On March 22nd, 2001, I went to interview for a possible job as a production manager. This was when I first met Aaton Cohen-Sitt, the writer and director of 'Interviewing Norman." Aaton had a dream, and he was willing to make it a reality. We talked for about an hour or so and we hit it off. Two days later I was hired to Line-Produce Interviewing Norman as well as supply the lighting and grip equipment. Two weeks later I became the official Producer of the film.

Aaton had already selected most of his cast when I came on board. He had made the decision to go with a SAG contract already, so I set about locking in and finding locations, hiring the crew and trying to schedule this behemoth of a very low budget movie shot on film into the framework of the budget. There are two ways to budget a movie, the right way and the low-budget way. The right way is to break down the script, schedule the shoot from that breakdown and then make the budget based on what you need, where you want to shoot, who you want to hire, etc. The low-budget way is sort of backwards in that you are usually told what your budget will be before you ever begin to break it down. This means that instead of making the budget fit the movie you are trying to make the movie fit the budget. This, of course, will lead to going over budget pretty much every time, BUT, you will still get the movie made and still usually for a very reasonable amount of money.


We began production on June 1st of 2001. We had a seventeen day shoot and wrapped up principal photography on June 17th, 2001. This movie was shot on 16mm with an Aaton LTR 54 camera. Since it was a mock-umentary it was decided to shoot the film in 4x3 full frame mode.

One of the greatest challenges to this film as far as production value were the Biblical Flashback scenes. I believe we had five different flashback's, Norman's version of what really happened with Moses and Noah and things like that. We decided to use a location just North of Los Angeles, a state park called Vasquez Rocks. Since it was a state park we were able to use the location for $500 for two days of shooting. This location was vital in giving us a feel of being in 'the old country' so to speak. Mandee Lipsman, our wardrobe designer, did an excellent job in providing all the outfits we needed and the rest of the look was provided by our excellent production designer, Elvis Strange. I have to say, I have worked with Elvis on several movies and I have never met anyone who can deliver so much on so little money.

Aaton then spent the next year editing the movie while I went and made The Mailman. On May 3rd of 2002 we went back into production for three days, re-shooting some scenes and picking up others.

Interviewing Norman made it's World Premiere at the Newport Beach Film Festival on April 28th, 2005. We will soon be ready to seek distribution.