King Victor Productions

 

WHO ARE WE?

Robert Kelly

After studying film and theater (and a bit of computer science) in college, Robert landed a job with a small but innovative production company in Hollywood. His years working in independent film culminated in a role as assistant director on the film Hell Squad, in which a group of scantily clad female commandoes invade a Middle Eastern country to rescue the ambassador's son, who has been kidnapped by a group of happy-go-lucky terrorists with an aging pet tiger and very poor fashion sense.

Having tasted the "good life" of Hollywood, and discovered all the film industry has to offer, Robert decided to make a serious commitment to a career in computer software, where he spent the last decade slowly regaining his hold on reality (still a bit tenuous). Nevertheless, Robert continues to work on film and video projects—both his own and those of friends—while carefully maintaining his amateur (that’s in the "for the love of" sense of the word) status.

 

Jim Vines

Jim met Robert Kelly in the fifth grade. The two made "overly ambitious" Super-8 movies in Jim’s back yard. Says Jim: “Keep in mind, this was the mid-seventies and disaster movies were big back then. We did a few of our own. We blew up things, burned down things. I don’t know how we survived!” A few years later, while in high school, Jim wrote, produced, directed and acted in his own film and television productions. He says of that period: “I probably had the best high school years possible. We had this great media department. It was probably more advanced than most colleges. Believe me, I was like a kid in a candy shop. It was a highly creative time and I loved every minute of it.” In the early 80s, Jim did some writing and performing for the stage. “Small time stuff, but it was a lot of fun and I got some great reviews!” After toiling away in the film industry as a grip, stuntman, and still photographer (along with plenty of other non-film related jobs), Jim ultimately embarked on a screenwriting career in 1992. His thriller The Perfect Tenant (2000), which stars Linda Purl, Maxwell Caulfield and Earl Holliman, is shown regularly on cable television and is available on DVD. He currently has several screenplays in development. Jim, who the proud parent of an adult daughter, became a grandpa in May 2006!

Jim says about his collaboration with Robert on That Darn Bill: “We wanted to work on something together, something where we could flex our creative muscles and have a few laughs in the process. Let me tell ya, we really had a blast. It was like being 12-years-old again! And as much fun as it was to shoot the movie, cutting it all together was even more fun. As far as I’m concerned, the editing process is where you really, truly make the movie. Then there’s Nathan’s wonderful music. He really made it all come alive. Very exciting. We were extraordinarily lucky to have him as part of the team.” When asked what the most difficult sequence was to shoot, Jim cringed and replied: “Being dragged behind that car. You want to talk about pain? I told Rob we should use a dummy, but he insisted I do all my own stunts. Boy, talk about being a stickler for realism!”

 

Nathan M. Johnson (Composer)

After a promising start in life, Nathan Johnson was sentenced to three years in law school at the age of 22. Rather than wither in confinement, he made extensive use of the facility’s resources to further indulge his unending distraction with music performance and composition, and emerged from the walls of justice determined to undermine his legal training with musical endeavors. And so it has happened. Nathan obtained formal composition training through a five-year apprenticeship under internationally acclaimed symphonic and opera composer Robert Xavier Rodriguez. He further studied opera and principles of dramatic scoring under the eminent American opera composer Carlisle Floyd, composition at the European-American Musical Alliance in Paris, and film scoring under veteran Hollywood film composer Alan Oldfield. He has composed and performed in a variety of genres in film, television, advertising and live theater, as well as pure music in styles ranging from popular contemporary to the classical concert stage.

Nathan says about working on That Darn Bill: "While en route to L.A. to try to convince producers there that Dallas isn’t so far away as it looks on the map, I stopped for a couple of days at my folks’ house in my old home town of Tucson, Arizona. My mom tells me she helped this lady at the hospital who had a son who does movies and stuff and that I should call him, and I do and he says I should call his friend Jim Vines in L.A. . . .

After forcing me to comport with their vampiristic nocturnal meeting schedule and cajoling me into eating a stale doughnut, Robert and Jim show me their film, That Darn Bill. All is forgiven. What a delightful piece of work, I thought. They had set it up with a temp track that gave me more insight than any set of director’s cue notes could possibly convey. Robert uploaded an MPEG-4 to my Mac iDisk and I went to work. Hard work. Twelve minutes for a silent film feels like 60 minutes for a talkie. At least the way I do it. Fortunately, this film is so clever and entertaining that I never found myself at a loss for inspiration. The challenge was always to add a musical layer of “color” to what Robert and Jim had so skillfully captured in black and white.  I am grateful to both Robert and Jim for taking a chance on an out-of-state composer."