SKSM: Could you start with telling me a bit about yourself? Who are you and what do you do?
Ashley Good: My name is Ashley, and I am an independent filmmaker and screenwriter from Victoria, British Columbia (Canada), as well as the Programming Coordinator at a local filmmakers society.
SKSM: When did you know you wanted to become a filmmaker?
Ashley Good: I decided to become a filmmaker when I realized that if I wanted to have any of my screenplays made, I was going to have to film them myself.
While Victoria’s film industry is growing, the majority of projects being shot here are backed by large American production companies, which won’t accept unsolicited screenplays. So you can’t get an agent, unless you’ve had your work produced, and you can’t get your work produced until you have an agent… It’s a real catch 22.
My first project was a “proof of concept” pilot for a potential series that I wrote. It was incredibly low budget (some of the actors even took turns working as boom ops), but as soon as I said “action” for the first time, I knew that I wanted to focus on filmmaking.
SKSM: When did you make In the Deathroom? Can you tell me a little about the production? How much did it cost? How long did it take to film it?
Ashley Good: In the Deathroom was shot over one day in October. It was one of the most straight forward productions that I have worked on, as I had a very clear mental image of how I wanted it to look. It was a tricky to explain my “game show” plans to the rest of the crew, but as soon as one of the leads, Ross Ogilvie (Escobar) said “Like Running Man!” the rest of the crew understood.
The entire production had a budget of less than $500 CAD.
SKSM: How come you picked In the Deathroom to develop into a movie? What is it in the story that you like so much?
Ashley Good: I picked In the Deathroom because it of its twisted underlying dark humour. My own projects have all been dark comedies, so I wanted to pick a Dollar Baby that I could hopefully do justice to. Popsy would have been interesting to attempt, but it would have been so out of my comfort zone to direct that I don’t believe I could have been true to the story.
Read the rest, here.