cream Magazine so I could go
to the Rainbow when I was underage. And I saw
quite a few really cool rock stars there, but my
(39:28):
favorite sighting was definitely Jimmy Page. And then it sort
of came full circle when as an entertainment reporter I
got to actually interview him where the documentary called it
might get loud. So it was really fantastic to be
able to have my Jimmy Page moment on two totally
different levels. One as a fangirl and one as a
(39:50):
entertainment reporter.
Speaker 3 (39:53):
And see that. That's why you know, I'm glad we
got to talk, Stacy, because you have those those sort
of dual perspectives of things.
Speaker 2 (40:01):
We'll be right back after a word from our sponsor,
and now back to the show.
Speaker 3 (40:10):
Seeing petnam as fans and then seeing them as an interviewer.
I think that's really cool.
Speaker 4 (40:14):
Yeah, yeah, I do too, and I really appreciate it.
So I definitely talk about that in the book and
what it feels like to actually have those experiences. So
hopefully people will appreciate that aspect of it too, and I'll.
Speaker 3 (40:31):
Make sure to link the book in the show notes
as well. And Stacey, I just want to ask, uh,
I just want to ask also, you know what what
what next? What do you have next in the pipeline?
You know, are you what sort of movies are you
working on next?
Speaker 4 (40:45):
Well, I'm so immersed in the book right now and
psychotherapy festival.
Speaker 5 (40:50):
Run, but I don't have a lot ironed out yet.
Speaker 4 (40:55):
But my next hopeful project is to write and erect
a documentary about the ventures because, believe it or not,
in spite of their incredible legacy and long running career.
There's never been a documentary made about them, So if
no one else is going to do it, why not me?
Speaker 3 (41:15):
Exactly. You see an opportunity or you see something that
you would buy that's not out in the market, and
you go out and you create it.
Speaker 5 (41:23):
Yep, exactly.
Speaker 3 (41:26):
So Stacey, just in closing, I know we've been talking
for about forty minutes. Now, is there anything that we
can get a chance to talk about that you maybe
want to talk about now, or anything you sort of
want to say to put a period at the end
of this whole conversation.
Speaker 4 (41:39):
I'm i going to say thank you so much for
having me on the show and to talk about my
various different things. I know it's sometimes difficult to concentrate
on one specific line of questioning with someone who does
so many different things, but you know, I really do
appreciate having a forum like this to be able to
(41:59):
talk to you and to talk to your listeners, and
just looking forward to meeting everyone so they can certainly
find me online and I'd love to interact with folks
who also enjoy film and music.
Speaker 5 (42:12):
And thank you.
Speaker 3 (42:15):
And my pleasure, Stacey, and I thank you so much
for coming on where can people find you out online?
Speaker 4 (42:21):
Just about anywhere I can give you the rundown. So
I'm on Twitter as Stacey Wilson. That's st A c
I w I L s O N and the same
on Facebook, and then on Instagram, I'm Stacy Lane, which
is my middle name, so that's s t a c
I l A y n E. And my website is
(42:43):
Stacylanewilson dot com. So that's sort of the catch all
for if you forgot all those social media things, you
can go to my website and contact me there. In fact,
I encourage you to do so.
Speaker 3 (42:55):
But thank you so much for coming on the podcast,
and I wish you the best so much time.
Speaker 4 (43:01):
Okay, cool, thank you.
Speaker 2 (43:03):
I want to thank Dave so much for doing such
a great job on this episode. If you want to
get links to anything we spoke about in this episode,
head over to the show notes at Bulletproof Screenwriting dot tv.
Forward slash for thirty seven. Thank you so much for
listening to guys. As always, keep on writing no matter what.
I'll talk to you soon.
Speaker 1 (43:20):
Thanks for listening to the Bulletproof Screenwriting podcast at Bulletproofscreenwriting
dot tv.
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