An interview with Jeremy Silva!
Who is Jeremy Silva? Well, here is a quick "mini-bio" from IMDB.com:
"Born just outside the "Chocolate City" of Hershey, Pennsylvania, this Chicago transplant has been making headway in the Midwest since 2010. With focuses in directing and screenwriting, Jeremy Silva dove into the independent scene as a freelance cinematographer and writer. A humanitarian and community leader, Silva has shot video segments for a variety of non-for-profits, including the Humane Society, Immerman's Angels, and Blessings in a Backpack. Jeremy has written and directed several short films. His latest effort, Watermelon Eyes, was an official selection at the Blow-Up Chicago Arthouse Film Festival. His first feature, The Rake, was produced by Unified Pictures and is planning its 2017 festival run."
Sometimes it's amazing to me how you can encounter some wonderfully creative people by the purest of chance. I was with my wife at a local Fruitful Yield health food store, and literally bumped into Jeremy. I was wearing a Gen Con t-shirt, Jeremy pointed that out, and a conversation ensued on both my book writing and his screen writing. Afterwards, I was excited to reach out for an interview, and even more excited when I received his response! Read on, and enjoy...!
HVN: Hi Jeremy - thanks again for taking the time to be interviewed! Let’s begin with telling us a little bit more about who Jeremy Silva is.
JS: Thanks for having me, Hugo! When you pose the question that way, it’s really hard not to answer like Patrick Bateman in American Psycho: There is an idea of a Jeremy Silva; some kind of abstraction. But there is no real me: only an entity, something illusory.
All jokes aside, I’m just a storyteller using filmmaking as a vehicle to open hearts, minds and eyes. I aim to tell raw, entrancing narratives that give you no choice but to deconstruct your preconceptions about life—even yourself.
HVN: When did you know that you wanted to be a director/writer?
JS: It’s kind of crazy, you know. Though I come from a family of film fanatics and was baptized by the classics at a young age, I never truly embraced the craft of filmmaking until I was in college. I’ve been a storyteller since childhood. I was the friend weaving terrifying tales by the light of our Cub Scout campfire; the one who convinced his neighbor that a dragon skeleton lie buried underneath the hill behind his house. I was the kid recording “puppet shows” on my dad’s handy cam, starring an eclectic cast of stuffed animals and action figures.
In high school, writing became my ally, an emotional outlet, and an avenue of self-expression. When tears ceased to find release after the untimely death of my mother, ink flowed steadily in their stead. However, like most artists, you succumb to the pressure of finding that “bread and butter” major in college. It wasn’t until I was halfway through a Speech Pathology program that I realized I was throwing in the towel without ever trying.
The following year, I moved to Chicago and enrolled in several film classes at the local community college. After one semester I was crazed with passion. I never knew I wanted to direct until I was required to do it for a grade. Many people are infatuated with the idea of being a director, but often lack the diligence or resilience to do it. There is nothing quite like creating an entire living and breathing world. Very similar I’m sure, to what many authors must experience, correct?
HVN: You have directed several films, such as the horror movie, The Rake, and Watermelon Eyes, which was the official selection at the Blow-Up Chicago Arthouse Film Festival. You have also worked as a writer for High on the Hog, an action drama, and Skeletons in the Closet, a horror anthology. How did you develop the ideas for your stories?
JS: I always tell people that I don’t associate with one genre. What matters most to me is telling a compelling and original story. If you look at my credits, you’ll see I’m all over the place—psychological thrillers, creature-features, dark dramas and even a grindhouse film!
Because horror is so big in the Midwest, I found a lot of beginner opportunities there. Loosely based on a Creepypasta entry (the horror fan-site that spawned the iconic Slenderman), The Rake is an urban legend that is equal parts horror and supernatural thriller. To me, real fear is generated in the mind—and more specifically—things we don’t understand. I wanted to root this story in a complex narrative driven by these psychological and metaphysical elements so our piece didn’t become the usual regurgitated industry fodder. That worked for the most part—until LA took control of the editing room.
Watermelon Eyes, on the other hand, is on the opposite side of the spectrum. This is a dark surreal drama based on a dear friend Neal’s relapse into alcoholism. What made this entire experience so visceral (on set and on camera) was that Neal was our lead actor. We succeeded in a riveting film that also brought a sense of closure to that turbulent chapter of his life.
I believe I am drawn to stories that dissect brutal reality, but are artistically unbound by reality. I am also drawn to occultism and spirituality and use them often in my films.
HVN: Which projects were the most fun to develop? Which were the most challenging?
JS: As I said before, Watermelon Eyes was a privilege to be a part of because it was bigger than just making a film. Declines with Regret, my follow-up project, was made in a similar vein, using real experiences as the base of the narrative. Stories like these are challenging because you want to do the source material justice, but you want to write the most compelling tale you can. Finding the balance can be tricky.
The Rake was an incredible experience until the late stages of production. Our script had attracted attention in LA and soon money was being thrown our way. We made a few rookie mistakes and the overall shape of the film did not reflect the original vision the Director and I had created. To put it lightly, it was an eye-opening experience.
High on the Hog and Skeletons in the Closet were unique in the respect that I was being brought on the project after the films were shot. This provided an interesting challenge, because I had to craft narrative pieces to fit an already existing framework. In HOTH’s case, I actually wrote an entirely new character to balance the tone and help the audience digest the aggressive amount of exposition.
HVN: What are your plans long-term for your writing/directing? Do you have additional/different works in mind?
JS: I’m watering the seeds of big dreams. I feel like something big is going to happen soon. I’m currently working on three screenplays at the moment. Two out of three are suspense dramas. I’m hoping one will be my directorial debut.
HVN: As an author, I share the challenge of getting the word out on my books. What have you had to do to win broader exposure and branding for your works?
JS: I once cold-called Haley Joel Osment’s agent to pitch a film I was writing in college. Everyone thought I was mad until his agent responded—and with interest! We had everything ready, down to his per diems, but that same week he was picked up on a new ABC pilot. It turned out for the best. The year after, I bought tickets to a 30 Seconds to Mars concert and found a way to throw my screenplay on stage, hoping then Academy-hopeful Jared Leto would read it and fall in love.
I’ve taken a lot of crazy chances, and in doing so have peaked a lot of interest. I’m sure I’ll brave hot coals and shark infested waters before I’m done.
HVN: This question will start off sounding like an old joke – a person walks into a bar (or convention or bookstore) and bumps into Jeremy Silva – what would be your elevator pitch to showcase your work?
JS: Reading/watching Jeremy Silva is like a conduit becoming possessed. He grips you with painstakingly researched detail, outlandishly layered characters and stories that’ll shake you to life.
Too much?
HVN: As an author, it’s sometimes difficult to finally say a product is finished, no matter how many times you review or edit. Is there anything you would go back and change in your completed works? Where there ideas you had in mind and then decided NOT to include?
JS: As a creative, it’s only too easy to fall into the self-flagellating purgatory of “if only”. I do my best to avoid unpacking there and instead, choose to look at the lessons learned. With filmmaking being a collaborative medium, you really rely on an army of others to bring your “baby” into the world. There have been times I have employed known “names” in the industry rather than hungry up-and-comers. Sometimes the negatives outweighed the positives. It’s always interesting to think about how projects would have been different with another cook in the kitchen.
HVN: I have a 6 year old son, and structuring time around him can be challenging! I’ve lost count of the times he nearly pressed the delete button on something I was working on…how do you find time to carve out your ideas?
JS: I am a big scheduler. I have three calendars to keep myself on track. I also like to vary my work environment. Many times, I find it hard to work from home, so I’ll go to the library, a coffee shop, the woods—anywhere I can connect to the muses. It’s hard for many to understand, but pursuing a creative endeavor is like having a second job. You clock in 40+ hours at the office and come home to a dozen reasons why you “should take the night off.” Everyone has different goals and their own idea of success. I think it’s important to know what that looks like and to create a timeline.
HVN: Do you have a certain method you use when you write – i.e., a certain room, music, mood, etc., to help get you in the right writing frame of mind?
JS: Music is usually a must. I have a few film scores I listen to in order to tap into a project. Usually I listen to the soundtrack of a film that has influenced my idea in some fashion. Also, I try to never write when I’m over-tired. You know the difference; you can push yourself with caffeine and will alone when you’re tired, but when you’re falling asleep at the keys, you gotta live to fight another day.
HVN: What are you reading right now?
JS: Currently I’m reading “True Indie” by Don Coscarelli and “Ego is the Enemy” by Ryan Holliday.
HVN: Where can people go to find out more about Jeremy Silva?
JS: People can check me out on IMDB or Facebook. Early next year I’ll have my website revamped! Also, please check out The Rake and Skeletons in the Closet, now on iTunes, Amazon and Hulu! Keep an eye out for High on the Hog in the beginning of 2019!
https://www.imdb.com/name/nm4606833/
HVN: Thanks Jeremy, for sharing some of your time!
JS: Thank you for the opportunity, Hugo!
"Born just outside the "Chocolate City" of Hershey, Pennsylvania, this Chicago transplant has been making headway in the Midwest since 2010. With focuses in directing and screenwriting, Jeremy Silva dove into the independent scene as a freelance cinematographer and writer. A humanitarian and community leader, Silva has shot video segments for a variety of non-for-profits, including the Humane Society, Immerman's Angels, and Blessings in a Backpack. Jeremy has written and directed several short films. His latest effort, Watermelon Eyes, was an official selection at the Blow-Up Chicago Arthouse Film Festival. His first feature, The Rake, was produced by Unified Pictures and is planning its 2017 festival run."
Sometimes it's amazing to me how you can encounter some wonderfully creative people by the purest of chance. I was with my wife at a local Fruitful Yield health food store, and literally bumped into Jeremy. I was wearing a Gen Con t-shirt, Jeremy pointed that out, and a conversation ensued on both my book writing and his screen writing. Afterwards, I was excited to reach out for an interview, and even more excited when I received his response! Read on, and enjoy...!
HVN: Hi Jeremy - thanks again for taking the time to be interviewed! Let’s begin with telling us a little bit more about who Jeremy Silva is.
JS: Thanks for having me, Hugo! When you pose the question that way, it’s really hard not to answer like Patrick Bateman in American Psycho: There is an idea of a Jeremy Silva; some kind of abstraction. But there is no real me: only an entity, something illusory.
All jokes aside, I’m just a storyteller using filmmaking as a vehicle to open hearts, minds and eyes. I aim to tell raw, entrancing narratives that give you no choice but to deconstruct your preconceptions about life—even yourself.
HVN: When did you know that you wanted to be a director/writer?
JS: It’s kind of crazy, you know. Though I come from a family of film fanatics and was baptized by the classics at a young age, I never truly embraced the craft of filmmaking until I was in college. I’ve been a storyteller since childhood. I was the friend weaving terrifying tales by the light of our Cub Scout campfire; the one who convinced his neighbor that a dragon skeleton lie buried underneath the hill behind his house. I was the kid recording “puppet shows” on my dad’s handy cam, starring an eclectic cast of stuffed animals and action figures.
In high school, writing became my ally, an emotional outlet, and an avenue of self-expression. When tears ceased to find release after the untimely death of my mother, ink flowed steadily in their stead. However, like most artists, you succumb to the pressure of finding that “bread and butter” major in college. It wasn’t until I was halfway through a Speech Pathology program that I realized I was throwing in the towel without ever trying.
The following year, I moved to Chicago and enrolled in several film classes at the local community college. After one semester I was crazed with passion. I never knew I wanted to direct until I was required to do it for a grade. Many people are infatuated with the idea of being a director, but often lack the diligence or resilience to do it. There is nothing quite like creating an entire living and breathing world. Very similar I’m sure, to what many authors must experience, correct?
HVN: You have directed several films, such as the horror movie, The Rake, and Watermelon Eyes, which was the official selection at the Blow-Up Chicago Arthouse Film Festival. You have also worked as a writer for High on the Hog, an action drama, and Skeletons in the Closet, a horror anthology. How did you develop the ideas for your stories?
JS: I always tell people that I don’t associate with one genre. What matters most to me is telling a compelling and original story. If you look at my credits, you’ll see I’m all over the place—psychological thrillers, creature-features, dark dramas and even a grindhouse film!
Because horror is so big in the Midwest, I found a lot of beginner opportunities there. Loosely based on a Creepypasta entry (the horror fan-site that spawned the iconic Slenderman), The Rake is an urban legend that is equal parts horror and supernatural thriller. To me, real fear is generated in the mind—and more specifically—things we don’t understand. I wanted to root this story in a complex narrative driven by these psychological and metaphysical elements so our piece didn’t become the usual regurgitated industry fodder. That worked for the most part—until LA took control of the editing room.
Watermelon Eyes, on the other hand, is on the opposite side of the spectrum. This is a dark surreal drama based on a dear friend Neal’s relapse into alcoholism. What made this entire experience so visceral (on set and on camera) was that Neal was our lead actor. We succeeded in a riveting film that also brought a sense of closure to that turbulent chapter of his life.
I believe I am drawn to stories that dissect brutal reality, but are artistically unbound by reality. I am also drawn to occultism and spirituality and use them often in my films.
HVN: Which projects were the most fun to develop? Which were the most challenging?
JS: As I said before, Watermelon Eyes was a privilege to be a part of because it was bigger than just making a film. Declines with Regret, my follow-up project, was made in a similar vein, using real experiences as the base of the narrative. Stories like these are challenging because you want to do the source material justice, but you want to write the most compelling tale you can. Finding the balance can be tricky.
The Rake was an incredible experience until the late stages of production. Our script had attracted attention in LA and soon money was being thrown our way. We made a few rookie mistakes and the overall shape of the film did not reflect the original vision the Director and I had created. To put it lightly, it was an eye-opening experience.
High on the Hog and Skeletons in the Closet were unique in the respect that I was being brought on the project after the films were shot. This provided an interesting challenge, because I had to craft narrative pieces to fit an already existing framework. In HOTH’s case, I actually wrote an entirely new character to balance the tone and help the audience digest the aggressive amount of exposition.
HVN: What are your plans long-term for your writing/directing? Do you have additional/different works in mind?
JS: I’m watering the seeds of big dreams. I feel like something big is going to happen soon. I’m currently working on three screenplays at the moment. Two out of three are suspense dramas. I’m hoping one will be my directorial debut.
HVN: As an author, I share the challenge of getting the word out on my books. What have you had to do to win broader exposure and branding for your works?
JS: I once cold-called Haley Joel Osment’s agent to pitch a film I was writing in college. Everyone thought I was mad until his agent responded—and with interest! We had everything ready, down to his per diems, but that same week he was picked up on a new ABC pilot. It turned out for the best. The year after, I bought tickets to a 30 Seconds to Mars concert and found a way to throw my screenplay on stage, hoping then Academy-hopeful Jared Leto would read it and fall in love.
I’ve taken a lot of crazy chances, and in doing so have peaked a lot of interest. I’m sure I’ll brave hot coals and shark infested waters before I’m done.
HVN: This question will start off sounding like an old joke – a person walks into a bar (or convention or bookstore) and bumps into Jeremy Silva – what would be your elevator pitch to showcase your work?
JS: Reading/watching Jeremy Silva is like a conduit becoming possessed. He grips you with painstakingly researched detail, outlandishly layered characters and stories that’ll shake you to life.
Too much?
HVN: As an author, it’s sometimes difficult to finally say a product is finished, no matter how many times you review or edit. Is there anything you would go back and change in your completed works? Where there ideas you had in mind and then decided NOT to include?
JS: As a creative, it’s only too easy to fall into the self-flagellating purgatory of “if only”. I do my best to avoid unpacking there and instead, choose to look at the lessons learned. With filmmaking being a collaborative medium, you really rely on an army of others to bring your “baby” into the world. There have been times I have employed known “names” in the industry rather than hungry up-and-comers. Sometimes the negatives outweighed the positives. It’s always interesting to think about how projects would have been different with another cook in the kitchen.
HVN: I have a 6 year old son, and structuring time around him can be challenging! I’ve lost count of the times he nearly pressed the delete button on something I was working on…how do you find time to carve out your ideas?
JS: I am a big scheduler. I have three calendars to keep myself on track. I also like to vary my work environment. Many times, I find it hard to work from home, so I’ll go to the library, a coffee shop, the woods—anywhere I can connect to the muses. It’s hard for many to understand, but pursuing a creative endeavor is like having a second job. You clock in 40+ hours at the office and come home to a dozen reasons why you “should take the night off.” Everyone has different goals and their own idea of success. I think it’s important to know what that looks like and to create a timeline.
HVN: Do you have a certain method you use when you write – i.e., a certain room, music, mood, etc., to help get you in the right writing frame of mind?
JS: Music is usually a must. I have a few film scores I listen to in order to tap into a project. Usually I listen to the soundtrack of a film that has influenced my idea in some fashion. Also, I try to never write when I’m over-tired. You know the difference; you can push yourself with caffeine and will alone when you’re tired, but when you’re falling asleep at the keys, you gotta live to fight another day.
HVN: What are you reading right now?
JS: Currently I’m reading “True Indie” by Don Coscarelli and “Ego is the Enemy” by Ryan Holliday.
HVN: Where can people go to find out more about Jeremy Silva?
JS: People can check me out on IMDB or Facebook. Early next year I’ll have my website revamped! Also, please check out The Rake and Skeletons in the Closet, now on iTunes, Amazon and Hulu! Keep an eye out for High on the Hog in the beginning of 2019!
https://www.imdb.com/name/nm4606833/
HVN: Thanks Jeremy, for sharing some of your time!
JS: Thank you for the opportunity, Hugo!
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