John Kingman
John Kingman is an American writer, director, producer, editor, actor and cinematographer know for his work (in many varied professional areas) on such work including Homeschooled (2009), Hustlas (2011), Pearl: The Assassin (2013), and The Gumshoe Diaries (2016). John founded Little Knife Media in 2011, in which he serves as a video producer and editor.
John’s latest directorial feature is a sci-fi comedy Snatchers, which has recently been doing the rounds at the Brooklyn Film Festival written by Guy Patton, with whom John has been a frequent collaborator throughout his career so far. Screen Nut caught up with John to discuss his latest feature and other aspects of his filmmaking career.
SN: Welcome to Screen Nut and thank you for taking the time out for this interview. Take me back to the early days. When did you first become interested in filmmaking?
John: I started out a theater kid, but somewhere in High School my parents and brother all banded together and bought me a VHS camcorder. I wish I could say I took off immediately, but I was pretty slow into it, because I was still very theater focused. After high school the video camera became the tool for me to tell stories.
SN: You have many credits to your name, which include editing, acting, producing, directing and writing. Which aspects of filmmaking fuel your passion the most? And which do you find the most challenging?
John: I really love the story telling, and most of the time for me that means directing, but if someone’s going to let me play a prat I’m going to do it. I’m also always my own editor, and that’s just a cost saving practicality.
SN: You have a long working relationship with fellow filmmaker Guy Patton. Tell me about how this began, and what makes a good partnership.
John: Guy and I met through a mutual friend who knew him through the UCB. Video hadn’t been formalized there, so when people were making sketches to post online they wouldn’t have the skill set or equipment. Guy was on this amazing team, Stone Cold Fox (Jonathan Fernandez who plays Ray Ray, and John Murray who plays Todecky’s boss are both former members, as well as D’Arcy Carden of The Good Place, and sooo many other talented people) and wanted to make a video. We ate noodles and became best friends forever. You gotta fall in love with your partners to some degree to make the hard stuff, because you’re around them a LOT.
SN: Your latest directorial feature Snatchers is up for Best Narrative Feature at the Brooklyn Film Festival. For those that are not aware, what can you tell us about this film?
John: Snatchers is built around a question: If aliens took over Brooklyn, who could tell? And to answer it a rich wannabe hipster, rogue FDA agent, foodruck catering foodtruck owners, and one seriously unhinged gentleman are going to find out. More intimately, this is my third baby, between Pearl which I produced and edited for Guy, my actual Son who is truly my only baby, and now Snatchers. This project was massive compared to anything I’d worked on before that I wasn’t a PA on. I put in my own money, sweat, tears, everything I had or could. And I’m extremely proud of it, warts and all.
SN: What are some of your fondest memories working on Snatchers?
John: We were shooting at a location in Greenpoint, a former Seminary school roof top, and it was 6:30 in the morning. We’d had delays for weather, so nobody really wanted to be there, but everyone was moving, and still positive, some giddy. I was messing around with Jason Kellerman (Jeb) while some lights were repositioned and thinking it was amazing to just be a one part of a little indie film community like that.
SN: I imagine directing to be quite a mammoth task. What is your personal approach to it, and what, in your opinion, makes a good director?
John: Being a good director before rolling to me is breaking everything down first. I know I have a good script when I read it and can see the camera and edit. So that’s usually my first step. From there I’ll story-board in the hand of a 6-year old who drank too much Kool Aid. Once I’ve got those two versions of the story, I start hammering out all of the details of ballpark cost, locations, props, specials, fx, cast size, crew size with the producer (Clara Peterson on Snatchers) and often Guy as well. I try as hard as possible to not only know that things are taken care of ahead of yelling action, but also who is taking care of those things and how. That saying about never asking someone to do a job you wouldn’t do yourself holds true, and it’s where having worked literally every side of the camera you can helps.
Being a good director on set is being the kindest person you can be to every single person on set because you’re fucking lucky they’re there letting you boss them around.
SN: In regard to filmmaking, who have been some of your greatest personal influences?
John: Jan Mandell, my high school theater teacher is hands down my number one. She gave a bunch of kids the keys to the castle and let us write, stage, and tour our own plays as a two-hour class each year. I was insanely lucky to have done that class and it formed my belief that I really could do something like make a movie someday. It was a really multicultural class with all sorts of viewpoints and opinions, and I wouldn’t be the person I am if it weren’t for her. So thank you, Jan.
SN: What are your hopes for the future in independent filmmaking, and what changes have you seen throughout your career so far?
John: I remember mopping up drool the first time I saw what a Canon 5D MkII could do in low light. I think the cost drop in the necessary equipment in the early 2000s helped a lot. But I think what was disparaging working with so many talented people through UCB and the New York comedy world was the under-representation of diverse voices. There are a lot of mes in comedy. I’ve been really lucky to work with a lot of people in NY, and it’s driven me crazy to hear the stories of constant barriers in writers rooms, crews, casting, across the board for women, POC, and particularly women POC. It’s changing, how it’s being spoken about and how it’s being addressed, and I intend to see that continue as much as I can.
SN: If you had the opportunity of working with any other filmmaker, who would it be, and why?
John: I’m obsessed with Steven Soderberg, both his body of work, and his efficiency and forethought in making it. Sign me up!
SN: What are some of your proudest achievements of your career so far?
John: I constantly remind myself that every single project I’ve done with the people I work with has been a joy, and my proudest achievement is being able to get on the phone, or send an email, and have someone say “hell yeah, I’ll work with you again!”. It’s the best feeling.
SN: Beyond Snatchers, are there any upcoming projects that you can talk about?
John: Covid and what’s happening in America with the discussion around defunding the police state and ending systemic racism have been huge in my mind since George Floyd’s death, and honestly it’s forced me to really consider what voice I have and how I can best use it to contribute.
SN: Is there anything else that you would like to talk about that we have not covered?
John: I encourage everyone who’s ever thought of making a film but not done it to do it. Even if it’s your phone and your dog, do it and take yourself seriously. Life is short and a lot of people who’ve never tried are going to tell you what’s impossible. They’re wrong.
SN: Again, thank you so much for your time. I wish you all the best and look forward to seeing more from you in the future
You can take a look at John’s full body of credits by heading on over and checking out his IMDb page. Also, keep up-to-date with Screen Nut and look out or our upcoming review of Snatchers, and news updates and information about any of John’s future work. Thank you.