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When Lauren Graham was 22 years old her short film "Insert Meaning Here," won Best in Show at the Telus 72 Hour Filmmaker Showdown. Long before Misschief and Runway she made an all girls snowboard flick called "Conformed." One day Lauren decided that she didn't want to strap on a backpack and haul her gear up the mountain to get shots, but she was still in love with telling other people's stories through film. That's when she decided to transition from action snowboard films to documentaries. Thus, began her journey making "Vague Upbringing," a documentary about the early snow, skate and mayhem offered up in the popular Whiskey videos. After struggling to sell the film, which she half seriously says is a "film about barf," Lauren headed for the hills, the Hollywood Hills. In L.A. she is currently working on several documentaries, and pursuing her dream of becoming a producer.
What is your earliest film related memory?
My brother and I used to steal our dad's camcorder while he was filming home videos at hockey games. We thought hockey was boring, and we'd go and make something retarded. We were really into Super Mario action figures from McDonald's. We had this awesome stop motion thing too, but our hands would always be in the frame.
If you had a job title what would it be?
Freelance filmmaker. Right now I'm mostly editing, so I'm a documentary editor with an office. I can see the Hollywood sign from my office.
What drew you to film making over other art forms or other career choices?
I was always drawn to telling stories, and I don't have fine art skills.
What do you have to say about Gnarcore, the Art Barn, Shot in the Dark and other early projects you did while living in Whistler?
It was one of the greatest times in my life! It was so fun. I was just learning how to express myself in front of other people. It was straight from the heart, raw and pure. I worked on Shot in the Dark in Whistler from age 21-24. I was such an idiot because I was all about painting hats and filming hand rails, but it was so much fun.
If painting hats and filming hand rails was so much fun, why did you leave life in Whistler behind?
I always felt I wasn't good enough at snowboarding, and I liked the art side more. Shooting the intros to the snowboard videos was always way more interesting, and I realized I was just using the snow films to express myself. Plus, it was nice to not have to go up the mountain with my camera gear.
What projects are you currently working on?
I'm trying to sell the whiskey documentary, still! I hung around the Jackass offices long enough that those guys gave me a job. They offered me a deal to do the Big Brother skate mag documentary. I guess that's kind of related to the whiskey documentary that I've been working on forever. I just can't get away from guys being idiots. I'm working on art reviews too. You have to work on tons of projects. You can't just work on one thing. Like the Whiskey video I worked really hard on it for years, and now I just have to let it simmer.
Where do your ideas for films come from?
Empathy is important, you know, walk a day in another man's shoes. I want to tell stories. You never know where an interview is going to take you...and what kind of emotions it will evoke.
What are your future plans in regards to filmmaking?
I want to make films with scripts and actors. I'd like to be a producer. I want to bring people who are good at what they're doing together. I want to take my vision of how I want a scene to look and give it to people who are talented in their field and see what they can add to it.
Don't you lean more towards indy filmmaking than box office though?
I feel like I'm Indy all the way. I feel like my ideas can bridge the gap between the two though. I'm Indy with my artistic approach, but mainstream in that I want to reach a lot of people. Like Amelie. I would take a big job like Transformers though, so that I could buy my brother a studio. Speilberg is a good example [of Indy meets the big screen]. For his first job at Universal he just snuck in wearing a suit and claimed he belonged there.
What has been your greatest struggle with making films?
Patience. I always thought it would be this overnight rock star thing. But it's not. Here in L.A. you go to the coffee shop and there's 18 people writing scripts. It's not a bad thing, actually I'm motivated by that, but you have to hack it out. I'm always wondering when things are going to happen, and when I'm going to get an agent.
What are you excited about these days?
I'm obsessed, again, with Guns 'n Roses. I read Slashs' book last January and now Guns 'n Roses has totally taken over my life. People have been sending me G'N'R artifacts, that's how I know it's all coming to a head. Axel is sitting on some footage. I'd love to use it, I'd work on it for free.
What is life in L.A. like?
I love L.A. It took me a year to get used to. At first I was tripped out on all of the driving, but now I ride my bmx everywhere. I haven't felt this alive about anything in a really long time.
Who are your partners in crime these days?
Wendy Dyk, Kate Power, Ali Galligher. The Jackass guys, they're my bosses, but they're keeping me alive and taken me under their wings. I'm doing a lot of rolling solo right now too.
What advice do you have to give to girls (and guys) interested in pursuing filmmaking?
Snowboard videos are a great place to start. Hollywood seemed so intimidating, and it's true you get kicked down a lot. Plus, everyone is too good looking to even look at each other, but I love it. I'm a Hollywood dreamer.
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