“From Pocket to Projector: Discover How Jamie Grefe Filmed Two Movies on His Phone!”
Jamie Grefe
And let me specify, I think the Corman thing came from when I talked to the producer and the distributor, like I think he’s more business minded because that’s the end he works on. Yeah, with me, I think that’s why it’s been so hard for me to ever sell any of my spec scripts, which is that they are products of my imagination. They are fed off of my very unique tastes, whatever that may be. And I don’t even know what you want to call it if they’re obsessions or just things I have to do or just how my imagination works. I mean, for the first time in my life, I really felt like that whole decade of writing screenplays that were whatever they were, whatever kind of, is it avant-garde? I mean, maybe I enjoy avant-garde, I also enjoy just like a good movie, I can feel I can resonate something that resonates with me. And I think at the end of the day, that’s, that’s what I had the chance to do that in my life. I mean, remember, none of these movies have any violence in them, really, even the love movies, that’s kind of a spoiler for all of them. But there’s, it’s not like the slasher even wants to attack and kill. He doesn’t, you know? So that’s something that like, probably as an artist came from, came directly from my heart, which was like, this is not going to be that, but I’m going to work within this framework, because I have a deep appreciation of trash. I have a deep appreciation of ugly things. I have a deep appreciation of confrontational things, things that are uncomfortable. You know, when somebody, a director friend of mine saw a sorority girl massacre, black static, he said, this is erotic and uncomfortable. Another director friend said, this is icky. He said, this is icky. He said, I respect the hell out of it, but it’s just icky. And I was like, man, okay, that’s fine. You can have whatever opinion you want. But to me, they’re very pure expressions of my art, of what I want to do. And at the end of the day, like there’s no other, there’s nothing beyond that. Like, like I said, these love movies literally were born almost like performance art on that day. I didn’t reference the shot list. I realized that the next day I was like, I didn’t even look at it. But making the shot list, making the log lines, making those pictures in the storyboard, writing poetry, all of that led up to the ability to trust myself and to trust the process that was unfolding on that day.
