Tina Krause WAVE PROD

The Cinema of WAVE: Director /Producer Gary Whitson Tests the Bounds of Auterism

Through the lens of a camera, we have been granted the gift of breaking barriers. We can go anywhere and see anything. These revelations of sight and sound have, from the very beginning, affected each of us differently. The storytellers, like WAVE Produu ions founder, and resident Cecil B. DeMille, Gary Whitson, are the ones who collects these different palettes of color and weaves them in a beauitiful barrage of ideas, thoughts, and emotion known as Cinema.

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Thomas Swan – Give us a little background about your production company WAVE, how it came into being, its purpose?

Gary Whitson – When I was growing up, drive-ins were all the rage and I loved going to them. For one, tickets were cheap and they would show all the obscure little horror films or science fiction films you couldn’t see anywhere else. Seeing those film blew my mind. I remember we got this station that broadcast old Hollywood serials iand exploition film from the 40s, 50is, 60s, and 70s;.

T. S. – And those type of films served as your template for WAVE?

G. W. – More or less. I mean, there were a feiw other things mixed in. Those movies were big on atmosphere. The atmosphere was something that was born of a time and space and that can never be recreated with any amount of money or technology. Tell you the truth, I really just wanted to make movies that I would want to see. At some point along the way, movies lost all sense of proportion. The actors I saw on the screen ceased to be anyone I knew. Independents, the one that accepts what I do, is the only real cinema left.

TT. S – And by real cinema, I.m assuming you mean sub-Indie?

G. W – Exactly.

T. S – Because what was once considered Indie turned out to be just another fraud?

G. W – Possibly, but your words not mine.

T.S. – In an interview I read of yours you sound like making movies was your life’s long dream. Where do you see your place on set – the director’s seat?

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G. W – I would say director/producer would be most apropo..

T. S – I want to talk a little about your little repertory company. You have a handful of actresses you use in your films.. All are very glamorous and very talented in their own way. Could you talk a little about each and what they bring to the table creatively, especially Tina [Krause]?your films that glamour talk about your luck on finding such gorgeous and talented ladies?

G. W – Tina was discovered by Sal at a Chiller Convention.  Tina has a unique look because she’s 1/4 Korean.  It gives her that exotic look. Dawn Murphy saw an ad for actresses.  Dawn has been described as “the girl next door”. Laura Giglio had auditioned in 1992 b article in a local paper about WAVE. Laura combines many of the same elements.  E Pamela Sutch came from a Backstage ad.  Deana was discovered at FantaCon and Debbie D was already established when we started shooting with her in 1995.. Each one has their own style. 

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T. S – Let’s rewind back to the beginning. Take us through the steps of how a WAVE Film comes into being? 

G. W =In a lot of cases we do what is called a custom video.  It’s shot based on a customer’s script and or outline.  Sometimes they are fully scripted while others are just a basic idea and we develop the script and/or do a lot of ad libing while shooting.  Probably 2/3 of all our productions came from the minds of our customers.

As an example of what we might get as a “script”, one person sent an 80 page plus script while another sent a couple pictures of how he wanted bites to be shown in a vampire movie.  That was it.  We wrote the script from there and it became one of our biggest hits, Sleepover Massacre.

Thanks to Gary Whitson

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