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fi ve alive fi lms
interview with Gerald Jackson, Jr. by erin thursby
Breaking into fi lm directing can be a daunting task, but those that are willing to cast a net outside the
usual artsy-indie projects can carve out a living. In between more personally driven projects, Jacksonville
director-for-hire Gerald Jackson, Jr. lends his fi lmmaking artistry to different types of fi lms, from music
videos and promotional book trailers to commercials. He has also made a number of creative short fi lms,
including a satirical documentary called Chasing Kevin: the Hunt for a Picture with Kevin Smith, which
seems to echo Michael Moore’s Roger & Me, with a much less serious subject.
EU got the chance to have a dialogue with Jackson about fi lmmaking and his production company,
Five Alive Films.
EU: You’ve done quite a few projects since you graduated four years ago from Florida State University
with a M. F. A in Motion Picture, Television & Recording Arts. How have you changed as an artist since
graduating?
Gerald Jackson, Jr: As an artist I’ve defi nitely learned to respect fi lmmaking more, as well as what it takes
to get a project completed. My fi rst several projects were basically funded because of fi lm school. When I
returned to Jacksonville in 2004, I found out that I had to pursue fi nancing and assistance to get the project
completed. This, at times, proved to be quite frustrating.
Also as an independent, I’ve been able to access equipment and technology I’ve never been able to
use before. Of course, this comes with a price attached, but sacrifi ces must be made for the quality of the
project.
Regarding my shooting style, I’m glad to say I’ve been able to incorporate more movement in my
projects. My last several projects incorporated jibs, cranes, dollies, and the manipulation of movement
speed. I love fi lms that are always on the go; hopefully, this movement will complement the fi lm’s narrative.
I learn more with every project that I complete.
EU: What inspired you to become a fi lmmaker?
GJ: Many things inspired me to want to become a part of the fi lm industry. I can remember as a child, always
telling stories to all of my friends. Of course, I told these stories...visually and...dramatically… Also,
I’ve always loved movies. Every weekend growing up, my parents would take me and my brother to as
many movies as possible. I would be mesmerized by these moving pictures on this large screen! It is uncanny
how powerful the media of fi lm is. I can’t even tell you how my times I’ve cried, screamed, become
enraged, laughed, and even learned something just from a fi lm! After witnessing how infl uential movies can
be, I knew I had to become involved in the art form in some form or fashion.
EU: I notice you use a lot of digital. Is that the only medium you use? What are the benefi ts and drawbacks
of digital?
GJ: Locally, my projects have been done on digital video. The main reason is primarily fi nancial. Many
don’t realize that fi lm is extremely expensive. First, you actually have to purchase the fi lm stock, which is
not cheap... After fi lming, huge costs go into the fi lm’s processing. Believe me, that’s also quite pricey.
Don’t forget, that unless you own a fi lm camera, you can add on rental fees. For independent fi lmmakers,
using actual fi lm can be a fi nancial challenge. From my experience, digital video cameras are cheaper to
rent than fi lm cameras. Plus, instead of purchasing actual fi lm, you only have to buy digital video tapes
which are comparatively inexpensive.
I’ve actually shot on fi lm before, and the time and stress saved by using digital is amazing! With digital,
you don’t have to worry too much about over/underexposure, “hairs” in the gate, fi lm scratches, and the
inevitable fi lm processing. Many purists would argue how today’s fi lmmakers are deviating from “the art”
of fi lmmaking by not using fi lm. I always have to remind them that it’s not what you fi lm on that is impor-
46 MAY 2008 | eu jacksonville monthly | movies
tant, it’s the story that matters most. If your project has a good plot/narrative, what type of media you fi lm
on is irrelevant.
With today’s technology, digital fi lm can fl awlessly duplicate the look of actual fi lm. Films such as 28
Days Later and Bamboozled were both fi lmed digitally. Therefore, it is apparent that Hollywood is slowly
starting to embrace digital fi lmmaking as legitimate.
EU: Where are book trailers shown? I’d like to know a little more about book trailers since the medium
is new to me….
GJ: Absolutely! Book trailers are a developing new trend in the book industry. For those not familiar, book
trailers are essentially movie trailers for books. The author will then use them for promotional purposes.
For example, the author might take the trailer to conventions, or run them on his/her website. Rumor has it
that these trailers might be shown in bookstores. It is strongly assumed that these trailers will take off and
possibly be the standard. Does anyone remember the industry’s initial reaction to music videos?
EU: Tell us about your most current project…
GJ: I have several exciting projects going on. This past fall, I opened my own production company named
Five Alive Films. We specialize in book trailers, music videos, and fi lm shorts.
Currently, we are aggressively contacting record labels to produce music videos. This is defi nitely
something I’m excited about. I’ve directed three, so I’m hoping to do more. I am absolutely interested in
experimenting in music genres such as country, punk rock, folk, and rap.
My production company is also currently in negotiations with WJXE-15, a new television channel in
town, to produce a new television program. It is tentatively titled “Sunday Morning Gospel Brunch,” and it
will be an inspirational show that will feature local gospel groups, simple cooking, and uplifting dialogue.
Finally, I’m in the process of researching grants to fund a major fi lm short for this late summer/early
fall. I completed a script titled “Shannon and Courtney’s Babysitter Bedlam,” and it is about two children
and their misadventures with a problematic babysitter.
EU: What project are you most proud of?
GJ: I would have to say my music video, ‘Jumping Waves’ by the band Tracy Shedd. It was my fi rst music
video, and it turned out so well. We used both digital and real fi lm, and it looked amazing! I love doing
period pieces, so we asked local car clubs to donate vintage cars. We used period clothes, hairstyles,
and props to create the perfect look. The best part was that that everyone who worked on this project all
volunteered. I always offer my sincerest gratitude to my volunteers. In the end, it turned out great and we
had an amazing time!
EU: What’s your opinion of the local fi lm scene?
GJ: When I returned to Jacksonville, I was fl oored by the constant fi lm activities that were going on. There
were fi lm festivals, fi lm screenings, meetings, and socials almost weekly! On top of that, a major fi lm came
to town to fi lm every season. I’ve noticed lately that the fervor around local fi lms have cooled lately. By no
means am I saying that the passion isn’t there, but there doesn’t seem to be as many fi lm-related activities
in the area. I’m sure the excitement will be picking up very soon, and I hope to be involved.
You can see some of Jackson’s fi lms on his production company website, fi vealivefi lms.com, where you
can also contact him for a project.