How We Got Away With It
A Film By Jon Lindstrom

By Nathan Edmondson


Jon Lindstrom has been a working actor in the entertainment industry for the last 25 years. With a long list of TV and film credits to his name and an Emmy nomination to boot, his most recognizable role was playing Dr’s. Ryan Chamberlain and Kevin Collins for an 11 year run on ABC’s "General Hospital" and "Port Charles." Several years ago, Lindstrom decided to try his hand on the other side of the camera. His directorial debut, "How We Got Away With It," is available now on VOD.


When a group of 30-something friends reunite for their annual, summer reunion, "How We Got Away With It" follows what transpires as a result of an unexpected tragedy. The crime thriller was a festival favorite throughout 2013, garnering numerous awards and accolades. A few hours before a special SAG Foundation Screening of the film for the LifeRaft Independent Feature Screening Series, Lindstrom took a few minutes to talk about his career, this film and his advice for individuals aspiring entertainment professionals.


The acting bug grabbed Jon at an early age when he saw "From Russia with Love" starring Sean Connery as the legendary James Bond. The dramatic fight scene between Connery and Robert Shaw captured his imagination and fueled his desire to be a part of creating such dramatic and complete imagined worlds. Trips to the local cinema in his hometown of Medford, Oregon and summer excursions to the Oregon Shakespeare Festival solidified his aspirations, and eventually he relocated to Los Angeles. While making ends meet bartending and waiting tables, a few auditions paid off here and there with bit TV parts. After a few years toiling away, he landed a part on the short-lived TV show "Rituals." From there, his career took off.


With his acting career in full bloom, Lindstrom’s interests expanded beyond what was happening in front of the camera. While sitting in his dressing room, he started writing his first screenplay which turned into the 2006 film "The Hard Easy" starring Bruce Dern and Vera Farmiga. With his growing writing experience and some short films under his belt, Lindstrom was introduced to McCaleb Burnett and Jeff Barry, co-screenwriters and soon to be stars of "How We Got Away With It." He read their first draft of the film, saw potential in the concept and agreed to help develop the film on the condition that he would be the director. Burnett and Barry agreed and the project was off and running.

Eventually, Lindstrom took on co-screenwriter and producer roles as well, but it took a few years for production to commence. At first, they worked on re-writes of the script to further develop the characters and the plot. Then scheduling conflicts put Lindstrom’s participation on hold. At one point, Burnett and Barry even considered shooting the film DIY style with handheld cameras and virtually no budget. Lindstrom believed the project deserved more of an investment; and once his schedule opened up, they found a window of time to shoot near Rochester, New York.


Fully embracing his role as director, Lindstrom conceived a specific visual template for the film that would help give the production a common goal. He researched films that shared the sensibility he hoped to create and would aid him in exploring his primary theme of how lies blind people in all the wrong ways. With a limited budget, his cast and crew were motivated by their passion and belief in the film they were producing together and Lindstrom  didn’t want to let anyone down. From the first reading of the script, Jon had a visceral reaction to the piece and knew he could rely and trust his preparation and instincts in leading his team to success.

With "How We Got Away With It" nearing it’s official release, Lindstrom is free to move forward to his next project, directing another film in the horror/thriller genre. He can’t give too much away as they’re in the midst of establishing their cast, but Jon’s excited to be wearing the director’s hat once again.

Before wrapping up our interview, Jon shared some advice that he’s picked up over his successful and evolving career. If acting is your passion and you find yourself on set, when the time is right, go around and ask people what they do. You’ll have a better understanding of how the whole process works and also of the challenges faced by your co-workers. With the wisdom of a true professional, he offered his last piece of advice: "Whatever you decide to pursue, in the entertainment industry or elsewhere, take it seriously.  It’s not a joke and it deserves your full attention."

"How We Got Away With It" has definitely benefited from Jon Lindstrom’s and his cast and crew’s dedication. Watch the trailer here, and then rent it on VOD.

To find out what else Nathan Edmondson is about, check out and follow him on twitter @edmondsonnathan.

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Out Of The Box:
Movie In A Box

By Mende Smith

mib_Reap_Rectangle.pngMovie In A Box (MIB) founder & president, Roger Roth can be seen weekly in the mega-popular web-series The Gentlemen's Rant, created by John Elerick, originally developed and produced at Waterline Pictures before deftly securing a production deal with LA’s Maker Studios. Roth began his sojourn into filmmaking at age eleven, with innovation on his mind. Honing in on the necessaries of film production, his concept to modern filmmaking is evergreen. Reap interviewed MIB’s operations manager, Kyle Pavey about the new alternative to fleet filmmaking and the trend of streamlining multiple projects in the indie film tool shed from one onsite source that is making indie films more practical than their billions-over-budget counterparts.

The basic concept of MIB is simple: Accessibility. Roth’s development team will bring your idea from the page to the screen--even delivering the whole works right to your set location. From consulting to delivery, a seasoned team of MIB experts will work with you and your people to deliver stories cinematically with ease that comes from investing your time and your efforts using tried and true methods that streamline the process and eliminate waste. Roth could write the book on indie filmmaking and the manual on ease of production. Like anyone in his field, Roth has acquired a lot of equipment along the way--then he got the idea of renting it out to fellow filmmakers.


He also bought a few trucks to go along with the growth of his company and his dream was to be able to have something that could be shared. Therein the concept of MIB was born. On Demand for any project, the idea of having everything ready to go all in one truck and just roll up on a moment’s notice and shoot at feature scale or feature quality seemed like a miracle.  

Screen_Shot_2014-04-17_at_2.11.27_PM.png“The ultimate goal for Roth was to make independent films and have everything in one truck,” says collaborator and operations manager Kyle Pavey. “Once he had accomplished this for a few of his own films (including Getting Back to Zero, which is available now On Demand in many markets and Hulu), he had to share the wealth. The truck was not built out the same way that it is currently, in its current form, it has been created in a streamlined fashion since I came on board, So, what happened is Roger had this idea and said, ‘Hey, I want movie in a box where I have all my essentials in one truck and I can wake up in the morning and have an idea and go out and shoot it and shoot it like I’m shooting a movie, not shoot it like I’m shooting camera news.’ He wanted to be able to have the full scale of it.”

So, after Pavey and Roth discovered that there was a market for renting the core essentials for filmmaking to others, identifying the necessaries in one all-inclusive package for what filmmakers (along with some of the other partners needed) to accomplish a film project.

“We basically said, ‘We know what we need, now how can we get all of that into one truck?’ The truth is, you can cram it all into a truck but how can you work off that truck and not have different departments bumping into each and stepping over each other’s feet?”

By working together on the front and back end of production, they learned that it was possible. Making all of their own scheduling errors on their own projects, they are able to make preparations for client’s films. “You have to be careful on how you create it within that truck so it’s easy to use and one of Roger’s directives to me in that was, ‘Hey, I want to be able to shoot a whole movie, but I want to be able to roll up to the side of a street, hop out, just take the camera and the sound off and go in and get a shot and if the guys need, to be able to work off of the truck or work from a stage.’ So, I kind of took it into twofold and it is built out on carts, so the movie guys that are used to pulling their truck up, downloading the carts, and wheeling all this stuff close to set are very happy with the way this is because they can do that and they’re accustomed to it,” Pavey says. “At the same time, Roger can go out and have 40 lights on board and doesn’t have to take these carts off and get them up close.  He can come up to a scene and get shooting.”

All of this takes place in a standard 10 Ton grip truck. The MIB team only has one outfitted currently, but they have trucks to spare. “ We used to say, ‘Built for our network and available for yours,’ we built this so it could do what we needed it to and Roger could deliver content and so forth, but we also offer creative services, where if you want us to come out and Roger direct and bring the gear, you can get a whole package deal on that and we can deliver finished content.”

Clients can hire MIB to shoot commercials too. With the on-wheels production facility, the gear, the truck, and the crew. A cash forward enterprise, MIB handles all the hairy details, work deposits, and negotiations. MIB can offer one discounted price or one packaged price for all of their equipment, have it roll up to scene and be a pretty big impact for what they get.

“Here is a little footprint,” Pavey says, “I took a photo the other day, at the end of my street, there was a Dominos pizza, and I walked by and saw 7 trucks out front and they were, I guess, shooting a commercial or something there. I took a picture of it and texted it to the guys and I said, ‘Here’s seven trucks’ and I’m looking at the gear they have pulled out and I’m saying, here’s seven trucks that I see outside the restaurant doing what one of our Movie in a Box trucks can do, and that’s kind of the point.” Pavey laughs.


MIB is still relying on internet marketing rather than aggressive marketing campaigns, and Pavey admits that the company is still in its infancy, and that neither he or Roth felt strongly about the social media piece of the venture initially. Many clients have come to them directly by word of mouth, and have done some direct selling as well, pitching services to production companies for indie films. “We’ve got some guys that do SEO and Google Ad campaigns and working on things like that where they’re rebranding and doing a lot of the internet-driven stuff, so some of it we do a little bit here and there, but we’re not pushing the gas pedal as hard there currently.”

Clients have began to trickle in for services and the company is beginning to see the results of their structure pay off. One of the first projects completed through MIB’s Gear Equity Program, was to provide the equipment for Amazon Studio’s first test feature, The Nevsky Prospect. The film shot in LA and in Russia. “We offered it to them, this was before I got there on the scene, so it was before it was in its current incarnation, but we had offered it to them as the truck and all the equipment based on their needs. They never ended up using the truck. They just came and pulled equipment that they needed from it and then, of course, took that equipment and shipped it to Russia and back, but that is kind of another feather in our cap, is being the equipment provider for Amazon Studio’s first test feature,” Pavey says.

The ultimate goal is to have an entire fleet of trucks, fully outfitted for filmmakers and to grow the size of the business slowly, to learn from the mishaps as they go along and be able to change up the fleet as needed. MIB is still growing to fit into the filmmaking industry. The website offers a number of basic and advanced packages from planning services to process to post-production.

“The other kind of grand idea--and it’s a ways off--would be that maybe one day there’s a Movie in a Box in different towns and that could be one way to coordinate partnerships across the country. Sort of like an opportunity to work onsite or remotely, building new partnerships along the way. That was a concept that Roger always envisioned as well, but we’ve got to master LA on it first,” Pavey says.

Roth’s approach to streamlining production is not necessarily the first of its kind, but Pavey assures that it is the most effective. Pavey adds that they have not seen anyone else doing film production at the scale that MIB is. The largest advantage that MIB provides is the opportunity to fix production costs. While coordinating a budget, whether it is a one day shoot with a fly pack, or an eight day shoot, the MIB model truly is truly unique. “The film market in LA is a different animal,” Pavey says. “We get calls from other places and they are blown away by the scope and quality we provide. We are renting out cameras like the ones they used to shoot The Hobbit. The feedback I have gotten from producers has been great and we are going to just keep getting better.”

Watch Roger's video about Movie In A Box


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Upcoming Choreographer Spotlight

By Brittany Lombardi

Stephanie Hilton, former dancer with Cirque De Soleil, and native of Boston, Massachusetts; Boston Youth Moves alumni.
As a BYM alumni, how did it feel to return to your 'home' at JNDS to create a piece for current students in the program?
I have always loved coming "home" to JNDS since graduating in 2002. Last October, when I set my first work, I was so excited to work with the kids. Jimmy and Jeannette have always instilled strong work ethic and great technique into their students, and it continues to be evident today. I'm so proud to be a part of BYM as an alumna and now choreographer. 
How did BYM prepare you for your careers in the industry today? How is this program different from others?
There are so many ways BYM prepared me for the professional dance world. Accountability is one of the main tenets of the program; showing up, both mentally and physically, and taking responsibility for your attitude and actions. This is huge in the dance world. I've had choreographers want to work with me again based on my professionalism and personality more than my dancing. As you grow in the dance world, how you conduct yourself in the room and on stage becomes just as important as how you execute a step. Jimmy and Jeannette drilled that into us from a young age. They urged us not to take a back seat to our own training, but to show up and give it our all, be motivated and always stay focused and polite. 
I also have to note the technical foundation that was given to me by BYM. I felt like I had an advantage going into my college dance program, because I was exposed to so many different movement styles, and given the gift of plié. As Jeannette says, the secret of jazz (dance, really) is plié, and that is THE TRUTH! 
This program stands out because it is not about "winning" or "gaining new tricks.” It's about fostering a sense of responsibility and personal accomplishment in a professional environment. The students are given tools to help them succeed in dance and in life, because the instructors really do invest themselves in you. A student in BYM is more than just a cog in a wheel; she/he is an integral part of their class and the program as a whole. 
Throughout your 1 week residencies working with BYM students, what was your experience like, were there any memorable/inspiring moments that you will carry with you after leaving Boston?
My experiences with the current BYM students have been extremely rewarding. They are so eager to learn the movement and get comfortable with new vocabulary. I think my favorite moments are when we laugh in rehearsal. I'm a very silly person and that carries through in my rehearsal. Sometimes funny moments happen and it brings a lightness to the rehearsal, and maybe builds a sense of trust between myself and the dancers. I also love the final run through for Jeannette and Jimmy. There's a heightened sense of anticipation, because the dancers want to make them so proud. It's always really exciting for me to see the dancers present their work at the end of a long week. 
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Dancer’s Spotlight

By Brittany Lombardi

Jorge Delgado, dancer with Urmanity Dance Company and Impact Dance Company in Boston, Massachusetts.
Born and raised in Lawrence, Massachusetts, Jorge began classical ballet at the age of seventeen at the Performing and Fine Arts High School under the instruction of Quity Morgan. There he studied classical ballet, basic Jazz, Modern and folkloric dance. The following summer (2009), he was awarded a full scholarship to attend Jose Mateo’s ballet summer intensive. The next summer (2010), he was awarded another full scholarship to attend a Walnut High School ballet intensive in Natick Massachusetts where he dormed for a month and was trained by amazing instructors. This past summer (2013), he had the privilege to attend the Joffrey Ballet School Jazz/Contemporary Summer Intensive in New York. There he studied jazz, street jazz, hip-hop, ballet, modern, contemporary and theatre dance. He is currently enrolled in Northern Essex Community College majoring in Physical Therapy. His goal after dancing professionally is to become a physical therapist for dancers around the world.
How long have you been dancing?
5 years
What is your favorite style?
Contemporary Ballet
What school do you go to?
Northern Essex Community College
What do you study?       
Physical Therapy
How do you feel when you perform?
When I’m performing, I feel like I have the whole world in my hands and live in the moment. Most of the time, I never remember what I did on stage after the performance, almost like if I blacked out.
Talk about a dance experience that moved you or that you are proud of. (A performance, a dance event, fundraiser.)
Summer intensive at Jose Mateo’s in 2008 only had 6 months of dancing ballet.
What is your favorite quote?  
“If you dance with your heart your body will follow. “- Mia Michaels
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Performance Anxiety Isn’t What You Think….

By Christine Brondyke

It’s so common for performers to experience anxiety prior to going on stage that it’s expected that it’s a hurdle that everyone must simply bear. Many performers have specific ways of dealing with the butterflies (or buffalo?!) that dance in their bellies before a show—including vomiting, pushing the feeling down as far as it will go, and/or jumping around nervously backstage while breathing like they’re in labor.

What isn’t common knowledge, is the reason for such a pronounced case of nerves in the first place. Consider this….You’ve set a goal…you’ve said “YES!” to the opportunity to give the world the gift of your talent, and just as the moment arrives to offer it…instant discomfort! Why?! Is it a curse meant to hinder your ability and creativity just when you need it most??… No, it’s actually the opposite! The fear you feel, is the additional energy you need to do the best job you’ve set out to do. The Universe is friendly, so when we commit to a larger experience of ourselves, we need additional energy access our greatest magnificence. It just happens to show up in the form of gyrating abdominal flurries! It’s energy! Not coincidentally, it’s also the exact kind of energy that you need to perform your best. So don’t squash it, ignore it, and certainly don’t hate that it’s there, because it’s there FOR you.

How can you liberate this energy to support your intention to perform at your best? Breathe! Breathe toward the sensations of galloping giraffes, open the front of your body and allow the energy to flow where it needs to. Give yourself some time to pretend that you’re a conduit for energetic flow—like a garden hose—and let that fear move like waves in the ocean as you touch it with your breath.

One of my clients was almost crippled by his performance anxiety, until he realized that with some conscious breathing, and allowance for flow, the energy travelled to his hands, which is exactly where he needed it as a jazz guitarist! So next time you feel burdened by those old familiar nerves, consider that they have shown up as a gift, to support your voice, your breath, and your body, so that you might blow the socks off your audience with your brilliance!!

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