Film Courage: Where did you grow up?
DANIEL ARNOLD (Producer/Star): A few different places in rural and small cities in British Columbia and Alberta, Canada. Though I say I’m from Edmonton, home of the Edmonton Oilers and Wayne Gretzky. Only child till I was five then I got a step-brother, then at the age of 15 I got a half-brother. Good home.
MATTHEW KOWALCHUK (Director): My first five years, I traveled up and down the West Coast with my dad, spending some time living in Hawaii. I also remember California, Oregon, and Vancouver Island. I was this little hippie kid running around naked everywhere. When it was time for me to go to school, we went back ‘home’ to Edmonton, where my Dad’s family was from.
PAUL ARMSTRONG (Producer): I grew up in Vancouver, BC, Canada. I was more interested in books than films when growing up and didn’t plan to become a film producer until after University.
Daniel – People say “oh you really resemble your Dad” but the funny thing is they only know my STEP-Dad, who is, obviously, no blood relation. A similar case of dog’s looking like they’re owners?
Matthew – Physically, I’m right in the middle. But my Mom’s side is full of artists – musicians, painters, cartoonists, writers – my Grandma on her side probably played the biggest part in my becoming a writer. Meanwhile, my Dad’s family are all builders and mechanics, great with that sort of stuff, which is foreign to me.
Paul – I am a combo of both, as both have an interest in the arts.
Film Courage: Did your parents lend support toward creativity or encourage another type of career/focus?
Daniel – Totally supported me!
Matthew – They never said no! And I know that sounds off-hand, but it was the most important thing. No matter what I wanted to try, they always said yes and I’d just go off and do it. It wasn’t until each of them had seen me in a play that they really got it, but once they did, their support knew no bounds.
Paul – My father was a big supporter of the arts, serving on the Canada Council, a Canadian federal funding agency. So they never discouraged me from being in the arts.
Film Courage: What were your plans after high school?
Daniel – Go to theatre school for acting, and did so.
Matthew – My plans were to not go to school, basically. I started out writing and acting, then directing in theatre. My education was in the theatre, you could say. Eventually, I did change my mind and graduated from the University of British Columbia, which gave me the unique opportunity to study theatre and film at the same time.
Paul – After high school I attended university for 8 years including Law School and university in England. I planned to be a theatre producer and did that, producing 20 plays. But I also started producing film and now mostly do that but also plan to start producing plays again. The last play I produced was directed by William B Davis, ‘The Smoking Man” on the ‘X-Files’.
Film Courage: How did you three meet?
Daniel – Before my final year of graduating from theatre school, Matthew cast me in a play he was directing. Six years later when I moved to Vancouver and he was already living there, I went to a play he’d written, and said we should do something. We made a short film (The Janitors, Hollywood Film Fest 2006), which Paul screened at his Celluloid Social Club in Vancouver, and then three years later we got funding to develop Lawrence & Holloman as a feature. Three years later we got it finance and shot it – three years later it’s opening in the US!
Film Courage: Do you live near one another? How did you work together if you weren’t near?
Paul – We all live within 15 min of each other which really helped when we were in development to meet in person and in post when we could go down to the edit suite for viewing.
Matthew – In a great bit of coincidence, I was literally only 4 blocks away from our editing suite. Which came in handy on a few late night sessions.
Film Courage: The film is based on a play? How did you discover the play?
Daniel – I’d seen three productions of the play over the years, and always LOVED it!
Matthew – I’ve always been a great fan of Morris Panych, and I actually read the play before I ever saw a production of it. Film Courage: Who came up for the film idea?
Daniel – Sometime after we made our short The Janitors, Matt said we should do the play Lawrence & Holloman – because we also do theatre. I read it again, and went, “No man, this would make a great indie movie!”
Matthew – Yeah, that’s our M.O. I come up with a zillion random ideas and present them to Daniel. He then hits on which are actually GOOD ideas and further, what we should ACTUALLY do with it that’s better than my original plan. His idea to make L&H: The Movie is clearly one of his all-time best redirects.
Daniel – A depressed pessimist and a unflinching optimist meet, and the happy guy makes it his mission to teach the crappy guy how to be more positive — even when the happy guy’s life starts going down … and down … and down! To me, it’s about perspective.
Matthew – It’s ultimately about perspective, yes. But another thing I discovered about it that I really came to love is how the positive and negative – yin and yang – are inseparable, and how fascinating that is when personified. Lawrence and Holloman are opposite sides of a coin; they are literally inseparable, they cannot live without each other. We found a lot of dark comic material in that truth.
Film Courage: How long did it take you to write the first draft? What about rewrites?
Daniel – Oh, since it was an adaptation, probably half a year, on-and-off? From the time we got the rights to the time we started shooting, it was three years.
Matthew – I’ve wiped all that from my memory. Total three year blackout. “What? The script is done? Great – let’s shoot this movie!”
Film Courage: How many people did you share the script with during the writing process?
Daniel – A whole whack of people. People who read the script at apartment-readings. Potential and current financiers and funders to get their feedback and support. We also had some great story consulting and story editing from Daniel Petrie Jr (the Academy Award-nominated writer of Beverly Hills Cop and The Big Easy), and Kyle Hunter & Ariel Shaffir (co-writer/producers of 50/50, This is The End, The Interview, etc).
Matthew – Ha. Speaking of “Perspective”. It was so valuable to get those different points of view and advice at during the script stage, especially from people who have been so successful in comedy already.
Film Courage: How long have you been planning the film? What went into the pre-planning?
Paul – We started the ball rolling in 2009 with raising of financing to option the play and then going through development with several drafts of the script which took 2 years. By mid 2012 we felt ready to shoot and so raised funding primarily though Telefilm and shot it in late 2012. It premiered at the Vancouver International Film Festival in 2013. How did you cast your actors? Did you know any of the actors?
Matthew – First was Daniel as Holloman. As we began the script, we didn’t actually go in with that plan, though we knew he would play one of the leads. But when we found Ben, who came and read for us when we were still working on it, it became pretty obvious that he needed to be our Lawrence. He just blew us away, it was a natural fit. Casting the women (Katharine Isabelle, Amy Matysio, Christine Willes) and the rest of the roles were done mainly through our casting director, Candice Elzinga – who then won the Leo Award for Best Casting! She brought in Katie Isabelle, who had been at the top of our wish list for a long time, so we had our Zooey. Amy is someone that I had actually worked with in an improv show once, and when Candice brought her up, a light bulb went off and I pushed really hard to get her into the conversation as Jill. She has such a strong and funny presence, and I felt she brought a better take on Jill than we had originally envisioned – and, she was a great match for Ben. Having now worked with Christine Willes, I don’t mind saying that she’s one of my all-time favorite people to work with – but at the time, I didn’t know her at all. I was a big fan of her work on the show, Dead Like Me, and felt she would be perfect as Holloman’s mother. Also, many of the cameos are played by friends of ours, but of course so many of our friends also happen to be professional actors, so we were able to cast a lot of the smaller roles with very talented folks that you normally wouldn’t get for those sorts of parts. We were very fortunate.
Film Courage: In keeping with the theme of the film, is happiness determined by one’s outlook on life or by specific events and our social standing?
Daniel – Outlook, outlook, outlook! To a point.
Matthew – Oh yeah, outlook, no question. We so often get caught up striving for the material things that we think will make us happy, that we miss what’s right in front of us because we’re not seeing the positive in the here and now.
Paul – I am definitely more like Holloman. Maybe it’s because I always think worst case scenario; taking things to their ultimate logical conclusion if things don’t turn out. Indeed Daniel claims he drew some inspiration from me in his writing and portrayal of Holloman. As a defense I refer to myself as Pauloman! Although the success of this film has increasingly made me more like Lawrence!
Film Courage: Which character in LAWRENCE & HOLLOMAN are you most like?
Daniel – Ah, jeepers, I’m both. I’m moody.
Matthew – Lawrence. I have my Holloman moments – I think we all do – but I’m usually a pretty extreme Lawrence. I say Yes to a fault, and I enjoy the moment.
Film Courage: Canadian humor versus US and UK humor? Is there a difference?
Daniel – I think UK and Canuck humor naturally have a bit more self-deprecation and inherently weird loser-ish goofiness to it. I can’t explain why, but if you look at Monty Python or Canada’s Kids in the Hall (or ahem, Seth Rogen), there’s a crazy kind of “loser humor”. Now there’s tons of loser humor in America, but there’s also a kind of brash ballsy ego-humor too. I actually think Lawrence & Holloman taps both of those funny bones.
Matthew – UK and Canadian humor have always been closely connected, I think. But personally, I grew up loving SNL and SCTV and the comedy that grew out of those comedians’ work. I also loved Kids in the Hall, who attracted a pretty big following in the US. So I think there’s such a great mix there, and I think we get the best of both worlds in Lawrence & Holloman. There is the brash humor of stuff like The Hangover, while at the same time we have smart, witty dialogue that catches you by surprise, more like the humor of A Fish Called Wanda (for example) and that maybe goes back to the the slightly quirkier and intellectual UK-Canadian schools of comedy.
Film Courage: Did any of you experience writing a scene that seemed funny in theory, but when you got on set or did a table read it wasn’t?
Daniel – I’m not sure. There were times something was funny in and of itself, but for the sake of the STORY, it had to go. There was a scene in which Holloman finally told Lawrence he’s NOT a shoe salesman … it was a status shift for the two men, and it’s hilarious in the stage play. But in our film, it had already been implied, and was therefore unnecessary. Gone!
Matthew – I remember one time, we finished a scene at about 4 in the morning and we just thought it was the funniest thing in the world. But we may as well have been drunk and stoned when we wrote it, because it was so beyond anyone else getting the joke – I mean, we still thought it was funny, but we just went pretty far into the surreal and it didn’t fit anymore. And anyone we showed it to just gave us a funny look. Meanwhile, we’re looking at them expectantly like, “Well? Well? Isn’t it the most hilarious thing you’ve ever read???”. I’m glad we wrote it though. I think it’s important to push the boundaries with comedy, not be afraid to find out when you’ve gone too far.
Film Courage: Where is LAWRENCE & HOLLOMAN screening?
Daniel – LAWRENCE & HOLLOMAN is screening at the Downtown Independent in Los Angeles Aug 7-13, 2015.
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Film Courage: How did you receive distribution for the film?
Daniel – A Canadian distributor picked us up for a theatrical run in Canada last year, and then after we won the Canadian Comedy Award for “Best Feature”, we found a US release in 108 Media Corp. They came recommended to us by a colleague, we sent them the film, and they really loved its dark and silly humor. In fact I think their email said they were “in stitches”. And they said they think it could be a cult classic. Here’s hoping!
Film Courage: Did you come up with a film budget first (based on your resources available) before coming up with idea? Or was it the other way around of having the idea first?
Daniel – The initial idea was to make the film on weekends with friends, no-budget style. Because it was mainly just two guys. But as we adapted the story to film, we got excited, we added characters, bit parts, broke long scenes into multiple locations … and … because we kept getting development funding for it, we could not longer shoot it for nothing, because we’d have to pay back the development investors! And by that point, the script called for a lot more than “no money” production, so we started pitching for real financing.
Film Courage: How did you calculate what the budget was going to be?
Paul – It was a combination of matching what we thought we could raise with what we calculated we needed to serve the script. Our experienced executive producer Mary Anne Waterhouse and our line producer Robyn Wiener came up with the original budget.
Film Courage: Where did you shoot the film/secure the locations? How many shoot days?
Paul – We shot the film in Vancouver, BC and suburbs including Mission, Langley and shot for two weeks at a former school in Maple Ridge. We filmed in total for 20 days plus a few days of pick up shots. Film Courage: What camera(s) did you use? How did you know you had the right camera to film this story?
Matthew – We shot everything on a RED camera. It was really a choice we had to make when choosing our Cinematographers. The Talbot twins, Nelson and Graham, whose work I really loved, had done a lot of work with the RED, which they also owned. I was a big fan of what they had done with low light on a small budget, and sure enough, when we shot our night scenes, I feel they did some of their best work. We technically could have used different equipment, but why would we, when these guys were so good with the camera they already had?
Film Courage: Is there anything you haven’t shared yet, that you wish you knew before you made this movie?
Paul – This is my fifth feature so I pretty much knew what to expect, although I hadn’t done one for a while. Film Courage: Any challenges in post production that you’ll be mindful of on the next project?
Daniel – Yeah. Next time I’ll know what I’m doing.
Matthew – I learned so much in the editing room, I can’t even begin to describe how it changed me as a director. The constant struggle is that it becomes so personal and so when you open it up to feedback from others, you have to change your mindset in order to hear the constructive criticism and allow it to make the movie better. That’s something I’ll continue to be mindful of on future projects.
Paul – I’ll make sure to take less of the supervision over and leave it more to the post production supervisors. Technology is changing so fast its best to leave it their expert hands.
Film Courage: Where will LAWRENCE & HOLLOMAN be available to watch/when?
Daniel – It can be watched at the Downtown Independent in Los Angeles Aug 7-13, 2015 and then on VOD in the US on iTunes, Amazon and other VOD sites.
Film Courage: How many festivals did you submit to? Are there any other plans for distribution?
Paul – I lost count – but once the film had some success, we would get the odd festival asking us to see the screener. It has already played theatrically in Canada last summer and now the US so the next stage in the US is VOD. It still has to start its world distribution with a start in South Africa.
Matthew – It’s super competitive out there. We submitted to quite a few, but you’ve got to balance your budget at the same time, and submitting to festivals isn’t cheap. Truth is, without the success we had at the beginning of our run – winning Jury awards at our first two major festivals – it would have been much more difficult to get noticed by festivals.
Film Courage: How many awards and which ones has the film been nominated or won?
Matthew – The one I’m most proud of is the Canadian Comedy Award for Best Feature. We were also nominated for direction, screenplay, and acting. To be recognized on a national stage was huge, a big step toward expanding our audience — and reminding us that we’re not the only ones laughing ourselves silly at our movie. We were nominated for 9 Leo Awards, including Best Picture, Director, Screenplay, and three actor nominations – for Ben, Daniel, and Katharine.
We’ve won a number of festival awards as well: Best Canadian Feature (Edmonton IFF and Buffalo-Niagara IFF), Rising Star Director and Rising Star Actor (Ben Cotton) (Edmonton), the Emerging Director award (Vancouver IFF), Best Comedic Actor (Ben Cotton) (Buffalo-Niagara), Best Actor in a Comedy (Daniel Arnold) (Victoria Texas Independent FF), Best Director of a Comedy (VTXIFF), Golden Leopard for Best Actor (Ben Cotton) (Canadian Film Fest), Excellence Award (Rincon IFF, Puerto Rico), Best Feature Comedy (RxSM, Austin, TX).
Some of the most memorable stops along the way haven’t come with awards, but gave us great exposure and connections. Playing international festivals in places like Shanghai, Perth, St. Petersburg, and being showcased at the Marche du Film showcase in Cannes, really helped our profile – not to mention the fun factor in traveling with the film!
Film Courage: What do you want audiences to gain from watching LAWRENCE & HOLLOMAN?
Daniel – Good laughs, and to think about perspective in their own lives … how much control they might actually have over their own state of mind.
Matthew – I hope they see themselves in it, and are able to laugh at Lawrence and Holloman, and therefore themselves. I’m happy if you just laugh yourself silly at the film, but it gives you a little bit to ponder at the end. My favorite movies do that for me and so I hope we can do that for others.
Paul – I’d like them to question their own lives and empower themselves to change their life if its not going according to their desire. Film Courage: What’s something you learned from making LAWRENCE & HOLLOMAN (and maybe didn’t execute as well as you would have liked) that will be an area of emphasis on your next project?)
Daniel – A clear and agreed upon workflow for post, and notes in post.
Matthew – From a director standpoint, recognizing that having a strong vision is not the same as communicating that vision to the team. Film crews are truly amazing to behold. When you can properly communicate what you want out of a scene, they will go to the moon and back to achieve it for you.
Paul – I need to bring on more people onto the producing team as we were stretched thin with too much work for us all to do. Film Courage: What’s next for each of you creatively?
Daniel – Imo make another movie! Hopefully. I did a stage play called “Any Night”, which I co-wrote and performed a bunch of places including Off-Broadway, and it’s been in-development as a feature film for a while. The script won the Canada-wide CFF Super Channel Award, and we’re now packaging & financing it; hope to be shooting soon! I’ve also got a horror comedy I’m writing with Matthew; good fun and it needs a famous horror movie actress in the starring role. Know any? 🙂
Matthew – I’ve always got a few balls up in the air at once. Daniel and I are continuing to write together, with the same idea of directing and acting in our projects. I have a couple of shorts out on the festival circuit – one of which Paul Executive Produced, called Bedbugs: A Musical Love Story, which is a musical featuring live actors and these great bed bug puppets. They’re adorable, believe it or not! It’s premiering in NYC any day now and has played around the world, winning a few awards along the way. I’m also attached to a comedy feature in development that takes place in Edmonton on August 9, 1988, the day of the Wayne Gretzky trade. Being from Edmonton, that one is close to my heart and should be a lot of fun to see through. For the people of Edmonton (and Canada on the whole) at the time, losing Gretzky had an unheard of impact. Like Americans and JFK, most Canadians remember where they were when they heard the news. And now, over 25 years later, we can finally laugh about it – at least, I hope so!
Paul – Next I will be launching the Crazy8s Film Event this Fall.
Matthew – It is my first feature. Prior to L&H, I had written and directed three short films and a story based music video. With the exception of the music video, all were collaborations with Daniel. We chose to make Lawrence & Holloman because it made us laugh – and still makes us laugh! – while also touching on a notion that is important to us, the idea of how your own perspective can change your ‘lot’ in life. Daniel and I tend to gravitate to stories that are about connections between people, and the idea that how life treats you so often depends on how you look at it.
Film Courage: You have a nice statement on your website MattFilms.ca ‘My greatest satisfaction as a filmmaker comes when taking a risk, trusting in those I’ve chosen to work with, and enjoying the ride together.’ Can you explain how you developed this mission statement?
Matthew – It’s about a mutual trust with, and absolute faith in, my collaborators. Before film, I come from improvisation and theatre, which is where I learned that there is no better feeling than arriving at the end of a journey together. I encourage my team to take risks, always. One of my earliest lessons in improv was to take risks, to allow myself to make mistakes. Before a show, we would challenge each other with things like, “If you don’t make x number of mistakes tonight, then you’re not taking enough risks”. It’s tricky, because in film, you need to be so precise. But in principle, I like everyone to know that even though we’ve spent endless hours in prep, nothing is set in stone. So, back to the statement – There is inherent risk in letting others take the wheel, so to speak, and of course many in film aren’t used to the director admitting ‘Hey, I don’t know everything’. But in my experience, letting go is an act of confidence, not weakness.
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Film Courage: You’re a father. Should your child grow up to be a filmmaker, what would your advice be?
Matthew – To always tell stories that you love. Make movies for you first. Then they will be worth sharing with others.
Film Courage: How did you begin making films?
Matthew – Daniel made me do it! Well, he put the idea into my head at least. It was our first script, The Janitors, which won the National Screen Institute’s Drama Prize and that we co-directed as well. So, first time up, we got thrown into the fire: we shot on 35mm, had a well-known actor on board (William B Davis, the Smoking Man from the X-Files), and we just went all out to make the best film we could. The finished product did quite well, it was accepted to a number of festivals, played on TV, and got internationally distributed by a company in Germany. It was an incredibly steep learning curve, but we had such great support that we got through it. From there, people just figured we knew what we were doing, and so we were able to make more shorts and then finally, the feature! I still remember at the end of The Janitors shoot, Daniel saying ‘I never want to do this again’, while I was saying. ‘When’s the next one? Sign me up!” So now we write together, while I direct and he acts.
FilmCourage: You wore at least three hats on this film, actor, co-writer, and producer. Which role was the most effortless and which role required much more concentration?
Daniel – The least effort was the acting actually. I think because it’s what I’ve been doing since I was twelve. The steepest learning curve was helping to produce, that’s for sure. The ins and outs of financing, contracts, workflow, post-production, and distribution … much more than what I’d been used to when making theatre.
FilmCourage: Can an actor have a career in Canada?
Daniel – What a question … ha. Yes. Lots do. Lots don’t. We make a go of it. But if what you’re asking is if an actor can be a STAR in Canada, then the answer is … Yes, in Quebec! The Quebec film/tv scene has a star-system, but the rest of Canada … sees it’s film/tv actors move to the states.
FilmCourage: Which comes easier for you stage or screen?
Daniel – Well I grew up doing theatre so it fits like a glove, but for the last number of years I’ve been moving into more screen work, so I’m starting to feel at home there too. It’s the same animal, just a different cage.
FilmCourage: Worst year as an actor/best year as an actor? What was each one like, what was your mindset with each phase?
Daniel – Oh God, there are so many ebbs … in any given DAY as an actor, it’s tough to pick out YEARS 🙂 But there’ve been times when I was trying to transition into film/tv where I was just getting nowhere and nothing, and yeah the mindset became “f*&# this it’s never gonna happen”. Those times made me delve deeper into creating my own work – which I’ve always done since I was a teen, and loved it. Keeps me preoccupied. But if I think of a best year, I guess when I was shooting Lawrence & Holloman, that felt good, because before shooting I did a spec pilot playing a radically different character than Holloman. Then I was in the play Sylvia in which I played a man’s man, a socialite woman, and an androgynous therapist. And during post on L&H, I played an angry youth. Wait, best year? That was an INTENSE year. Uh, I guess there was the year where I was nominated for three Jessie Awards for acting (Vancouver’s theatre awards), one writing award, got my first professional screen acting gig, and later received the protege portion of The Siminovitch Prize, Canada’s largest theatre award. That was a good time. My mindset at the time was probably: “I can do anything.” 🙂 I’m glad you asked the mindset part; it’s a good reminder …
FilmCourage: Lesson your most challenging film production taught you?
Paul – The lesson for any film project is to feel creatively behind the project. In other words choose a film that expresses something you want to express. That is what gets you through the tough times and the long haul. The other important thing is to make sure you get along with the rest of the people on your team as you will be dealing with them for maybe 10-20 years including development, production and distribution.
FilmCourage: You say when a project does get off the ground, expect for it to take 90% of your time. Why?
Paul – It can take 90% of your time because every time a film gets going you have to reinvent the wheel as every film is different. Imagine you had to had to start a new company, hire new people, come up with new financing, blue prints, manufacturing and marketing every time you made a widget. Starting a new venture in any field takes a lot of time but with film there is no 100% cookie cutter approach.
Film Courage: You started The Celluloid Social Club in 1997. What is it /why did you begin it? From ’97 until now, what has running it taught you about art, community, people and watching something grow?
Paul – Thank you for knowing about the Club. I started it to share films I enjoyed with other people. What I have learned is that no matter technological changes where most films can be watched online people still want that shared film going experience where they can react with a crowd to the film and meet the filmmakers. That is why we are also having a theatrical opening in Los Angeles of Lawrence & Holloman.
Film Courage: You have 30 producing credits? What makes you say yes and commit to a project?
Paul – As mentioned previously, I say yes if the film expresses something I too want to express and if I believe in the film asking me to be a part of it. Many of my credits are for films through Contests I run, including the Crazy8s and the Celluloid Social Club’s Hot Shot Shorts Contest, so I get many chances to be part of exciting projects.
Film Courage: Producers often get little credit despite being such an integral to a film. What excites you about producing films?
Paul – What excites me most is the end game where we get to share a film with an audience anywhere in the world and see people connect to it.
Director / Co-screenwriter / Producer
Matthew first partnered with Daniel Arnold on the NSI Drama Prize winning short film, The Janitors, which screened nationally and internationally and was broadcast on CBC. Since then, his body of work has included a 16mm experimental silent short Hearing Test, a one-shot music video You Make Me OK, and the recent commission of his live-action/animated short Penguins (Are so sensitive to my needs). Other works have been finalists for the NSI Drama Prize, DGC’s Kickstart, Hot Shot Shorts, and Crazy 8s. Lawrence & Holloman is his first feature film. I’M A LAWRENCE!
Co-screenwriter / Producer
Daniel has co-written/performed and produced the award-winning plays Tuesdays & Sundays and Any Night, which have toured internationally to critical acclaim including Top Ten Productions of the Year in Toronto, Vancouver, and New York. For the screen, Daniel co-wrote/co-directed the NSI Drama Prize short film The Janitors, and co-wrote Mayor Mulligan which won ‘Best Writing’ at the 24hr Film Fest. His feature screenplay Any Night is in development with Creative BC and Corus Entertainment. I’M A LAWRENCE.
Paul Armstrong is an award-winning Vancouver film, television and theatre producer. Feature film credits include Moving Malcolm, Ill-Fated, See Grace Fly and most recently Lawrence & Holloman. He is also the founder and producer of The Celluloid Social Club, the Executive Director of the Crazy8s Film Event, and a screening event producer for the First Weekend Club. In addition Paul has produced many short films, TV and web commercials, music videos, and 20 plays. I’M A HOLLOMAN.
LAWRENCE & HOLLOMAN is a dark comedy feature film based on the play by Morris Panych, directed by Matthew Kowalchuk, starring Ben Cotton & Daniel Arnold.
ABOUT THE FILM:
A dark, twisted, evil, insane … buddy comedy.
Lawrence is an ever-optimistic suit salesman for whom everything always goes right – until he meets Holloman, a cynical and suicidal credit collector, and everything starts to go wrong. Very wrong.
Is happiness determined by our outlook on life? Or can our destiny be changed … by another.
Lawrence & Holloman, the ‘Best Feature’ at the Canadian Comedy Awards, receives its USA release starting at The Downtown Independent in Los Angeles from August 7-13, 2015.
CONNECT WITH THE LAWRENCE & HOLLOMAN MOVIE:
From the creator of I’m Not Matt Damon…