Matt Hosseinzadeh

writer, director, and a few other things

Pay the Price

Everything that’s of great value in life comes with great difficulty. Experiences, accomplishments, relationships, and possessions of true worth are a result of struggle, heartache, and bloodshed. If something comes with ease, it will leave with ease, and is therefore ultimately worthless, because one values only what one suffers for.

There’s a price for everything, including life itself. What is death but the final price we pay for the privilege of living?

Making STRING THEORY Part 3

I visited Christina's condo to see whether it's suitable for the film. It looks fantastic. It's like a fancy little movie set and it will add tons of production value to the film. I told her that her condo was born for the role in STRING THEORY. I took my video camera with me and shot the location from different angles so I could review it at home and plan my shots. We also decided to rehearse at her condo, so it will be like rehearsing on the set.

Making STRING THEORY Part 2

I’ve cast Christina DeRosa, who has co-starred in TV shows such as ENTOURAGE, EVERYBODY HATES CHRIS, and RENO 911. I liked her acting reel a lot, and when she came into the office and read for me, I was sold.

In terms of crew, I've hired a gaffer, boom operator, and location manager -- pretty minimal but it’ll be enough for the shoot.

I told Christina I was looking for an apartment to shoot the film in and she told me her condominium might fit the bill. I had her email me photos of her condo, and judging from the photos she sent, the location is perfect. It's very unique and colorful.

Making STRING THEORY Part 1

STRING THEORY will be a considerably “bigger” production than my previous short films, which had no crew and cost me around a few hundred dollars each. I’ve budgeted the film just under $1000. Since I work for free Monday through Friday, it’s going on my credit card. Patrick, the president of the production company I work for at Sony, is letting me use the office for auditions and meetings. There aren’t many other filmmakers in town who can claim to have an office at Sony Pictures.

I placed an ad on LA Casting and received about 400 submissions for the female lead. I sent my script to about forty of them; I'm sending it out in advance because I know the script is not for everyone. I don't want to schedule auditions only to have the actress show up and refuse to read the script due to its explicit content. Out of the forty I contacted, more than half didn't respond. A few emailed me, saying they that they would pass. I expected this. My ad clearly states “this project is not for inhibited or shy actors”, and that there is “no nudity”. Clearly, most actors don't read the whole ad, they just look at the $200 pay I'm offering and promptly submit their headshot and resume. They're wasting my time and theirs.