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He played in Jackie Perez’s Dollar Baby Beachworld as Dud.

SKSM: Could you start with telling me a little bit about yourself? Who are you and what do you do?

Eduardo Olmos: Hello! My name is Eduardo Olmos. I’m an actor. I was born and grew up in Mexico, but have been living in the US for a good bit now. I was very fortunate to train and study acting in New York at NYU Tisch, and moved to LA shortly after graduating to pursue acting. Beachworld was actually my first job, and I’m so happy it was. Working with Jackie, as well as the rest of the cast and crew made for a great time.

SKSM: When did you know you wanted to become an actor?

Eduardo Olmos: I’ve loved performing most of my life, but somewhere around my sophomore year of high school I decided I wanted to seriously pursue acting. My first real show was Shakespeare’s Twelfth Night, a fourteen year old with not a lot of English playing the ship’s Captain. I didn’t really know what was going on most of the time, to be quite honest. I was still learning English. But I knew I liked it, and so it began.

SKSM: How did you become involved in Beachworld Dollar Baby film?

Eduardo Olmos: I had just arrived in LA a few weeks before, and met Tom McCafferty (he played Rand as well as Co-Produced the short) on a different set I was helping with. We talked during a break and he introduced me to Jackie, who offered me the role. Thank you, Tom!

SKSM: What do you think it is about the story that attracts people so much?

Eduardo Olmos: I think anything that Stephen King writes is going to have inherent appeal to it. He’s a modern literary master. But what made it translate so well is Jackie’s love for the work and storytelling. You could really feel it throughout the process. She created a production that made the work shine. Working to showcase the source material and letting the story shine is part of what this particular one so attractive. And just as importantly her excitement I think is palpable. This is the work of someone who loves what they do.

SKSM: Did you have to audition for the part or was it written directly for you?

Eduardo Olmos: I read a little bit for Jackie, and we also talked about it. I was very excited to come on board as I could tell Jackie was going to make the experience a fun one.

SKSM: You worked with Jackie Perez on this film, how was that?

Eduardo Olmos: It was great! She was always very responsive to questions or concerns the actors had, while leading cast and crew with a sense of teamwork and collaboration. It was a pleasure, and would be happy to work with her again in the future!

SKSM: Was there any funny or special moment when they made the movie that you would like to tell me about?

Eduardo Olmos: Shooting the gory bits was particularly fun. It’s hard not to feel a rush of excitement when you get to play in these parts. Seeing blood sputtering all over the place as you drown in your own froth is always going to be fun to shoot.

SKSM: Do you still have any contact with the crew/cast from that time? If so with who?

Eduardo Olmos: I follow several of the talented cast and crew on socials. I love to stay updated!

SKSM: What are you working on nowadays?

Eduardo Olmos: As of now things are quiet on the acting front because of the pandemic. So I’ve been focusing on writing some shorts, working on comedy, reading, and planning a wedding. I got engaged last November and planning what we can for next year has been very fun. On the acting front, once doors open again it will be back to the grind! I’m very excited.

SKSM: Are you a fan of Stephen King’s work?

Eduardo Olmos: I am! My dad and my fiancee are huge fans, so they’ve continued to expose me to his work. A lot of the adaptations as well have influenced much of my understanding of horror. Watching De Palma’s Carrie by myself as a ten year-old was at once a huge mistake and a revelation. It is the coolest thing to be able to figure into an adaptation years later as an actor.

SKSM: What is one thing people would be surprised to know about you?

Eduardo Olmos: I can sleep anywhere. I’m not sure if this is a skill of some kind… Should I be worried?

SKSM: Thanks for taking the time to answer my questions. Is there anything you want to say to the fans that read this interview?

Eduardo Olmos: I’d like to thank everyone who supports Beachworld and independent film in general! It’s your support that carries this industry forward and makes working at it worth it.

SKSM: Do you like to add anything else?

Eduardo Olmos: Thanks for reaching out! And thanks again to Jackie, Tom, the cast and the crew for making this such a fun experience.

He played in Polly Schattel’s Dollar Baby Here There Be Tygers as Mr. Taylor.

SKSM: Could you start with telling me a little bit about yourself? Who are you and what do you do?

Drez Ryan: I am a father of one, myself an only child. Born mostly raised in Florida but have moved around a bit since high school, I’ve also lived in New York, North Carolina, Minnesota  and Georgia. I’ve been an actor for 10 years now, professionally for 5. I started with indie film but a majority of my foundation is in theatre. I’m just a big kid who loves to laugh and joke around and walk a few steps in lives other than my own. Hence being an actor 😊

SKSM: When did you know you wanted to become an actor?

Drez Ryan: I first performed on stage in high school, but I just thought it was fun. I was more into football. But then I rediscovered acting when I was 20 by looking on Craigslist for acting jobs. (I don’t recommend doing that) Luckily I found a legitimate project nearby lookin for actors. With no training or knowledge of the business, I contacted casting. I auctioned and got a part, I also helped out on the crew and got to experience the other side of the camera. But I did not decide that acting is what I wanted to do until years later I was doing a Shakespearean play “Othello.” I was not Othello, but during our performances I would watch the scenes I was not in if had the time and what I saw changed my life. The young man that was portraying I ago the antagonist in the story, his performance was so brilliant that it humbled me and made me realize that I need to learn how to truly act. Before that time I thought I didn’t need training because I had “raw talent.” But talent is only as good you mold it to be.

SKSM: How did you become involved in Here There Be Tygers Dollar Baby film?

Drez Ryan: I took an acting class with Jennifer Trudrung, and from the beginning we formed a great relationship. Not just as actors but as people. I respect and admire her creative ability and humanity. She’s so kind and humble and I jump at the bit to work with her. So when she calls, I am there!

SKSM: What do you think it is about the story that attracts people so much?

Drez Ryan: Stephen King, he has such a solid fan base that when something has his name attached. Folks will flock, and this is simply a highly interesting other worldly story.

SKSM: Did you have to audition for the part or was it written directly for you?

Drez Ryan: I did not have to audition, fortunately. And I don’t think it was necessarily written for me, but what the character needed. Jennifer has confidence in me that I could deliver, which is a wonderful compliment.

SKSM: You worked with Polly Schattel on this film, how was that?

Drez Ryan: Polly was wonderful, such a relaxed environment with high consideration of everyone’s needs and extremely efficient.

SKSM: Was there any funny or special moment when they made the movie that you would like to tell me about?

Drez Ryan: The pants, when wardrobe showed me the pants I was going to be wearing. I got really excited, and when I put them on I never wanted to take them off!

SKSM: Do you still have any contact with the crew/cast from that time? If so with who?

Drez Ryan: Jennifer and I have always kept in contact, Marisa and I also kept in touch. And others through social media I’ve kept up with.

SKSM: What are you working on nowadays?

Drez Ryan: Due to the pandemic, I am currently working on myself and spending time with family. But work I have done had recently come to light, I starred in a feature film called “Seven Short Films About Our marriage” which is currently on its festival run and in talks for distribution next year. I also had a two episode run on another Stephen King story called “The Outsider” which is current on HBO.

SKSM: Are you a fan of Stephen King’s work?

Drez Ryan: I am absolutely a fan of Stephen King, one that I’ve been a fan of the longest I don’t feel gets enough attention is “Thinner”

SKSM: What is one thing people would be surprised to know about you?

Drez Ryan: That I love the dark realm of entertainment. Horror, thriller, supernatural and etc.

SKSM: Thanks for taking the time to answer my questions. Is there anything you want to say to the fans that read this interview?

Drez Ryan: I just want say thank you for supporting what we creatives love to do. Whether you view yourself as a creative individual or not, we all have the ability to create wonderful things. Tell stories that entertain, inspire and sometimes alter perceptions. It’s a human ability that shouldn’t be ignored or misused.

He is the filmmaker of One for the Road Dollar Baby film.

SKSM: Could you start with telling me a little bit about yourself? Who are you and what do you do?

Jacob Sanders: My name is Jacob Sanders, but I work professionally as Jacob Norlin. I was born in Manitowoc Wisconsin I am the son of music educator Paul Sanders and theatrical actress and director Edie Norlin. I lived around theater my whole life. My mother has been acting since she was a child and, when we relocated to Ohio, she acted semi-professionally in Columbus. My mother and her side of the family are big movie buffs covering virtually the history of American cinema. Knowing the names of actors, directors and producers in my parent’s house is a form of currency. I attended the Ohio State University and graduated with B.A. in Film Studies.

SKSM: When did you know you wanted to become a filmmaker?

Jacob Sanders: When I was in my senior year of high school I opted to take a “study hall’ class which was not actually a class but a supervised period where one could work on assignments from another class. The teacher for the period, in an unusual decision, allowed students to play movies they brought from home during class. In retrospect it was quite unusual and surprising she got away with it. It was in this class that I realized all of the people involved in the production process and I began to see filmmaking as the industry it is.

I attended the Ohio State University and graduated with a B.A. in Film Studies. Unfortunately, at the time, OSU did not have a competitive film production program. Film Studies is a discipline where you watch and study movies and then write essays about them.

What I learned about actually making movies I learned from a modest but present filmmaking/commercial production industry in Columbus Ohio. In virtually every major city in the United States there are at least a few working professionals in the film/video industry. These communities are often small and cliquish. When a major motion picture roles into town for one reason or another they’re the ones who get the call before anyone even knows its happened.

SKSM: When did you make One for the Road? Can you tell me a little about the production? How much did it cost? How long did it take to film it?

Jacob Sanders: Preproduction for One for the Road lasted a long time. I wrote it back in 2013 and it wasn’t shot until 2016. It was my second short film and my first short to be shot on a digital camera. We shot it with the RED Scarlet. I wanted to be accurate to the short story and it was important for me to shoot while there was snow on the ground. I raised money mostly from my family through Indiegogo and later partnered with Fractured Atlas. Fractured Atlas is a non-profit organization that accepts artistic projects under its umbrella which allow the project to be tax-exempt and those who contribute to it financially can deduct the money they gave from their taxes.

One for the Road was an ambitious project. It may have been beyond my abilities at the time to handles, but it excited me. Attempting to recreate a snowstorm on camera was no easy feat. Not only did we shoot at night in freezing temperatures but I also set up fans blowing potato flakes at the actors. I approached the short from a serious film perspective. I spent an entire night shooting the dialogue inside the car. That car was loaded up on a trailer and pulled up and down a rural cul-de-sac all night. I even hired a police officer to be present so we could do that legally. Because we shot at night and out in a rural area it wasn’t obvious the car was raised about 3 feet higher than it would be if it was on the ground. In professional films they use a process trailer which is a special car trailer that is much lower to the ground than a regular car trailer. I don’t think process trailers are street legal. We made do with what we had.

One for the Road was virtually entirely storyboarded long before we ever shot it. I had a strong vision for what I wanted and was fortunate to get what I wanted most of the time. We shot in an historic bar in London Ohio. The bar sits on an historically significant highway called the National Road. The National Road was built in the early 1800’s and several presidents used the road as well as stayed at the site of this particular bar that once served as a hotel.

The process of finding actors for the short was a long process that lasted over a couple years. I had at least one actor who was onboard from when I first asked him. The short had two different cinematographers who never actually met during production. All post-production was handled by me. The short cost about $9,000 USD.

SKSM: How come you picked One for the Road to develop into a movie? What is it in the story that you like so much?

Jacob Sanders: I selected One for the Road because it was an earlier Stephen King short story, from his Night shift collection. Although King has written short stories his entire career their tone changes as he ages. King’s earlier shorts fit more decidedly into a genre (often horror). I felt if I was going to adapt a King short story it better have something explicity supernatural in it.

SKSM: How did you find out that King sold the movie rights to some of his stories for just $1? Was it just a wild guess or did you know it before you sent him the check?

Jacob Sanders: During college I took a screenwriting class and it was mentioned a couple times by students and the instructor that King offered the rights to some of his stories for one dollar.

SKSM: Was there any funny or special moment when you made the movie that you would like to tell me about?

Jacob Sanders: When I finished shooting and was working in post I realized I needed footage of a snowstorm. I found a man’s website in Rhode Island who had shot exactly what I was looking for. He set up a large green screen outside and shot a snowstorm falling in front of it. However, I couldn’t afford what he was charging for the stock footage. So I reached out to him and explained what I was doing. He responded that he was a Stephen King fan and because I was shooting a Stephen King short he gave me access to his footage for free. I am indebted to him for this contribution.

SKSM: How does it feel that all the King fans out there can’t see your movie? Do you think that will change in the future? Maybe a internet/dvd release would be possible?

Jacob Sanders: After I made the short it has come to bother me a lot that the rest of the world can’t see it. Before I released One for the Road I found another production of it that the filmmaker had allowed to be completed online on I reached out to King’s rep to see if something had changed and if I could put my entire short online. I was told in no uncertain terms that that was forbidden.

SKSM: What “good or bad” reviews have you received on your film?

Jacob Sanders: The greatest reception of One for the Road came from Anthony Northrup. I was somewhat surprised to learn, after I finished the short, how little many people knew about King and his work. It felt as though some people I showed the short to had no idea what to expect. Almost like they had never heard of King, but of course they had. Anthony is a true King fan and he immediately appreciated the level of seriousness I took with the project. I wish that all King fans could see it because it’s really for them.

No matter how hard you work on something, people will have their opinions. It is by no means perfect, but I am proud of it. Of all the adaptations I’ve seen of One for the Road it seems pretty good.

SKSM: Do you plan to screen the movie at a particular festival?

Jacob Sanders: It screened at the Nightmare Film Festival in Columbus Ohio which has become an exciting rising film festival in the horror scene.

SKSM: Are you a Stephen King fan? If so, which are your favorite works and adaptations?

Jacob Sanders: Although I’ve read some of King I wouldn’t call myself a King fan in the way more serious fans are. I have a great deal of respect for him and I read articles about him frequently, but I don’t read his new books when they come out.

My personal favorite King story is The Langoliers in Four Past Midnight.

SKSM: Did you have any personal contact with King during the making of the movie? Has he seen it (and if so, what did he think about it)?

Jacob Sanders: Unfortunately, I had no contact with King. I did, as per the agreement, send him a copy of the short. I have no idea if he watched it.

SKSM: Do you have any plans for making more movies based on Stephen King’s stories? If you could pick -at least- one story to shoot, which one would it be and why?

Jacob Sanders: I have no desire to shoot another dollar baby. Although I have great respect for King and his stories, I’d much rather shoot something that I could release online.

SKSM: What are you working on nowadays?

Jacob Sanders: I live in Nashville Tennessee and work at the Tennessee Performing Arts Center. After One for the Road I shot a speculative T.V. pilot called Players about a dysfunctional community theater in middle America. I now work in Theater and Performing Arts administration.

SKSM: What one thing people would be surprised to know about you?

Jacob Sanders: I don’t think there’s anything particularly surprising about me or my life.

SKSM: Thanks for taking the time to answer my questions. Is there anything you want to say to the fans that read this interview?

Jacob Sanders: I really appreciate your interest and the questions. I would love to share this short with your readers because it is for them. The fans of King the world over deserve to see it because it is they who can really appreciate it.


He is the Composer of Massimo Volta‘s Nona Dollar Baby film.

SKSM: Could you start with telling me a little bit about yourself? Who are you and what do you do?

Henoel Grech: My name is Henoel and I’m a musician/composer of soundtracks, mostly for films and commercials.

SKSM: How did you become involved with Nona?

Henoel Grech: Nona started from an idea of a director good friend of mine, Massimo Volta, with whom I already worked in the past in advertisement. Since we have a lot of affinity and we worked always with pleasure he involved me in this project for the very beginning. We know each other very well and he kenw I was the right person for an unique project like this one!

SKSM: How did you get started as a composer and what do you do on production?

Henoel Grech: I have been making music for as long as I can remember, from my childhood. I had a band for years when I was in my teens. We used to play a very different kind of music compared to what I do today: progressive metal. We even managed to make an album, produced by a label from Rome and we did a tour around Europe. After a few years I begun a soloist career and I had my first collaboration with Italian state television, RAI. But the real turning point has been my hymn for the Turin Winter Olympics in 2006.

SKSM: How did you get started to wrote the Soundtrack for Nona?

Henoel Grech: First of all I read Stephen King’s short story and after Massimo, the director, started to show me pre-edits of the scenes as long as he was filming. After, as I usually do, I begun to create my music trusting my imagination and feelings, and we listened together at those early concepts with the director, usually enjoing a glass of good whiskey. I like very much this process since from those meetings I can shape better my ideas and find new inspirations. After that I seclude myself in my studio and, through a process of interiorization, I shape my ideas and create my music.

SKSM: Is this your most challenging audio so far?

Henoel Grech: I wouldn’t say it has been difficult. Different for sure, since it was my first time into a genere so peculiar like the horror/thriller. I worked in very different fields (sports, advertisement, institutionals…) and I have been very excited to be able to test myself in a world completely new for me.

SKSM: Was there any funny or special moment when you made the music that you would like to tell me about?

Henoel Grech: I remeber how surprised the director was when he discovere that for a 40 minutes film I created almost 2 hours of music. I was so excited and inspired that in less then 10 days I have been able to create a specific music for every single scene, with variations: therefore a lot of those music is still unpublished.

SKSM: After Nona did you write more music? If so what?

Henoel Grech: I made some music for a Pupi Avati film and for many tv commercials. I’m also working to a personal project in collaboration with Thales Alenia Space and ESA, the European Space Agency, about a very important mission: ExoMars 2022.

SKSM: Are you a fan of Stephen King’s work?

Henoel Grech: I read some of his books and I love his ability to shape absolutely believable characters, he has a very unique talent in this!

SKSM: What is one thing people would be surprised to know about you?

Henoel Grech: I love animals, mostly small dogs. I’m the proud “father” of 6 chihuahuas!

SKSM: What advice would you give to those people who want to be musicians?

Henoel Grech: Be patient and never give up. Listen to a lot of different music but stay faithful to yourself trusting your inspiratin and feelings.

SKSM: Thanks for taking the time to answer my questions. Is there anything else you want to say to the fans that read this interview?

Henoel Grech:

Stephen King Dollar Baby: The Book coming Spring 2021! Anthony Northrup (the author) has been doing Dollar Baby interview/film reviews since 2013 and hosted two Stephen King Dollar Baby Film fests since then.

The first section of the book is full of contributor essays, fun facts, and a lot of surprises with an introduction by Stephen Spignesi and Preface by Richard Chizmar, art by Glenn Chadbourne, and graphic book cover design by Paul Michael Kane. Here are all 55 Dollar Babies who made it in the book!

Billy Hanson, James B. Cox, Dean Werner, Maria Ivanova, Rodney Altman, Damon Vinyard, Jay Holben, Ranjeet S Marwa, James Cole, James Gonis, Pablo Macho Maysonet IV, Robert Cochrane, Doveed Linder, Jeff Schiro, Mando Franco, James Renner, J.P. Scott, Tony Pomfret, Patrick Abernethy, Drew Newman, Corey Norman, Shawn S. Lealos, Peter Szabo, Justin Zimmerman, Max Heesch, Warren Ray, Dave Brock, Jacob Sanders, Joe Kowalski, Vanessa Ionta Wright, James Douglas, Selina Sondermann, Stephen Tramontana, Jackie Perez, Bryan Higby, Jennifer Trudrung, A.J. Gribble, Jon Leo, Dan Sellers, Hendrik Harms, Mark Zimmerman, Brian Johnson, Nicole Jones-Dion, Marie D. Jones, Rob Darren Newberger, J.B. Horning, Mark Hensley, Nick Smith, Will Roberts, Red Clark, Jenny Januszewski-Mendoza, Patrick Haischberger, Gino Alfonso, Nathan Gathergood, Maciej Barczewski.

The second section of the book will be the interviews/reviews and other features. Here is the final list of contribuitors!

James Cole, Andrew J. Rausch, David Tocher, Hans-aka Lilja, Kevin Quigley, Tommy McLoughlin, Bryan Higby, Óscar Garrido, Robin Furth, Tonya Ivey, Peter Holland, James Douglas, Billy Hanson, Jay Holben, Nicole Jones-Dion, Tina Rooker, Hans von Wirth, Amber Pace, Brooklyn Ann, Nathan Monsour, Nick Kaufman, Curt Destler, Karen Steinley Beaudrie, Frank Lewis, Tina Navarro, Amy Baker, Sara Kinney, Terri Nielsen, LaWanda Odom, Monica Wooddall, Tifaine L Lafrance, Greg Buchner.

She is the Producer of Hendrik HarmsAll That You Love Will Be Carried Away Dollar Baby film.

SKSM: May you introduce yourself to our readers?

Chloe Brown: Hi, I’m Chloe Brown and I’m a producer proudly from the Midlands, UK.

SKSM: When did you know you wanted to become a producer?

Chloe Brown: I actually come from a background in art department. I’ve wanted to work in film since I was a young teenager, so I went to Bournemouth Film School at 18 and ended up training primarily in production design, with some roles in production. When I graduated I worked on several indie films and a television series in various art departments but I felt like I was missing being involved in the parts of the filmmaking process and decided to go back to production. All That You Love Will Be Carried Away was my debut as a producer.

SKSM: How did you become involved in ‘All That You Love Will be Carried Away‘ Dollar Baby film?

Chloe Brown: I knew Hendrik through our art director and poster designer, Kirstie Gregory, and he had adapted the script already when he approached me about collaborating on this project.

SKSM: Can you tell us about your work in the film?

Chloe Brown: Well, due to budget constraints I actually ended up doing more roles than just producing. I was also in the art department and 1st assistant director which was incredibly stressful at times as these are all such preproduction-heavy roles. Everyone thought I was mad for being 1st AD when I was already producer but in some ways they meshed really well as dual roles. I also think a lot of the public don’t realise what producers do, and we aren’t just investors and people to fill out paperwork. We actually play a pivotal role in the narrative and creative development of the overall project.

SKSM: What was it like to work with Hendrik Harms on this film?

Chloe Brown: It was honestly great. Obviously we clashed sometimes but I think we work really well as a creative team. We are more often than not on the same page about the vision for the overall project. There’s a lot of trust there, which is imperative to a good director-producer relationship, and I feel very lucky to have found a solid collaborator so early in my career. We have since released another short film, Wild Hunt, and are developing several other projects together. We are also business partners in a non-profit film initiative which aims to inspire underrepresented groups to get into film.

SKSM: Was there any funny things that happened while filming (Bloopers, etc)?

Chloe Brown: There were so many. The cast and crew honestly had the best time shooting this, we really gelled as a team. Even at 2am in a forest, the actors were dancing or when we were all crammed into the hottest hotel room of all time, our spirits didn’t drop. I feel really strongly about workspaces being inclusive, welcoming and fun. Film sets can be incredibly stressful but I pride myself on trying to create a positive and memorable experience for everyone we employ on our shoots. A personal highlight for me were the laughs I shared with director of photography, Elliot Wallis, and gaffer, Jamie Abel, during the bathroom scenes.

SKSM: Are you a fan of Stephen King’s work?

Chloe Brown: Absolutely, I’ve had a bit of a thing for horror for some years now. I’m endlessly fascinated by the ways in which horror can encapsulate societal fears. I adore Carrie because it explores feminine themes I feel strongly about as well as being incredibly creepy. And I love body horror in films.

SKSM: What are you working on nowadays?

Chloe Brown: I’m working on my first documentary at the moment, actually. We were supposed to shoot the rest of the interviews last month but the coronavirus situation has halted that for the time being. I’m also in development on several other film projects including a gritty, social realist piece, a coming-of-age story exploring Britpop culture and a satirical, feminist period drama – quite a variety. Also our non-profit organisation with Hendrik as I mentioned earlier, and Worcester Film Festival. Hendrik and I are also making Isolation Shorts to raise money for NHS Charities Together. Check out the Harms Way Studios Youtube Channel to get involved!

SKSM: Thanks for taking the time to answer my questions. Something you’d like to tell our readers?

Chloe Brown: I’d like to draw attention to the many injustices going on in the world right now. We are still fighting very hard for equality and a lot of that can be influenced by the media, which is why I feel so strongly about increasing representation for the LGBTQIA+ community, women, non-cisgendered people, non-white people, disabled people and those from a poorer socio-economic background. To that end, I encourage anyone from any of these backgrounds who are drawn to the film industry to please get involved! The industry is improving, but still sadly lacking in this area and I promise you the arts are for everyone. If you’d like to talk about getting into film, bounce ideas or get involved in future projects please feel free to get in touch!


She is the Composer of Joshua Lozano‘s Rest Stop Dollar Baby film.

SKSM: Could you start with telling me a little bit about yourself? Who are you and what do you do?

Anessa Hernandez: My name is Annessa Hernandez! Currently, I am a senior music major at Schreiner University. I started playing the piano at age 8 and been doing it ever since. I went through various phases of thinking that music wasn’t for me (even though I was still in piano clases) but eventually in high school, I realized this is where I needed to be and this is what I needed to be doing. Besides music, I enjoy getting to cosplay! Mostly as Star Wars characters!

SKSM: How did you become involved with Rest Stop?

Anessa Hernandez: I became involved with Rest Stop through our director, Joshua. I had just gotten a job at a local movie theatre by my house and we had an orientation day. When we were going around the room introducing ourselves, Joshua stated he was a filmmaker. Being an aspiring film composer, I immedietly approached him saying that if he ever needed help with the score for any of his films, to let me know! He said he was working on a new movie and might need help with the music. He then emailed me the script for Rest Stop that same night!

SKSM: How did you get started as a composer and what do you do on production?

Anessa Hernandez: I would say I got started as a composer my freshman year of college. Thats when I realized I wanted to make my own music. “Performing is cool” I thought, but I began to venture into the possibility of writing and making my own music because of how much it helped/helps me. I would think that “if it helped me this much, maybe  I could in return help others with it.”

SKSM: How did you get started to wrote the Soundtrack for Rest Stop?

Anessa Hernandez: I first read the script. After that I read it again with my keyboard in front of me. I would mess with the different sounds and see which one fit the mood. I just went on from there!

SKSM: Is this your most challenging audio so far?

Anessa Hernandez: I wouldn’t say it’s the most challenging but it definetly had its moments. I would struggle to see if this tune really fit a certain mood or was I using the right instrumentation.

SKSM: Was there any funny or special moment when you made the music that you would like to tell me about?

Anessa Hernandez: I would say the most special moment I had, was when the music for the montage scene was finally done. Everything seemed to fit together great! I didn’t think I was capable of doing that, especially with my first film but when I heard it all together for the first time, I was pretty shocked (in a good way).

SKSM: After Rest Stop did you write more music? If so what?

Anessa Hernandez: I sure have! I wrote a trio for brass instruments, some themes for some other future film projects, and will be starting on a euphonium lyrical solo. In between this I had to write some Singer/songwriter type of songs.

SKSM: What are you working nowadays?

Anessa Hernandez: Now, I am currently out of a job, but still work at the same movie theatre when I come back into town. I’m also a music work-study at my school. In between school and work, I always try and make time to write music.

SKSM: Are you a fan of Stephen King’s work?

Anessa Hernandez: I most certainly am! I love IT and Carrie and Christine, the list goes on!

SKSM: What is one thing people would be surprised to know about you?

Anessa Hernandez: That I was set to go into a part-time cosmetology school in high school because I wanted to do stage make-up for musical theatre.

SKSM: What advice would you give to those people who want to be musicians?

Anessa Hernandez: To anyone who wants to be musicians, I would say to believe in yourself and your work. You are unique and so are the gifts and talents you’ve been given. You have them for a reason! Don’t be afraid to express yourself and try something new! Remember that it’s never too late to start. I thought I was so late to the composing área, but I wasn’t. When it comes to music, you can start anywhere, you just have to take that first step!

SKSM: Thanks for taking the time to answer my questions. Is there anything else you want to say to the fans that read this interview?

Anessa Hernandez: Of course! I totally enjoyed it Oscar! I just want to say thank you so much for your support. It means more to us than you could ever know!

SKSM: Do you like something to add?

Anessa Hernandez: To take care and be safe!

Title: All that you love will be carried away (?) Bandera de Estados Unidos
Runtime: ?
Director: Michael Lamberti
Script: Michael Lamberti
Cast: Jim Kelly, Kali Moriga, Sandra Lamberti, Katie Rose, Kenny Stroh, Lydia Hannibal White, Noah Young, Michael Lamberti.
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Updates Date
We are now on the editing phase. August 13; 2020