4 Questions: DOWN IN NUMBER 5

We thought it would be a good idea to help you get to know some of our fantastic filmmakers. So, borrowing an idea from LA Weekly’s Karina Longworth (the Bernard Pivot to our James Lipton), we submitted four questions to each filmmaker about and themselves and their films.

Meet Kim Spurlock, director of Down in Number 5, a haunting short film (based on a true story) about a retired coal miner struggling to care for his 40-year old developmentally disabled son.  Down in Number 5 screens with the documentary feature Rachel Is on Thursday, June 10th at 5:30pm.

1. Tell us about your movie. Give us the reductive, 25-word or less, “It’s like [pop culture reference a] meets [pop culture reference b]!” pitch, then explain what the quick and dirty sell leaves out.

“Down in Number 5″ is a Southern Gothic fact-based fiction.  I can’t think of a pop culture reference for it!  I don’t feel entirely comfortable comparing myself to authors of such stature, but if I had to pick, I would say it is like Harper Lee meets Flannery O’Connor?

2. Are you a full-time filmmaker?  If not, tell us how you get by while raising money for your films, or share something  juicy you had to do to get your film made.

My sister sent out a missive with the words ‘Baby Shower’ in the subject heading and then proceeded to treat my film as if it were my baby, with a ‘registry’ that she created outlining specific expenses: $25 for a roll of gaffer’s tape, or $150 for lunch for our crew, etc.

3. Have you been to deadCENTER before?  What’s something you look forward to discovering (or re-living) at the festival and/or in Oklahoma City?

Wish I could be there!

4. Every filmmaker has influences and cinematic heroes.  Name one of yours, and while you’re at it, tell us one film (or scene) in history that you wish you had directed.

I admire Ang Lee because his work transcends cultures, race, gender and sexual orientation.  So many, many, many scenes that I love.  I love the simplicity and emotional impact of the climactic scene in Ordinary People when Donald Sutherland’s character realizes he loves his wife.  I also love the scene in Tender Mercies when Robert Duvall’s character lies to his daughter about knowing the lyrics to Snow White Dove, but then sings it softly to himself after she leaves.  Oh yeah, and the french toast scene towards the beginning of Kramer vs. Kramer.

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