Movies Features

Interview with director Paul Sapiano: The Boys and Girls Guide to Getting Down

By Scott Rosenberg Mar 23, 2007, 9:44 GMT

Recently, Monsters and Critics had the opportunity to interview Paul Sapiano, writer and director of ‘The Boys and Girls Guide to Getting Down.’ And NO, we did not sit down with hot babes all around, sipping drinks and doing lines of some white looking stuff at a trendy bar in LA – we did it over the cold confines of cyberspace.

Paul at the premier party for "Boys and Girls Guide" at Avalon Hollywood.

Movie opens limited March 23 – make sure you go see it. Here is our interview with Paul:M&C: So Paul, are all your party tips self tested? Like you personally know about having a “Tater Tot?” (editor's note: to learn what a Tater Tot is, go here)PS: I always hear 'write about what you know,' and I don’t know much about anything except partying, chicks, and debauchery.Regarding the 'Tater Tot,' let's face it, trying to get down on ecstasy is tricky at the best of times. But add a nick of Viagra and you have a cocktail knows as “sextasy." I have heard good things about it.M&C: What in the world were you thinking when you decided to make “Getting Down”?PS: It was a way of convincing my mother that the last 15 years of partying were actually spent researching for this film. I had been writing scripts and trying to get into movies for many years, but in the end I decided to re-mortgage my place and put my money where my mouth is and together with a friend, Enrique Aguirre, who edited the film, we raised the money.M&C: Some amazing visuals, what kind of camera did you use and where did you do post & effects?PS: All post was done at Enrique's company, King Cut. We worked together on a lot of commercials so we knew we wanted the film to look as slick and as pro as possible despite it being a relatively low budget film.About a quarter of the film is graphics and Larimie Garcia did a wonderful job designing them all. I think they are badass, funny and original and really raise the film's profile.This film is more post heavy than most so I have to hand it to everyone at King Cut – they did a spectacular jobM&C: Do you prefer writing or directing? PS: I like directing. It’s what I have trained to do for many years as a commercial director. Writing is hard, and there’s no one to yell at when you accidentally delete a day's work, plus there's no one to bring you cappuccinos on demand. Also when you write, it always seems like crap. I guess there is a tendency to be overly critical of your own work.M&C: Have you always wanted to be a filmmaker? What do you see for yourself in the future? An Oscar maybe?PS: When I left college I wondered what job would have the most money, the most chicks and the least work. I came up with commercial director and moved to the States from London. It took a while, but I am finally getting somewhere. M&C: Part of the disconnect in “the industry” is between the artist and the business – that is once you scrape together the resources to make the movie, you have to know how to sell the movie – and the ability to make good film does not necessarily going to give you any return (make you any money). Do you agree with this and if so, you as a new film maker, what are you doing to learn the business?PS: It’s a buyer's market – there are so many filmmakers out there and so many greedy distribution companies. We hooked up with a good one, Kosmic Films, that had the balls to release our film even though it doesn’t have any major stars. But you are right – you will not make ton of cash on your first film. Probably you will lose money. If the film gets a deal, you probably have all kinds of deferred payments to crew and cast. It’s really tough.I tried for years to get something going. I wrote about eight screenplays before I decided to self fund. But using your own cash does make you very efficient!I think the key is to write/find a killer script. You have got to love it. There has to be something about it that’s different, that will sell.Unless of course you are friends with Reese or Keanu and you can get a name or two.I wrote a script that was high concept but small enough in scope that I could complete it. I also teamed up with a post house – without Enrique and the guys, the film never would have gotten made - everyone is always out of cash by the time it comes to editing.M&C: How did you cast the movie – you have a good-looking set of actors there. Did you know them before hand?PS: Some I cast from clubs and bars – but that’s tough because you need people who can act, and it’s not as easy as it seems. Most were cast by Lynne Quirion, my casting agent. I have done a lot of performance-based comedy commercials, so working with talent and picking the good ones is something I had a lot of experience with.To retain authenticity, all of the non-speaking roles (bouncers, DJ, barstaff, club kids, etc.) were all cast from people I know from my night time adventures.M&C: Hey, if I am a good reporter and write good things about your movie, will you introduce me to Leyla Milani? Even at my advanced age – she’s hot!PS: Well Leyla's a tiger no matter what age you are. I'll be happy to make an introduction next time she's in LA, meanwhile hit her up, she's on My Space.M&C: Did you have a good time making “Getting Down” or was it all work and no play?PS: It was the toughest and best experience (except for getting my greencard) I have ever had. It really was a lot of fun, but next time I want to do it with a decent budget.M&C: What advice would you give a young person that wants to get into the business?PS: Marry rich! And it’s all about the script. Find or write a great script and you are halfway there. Also, don’t ‘do it right, just do it’ – people spend years trying to put films together – at some point you just have to jump in. It’s never going to perfect – and if it all goes wrong, well at least you tried. Get some cash off your rich spouse and try againM&C: Thanks Paul and party hearty!