December 6, 2025 • 40 mins
In this episode of Filmmaking Conversations, Damien Swaby sits down with Caprice Bourret — award-winning model, actress, entrepreneur, and now film producer — to discuss her powerful career reinvention and the making of her new Christmas movie, A Scottish Christmas Secret.Known worldwide for her iconic modelling career, Caprice has graced over 350 magazine covers, starred in major West End productions, built a successful business empire, and now leads JJLove Productions, where she produces heartfelt seasonal TV films for global audiences.Damien attended the premiere of A Scottish Christmas Secret and reflects on the warm, intimate atmosphere — popcorn, sofas, friendly faces, and the big screen bringing everyone together. This episode explores why Christmas films matter, how Caprice transitioned from supermodel to producer, and why she’s committed to creating movies that bring people comfort and joy.WHAT WE COVER:
Call to Action.
If you enjoyed this episode, please rate, review, and share the podcast. Follow Damien Swaby for more filmmaker interviews and insights into the craft and business of storytelling.
- Caprice Bourret’s career transformation from global supermodel to film producer
- The founding and mission of JJLove Productions
- Behind the scenes of A Scottish Christmas Secret
- Why Christmas films are still culturally important
- Producing, acting, and balancing creative control
- How personal reinvention can spark new creative chapters
- The importance of telling feel-good stories in uncertain times
- What’s next for Caprice and her growing film slate
- Christmas films
- Film producer interviews
- Acting and filmmaking insights
- Reinvention & career growth stories
- Behind-the-scenes filmmaking conversations
Call to Action.
If you enjoyed this episode, please rate, review, and share the podcast. Follow Damien Swaby for more filmmaker interviews and insights into the craft and business of storytelling.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:03):
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 3 (00:13):
Welcome back to Filmmaking Conversations with Me your host Damien Swabey.
Today I'm speaking with Caprice, a model, actress and film producer,
someone whose career hasn't just evolved, it's expanded and challenged
expectations again and again. You probably know Caprice from her
(00:35):
global modeling career more than three hundred and fifty magazine covers, Vogue,
GQ's Woman of the Year, Maxim's International Woman of the
Year three years running. Most people would have stopped there.
Most people do stop there. Caprice, she didn't. She moved
(00:55):
into acting the West End, built a successful business from scratch,
made her first million in property, and then, after all that,
made another expected turn. She started producing films, not as
a vanity project, not as a cameo driven side hustle,
(01:15):
but by founding JJ Love Productions, building full TV movie slates,
taking lead roles and releasing work internationally. I was lucky
enough to be invited to the premiere of her latest project,
A Scottish Christmas Secret and the Atmosphere was perfect, friendly, warm,
relaxed popcorn, people sunk into selfers, and the big screen
(01:40):
lighting up the room, no pretense, just a genuine celebration
of story. And that's why her transition into producing is important,
because someone with her career could easily sit back, but
instead she's creating films meant to comfort people, entertained families,
and give audiences something warm, woman seasonal to look forward
(02:01):
to each and every year. That kind of reinvention, from
global modeling fame to hands on independent filmmaking says more
about her than any headline ever could. So let's get
into it with my conversation with Caprice. You've had a
device a diverse, sorry career across modeling, acting, producing and business.
(02:24):
When people are ask you today what you do, how
do you describe yourself?
Speaker 1 (02:29):
I know, I kind of you know what. I've had
a career span of almost oh my goodness, ooh thirty years,
and I keep having to reinvent myself because that's just
what you have to do to stay relevant and to
keep people interested. So right now, at this stage in
(02:50):
my life, is something that I've always wanted to do,
but I was I think too afraid or I didn't
have enough confidence to do it, and that produce and
an act. So this is what I'm doing now.
Speaker 3 (03:05):
Primarily, why do you feel you didn't have the confidence
to produce and act?
Speaker 1 (03:09):
Well, as far as producing is concerned, I didn't know
how to get in and it was very very difficult
for me with the stereotype, the stigma, and I'm not
playing the victim at all, Okay, it was just how
it is.
Speaker 3 (03:24):
You know.
Speaker 1 (03:24):
People looked at me as a very successful model and
that was it, you know. And even with acting roles,
I only got one type of role, the babe roll
offered to me. And maybe I should have taken some
of those roles, but I didn't because I was waiting
to get sort of that credible role and that never happened.
(03:48):
So I guess I killed two birds with one stone
and I just got to a point and I said, well,
sot it. I'm just gonna do it myself.
Speaker 3 (03:56):
Good on you. I love that the indie filmmaker spirit
that many Lissa's echo and I echo also. Good on you. So,
looking back when you first stepped into acting a modeling,
what was the moment that made you feel like, yes,
I belong in this world.
Speaker 1 (04:11):
I think after I produced and started my first movie,
you know, I think that's when I thought, Okay, I
got a knack for this, and I'm not tooting. Well, no,
I did toot my own horn because nobody else going
to toot it, so I started tooting myself. I'm like,
maybe maybe I think this is I'm pretty good at this.
(04:34):
I'm I'm pretty darn good at this. And and and
I've always I mean I've I've studied acting gosh, my
whole my whole life almost in and out, dipped in
and out. So that wasn't that wasn't a shocker to me,
but the producing was. And since that first movie, that
was only a few years ago, I'm on my six
(04:55):
now wow. And my last movie that I sold, I
sold in twenty five different well, my distributor I didn't
sell it. I can never distribute, so I have to
get an external. And I sold in twenty five different countries.
And yeah, it sold really really well. And I found
(05:16):
my niche. You know, I love rom coms. I grew
up on rom coms. I obsess over rom coms with
my kids, and I will just sit in bed and
have our popcorn and eat rom coms All Night and
Christmas movies. I love the Christmas time. It's the happiest
(05:37):
time of year, and I think with all the craziness
going on in the world, we just need light hearted
happiness as well.
Speaker 3 (05:44):
In producing films and acting in films. As you said,
you've also done a lot of theater and television work.
So out of film, television and theater, what made him
you prefer best than why?
Speaker 1 (05:55):
Oh? No, I love what I'm doing now, I did.
I did love doing theater because I love that live aspect,
that rush, that adrenaline, that feedback right away, that spontaneous
feedback from the audience. And my thing was comedy. You know,
I do have it or you don't. You have that
comedic timing or you don't. It's really hard to learn
(06:17):
that you get better at it, but to learn that's
a tough one. So that was my niche uh, but
but but now yeah, but but but now with the
with with the I went off on one again. I
always do this and then I forget what was the initial.
Speaker 3 (06:34):
Question, right, but just mentioned that you've done theater, television,
and filming.
Speaker 1 (06:39):
Yes, yes, yes, yes, yes, so yeah, no, theater is
but this is my favorite. I I love everything about producing.
I love creating the script. Okay, maybe post I don't
like posts so much, but you know, it's got to
be done. And at the budget said I'm doing my films,
I have to do it all myself, which I'm not
(07:00):
complaining because it's great to understand every integral part of
making a film, because nobody. If I understand it, I
can hire the right people to do what I know
you and I need to allocate. So I've got a
great team. Now it's taken me, you know, four or
five films to get there, but I've got a great team,
(07:23):
and we just turn them out, turn them out, turn
them out excellent.
Speaker 3 (07:28):
And in terms of post production, it can be so
broad and overwhelming and it's such a long process sometimes.
Is there anything in particular that you dislike about post production?
Speaker 1 (07:39):
Well, I think I just think technically, weirdly enough, I'm
not a technical person. I am shocking, and so I
don't like it when I do have to get external
help and rely on other people. I just want to
get on, you know, like the editing. You know, once
my editor does the first cut, I go in and
(07:59):
it's weird with editing, I do have a knack for
or you don't, you know, and I don't get anyone
to to, you know, to do. I don't have a
post manager. I sort of just diirdle myself. So with
my editor, I go in there, and after the first cut,
I go in there with poor guy literally forty pages
(08:21):
of notes, you know what I mean. We kind of
work things out a good month and then we finally
and then and then after that, then obviously I go
into sound and score, and I'm really really involved with
my score sound. I'm not that involved with the only
thing I could, you know. I give notes obviously, with
(08:43):
the levels or you know, things that I think are
clear and that won't pass QC. So I go in
there and interject, and you know, because obviously when we
go to QC, we'll want to make it as perfect
as possible. But yeah, I mean, post is just I
love creating more instead of the technical side. But you
(09:05):
know it, I it's okay, I still love it. It's
just I don't love it as much as the script,
you know. And then obviously with the script, I love
my notes and making it more because I have that
actor's perspective. Sometimes the writers, you know, don't make it
as relatable, and they don't, you know, some people don't
(09:26):
talk like that. It looks good on paper, but it
just doesn't sound right, you know. So I go in
there and change that, and then I change for production
of what I could afford, and then it's adjust that,
and then it's the whole process of being with my team. Gosh,
I love my team. And then we turn these out
(09:48):
in fourteen days. You know, it's incredible. I shoot a
whole rom com on Christmas movie in fourteen days. But
the pre product in the post, you know, you're looking
at ear overall, so it's pretty crazy.
Speaker 3 (10:06):
See what country do you tend to shoot your films in?
Speaker 1 (10:10):
My specialty is my big sales are in America. But
my specialty as I shoot only in Europe.
Speaker 3 (10:18):
Okay, And why is that?
Speaker 1 (10:20):
Because I have all my contacts out here. When you're
shooting with this budget, you need to call in all the.
Speaker 2 (10:26):
Favors all And even though, weirdly enough, even though I'm American,
you know, I think I look at myself as more
European because I've been here the majority of my life.
Speaker 3 (10:39):
Yes, that makes sense. You've been here and worked here
for a number of years, so I can understand why
you'd feel like you're a fellow European. That makes sense
for sure. And you mentioned distribution companies earlier, and you
yourself are a successful indie filmmaker. A lot of the
people listening to this podcast I've been ripped off by
a distributor or unsure of the path to go down
(11:02):
when it comes to distribution. Can you give any advice
for first time filmmakers listening?
Speaker 1 (11:08):
Yeah, mate's see if you could get your distributors and
involved monetarily. It's really you know, it's a tough one.
You're right. I would only go for the big boys,
you know, the distributors with the reputations, with the very
good reputations, and the big boys in whatever space in
(11:31):
horror or for me, it's rom com and Christmas movies.
So I targeted the big boys in this space, and
I literally called them myself, and I kept calling, and
I kept calling and stocking and stocking, and normally what
(11:51):
I did initially is I financed my first one and
then sold it myself with a producing partner, and then
the second one. You know, then from there, I just
did it all myself. And now I'm partnering up with
my distributors.
Speaker 3 (12:09):
O great, and can you I think I know who
the distributors are, but can you say so? Don't make
myself look silly. I make a mistake.
Speaker 1 (12:16):
I've had Candlelight entertainment. I've had well they were real one,
now they're TF one entertainment. And now I'm doing quite
a few of my films with nicely entertainment.
Speaker 3 (12:29):
And what systems or workflows have you found effective in
insuring your dual roles as a producer, My lead actress
didn't compromise. Sorry, I have a performance or production quality.
Speaker 1 (12:41):
I'm not gonna lie. This is where I think I
have to be careful because yes, my acting on I
think it wasn't my second or the third film because
I had so many dramas going on and I had
to stay awake until four or five o'clock getting two
(13:03):
hours of sleep. But I have to say, there's somebody
i'm I'm I'm quite religious, so I believe God always
has a reason for doing everything. And I think God
was good to me and looking over me because those
particular scenes where I had no sleep and I was
stressed and I was crying and I was an emotional wreck.
(13:25):
I needed to be that for my scenes. So I
was lucky it actually worked to my advantage. But I
think I I could have you know, I could have
compromised those scenes if I didn't need that. So I
since then it was a very good lesson, and i've
(13:46):
and I've just took provisions from then on. And not
only that, it's just every time I do a movie,
I get better and more efficient, better and more efficient,
more confident. So now I I'm literally like a robot.
You know, We're like a machine now. And I'm very
I'm really proud of that because let me tell you,
(14:07):
to produce is not a walk in the park. It
is so freaking difficult. And the organization and the gosh,
I mean, I do everything from buying all the tickets
to booking to locations to casting to you know, like
(14:28):
I said, when I'm in production dealing with the dramas.
There is dramas on a day le basis. But now
I know, okay, this could be a drama. So how
am I going to rectify this beforehand before it happens?
Speaker 3 (14:42):
You know?
Speaker 1 (14:44):
So uh and then and then I just have a
better team. So but to get there, it was, it
was it was tough. It was tough in the beginning.
Speaker 3 (14:57):
And having performed in comedies, dulas, Christmas romances, how do
you technically collaborate your performance to suit the tonal demands
of different genres?
Speaker 1 (15:07):
You know what? It's so everyone is very different, right,
Everyone's very different. And some actors, you know, they work
on how they're going to feel and what they're going
to do. And but for me, I'm a listener. So
I first need to memorize my script like perfectly, and
(15:34):
then I go into the scene. Yes, we know the intention.
And it helps as well that I know the script
inside and out because I've completely redone the script or
you know, so that really helps. And but I just
listen and I work off the people I'm working with,
(15:55):
you know, And that's why I get so many spontaneous
you know, you if it feels real when you watch it.
It's so important to engage with your audience. And they
could tell when you are bad at acting, you're gonna
lose your audience in a second. Yes, we're gonna lose them.
And the scripts, yeah, the scripts that I've had, I've
(16:16):
had one kind of okay one, but I you know,
I've had good scripts and because I've I'm lucky, because
I'm the producer. I could change the writing to be
more natural, you know, and to be more engaging, and
where I could get an emotion, I could get emotion
from my other lead or my supporting and I could
(16:39):
engage with my audience. It's so important. I mean, even
for me when I'm watching movies, if the acting sucks,
I'm flipping the channel. I'm gone. You know. Well yeah,
well yeah, you just want to you want it to
be real for you in the moment, and it is
a craft. But you gotta listen, like really listen to
(17:01):
what they're saying to oh, to feel it here.
Speaker 3 (17:06):
Have you ever had a situation where you've cast an
actor for one of your films and sadly ended up
regretting it?
Speaker 1 (17:13):
Sort of? But as a producer, I got to make
it work. So and this is another skill of a producer,
you know. Not only do I inspire my crew and
I set the tone. The producer set the tone of
how the shoot's going to be. You know, when I'm
out there, Yeah, I'm picking up camera equipment, I'm making
(17:34):
sure everyone's good. I'm not a prima donna. I'm not Oh,
make sure. You know, he has the biggest camper because
or the biggest not camper, the biggest dressing room because
he's the lead. Everyone is even Steven, and we're just
there to have a laugh and to have a good time,
you know, and also to make magic. We all care
(17:56):
about what we're shooting. It's not just okay, it's another job.
Let's go do it. Everyone, my team and the crew.
I you know, the actors have become friends with them.
We all have a laugh, we all you know, when
we finish our twelve day you know hour, we go
and we have some drinks and we get to know
each other. It's really important to inspire and to make
(18:17):
it a great experience. And a lot of the times
the actors that I that I cast, I have them
again and again and again.
Speaker 3 (18:27):
That sounds really nice that you are able to do
that a real team effort, that you can move forward
with your company.
Speaker 1 (18:33):
Yeah, I think it's important. I want everyone to Yeah,
we work hard, but I want them to be proud
of this and I want them to have a good
time as well.
Speaker 3 (18:42):
So as a founder of by Caprice Home and now
JJ Love Productions, you built brands across industries. How has
your entrepreneurial experience shaped your approach to financing, packaging, and
marketing films?
Speaker 1 (18:56):
Well, I think it all even though they're different, genre, different,
but it's all the same kind of spreadsheets and the
same kind of organization. So that has helped me all
throughout my career. Regardless of how many times i've you know,
either I'm you know, producing underwear or I'm producing movies,
it's still the same spreadsheets, it's still the same you
(19:19):
know so, and you're still negotiating for the best prices
and you're still so the concept is kind of the same,
and the organization is really the same. And also it's
really really important, at least for me. Everyone's different. Some
people like to allocate, but I need to know every
(19:43):
integral part of my business. I have to understand it.
Speaker 3 (19:48):
Why do you think that's something that's inside you.
Speaker 1 (19:52):
Because I think it goes a lot smoother. I think
because of my passion and my love for what I do.
I can't I can't pay somebody to be that person.
Yeah no, and so you have a different kind of
intention when you go into this. So it's important for me.
And a lot of people will say, oh, you're a
control freak. I mean maybe, but maybe I'm trying to
(20:16):
control the situation because I want to limit the drama.
I want everyone to have a good time. And if
I understand everything, I can make sure that that happens,
and I could prevent it because I could foresee problems.
I go to a location, Okay, I could foresee Okay,
the roads, Okay, there may be snow on the roads.
(20:37):
So let's just make sure that we give us an
hourly way time to get there, you know, just small
things like this that maybe somebody that doesn't have that
kind of passion or maybe experience, I don't know, they
might not foresee problems like that. And trust me, an,
losing an hour on production is a lot freaking money,
(21:02):
my money, so you know. So so that's why I
want to understand everything. I mean, everyone's different again, and
that's fine some people, you know, some people just say, Okay,
you know you're the scripture, right, you do this, you
do that? So anyways, yeah, that that that process just
(21:24):
seems to work for me, and it makes everyone and
it makes everyone else's life much easier. In my crew,
you know, but they know how I work now, and
they they know the score but it's it's again, It's
taken me a bit to get here, to get to
this place, but we're here.
Speaker 3 (21:40):
Now, excellent. And I love the passion knowing everything, every
detail of your own business and your own productions. And
that says a lot about you because I imagine it's
takes up a lot of your time. How much time
exactly in a wak are you give in to your
film life? Well?
Speaker 1 (21:57):
You never tune off, you know. I'm awake sometimes till
four o'clock thinking of things, writing notes, reading the script. Again,
you know, I never tune off. But I don't look
at it as work. I look at it, like I
said before, as a passion, as a love. You know,
with this movie and making, especially this genre, there's not
(22:19):
a crazy amount of money involved, so it's got to
be for something. So it's just because I love what
I do and I'm really really good at it, and
I'm proud of that.
Speaker 3 (22:33):
So and are there any over the years, has there
been any producers or writers or directors that have inspired
you to continue with your passion?
Speaker 1 (22:44):
Oh no, go no, because I didn't know what was
I didn't know how crazy it was to be a producer.
You know, you and it's funny because you watch interviews,
and people could watch this view and not fully understand
how crazy it is and how time consuming it is
(23:08):
until you actually do it.
Speaker 3 (23:11):
Yes, very true. I think the same can be said
for directors as well, how much time it takes and
the type of commitment needed to be involved in those
type of roles, and to the director of photography too,
and certain other petitions. Absolutely, And with streaming platforms and
(23:33):
networks like hallmarkt we approfiately mentioned commissioning holiday films, what
technical strategies do you use to align creative vision with
the delivery expectations of these distributors.
Speaker 1 (23:46):
So with these streamers and with this particular genre, there's
a very very specific formula that you absolutely have to
understand and adhere to if you want to make a sale.
Speaker 3 (23:58):
Can you enlighten us a bit about the formula?
Speaker 1 (24:01):
No chance, You've got to do your homework. I'm not
gonna pick that easy for you, Okay, I like that.
Speaker 3 (24:10):
No beating around the bush, all right, So that's kind
of from me. But Burnough is that you've worked with
both independent and established companies. You said, Real One Entertainment, Hallmark,
Amazon Prime. What are the biggest technical differences in workflow,
crew and creative freedom with these collaborations.
Speaker 1 (24:31):
Well, you have to gain their there. They're very specific
and very strict initially, and then once you gain the respect,
then they'll let you have more freedom. So you just
have to go with it, you know. And I'm not complaining.
I'm very blessed that I could be doing business with
(24:52):
the likes of Nicely and TF one and and you
know in all these these major heavy hitters. I am
so grateful for it. So it's okay. I had to
pay my dues and now they're giving me a lot
more freedom.
Speaker 3 (25:10):
That's amazing to hear, that really is. And do you
work with ever work with a sales agent at all?
Speaker 1 (25:17):
No, I'll talk to them so that they could understand
my motives and my intentions and descript better. But no,
as a general I usually just talk to the you know,
the main guy of the whole sales division, and then
that goes off to there's sales people and individual territories.
(25:42):
So yes, so I don't I haven't really talked to
the salespeople of these individual Yeah, I mean I've talked
to a few just so they again, so they understand
the script better. And what I'll do, you know, of
course I'll promote my films, and yeah, I give them
a background and the you know, the electronic press kit,
(26:05):
the ePK, and you know, but no, we're not strategizing
together and we're not. No, no, but they do get
quite inspired because they because they like the movies. Thank goodness,
thank god.
Speaker 3 (26:21):
And out of all of your performances, out of all
the characters you've played, I should say which one means
the most to you?
Speaker 1 (26:28):
I think every time I do a new production, I
push the limits as much as i can, more and
more to make my movies more interesting and more heartfelt.
And you know, I want people to feel my passion
when I'm acting, and in the scripts, I want to
move them. This is why I'm doing this. And so
(26:52):
every time, every movie, it just gets better, better and better.
Speaker 3 (26:58):
And with scripts a lot of people go through various
different drafts for various different reasons. Some people go up
to you know, twelve twenty three drafts or whatever the
number may be. What are you like in terms of
writing different drafts? What's your process into that and how
far down the line do you go?
Speaker 1 (27:16):
No? Well, I mean, for example, I'm in pre production
for a movie that was originally supposed to be in Provence,
and it's an adaptation of a book. And my Nicely Entertainment,
my partners in this particular production said, I love this book.
(27:41):
Let's sue this, but let's suit and promounce. So so
I got the book and then then we assigned a writer,
and then the writer and I from the very very beginning,
I get involved and I talk it through with my writer.
Now she just did the first draft, and you know,
(28:04):
and this is normal. There were a few things and
intentions again and moments that we're missing that I feel
is important. Like for me with the rom coms that
I'm just I've always been obsessed with. I love. They
meet and then something happens, I mean they come close,
to come closer, and if something happens and they tear apart,
(28:24):
we don't the lead girl the lead boy, they don't
understand why the other person is not responding. And then
obviously at the end they come together, they do the
big smooch at the end, and everyone lives happily ever after.
So you know, these components, well, there's there's a lot
more other components, you know, And even like the color,
(28:46):
you know, even like the texture. I mean, I'm very
specific about you know, because I go and scout all
my locations. I book every single location and every single movie.
I don't have the money for a location scouts, so
I have to do it myself. But I know what works,
even down to the the the colors of each room
(29:10):
or of the or the outside, and the textures and
the feeling. I know what works, you know. And I'm
very very but that's where my you know from my
design background that that really comes in quite handy. And
and even when I'm shooting, I'm in there, I you know,
I get to set, god knows how much earlier with
(29:30):
my set designer, and I'm hanging I'm putting together a
Christmas tree, I'm hanging tinse a while I'm doing everything
with her, you know. And then and then of course
looking on the monitor and like no, no, no, no, no,
no on that close up. No I need another reef
right there, I need I need more. So I am
(29:53):
very very very very involved. I just but I just
know what I need to sell it properly. I I
just know it now. I didn't know it before. But again,
you know, the harder you work I always say, the
luckier you get, that's how it works.
Speaker 3 (30:08):
Yes, yes, very nice. So you're a legit indie filmmaker
going to the locations by yourself and putting up the
Christmas tree and things like that. When you do go
to the locations and you decide that's the one who
would come along with you for a reki to see
how it would work looking on film and say boring
things like health and safety and other logistics.
Speaker 1 (30:30):
Yes, I mean once I get the locations locked down. Yes,
I have somebody my first ad do the whole safety
check in and YadA, YadA, YadA. But I don't have
them come in until I till I'm happy with my locations.
I don't lock it until I get an okay from him.
But the in Serbia, I took my son with me
(30:56):
for moral support, and normally I just take maybe my
assistant or you know. Sometimes I'll go by myself and
I'll do it. But I do all the research beforehand,
and obviously with the scenes. I have a general understanding
of what I need and I do all my really Yeah,
(31:17):
usually it takes me about a month. In Scotland, I
made a lot of calls before I did the w
reki beforehand to see if they were interested, to see
if we could do it, And then I did the
reki and then I sometimes I would do two wrekis beforehand. Uh,
And then I'm I mean I only go up two
(31:37):
or three days before a shoot, get everything locked down
and we're tucked in.
Speaker 3 (31:45):
Gus. And how many crew members would you have on
set for a typical scene.
Speaker 1 (31:52):
For a typical scene, I mean, if it's the big finale,
of course there's oh, there could be up to one hundred.
But for generally my team there's about fourteen people. And
then it just depends on the scene. Maybe it's just
a two leads or if it's a few supportings, so
maybe it'll be just under twenty. It's a small team.
Speaker 3 (32:15):
And experience is one thing and passion is one thing.
But how did you learn how to produce? How did
you learn how to pick what you needed for your
sets and everything like that? Did you do any type
of film school over the years or were there any
books or anything?
Speaker 1 (32:29):
Oh? No, I mean my brain is a business brain,
I think. So with my first movie, I couldn't do
it by myself. I had no idea what I was doing,
so I co produced with a woman actually that I
did a movie with and she was producing that movie
(32:51):
and I thought, Okay, she's super smart and she's doing
these for that budget. I want to do it movie
with her. So I approached her and I said, listen,
your next movie, let's do this together. I'll put up
the money and let's do this. And she said okay.
(33:14):
So I'm really grateful to her. I learned quite a lot.
And then, obviously, but what I also noticed is the
mistakes that were made as well, and that just made
sure and not made those same mistakes on the next production,
which I did by myself.
Speaker 3 (33:31):
I see and this Christmas on Channel five, you've got
to a film coming up. Can you tell us about that.
Speaker 1 (33:37):
It's called Scottish Christmas Secret, and obviously it's based in Scotland.
And I mean it's the same as you know they
you know what, You just have to watch it. It's so
cute and one thing that I always have in my
movies that I think is important. It's not just the
(33:59):
walkie talkie in there there and they're you know, they
meet and they fall for each other and then and
then something happens that tears them apart. And then they
come back together. There's also a lot of adventures, so
I had this whole ski scene in that I had archery.
You know, it's a little it's a little more comedic
than I normally produce, but it worked. And my lead
(34:22):
is so funny, he's brilliant, and we just had a
great We became really really good friends. We had a
great answer, so it was quite natural. But it's just
such a feel good movie. I can't wait for everyone
to see it. It's on. I don't I haven't gotten
a slot time yet because I think it's too far
ahead of the game. But Channel five took it again.
(34:44):
Channel five took my first Christmas movie, and now they've
taken my second Christmas movie. Hopefully they'll also take my
third Christmas movie.
Speaker 3 (34:53):
Congratulations. That's really cool that it's going to be on
the national television. The film itself and why Scotland.
Speaker 1 (35:01):
Why Scotland, Well, because I love Scotland. I think it's
it's a great place to make a Christmas movie and
where I shot. All the time. With Christmas movies, you
have to have snow, and for some reason, it's hard
to find places that you're going to guarantee be guaranteed snow.
I know that sounds crazy, but it's really hard to
(35:22):
find this now and up in the highlands. You know,
nine times out of ten, Now, this is an unbelievable story.
So the first movie I did, it was in Serbia,
and all my research says January is the best time
you have. You know, twelve days of snow. These are
the best days. YadA, YadA, YadA said, great booked it
(35:42):
during those days. I get up there, no snow. It
is way too hot, and I'm tearing. I'm pulling out
my hair. I'm freaking out. We have a hole. We
had a whole ski scene on that movie too, and
they couldn't get the fake snow. I was freaking out,
(36:03):
and then I actually, I'm telling you this is the truth.
I just prayed and I prayed and I prayed because
I'm not gonna sell it without snow. It it won't
sell without snow. It needs to have snow. And I
can't do half, you know, I can't do half the scenes.
Pray to right, I'm telling you, a miracle happened. It
(36:26):
snowed so hard for two days and then it stopped.
I got all my scenes done and you're not gonna
believe this. Those were the only days it snowed in Slatiboor,
the only days the whole season. How mental is that?
Speaker 3 (36:48):
Again?
Speaker 1 (36:49):
And then in Scotland, I mean it always snows in
the highlands, right, So I got up to the Highlands
and I had the same problem. There was no snow
and it was no prediction or so, and I thought,
oh my goodness, Oh my goodness, what am I going
to do? Oh my god, did it again? Did my
(37:10):
brain boom? I got two major days of snow and
that was it. But I got all my scenes in.
I got three days. I just I had a change
the schedule, you know, overnight, and just say, okay, let's
just get all of the outside scenes done now. So
I had to call it my locations I had. Everyone
(37:32):
was so great. That's another thing in Scotland. They're so
freaking nice. They were so accommodating, they were amazing. So,
oh my goodness. So this next one, let's hope I
don't have that much drama. But then again, I have
a great d FX guy now, so you know what,
if it doesn't start, I'm just gonna fake it.
Speaker 3 (37:55):
Yeah, the fake snow was getting looking more and more
impressive these days. I did see Fakes Snow in a
Wholemark film and I thought, Okay, that's got good well,
good price. Thanks so much for coming on. I really
appreciate you taking the time to speak to me about
your projects and your career and your journey, which has
been fantastic. I've seen your modeling before, and I've seen
(38:15):
your work and seen you in magazines and everything like that,
and I think this is one of the most incredible
turnarounds of reinvention and things of that nature that I've
witnessed on this podcast. And I can see without a
shadow of a doubt you really embody the filmmaker spirit,
the indie filmmaker, the passion and the willingness to get
things done, and sometimes that means getting your hands dirty,
(38:37):
and sometimes that means screaming and crying and pretending to
smile and all that it takes. And you really do that.
So thank you so much, because I know the listeners
will enjoy listening to this that will be inspired by you.
Thanks for listening to this episode of Filmmaking Conversations. Talking
to Caprice is a reminder that real reinvention what it
really looks like most people know that modeling career the
(39:01):
covers the fame, but it's the transition, the conscious decision
to step behind the camera, to build j Love Productions,
to produce and start in her own films that shows
who she really is and what she's really about. A
Scottish Christmas Secret is a perfect example. Heartfelt, warm and
(39:23):
designed to bring people together. And after sitting at the premiere,
the sulfas the popcord and they genuinely relaxed the atmosphere,
you could feel why these Christmas films matter. People need
to tell stories that soften the edges of life a bit,
stories that remind them of connection, stories that give them
(39:46):
an excuse to pause. Caprice is making those stories, and
she's doing it with intention, ambition, and the work ethic
of someone who has reinvented herself more than once and
refuses to slow down. And remember to watch A Scottish
Christmas Secret on My five throughout December, and the film
(40:08):
will be shown on Channel five this December thirteenth,
You are listening to the IFH podcast Network.
Speaker 2 (00:06):
For more amazing filmmaking and screenwriting podcasts, just go to
ifhpodcastnetwork dot com.
Speaker 3 (00:13):
Welcome back to Filmmaking Conversations with Me your host Damien Swabey.
Today I'm speaking with Caprice, a model, actress and film producer,
someone whose career hasn't just evolved, it's expanded and challenged
expectations again and again. You probably know Caprice from her
(00:35):
global modeling career more than three hundred and fifty magazine covers, Vogue,
GQ's Woman of the Year, Maxim's International Woman of the
Year three years running. Most people would have stopped there.
Most people do stop there. Caprice, she didn't. She moved
(00:55):
into acting the West End, built a successful business from scratch,
made her first million in property, and then, after all that,
made another expected turn. She started producing films, not as
a vanity project, not as a cameo driven side hustle,
(01:15):
but by founding JJ Love Productions, building full TV movie slates,
taking lead roles and releasing work internationally. I was lucky
enough to be invited to the premiere of her latest project,
A Scottish Christmas Secret and the Atmosphere was perfect, friendly, warm,
relaxed popcorn, people sunk into selfers, and the big screen
(01:40):
lighting up the room, no pretense, just a genuine celebration
of story. And that's why her transition into producing is important,
because someone with her career could easily sit back, but
instead she's creating films meant to comfort people, entertained families,
and give audiences something warm, woman seasonal to look forward
(02:01):
to each and every year. That kind of reinvention, from
global modeling fame to hands on independent filmmaking says more
about her than any headline ever could. So let's get
into it with my conversation with Caprice. You've had a
device a diverse, sorry career across modeling, acting, producing and business.
(02:24):
When people are ask you today what you do, how
do you describe yourself?
Speaker 1 (02:29):
I know, I kind of you know what. I've had
a career span of almost oh my goodness, ooh thirty years,
and I keep having to reinvent myself because that's just
what you have to do to stay relevant and to
keep people interested. So right now, at this stage in
(02:50):
my life, is something that I've always wanted to do,
but I was I think too afraid or I didn't
have enough confidence to do it, and that produce and
an act. So this is what I'm doing now.
Speaker 3 (03:05):
Primarily, why do you feel you didn't have the confidence
to produce and act?
Speaker 1 (03:09):
Well, as far as producing is concerned, I didn't know
how to get in and it was very very difficult
for me with the stereotype, the stigma, and I'm not
playing the victim at all, Okay, it was just how
it is.
Speaker 3 (03:24):
You know.
Speaker 1 (03:24):
People looked at me as a very successful model and
that was it, you know. And even with acting roles,
I only got one type of role, the babe roll
offered to me. And maybe I should have taken some
of those roles, but I didn't because I was waiting
to get sort of that credible role and that never happened.
(03:48):
So I guess I killed two birds with one stone
and I just got to a point and I said, well,
sot it. I'm just gonna do it myself.
Speaker 3 (03:56):
Good on you. I love that the indie filmmaker spirit
that many Lissa's echo and I echo also. Good on you. So,
looking back when you first stepped into acting a modeling,
what was the moment that made you feel like, yes,
I belong in this world.
Speaker 1 (04:11):
I think after I produced and started my first movie,
you know, I think that's when I thought, Okay, I
got a knack for this, and I'm not tooting. Well, no,
I did toot my own horn because nobody else going
to toot it, so I started tooting myself. I'm like,
maybe maybe I think this is I'm pretty good at this.
(04:34):
I'm I'm pretty darn good at this. And and and
I've always I mean I've I've studied acting gosh, my
whole my whole life almost in and out, dipped in
and out. So that wasn't that wasn't a shocker to me,
but the producing was. And since that first movie, that
was only a few years ago, I'm on my six
(04:55):
now wow. And my last movie that I sold, I
sold in twenty five different well, my distributor I didn't
sell it. I can never distribute, so I have to
get an external. And I sold in twenty five different countries.
And yeah, it sold really really well. And I found
(05:16):
my niche. You know, I love rom coms. I grew
up on rom coms. I obsess over rom coms with
my kids, and I will just sit in bed and
have our popcorn and eat rom coms All Night and
Christmas movies. I love the Christmas time. It's the happiest
(05:37):
time of year, and I think with all the craziness
going on in the world, we just need light hearted
happiness as well.
Speaker 3 (05:44):
In producing films and acting in films. As you said,
you've also done a lot of theater and television work.
So out of film, television and theater, what made him
you prefer best than why?
Speaker 1 (05:55):
Oh? No, I love what I'm doing now, I did.
I did love doing theater because I love that live aspect,
that rush, that adrenaline, that feedback right away, that spontaneous
feedback from the audience. And my thing was comedy. You know,
I do have it or you don't. You have that
comedic timing or you don't. It's really hard to learn
(06:17):
that you get better at it, but to learn that's
a tough one. So that was my niche uh, but
but but now yeah, but but but now with the
with with the I went off on one again. I
always do this and then I forget what was the initial.
Speaker 3 (06:34):
Question, right, but just mentioned that you've done theater, television,
and filming.
Speaker 1 (06:39):
Yes, yes, yes, yes, yes, so yeah, no, theater is
but this is my favorite. I I love everything about producing.
I love creating the script. Okay, maybe post I don't
like posts so much, but you know, it's got to
be done. And at the budget said I'm doing my films,
I have to do it all myself, which I'm not
(07:00):
complaining because it's great to understand every integral part of
making a film, because nobody. If I understand it, I
can hire the right people to do what I know
you and I need to allocate. So I've got a
great team. Now it's taken me, you know, four or
five films to get there, but I've got a great team,
(07:23):
and we just turn them out, turn them out, turn
them out excellent.
Speaker 3 (07:28):
And in terms of post production, it can be so
broad and overwhelming and it's such a long process sometimes.
Is there anything in particular that you dislike about post production?
Speaker 1 (07:39):
Well, I think I just think technically, weirdly enough, I'm
not a technical person. I am shocking, and so I
don't like it when I do have to get external
help and rely on other people. I just want to
get on, you know, like the editing. You know, once
my editor does the first cut, I go in and
(07:59):
it's weird with editing, I do have a knack for
or you don't, you know, and I don't get anyone
to to, you know, to do. I don't have a
post manager. I sort of just diirdle myself. So with
my editor, I go in there, and after the first cut,
I go in there with poor guy literally forty pages
(08:21):
of notes, you know what I mean. We kind of
work things out a good month and then we finally
and then and then after that, then obviously I go
into sound and score, and I'm really really involved with
my score sound. I'm not that involved with the only
thing I could, you know. I give notes obviously, with
(08:43):
the levels or you know, things that I think are
clear and that won't pass QC. So I go in
there and interject, and you know, because obviously when we
go to QC, we'll want to make it as perfect
as possible. But yeah, I mean, post is just I
love creating more instead of the technical side. But you
(09:05):
know it, I it's okay, I still love it. It's
just I don't love it as much as the script,
you know. And then obviously with the script, I love
my notes and making it more because I have that
actor's perspective. Sometimes the writers, you know, don't make it
as relatable, and they don't, you know, some people don't
(09:26):
talk like that. It looks good on paper, but it
just doesn't sound right, you know. So I go in
there and change that, and then I change for production
of what I could afford, and then it's adjust that,
and then it's the whole process of being with my team. Gosh,
I love my team. And then we turn these out
(09:48):
in fourteen days. You know, it's incredible. I shoot a
whole rom com on Christmas movie in fourteen days. But
the pre product in the post, you know, you're looking
at ear overall, so it's pretty crazy.
Speaker 3 (10:06):
See what country do you tend to shoot your films in?
Speaker 1 (10:10):
My specialty is my big sales are in America. But
my specialty as I shoot only in Europe.
Speaker 3 (10:18):
Okay, And why is that?
Speaker 1 (10:20):
Because I have all my contacts out here. When you're
shooting with this budget, you need to call in all the.
Speaker 2 (10:26):
Favors all And even though, weirdly enough, even though I'm American,
you know, I think I look at myself as more
European because I've been here the majority of my life.
Speaker 3 (10:39):
Yes, that makes sense. You've been here and worked here
for a number of years, so I can understand why
you'd feel like you're a fellow European. That makes sense
for sure. And you mentioned distribution companies earlier, and you
yourself are a successful indie filmmaker. A lot of the
people listening to this podcast I've been ripped off by
a distributor or unsure of the path to go down
(11:02):
when it comes to distribution. Can you give any advice
for first time filmmakers listening?
Speaker 1 (11:08):
Yeah, mate's see if you could get your distributors and
involved monetarily. It's really you know, it's a tough one.
You're right. I would only go for the big boys,
you know, the distributors with the reputations, with the very
good reputations, and the big boys in whatever space in
(11:31):
horror or for me, it's rom com and Christmas movies.
So I targeted the big boys in this space, and
I literally called them myself, and I kept calling, and
I kept calling and stocking and stocking, and normally what
(11:51):
I did initially is I financed my first one and
then sold it myself with a producing partner, and then
the second one. You know, then from there, I just
did it all myself. And now I'm partnering up with
my distributors.
Speaker 3 (12:09):
O great, and can you I think I know who
the distributors are, but can you say so? Don't make
myself look silly. I make a mistake.
Speaker 1 (12:16):
I've had Candlelight entertainment. I've had well they were real one,
now they're TF one entertainment. And now I'm doing quite
a few of my films with nicely entertainment.
Speaker 3 (12:29):
And what systems or workflows have you found effective in
insuring your dual roles as a producer, My lead actress
didn't compromise. Sorry, I have a performance or production quality.
Speaker 1 (12:41):
I'm not gonna lie. This is where I think I
have to be careful because yes, my acting on I
think it wasn't my second or the third film because
I had so many dramas going on and I had
to stay awake until four or five o'clock getting two
(13:03):
hours of sleep. But I have to say, there's somebody
i'm I'm I'm quite religious, so I believe God always
has a reason for doing everything. And I think God
was good to me and looking over me because those
particular scenes where I had no sleep and I was
stressed and I was crying and I was an emotional wreck.
(13:25):
I needed to be that for my scenes. So I
was lucky it actually worked to my advantage. But I
think I I could have you know, I could have
compromised those scenes if I didn't need that. So I
since then it was a very good lesson, and i've
(13:46):
and I've just took provisions from then on. And not
only that, it's just every time I do a movie,
I get better and more efficient, better and more efficient,
more confident. So now I I'm literally like a robot.
You know, We're like a machine now. And I'm very
I'm really proud of that because let me tell you,
(14:07):
to produce is not a walk in the park. It
is so freaking difficult. And the organization and the gosh,
I mean, I do everything from buying all the tickets
to booking to locations to casting to you know, like
(14:28):
I said, when I'm in production dealing with the dramas.
There is dramas on a day le basis. But now
I know, okay, this could be a drama. So how
am I going to rectify this beforehand before it happens?
Speaker 3 (14:42):
You know?
Speaker 1 (14:44):
So uh and then and then I just have a
better team. So but to get there, it was, it
was it was tough. It was tough in the beginning.
Speaker 3 (14:57):
And having performed in comedies, dulas, Christmas romances, how do
you technically collaborate your performance to suit the tonal demands
of different genres?
Speaker 1 (15:07):
You know what? It's so everyone is very different, right,
Everyone's very different. And some actors, you know, they work
on how they're going to feel and what they're going
to do. And but for me, I'm a listener. So
I first need to memorize my script like perfectly, and
(15:34):
then I go into the scene. Yes, we know the intention.
And it helps as well that I know the script
inside and out because I've completely redone the script or
you know, so that really helps. And but I just
listen and I work off the people I'm working with,
(15:55):
you know, And that's why I get so many spontaneous
you know, you if it feels real when you watch it.
It's so important to engage with your audience. And they
could tell when you are bad at acting, you're gonna
lose your audience in a second. Yes, we're gonna lose them.
And the scripts, yeah, the scripts that I've had, I've
(16:16):
had one kind of okay one, but I you know,
I've had good scripts and because I've I'm lucky, because
I'm the producer. I could change the writing to be
more natural, you know, and to be more engaging, and
where I could get an emotion, I could get emotion
from my other lead or my supporting and I could
(16:39):
engage with my audience. It's so important. I mean, even
for me when I'm watching movies, if the acting sucks,
I'm flipping the channel. I'm gone. You know. Well yeah,
well yeah, you just want to you want it to
be real for you in the moment, and it is
a craft. But you gotta listen, like really listen to
(17:01):
what they're saying to oh, to feel it here.
Speaker 3 (17:06):
Have you ever had a situation where you've cast an
actor for one of your films and sadly ended up
regretting it?
Speaker 1 (17:13):
Sort of? But as a producer, I got to make
it work. So and this is another skill of a producer,
you know. Not only do I inspire my crew and
I set the tone. The producer set the tone of
how the shoot's going to be. You know, when I'm
out there, Yeah, I'm picking up camera equipment, I'm making
(17:34):
sure everyone's good. I'm not a prima donna. I'm not Oh,
make sure. You know, he has the biggest camper because
or the biggest not camper, the biggest dressing room because
he's the lead. Everyone is even Steven, and we're just
there to have a laugh and to have a good time,
you know, and also to make magic. We all care
(17:56):
about what we're shooting. It's not just okay, it's another job.
Let's go do it. Everyone, my team and the crew.
I you know, the actors have become friends with them.
We all have a laugh, we all you know, when
we finish our twelve day you know hour, we go
and we have some drinks and we get to know
each other. It's really important to inspire and to make
(18:17):
it a great experience. And a lot of the times
the actors that I that I cast, I have them
again and again and again.
Speaker 3 (18:27):
That sounds really nice that you are able to do
that a real team effort, that you can move forward
with your company.
Speaker 1 (18:33):
Yeah, I think it's important. I want everyone to Yeah,
we work hard, but I want them to be proud
of this and I want them to have a good
time as well.
Speaker 3 (18:42):
So as a founder of by Caprice Home and now
JJ Love Productions, you built brands across industries. How has
your entrepreneurial experience shaped your approach to financing, packaging, and
marketing films?
Speaker 1 (18:56):
Well, I think it all even though they're different, genre, different,
but it's all the same kind of spreadsheets and the
same kind of organization. So that has helped me all
throughout my career. Regardless of how many times i've you know,
either I'm you know, producing underwear or I'm producing movies,
it's still the same spreadsheets, it's still the same you
(19:19):
know so, and you're still negotiating for the best prices
and you're still so the concept is kind of the same,
and the organization is really the same. And also it's
really really important, at least for me. Everyone's different. Some
people like to allocate, but I need to know every
(19:43):
integral part of my business. I have to understand it.
Speaker 3 (19:48):
Why do you think that's something that's inside you.
Speaker 1 (19:52):
Because I think it goes a lot smoother. I think
because of my passion and my love for what I do.
I can't I can't pay somebody to be that person.
Yeah no, and so you have a different kind of
intention when you go into this. So it's important for me.
And a lot of people will say, oh, you're a
control freak. I mean maybe, but maybe I'm trying to
(20:16):
control the situation because I want to limit the drama.
I want everyone to have a good time. And if
I understand everything, I can make sure that that happens,
and I could prevent it because I could foresee problems.
I go to a location, Okay, I could foresee Okay,
the roads, Okay, there may be snow on the roads.
(20:37):
So let's just make sure that we give us an
hourly way time to get there, you know, just small
things like this that maybe somebody that doesn't have that
kind of passion or maybe experience, I don't know, they
might not foresee problems like that. And trust me, an,
losing an hour on production is a lot freaking money,
(21:02):
my money, so you know. So so that's why I
want to understand everything. I mean, everyone's different again, and
that's fine some people, you know, some people just say, Okay,
you know you're the scripture, right, you do this, you
do that? So anyways, yeah, that that that process just
(21:24):
seems to work for me, and it makes everyone and
it makes everyone else's life much easier. In my crew,
you know, but they know how I work now, and
they they know the score but it's it's again, It's
taken me a bit to get here, to get to
this place, but we're here.
Speaker 3 (21:40):
Now, excellent. And I love the passion knowing everything, every
detail of your own business and your own productions. And
that says a lot about you because I imagine it's
takes up a lot of your time. How much time
exactly in a wak are you give in to your
film life? Well?
Speaker 1 (21:57):
You never tune off, you know. I'm awake sometimes till
four o'clock thinking of things, writing notes, reading the script. Again,
you know, I never tune off. But I don't look
at it as work. I look at it, like I
said before, as a passion, as a love. You know,
with this movie and making, especially this genre, there's not
(22:19):
a crazy amount of money involved, so it's got to
be for something. So it's just because I love what
I do and I'm really really good at it, and
I'm proud of that.
Speaker 3 (22:33):
So and are there any over the years, has there
been any producers or writers or directors that have inspired
you to continue with your passion?
Speaker 1 (22:44):
Oh no, go no, because I didn't know what was
I didn't know how crazy it was to be a producer.
You know, you and it's funny because you watch interviews,
and people could watch this view and not fully understand
how crazy it is and how time consuming it is
(23:08):
until you actually do it.
Speaker 3 (23:11):
Yes, very true. I think the same can be said
for directors as well, how much time it takes and
the type of commitment needed to be involved in those
type of roles, and to the director of photography too,
and certain other petitions. Absolutely, And with streaming platforms and
(23:33):
networks like hallmarkt we approfiately mentioned commissioning holiday films, what
technical strategies do you use to align creative vision with
the delivery expectations of these distributors.
Speaker 1 (23:46):
So with these streamers and with this particular genre, there's
a very very specific formula that you absolutely have to
understand and adhere to if you want to make a sale.
Speaker 3 (23:58):
Can you enlighten us a bit about the formula?
Speaker 1 (24:01):
No chance, You've got to do your homework. I'm not
gonna pick that easy for you, Okay, I like that.
Speaker 3 (24:10):
No beating around the bush, all right, So that's kind
of from me. But Burnough is that you've worked with
both independent and established companies. You said, Real One Entertainment, Hallmark,
Amazon Prime. What are the biggest technical differences in workflow,
crew and creative freedom with these collaborations.
Speaker 1 (24:31):
Well, you have to gain their there. They're very specific
and very strict initially, and then once you gain the respect,
then they'll let you have more freedom. So you just
have to go with it, you know. And I'm not complaining.
I'm very blessed that I could be doing business with
(24:52):
the likes of Nicely and TF one and and you
know in all these these major heavy hitters. I am
so grateful for it. So it's okay. I had to
pay my dues and now they're giving me a lot
more freedom.
Speaker 3 (25:10):
That's amazing to hear, that really is. And do you
work with ever work with a sales agent at all?
Speaker 1 (25:17):
No, I'll talk to them so that they could understand
my motives and my intentions and descript better. But no,
as a general I usually just talk to the you know,
the main guy of the whole sales division, and then
that goes off to there's sales people and individual territories.
(25:42):
So yes, so I don't I haven't really talked to
the salespeople of these individual Yeah, I mean I've talked
to a few just so they again, so they understand
the script better. And what I'll do, you know, of
course I'll promote my films, and yeah, I give them
a background and the you know, the electronic press kit,
(26:05):
the ePK, and you know, but no, we're not strategizing
together and we're not. No, no, but they do get
quite inspired because they because they like the movies. Thank goodness,
thank god.
Speaker 3 (26:21):
And out of all of your performances, out of all
the characters you've played, I should say which one means
the most to you?
Speaker 1 (26:28):
I think every time I do a new production, I
push the limits as much as i can, more and
more to make my movies more interesting and more heartfelt.
And you know, I want people to feel my passion
when I'm acting, and in the scripts, I want to
move them. This is why I'm doing this. And so
(26:52):
every time, every movie, it just gets better, better and better.
Speaker 3 (26:58):
And with scripts a lot of people go through various
different drafts for various different reasons. Some people go up
to you know, twelve twenty three drafts or whatever the
number may be. What are you like in terms of
writing different drafts? What's your process into that and how
far down the line do you go?
Speaker 1 (27:16):
No? Well, I mean, for example, I'm in pre production
for a movie that was originally supposed to be in Provence,
and it's an adaptation of a book. And my Nicely Entertainment,
my partners in this particular production said, I love this book.
(27:41):
Let's sue this, but let's suit and promounce. So so
I got the book and then then we assigned a writer,
and then the writer and I from the very very beginning,
I get involved and I talk it through with my writer.
Now she just did the first draft, and you know,
(28:04):
and this is normal. There were a few things and
intentions again and moments that we're missing that I feel
is important. Like for me with the rom coms that
I'm just I've always been obsessed with. I love. They
meet and then something happens, I mean they come close,
to come closer, and if something happens and they tear apart,
(28:24):
we don't the lead girl the lead boy, they don't
understand why the other person is not responding. And then
obviously at the end they come together, they do the
big smooch at the end, and everyone lives happily ever after.
So you know, these components, well, there's there's a lot
more other components, you know, And even like the color,
(28:46):
you know, even like the texture. I mean, I'm very
specific about you know, because I go and scout all
my locations. I book every single location and every single movie.
I don't have the money for a location scouts, so
I have to do it myself. But I know what works,
even down to the the the colors of each room
(29:10):
or of the or the outside, and the textures and
the feeling. I know what works, you know. And I'm
very very but that's where my you know from my
design background that that really comes in quite handy. And
and even when I'm shooting, I'm in there, I you know,
I get to set, god knows how much earlier with
(29:30):
my set designer, and I'm hanging I'm putting together a
Christmas tree, I'm hanging tinse a while I'm doing everything
with her, you know. And then and then of course
looking on the monitor and like no, no, no, no, no,
no on that close up. No I need another reef
right there, I need I need more. So I am
(29:53):
very very very very involved. I just but I just
know what I need to sell it properly. I I
just know it now. I didn't know it before. But again,
you know, the harder you work I always say, the
luckier you get, that's how it works.
Speaker 3 (30:08):
Yes, yes, very nice. So you're a legit indie filmmaker
going to the locations by yourself and putting up the
Christmas tree and things like that. When you do go
to the locations and you decide that's the one who
would come along with you for a reki to see
how it would work looking on film and say boring
things like health and safety and other logistics.
Speaker 1 (30:30):
Yes, I mean once I get the locations locked down. Yes,
I have somebody my first ad do the whole safety
check in and YadA, YadA, YadA. But I don't have
them come in until I till I'm happy with my locations.
I don't lock it until I get an okay from him.
But the in Serbia, I took my son with me
(30:56):
for moral support, and normally I just take maybe my
assistant or you know. Sometimes I'll go by myself and
I'll do it. But I do all the research beforehand,
and obviously with the scenes. I have a general understanding
of what I need and I do all my really Yeah,
(31:17):
usually it takes me about a month. In Scotland, I
made a lot of calls before I did the w
reki beforehand to see if they were interested, to see
if we could do it, And then I did the
reki and then I sometimes I would do two wrekis beforehand. Uh,
And then I'm I mean I only go up two
(31:37):
or three days before a shoot, get everything locked down
and we're tucked in.
Speaker 3 (31:45):
Gus. And how many crew members would you have on
set for a typical scene.
Speaker 1 (31:52):
For a typical scene, I mean, if it's the big finale,
of course there's oh, there could be up to one hundred.
But for generally my team there's about fourteen people. And
then it just depends on the scene. Maybe it's just
a two leads or if it's a few supportings, so
maybe it'll be just under twenty. It's a small team.
Speaker 3 (32:15):
And experience is one thing and passion is one thing.
But how did you learn how to produce? How did
you learn how to pick what you needed for your
sets and everything like that? Did you do any type
of film school over the years or were there any
books or anything?
Speaker 1 (32:29):
Oh? No, I mean my brain is a business brain,
I think. So with my first movie, I couldn't do
it by myself. I had no idea what I was doing,
so I co produced with a woman actually that I
did a movie with and she was producing that movie
(32:51):
and I thought, Okay, she's super smart and she's doing
these for that budget. I want to do it movie
with her. So I approached her and I said, listen,
your next movie, let's do this together. I'll put up
the money and let's do this. And she said okay.
(33:14):
So I'm really grateful to her. I learned quite a lot.
And then, obviously, but what I also noticed is the
mistakes that were made as well, and that just made
sure and not made those same mistakes on the next production,
which I did by myself.
Speaker 3 (33:31):
I see and this Christmas on Channel five, you've got
to a film coming up. Can you tell us about that.
Speaker 1 (33:37):
It's called Scottish Christmas Secret, and obviously it's based in Scotland.
And I mean it's the same as you know they
you know what, You just have to watch it. It's so
cute and one thing that I always have in my
movies that I think is important. It's not just the
(33:59):
walkie talkie in there there and they're you know, they
meet and they fall for each other and then and
then something happens that tears them apart. And then they
come back together. There's also a lot of adventures, so
I had this whole ski scene in that I had archery.
You know, it's a little it's a little more comedic
than I normally produce, but it worked. And my lead
(34:22):
is so funny, he's brilliant, and we just had a
great We became really really good friends. We had a
great answer, so it was quite natural. But it's just
such a feel good movie. I can't wait for everyone
to see it. It's on. I don't I haven't gotten
a slot time yet because I think it's too far
ahead of the game. But Channel five took it again.
(34:44):
Channel five took my first Christmas movie, and now they've
taken my second Christmas movie. Hopefully they'll also take my
third Christmas movie.
Speaker 3 (34:53):
Congratulations. That's really cool that it's going to be on
the national television. The film itself and why Scotland.
Speaker 1 (35:01):
Why Scotland, Well, because I love Scotland. I think it's
it's a great place to make a Christmas movie and
where I shot. All the time. With Christmas movies, you
have to have snow, and for some reason, it's hard
to find places that you're going to guarantee be guaranteed snow.
I know that sounds crazy, but it's really hard to
(35:22):
find this now and up in the highlands. You know,
nine times out of ten, Now, this is an unbelievable story.
So the first movie I did, it was in Serbia,
and all my research says January is the best time
you have. You know, twelve days of snow. These are
the best days. YadA, YadA, YadA said, great booked it
(35:42):
during those days. I get up there, no snow. It
is way too hot, and I'm tearing. I'm pulling out
my hair. I'm freaking out. We have a hole. We
had a whole ski scene on that movie too, and
they couldn't get the fake snow. I was freaking out,
(36:03):
and then I actually, I'm telling you this is the truth.
I just prayed and I prayed and I prayed because
I'm not gonna sell it without snow. It it won't
sell without snow. It needs to have snow. And I
can't do half, you know, I can't do half the scenes.
Pray to right, I'm telling you, a miracle happened. It
(36:26):
snowed so hard for two days and then it stopped.
I got all my scenes done and you're not gonna
believe this. Those were the only days it snowed in Slatiboor,
the only days the whole season. How mental is that?
Speaker 3 (36:48):
Again?
Speaker 1 (36:49):
And then in Scotland, I mean it always snows in
the highlands, right, So I got up to the Highlands
and I had the same problem. There was no snow
and it was no prediction or so, and I thought,
oh my goodness, Oh my goodness, what am I going
to do? Oh my god, did it again? Did my
(37:10):
brain boom? I got two major days of snow and
that was it. But I got all my scenes in.
I got three days. I just I had a change
the schedule, you know, overnight, and just say, okay, let's
just get all of the outside scenes done now. So
I had to call it my locations I had. Everyone
(37:32):
was so great. That's another thing in Scotland. They're so
freaking nice. They were so accommodating, they were amazing. So,
oh my goodness. So this next one, let's hope I
don't have that much drama. But then again, I have
a great d FX guy now, so you know what,
if it doesn't start, I'm just gonna fake it.
Speaker 3 (37:55):
Yeah, the fake snow was getting looking more and more
impressive these days. I did see Fakes Snow in a
Wholemark film and I thought, Okay, that's got good well,
good price. Thanks so much for coming on. I really
appreciate you taking the time to speak to me about
your projects and your career and your journey, which has
been fantastic. I've seen your modeling before, and I've seen
(38:15):
your work and seen you in magazines and everything like that,
and I think this is one of the most incredible
turnarounds of reinvention and things of that nature that I've
witnessed on this podcast. And I can see without a
shadow of a doubt you really embody the filmmaker spirit,
the indie filmmaker, the passion and the willingness to get
things done, and sometimes that means getting your hands dirty,
(38:37):
and sometimes that means screaming and crying and pretending to
smile and all that it takes. And you really do that.
So thank you so much, because I know the listeners
will enjoy listening to this that will be inspired by you.
Thanks for listening to this episode of Filmmaking Conversations. Talking
to Caprice is a reminder that real reinvention what it
really looks like most people know that modeling career the
(39:01):
covers the fame, but it's the transition, the conscious decision
to step behind the camera, to build j Love Productions,
to produce and start in her own films that shows
who she really is and what she's really about. A
Scottish Christmas Secret is a perfect example. Heartfelt, warm and
(39:23):
designed to bring people together. And after sitting at the premiere,
the sulfas the popcord and they genuinely relaxed the atmosphere,
you could feel why these Christmas films matter. People need
to tell stories that soften the edges of life a bit,
stories that remind them of connection, stories that give them
(39:46):
an excuse to pause. Caprice is making those stories, and
she's doing it with intention, ambition, and the work ethic
of someone who has reinvented herself more than once and
refuses to slow down. And remember to watch A Scottish
Christmas Secret on My five throughout December, and the film
(40:08):
will be shown on Channel five this December thirteenth,
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