NakedCity Wichita

interview: rod pocowatchit

Posted on 21. Oct, 2010 by Carrie in muse

words > CRAIG AINSWORTH

Rodrick Pocowatchit is a local filmmaker of the Comanche, Pawnee, and Shawnee nations. He has produced, directed, and starred in three full-length feature films. His latest film is a Zombie comedy/drama called The Dead Can’t Dance. “Rod” Pocowatchit’s films focus on Native Americans as a way to portray underlying cultural issues and to familiarize other cultures with the Native American lifestyle. The following is an interview by NakedCity to explore some of Rod’s history as well as his current film and what he is planning on doing next. “The Dead Can’t Dance” will be showing at the Orpheum on Friday October 29^th @ 7:30 directly after the Zombie Walk. For more information go to http://www.harmyfilms.com/

Who are you and what is your background?

Rodrick Pocowatchit, lifelong Wichitan, though my family is originally from Oklahoma.

When did you decide you wanted to make films?

Probably about 10 years ago when I decided to write a script. I pondered going to film school but decided to study on my own and figure it out along the way, just like I do everything else. Really, hands-on is the best way to learn.

When was your first film made? What was it about?

Dancing on the Moon is about three Native guys who get stranded on the road to a powwow. We shot it in two segments, the first (in 2001) being a disaster. I had flown a crew in from as far as Alaska, and an actress I hired from L.A. turned out to be a total flake. I ended up firing everyone and throwing them back on a plane out of here. It was a crushing blow, but I wouldn’t change the experience because I learned a hell of a lot. I call it a “film school of hard knocks.” I left the film alone for a while to find some peace, then tackled it again the next summer on my friend’s farm in Council Grove using only close friends and family as crew. I decided that’s how I would work from then on. It was a blast.

Besides film and singing in the shower are there any other forms of artistic expression you practice?

Are you spying on me in the shower again? Funny story: I Googled my name one day (since I’m so self-absorbed) and found a link that said “See Nude Pictures of Rod Pocowatchit!” It was for some nude celebrities site. So I guess I’ve finally hit the big time! There were, of course, no nude pictures. So far. Seriously though, I grew up immersed in my traditional culture, and have danced at powwows literally since I could walk.

Have all of your projects focused on Native Americans? Why?

Yes, so far. It’s my goal so see Native people represented more in mainstream media, not just as “exotic beings,” but as normal, everyday people trying to conquer life like everyone else.

What classes or training have you received to prepare you for taking on full-length feature films?

I have an extensive theatre background and was originally trained as an actor, so that’s what I relied on most. But my time at the Sundance Institute changed my life. I was accepted to Sundance’s now-defunct Native Screenwriting lab in 2000, where 8 writers were chosen to workshop their scripts. They flew us out to L.A. and they brought in several screenwriters to mentor us. Then I was accepted to Sundance’s main screenwriting lab—a huge feat since they get thousands of applications each year. It’s held in conjunction with the festival and was much more intense. I met with two different screenwriters every day for five days (including some Oscar-nominated writers, I just couldn’t believe it), and we dived in and mostly concentrated on our characters, their motivations, souls and reasoning. I learned monumental things about writing—and myself.

Can you please describe your last project, The Dead Can’t Dance, for anyone who is not familiar with it?

It’s a story about three Native guys who discover they are somehow immune to [the] virus that is turning everyone else into zombies.

When did you come up with the idea of a Native American zombie movie? Why Zombies?

I first came up with the idea a couple of years ago. I thought it just sounded funny and fun. My last feature, Sleepdancer, was pretty heavy, so I wanted to do the opposite of that. And I was attracted to the idea of a zombie movie because you can do so much with the premise; it’s ripe for social commentary. George Romero’s films say bigger-picture things about the world while chewing on dismembered arms. I wanted to say bigger-picture things about history, family and identity while trying to outrun zombies.

Can you please describe the time line and process you went through to turn the first idea of a zombie movie into a finished DVD?

It all seems like a fast blur, but it’s been a few years since I started the script. We started shooting in June of 2009 for 10 straight days at the Independent School here in Wichita. Production continued on and off again until the end of September. Post work took a few more months, and we had our world premiere at the Orpheum in April of this year. We’ve since been hitting the film festival circuit. We also have some potential prospects for DVD distribution, but we’ll also self-distribute it ourselves. DIY all the way, baby.

Did you write the script and then find the actors or did you write the characters with people already in mind?

I mostly wrote everyone’s characters with the people in mind, except the Clooney character. Randall Aviks (who starred in Wichita legend Leif Jonker’s horror film, Darkness) was very interested in the role and really lobbied for it. I had him read, and we tried a few things, then I offered him the part. He was absolutely great, as was everyone.

How did you develop the characters in this film and their relationships with one another?

I wanted to make a fun zombie film, but I also still wanted it to be character driven. The film is really about the relationships of these three guys, their dynamic, set against the backdrop of all this chaos around them. I applied what I had learned at Sundance and really explored their beings. I like to think of it as molding people out of clay. You’re creating their entire universe, and you have to know it inside and out—what happened way before your story starts and what happens after it ends. It all profoundly affects how your characters react to the situations they’re in.

How did you find your lead actors?

My brother, Guy Ray Pocowatchit has been in all my films and is such a natural actor, though his “process”—if you can call it that— drives [me] absolutely crazy. He just doesn’t approach it in a traditional “acting” way, but he makes it work. T.J. Williams is my nephew and he’s the other lead. He was also very natural and completely relaxed on set. And Wade Hampton, who plays the good zombie, is a dear friend of mine. He was phenomenal. Everyone really leaves the film, loving the good zombie character.

Where was this filmed?

All in Kansas, aside from the gas station scene, which was shot in a teensy town in Oklahoma. We shot most of it in Wichita, but it all had to look like it was taking place in the middle of nowhere, which took some planning.

Can you walk us through a typical day on set for you? How long were they?

Wow, there’s no such thing as “typical,” because the situations change. But at the Independent shoot, we were pulling 14 to 16 hour days with little sleep. My days were even longer, really, because after we were done on set, I’d go home and go over the next day’s scenes. But I always got to set first, to try to focus and walk through the day in my head. I tried to be as absolutely prepared as I could, with shot lists, effects lists, etc. Just lists of lists, then delegated the jobs. I was also acting, though, and I really relied on the assistant directors, you [Craig Ainsworth] and Brandon Blaylock, for support.

I have worked with quite a few directors. Seeing you on the set of this film I remember thinking that you seemed like the eye of a hurricane. How were you able to stay so calm?

I ate a lot of Tums. You really just have to stay centered and basically set an example. Everything that can go wrong will, so you just have to adapt. But in the grand scope, it’s a really extremely hard job and takes a lot of courage and faith in yourself. Somehow, when it’s all over, you have a movie to show for it. YOUR movie. And that’s incredible.

Where did you find all of those extras?

We used about 150 extras, I think. We held a casting call then had open auditions for our “zombie showdown” scene.

What is a day for an extra like?

We tried to have extras’ call times spread out so the make-up dept. wasn’t overwhelmed. Megan Ballway led the make-up team, though, and she did a great job. Mostly, extras had to wait. There’s a TON of waiting on set. But it’s like that on big Hollywood sets, too.

What was it like working with inexperienced actors?

I think my acting background really helps me relate to them, or I hope it does. But everybody really responded to notes well. You just have to try something, then tweak it and shape it. If there’s one thing I’ve learned [it] is don’t rush it. Get it right, while you’re there. There’s nothing worse than being in editing and saying, “If only I’d gotten one more take from this angle.”

What kind of crew did you have?

We seemed to pull the key crew out of thin air, but everyone really fell into their jobs beautifully. We all came together as a family, and that’s what I treasure most about the whole process. Filmmaking is a team sport.

What was a day like for a crewmember?

Everyone had job titles, but everyone pulled multiple-duty. The A.D.s were also craft service and location coordinators. The art director (Loni Woolery) was also an extra and grip at the same time. Everyone did whatever it took to get it done, and I’m extremely grateful. This film brought some beautiful people into my life, and we have a shared experience that we’ll never forget.

When we watch a film we only see what is going on in the screen. What was going on behind the screen for those long hours?

Wow. It just takes an incredibly long time to get it done. One of my favorite scenes is the long hallway scene, when the camera follows Randall and Guy as they dodge zombies. We did it in several takes, but the finished scene lasts about 40 seconds. We spent at least 8 hours to get that shot, from initial lighting to blocking to shooting.

What was your least favorite day filming this movie?

For some stupid reason, I made my character the one who stabs a zombie in the head, a very difficult effect shot on its own. But since I was also acting, I was trying to stay focused in the moment, but also worry about the look of the shot and if the effect would even work. I let the set around me get too chaotic. The next morning, I held a meeting and laid down ground rules. The rest of the day went perfectly.

What do you remember most from making this film?

Just the total experience of seeing your vision come to life. I remember walking around set one day while zombies were getting in makeup, the grips were setting up lights, the actors were going over their lines, thinking, “Wow. This is really happening.”

Are there any funny stories you would like to share?

Every project has bumps. What did you not foresee happening? Through botched communication, we got shut down and kicked off a location when we were almost done with the entire day. So none of that footage was useable. But we re-evaluated, found a better location and I rethought the scene. It’s now one of my favorite shots in the film.

You wrote, produced, directed, acted, and edited this film. Did I miss anything?

There was also a ton of post-work involved. I wanted the film to have a pulpy, retro aged look, which meant going into every clip, applying filters and manipulating them. It was mind-numbing and exhausting. I also design all our promotional materials and maintain and design our website (www.harmyfilms.com).

That is a lot of work for anyone. How did you do it?

It was tough. Sometimes I felt like just laying down, curling up and hiding. But you just have to find a way to pick yourself up and keep going. I have wonderful family (my mom, Deanie Eaton, is my co-producer) and friends, so that support network helps immensely.

What was the editing process like?

Editing is perhaps my favorite part of the process because that’s when it truly starts taking shape as a film, as a story. It’s exciting. But there are so many options and ways it can go. You just have to make your artistic choices and stick with them.

What are you going to do different next time?

I don’t think I’ll act in the next film. So far I’ve always joked that the only reason I make movies is so that I can be in them. But I’d like to concentrate on directing. The best days on set were when I was behind the camera, keeping things going. It’s an adrenaline rush, and I love it.

After you make a film what do you do with it?

The process after the completed film is just as laborious. I always say that the odds of a getting a film made are through the roof, but the odds of getting it seen are even higher. You just have to keep trying, sending to festivals, getting the word out there, however you can.

How has the Dead Can’t Dance done in film festivals so far? Are their any big festivals coming up that your looking forward to?

We had a truly phenomenal world premiere in Wichita in April. We’re doing pretty well, otherwise, concentrating of Native festivals. We had our Canadian premiere in Montreal; we just played in Arizona, and have screenings coming up in Chicago and Oklahoma. We have other festivals pending, but hopefully we’ll get into the American Indian Film Festival in San Francisco, that’s the big one. It’s all just such a long journey. It’s like being in a relationship with your film, it’s up and down and unpredictable.

What is next for Rod Pocowatchit?

I’m working on a sci-fi script and may do a music video. I hope to be in production on another feature next summer.

Tags: american indian film festival, craig ainsworth, dancing on the moon, first nations film & video festival, first peoples festival, harmyfilms.com, rawdopolis, red fork film festival, rod pocowatchit, sleepdancer, tallgrass film festival, the dead can't dance