Phantom Pain is a gripping psychological thriller that combines the intensity of American Psycho with the analytical wit of Sherlock Holmes. In anticipation of his new indie film I had the opportunity to chat with Director K.D.Wilson (Circled in red).
Tito W. James: So, you’re an American who traveled to Japan to make this film. You have to give me the full story on how this came to be.
K.D.Wilson: I originally moved to Japan because I couldn’t find a job in America. And I had a close call with a police officer in The US where I almost lost my life. So I applied for jobs outside of the country. I applied for places in Africa and Europe and Asia and Japan hired me first. So I took $650 and a one-way plane ticket and went.
I always wanted to make films but I never cared where I made them. So since I’m in Japan now. I just adapted my scripts for Japanese actors.
James: What inspired the story for Phantom Pain?
Wilson: The surreal psychological aspects of films like Audition (2000) and Perfect Blue (1997) mixed with the wit of Sherlock Holmes.
James: What’s something you wish you’d known when you started making indie films?
Wilson: You will have to do everything yourself. I did seven jobs onset, including sewing together costumes. I never stopped running around. I’m still running right now trying to market this thing.
James: You’ve expressed how difficult it is to get a film like this made in America. Why do you think that is?
Wilson: American producers don’t want new films they want sequels, prequels, and prebuilt audiences from books, comics, and famous people who already lived.
Anything new from an unproven filmmaker is not going to fly. Even Martin Scorsese has trouble finding the budget to make things.
James: There seems to be no shortage of violence or sexually explicit content on premium channels and streaming services. However, most theatrical films lean into the cleaner PG-13 market. Is there still a need for extreme films in theaters when you can see something more hardcore online?
Wilson: Nope. No need.
James: Japanese anime and manga have exploded in popularity in the US. Many working the comic and animation industry believe it’s because Japan is more “ahead of the curve” artistically. Do you think that’s true for film as well?
Wilson: Japan still respects the creativity of creators. So each manga is controlled by one creator. There are no puppet strings for the most part. So what you’re getting is honesty.
When it comes to American films we still have independent companies like A24 who do what Japan does in manga, so not really.
James: Rising American creators are heavily influenced and inspired by Japanese media. What advice would you give on blending two culturally unique storytelling traditions into something new?
Wilson: Be inspired don’t copy. Don’t ever let an audience member say “That’s the exact same shot from…”
James: You’ve cited several auteur film directors as influences. I’m a big fan of auteur theory as an antidote to franchise fatigue. Why is auteur theory important today? Why do certain creators gravitate to auteur films?
Wilson: Auteur films are films from the soul. Everything else is mostly advertising disguised as films.
I would like to thank director K.D.Wilson for taking time to do this in-depth interview. Those interested in Phantom Pain can click the link to be notified when the Kickstarter goes live and see the film before everyone else.
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