>> HI, I AM STEPHEN FEINBERG, EXECUTIVE DIRECTOR OF THE RHODE ISLAND FILM AND TELEVISION OFFICE.

OUR GUEST TONIGHT IS A PHENOMENAL FILMMAKER.

HE LIVES HERE IN RHODE ISLAND.

HE DOES FANTASTIC WORK.

I WANT TO WELCOME MY FRIEND, AND A SCIMITAR FOR, DIRECTOR AND WRITER, ERIC LATEK.

WELCOME TO DOUBLEFEATURE.

>> THANK YOU FOR HAVING ME.

>> YOU HAVE BEEN BUSY.

YOU ARE HERE IN RHODE ISLAND WORKING.

YOU ARE ON THE ROAD WORKING.

YOU HAVE DONE A LOT OF -- A LOT OF OUR AUDIENCE PROBABLY SAW SOME OF YOUR WORK WITH THE RIPPLE EFFECT.

CAN YOU TALK ABOUT WHAT THE RIPPLE EFFECT IS?

THOSE ARE THOSE COMMERCIALS.

>> RIGHT.

THAT WAS BROUGHT TO ME BY DUCT TAPE ILLINI WHO IS THE WRITER AND PRODUCER AND DIRECTOR IN RHODE ISLAND.

HE WORKED WITH THE RDW GROUP.

>> AND THE STATE POLICE, RIGHT?

>> YES.

ACTUALLY, YOU INTRODUCED DANTE AND I IN 2016.

I THINK IT WAS IN AUGUST OF 2016 AFTER YOU INTRODUCED US, YOU IT -- HIM AND I HAD SOME COFFEE.

I DO NOT DRINK COFFEE, SO HE HAD THE COFFEE AND I PROBABLY JUST HAD SOME WATER.

WE WERE TALKING ABOUT POTENTIAL PROJECTS WE COULD WORK ON IN THE FUTURE.

PROBABLY ABOUT THREE WEEKS LATER, HE CAME TO ME AND IT WAS A CAMPAIGN, THE RIPPLE EFFECT CAMPAIGN.

AT THAT TIME, IT WAS CALLED BEYOND THE CRASH.

IT JUST -- SOMETHING THAT NEEDED TO GET DONE.

>> THESE ARE LITTLE VIGNETTES, CINEMATIC VIGNETTES ABOUT DRUNK DRIVING, TEXTING, -- >> NO, TEXTING -- IT WAS SPECIFICALLY DRAGGING AND DRIVING.

BEYOND THE CRASH, THAT CAMPAIGN WAS SPECIFICALLY THROUGH THE EYES OF STATE TROOPERS.

FOR THAT 2016 CAMPAIGN.

I HAD TO RIDE AND FILM WITH STATE POLICE AND GET VARIOUS STORIES THROUGH THEIR EYES.

WE FILMED AT THE PBS STUDIO LOCATION IN RHODE ISLAND FOR THE INTERVIEWS.

THE FOLLOWING YEAR WAS THE RIPPLE EFFECT CAMPAIGN, WHICH KIND OF -- DANTE WANTED TO WIDEN THE PERSPECTIVE OF DRINKING AND DRIVING.

SO NOW WE MOVE PAST THE EYES OF THE STATE TROOPERS AND LOOKED THROUGH THE EYES OF -- >> THE VICTIMS.

>> THE VICTIMS AND MEDICAL EXAMINERS, PARAMEDICS, FIREFIGHTERS.

>> SO THE RIPPLE EFFECT IS AN ACCIDENT THAT HAPPENS THROUGH WHETHER IT IS DISTRACTED DRIVING OR DRUNK DRIVING.

HAS A RIPPLE EFFECT ON ALL TYPES OF PEOPLE.

THE FAMILIES, THE MEDICAL EXAMINER, THE POLICE.

THE IMPACT.

A LOT OF THEM -- YOU EVEN DID ONE I THOUGHT WAS VERY SURREAL ABOUT THE GIRL IN THE SHOE.

CAN YOU TALK ABOUT THAT ONE?

>> RIGHT.

THAT WAS THIS PAST YEAR -- A COMMERCIAL.

DANTE HAD ASKED ME TO THINK OF AN IDEA WE COULD FILM AT THE BONEYARD.

>> THE BONEYARD IS WHERE ALL OF THE VEHICLES THAT ARE DEMOLISHED -- THEY CALL IT THE BONEYARD.

>> EXACTLY.

SO IT ONLY TOOK ME A DAY TO REALLY WRITE THIS IDEA.

I WAS BASING IT ON MY OWN EXPERIENCE.

THE SEASON BEFORE, THE CAMPAIGN BEFORE -- TO GIVE YOU A LITTLE BACK STORY.

THE COMMERCIAL WE SHOT, WHICH WAS SCRIPTED, WHICH INVOLVED THIS IDEA OF A LOST SOUL OF A LITTLE GIRL WHO IS MISSING HER SHOE AND IS WALKING THROUGH THE BONEYARD.

I WANTED IT TO BE VERY HAUNTING LOOKING AND HAVE THIS KIND OF SURREAL FEEL TO IT.

AS SHE IS WALKING THROUGH THE BONEYARD, WE FOCUSED ON HER MISSING A SHOE.

THERE IS A CLOSE UP SHOT OF HER FEET WALKING.

SHE HAS ONE RED SHOE AND ONE FOOT THAT IS MISSING A SHOE.

AS SHE APPROACHES THIS DILAPIDATED VEHICLE IN THE DISTANCE, YOU SEE THIS HEAVENLY SPOTLIGHT SHINING DOWN ON IT AND THE DOOR OPENS AND THE SHOE COMES OUT.

THE IDEA IS THAT SHE LOST HER LIFE.

>> IT WAS VERY POWERFUL.

>> IN GOING BACK A YEAR BEFORE THAT, WHAT GAVE ME THE IDEA WAS BASED ON MY OWN EXPERIENCE.

AS I WAS FOLLOWING A STORY WITH JEFF WHO WORKS FOR THE STATE TROOPERS AND HE HAD ME GOING THROUGH ALL OF THE PHOTOS.

I WAS FILMING THE ROLE OF HIM GOING THROUGH PHOTOS OF WRE CKS.

HE CAME UPON THIS ONE WRECK THAT HAD HAPPENED A WEEK PRIOR.

IT WAS A HUSBAND AND WIFE WHO LOST THEIR LIVES FROM DRINKING AND DRIVING.

THEY WERE STRUCK BY SOMEBODY WHO WAS INTOXICATED.

AS I'M GOING THROUGH, I HAD THE CAMERA DOWN.

HE IS GOING THROUGH PHOTOS.

ONE PHOTO THAT KIND OF STRUCK ME WAS THE WIFE WAS ON A GURNEY.

SHE HAD ONE UGG BOOT AND ONE MISSING.

SO, LATER THAT DAY, I WAS FILMING AMY JACKSON, -- JACK MAN WHO WAS THE INVESTIGATOR.

HER JOB WAS TAKING PHOTOS OF THE SCENE.

WE WERE AT THE BONEYARD.

I AM FILMING HER, RANDOMLY GETTING PHOTOS OF THIS CAR THAT WAS STRUCK WITH A HUSBAND-AND-WIFE SCAR.

AS I CAME -- HUSBAND AND WIFE'S CAR.

AS I CAME AOUND TO THE DRIVER SIDE CAR, HER OTHER BOOT WAS HANGING OUT THE BACK SEAT.

IT JUST HAUNTED ME, LIKE TO THIS DAY.

>> YOU SENT HO UP MY SPINE -- YOU SENT A CHILL UP MY SPINE.

>> I WAS BACK HOME.

YOUR BRAIN STARTS PLAYING GAMES.

>> IT IS AMAZING HOW THAT BOOT REPRESENTED THE CRASH.

>> IT MADE IT VERY REAL TO ME AT THAT TIME.

>> AT HAD A RIPPLE EFFECT ON YOU -- IT HAD A RIPPLE EFFECT ON YOU.

>> AND I RELAY THAT INTO THE COMMERCIAL.

>> FOR THE AUDIENCE TO UNDERSTAND.

LIKE YOU SAID, IT IS CINEMATIC.

IT IS HAUNTING.

IT WAS SO WELL DONE.

>> THANK YOU.

THAT WAS ACTUALLY DANTE'S NIECE WHO NEVER ACTED.

SHE WAS PERFECT.

>> ALMOST LIKE A GHOST CHILD.

IT WAS REALLY GREAT.

HOW MANY OF THOSE COMMERCIALS DID YOU DO?

THESE ARE PUBLIC SERVICE ANNOUNCEMENTS FOR THE DEPARTMENT OF TRANSPORTATION, FOR THE POLICE DEPARTMENT TO GET THE WORD OUT ABOUT THE PROBLEMS OF DRINKING AND DRIVING.

HOW MANY DID YOU DO?

>> THE FIRST CAMPAIGN WAS PROBABLY ABOUT SIX TO SEVEN.

THE RIPPLE EFFECT CAMPAIGN THE FOLLOWING YEAR -- I DO NOT HAVE AN EXACT NUMBER, BUT IT WAS A LOT.

A FEW DOZEN.

IT MIGHT HAVE BEEN 20.

THAT COULD BE 23 MINUTE SEGMENTS.

-- TWO THREE MINUTE SEGMENTS.

>> HOW LONG DID IT TAKE YOU TO MAKE ALL OF THOSE?

>> FOR EACH CAMPAIGN, IT TAKES ABOUT A YEAR.

>> IT IS WONDERFUL STUFF.

>> IT IS ONE OF THOSE THINGS THAT I JUST HAD THIS ROAD OF HAVING TO FILM AND DEAL WITH THE CONTENT.

I DID NOT GO LOOKING FOR IT.

IT IS JUST THAT THING THAT OVER THE YEARS HAS COME MY WAY.

IT HAS HUMBLED ME IN S MANY DIFFERENT RESPECTS.

IT GIVES ME A DIFFERENT PERSPECTIVE OF LIFE, LOOKING THROUGH THE EYES OF DIFFERENT PEOPLE AND THEIR STORIES.

IT IS -- IT HAS GROUNDED ME.

>> YOU LEARN ABOUT MORTALITY.

>> YOU DO NOT TAKE THINGS FOR GRANTED EITHER.

>> IT IS JUST AWESOME.

WHILE YOU ARE DOING THAT -- NOW, YOU HAVE SOME OF YOUR OWN PROJECTS THAT ARE YOUR PERSONAL PROJECTS YOU HAVE BEEN WORKING ON.

THERE IS A DOCUMENTARY YOU HAVE BEEN WORKING ON FOR YEARS THAT TOOK SOME TWISTS AND TURNS ABOUT GARY BILL LEHTO, ALSO KNOWN AS TIGER.

CAN YOU TALK ABOUT YOUR FILM, TIGER, AND HOW THAT HAS EVOLVED AND WHERE WE ARE TODAY WITH THAT?

>> YEAH, SO TIGER IS FINALLY DONE.

>> CONGRATULATIONS.

>> THANK YOU.

AND THAT HAS BEEN 17 YEARS.

>> 17 YEARS OF PASSION.

>> WHEN I FOUNDED ON A TECHNICAL LEVEL, THAT DOCUMENTARY HAS SEEN SEVEN DIFFERENT CAMERAS THROUGHOUT THE COURSE OF ITS EVOLUTION.

WHEN I HAD STARTED IT, GARY STORY WAS PART OF ANOTHER STORY I WAS DOING.

AS I WAS FOLLOWING THIS KID WHO WAS A BOOKIE ON THE STREETS.

OVER TIME, IT REALLY -- IT WAS OBVIOUS THAT GARY'S STORY WAS FRONT AND CENTER.

YOU JUST SOMETIMES AS A FILMMAKER, ESPECIALLY IN THE WORLD OF DOCUMENTARY, YOU NEED TO GO WITH YOUR GUT AND SEE WHERE IT IS LEADING YOU.

GARY EVENTUALLY ENDED UP GETTING HURT TRAGICALLY.

>> BROKE HIS NECK.

>> RIGHT.

>> BROKE HIS NECK, BECAME A PARAPLEGIC.

>> YES.

AND THEN I FOUND MYSELF FILMING IN THE ICU FOR MONTHS AND THEN HIS REHAB AT SPALDING IN BOSTON FOR MONTHS.

>> THE IMPACT ON HIS FAMILY AND LIFE.

>> RIGHT.

BECAME A DIFFERENT STORY.

>> WE WILL SHOW CLIPS, BUT YOU DID IT IN A WAY THAT IS PURE CINEMA.

THESE ARE NOT ACTORS.

YOU MAY THINK THEY -- BECAUSE A LOT OF THESE PEOPLE ARE BEAUTIFUL LOOKING PEOPLE I THINK.

AND, YOU MADE IT CINEMA.

IT IS NONFICTION, BUT SOMEONE MIGHT THINK IT IS FICTION BECAUSE IT IS A REAL DIFFERENT ARTFORM I THINK.

>> YEAH, WHAT IS KIND OF CALLED CINEMA VERITE.

FOR ME, I WAS THIS ART OF BEING PASSIVE.

I DO NOT DO INTERVIEWS.

I DO NOT DO ANY OF THE TRADITIONAL -- I DID NOT WRITE ANYTHING.

WHAT HAPPENS IN FRONT OF THE CAMERA HAPPENS IN FRONT OF THE CAMERA.

WHEN I WOULD GO INTO ANY SITUATION FILMING, I HAD NO IDEA WHAT WAS GOING TO HAPPEN.

I CONTROL NOTHING.

ALL I TRIED TO DO WAS CAPTURE IT AS CINEMATICALLY AS I COULD.

>> AND YOU DID.

>> THANK YOU.

>> YOU CAPTURED THESE VERY POWERFUL MOMENTS.

>> I THINK IT IS FOR ME WHEN I WATCH SOMETHING, THE LESS IS MORE CONCEPT, MEANING WHATEVER IS HAPPENING IN FRONT OF THE CAMERA, LET IT HAPPEN.

THAT IS ALL I NEED TO SHOW.

>> I THINK WHAT YOU ARE DOING IS YOU ARE CAPTURING THE TRUTH.

THAT IS THE MAGIC.

YOU CAPTURE THE TRUTH AND YOU ARE ALSO CAPTURING IT AS BEST AS IT COULD BE CAPTURED.

>> AND FOR ME AND I DID THE SAME THING WITH RIPPLE EFFECT ALTHOUGH WE HAD TO DO INTERVIEWS WITH RIPPLE EFFECT, BUT -- AND I GET BORED FILMING INTERVIEWS.

I SOMETIMES HAVE TO DO IT, BUT EVEN WHEN I WAS FILMING THE CONTENT WE WERE CAPTURING IN THE FIELD, I WAS TRYING TO GET AS CINEMATIC AS I COULD.

PART OF THE REASON I NOW UNDERSTAND IS IT IS A WAY FOR ME TO DISCONNECT FROM SOMETIMES THE HARSH REALITY I HAVE TO CAPTURE.

A DIFFERENT THING TURNS ON IN MY BRAIN WHERE I AM WORRIED ABOUT THE COMPOSITION OF THE FRAME, TRYING TO ALMOST THINK ABOUT WHAT I AM CAPTURING IS NOT REAL IN A SENSE IN TRYING TO THINK MORE OF A FILMMAKER.

I AM NOT A DOCUMENTARY FILMMAKER.

>> WHAT YOU ARE.

I UNDERSTAND -- BUT YOU ARE.

I UNDERSTAND.

I GUESS WHAT YOU'RE ARE SAYING IS YOU ARE AN ARTIST.

YOU'RE A FILMMAKER ARTIST BUT YOU ARE.

>> IT IS LIKE I AM TRYING TO BRING TO THE TABLE NARRATIVE FILMS THAT HAVE INFLUENCED ME OR CINEMATOGRAPHY THAT HAS INFLUENCED ME.

>> ANY PARTICULAR FILMMAKERS THAT YOU HAVE BEEN TO LOVE -- THAT YOU HAVE BEEN TO LOVE?

MENTION A FEW THAT INSPIRE YOU.

>> IF I'M GOING TO TALK ON BOTH SIDES OF THE TABLE, THERE IS -- ON THE DOCUMENTARY, CHRIS SMITH, WHO DID ONE OF MY FAVORITE DOCUMENTARIES CALLED AMERICAN MOVIE.

WHEN I HAD GRADUATED FROM EMERSON COLLEGE, THINGS WERE NOT LIKE THEY WERE TODAY WHERE YOU HAD THE INTERNET.

YOU DID NOT HAVE YOUTUBE.

DO NOT HAVE AS MUCH ACCESS TO MAKE FILMS.

YOU KIND OF HAD TO BE IN THE BUSINESS IN MANY RESPECTS.

I LIVED IN RHODE ISLAND.

I WAS NOT READY TO MAKE THE MOVE TO L.A.

STANDING -- STAYING AROUND MY FAMILY WAS IMPORTANT.

WHEN I SAW AMERICAN MOVIE, NOT ONLY WAS IT ONE OF MY FAVORITE DOCUMENTARIES BECAUSE THE PEOPLE WITHIN THE DOCUMENTARY WERE SO CAPTIVATING AND QUIRKY AND YOU WOULD HAVE THOUGHT THEY WERE WRITTEN, IT WAS THIS LOW-BUDGET DOCUMENTARY.

IT TURNED THE SWITCH ON FOR ME THAT I CAN JUST GO GRAB A CAMERA, FIND INTERESTING PEOPLE AND TRY TO TELL A STORY.

THAT IS HOW TIGER EVOLVED.

AMERICAN MOVIE, ONE OF MY FAVORITES, BY CHRIS SMITH.

YOU HAVE YOUR OBVIOUS OTHER.

>> YOU LIKE PAUL THOMAS ANDERSON.

>> I LOVE PAUL THOMAS ANDERSON.

>> WOULD YOU SAY HE IS YOUR FAVORITE >> I DO NOT KNOW IF I HAVE A FAVORITE.

I HAVE A GROUP OF FAVORITES.

I HAVE SO MANY BECAUSE YOU TAKE DIFFERENT THINGS FROM DIFFERENT FILM MAKERS.

I CANNOT SAY I HAVE A FAVORITE.

I JUST LOVE AND RESPECT SO MANY OF THEM FROM PAUL THOMAS ANDERSON TO OBVIOUSLY YOU HAVE SCORSESE AND TARANTINO.

THOSE ARE MOSTLY GIBBONS.

-- MOSTLY GIVENS.

>> SO TIGER, WHICH WAS ALMOST A TWO DECADE LONG PASSION, HAS COME TO FRUITION.

WHAT IS THE GAME PLAN FOR TIGER?

>> TIGER ACTUALLY, THE CUT HAS BEEN DONE FOR A YEAR.

>> HOW LONG IS IT?

>> IT IS AN HOUR AND 15 MINUTES.

SO THAT WAS A CHALLENGE.

TAKING YEARS AND YEARS OF CONTENT AND WHITTLING IT DOWN TO UNDER TWO HOURS.

RIGHT NOW, THE LEG OF THE WORD -- AND THIS HAS BEEN MY EYE-OPENER IN TERMS OF THE BUSINESS SIDE OF THINGS.

MUCH OF IT, I DO NOT ENJOY BECAUSE I LIKE TO DO THE WORK OF THE FILMING AND THE STORY TELLING.

>> THE LEGAL STUFF?

>> I CANNOT STAND IT.

IT RUINS THE PROCESS FOR ME.

>> BECAUSE YOU HAVE TO BUTTON UP EVERYTHING SO THAT YOU CAN OFFER IT TO WHETHER IT IS NETFLIX OR WHOMEVER, A DISTRIBUTOR.

YOU HAVE TO HAVE EVERYTHING BUTTONED DOWN LEGALLY.

>> IT HAS BEEN -- IT IS RIDICULOUS.

IT HAS BEEN A YEAR OF THAT.

>> IS ANYTHING YOU FEAR WITH THE AUDIENCE BECAUSE OF YOUR EXPERIENCE THAT YOU WOULD TELL PEOPLE, PLEASE KEEP THIS IN MIND WHILE YOU ARE DOING THE PROCESS?

>> I COULD WRITE A BOOK ON IT.

WITH TIGER, OBVIOUSLY, IT WAS A DIFFERENT CASE WHERE WHEN I STARTED FILMING, THE INDUSTRY OVER THE YEARS HAS CHANGED.

AS HAS THE LEGALITY FACTOR OF IT.

THINGS THAT WHEN I STARTED FILMING IN 2000, 2001, WE WERE NOT -- I WAS NOT EVEN THINKING.

I AM WRITING SOLO.

>> YOU COULD HAVE BEEN FILMING IN FRONT OF A BLOCKBUSTER THAT NO LONGER EXISTS AND THERE MIGHT HAVE BEEN SOMEBODY THERE WHO IS IN YOUR BACKGROUND SHOT.

>> EXACTLY.

>> IT IS LIKE, HEY, MAN, THERE IS NOT EVEN A BLOCKBUSTER.

>> MY ARGUMENT IS WHAT WE ARE SUPPOSED TO HAVE AS FILMMAKERS, DOCUMENTARY FILMMAKERS JOURNALISTICALLY AS THE FAIR RIGHTS USE.

THAT IS GONE PRETTY MUCH.

ANY FILMMAKER THAT IS GOING TO FILM ANYTHING, ESPECIALLY IN THE WORLD OF DOCUMENTARY, IF YOU ARE INTO A LOCATION, MAKE SURE YOU'RE GETTING THE PROPERTY RIGHTS TO FILM IN THAT LOCATION.

WAIVERS TO GET YOUR LOCATION.

LOCATION WAIVERS.

YOUR PROPERTY MATERIALS LOCATION.

THIS CUP OF COFFEE -- THIS CUP OF WATER.

THE MAGAZINES.

THAT IS WAVED OFF.

OBVIOUSLY THE PEOPLE YOU ARE FILMING OR THE PEOPLE IN THE BACKGROUND.

SO MUCH TO IT.

>> IT IS THAT BUSINESS SIDE OF THINGS.

>> IT IS EXHAUSTING.

>> BUT YOU ARE HAPPY, YOU'RE EXCITED ABOUT THE FILM?

>> YEAH, I AM SO PROUD OF IT.

>> YOU HAD MORE CALENDULA DO THE MUSIC.

>> WE ACTUALLY DID THE MIX AND EVERYTHING IN ROME LAST YEAR AT THIS TIME.

>> WONDERFUL.

>> LAST DECEMBER IN JANUARY, WE WERE IN ROME MIXING FOR TIGER.

NOW IT HAS BEEN A YEAR OF PAPERWORK.

>> THE OTHER THING YOU DO -- AND YOU GET HIRED BY A LOT OF DIFFERENT COMPANIES TO TRAVEL.

I WILL HEAR YOU SAY I HAVE TO GO TO LAS VEGAS.

WHAT KIND OF STUFF ARE YOU DOING WHEN YOU GO TO LAS VEGAS?

>> I GET HIRED BY STUDIOS AND AGENCIES TO DIRECT COMMERCIALS.

A LOT OF TIME, IT IS SITUATIONS WHERE I HAVE TO GO OUT AND TRAVEL AND DIRECT A COMMERCIAL FOR 2, 3 DAYS.

GET EVERYTHING SHOT.

BRING IT BACK TO POST HERE.

I DO ALL OF MY POSTPRODUCTION HERE.

>> WHAT IS YOUR FAVORITE PART?

IS IT THE FILMING, THE EDITING ECHO >> THAT IS A LOADED QUESTION BECAUSE, I USED TWO LOVE THE FILMING PART.

I STILL DO, BUT AT LEAST ALL OF THE CONTENT I HAVE HAD TO SHOOT OVER THE YEARS IN THE WORLD OF DOCUMENTARY HAS WEIGHED ON MY HEART A LITTLE BIT.

>> YOU HAVE BEEN DOING A LOT OF DARKER MATERIAL.

>> RIGHT, AND AGAIN, IT DOES SHIFT MY LOVE FOR GRABBING A CAMERA.

>> YOU'RE GOING INTO A DARK PLACE.

IT IS LIKE, I'M GOING TO DO SCHINDLER'S LIST.

THE NEXT FILM, I AM DOING SCHINDLER'S LIST AGAIN.

>> YOU HAVE TO BRING IT BACK TO POST AND EDIT IT AND SEE THE SAME CONTENT OVER AND OVER.

A COUPLE YEARS AGO, WHAT I DID TO SIDETRACK THAT PART OF MY BRAIN WAS -- I ALWAYS ENJOY THE POST PRODUCTION OF THINGS SUCH AS COLOR GRADING.

>> BECAUSE YOU HAVE CONTROL?

>> I DO NOT KNOW IF IT IS BECAUSE I HAVE CONTROL.

I DO NOT WANT TO SAY THE ARTISTIC SIDE OF THE BRAIN.

IF I AM MAKING TOOLSETS, IT IS SOMETHING I ENJOY.

IT IS ALMOST MY MEDITATION.

IF I GO INTO A PROGRAM LIKE AFTEREFFECTS OR I CREATE COLOR GRADING TOOLS, I FOUND MYSELF CREATING A WHOLE BUNCH OF TOOLS FOR OTHER FILMMAKERS TO USE WHETHER IT IS COLORING TOOLS, SOUND EFFECTS, LIBRARIES.

IT WAS MY WAY OF CREATING, ISOLATING SHADE NOT HAVING TO DEAL WITH THE HEAVINESS I WAS DEALING WITH.

>> IT IS ALMOST LIKE PAINTING.

>> I WAS CREATING TOOLKITS.

NOT JUST FOR MY WORK, BUT FOR OTHER PEOPLE TO USE.

>> WHAT IS THE NAME?

>> IT IS CALLED CINEPUNCH.

>> NOW, CINEPUNCH IS A SUITE OTHER FILMMAKERS CAN ACCESS.

IT IS ALL DIFFERENT TIMES OF AFTEREFFECTS.

>> IT IS EVERYTHING.

FROM COLOR GRADING TOOLS TO SOUND EFFECTS TO TRAILER SOUND EFFECTS TO TOOLKITS.

>> GIVE THE AUDIENCE SOME EXAMPLES OF HOW THAT WOULD BE USED.

>> ANYTHING FROM -- TRANSITIONS.

ONE-SHOT TO ANOTHER.

YOU CAN USE A TOOL IN A PROGRAM LIKE ADOBE PREMIERE AND MAKE AN EFFECT BETWEEN YOUR TWO SHOTS SO YOU HAVE A COOL TRANSITION.

OR SOUND EFFECTS LIBRARIES IF YOU'RE DOING SOUND MIXES.

I HAVE ALMOST 3000 SOUNDS I CREATED TO GIVE FILMMAKERS THE ABILITY TO MIX DIFFERENT SOUNDS.

FOUR-COLOR.

YOU NEED A COLOR TWEAK.

>> YOU MIGHT SHOOT SOMETHING AND A CREEPIER EFFECT.

WANT TO HAVE >> THERE ARE TOOLKITS THAT I CREATED IN THAT SWEET WHERE YOU CAN DRAG-AND-DROP YOUR FOOTAGE.

I CAN LOOK LIKE GOING FOR SOMETHING THAT WAS SHOT YESTERDAY TO SOMETHING THAT WAS SHOT IN 1918.

WHAT THAT DID WAS AGAIN, LIKE THE WAY I WAS ABLE TO JUST MOVE MY BRAIN TO A DIFFERENT PLACE.

IT WORKED OUT.

I DID NOT HAVE THE INTENT TO DO ANYTHING AS FAR AS BUSINESS OPPORTUNITY WHEN I MADE IT.

IT JUST KIND OF GREW.

>> IS IT A SUBSCRIPTION?

>> NO, FILMMAKERS BUY IT ONE TIME.

>> THEN THEY HAVE THAT.

YOU SAID EVEN IN THE MOST RECENT STAR WARS -- >> ALL OF THE BIG STUDIOS HAVE USED IT.

CLIENTS I HAVE FROM LUCASFILMS TO WALT DISNEY PICTURES TO HBO TO SHOWTIME.

>> THAT HAS TO BE EXCITING.

>> YEAH, IT IS COOL.

BUT I LIKE IT WHEN THE INDIVIDUAL FILMMAKERS ARE USING IT AND THEY WILL SEND ME -- >> THEY WILL SEND YOU AN EMAIL?

>> I LOVE THAT.

THEN IT FEELS LIKE IT HELPS SOMEBODY.

>> DO THEY GIVE YOU IDEAS OF THINGS THEY WANT?

>> AT THIS POINT, I HAVE PUT SO MUCH INTO THE SUITE.

I HAVE A FEW MORE TOOLS I WILL BE DEVELOPING TO ADD INTO THE SUITE SUCH AS TITLE EFFECTS AND THINGS LIKE THAT.

I HAVE ADDED SO MUCH THAT THE VALUE IS OFF THE CHARTS.

>> THAT IS FANTASTIC.

WHAT IS NEXT?

>> ASIDE FROM THE TIGER 2020 GETTING THAT OUT TO THE WORLD -- I'M FINISHING UP A PROJECT WITH DANTE BELLINI ON KEN BURNS.

WE ARE IN THE MIDST OF FINALIZING THAT.

>> THIS IS KEN'S -- IT IS A DOCUMENTARY ON KEN BURNS AND HOW HE WORKS?

>> PART OF IT.

IT IS KIND OF HIS -- IT IS ALSO SHOWING HOW WALPOLE, NEW HAMPSHIRE IS HIS HOME BASE AND HOW IT HAS GIVEN HIM A FOUNDATION TO BE A FILM MAKER.

WHEN HE STARTED, THE BROOKLYN BRIDGE BEING THE FIRST FILM, HE HAD THIS DECISION WHERE AT THE TIME, HE WAS LIVING IN NEW YORK.

HIS RENT WENT UP I THINK IT WAS 350 BUCKS AT THAT TIME IN THE LATE 1970'S.

HE WAS IN A POSITION WHERE HE HAD TO DECIDE I AM EITHER GOING TO SHELF THIS DOCUMENTARY I AM MAKING AND GET A JOB TO PAY MY RENT -- OR HE ENDED UP FINDING WALPOLE WHERE HE ENDED UP SAVING MONEY AND STILL PURSUING HIS DREAM AND ENDED UP MAKING THE BROOKLYN BRIDGE.

IT GAVE HIM THE FOUNDATION -- >> TO LIVE AND WORK IN A PLACE HE LOVED AND MAXIMIZE HIS POTENTIAL.

>> AND NOT BREAK THE BANK.

>> AND THAT IS WHAT YOU DID.

>> EXACTLY.

IT IS KIND OF IRONIC.

>> I WANT TO THANK YOU SO MUCH FOR YOUR TIME.

I WANT TO THANK YOU FOR YOUR TALENT AND FOR WHAT YOU DO.

YOU ALSO ARE ABLE WONDERFUL -- ARE A WONDERFUL MENTOR TO A LOT OF FILMMAKERS.

YOU ARE A GREAT FAMILY PERSON AS WELL.

A WONDERFUL ASSET TO THE STATE OF RHODE ISLAND.

I AM BLESSED TO CALL YOU MY FRIEND.

>> THANK YOU.