Interview with Gregory Blair

(IFG) Tell us who you are.

I’m a Southern California boy, born and bred. But I don’t surf, I don’t wear designer sunglasses, and I think biscotti is nothing more than overpriced, stale cookies.  I act, write, direct, produce and generally make a nuisance of myself.  I believe in diligence, integrity and dark chocolate.  And love and compassion for all people, animals and nature. Except jerks.  They suck.


(IFG) So why do you make films?
Films are just one more way to communicate; to try to reach people and make the world seem less lonely, less unexamined, less mind-numbingly routine.  Art helps to shake us up, to wake us up, to make us see things differently for even just a moment.  Our souls need that.  Because film and theater can use sound and visuals together, they are both very powerful tools to achieve that communal necessity; because film is captured—in theory, ad infinitum—it has the stronger staying power and the opportunity for the wider reach.  I think that’s very appealing.  And I like film for how it can be used to tell stories in a unique way.


(IFG) What are your top 3 favorite films?
Ouch.  You’d have to put a gun to my head to pick only three.   But what comes to mind is Nicolas Roeg’s “Insignificance”, Peter Greenaway’s “A Zed and Two Noughts”, and Baz Luhrmann’s “Moulin Rouge”.  The first two for what they taught me about how cinema can be used to visually express even the most complex ideas…and the latter for how cinema can be used to create magical, stylistic eye candy.


(IFG) How do these films influence you in your work?
Well, I hope that some people will see that I tried in “Deadly Revisions” to use the frame to present visual manifestations of the ideas in the film.  For example: characters are often looking at their own ghostly reflections in dark windows—a visual representation of the fact that they are reflecting on themselves…or are only a ghost of the person they used to be…or are beside themselves, etc.; I use that imagery for different things, depending on the scene.  Or a character may be in profile because we’re only seeing a part of who they are or they are only see half of the picture.  Things like that—images that have layers of meaning—make movies interesting to me.


(IFG) If you had a million dollar budget what kind of film would you make and who would star in it?
Well, a million dollars is relative, but at the moment, I’d use it to make “The Straying”, which is a moody, period piece that requires monster effects, “Development Hell” which also requires monster effects, or “Buford’s All Night Zombie Diner” which includes make-up and explosions.  After I know what film I’m doing, then I’d have to research who I could get to fit into a million dollar budget and make the cast golden. Give me several million and I’ll do my Ludwig of Bavaria script “Reign of Madness”!


(IFG) So how did you come up with Deadly Revisions?
I was actually just writing it to sell.  There is always a market for horror, which sells internationally better than a lot of other genres and, more and more there is a growing call for low budget scripts (that can be shot in one or very few locations with a small cast no little FX).  So I wrote “Deadly Revisions” for that market.  Then things transpired, including getting actor Bill Oberst Jr. and producer Roxy Shih involved, and suddenly it became clear that, instead of selling it, I would be filming it myself.


(IFG) Where can people see this film or more of your films?
The film is getting North American distribution via SGL Entertainment and will be out on VOD platforms and Blu-ray and DVD later this year.  After that, we’ll see.


(IFG) What is one of your most craziest behind the scenes adventure?
Not sure how crazy this is, but it almost made me crazy!  We were filming our first night shoot on “Deadly Revisions” in this canyon and the owner of the cabin we were using said our generator was too loud and was demanding we shut it down.  We had barely begun the night’s shoot and without the generator, we’d have no electricity for the lights, the sound equipment…anything!  So my co-producer and I ran back and forth between trying to keep the lights on and film scenes and sweet talking the guy into letting us finish the night out if we promised to find another solution for the other nights.  It was completely insane.  I think it was the one moment I thought that murder might happen off screen!


(IFG) What is next for you?
There are several projects coming up and so it’s going to be a matter of timing them.  One is a crime drama that I wrote called “Dead Hamptons” that I’ll be acting in and another is a horror comedy that I wrote called “Garden Party Massacre” that I’ll be acting in and either direct (or co-direct as I’d like to try that).  Whichever one gets funded first will go into production first.


(IFG) Where can people see more of your work?
Once “Deadly Revisions” is out, I’ll try to let the world know where to find it.  In the meantime, you can see clips of projects I’ve acted in at:  There’s some pretty hilarious stuff there.


(IFG) What is one tip you think other film makers should know?
Where’s that gun?  One tip?  Prepare.  Prepare for every detail of your shoot and prepare for a Plan B, Plan C and Plan D because everything will not work out the way you plan.  The more prepared you are, when things go wonky, you can keep your cool and find a way to keep filming.  Keeping everyone cool and on schedule is the key to a harmonious and efficient production.  (And that includes preparing to feed everyone well. Happy bellies make happy people.)


(IFG) Tell us whatever you want!  Promote what ever you want!  And make sure to send us some links to some trailers!
A trailer for “Deadly Revisions” can be found at  Links from that page can eventually get you anywhere on my site as well as to related links to Facebook, Twitter, IMDB and more where you can friend, follow and all that jazz.


Check out the Deadly Revisions Trailer:

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