Seasoned filmmaker Jeff Schneider, whose new film Evil Under the Skin releases this month, talks about his transition from circus performer to movie-man.
You’ve a long and illustrious career, sir. Where did it all begin?
I was born in Boise Idaho to Joan Schneider, a school teacher and Paul J. Schneider, a radio and television personality. I spent his early years with interest in sports and drama. Once I graduated high school, I joined Jack Davis Premiere Shows a circus and performing arts troop traveling for several years all over the United States doing pole climbing, hoop diving, juggling, hypnotism, sword fighting and other arena and outdoor entertainment.
Right! Wow…
And it was during this time that my mentor and friend Jack Davis would teach me how to promote and produce outdoor events. From 1991 to 2005 I’d hone these skills and performed in over 400 shows across the country.
How did filmmaking come about?
Since 2005, I endeavoured to learn more about the craft of filmmaking. Ended up working on over 30 projects including over a dozen features. Eleven years later, I formed MaSch productions with Abel Martinez Jr. and WJD Films with friends from Jack Davis premiere shows and JADA Entertainment.
And of the dozens of films you’ve done is there one you’re proudest of?
I would say Lake Noir even though we didn’t achieve a lot of what we wanted it was the first film we completed from start to finish and distribution.
You’ve always got a lot of plates spinning at the same time – in terms of projects in development. How do you decide which project goes first – is it all to do with financing?
Sadly, that has a lot to do with it. We try and shoot as efficiently as possible the most feature films we have shot in the shortest time is 3 in 10 days. Those are full length features so the shoot schedules are very, very, tight after doing it that one time I think we will probably not do that again. WJD Films and MaSch Productions are very fortunate that we have key people who work with us for the love of the craft so that is huge in regards to us reaching our goals.
When and where did the idea for “Evil Under the Skin”, come from?
Luc Bernier who I have worked with for years had put the word out that he had a script he wrote initially called “Fading Flowers” and was looking for a production partner to help produce and shoot it. He had Helene Udy and Donna Hamblin attached at the time and I really like Luc he is just a very positive amazing guy so I agreed to partner with him.
The film isn’t one type of genre – but a little bit of everything. How important was the film not just be a straight-up horror flick but something more unique?
Luc and I spoke along with Abel Martinez Jr. my partner at MaSch productions about the look and feel of the project. Luc wanted a slow burn feel and I wanted to have a different vibe something jarring, beautiful, dreamlike, but disturbed all at the same time. That came across in the washed out look we shot 4k but wanted a lot of it to feel softer, warmer in contrast to the darker scenes.
Did you sit down and watch any similar themed films before kicking off work on this one?
Luc had me watch a film but the name escapes me. Mandy had just come out while I was editing the project and I would say that influenced in part the editing.
Aside from Mandy, what would you say are close comparison films?
To me it is more like an Edgar Allen Poe poem a disjointed trip down a very dark rabbit hole. Maybe Jacob’s Ladder with Tim Robbins?
Was it important to you that the actors don’t play it too over-the-top?
Depends on the actor sometimes you have them swing for the fences and then pull them back in. Helene Udy is always such a trooper she is in two more movies with us coming out in 2021 Red vs. Wolf a psychological thriller and Loose Luck a dating gone wrong in the worst possible way film. Helene though is always such a professional she never complains no matter how hard the circumstance or how unrealistic the expectation she just puts her head down and grinds through it. That goes for Carl Bailey, Donna Hamblin, Tim O’Hearn, Geno Romo, Angela Barajas and there are too many more to mention. It is up to the director in my mind to guide the actors through the scene but let the scene unfold organically. If you are too critical or restrictive then you are limiting them and if you are too free the scene loses its context. It is always a bit of a tightrope.
Whose idea were the cast? Did you fight for anyone in particular?
No Abel and I trusts Luc’s vision when it comes to casting. He has always brought the best folks to the table and Tim Brought Carl bailey in on the project which worked out really well.
How did you go about seeking distribution for the film? Where can we find the film?
We used the same distributor we used for Lake Noir. I called up Darrin Ramage at Acort International and sent him a screener and we had maybe a 30-minute conversation and he agreed to distribute us pending deliverables. Darrin has been a strong supporter and has always been easy to work with.
How has Covid-19 affected your career, particularly this year?
We were lucky we ended up being in post-production and had our features shot out before all this started. I will say I know a lot of folks in the industry and they are hurting. I am hopeful though that in 2021 things will settle.