"Golden Days" depicts the career and struggles of indie rock band The Damnwells.
Chris Suchorsky
Leading up to the 2008 Vail Film Festival April 3-6, Plum Vail gets to know some of the filmmakers. Meet Chris Suchorsky, whose documentary, "Golden Days," follows the career and struggles of indie rock band The Damnwells.
Plum Vail: How did you get involved in film?
Chris Suchorsky: I went to prom with the lead singer's girlfriend. She and I stayed friends throughout college and years later she invited me to see her boyfriend's band perform one night in Hoboken, NJ. They had just gotten off tour with Cheap Trick and I was blown away by their music. Alex, the lead singer of The Damnwells, saw my short film, Failure, a few months later and loved it. After that he asked me to direct a music video for a single on their new album. Around that time I pitched an idea to make a documentary about their struggles in the music industry, but nothing came of it. A year later Alex emailed me and asked if I still wanted to a make film. I said yes.
PV: Please give a brief overview of your accomplishments as a filmmaker:
CS: I studied film briefly in college during my senior year. It had always been my dream to make films, but was something I never thought I could do. I figured only people in Hollywood made films. After college I read every book about the subject I could get my hands on. I wrote a screenplay and tried to make a film like Kevin Smith did with Clerks. It blew up in my face. Instead of throwing in the towel, I took the broken footage from my failed attempt and turned it a 30-minute documentary entitled Failure. Film Threat gave it four stars and I sold it to IFC in 2006.
PV: What are the largest challenges faced in making a documentary?
CS: Distribution. The market for indie docs is changing. Distributors are looking for films with "relevant" issues. That means Iraq, Religion and the Environment. If you're not making a film about those subjects, distributors aren't really interested. You can have an amazingly entertaining film that was beautifully shot with a deep message, but it won't really matter. Misery, death and corruption will always sell.
PV: How did you first become interested in The Damnwells and their story?
CS: When I first heard their music I was blown away by how great it was. I couldn't believe that they had traveled the country, toured with rock legends and had a song in a major motion picture, but couldn't get a record deal to save their life.
PV: What was your budget for "Golden Days?"
CS: Over $1,000 and somewhere under $1,00,000. I really haven't tallied up the bills. This has been going on for four years. It's been a long process and costly, but worth it.
PV: Explain the production process and how it was unique in making this film:
CS: I kept the shooting very intimate. When the band was recording I was the only cameraman in the room. I wanted to blend into the background and make them feel comfortable. I never wanted them to feel like there was a camera on them. I wanted it to be real. I was also friends with some members of the band before and became good friend with all of them while we were shooting. I basically became the fifth wheel. It got to a point where they knew I wouldn't exploit them and if I did, they probably deserved it.
PV: What do you know about the Vail Film Festival?
CS: I hear there's snow there. I haven't been snowboarding in four years and I'm looking forward to that. Vail is also a film festival that my first film Failure was rejected by and any rejection stings. So it's redeeming to have them invite such a small amount of docs and to be included in that group of films.
PV: What do you think defines "success" as a filmmaker (having a piece accepted into a particular festival, earning certain awards, Hollywood distribution, etc)?
CS: It always changes for me. In the beginning it was to make a film. Then it was it to get into a film festival. Then I wanted an award, four stars, invite to a top doc fest, distribution, etc. Eventually I'll want an Oscar and be carried like a Roman God everywhere I go. Well, that might be much. Financial stability from film making would be nice...
PV: Who or what sets the bar in making a documentary? What does it take to make a documentary powerful?
CS: I think there a level of professionalism set by the main stream docs that get the big distribution deals. As for a powerful doc...I'm a strong believer that if your a good story teller you can make a film about dirt and people will still want to see it.
PV: What is your favorite film? (you probably have dozens … pick one). Why do you love it?
CS: I've always been a big fan of Clerks. It was the first film to show me that you could be from New Jersey and still make films. It was rough around the edges, but it was real. Foul language, average looking people, warts and all...it was real.
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