I\nstarted taking it seriously in college with a sketch TV show I co-wrote and\nedited called \u201cHow Good Is That?!\u201d We used to really push buttons and were\nawarded \u201cMost Controversial\u201d at the school\u2019s annual awards show. One of our\nepisodes featured Ron Jeremy and a digitally imposed black box to appease the\nadministration. <\/p>\n\n\n\n
After\ncollege I met my good friend and current musical composer Peter Lisowsky and\nbegan shooting music videos for his band. I ended up expanding those videos\ninto an immersive visual experience that was projected on stage during live\nshows. We were lucky enough to tour a bit and even played a show out in\nChicago. And now Pete does the music for most of my films, including this\nlatest one that\u2019s about to hit the festival circuit. <\/strong><\/p>\n\n\n\n NY\nGlam:<\/strong> What film was your directorial debut? <\/strong><\/p>\n\n\n\n I co-produced and co-directed a\nfeature length documentary in 2008 called Savior. Our barebones crew traveled across\nthe country, from Topeka to Indianapolis to Buffalo, and even up through\nCanada. We interviewed various subjects on both sides of the religious spectrum\nand documented some uplifting and intensely tragic stories. One of the most\nmemorable experiences from that production was spending the weekend with the\ninfamous Westboro Baptist Church, which is prominently featured in the film. <\/p>\n\n\n\n In 2014, I co-wrote and\nco-directed the feature drama Before the Snow, which was my first official\nproject in the realm of narrative storytelling. The story centers around a man trying\nto come to grips with his tattered past after he\u2019s diagnosed with a terminal\ndisease. The film is told through the main character\u2019s memories, dreams, and\nhallucinations and stars Ryan Wesen, Natalya Rudakova (Transporter 3), and Hays\nWellford (Cop Car). <\/p>\n\n\n\n NY\nGlam:<\/strong> What is your recent film about? <\/strong><\/p>\n\n\n\n The Time in Between the Seconds\nis about tragedy, healing, friendship, and love. The story is told in a reverse\nchronology with our main character getting shot during a convenience store\nrobbery in the opening minutes. As each preceding scene unfolds, the motivations\nfor her actions are slowly revealed and the audience eventually learns of the\ntragic event that has defined her new life. There are only a few people in my\nlife that I would take a bullet for, and I wanted to explore that idea of\nloving someone else more than yourself. <\/p>\n\n\n\n NY\nGlam:<\/strong> How did you go about casting for the film?<\/strong><\/p>\n\n\n\n I wrote the film with an\nactress in mind after being inspired by a clip in her reel. It was someone I\nhad worked with twice before, but that collaboration never came to fruition. Two\nother actresses were attached at various stages, but neither ended up working\nout. After taking a short hiatus from the project, I finally decided to hold\nauditions. Helen Laser was the first self-tape invited in for a callback. She crushed\nthe audition so hard that I offered her the role on the spot. With Helen on\nboard, the rest of the casting process went rather smoothly. <\/p>\n\n\n\n At the end of the day, I just want to work with the best actors I can. A great young actress named Palmyra Mattner auditioned for two other roles in the film and didn\u2019t fit my preconceived ideas for those characters. Helen and I loved her callback so much that I changed the gender of another character and added a new scene that featured Palmyra with more lines. It\u2019s a blowout argument at a funeral and my favorite scene in the finished film. <\/p>\n\n\n\n NY\nGlam:<\/strong> What was the most important lesson you had to learn that has had a\npositive effect on your film? How did that lesson happen?<\/strong><\/p>\n\n\n\n Preparation is essential. Our main\ncharacter is presented in various stages of physical and emotional turmoil.\nWith the story taking place out of sequence, we developed a detailed timeline\nthat documents wardrobe, props, makeup, and current emotional state. In some\nscenes, Wendy is borderline catatonic, wearing a sling on her broken arm and a\nband-aid to cover the gash on her chin. In others, she\u2019s finally overcoming her\nsocial anxiety and wears an arm brace with a subtle scar. I\u2019m incredibly proud\nof Rose Ripley\u2019s makeup work throughout these various stages and grateful to\nour script supervisor Jaclyn Lehrer for keeping us faithful to the timeline. <\/p>\n\n\n\n Location scouting was equally\nimportant. Having the opportunity to visit sets beforehand with my DP Dustin\nWard let us make smarter decisions in regard to lighting, shot lists, and\nproduction schedules. My executive producer Alexandru Aldea was an incredible\nasset when it came to securing some of our more difficult locations, including the\nconvenience store, funeral home, and a private road where we could stage a car\nwreck. Spoiler alert!<\/p>\n\n\n\n NY\nGlam:<\/strong> Tell<\/strong> us a bit about\nthe other films you\u2019ve made and your other projects.<\/strong><\/p>\n\n\n\n Just before The Time in Between\nthe Seconds, I directed a short horror-comedy from writer Tom Bragg called\nCrazy for the Blonde. It\u2019s a batshit crazy story about two serial killers\ncompeting for the same blonde-haired victim and has been making its rounds on\nthe festival circuit for some time. I\u2019m a huge fan of Tom\u2019s writing and was incredibly\nhonored when he asked me to come on board to take the reins. <\/p>\n\n\n\n Before that, I made a short\ndocumentary with my sister about the heroin epidemic in Ocean County, NJ called\nThe Girl Next Door. Her best friend died from an overdose of fentanyl a few years\nago, and the film tells that story from my sister\u2019s perspective. We\u2019ve been\ninvited to screen at various hospitals and recovery centers, and it\u2019s been\nfulfilling to help get more people talking about solutions instead of\nstigmatizing drug addiction. <\/p>\n\n\n\n NY\nGlam:<\/strong> What role have film festivals played in your life so far?<\/strong><\/p>\n\n\n\n I make movies with the big\nscreen in mind. Too much work goes into all phases of the filmmaking process for\nthat final product to be relegated to a phone or computer screen. Cast and crew\nare always asking for links, but it\u2019s a personal policy not to share them. Nothing\nbeats that communal experience in a theater. Festivals are everything.<\/p>\n\n\n\n NY\nGlam:<\/strong> Is it harder to get started or to keep going? What was\nthe particular thing that you had to conquer to do either?<\/strong><\/p>\n\n\n\n It\u2019s definitely harder to get started and reach a point to where you feel like you belong or should be doing this. Of course, imposter syndrome never goes away, but it can help keep you hungry and put your ego in check. It\u2019s incredibly nerve-racking to release a new film you\u2019ve worked on for several years. I don\u2019t like to make \u201csafe\u201d films, so audience reaction is always unpredictable. With that said, the local film community has been incredibly supportive so far. <\/p>\n\n\n\n NY\nGlam:<\/strong> How has your style evolved?<\/strong><\/p>\n\n\n\n My earlier work\nwas amateurish and dialogue heavy, and I\u2019ve been learning on the job. Over the\nyears, I\u2019ve worked with so many talented people who\u2019ve helped me find a more\nfocused visual language to tell stories. The Time in Between the Seconds was by\nfar the biggest, most difficult, and most inspired project I\u2019ve worked on to\ndate, but it\u2019s also incredibly self-indulgent and long-winded. Maybe I haven\u2019t\nevolved yet, but I\u2019m trying. <\/p>\n\n\n\n NY\nGlam:<\/strong> What has been your personal key to success?<\/strong><\/p>\n\n\n\n Casting is everything. I have immense\nrespect for actors. <\/strong><\/p>\n\n\n\n NY\nGlam:<\/strong> What are you thinking\nabout doing next?<\/strong><\/p>\n\n\n\n I wrote what I feel is my best script a few\nyears back. It\u2019s a road movie called Orick and follows a homeless man who\u2019s\nforced to hitchhike from Texas to California when he receives the news that his\nsister\u2019s been brutally murdered in the small, northern California town where he\ngrew up. Once in California, he\u2019s tasked with arranging his sister\u2019s funeral\nand taking custody of her teenage son. The story heads in an unexpected\ndirection, and the ending is rather shocking. I\u2019m currently looking for the\nfinancing to make it. <\/p>\n\n\n\n My next project will probably shoot later\nthis year or in 2021. It\u2019s another short drama called There\u2019s Something Wrong with\nPaul and centers around a man recently released from prison. It takes place\nover one night at a family dinner where Paul is reunited with his siblings.\nPaul was convicted and served time for a heinous crime, and most of the family\nis not ready to forgive just yet. I wrote the script with actors in mind and\nhope they\u2019re game to make it with me. I just haven\u2019t told them yet. <\/p>\n\n\n\n NY\nGlam:<\/strong> Where does your studio want to go from here? <\/strong><\/p>\n\n\n\n My production company is Grey\nMachine Films, and you can find us at our website<\/a>, Facebook<\/a>,\nand Instagram<\/a>. For now, we just want to get as many festival eyes\non The Time in Between the Seconds as possible. As I mentioned, there are some other\nprojects on the horizon that I\u2019m hoping will eventually get made, but finding\nthe money is always a challenge. I\u2019d also like to collaborate with my friend\nand writer Tom Bragg once again. He\u2019s written a script called Layers that I haven\u2019t\nbeen able to get out of my head. Fingers crossed!<\/p>\n","protected":false},"excerpt":{"rendered":" Exclusive Interview with Mark Clauburg -Filmmaker Award-winning filmmaker Mark Clauburg is gearing up for the festival run of his latest short film The Time in Between the Seconds. Mark began his career as an educator, teaching high school and college video production in the early 2000s. He later transitioned to leadership positions in higher education […]<\/p>\n","protected":false},"author":1,"featured_media":8449,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-8448","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film"],"_links":{"self":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/8448","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=8448"}],"version-history":[{"count":1,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/8448\/revisions"}],"predecessor-version":[{"id":19282,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/posts\/8448\/revisions\/19282"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=\/wp\/v2\/media\/8449"}],"wp:attachment":[{"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=8448"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=8448"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/nyglamour.net\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=8448"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}![\"\"](\"http:\/\/nyglamour.net\/wp-content\/uploads\/2020\/03\/TheTimeinBetweentheSeconds1-1024x428.jpg\")
Film still from The Time in Between the Seconds <\/figcaption><\/figure>\n\n\n\n![\"\"](\"http:\/\/nyglamour.net\/wp-content\/uploads\/2020\/03\/TheTimeinBetweentheSeconds_productionstill1-1024x428.jpg\")
Film still from The Time in Between the Seconds <\/figcaption><\/figure>\n\n\n\n