CLASS NOTES

Reprinted from Fall/Winter 2007 edition of "Golden Gate Lawyer" Magazine

Laurence N. Kaldor (JD 95) has directed a new film, "Redirecting Eddie," a romantic comedy with a cast including Academy Award nominee Valerie Perrine and former New York City Mayor Ed Koch. The film was included in the American Film Market in Santa Monica in November and marks the debut of Kaldor's Kaliber Films label. In his teens, Kaldor survived a plane crash that killed his father and cost him a leg and an eye. He was a licensed entertainment attorney in New York and California before turning to independent filmmaking. "Redirecting Eddie" has been picked up for distribution by Unistar International Pictures and will screen at the Berlin International Film Festival in February 2008.

INTERVIEW WITH LAURENCE KALDOR

By Joe Dirosa

Interview reprinted from December 2007 edition of "New York Artists Series" Magazine

"Redirecting Eddie" is your first feature film as a director. Ironically, it is about a director who is having quite a bit of trouble getting his first film made...They say life imitates art...Can you tell me about the process and some of the troubles you had getting "Redirecting Eddie" made?

          
You name it, we saw it.  I could probably fill up an entire book, with just the production problems alone. We had problems while filming, right up through the present during post-production. Or, I could make a movie about it and have Eddie explain it to you.
 
A few of my favorite nightmare moments: Five days before the beginning of principal photography, my lead actress got stage-fright and backed out of the project. This turned out to be a blessing in disguise because we ended up with Deirdre Imus--who is a serendipitous angel--but at the time, you can imagine our panic. We scrambled. We scoured the screen-test tapes for back-up actresses--all of whom were now off on other gigs. Luckily, Jon Moore, the male lead in the movie, was able to get Deirdre at the last minute--two days before we were slated to roll cameras.
 
The funny thing is, which I think most filmmakers--especially producers--will relate to, is that the majority of the production problems on “Eddie” happen on ALL productions. Actors have to reschedule, props are missing. And, we even lost one whole day of shooting because our main camera broke.
 
But on the other hand, I definitely think “Eddie” had quite a few extra bumps on the road. There’s a fight scene between the two brothers. And in the script, all of the props should be breakable, since Warren trashes his younger brother’s set. This means the art department should have duplicates or triplicates of the props, as backups, right? Not only did my art department not have backups, but most of the props were totally indestructible. Many were rented while the rest were simply unbreakable plastics or metallic. I remember sending my awesome new prop masters Chris Gavagan and Jennifer De Los Santos--former Art Department PA’s who were promoted on the spot--on a quick run to get me a stack of cheap dishes and cups. And when you watch the scene, Warren is moving all the larger props around, but he only smashes cups and plates.
  
Talk about a guerilla shoot…the night we decided to steal the shots of Lincoln Center, we knew it would be dicey, because it wasn’t permitted. But what we didn’t know was that the building lights we were using for our backdrop would go off at midnight. There we are, shooting, a skeleton crew in the freezing cold--and NYPD and Lincoln Centre security guards are racing up to us from all directions, telling us to pack it up. And to emphasize the point, in the background, the fountain turns off, and the whole place goes dark. Again, talk about making it happen no matter what…my lead actor Nathaniel Eaton held it together. And that shot, moments before the lights went out, became my movie poster.   
 
We did have a great crew. And that’s pretty much what gets you through the production.     
Every production has its challenges and day-to-day mishaps, don’t get me wrong. But, not many have a terrorist attack take out two buildings that serve as backdrop for approximately fifteen percent of the film. On September 13, two days after 9/11, co-sponsor Subway called and said they were pulling out. They told me no one was going to want to see a film with the Trade Center in it, and that no one was going to be able to laugh at New York or New Yorkers for a long time. I think enough time has passed…And people, especially New Yorkers, are ready to laugh again.  
 
Not only was production riddled with problems, but we had countless mishaps straight through post as well. Right up until this past summer, Fed Ex misplaced one of Eddie’s five reels when shipping the reels from New York to California for finishing. Somehow, the reel became separated from the rest of the shipment, and instead of making it LA—it went to St. Louis. A few ulcers, a heart attack, and a week later, after much yelling and brow-beating, we were able to track it down and get it to LA to do the final picture finish.            
 
This "Redirecting Eddie" has been 10 years in the making...Literally over seven years since you started principal photography...Did you think you would ever have a finished product?
 
No one is more aware of how long this process has been than me--and actually it has been even longer than seven years. I conceived of the concept, which is partially based on a true story, and committed to writing the original script over 9 years ago, in the fall of 1998. A funny thing about my personality: I always knew I would finish. There was never any doubt. Whenever I set my mind to something--and all the people who know me can vouch for this--come hell or high water...I will finish. There is a line in the film where Eddie says “I will complete this film.”  For the past seven years, I have quoted him to myself, at least, a dozen times a day.                     
 
Also, over the years, as the project evolved and went through various ups and downs, I wasn’t always certain I would have a good project, or a funny project, or a great film.  But, I never doubted for a second that eventually I would complete it. And, the best thing is that, today, we actually have a film that I extremely proud of--simply because it is my first effort, my brain child, and my baby, and because I was able to finish it.
 
Where did the idea for "Redirecting Eddie" come from since you couldn't have had the same life experiences as the movie while you were writing it?
 
Well, a lot of the ideas behind the film came from my previous years of experience on the set of indie films. Also, as an actor--mainly an extra--or as a Production Assistant, I was able to work on numerous high profile television shows and studio pictures. I always thought the combination of the pitfalls of indie filmmaking, contrasted with those of big budget filmmaking, would be an interesting exploration for me, as an indie guy—to create a sort of fish-out-of-water story.
 
However, all that being said, “Eddie” is not so much about the filmmaking, as it is about the characters. The story is very loosely based on a true story. For starters, my sister is a filmmaker. And we have had our differences and rivalries in the past, of which I take full responsibility for, being the younger sibling who grew up in his older sister’s shadow. However, she is far from being a big, fat, evil B-movie filmmaker. She’s a very talented artist in her own right, whom I have learned a lot from. I was simply tapping into some of our darker days of competition, when I imagined her to be a much darker figure than she truly is. I had the help of Avery O Williams, a gifted writer, who reshaped the character of the older sibling and helped give the appropriate depth and humanity needed to sell the relationship.
 
Also, the b-story--the buddy-pic side of the movie--is based on facets of my personality. Eddie is my more creative and practical side, while Oliver is my more comedic, Woody Allen / Neil Simon-influenced side. Oliver is crass, sarcastic and just out there having fun.
 
Of course, I have to share ALL story credit with Avery. I promised he would always get billing over me, because after seven years and uncounted drafts of my original story, I have no idea where the original story started and our communal version ends. And the one true fact is…I couldn’t have done it without him.                          
 
What does finally being finished compare to?
 
My initial reaction is...words cannot express the feeling of being finished, after all this time. Finally being completed…having the finished product…it has been such a long road. I guess the words that come to mind are thankful, grateful--to so many people and for the opportunity itself--relieved, thrilled, elated, and definitely euphoric.
          
What do you think it takes to be a successful director and/or producer in independent films, now, in 2007?
 
In my heart of hearts, I truly believe the answer has been the same since the beginning of literature and theater. If you are an artist, and you have a story to tell, and it is compelling, it will come out. You will express it. And if you don’t, shame on you for not sharing it with the rest of the universe. I think it takes two qualities to be successful in any industry: persistence and talent.  If you have the drive, and you ignore time-tables and limitations, you will be successful. And, it also depends on your definition of success. If making millions of dollars defines your success...I think there are other industries like banking to become involved with. But if success is waking up every day and doing what you love, and simply making a living at it...then by simply sticking to it, if you have even a modicum of talent, you will find success.
 
How was working with Jaid Barrymore? I heard you had a bit of a run in that’s not usually associated with Playboy Bunnies?
 
Jaid is an absolute character. I love Jaid, so very much. She brought such a fun and lively energy to set everyday, and Im thrilled to have had the opportunity to work with her. One of my funniest memories of working with her, and I think it was one of the funniest moments on set, which we all needed, was when we were shooting up near Columbia University, on a bluff overlooking Spanish Harlem. Jaid was running late, and these were Jaid is an absolute character. I love Jaid, so very much. She brought such a fun and lively energy to set everyday, and I’m thrilled to have had the the earlier days of cell phones in New York. Back in the late 90’s, reception in certain neighborhoods was shoddy, to say the least.  So, Jaid is late and we can’t get her on the phone. And while we’re shooting some preliminary shots, cutaways and what not, there is a police chopper circling our set and the area.  They were obviously looking for someone. Then, from the bluff, the entire cast and crew could see this police chase, which started by car and moved to a foot-chase, across and around Spanish Harlem. Just then, we get a call from Jaid, whose cab driver was lost, and she’s calling us directly from the middle of this Wild West gun fight/car chase. I mean, Jaid, this petite woman, being driven right through this battle...and we’re all standing there watching. If the cameras weren’t already set and rigged for an elaborate rain scene, I would have loved to have caught it on film.
 
The good news is, Jaid eventually arrived, unscathed, though frazzled. And we actually made our day, and it was one of our smoother days.
 
Now, relating to one of your earlier questions about problems encountered on set, well...apparently one of the perpetrators was never caught during the chase, so the helicopter stayed with us all day and into the night. You can only imagine the sound quality that day. Needless-to-say, we got through it, but it was a high adrenaline day.
 
What other projects do you have in the works that we can look for on the horizon?
 
I always have several projects in various stages of development. Right now, I am actively working on a script with Bob Urdaneta, starring Sally Kirkland and Bo Gentry, which will be an homage to Wenders’ “Wings of Desire,” with a very special and heart-warming twist. Being a huge fan of Wenders, I am working diligently and methodically to ensure the highest level of integrity and quality. I also have two horror scripts being shopped around. One, surprisingly enough, is in conjunction with Jaid Barrymore’s Phaze 3 Films, out of New York. Both of those films promise to be very exciting, and are close to rolling into production as early as Winter ‘08.
 
I have so many projects that I am passionate about, and several solid ones in my slate that I would love to start work on. For the past seven years while finishing “Eddie,” I have been making my bones and garnering experience, working on others’ material. This has been extremely rewarding. However, now that “Eddie” is on its way out to the public, I cannot express my excitement to get back into the development side, and begin work on my own original projects.
 
I read hundreds of scripts every year, and I am constantly looking for new material. Of the projects in my company Kaliber Films’ slate, at least half have been acquired from other people.  Of those, I have the rights to a phenomenal book about the first queen of the American roller derby in the 1950’s. I have another great one about a family of three generations of Italian-American women who all get romanced by the same opera singer in a small town in Italy.
 
I have several other stories and projects that are several years off. And even though it’s premature to even begin to discuss them, I am very excited and passionate about all of them. I only wish I could be working on all of them simultaneously. I have a wonderful, untold, true story that takes place during the Holocaust. I have an epic, based on the best historical fiction I’ve ever read. And I am constantly being offered fabulous new stories all the time.
                                                                                                                                              
Is there a project or story that you think Hollywood should really make?
 
I’m a film-file.  So, I pretty much attempt to see every movie out there. There are no bad movies, in my opinion--just movies for different days of the week and different moods. I love the action and adventure genres, just as much as thriller or drama. I love screwball comedies, animation, slasher films, b-movie dramedies, as well as the art-house, ultra low-budget indie flicks. I love them all. Every aspect of the basic story structure has been done to death. I only hope that filmmakers keep pushing the envelope, focusing on characters, continuing to explore special effects, and telling wondrous stories. Is there “one” story that needs to be told? Well...every story in my slate, eventually, needs to be told. And the potential academy award nominee stories, like the holocaust picture I just mentioned, are just as important as Jaid’s horror film, in my opinion. As an artist, and as a member of the general public, I want to see them all. 
 
As an independent film producer and director, what sort of conflicting struggles did you have occupying the two very different positions?
                                                          
This is an ongoing struggle on every project I work on--especially so on “Redirecting Eddie.”  I think the trick is to surround yourself with good people and a solid crew.  If you have a solid support staff, you can endure. The two positions are constantly at odds. I think the benefit of having an indie background is that I understand that the entertainment business is just that: entertainment and business. I am constantly balancing both elements all the time. I direct and write with an eye for producing. I’m always producing. And I bring that to the table on jobs where I am solely the producer, as well on jobs where I am solely the director. I am always aware of crew needs, time schedules, actors’ overtime, as well as the costs of all the elements. I find that many people who have a background in one or the other find themselves constantly at odds with making their days or even surviving production. When I get to wear both hats, I typically don’t experience a conflict. I have learned to accept and balance the two positions.  However, I am always reminded that they are at odds.    
 
You have original music in the movie from Cher...How did that come about?
 
Wow.  Actually in the cut we have right now, we have a license for Cher’s song “ When Love Calls Your Name,” which was recorded in the early 90’s.  And let me tell you, acquiring those rights were no easy task. It took me and my manager at the time John Martino almost two years to track Cher down and to finally get her to agree. The funny thing is we would send a request with a box of chocolates to her house in Malibu, and she’d be in London. Or we’d send flowers to her home in London, and she’d be in Beverly Hills. I can’t reveal the trick my manager ultimately used to get her to say yes, because frankly I may need to use it again someday, and don’t want to give away all my secrets! All I can say is we wowed her and won her over.  And, she graciously watched the film and agreed to give us the song.
 
As far as original music, we have the rights to do a modern version of the song, as well as interest from several famous DJ’s to remix it. The original theatrical release of the film may or may not feature the remix. It may be reserved for the DVD or for syndicated release. But as great as Cher’s original sleeper hit version of the song is, the remix will be even hotter.
        
Who were your influences that made you want to make films?
 
As a kid, when I saw “Star Wars” for the first time, I was blown away.  I went back to the theater to see it literally over 20 times. And, I remember while everyone else wanted to be a Jedi or Han Solo, all I wanted to do was figure out how they accomplished it, and how I could accomplish something like it. Then only a year or so later, “Superman” came out and I was blown away again—especially since I grew up on the 50’s George Reeve’s version, where Superman flies, flat on a glass table. So, my earliest influences were Donner and Lucas. As for my sense of humor, well, I’m a New York Jew. I was pretty much raised by Neil Simon and Woody Allen. I relate to them. They basically make movies about my family and everyone’s family I knew growing up. There are definite elements in “Redirecting Eddie,” especially in Oliver’s character, that are directly related to my love of Allen and Simon.
 
Then, of course, as I became a study of film, I became endeared of all the masters. Stanley Kubrick is at the top of my list. I also love Kurosawa, Spielberg, Hitchcock, De Sica, Renoir, Coppola, Kapra, Eisenstein, Wells, Ray, Bunuel, Ford, Houston, and Wilder, to name a few. I have been and continue to be a consummate study of the art, and am humble enough to admit that my craft is still in its infancy. I love the process, and I am always learning, always studying, and always growing.    
 
Do you have any actors which you would love to work with?
 
Oh my goodness, my wish list is a mile long. There are seasoned actors whom I would be honored to work with, as well as some younger actors whom I think are quite gifted. I hesitate to begin mentioning names for fear of leaving out some of my favorites, so please understand that this list is absolutely open-ended. At the top of my list, would definitely be Johnny Depp, whom I think is one of, if not, simply the best living actor in the business. No one brings more to every role. Close seconds would be Phillip Seymour Hoffman and Natalie Portman. I would love the opportunity to direct Bill Cosby or Steve Martin because I know I could learn so much from comedians who have also directed.        
 
Favorite movie of 2007?
 
“Lars and the Real Girl” is my top choice, although “American Gangster” is a close second. I still feel Ryan Gosling deserves an Oscar nod, even though it’s difficult to beat Denzel when he is at the top of his game. I don’t think “Lars” is necessarily the best film of the year, but it is a personal favorite thus far. Ryan’s performance simply blew me away. 
 
And lastly...what is on your iPod?
 
Well, I have extremely eclectic taste in music, as well. And since my iPod holds thousands of songs, I have my entire mp3 library on it. Dance music for working out makes up about 1/3 of it. And the rest of the songs are an equal mix of every genre: pop, jazz, classic rock, smooth R&B, southern rock, country & western, hip-hop, classical, top 40, Motown, alternative rock, heavy metal, grunge...And actually, there are so many categories today for music, I’m sure I have blends of almost every kind of music out there.

"Redirecting Eddie" is scheduled to be released in 2008 but you can see the trailer and more information at www.RedirectingEddie.com

REDIRECTING EDDIE AFTER EIGHT YEARS

By Ryan Simmons

Article reprinted from October 25, 2007 Edition of "Long Islander" Newspaper

Melville native Laurence Kaldor's passion is independent film.

It's a passion that's proved unquenchable, despite some large waves that life has rolled his way. Most of all, it's a passion that's finally paying off in 2008, when the director/producer will release, at long last, his film Redirecting Eddie, which has been the product of eight years of work and a lifetime of experience.

It was during his childhood on Long Island that Kaldor says his views on life, as well as his sensibilities as a filmmaker, were shaped.

"I was gifted as to where I was dropped on the planet earth," he said. "That sort of nice, suburban environment with family and friends, that's part of me." It all helped Kaldor to see life as a comedy, in the tradition of his influences Neil Simon and Woody Allen.

It was a view that would be tested when Kaldor was caught in a devastating plane crash at the age of 16 that cost him an eye and a leg, and also took the life of his father.

"Without the support of my friends, I don't think I would have made it," he explained. "Friendship, relationships, that all became the heart of why I endure."

Redirecting Eddie itself, which is a semi-autobiographical film about a new filmmaker braving a gauntlet of obstructions to finish his first movie, turned out to be an unfortunate case of life imitating art for Kaldor, who struggled to let the movie see the light of day. Principle photography was done by 2000. Unfortunately, just when the movie was on the verge of release, 9/11 struck, which turned out to be a disaster for the film.

"It was a very New York oriented comedy," explained Kaldor. "It even had the World Trade Center in it. Well, after 9/11 my sponsors pulled out. They told me it was too soon, that nobody would want to laugh at it right now."

And so the movie went on the shelf, and Kaldor went on to other things, building a reputation by directing commercials and smaller works, as well as supporting himself as a successful attorney. In his heart though, he always knew he'd come back to Eddie.

"There's a moment when the lead character is shouting at the sky 'I will finish this film!' That became me. It resonated. It kept me up for seven years," he said.

Now, the jaunty comedy looks to be finally catching a break. Sponsored by the Subway Corporation, it will be seeing a limited release in 2008, followed by what Kaldor hopes will be a long life on cable and DVD.

After a decade of experience in independent film, Kaldor has developed a unique, oddly optimistic view on life that permeates his work.

"I think, to an extent, that everybody who is unhappy in life chooses to be that way. I wanted to be a filmmaker because I knew that it was the only way I could get up every morning and always be happy with what I was doing," confided Kaldor.

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FOR IMMEDIATE RELEASE:

FILM DIRECTOR CONQUERS LIFE TRAGEDIES, FINISHES FIRST FILM

LOS ANGELES, CA - Laurence N. Kaldor's romantic comedy Redirecting Eddie will participate in this November's American Film Market (AFM) in Santa Monica, CA. The film, which started principle photography in the 20th Century, will see the light of day after eight years in production.

Unlike most directorial debuts rotting away in the vast graveyard of unfinished features, the momentum of Kaldor's New York-themed film was derailed by a very real tragedy: the World Trade Center bombings.

After a 6-year slumber, during which Kaldor experienced a miraculous change of fortune, the project recently sprang to life when Kaldor agreed to become his own finishing firm. He re-wrote, re-shot, re-edited, re-scored, and re-mastered the original festival cut of the film, in preparation for its miracle market debut.

As a survivor of a deadly plane crash that killed his father when he was a teen, Kaldor is no stranger to miracles. Kaldor lost a leg and an eye in the accident, but went on to become a licensed entertainment attorney in New York and California, before dedicating himself to independent film. Kaldor has worn a variety of hats in the film industry, and comes from the "do it all" school of filmmaking. He co-wrote Redirecting Eddie with Avery Williams, co-produced with David Oltman, and co-edited with Howard Heard.

In an extreme case of art imitating life, Redirecting Eddie stars a novice director who navigates Herculean-sized hurdles to finish his first film. The sibling rivalry between the central characters is loosely based on Kaldor’s relationship with cult filmmaker Alexandra King of Red Lipstick fame, his older sister. It features Academy Award-nominee Valerie Perrine, Deirdre Imus, Jaid Barrymore, Fred Berman, and former New York mayor Ed Koch in a cameo role, plus Jon Moore and Nathaniel Eaton as “Eddie.”

The film marks the production debut of Kaldor's Kaliber Films label, launched earlier this year in response to the spiraling costs of producing "quality" indie fare. The company co-founded with Eric Sherman, son of Hollywood directing legend Vincent Sherman, specializes in art yet budget-conscious properties that have inherent marketing appeal. It will use hard-ball tactics to insure that budgeted dollars are "seen on screen."

Redirecting Eddie is a demonstration of this strategically lean production approach. The 35mm film was shot on a micro-budget more akin to digital video. Kaldor attributes his ability to render his artistic vision in full, despite budgetary restraints, to the efficiency he developed during his years as a line producer. He counts directing Redirecting Eddie as a highlight of a colorful filmmaking career. Show times/dates/locations will be announced.

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REDIRECTING EDDIE

Making an indie film is murder under the best of circumstances, but first-time director Eddie Vassick's scenario is chaotic. Halfway through filming his main investor croaks. He has to tangle with the investor's widow who not only demands a plum role in the film when she’s never acted a day in her life, but sells the film’s rights to none other than Eddie’s domineering older brother Warren. Warren is a B-movie mogul, king of commercial flicks, who has cast a shadow over Eddie his entire life.

Eddie is forced to bend to Warren's will, and Warren immediately issues an impossible ultimatum, true to form. Eddie must re-shoot the entire film in costly 35mm format in four weeks time, or control of the entire project will revert to Warren. Meanwhile, Warren, who has always been secretly jealous of his little brother’s inherent talents, has gotten his hands on a copy of Eddie's script and views this project as his one shot to catapult himself from the “B” leagues into the majors.

Warren thrusts Eddie head-first into the world of big budget filmmaking, with all of the crippling pressure and diluted artistic integrity that come along with it. Eddie must face many obstacles, including a break-neck production pace, a sexy ball-breaker of an Assistant Director, and stone-aged, unionized crew members who are frozen in their ways. Warren plots that all of these elements will drive Eddie to directing destruction.

Warren is right about one thing. The love-hate dynamics of Eddie's relationship with his Assistant Director Dana prove undeniable to Eddie. He falls in love with a completely resistant Dana, and must win her over during the course of the knock-down, drag-out production melee. Also, Warren seduces Eddie's right-hand man Oliver, tempting him with the perks of entertainment industry wealth and power. Oliver's resulting focus on beautiful women and late night partying costs Eddie a valuable pillar of support that could end up costing him the film.

With crises like these, Eddie’s film career embarks on a race against the calendar. With every obstacle Warren throws his way, Eddie is one step closer to losing his precious film and all of his dreams. Warren can taste victory and sees the prize of Eddie’s film within his grasp, if only he is successful in his mission of Redirecting Eddie

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LAURENCE N. KALDOR
Writer / Producer / Director

Actor's director Laurence N. Kaldor makes his directorial debut with Redirecting Eddie. It is the culmination of a fruitful, 17-year filmmaking career in which Laurence has worked on a multitude of independent films, television shows, and commercials. He has worked in almost every industry capacity, including as an award-winning producer, actor, writer and editor.

Laurence received his Bachelor of Arts from State University of New York at Stony Brook, and his Master's in history from the University of San Diego. He studied law at Golden Gate University in San Francisco, where he received his Doctorate of Judice Prudence. He has been admitted to both the New York and California Bar Associations.

While attending law school, Laurence doubled up to pursue his education in film, during nights and weekends. He attended Arts Foundation in San Francisco and Film Video Arts in New York City, before earning his Master's in Directing and Producing at Art Center College of Design in Pasadena, California.

Laurence's drive and determination extend far beyond his passion for education--to the very living of life itself. On September 28, 1984, at age 16, Laurence miraculously survived an airplane crash that dramatically changed his life. He lost his left leg, his right eye and his father, but found his incredible will to live. He has persevered through excruciating trauma and wants to inspire others to overcome obstacles, through the magical medium of film.

Laurence is currently developing several feature films for his production company Kaliber Films. Through his projects, he hopes to establish a legacy of enlightening material that raises consciousness and communicates uplifting ideals to vast audiences. He has the absolute stamina and persistence to accomplish his lofty goals.

AVERY O WILLIAMS
Writer

Avery O Williams has experienced a dynamic filmmaking career, with success in both film and theater. He has collaborated with some of the entertainment industry's hottest names on feature film, shorts, and screenplays, as well as major theater productions across the country.

A graduate of Morehouse College in Atlanta, Avery earned his Master's Degree with Honors in Dramatic Writing from New York University's (NYU) Tisch School of the Arts, where he became the first Graduate Student Artist-in-Residence for the department. He also received the Waldo Salt / Ian Hunter Award for Excellence in Screenwriting.

Early in his career, Avery wrote and directed a public service feature for the City of Atlanta entitled Surviving Domestic Violence. He wrote and co-produced the film short The Willie Witch Projects, which was showcased at the Cannes Film Festival and later distributed by Trimark Pictures. He also wrote short subject screenplay The Chocolate Factory, Part 1, which was later produced.

Avery penned and produced feature film Notes in A Minor Key, with award-winning director Adisa Jones, under the Walt Disney / Hollywood Pictures Discretionary Fund Program. The film stars Emmy winner Keith David (Platoon, There's Something About Mary) and Harry Lennix (The Matrix Reloaded, 24) and has won the top prize in multiple film competitions by respected institutions, including The Black American Cinema Society, Black Filmmaker Hall of Fame, and the Atlanta / Image Film Festival. The film was also a finalist in the NYU Mobil Awards, and was hailed by Stephen Holden of the New York Times as "...crisp, assured...tightly constructed and well-acted."

Avery's success has spilled onto the stage as well. He co-produced Eve Ensler's The Vagina Monologues, directed by Penny Marshall in 2005. He also wrote and produced musicals for the Amazing Grace Conservatory, including TLC (A Tribute to Tracy Coley), The Chocolate Factory, Pino and Everything Changes. For the national stage, Avery wrote and produced A Mother's Prayer and What A Woman Will Do For Love, starring Disney Channel's Raven Symone, and R&B sensations Cherrelle, Ann Nesby, Howard Hewett and Lashun Pace. Most recently Avery co-produced Tom Coles' Medal of Honor Rag, starring veteran rap star Heavy D, and executive produced by Will Smith.

Avery is currently writing a feature film for Nia Long (Big Momma's House, Are We There Yet?) and hip-hop superstar Tip "T.I." Harris. He is also co-producing urban feature Crossed, with Heavy D, which is slated to begin production later this fall.

ABE SCHRAGER
Director of Photography

Abe Schrager began his photographic career at age 7 when a painter / photographer uncle first gave him a camera. When he was in high school, Abe shot for the school's daily newspaper, literary magazine, and yearbook. Upon deciding that a career in mechanical engineering was fit for another, Abe entered the professional world of still photography. He begin making waves in a career that would eventually encompass motion pictures and stretch across four decades.

In photography, Abe specialized in advertising illustration, fashion, architecture and journalism. He documented the Al Capone courtroom drama for the federal archives, Hockey legend Bobby Hull's 54th goal for Sports Illustrated, and a Beatles concert for the Chicago Daily News.

In the film world, Abe started out as a grip, specializing in dolly and crane movement, and also in camera rigging. He, then, switched to the camera department and built a great reputation as an assistant cameraman, before advancing to camera operator and director of photography. In these two categories, Abe's work has ranged from commercials to features, from industrials and documentaries, to short films and music videos. He has photographed some of pop culture's finest, including astronaut Neil Armstrong, Academy Award-winner Susan Sarandon, and The Rolling Stones.

Abe has worked as director of photography, camera operator, and / or 2nd Unit D.P. on scores of feature films, including The Hours with Nicole Kidman who won the Best Actress Oscar for her role. He photographed The Hurricane with Academy Award-winner Denzel Washington (Training Day, Glory) and Oscar-nominated cinematographer Roger Deakins ( A Beautiful Mind, The Man Who Wasn't There). Abe has worked on hot television properties such as Sex & The City with Sarah Jessica Parker, Law & Order, and The Education of Max Bickford. He has shot commercials for some of the country's most successful corporations, including American Express, Amtrak, Citibank, Coca Cola, Hallmark, and the Wall Street Journal. He has also shot industrials for Adidas, Avon, Sears, Sony and TWA Airlines.

Abe has enjoyed an abundant career, filled to the brink with worthwhile productions and collaborations. He currently enjoys spending time with his family in Forest Hills, NY.

DAVID OLTMAN
Producer

David Oltman has worked in independent film production in various capacities for the past 12 years. Redirecting Eddie marks his debut as a producer. He has also worked as a line producer, production manager or producer in noted independent projects, such as Four Lane Highway, The Event with Parker Posey (Superman Returns, Best in Show), Wholey Moses with Linda Hamilton ( Batman Beyond, The Secret Life of Girls), and Saturn, featuring Scott Caan (Ocean’s Eleven Franchise, Friends with Money) and Mia Kirshner (The L Word, The Black Dahlia). He also counts Before It Had a Name with Willam Dafoe (The Last Temptation of Christ, Spider-Man Franchise) and Twisted Fortune with Charlie Murphy (Chappelle's Show, Norbit) and Ike Barinholtz of Mad TV fame among his credits.

Most recently, David worked on Paul Sorvino’s (father of Mira Sorvino) upcoming The Trouble with Cali, which is scheduled for release in 2008.

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NATHANIEL EATON - "Eddie Vassick"

Nathaniel Eaton started his career as an extra on Knight Rider, toured North America as a circus clown, was found dead on Law & Order and sold chicken nuggets in a national campaign for McDonald's. He is co-founder of Living Fiction Films, and his new memoir Packing For The Apocalypse has just been optioned for a feature film.

JONATHAN MOORE - "Warren Vassick"

Jonathan began his career training at the acclaimed Lee Strasberg Theatre Institute in his native New York City, as a teen. He continued studying with Sally Johnson at The Sally Johnson Studio for the next 16 years. Since becoming a member of the Screen Actors Guild in 1989, his training has rewarded him well. Known for being a "Director's Actor" because of his unique dramatic ability, Jonathan has won roles in NBC movie True Blue, indie feature A Question of Time, and a host of films, TV shows and TV Movies. He currently divides his time between Los Angeles and his beloved New York.

FRED BERMAN - "Oliver Perry"

A born and bred New Yorker, Fred recently completed filming the role of "Adam Berman" for the MTV pilot Daily Pops, and can also be seen as "Andy Conway" on ABC's All My Children. He has performed in a variety of films and television shows, such as Four Letter Words, An Argentino in New York, VH-1's Scavengers and Law & Order. He is also a strong advocate of New York theatre and has participated in numerous productions, such as The Normal Heart, Shockheaded Peter, Room Service, and The Ballad of Bonnie & Clyde, as well as regional theater productions like Biloxi Blues, The Buddy Holly Story, and The Tin Pan Alley Rag, for which he received a Carbonell nomination for Best Actor in a Musical. Berman has also appeared in countless television commercials and has recorded hundreds of voice-overs for a variety of media.

DEIRDRE COLEMAN IMUS - "Dana Carpenter"

Renaissance woman Deirdre Imus is founder and president of the Deirdre Imus Environmental Center for Pediatric Oncology. She also co-founded Imus Ranch, a working cattle ranch for kids with cancer, where she is currently co-director. Deirdre began her career as a professional model, after graduating from Villanova University. She went on to perform noted roles in film and television, before moving on to focus on philanthropy. She was born and raised in Hartford, Connecticut.

VALERIE PERRINE - "Gloria Vassick"

Valerie's acting has generated numerous awards and nominations. For her dramatic role in Lenny opposite Dustin Hoffman, directed by Bob Fosse, she received the Best Actress Award at the Cannes Film Festival, the New York Film Critics Award, the British Academy Award, the New York Board of Review, the National Association of Theaters Award, the United Motion Picture Association Award, the Hollywood Women's Press Club Newcomer of the Year nomination and a nomination for an Oscar as Best Actress at the American Academy Awards.

An Ace Award nomination for a Miss Piggy-type bimbo in Shelly Duvals' Faeire Tale Theatre proved her talent as a comedienne.

After making her debut in the Kurt Vonnegut Classic Slaughterhouse Five, Valerie has played with some of the most respected actors of our time: Gene Hackman in the Superman franchise, Jack Nicholson and Harvey Keitel in The Border, Robert Mitchum in Agency, Jackie Gleason in Mr. Billion, Dennis Hopper and Wesley Snipes in Boiling Point, Robert Redford and Jane Fonda in The Electric Horseman and Mel Gibson in What Women Want, to name a few. She has also appeared in numerous MOW's, TV pilots and TV shows, such as Third Watch, The Beast, Nash Bridges, The Practice, Homicide and ER.

Valerie has lived all over the world: four years in Japan, two years in Paris, four years in London, and two years in Rome, where she appeared in Italian films and television. Valerie moved to New York in the mid-nineties, where she became interested in theater performance. She hadn't performed in front of a live audience since debuting as a Las Vegas dancer in her late teens.

Valerie continues to work on stage, television and film, pushing the envelope in dramatic performances that earn accolades and awards. In her spare time, she enjoys needlepoint, sewing, reading, painting, gardening and writing. She also loves traveling; the act of studying foreign cultures and languages intoxicates her. She hopes to incorporate her interests into her art.

JAID BARRYMORE - "Carla Bass"

As an independent producer and founding partner of Phaze 3 Filmz, Jaid has over thirty-five years experience in the entertainment industry. Born in Europe, she moved to New York, then on to Los Angeles to pursue her dream of becoming an actress, studying with Stella Adler, Estelle Harmon, Rick Walters, and Gene Bua along the way. Jaid started out in commercials; she "squeezed the Charmin" before winning critically acclaimed roles on stage and screen. She stole the scene in hit theater productions, such as Playing for Time, Grandma Sylvia's Funeral and Dressing Room, as well as film classics like Night Shift, Funny Valentine, and The Last Days of Disco. She also hosted underground cult favorite Jaid Barrymore Uncensored for America Online.

As Jaid progressed in the industry, she began working extensively behind the scenes as well. She co-executive produced indie film This Revolution, with Rosario Dawson and Amy Redford, which premiered at Sundance in 2004. She channeled her love of acting into teaching, and became a sought-after private acting coach. She refined her writing craft, and went on to pen much-loved novel Secrets of World Class Lovers, before focusing on screenwriting.

Jaid is currently co/re-writing three films that are set for production this fall: Phaze 3's The Ryde and Latin Lyrics, as well as Rym and the LD's for producers Elis Pacheco and Jim Chankin. She also works as a creative consultant for Freemangroup Films, and is collaborating on their latest project Dead Aim.

With a clear understanding of the marketplace, Jaid can pinpoint the potential success of material. She feels that her hard work, instincts, intelligence, contacts, luck, sense of humor, and relentless passion has contributed to her success in the business. "The opportunity to inspire, influence, and entertain is both a privilege and a challenge," she says.

Jaid is the ex-wife of late actor John Barrymore and mother of actress Drew Barrymore. She currently resides in New York.

STEVEN MARCUS - "Jacky Dunkirk"

Veteran actor Steven Marcus' credits in television, film, and theatre include some of pop culture's hottest properties. He has appeared on television shows Law & Order, Arrested Development, The District, NYPD Blue, and Ellen. He counts films Bristol Boys, Party Monster, The Tavern, and Savage Hearts among his credits. He is also a pillar of New York and regional theatre, performing scene-stealing roles in Glimmer, Glimmer and Shine by Warren Leight at the Penguin Repertory Theatre, Ah, Wilderness, directed by Daniel Sullivan at Lincoln Center Theatre, and Balm in Gilead, directed by John Malkovich at the Minetta Lane Theatre, among many others.

Steven, currently, enjoys spending time in his native New York with his family.

NASHID FAREED - "Skrim"

Nashid is committed to the continuing development of his crafts: acting, poetry, and dramatic writing. Born and raised in the Bronx, he was exposed to the vast diversity of New York City. Upon graduating from high school, he attended the University of Rochester, majoring in political science. However, he left college after freshman year and returned to New York City to pursue his writing outside of academia.

As a young and developing writer, Nashid has committed himself to years of intensive self-study, focusing on the works of Khalil Gibran and Lorraine Hansberry. Over the years he has experienced a number of successes. Many of his plays have been produced off-Broadway, and he has been invited to read his poetry at awards' ceremonies, graduations, and community events. His writing has facilitated his career as an actor, director and producer.

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I've wanted to be a filmmaker for as long as I can remember. Since I was a kid, entertaining has been my life long ambition. And, although the movies that drew me to Hollywood were the bigger action movies like Star Wars and Superman, the comedies were what drew me towards the creative process. I was intrigued by telling stories from my own colorful life, using humor as the most effective medium.

My two strongest creative influences would be Woody Allen and Neil Simon. Both drew on their experiences and created humorous films and stories that were slices of their real lives. And both are Jewish and from New York, so I simply related to their humor, and their method of story telling. And on a deeper level, I think my love of comedies helped me see the world and all of my life experiences, no matter how serious or traumatic, in a jovial light. Because of my obsession with comedy, I live life more tongue-in-cheek than most people. And I die to make people laugh…and it comes out in my filmmaking.

I know that there has been a vast multitude of films about first-time filmmakers. And although 8  and Stuntman are brilliant, they reflect filmmaking on a grand scale. The two most influential films for me were indie classics Living in Oblivion and My Life's in Turnaround. They, like Redirecting Eddie, reflect the plight of the indie film world. It was and is my hope that this film will be seen as the third in an indie filmmaker's "trilogy" of must-see movies about making independent movies.

When I set out to create this film, I was tapping into my real-life struggle at the time--albeit creating caricatures of people in my own life to make them more colorful and exaggerated for dramatic and comedic effect. For example, my dearly loved sister, who is the basis for the character of "Warren," is not a maniacal, overweight, 40-year-old man. Even the character of "Oliver," the comic relief, was also based on me. I split my personality and gave "Eddie" my artistic side and "Oliver" my silliness. Then I brought in amazing screenwriter Avery Williams. We would kick around my real-life struggles and create metaphors and light-hearted scenarios that would allow the story to unfold.

Filming was an unbelievable experience. Nothing in film school can ever prepare you for the big show. I was nervous, learning as I was going, and I was juggling so many hats. The truth is, as grueling as it got at times--always fighting deadlines and scrambling to make my days–I realized that I was doing what I truly loved. And, the fact that I was surviving it, and making it all happen, was amazing in itself. I also learned that filmmaking is a team effort. I couldn't have done it without the help and support of my hardworking and awesome cast and crew. They helped me deal with the fact that life was imitating art and art was imitating life in uncanny ways. We were having difficulty making a movie about the difficulty of making a movie; the irony spoke volumes.

The final product reaches way beyond my expectations, or even my belief, when we were shooting it. If you love the process of filmmaking, Redirecting Eddie will inspire you. It will prepare you. It will educate you. It will entertain you. And it will provoke you to follow your dreams. If I can do it, you can do it. So go out and make that movie that's inside of you. The key is to never to give up when you are following your heart!!

~LNK

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Kaliber Films, LLC is a film development and production company, specializing in low to medium budget projects, with maximum marketing appeal. The company was founded in the State of California in July of 2007 by mastermind Laurence N. Kaldor, in response to the steadily spiraling costs of producing quality entertainment fare. The company seeks to produce art yet budget-minded films, based on inherently marketable concepts, in order to ensure a most profitable model. The award-winning Kaliber team has a combined total of over 60 years of experience in the motion picture industry. The formidable individual expertise of the key personnel ranges from film producing to directing to editing.

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