“It’s just been maturing,” Reginald laughs. “It's gone through its different phases, but I'm really happy with where the script is now and that's something about filmmaking that I really love, even when you think you have a project or a script locked, it never really is. You'll be on the set actually getting ready to shoot a scene and a lightbulb will go on and you'll still continue to write a little bit here and there. Once the film is in the can, you'll actually be in the editing bay and you'll think of something that you might need to either add or take away that'll take the story in a slightly different direction or will make it better, so it's just all part of the creative process, but this particular film I think is really ready to see the light of day. I think it speaks to where we are right now, in terms of social issues. The name of the piece is “Bloodland” and it's about an African American Cowboy who is fighting for the right to reclaim his land, by any means necessary. The thing that's unique about it is, it's actually a contemporary piece about this modern day African American Cowboy. I've always believed in the piece, and it’s time after developing it for years. I'm working on putting the financing together for it now. So that's what's within my immediate view in terms of what I'd like to do, but I'm still open to opportunities that other filmmakers may want me be a part of, as well.” We asked Reginald what advice would he give to those young filmmakers who are interested in getting into the film industry and this is what he told us. “The first thing I would say is respect the craft and what I mean by that is understand that there are no shortcuts to success. You have to grind, you have to listen to those of us who have been there, those of us who have paid our dues because there is a great wealth of knowledge out here, if you're open to it and take advantage of it. That's the first thing I would say to them. The second thing is to see as much film as you possibly can. If you like a certain genre, study it. When you get the DVDs, look at the behind the scenes work, listen to the
filmmakers and what they talk about, the challenges that they faced when they did their projects. That's something that wasn't available to me when I came up in the game. Unless I actually met with someone in person, that's the only way I could get the knowledge. Now, on the DVDs you have the behind-the-scenes work. The filmmakers are talking directly to you, the audience and telling you the things they were faced with, so that's like having your own mentor, more or less, speaking directly to you as a filmmaker. Take advantage of the opportunities that are out there now, digital cameras and things that make filmmaking a little less expensive. I know as far as theaters go nowadays, there are a lot of things that digital has brought to the equation that I applaud, but at the same time I'm a purist when it comes to film and I still prefer putting things up on the big screen that are shot on film. I work hard to create a visually beautiful canvas and appreciate the quality of film for that, but depending on the particular genre that you're shooting, digital can be an effective tool. We had that decision to make when we shot “Kings of the Evening,” but there was no way we could shoot it on digital because it just wouldn't have given it the texture and feel that we needed, in terms of the look, so we spent more money to shoot it on film and I'm happy we did because it actually looks pristine when you see it up on the big screen. Digital works for television and the internet. Get you a small digital camera and really learn technique, whether it's going to film school, taking an online class or whether it's just getting with a filmmaker who knows the technical aspects, as well as the creative aspects of how to put a film together. Get with somebody and just become their shadow if you have to, that's the way you learn, that's the way you grow.”
Reginald T. Dorsey Interview (continued...)