Tell us about your inspiration and vision for Satin.
Satin began when actor/musician Hamilton von Watts approached me to develop a script about a down on his luck Vegas lounge singer. Hamilton was inspired by his friendship with west coast jazzman Teddy Edwards. I was drawn to the opportunity to tell the story of a struggling entertainer on the verge of slipping into obscurity - a cocky, smooth talking showman who had lost the joy of singing.
I was interested in exploring Satin’s world, the seedy side of Sin City most tourists to Vegas don’t see. But I also wanted to set up visual contrast by taking a hustler like Satin out of the bright lights and dropping him in the middle of the desert where plenty of “fish out of water” comedy could happen.
There’s just something about the desert that resonates with me. It could be from all those John Ford westerns or my own personal road trips through Nevada and Baja, Mexico. It could be the delight of departing from the cities many of us live in and entering a magical world where the sun sets a little slower and the drinks taste a little sweeter. What ever it was, the desert was calling.
Having been a drummer, I saw directing this story as an opportunity to reconnect with music and gain a deeper appreciation of the blues and jazz. A high point of the production was designing “The Circle,” the music contraption that Satin trains in to connect with the natural vibrations of sound. I hope this sparks audience discussion about the science of sound and the power music has to move us.
What attracted me to the project were the universal themes, the opportunity to create an entertaining movie about a man at the crossroads of life -- torn between chasing fame and fortune and following his heart.
What were some of the biggest challenges in making and completing Satin?
While location scouting I had to keep a straight face while meeting with a man dressed in a denim shirt, no pants, only tighty-whities and cowboy boots, who stood in front of a black velvet painting of his nude wife. I quickly realized I was in brothel country. Okay, as for other challenges…
As Director/Producer, one of the biggest challenges was carrying the weight of the movie all the way to the finish, only to face distribution and delivery, which is as much work as shooting a movie. Here I have to thank all the people who helped along the way. Your advice, your hands, your eyes and ears… are greatly appreciated.
What was a highlight of the filmmaking process?
Collaborating with seasoned actors - Melissa Joan Hart (Sabrina the Teenage Witch, Melissa and Joey), Emmy Winner Robert Guillaume (Benson, Phantom of the Opera, Sports Night), Michael Cudlitz (Band of Brothers, Southland) and talented newcomer Hamilton von Watts - was a rewarding experience. All the cast fearlessly dove in. Together, we focused on building characters, shaping performances and relationships.
More info on Director Chris Olness available at (
veniceair.com)
