S&A's Sergio Talks To Writer/Director Kevin Cooper Of The Powerful Short Film 'The Painter'
Photo Credit: S & A

S&A's Sergio Talks To Writer/Director Kevin Cooper Of The Powerful Short Film 'The Painter'


Among the many short films were released last year, one that

definitely stood out among the crowd and that we have covered before on S &

A was The Painter.

Written and directed by Kevin Cooper, a film and TV commercial producer previously based in

L.A. and who’s now an associate professor at Columbia College Chicago Film School, the film, which was produced by Deanna Cooper

and executive produced by Emil Arab, deals with a young boy who lives in a world where violence surrounds him

and his sole means of survival is to escape through his art.

After extensively traveling through the film festival circuit

last year, including the Chicago

International Film Festival, Urbanword LA

Shorts Fest and the Athens

International Film Festival and picking

up several “Best Of” awards along the

way, the film is now screening in the PBS

Shorts Showcase Film Festival where viewers have their chance to watch and

vote for the The Painter through July 31

on the PBS Showcase website HERE. The winners will be announced at the Annual

Gala held this fall at The Show in Rancho Mirage, California.

And last week we had an opportunity to talk to writer and

director Kevin Cooper about the film, why he was compelled to make it, what he

hopes people will get out from the film and what he learned himself during

the process.


So let’s get to it. Why did you decided to move into teaching while still producing


COOPER: I had been living in Los Angeles and had been teaching there, but there are a lot

of reasons. First of all in L.A., I had worked with a lot of directors, but I

had not really practiced my craft. So with teaching it allows me to re-familiarize

myself with the discipline of directing. And the other reason was that it just feels

good. It feels good to give back to the film community that hopefully will

result in inspiring my students to make films. And I think because of the

competitive nature that exists now in the marketplace, with so many films out there, in some ways it’s a bit selfish, but I hope that the people who I work

with as students and those I mentor or as just friends, that we are making

better films. (laughs)


why The Painter? What was it about the script that made you say, “Yes I want to

make this”?


I was relatively new to Chicago and I love Chicago. It’s a really cool city.

But with everything that you fall in love with, you find out that it’s great but there are things about it that could be better. I’ve lived in Los Angeles

and in New York where I went to New York University’s Film School so I thrive

on the energy of a big city. But Chicago has this violence that I had not experienced

in L.A. and New York. So, in a way, the film became a very personal journey to


Being an outsider in the city and loving it and wanting to do something for

it, it became intriguing for me. This crossroads that exist for us as artists

and as activists, and feeling sort of guilty about how difficult it was for

certain communities to survive, to simply be not dangerous. So I thought, “My

God what can I do?” I kind of felt helpless until I thought maybe I

ought to turn the lens on myself for moment and said, “So what can you do?” (laughs)

And I’m not so naive to think that this little film is

going to change the world, but I think that’s part of the problem. We have all these

these huge issues in some of these neighborhoods, so we’re all a little bit

catatonic. We don’t necessarily feel that we can make a difference. So this is

just my small effort to join what is really a mounting group of people who

are saying, “Hey, let’s look at this issue and try to do something.”


why direct?


why direct? Because it was close to my heart on a personal level. The other thing was

that it was an opportunity to practice what I wanted to do. In fact, the film

was my sabbatical project, so it was a really nice opportunity for me. I mean I had done a lot in terms of producing but I

still hadn’t had the directing skills, so this allowed me to learn some new

tools. I taught myself some new software in the process, so all of it allowed me to

become more adept at directing.


And I’m sure you’ve been overwhelmed by the reaction The Painter has gotten.

It’s been shown in numerous film festivals and has won several awards and now

it’s in the PBS Short Film Showcase. This may sound like an odd question,

but did you know what you had when you were making it, that it was going to be

something special that would impact people, or were you thinking, “I hope I’m making

something that’s at least watchable”?

COOPER: (laughs)

You’ve been doing this a long time, you know? Yeah, well I mentioned that I had

taught myself some software. One of the pieces of software was something

called 3D storyboarding software. I don’t know if you knew this, but years ago I worked

for SFX company called Digital Domain

and I ran their development arm, so I had a lot of friends around me who had a

technology background – digital artists, animators, editors and so on. And I am

not a particularity technical person so I said at the beginning of this

particular journey: “Teach yourself, get out of your comfort zone and teach yourself

something new.” 

So one of those was the 3D storyboarding software, which

actually allowed me to make the film… (laughs) before I made the film. In other

words, I created these very malleable images in 3D storyboards and I could cut

to them together and put in music, etc. So in pre-production we did have some

sense that we had something interesting rhythmically.

But then, of course as you were alluding to, the big

question as we were getting closer to shooting was what was the “X” factor?

What is the thing that could derail this and that was casting. And it wasn’t

really until we started working with our actor Ron Caldwell directly I realized that he was a very, very powerful

actor even though he was young. So I think, in my mind, it was obvious to

me that we were doing something kind of cool. But yeah, you never know if it’s going to be a good move until you’re done but we certainly had a good vibe

going on.


What kind of research was done for The Painter?


did a lot of research in these high-risk neighborhoods in Chicago as well as

working with a couple of non-profit organizations, and they bought people in

from these neighborhoods and they were able to “shadow” us. So we had one or

two people who shadowed me as the director, and one or two who shadowed the cinematographer, and so on. And I have to be honest with you, there was something about that was really

great, that vibe when you know that you are giving back


Which leads me to ask, how do you personally feel about the response the film

has gotten?


it feels… (pause) like an extension of the film in a way. The role of an

artist/activist, you kind of want anything you do to get a sort of reaction, and

so the reaction the film has gotten was very much our goal. And as long as we

can get people to see it maybe one

person who views will say, “Yeah, I want to do something.” And another

one who sees it, “I think I would like to contribute some solution.” If we keep

building like that then it was worth all the effort.


And finally the always obvious last question, what’s next?

COOPER: Something

that’s really important that I want to mention in the sort of afterlife of The

Painter, after it has done the film festival circuit and the awards

and the PBS competition, is that we were given another opportunity to do another

film about the subject, about the destructive nature of violence. I’m honored

that we have been given another opportunity to make a similar kind of film

and maybe make a different sort of splash.

To check out The Painter’s website go HERE and below is

the trailer for the film:

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