What does it take to produce an otherworldly film? 🎬

In order to produce the wild space opera Out of This World, we knew we’d need otherworldly talent on board. That’s where Producer Kris Wynne came into play. Wynne has a history of producing in Hollywood for over twenty years, working with studios from Syfy to Disney, and with stars such as Jennifer Lopez, Vince Vaughn, Natasha Lyonne, and Kristin Davis. Kris had plenty of knowledge to share with us during our recent chat, where we spoke with him about the challenges and rewards of joining the crew of Out of This World.

So tell us, you have 20+ years experience working in Hollywood and have produced numerous features, TV shows, and short films. What was unique for you about working on a film like Out of This World?

Out of This World was the first short film I have ever produced (and one of the few projects I have been involved with) that was centered around music. I don’t think I totally understood what we were trying to achieve with the film until we started shooting and the characters and sets came to life. Typically, I have my finger on the pulse of what I am producing but with OOTW, I had such anticipation and even moments of anxiety because this was uncharted water for me. It was a Director, Producing Team, Cinematographer and Production Designer that I had never worked with plus a lot of the crew was already hired prior to my involvement. I felt like I was given the keys to a Ferrari and my job was to not drive too slow or too fast. This project, while smaller in scope, was a massive lift to achieve what Elia [Director] and Marlene [Creative Producer] were trying to accomplish. While I was confident we could pull it off with the team we had in place, you never know until the day of how the set will run.

Absolutely! Being a producer, you not only have to see how the film is made, but you’re the one helping make it. What would you say is the most challenging part?

The most challenging part of producing is managing a group of people that come from all walks of life and experiences. You have to ensure that everyone from producers to an unpaid intern feels like they are a part of the process, not overlooked, and given your full support to the best of your ability. You have to hold some hands through the process but on the flip side, you have to let people do what you’ve hired them to do without stifling their creativity. Managing time and money is more black and white. Managing dozens if not hundreds of personalities is the grey area.

It is quite a balance. What has been your most rewarding experience on a set? 

I think the most rewarding experience from OOTW was a conversation I had with Elia about 3 weeks after we shot. I am paraphrasing but he said something along the lines of, “We shot exactly what I wanted to shoot with this film.” It was not an easy lift to pull off with the logistics of a film that is heavily dependent on character performance minus dialogue with the sheer amount of lighting, grip and camera trickery within 5 days in two very tight shooting locations during a global pandemic. So knowing we pulled off what Elia was envisioning was the ultimate reward. 

As for on set, I think the most rewarding thing for me personally was a chance to work with my friend of over 25 years, Omar Torres. We’ve been friends since high school. We were roommates back in the day. I was at his wedding. We both have worked in film for 20+ years but we have never been on a set together. So seeing him and his team pull off amazing special effects was really special and personal for me.

You’ve lived in LA for a long time. What first inspired you to work in the film industry and make the move to LA in your adult life?

I was born and raised in Hollywood and my father worked as a caterer on dozens of TV shows in the 1970’s and 80’s but I never had any idea I would end up doing film. I was a history major who played baseball in college. My end game was to become a teacher and coach. My journey to becoming a filmmaker started when a friend of mine randomly asked if I wanted to tape boxes in the shipping department at New Line Cinema after my junior year. It was a 3 week temp job that paid $8 an hour (which was $8 more per hour than I had ever made). That 3 week gig turned into a full time gig but I quickly grew tired of being the shipping guy and wanted to be on set. I asked one of the executives who I should talk to about being on set. He mentioned a woman named Emily Glatter would be a good source to get on set. I spoke with Emily and within 2 weeks, I was sitting on the Warner Lot as a production assistant on The Cell starring J Lo and Vince Vaughn. To this day I am still chasing the high of getting that job.

Is there any advice you would give to your younger self and aspiring producers in Hollywood? 

For aspiring producers and filmmakers in general, your journey is unique, don’t let other people’s paths define your path. Use them as inspiration or teachable moments of what to do and what not to do. But ultimately you define your aspirations.

As for my younger self, I would go back and tell younger me to take more calculated risks and not be complacent when you’re comfortable. I spent a good portion of my 30’s thinking I had “made it” when in reality, I was not happy with my career.

And we gotta ask: Do you believe in aliens? 

We’d be foolish to think that we are the only “intelligent life forms” in the galaxy. In the words of Ariana and Nebby, “WE ARE NOT ALONE!!!!!”

Check out some art and artists that inspired the film!

To make Out of This World truly come to life, it took pulling together a team of people from all departments who were ready to send our set into space. One of our all time greatest sci-fi inspirations, 2001: A Space Odyssey, owes its iconic look to its own special effects team. Here are four ways 2001: A Space Odyssey was a visual-effects pioneer.

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