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We’re excited to be speaking today with acclaimed director as well as the Big Kahuna behind PIEPIE Productions, Roe Moore; greetings and salutations, Roe! Before we meander down the proverbial celluloid Q&A pathway, how is the freshly-minted 2023 holiday season treating you?
I personally love the holiday season. The eggnog, the decorations and watching Elf on repeat, the only better time of the year is my birthday and super bowl! Despite the strikes and industry downtime, I still found ways to be creative. Celebrating that success this season.
Major congratulations on your upcoming short film Undercover Wrestler! Starting from the tip-top, can you talk about what drew you as a director to screenwriter Joseph Dailey’s delightful gem of a script?
I’m a sucker for an opportunity to use physical comedy in film. I grew up watching Mr. Bean and was mentored by fellow filmmakers that stressed the mantra to “show, not tell” on the screen. This project not only gave me a great opportunity to ‘show’ the fight, but a platform to execute the balance between dialogue and visuals. I’d been dying to find a project to collaborate with my great friend and fantastic stunt coordinator Anne Westcott. So, to me, this project checked a lot of boxes that I was seeking in my directorial purview.
Joseph Dailey’s unique approach to the absurdity in Undercover Wrestler is what drew me to the script. At the table read, I could visually see how I wanted the insanity unfolding. When he played the amusing catchy theme song he created for it, I was sold. He’s been an amazing collaborator to work with and I hope to work with him many more times in the future.
What was it like directing talented thespians Janeshia Adams-Ginyard, Jessy Greer and Ryan Bernales in Undercover Wrestler?
Working with talented thespians like Janeshia, Jessy and Ryan was a very personable experience. What was so beautiful to see in Jessy’s performance is how serious she took the nonverbal portions of her role. Sometimes when an actor doesn’t have many lines but is seen on screen a lot, they’ll lose their presence and fade into the background. Jessy took an active approach and embodied the frenetic energy of a referee in a WWE match. Ryan was a recommendation from my stunt coordinator Anne Westcott. The fact that he embodied the few notes I gave and heightened them to the next level was a director’s dream.
When Janeshia’s manager reached out to us stating her interest in Undercover Wrestler, I was completely floored! I truly thought to myself, “Someone with the credits and experience working on the biggest sets was interested in working with little me in this small corner? No way!” She was the most positive, approachable person to work with. Her collaboration was invaluable when it came to the stunts in her segment.
You also served as a producer on Undercover Wrestler. What does taking on that title entail, and was it difficult juggling both the directing and the producing side of things?
It wasn’t too difficult juggling both leading up to production and after filming. Early on in my career, I learned you must understand your strengths and weaknesses. I’m very strong with compartmentalizing and knowing which thought process I need to be in for certain decisions, but on the shoot day, things can come up that I know I can’t properly handle in the heat of the moment. With a project like Undercover that demanded a lot from both the producer side and the directorial side, I stepped aside and ensured the success of the project by enlisting the help of Meagan Parker and Matthew S. Robinson – both very capable and wonderful producers. I’m very grateful that I had Meagan and Matthew to handle those heat of the moment situations so I could truly focus on the creative.
The title of Producer is something that shouldn’t be taken lightly. I’ve produced multiple projects before and I could joke that, at this point, I could produce in my sleep. Yet, it’s way more involved than most folks realize. To someone like me working in the independent film world, I’m overseeing every movement that’s happening for the project from the inception all the way to its final resting days collecting dust in a closet.
First, it’s ensuring that what’s written in the script is something that can be filmed and for the money which we have – or finding the money to ensure we can create what’s necessary.
Then, it’s hiring trusted collaborators who will best support the vision and be team players, finding locations, working with the Key Department Heads regarding equipment rentals, location requirements, casting, and so forth – all while completing a ton of paperwork for SAG, permits, insurance, and vendors. This precious prep phase never feels like enough time or energy, but you must prioritize and delegate smartly. My experience has taught me that this can make or break it once you get to filming.
While I’d love to say the production days are more blissful, it can be stressful if you don’t have the resources to set yourself up for success during the prep phase or when things come out of left field. There are so many variables and room for error despite anyone’s best efforts, so it’s important for a producer to be flexible, attentive, and focused on finding solutions. I consider this phase the riskiest and often carries a feeling of surrender rather than control.
Once all the footage is in the can (as us industry folks say), there’s a feeling of regained control. It’s navigating the edit for the final piece, developing the marketing strategy, connecting with film festivals and distribution outlets on a humanistic level – all in anticipation of audiences being able to see everyone’s hard work.
Let’s talk a little about your company PIEPIE Productions! How did PIEPIE Productions all come about? Is there an E-True Hollywood Story you could share with our ever-inquisitive readers on the origin of the company?
The story behind PiePie is not as E-True Hollywood Stories as one would hope. I knew I wanted to bring more than just a person capable of producing to the world. I saw that most films were overseen by one or more entities and that got me thinking – if I want to develop, produce, and release more than just one, I might as well begin establishing that name before I get too far down the road. Thus, PiePie Productions was born!
Looking ahead, what goals do you ultimately want to hit with PIEPIE Productions?
I would love to be the go-to production company for the absurd, the smartly dumb, and the ridiculous comedy stories.
Hollywood has a rich history of production companies, both big and small. As head of PIEPIE Productions, do you ever find yourself looking back into the history of the industry to ascertain some of the things that have and have not worked in order to better inform your own company?
Always. It’s better to learn from the mistakes of others and do better. Otherwise, you’re attempting to invent the wheel expecting different results. I look toward companies like A24, The Boylan Sisters, Happy Gilmore, and Duplass Brothers for how they navigate the industry within their niches. For example, The Boylan Sisters focus on female driven teen drama and comedies with religious heart. Happy Gilmore, Duplass Brothers and Boylan Sisters are also true examples of the tribe mentality that’s expressed throughout this industry: people hire people they can trust and often work with the same folks repeatedly. Why? Because relationships build the capacity to expand and dive deeper into the creative depths.
With the studio and network TV pipeline in a very unpredictable place, the independent route is coming to the forefront with innovative storytelling and self-distribution opportunities that have been there, but not in the same demand as before. For those who work hard and truly sculpt their films to the best they can possibly be, there are rewards out there.
You have a busy slate of work in the pipeline: What can you tell us about the upcoming films Breakfast Salad, Cheating at School, and Drive to the Airport?
The additional projects are all ones we hope to become our calling card for bigger and better projects. Breakfast Salad and Drive to the Airport are comedies that have more than just the funny, they have more of a punch to the reality of life. We’re looking forward to see how those pan out with the various comedy film festivals in 2024.
Cheating at School is near and dear to my heart because it speaks to my Live TV experience doing awards and variety shows. We shot that one in the more traditional style of an SNL or sitcom sketch. We’ve been grateful to share this with audiences at Show & Tell Show and more.
Directing-wise, who inspires you?
I’m inspired by the work of Edgar Wright. His ability to add multiple layers of comedy within the frame of the camera is what I admire most. I really appreciate his keen eye to ensure that the viewer always has a bit to enjoy each time you watch the film.
Your first credited directing job came in the form of the 2014 TV series What a Waste…Not! Any special memories of that freshman production?
Wow! What a throwback to my early days. That series was one where I truly took the thought process of “use what you have” literally. We had a DSLR that could shoot stills better than video. So, the intention was to create a “still-motion” animated series. It was also an exercise to make the shortest, funniest content available. What it taught me is that if I can make something as ridiculous as a show about the life of Los Angeles Street Trash Cans, then I can celebrate any creative idea that comes my way.
Final – SILLY! – Question: Favorite movie about the making of movies – Living In Oblivion, Once Upon A Time In Hollywood, The Player, Swimming With Sharks, Barton Fink or Ed Wood?
I’d have to say The Producers would be my favorite movie about the industry. I know, I know, it’s really about theater. But it’s still hilarious and true to how the industry can be approached.
Website: www.RoeMoore.com
Instagram: www.instagram.com/roe_mo
