Interview with Actor, Stuntman & Filmmaker Gino Montesinos

Gino Montesinos is a Los Angeles-based professional actor and director active in all media: film, television, professional theater, commercials, and voice-overs. He started his career as a youth in the theater and has been privileged to star at such premiere American theaters as The Pasadena Playhouse, The Mark Taper Forum, Lincoln Center, the New York Shakespeare Festival and The American Repertory Theatre. Internationally he has also starred in major theatrical productions in Italy, the Dominican Republic, and Mexico working in Italian and Spanish.

In Mexico, Gino took audiences of all ages time-traveling as the Paleontologist in “Walking with Dinosaurs: The Arena Spectacular.” In two premiere sports arenas in Mexico City and Monterrey, as the lead and only actor in a $27 million production, he performed in Spanish to SOLD OUT audiences of 11,000 at a time reaching nearly 100,000 total audience. He interacted with 17 life size, state-of-the-art, animatronic dinosaurs, many 40 ft. tall and costing $1 million each, generating nearly $10 million at the box office in two weeks.

@barrettmarlyne Real pleasure working with you, Marlyne. Thanks for your and everyone’s hospitality. Great episode! 🙂 pic.twitter.com/HpjF58gv7H

— Gino Montesinos (@GinoMontesinos) February 3, 2017

Film and TV work includes a pivotal supporting role in The Perfect Game with Clifton Collins Jr.; a guest appearance on Mental; and the lead as ‘The Wood Sculptor’ in a Kaiser Permanente national commercial voiced by Allison Janney and directed by Noam Murro.

Recent work includes a recurring guest star in the upcoming TV series Palomino & Swissy with Eric Roberts; a guest star on Animal Kingdom; the lead in the TV pilot Loose Screws opposite Tia Carrere & Amy Pietz, directed by Andrew Lauer; his directorial debut in Soi Fabulous‘ music video FALLEN ANGEL featuring Bollywood film star Sheena Chohan and directing & starring in his first narrative piece 4PM about the rape crisis facing young women today.

Gino has been fortunate to collaborate with some of the best artists working in entertainment today. All told, he has collaborated with 8 Oscar, 8 Golden Globe, 31 Emmy, 5 Tony winners, a couple of MacArthur “Genius Grant” Awardees, and a Nobel Laureate in Literature just for good measure!

He continues to ply his craft working in all media and in rehearsals at The Acting Center in Los Angeles as a respected Hollywood actor and now film director.

Gino remains grateful to his parents who, from the beginning of his career, made it possible for him to direct his need for self-expression across bigger and broader canvasses as a professional actor and now filmmaker

indieactivity: Why did you get into filmmaking and screenwriting?
Gino Montesinos: Starting when I was quite little, 9 or 10, my father would constantly tell me that I was a natural writer and that I should pursue fiction writing as I had a natural story telling ability. If I wanted to see television, he would require at least a one page report from me on what I saw. He was a very clever teacher. He was just trying to improve my writing skills.

Throughout my life, many people in and out of the business, even just conversing with them, they would often say I should write that down and direct my own movies. I never took them seriously until I did a directing course at The Acting Center in Los Angeles in which I directed over 22 pieces in order to graduate and I noticed how enthralled audiences would get watching my pieces.

When Soi Fabulous called me for help as her team had fallen out, I gave her about 6 solutions to get her piece done then I realized I was flinching and threw my hat in the ring. I shot her a quick “concept email” on what I would do with her song FALLEN ANGEL and to my pleasant surprise she told me she liked my concept the best and if I would please direct her music video. I told her that I had directed plenty of theater before, but never film, but she told me she trusted me and so we began to work together. I figured a short is usually at least 10-15 minutes, a gradient that might still be high for me, so I took FALLEN ANGEL, being only a 4 minute song, as a lower gradient or a “putting my toe in the cold pond of directing” and I jumped in! I love it! Cold water is so invigorating!

indieactivity: How does an indie filmmaker distribute his/her film’?
Gino Montesinos: I honestly don’t know myself, but I do know this: don’t take “No” for an answer, ask a million questions, and bark up every tree, leave no stone unturned, until you get your film distributed. Do lots of research. Make a million phone calls. Reach out to EVERYONE. And, this is most important, KNOW that no matter how many thousands of times you are rejected, failure, that is, not getting your film distributed, IS NOT AN OPTION.

I also would highly recommend hiring a publicist who can get you many interviews building your profile in the industry so people take you more seriously. They are expensive, especially for an indie filmmaker, but well worth it, I’ve found out very quickly. I slaved over FALLEN ANGEL for 13 months and there was no way I was going to let all of this hard, brilliant work go unnoticed. It would be too painful. So I hired Jasmin Espada of ESPADA P.R. in Los Angeles who is brilliant and very up-n-coming-artist-friendly. A publicist has been one of the best investments I’ve made in my career so far.

indieactivity: At what period in the filmmaking process, does an indie filmmaker need to start planning for distribution?
Gino Montesinos: I’d say even before shooting you should think about distribution. It’s important to remember that a film isn’t just your personal expression, but it is a commercial product to be sold or your artistic life will not continue. So it’s important to think about distribution, marketing, promotion, the works. There’s an old saying that there’s three types of films: the one that’s written, the one that’s shot, the one that’s edited. I’d say there are several more: the one that’s sold, the one that’s distributed, the one that’s marketed or reviewed or screened, and, the most important, the one that the public buys. It’s important to be original, but not so out of touch that no one understands what you are trying to communicate.

That’s been my hardest lesson not only as an actor, but especially as a filmmaker: it is imperative that you make yourself understood. The hardest expression in the world to make is one that doesn’t go over the head of your audience. If it does go over your audience’s head, well, that’s on you because, IMHO, you’re responsible for making yourself understood by the audience. If you don’t, you will starve.

indieactivity: Indie filmmaking is a model based on zero-budgeting or small budgets. How do I get my film in theatres with such a budget?
Gino Montesinos: Production budget is not as important, in my humble opinion, as is your marketing and promotion budget. Perhaps these last two are even more important. With heart and ingenuity, you can make something really interesting on a micro or no-budget project. “Production values” beyond professional sound and vision aren’t the most important thing. What I think is most important is to be compelling. Does your story hold the audience’s attention rapt for two hours? THAT is what you should always strive for: to tell such a compelling story that no one even asks how much you spent on your movie, including fellow filmmakers!

indieactivity: How can filmmakers finance their projects?
Gino Montesinos: However, they can. Personally, I am not a fan of going online and asking for money. It feels like begging and I feel demeaned and lessened in the process. I did it once successfully and I’ll never do it again. I make an excellent living as a Hollywood actor so I prefer to self-finance. I’m apparently in good company. Many filmmakers self-financed their first project from Doug Liman with SWINGERS to Ava Duvernay with I WILL FOLLOW, if I’m not mistaken, two projects that launched their careers.

I also have much to learn about film finance which I will learn. I will also hire a top Hollywood casting director to cast my project as they have access to stars whose attachment can then lead to financing at a much higher level than you’d be capable or wise to do on your own.

indieactivity: What films have you written? [With titles, year, links to watch (trailers)]
Gino Montesinos: I have co-written 4pm (2019). It’s in post-production. No footage or trailer yet. I have written Soi Fabulous Feat. Sheena Chohan: Fallen Angel (2018) Music video:Soi Fabulous – Fallen Angel ft. Sheena Chohan

I have co-written Xtasy: The Real Story – Part 2 (2008) Short Film: Xstasy:  The Real Story Part 2 (2008), I have co-written Xstasy:  The Real Story Part 1 (2006) Xstasy: The Real Story Part 1 Intro (2006), Xstasy: The Real Story Part 1 Outro (2006)

indieactivity: What are the films that you have made?
Gino Montesinos: I have directed, co-written, co-produced, and starred in 4pm (2019) which is in post-production. No footage or trailer yet. I have written, directed, produced, co-edited Soi Fabulous Feat. Sheena Chohan: Fallen Angel (2018)

Music Video: Soi Fabulous – Fallen Angel ft. Sheena Chohan, I produced Trial & Error (2010)  Short Film: Trial & Error (2010), I produced The Feast (2010)  Short Film: The Feast (2010), I produced and starred in DRIP (2009), DRIP Part 2 (2009)

indieactivity: Talk to us about your concept on collaboration?
Gino Montesinos: My concept of collaboration is very simple: I hire artists’ whose sensibility and technical ability I admire then create a safe space for them to let loose what is in their hearts and imaginations then, after meticulous preparation and homework, I direct them to very specific choices. What often happens is that some spontaneous, electric creation occurs that neither of us thought of which is greater than the two of us. THAT is what I use. This THIRD expression, the product, the result of our collaboration is what I look for and use. Some folks call it “theatrical accident”. I call it INFORMED theatrical accident.

I use this approach when I collaborate with ALL of my department heads such as cinematography, production design, with the actors, writers, etc. Occasionally, you have to work with an artist who is not capable of working at this highest level of collaboration, so with these artists, I tell them EXACTLY what I want them to do and this is usually met with great gratitude and relief. Gradually as they gain more confidence in their own ability as artists, I loosen the reins because ultimately I am interested in what THEY want to create not what I command them to create as director. The art, the creative process, the collaborative experience, is more fun and RICHER, even FASTER this way.

indieactivity: How do you find the process of filmmaking as an indie filmmaker?
Gino Montesinos: I’m not gonna lie. I find it at least 10X HARDER if not 100X HARDER than acting. It takes its toll on you. Surprisingly, the heaviest toll it takes is on your body. Filmmaking destroys your body if you let it. From eating the wrong foods, not sleeping enough, too much sugar consumption, not resting sufficiently, pushing your body BEYOND what it’s not only NOT used to, but physically capable of. It’s grueling.

Ultimately, however, like a well-written term paper, a completed film is tremendously satisfying. I imagine it’s what giving birth must feel like. I feel like I imagine a woman must feel when she gives birth. She goes through great discomfort and pain, but the result is magnificent. I’m glad that I’m getting back in shape physically just for personal reasons because if I don’t, I don’t think I’d be able to continue being a filmmaker. IMHO, in order to be a serious filmmaker, you have to be or get yourself in phenomenal shape, that is, catch up your body with your intellect and imagination or you’ll never be able to follow through in the physical universe what you have in mind. I’ve just started getting back in shape and I look forward to the challenge!

indieactivity: Describe your recent work, or film, take us through pre-production production and post production. Marketing too?
Gino Montesinos: Soi Fabulous’ FALLEN ANGEL featuring Sheena Chohan was a whirlwind experience that I won’t soon forget!  Soi’s production team had fallen out at the last minute so I was drafted.  Basically we shot everything from the hip, improvising, creating on the spot, trying everything and from this shot-gun approach developed a very laser precise method of working and from that precision was born a clear, concise, hopefully impactful story.  I don’t necessarily recommend working this way, but we made the best of it.

 Post-production was an arduous, difficult process for me because it was my first time and I made plenty of mistakes and overworked inefficiently, but thanks to my great co-editor, C. David Jones, we finally put in a sensible working order and came up with what we believe is a wonderful, heart-felt music video which is really a short, dramatic film.

Marketing has been much easier.  I was wise to hire a professional PR agency, Espada PR, and they are helping to get the word out in a really big way.  We’ll also continue our marketing process by applying and hopefully getting in to key film festivals across the U.S. and the world to get our message out.

Our hope in the end is that bigger production companies, management companies, talent agencies, celebrities will jump on our anti-opioid bandwagon and help us to get the word out far and wide.  It’s an important issue that affects everyone so it’s our hope that these powerful folks will agree and join us perhaps in the spirit of We are the World.

indieactivity: What are your future goals?
Gino Montesinos: My immediate goals are to co-edit the Spanish version of FALLEN ANGEL and release that; then co-edit 4pm and begin the whole marketing process all the while continuing the marketing journey of the English language version of FALLEN ANGEL while expanding my acting, now directing & filmmaking careers to a level where Clint Eastwood took his. He’s my ultimate role model.

What an extraordinarily rich and varied career this man created for himself. What an incredible love affair this gentleman has had with film. I want to emulate his journey even do more if possible: write (or co-write as I’ve discovered the benefit and advantage of collaborating in the writing process); direct; star; co-produce my own work as Clint and other icons for me have done like Warren Beatty, Woody Allen, George Clooney and now Bradley Cooper Is doing. FALLEN ANGEL and 4pm have taught me that I can indeed make this childhood dream come true.

indieactivity: Tell us about what you think indie filmmakers need in today’s world of filmmaking?
Gino Montesinos: I would say finance and exposure. As hard as the process of actually making a film is, it pales in comparison to raising finance and once finance is raised, the film is cast, shot, and post-produced, terribly hard things to do, now you have to SELL it, that is, FIND your audience if not create it.

The most heartbreaking experiences I’ve had as an actor and now filmmaker have been participating in at least THREE absolutely, artistically OUTSTANDING films that lost millions of dollars for their investors. And, again, let me reiterate, these were GREAT stories, told in COMPELLING ways that failed to find audiences.

So I guess that’s the Number One thing a filmmaker needs today in the world of filmmaking: a more reliable way to at least recoup investment let alone make a profit. Hopefully NETFLIX, AMAZON, YOUTUBE RED, APPLE, HULU, etc. are becoming places where an indie filmmaker can recover his investors’ funds if not at least make a modest profit.

indieactivity: Briefly write about your career [The productions you have done, the talents you have discovered, and the effect this has had on your career – include links to you blog, website etc.]
Gino Montesinos: I’ve had a blast in my career! I’ve learned so many wonderful and varied things! In the First European Lab on Commedia dell’arte as a lead on a double bill with Nobel Laureate Dario Fo, I learned to speak Italian. I served as the American participants’ translator. I learned that I have a knack for languages. I can now speak English, Spanish, Italian, French, some Arabic and some Portuguese. I’m never intimidated to learn a new language!

On Walking with Dinosaurs in Mexico where I performed for audiences of 11,000 spectators at a time with 40 foot tall animatronic dinosaurs, I officially became a Rock Star lol! I learned that vocal energy, that is SOUND ENERGY, has the power to actually move you. When I started the shows, the audiences would scream (for the dinosaurs not for me lol) and the audio engineer told me to step right in the line of the sound and I could feel the vocal energy push me back!

In the Magic Stone, my first pro film gig I booked as a teen, I learned that I was Native American! I had no idea. I thought I was Latino, but the archaeology professor who cast me pulled out maps and showed me EXACTLY what my tribe was. It changed my life! I learned you could be BOTH Latino and Native American!

In the theatrical production of WEST SIDE STORY in the Dominican Republic which I directed, I learned that I DEFINITELY have a vision as a director. This knowledge and belief in myself served me well in FALLEN ANGEL and 4pm.

In LIVING OUT LOUD, Holly Hunter taught me when you have stage fright, to look into your scene partner’s eyes and just start talking. This will erase any kind of stage fright or lack of concentration. I’ve used this Oscar winner’s advice ever since!

I learned from the great Jim Carrey that Superstars are People too! Jim is easily one of the nicest people you will find in Hollywood. We really hit it off and created together a really funny comic routine that didn’t make the movie, but landed squarely in the Deleted Scenes section of the DVD. I’ve not been afraid of a Superstar since and I’ve now worked with 8 Oscar winners. Seminal pro experience with me working with Jim!

In Xstasy: The Real Story Part 1, I learned to write screenplays. It was so hard, but Andrea really took me under her wing and taught me a lot! I also learned from the producer, Robert, how important it is to communicate with your audience or you will lose them. I wrote 8 drafts simplifying without dumbing it down. I hated doing it until I found out how many teenagers saw my anti-Xstasy film across the U.S.: FIFTEEN MILLION STUDENTS!!! Lesson learned!

I learned on THE FEAST how GOOD I was as a producer. Being a producer is about taste. It’s not only about finding and putting together the right elements, but how to create balance between letting the creative elements express themselves, BUT how to make sure your story is clear and concise because ultimately it’s YOU who has to SELL the story.

On POOR BOY, I learned how good of an actor I was because at the Tribeca Film Festival premiere, Michael Shannon, Dov Tiefenbach, Olivia Thirlby made a point of really landing home how GOOD I was in the movie when they saw my shyness about receiving praise for my work. I learned to accept praise on this film. It’s not egotistical. It’s truth. If you work really hard and uncover every stone of your character, you will do great work! Thanks folks!

On FALLEN ANGEL, I learned that I could indeed direct a film. The experience gave me the utmost confidence that I have what it takes to be a major filmmaker. I won’t stop until I am regularly making important feature films that impact our society. I am ready!

4pm taught me that I could make fascinating artistic choices quickly if not instantly and that I didn’t have to AGONIZE over every choice made. We conceived and shot a 15 minute short film in two weeks and it’s TERRIFIC. I will endeavor from now on to work quickly in the post-production process also. I won’t let myself agonize, but come up with quick, workable solutions and let my editor do his thing fully.

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