Interview with Monster Camp Director, Cullen Hoback

Indiefilmchat: Monster Camp is easily the most unique documentary I have seen in some time. What led you to the world of Larping and how did you go about producing this film?

Cullen Hoback: It was a fluke actually. I was rolling off of directing a narrative feature about adults who find meaning in their lives through imagination and pretending. I was at dinner, and my girlfriend at the time's younger brother started talking about this place he went to each month where people took on alternate fantastical identities and created a world based on magic and imagination. Basically, he summarized, people had come up with a way to take tabletop role-playing (Dungeons and Dragons), and live out the plots and characters for real. What perplexed me most was how they actually went about bringing magic into the real world. Like, how does someone get "hit" with a magic spell? Much of the film focuses on the real-world issues that involve bringing this fantasy to life, and the inherent humor therein.

CH: Monster Camp is largely influenced by Spellbound, Trekkies, and American Movie. Maybe if it followed the "in-game" story and didn't dig deeper I could see some nose-turning. But this film peers into the minds of a group of people who have a different perspective on reality. It hones in on themes of community, the negatives/positives of escapism, and the ever-growing cultural phenomenon of assuming alternate identities, be it online or in costume. Plus it's funny.

CH: That's a good question. I think what's funny to the participants is also funny to us. The vibe of the film is "laugh with" rather than "laugh at". Of course there are serious moments, but those who were in the film and have seen it didn't seem offended by the cut. I heard that G4 did a 5 minute spoof on these guys a while back. It's easy to pick on things that are different. What interests me is finding what is relatable.

CH: It's possible that films like Monster Camp will trigger a little growth. I've talked to a few people after screenings who were ready to transform into Sea Elves or Dream Moths and wanted to find their local chapter. But I'd be surprised as hell if Larping ever eclipsed the popularity of something like World of Warcraft.

CH: I started filming Monster Camp in the Summer of 2005, pulled in my last shots Summer 2006. The editing process took about 6 months from there. What no one ever tells you is that's only half the battle. Between the festival circuit, promotion, and distribution—you could say I'm still working on it.

CH: My co-producer Aaron Douglas infused a little money (who I had worked with on Freedom State). But it wasn't an expensive film to make. We initially wanted to finance the film with a bigger budget, but things were going awry in the NERO universe, and there was no time to wait for money. Most of the cost was in legal fees and the initial festival entrance fees. The rest of the budget paid for gas, coffee, and a small crew for a few days of production. I had all of my own equipment that I'd accrued over the years, so the real cost was in time, the credit card debt that ensued, and digital sweat.

CH: While shooting, a dark elf smacked me in the face with his sword. It was during an in-game war. Those "padded" weapons drew blood. I guess that's why the Nero Larpers have insurance through the Boy Scouts of America.

CH: Thanks! I have a background in Cinematography and shot the majority of Monster Camp myself. I made a decision early on to have a frenetic style while maintaining composition. I always exposed for the whites in the image, and brought up my mids when necessary in post. I was working with a solid B-Unit, and did my best to convey the style to Morgan while he followed some of the other characters simultaneously. I was also very conscious of grabbing multiple sizes while shooting a one-camera interview, which allowed me to trim interviews without the jump cuts being obnoxious. I also did my best to grab multiple angles in any situation, even if I only had one camera, because I knew I wanted it to have a narrative vibe (which is also why I shot it at 23.98 fps 16:9 aspect ratio). That meant a lot of quick pans (that I would later cut out), reframes, and wide coverage.

CH: I really enjoyed being welcomed into the lives and world of the participants in the film. What a great excuse to peer inside the walls of homes I would normally be unlikely to enter. Plus the film festivals were a blast. Shout out to Cinequest, IFFB, Cucalorus, Durango, and Jacksonville! Those were some happening fests!

CH: Anything to do with anything legal! Just looking at a release or contract makes me a little queasy.

CH: I'm heading back into the narrative realm. There are a few projects, but one I really love. That one probably won't get made first, because it's not specifically a comedy or a thriller—more or a family dramady. But I might just be obstinate, go back up to Portland and make it anyway. But if I do that, I'm going to need a really kick ass B-List star. Also, there's a really funny music video I just finished for Speechwriters LLC (who also did the music for Monster Camp). Should be coming out in October. Lets just say, there's a 300lbs tiger in a Prius.

CH: Don't put a 300lbs tiger in your personal car just for the sake of a film. Rent the car and take out an insurance policy.

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