Richie Leyland | Author / Screenwriter
04.27.25
Dawn Cochran: OK. Hi, so! I'm excited to interview you, so why don't you tell me who you are, and tell me a little bit about yourself.
Richie Leyland: I'm Richie Leyland. I am an author and screenwriter from Buffalo, NY. I dabble in films and books and other things.
DC: What are other things?
RL: No, I mean, I'm mainly film and books. I used to play in bands when I was younger. But I've kind of... I haven't been doing that so much lately these days. I found more success in writing stories, so that's what I've been focused on.
DC: Yes, I famously know you as Lindsay's brother.
RL: Yeah.
DC: No, I'm just kidding. I mean, I'm not kidding, but I'm also kidding. OK, so I'm going to pick apart what you just said and first let's talk about you as a writer. From what I understand you have published four books. Is that correct? And also, time out, let's talk about publishing a book!?
RL: That's correct.
DC: Because that's fucking awesome. And you did it four times. Are you self published?
RL: Yes I am self published.
DC: And what is the genre of your books? Tell me about your... Tell me about all four of them.
RL: OK, well I like to call myself a multi-genre author. I like combining genres, because I just feel it makes the story... It gives the story lots of dimensions, and to me, it makes it more interesting. My first novel is called Return. It's probably my most popular book. It's a mystery suspense story with some romance and adventure. And it's about this traumatized man who gets stranded in this unknown town and he finds his personal connection to it. But when he's trying to discover the truth about that, he puts himself in danger and he's trying to survive in the town. So. That's essentially what that story is about. Vessel is my second novel. It's a sci-fi horror story about this shape shifting alien that crash lands on Earth in this small town. It slowly works its way up the food chain. It starts killing like bugs and then it starts killing bigger animals and eventually starts killing people and other people trying to survive that attack in that town. My third novel is called Bringing the Doom. It is a dark comedy murder mystery. It's about this rock star who is sick of the business, so he tries to destroy his career, but every time he tries to do that, it backfires on him and just makes them more popular. But he's doing this while he's dealing with a stalker who was trying to kill him. And then my fourth novel is my latest one. It's called Cryptic Heights. It's about this man who inherits an apartment building from his deceased father. And then he finds out that there's a cache of money hidden in the building. But then he comes to realize that these unsavory characters, that were associated with his father, also find out about the money. And they are trying to find it as well. So essentially becomes like a treasure hunt. And a race against time between the two parties.
DC: Damn! OK so. What is your...
RL: That's a lot I threw at you I know.
DC: Yeah. No, that's OK. What is your method to writing? Do you sit down in your house? Do you go to a hotel room? Do you go to a coffee shop? Do you play The Shining? Like what's going on here?
RL: Well, no, I'm not mulling over a typewriter, typing the same sentence over and over. But what I do is, I generally write an outline. I do this at home because I want to stay focused, and I don't need too many distractions. So, I do this all at home.
DC: So what you're telling me is in the movies when you see the author at some fancy castle hotel, writing their book by a fireplace... That's not, that's not true?? That's not how it works???
RL: I would say that I think everybody has their own process that's just not mine. But I'll write out an outline of how I want the story to go first, because I'm trying to avoid any kind of creative blocks when I write it. Even though, I think for any writer, it's inevitable during the process. You get stuck on one point or you've overlooked something that you didn't think about? So then you just kind of gotta mow it over to see what the best way is to get past that block? So I try to map it all out first before I actually start putting the story in the paper.
DC: I think that's the highly recommended method, so yeah, good job. So I did touch base that you are self published. So how does that work? You just contact a publisher and you say, 'hey, I want X amount of books made' ... or? Tell me about that.
RL: Alright, well I started doing this. Actually, through Amazon, because Amazon has their own self-publishing service.
DC: Oooh, OK.
RL: When I wrote Return eight years ago, nearly eight years ago. Hmm.. It would have been 2016 when I finished it, but I published it in 2017. So when I finished Return I was inquiring with numerous publishers about it, and I just kept getting rejected and rejected. And I've heard stories among many writers, too, wanting to have their works published. It's constant rejection over and over again. And I was doing it for months and I just got sick of it. So I was just like the hell with it. I'll just publish it on my own, so I did that with Amazon service. I did a paperback version and an e-book version of the story. You know, just because e-books have become very popular over the last decade or so. And that was definitely a learning curve to it, too. Because you need to know what the dimensions are of the book that you're going to create. And so you gotta create a digital document that fits to format it properly and then you know...
DC: Mm-hmm.
RL: You also gotta put some legal jargons stuff, like copyright stuff, disclaimer, blah blah blah. Just basic saying, just to address to the reading public that it's copywritten work and you put your dedications in there, and it was a learning curve. But it was good that I did it. I feel that's the best way to learn anyway. Just gotta jump right into it and do it. But when I was publishing the first story on Amazon, it was through this company that Amazon owned, called Createspace. I kind of got lucky at the time when Createspace was around, because they had an association with Barnes and Noble. So luckily for me, at the same time, I was able to publish this book on Amazon, Barnes and Noble was able to get copies of my book as well. So I felt that it was kind of a little bit of good luck that I had that. Plus that gave me a little bit more recognition. I've got a dedicated fan base of readers that just enjoyed that book. So I definitely think the right timing and good luck help me too.
DC: Yeah.
RL: But I also I also wanna think, though, that the story was good too.
DC: Right.
RL: But I, I try to acknowledge as much as I can.
DC: So you have to..., so you have to jump through the hoops to copyright each book first before you publish them?
RL: Well. Yes and no. I mean, when you do publish the book, and you just put the copyright notice in there. Technically, even if you haven't had it copyrighted by the Copyright Office yet, it will still hold up in court, but there's only a short time frame where that's valid. I think it's like 2 years, if I'm not mistaken. But I actually had the story copy written through the Copyright Office.
DC: Oh, OK.
RL: Yeah. So. What you do is you send in... Actually what I did was I sent in a copy of the actual paperback. So through the Amazon print on demand service, I'd order certain copies, they would give it to me at cost. So now I got a bunch of these books that I can sell on my own. Or if I wanted to, I could give out promotional copies. So what I did was, I sent one of the actual paperbacks to the Copyright Office. Filled out the form, paid the fee, and then like four to six weeks later, you get the Certificate in the mail.
DC: Dang, four to six weeks. I thought it would be a lot longer. I don't know what I was thinking.
RL: I mean, there have been times where I had to wait two months. But the Copyright Office was backed up and stuff like that... But I would say a broad range, one month to two months.
DC: Yeah.
RL: This is probably the average, yeah.
DC: Are you writing any new books right now?
RL: I'm slowly working on a new book. It hasn't been getting a lot of my attention lately, because I've been more occupied with writing screenplays. So I've been doing a lot of that lately. I've worked on four different screenplays last year, and I'm writing on a couple of new ones right now. Some of them I've been hired to write, and then others I'm just writing for myself. So it's been a good problem to have. I really haven't been focused on writing the new book. But I've been getting noticed with my writing to be recruited to work on screenplays. So I guess you gotta weigh the pros and cons of it.
DC: Have you been interviewed before? Because your transition from being a novel writer to a screenwriter was so perfect. Because now I want to talk about screen writing.
RL: I have before, but it's been a while, though, since I've been interviewed. But yes, I have before. OK, So what about my screen writing would you like to talk about?
DC: So you said you have four projects right now that you're working on?
RL: Technically. Well there were four screenplays that I've written over the last year.
DC: Ooooh, sorry. OK.
RL: I want to make movies out of all of them. That'd be great. I, unfortunately, am not in total control of all of them. Let's say, some of them are 'works for hire.'
DC: OK. Gotcha.
RL: So yeah for example, a local actor hired me to help him write a screenplay for a Lance Diamond biopic. So I helped him write that. And he's got that. But right now, it's just the script. No official production is happening on it yet, but that's the goal. And then there's another screenplay where I was brought into. I didn't come up with the original idea, but another local actor, he had a script. It was pretty short, but he brought me and he hired me to doctor it up, and extend it a little bit. So I did that. And then I've also been hired by other people in the area. Not necessarily actors, but producers, or other people involved in various ways in the film industry, to help them flesh out ideas they've had for stories and turn those into scripts.
DC: Are we allowed to name drop any of these people???
RL: I don't want to be name dropping any of these people, as much as I would like to.
DC: OK, OK.
RL: But yeah, because they want to keep these secrets, they want to keep it as quiet as possible right now. I feel that's necessary for these scripts, because we want to make them into movies. We want to film them in Buffalo, And I don't wanna put the cart before the horse so it's...
DC: No, that's an exciting mystery. I'll have to just keep paying attention to the Buffalo film industry.
RL: Yeah. Or... or off the record, maybe I'll tell you.
DC: Ooooh. That's funny. So do you like screenwriting more than you like writing books? I feel like it's a completely different ballpark, like writing a script. And a screenplay like, I don't know. It's just. Well, you tell me if it's how different it is.
RL: Well, there's definitely a different method for writing each of those. That's for sure. I find it to be easier to write screenplays over novels. You have to tell the story in a specific way. I mean, when you're writing a novel, you got to think about characters back stories, and get into that in graphic detail because you gotta paint an image for the reader. They're imagining the story in their mind, as opposed to a movie, they gotta see it in their heads. So when you're writing for a screenplay, you're writing to describe the actions of what is happening on screen. As opposed to when you're writing a novel, you got to explain character thought with certain elements of back story. You gotta be more descriptive with certain things, whereas, in, you know, screenplays, you're just showing it. You're expressing it.
DC: Right. Um... Are you going to tell this audience that you're a hilarious improv-er?!?
RL: I mean, I've been told that. I'm not gonna toot my horn, if people think I'm good, then I'm happy. I'm welcoming the compliments. Ah.
DC: Just so the audience knows. I watched this man get an intention and he was so committed to the bit, it was incredible. So funny. So funny.
RL: I try to have fun with it. You know, I mean when you have that opportunity. In acting I think you just gotta go all in, or go home so...
DC: I also am probably going to embarrass you real quick before we get serious again, and bring up that you are also a karaoke machine and your performance is like Brian Johnson and Adam Sandler had a child and this went on stage to be a wild singer man.
RL: Yeah, well, I have a musical background and you know what? I'm used to being a performer too, so it's just kind of in my nature. I mean, you only got to see one side of my karaoke madness. There's a lot more. You know, yo gotta see... You should see me do love shack, my friend.
DC: I like to do as many things as possible, but I don't have enough time to do as many things as possible. So there is karaoke in my future. I just don't know when... Uh, so I stalked you a little bit and I saw that you actually produced a couple of films too. Is that accurate?
RL: Yes, that is accurate.
DC: OK, cool. So pretend that the people who are reading this don't know anything about film. What does a producer do?
RL: Alright, well essentially the producer is making sure that the whole production is running as smoothly as possible. They need to coordinate pretty much everything going on in the production, and coordinate with people to write up call sheets, and those call sheets will specify who we need on set, what scenes are being done, what is needed in the scene, and also coordinate with other people outside of the production too. Like a third party that we need to work with to get things going. To accomplish what we need to shoot on that day. So you're juggling a lot of duties when you're a producer.
DC: So. What's the difference between a director and a producer?
RL: Well, director is more responsible for the vision of the film. So the director really needs to just focus on that. A good director is a director who communicates effectively, because he has a particular vision. He knows what has to be made, but he also needs to be a decision maker. Because it's really crucial to have your director be making decisions. And because time is money on a film set. You know, you procrastinate, or you're not making progress, or you're stuck somewhere. You know... you're burning daylight. You're burning money. So those are really important elements for being a strong director.
DC: Absolutely. I am going to say a spoiler alert. I did know the difference between a director and a producer. But maybe the readers don't, so I gotta... We gotta talk about it.
RL: You gotta talk about it. I know, I get it. Oh, so you were curious about the films I worked on?
DC: Oh yeah, yeah. So what I'm assuming is they're all locals, or is that inaccurate?
RL: Uh, well, all the ones I worked on, yes, are all filmed here in Buffalo. The last one I worked on actually was the short film we filmed at Batavia called Kitty. I was a producer on that. I'm actually in it too. Cara Fay and Roselyn Kasmire are in it as well.
DC: Oh, OK.
RL: James DiLullo wrote it. He's another actor. He's actually from Batavia. He worked out in Hollywood, so this film he wrote and directed. And then he recently came out here, and we shot it here. He raised money for it. He got a grant to actually fund a good chunk of the film. And he got some local businesses to advertise in the film. So that also got some funding for the money. So it was really neat to see him put that all together and yeah. It was a very cool experience. And I also edited the film as well. He flew me off to Hollywood. We edited it out there. I was out there for a couple of weeks. We had a visual effects guy do a few things on the film as well. He was out in Hollywood, so that was a really cool thing to do. And before that, the film that I had worked on was Unbillievable; which was the Bills Mafia comedy movie that Scott Rubin from National Lampoon wrote.
DC: Ohh yes.
RL: Yeah, working with him on that was quite the eye opening experience, because I had to juggle a lot of hats on that film, from a producer standpoint. I also was an editor on that. I did script supervisor on that as well, and I did some casting on that movie.. So it was a lot.
DC: So you just do everything is what you're telling me.
RL: Yeah, pretty much. I mean I know how to play music too. So I could score a movie technically. So I do a lot.
DC: I feel like... I feel like editing is so tedious.
RL: It is. For sure. For sure, there was notably a challenge with editing Unbillievable because I had never edited a feature before. I've made short student films before. And I've edited with older software programs, but I worked with Final Cut Pro on Unbillievable and I had to learn a bunch of new things, so we could get this cut done. But also I'm following the scripts. I'm trying to make a cut of the movie that's as close to the script to fulfill Scott Rubin's vision of the movie. But once I had the first cut done, it was so long. So then I had to speak with Scott. And we would talk it out, and we had to figure out ways to cut it down, because a movie like that... it was a comedy, you know? You wanna hit that sweet spot? You don't want it to be too long or even too short. So that was a really interesting process as well, because you're gonna butt heads. But sometimes, though, you also find things that you agree on that enhance the quality of the movie. And in my experience, a producer friend of mine told me this, I found that when you're making a feature film, you're actually making three films. One when you're writing it. One when you're shooting it. And one when you're editing it. It never seems to be exactly the same in all of those processes.
DC: I believe that so much. Just working on the films that I've worked on, the short films, the little episodic things, even commercials. What you start out with, and what you end with. I'm like, 'how did we get here?' But it's a great journey. Let's see. What else do I want to know? What are your favorite things about Buffalo?
RL: OK. Well, I can safely say that we have some very unique locations around here, and I feel that they haven't gotten enough attention in a cinematic universe at all, and I really think there's an untapped resource here for numerous film makers. It doesn't get the acknowledgement or recognition that it should. And then another thing that I love about Buffalo is the food. Like seriously, I've traveled to so many places around the country. And Buffalo seriously has some of the best food in the nation. No joke. So, I really feel happy about that. And maybe I'm biased, because I grew up here. But like I said, I've been to so many places, and the food here is outstanding. It really is. I don't know what it is.
DC: Now are we talking like chicken wings, or are we talking across the board? Are we talking like... Beef on weck??
RL: I'm talking across the board, I mean the Italian food here is great. And of course, wings are gonna be great, and staples like a beef on weck are gonna be great. I enjoy a good pierogi too. But even so, I see a wide variety of cuisines around here. Indian food, or even Mexican food, or Thai, or Burmese. So things like that. Plus, with us being so close to Canada, they fly up to Toronto. Toronto has amazing food. It's not Buffalo, but some of the best Chinese food and Japanese food I've ever had is in Toronto. But I've had some great Chinese food and Japanese food here. Like there are some places that do what they claim to do... Authentic type cuisine, but I've had better Chinese in Toronto.
DC: Yeah. Ooooh, Toronto. OK, alright. Wait. We can't... We can't start making this about food.
RL: Alright, alright. You want to go back to movies? We can't eat movies.
DC: Well, no, it doesn't haveeee to be movies. What do you see in your future? Like what is your ultimate goal?
RL: I would love to be just here making movies. I just enjoy it. I'm a huge movie nerd and I found out that I'm good at doing it, and I'm good at writing scripts. And I like telling stories. I've always been an avid reader growing up, and an avid movie watcher. I feel it's such a wonderful way to express ideas, and convey emotions, and relay messages of the human spirit. And I feel there needs to be more of that in the world. Some people can't communicate effectively, but when they do it through art, I think it could transcend emotions and communications in very profound ways.
DC: Dang, that was beautiful. I mean, it's true. Obviously, I love movies as well. I love all types of art. I wouldn't be doing an art and entertainment interview series if I didn't.
RL: I know you got a passion and you clearly like it if you keep doing it over and over again.
DC: I have too many passions, and like, I'm not good at any of them. But that's besides the point. OK. Listen, I think this might be one of the longest interviews so far. So I feel like... I don't want to end now. I need more questions, but I have to think about this. I want to ask a really good one. Let me see.
RL: OK.
DC: Hmm. Alright, I got it. Are you ready?
RL: All right.
DC: What's your favorite scary movie? No, I'm kidding. I'm kidding, although actually, maybe I'm not kidding. What is your favorite scary movie?
RL: All right. I gotta think about this for a minute. What's my favorite scary movie? Scary movie. Oh, that is really tough. I might have to say. Ah. You know what? I think I might have to say Texas Chainsaw Massacre.
DC: A classic. A classic.
RL: Yeah. Just because of how was shot. It's almost shot like it's a documentary. And it was like... it's weird. And you could tell... For a movie, at the time it came out, and the rawness of it, it's just... I felt it was scary on a different level. It felt more personal, and it wasn't glamorized like a Hollywood feature. I think there's certain scary movies that I'm not fazed by at all. Particularly a lot of ghost movies. They don't really do it for me. There's a few that are pretty good and pretty scary. But ghost movies don't seem to have a very satisfying ending. I will say I think the best ghost movie ever is Poltergeist.
DC: I love that movie.
RL: Just because everything about that movie in terms of like the scare formula, they got it just right. So I would say that's the best ghost movie that has been made so far. But in terms of my favorite. I gotta say, Texas Chainsaw Massacre.
DC: OK. Alright, so do you have any last words? Any rants? Any questions you wanted me to ask?
RL: Ah, I'd say just whatever your passion is, find it. Be consistent in your efforts. And even if you don't think you're good at it. If you're consistent in your efforts, it's inevitable that you'll be good at it.
DC: Hell yeah. That is a good last hurrah. OK. Thank you so much. This was really fun.
RL: Thank you.
Richie Leyland: I'm Richie Leyland. I am an author and screenwriter from Buffalo, NY. I dabble in films and books and other things.
DC: What are other things?
RL: No, I mean, I'm mainly film and books. I used to play in bands when I was younger. But I've kind of... I haven't been doing that so much lately these days. I found more success in writing stories, so that's what I've been focused on.
DC: Yes, I famously know you as Lindsay's brother.
RL: Yeah.
DC: No, I'm just kidding. I mean, I'm not kidding, but I'm also kidding. OK, so I'm going to pick apart what you just said and first let's talk about you as a writer. From what I understand you have published four books. Is that correct? And also, time out, let's talk about publishing a book!?
RL: That's correct.
DC: Because that's fucking awesome. And you did it four times. Are you self published?
RL: Yes I am self published.
DC: And what is the genre of your books? Tell me about your... Tell me about all four of them.
RL: OK, well I like to call myself a multi-genre author. I like combining genres, because I just feel it makes the story... It gives the story lots of dimensions, and to me, it makes it more interesting. My first novel is called Return. It's probably my most popular book. It's a mystery suspense story with some romance and adventure. And it's about this traumatized man who gets stranded in this unknown town and he finds his personal connection to it. But when he's trying to discover the truth about that, he puts himself in danger and he's trying to survive in the town. So. That's essentially what that story is about. Vessel is my second novel. It's a sci-fi horror story about this shape shifting alien that crash lands on Earth in this small town. It slowly works its way up the food chain. It starts killing like bugs and then it starts killing bigger animals and eventually starts killing people and other people trying to survive that attack in that town. My third novel is called Bringing the Doom. It is a dark comedy murder mystery. It's about this rock star who is sick of the business, so he tries to destroy his career, but every time he tries to do that, it backfires on him and just makes them more popular. But he's doing this while he's dealing with a stalker who was trying to kill him. And then my fourth novel is my latest one. It's called Cryptic Heights. It's about this man who inherits an apartment building from his deceased father. And then he finds out that there's a cache of money hidden in the building. But then he comes to realize that these unsavory characters, that were associated with his father, also find out about the money. And they are trying to find it as well. So essentially becomes like a treasure hunt. And a race against time between the two parties.
DC: Damn! OK so. What is your...
RL: That's a lot I threw at you I know.
DC: Yeah. No, that's OK. What is your method to writing? Do you sit down in your house? Do you go to a hotel room? Do you go to a coffee shop? Do you play The Shining? Like what's going on here?
RL: Well, no, I'm not mulling over a typewriter, typing the same sentence over and over. But what I do is, I generally write an outline. I do this at home because I want to stay focused, and I don't need too many distractions. So, I do this all at home.
DC: So what you're telling me is in the movies when you see the author at some fancy castle hotel, writing their book by a fireplace... That's not, that's not true?? That's not how it works???
RL: I would say that I think everybody has their own process that's just not mine. But I'll write out an outline of how I want the story to go first, because I'm trying to avoid any kind of creative blocks when I write it. Even though, I think for any writer, it's inevitable during the process. You get stuck on one point or you've overlooked something that you didn't think about? So then you just kind of gotta mow it over to see what the best way is to get past that block? So I try to map it all out first before I actually start putting the story in the paper.
DC: I think that's the highly recommended method, so yeah, good job. So I did touch base that you are self published. So how does that work? You just contact a publisher and you say, 'hey, I want X amount of books made' ... or? Tell me about that.
RL: Alright, well I started doing this. Actually, through Amazon, because Amazon has their own self-publishing service.
DC: Oooh, OK.
RL: When I wrote Return eight years ago, nearly eight years ago. Hmm.. It would have been 2016 when I finished it, but I published it in 2017. So when I finished Return I was inquiring with numerous publishers about it, and I just kept getting rejected and rejected. And I've heard stories among many writers, too, wanting to have their works published. It's constant rejection over and over again. And I was doing it for months and I just got sick of it. So I was just like the hell with it. I'll just publish it on my own, so I did that with Amazon service. I did a paperback version and an e-book version of the story. You know, just because e-books have become very popular over the last decade or so. And that was definitely a learning curve to it, too. Because you need to know what the dimensions are of the book that you're going to create. And so you gotta create a digital document that fits to format it properly and then you know...
DC: Mm-hmm.
RL: You also gotta put some legal jargons stuff, like copyright stuff, disclaimer, blah blah blah. Just basic saying, just to address to the reading public that it's copywritten work and you put your dedications in there, and it was a learning curve. But it was good that I did it. I feel that's the best way to learn anyway. Just gotta jump right into it and do it. But when I was publishing the first story on Amazon, it was through this company that Amazon owned, called Createspace. I kind of got lucky at the time when Createspace was around, because they had an association with Barnes and Noble. So luckily for me, at the same time, I was able to publish this book on Amazon, Barnes and Noble was able to get copies of my book as well. So I felt that it was kind of a little bit of good luck that I had that. Plus that gave me a little bit more recognition. I've got a dedicated fan base of readers that just enjoyed that book. So I definitely think the right timing and good luck help me too.
DC: Yeah.
RL: But I also I also wanna think, though, that the story was good too.
DC: Right.
RL: But I, I try to acknowledge as much as I can.
DC: So you have to..., so you have to jump through the hoops to copyright each book first before you publish them?
RL: Well. Yes and no. I mean, when you do publish the book, and you just put the copyright notice in there. Technically, even if you haven't had it copyrighted by the Copyright Office yet, it will still hold up in court, but there's only a short time frame where that's valid. I think it's like 2 years, if I'm not mistaken. But I actually had the story copy written through the Copyright Office.
DC: Oh, OK.
RL: Yeah. So. What you do is you send in... Actually what I did was I sent in a copy of the actual paperback. So through the Amazon print on demand service, I'd order certain copies, they would give it to me at cost. So now I got a bunch of these books that I can sell on my own. Or if I wanted to, I could give out promotional copies. So what I did was, I sent one of the actual paperbacks to the Copyright Office. Filled out the form, paid the fee, and then like four to six weeks later, you get the Certificate in the mail.
DC: Dang, four to six weeks. I thought it would be a lot longer. I don't know what I was thinking.
RL: I mean, there have been times where I had to wait two months. But the Copyright Office was backed up and stuff like that... But I would say a broad range, one month to two months.
DC: Yeah.
RL: This is probably the average, yeah.
DC: Are you writing any new books right now?
RL: I'm slowly working on a new book. It hasn't been getting a lot of my attention lately, because I've been more occupied with writing screenplays. So I've been doing a lot of that lately. I've worked on four different screenplays last year, and I'm writing on a couple of new ones right now. Some of them I've been hired to write, and then others I'm just writing for myself. So it's been a good problem to have. I really haven't been focused on writing the new book. But I've been getting noticed with my writing to be recruited to work on screenplays. So I guess you gotta weigh the pros and cons of it.
DC: Have you been interviewed before? Because your transition from being a novel writer to a screenwriter was so perfect. Because now I want to talk about screen writing.
RL: I have before, but it's been a while, though, since I've been interviewed. But yes, I have before. OK, So what about my screen writing would you like to talk about?
DC: So you said you have four projects right now that you're working on?
RL: Technically. Well there were four screenplays that I've written over the last year.
DC: Ooooh, sorry. OK.
RL: I want to make movies out of all of them. That'd be great. I, unfortunately, am not in total control of all of them. Let's say, some of them are 'works for hire.'
DC: OK. Gotcha.
RL: So yeah for example, a local actor hired me to help him write a screenplay for a Lance Diamond biopic. So I helped him write that. And he's got that. But right now, it's just the script. No official production is happening on it yet, but that's the goal. And then there's another screenplay where I was brought into. I didn't come up with the original idea, but another local actor, he had a script. It was pretty short, but he brought me and he hired me to doctor it up, and extend it a little bit. So I did that. And then I've also been hired by other people in the area. Not necessarily actors, but producers, or other people involved in various ways in the film industry, to help them flesh out ideas they've had for stories and turn those into scripts.
DC: Are we allowed to name drop any of these people???
RL: I don't want to be name dropping any of these people, as much as I would like to.
DC: OK, OK.
RL: But yeah, because they want to keep these secrets, they want to keep it as quiet as possible right now. I feel that's necessary for these scripts, because we want to make them into movies. We want to film them in Buffalo, And I don't wanna put the cart before the horse so it's...
DC: No, that's an exciting mystery. I'll have to just keep paying attention to the Buffalo film industry.
RL: Yeah. Or... or off the record, maybe I'll tell you.
DC: Ooooh. That's funny. So do you like screenwriting more than you like writing books? I feel like it's a completely different ballpark, like writing a script. And a screenplay like, I don't know. It's just. Well, you tell me if it's how different it is.
RL: Well, there's definitely a different method for writing each of those. That's for sure. I find it to be easier to write screenplays over novels. You have to tell the story in a specific way. I mean, when you're writing a novel, you got to think about characters back stories, and get into that in graphic detail because you gotta paint an image for the reader. They're imagining the story in their mind, as opposed to a movie, they gotta see it in their heads. So when you're writing for a screenplay, you're writing to describe the actions of what is happening on screen. As opposed to when you're writing a novel, you got to explain character thought with certain elements of back story. You gotta be more descriptive with certain things, whereas, in, you know, screenplays, you're just showing it. You're expressing it.
DC: Right. Um... Are you going to tell this audience that you're a hilarious improv-er?!?
RL: I mean, I've been told that. I'm not gonna toot my horn, if people think I'm good, then I'm happy. I'm welcoming the compliments. Ah.
DC: Just so the audience knows. I watched this man get an intention and he was so committed to the bit, it was incredible. So funny. So funny.
RL: I try to have fun with it. You know, I mean when you have that opportunity. In acting I think you just gotta go all in, or go home so...
DC: I also am probably going to embarrass you real quick before we get serious again, and bring up that you are also a karaoke machine and your performance is like Brian Johnson and Adam Sandler had a child and this went on stage to be a wild singer man.
RL: Yeah, well, I have a musical background and you know what? I'm used to being a performer too, so it's just kind of in my nature. I mean, you only got to see one side of my karaoke madness. There's a lot more. You know, yo gotta see... You should see me do love shack, my friend.
DC: I like to do as many things as possible, but I don't have enough time to do as many things as possible. So there is karaoke in my future. I just don't know when... Uh, so I stalked you a little bit and I saw that you actually produced a couple of films too. Is that accurate?
RL: Yes, that is accurate.
DC: OK, cool. So pretend that the people who are reading this don't know anything about film. What does a producer do?
RL: Alright, well essentially the producer is making sure that the whole production is running as smoothly as possible. They need to coordinate pretty much everything going on in the production, and coordinate with people to write up call sheets, and those call sheets will specify who we need on set, what scenes are being done, what is needed in the scene, and also coordinate with other people outside of the production too. Like a third party that we need to work with to get things going. To accomplish what we need to shoot on that day. So you're juggling a lot of duties when you're a producer.
DC: So. What's the difference between a director and a producer?
RL: Well, director is more responsible for the vision of the film. So the director really needs to just focus on that. A good director is a director who communicates effectively, because he has a particular vision. He knows what has to be made, but he also needs to be a decision maker. Because it's really crucial to have your director be making decisions. And because time is money on a film set. You know, you procrastinate, or you're not making progress, or you're stuck somewhere. You know... you're burning daylight. You're burning money. So those are really important elements for being a strong director.
DC: Absolutely. I am going to say a spoiler alert. I did know the difference between a director and a producer. But maybe the readers don't, so I gotta... We gotta talk about it.
RL: You gotta talk about it. I know, I get it. Oh, so you were curious about the films I worked on?
DC: Oh yeah, yeah. So what I'm assuming is they're all locals, or is that inaccurate?
RL: Uh, well, all the ones I worked on, yes, are all filmed here in Buffalo. The last one I worked on actually was the short film we filmed at Batavia called Kitty. I was a producer on that. I'm actually in it too. Cara Fay and Roselyn Kasmire are in it as well.
DC: Oh, OK.
RL: James DiLullo wrote it. He's another actor. He's actually from Batavia. He worked out in Hollywood, so this film he wrote and directed. And then he recently came out here, and we shot it here. He raised money for it. He got a grant to actually fund a good chunk of the film. And he got some local businesses to advertise in the film. So that also got some funding for the money. So it was really neat to see him put that all together and yeah. It was a very cool experience. And I also edited the film as well. He flew me off to Hollywood. We edited it out there. I was out there for a couple of weeks. We had a visual effects guy do a few things on the film as well. He was out in Hollywood, so that was a really cool thing to do. And before that, the film that I had worked on was Unbillievable; which was the Bills Mafia comedy movie that Scott Rubin from National Lampoon wrote.
DC: Ohh yes.
RL: Yeah, working with him on that was quite the eye opening experience, because I had to juggle a lot of hats on that film, from a producer standpoint. I also was an editor on that. I did script supervisor on that as well, and I did some casting on that movie.. So it was a lot.
DC: So you just do everything is what you're telling me.
RL: Yeah, pretty much. I mean I know how to play music too. So I could score a movie technically. So I do a lot.
DC: I feel like... I feel like editing is so tedious.
RL: It is. For sure. For sure, there was notably a challenge with editing Unbillievable because I had never edited a feature before. I've made short student films before. And I've edited with older software programs, but I worked with Final Cut Pro on Unbillievable and I had to learn a bunch of new things, so we could get this cut done. But also I'm following the scripts. I'm trying to make a cut of the movie that's as close to the script to fulfill Scott Rubin's vision of the movie. But once I had the first cut done, it was so long. So then I had to speak with Scott. And we would talk it out, and we had to figure out ways to cut it down, because a movie like that... it was a comedy, you know? You wanna hit that sweet spot? You don't want it to be too long or even too short. So that was a really interesting process as well, because you're gonna butt heads. But sometimes, though, you also find things that you agree on that enhance the quality of the movie. And in my experience, a producer friend of mine told me this, I found that when you're making a feature film, you're actually making three films. One when you're writing it. One when you're shooting it. And one when you're editing it. It never seems to be exactly the same in all of those processes.
DC: I believe that so much. Just working on the films that I've worked on, the short films, the little episodic things, even commercials. What you start out with, and what you end with. I'm like, 'how did we get here?' But it's a great journey. Let's see. What else do I want to know? What are your favorite things about Buffalo?
RL: OK. Well, I can safely say that we have some very unique locations around here, and I feel that they haven't gotten enough attention in a cinematic universe at all, and I really think there's an untapped resource here for numerous film makers. It doesn't get the acknowledgement or recognition that it should. And then another thing that I love about Buffalo is the food. Like seriously, I've traveled to so many places around the country. And Buffalo seriously has some of the best food in the nation. No joke. So, I really feel happy about that. And maybe I'm biased, because I grew up here. But like I said, I've been to so many places, and the food here is outstanding. It really is. I don't know what it is.
DC: Now are we talking like chicken wings, or are we talking across the board? Are we talking like... Beef on weck??
RL: I'm talking across the board, I mean the Italian food here is great. And of course, wings are gonna be great, and staples like a beef on weck are gonna be great. I enjoy a good pierogi too. But even so, I see a wide variety of cuisines around here. Indian food, or even Mexican food, or Thai, or Burmese. So things like that. Plus, with us being so close to Canada, they fly up to Toronto. Toronto has amazing food. It's not Buffalo, but some of the best Chinese food and Japanese food I've ever had is in Toronto. But I've had some great Chinese food and Japanese food here. Like there are some places that do what they claim to do... Authentic type cuisine, but I've had better Chinese in Toronto.
DC: Yeah. Ooooh, Toronto. OK, alright. Wait. We can't... We can't start making this about food.
RL: Alright, alright. You want to go back to movies? We can't eat movies.
DC: Well, no, it doesn't haveeee to be movies. What do you see in your future? Like what is your ultimate goal?
RL: I would love to be just here making movies. I just enjoy it. I'm a huge movie nerd and I found out that I'm good at doing it, and I'm good at writing scripts. And I like telling stories. I've always been an avid reader growing up, and an avid movie watcher. I feel it's such a wonderful way to express ideas, and convey emotions, and relay messages of the human spirit. And I feel there needs to be more of that in the world. Some people can't communicate effectively, but when they do it through art, I think it could transcend emotions and communications in very profound ways.
DC: Dang, that was beautiful. I mean, it's true. Obviously, I love movies as well. I love all types of art. I wouldn't be doing an art and entertainment interview series if I didn't.
RL: I know you got a passion and you clearly like it if you keep doing it over and over again.
DC: I have too many passions, and like, I'm not good at any of them. But that's besides the point. OK. Listen, I think this might be one of the longest interviews so far. So I feel like... I don't want to end now. I need more questions, but I have to think about this. I want to ask a really good one. Let me see.
RL: OK.
DC: Hmm. Alright, I got it. Are you ready?
RL: All right.
DC: What's your favorite scary movie? No, I'm kidding. I'm kidding, although actually, maybe I'm not kidding. What is your favorite scary movie?
RL: All right. I gotta think about this for a minute. What's my favorite scary movie? Scary movie. Oh, that is really tough. I might have to say. Ah. You know what? I think I might have to say Texas Chainsaw Massacre.
DC: A classic. A classic.
RL: Yeah. Just because of how was shot. It's almost shot like it's a documentary. And it was like... it's weird. And you could tell... For a movie, at the time it came out, and the rawness of it, it's just... I felt it was scary on a different level. It felt more personal, and it wasn't glamorized like a Hollywood feature. I think there's certain scary movies that I'm not fazed by at all. Particularly a lot of ghost movies. They don't really do it for me. There's a few that are pretty good and pretty scary. But ghost movies don't seem to have a very satisfying ending. I will say I think the best ghost movie ever is Poltergeist.
DC: I love that movie.
RL: Just because everything about that movie in terms of like the scare formula, they got it just right. So I would say that's the best ghost movie that has been made so far. But in terms of my favorite. I gotta say, Texas Chainsaw Massacre.
DC: OK. Alright, so do you have any last words? Any rants? Any questions you wanted me to ask?
RL: Ah, I'd say just whatever your passion is, find it. Be consistent in your efforts. And even if you don't think you're good at it. If you're consistent in your efforts, it's inevitable that you'll be good at it.
DC: Hell yeah. That is a good last hurrah. OK. Thank you so much. This was really fun.
RL: Thank you.