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1. What made you decide to leave traditional movies and move into interactive and transmedia entertainment?

ZSA:  A temporary lapse in judgement?

Honestly, I wanted to make movies since I was four years old. And I was lucky enough to have a fairly good career in film and traditional entertainment at a young age. But as time wore on, I began to notice that the models of development, production and distribution that supported the movie and television business simply were not evolving with technology and therefore society. It became tougher and tougher for emerging and even experienced filmmakers to tell their stories in a market reliant upon an ever-narrowing bandwidth.

I believe Fourth Wall is leading the charge into a new age of storytelling. An age where a writer can construct narrative across a true digital landscape. An age where a director can use multiple and synchronized screens to visually convey that narrative and turn it into immersive content. And an age where a distributor can display the content instantaneously across the largest global platform ever known, the internet.

Or at least that's what they pay me to say.

 

2. Where did the original inspiration for DIRTY WORK come from?

ZSA:  I'm a night guy. When I first moved to Los Angeles many, many moons ago, I discovered something that truly shocked me. This town closes down at 2 AM. Like, shuts the hell down. The Sunset Strip, the entertainment capital of the world, is a veritable ghost town at 4 AM. Everyone is either asleep, passed out or dead.

But as I spent more and more time cruising around those abandoned streets in my beat up Honda Civic, I noticed a fringe part of Los Angeles society. Those that mop up the nasty bits that no one else wants to. Sometimes they're cleaning up the tragic remains of a dude who decided to take one motorcycle moonlight ride too many at 3 AM on Los Feliz Boulevard and ended up impaling himself through his visor on a white picket fence after trying the take a turn at 75 MPH. Or sometimes it's just the four-hour stale vomit of a patron who had fourteen $4.25 Jack and Cokes at King Eddy's downtown.

DIRTY WORK lives and breathes in that world. Who are these people? And what the hell is wrong with them that this is what they do to support themselves...

 

3. What's the biggest difference between producing a movie and producing a RIDE?

ZSA:  Every single decision of production for film is made against an assumption that the audience member will be sitting in a black box with full focus on a screen with images projected on it and sound being pumped out of loudspeakers.  When producing a RIDE, we have to engage the viewer on a completely different and fully immersive level.  When do we want our audience to check their e-mail?  To receive a phone call from a character?  Which screen do we want our audience to be watching at any given second?  And indeed, which window on that screen do we want them to be focused on?  These are the inherent and exciting challenges of producing a RIDE.

 

4. What is your favorite thing about Dirty Work that you never would have guessed would be in it when the project began?

ZSA:  Without a doubt my favorite part of DIRTY WORK is when a meticulously dressed dwarf walks out of a set of isolated lockers on an abandoned street.  Does he live there?  Or does he just keep his change of clothes there?  And most importantly, what the hell?

 

5. What's the worst thing you've ever had to clean?

ZSA:  The puke that came out of my five year old daughter's belly three hours after she consumed what must have been a particularly rancid churro.  That shit smelled like it had been fermenting inside of a dead cat for several years.