American Golden Picture
International Film Festival
AN INTERVIEW WITH Kenneth Vivor, DIRECTOR
As a filmmaker, please introduce yourself.
My name is Kenneth Vivor. I live in Union, New Jersey. In my undergrad career, I received
my bachelor’s degree in communications that focused on film studies and eventually received
a master’s degree in creative writing. I am also a sketch artist and a novelist with four published books.
Why you became a filmmaker as director and producer?
I always loved watching movies as a kid and have developed aspirations to make them in the future.
However, I didn’t have the resources that would easily get me into the field at the time.
What I had at my disposal was my imagination, a pencil and paper. Eventually, a laptop.
Since high school, I discovered my calling in writing stories, and it made me interesting in writing novels
and eventually writing for the screen. As much as I loved to write, I wanted to have it visualized.
As much as I loved to draw, I wanted to have my characters and worlds animated. Even though I'm not too keen on sharing my works, I didn't want to keep these stories to myself.
From networking with established or aspiring artists, making edits using editing software to working
on small productions, I’ve made it my goal to pursue a career in filmmaking as I have a strong passion for stories. Stories that blend entertainment with artistic quality and lessons that deeply resonate with others as they do with me.
Give some more information about yourself and the films you have made so far, about your experience?
During my undergrad program at Centenary University, I made a film for my senior thesis based on
one of my novels called Kevin Princeton and the Holy Land of Souls, the first in a series of dark fantasy
novels about the titular character’s epic journey for redemption and awakening in a vast but war-torn afterlife.
Star Cross is my first film outside of my academic career.
This project wouldn’t have been made if it weren’t for my friend Will Naoum (the producer and cinematographer of the film) whom I met a local filmmaking network club at Edison, New Jersey.
From there, after showing him my portfolio and novels, after he showed me his portfolio,
we decided to work together, which has since then developed into a great relationship.
Though he is still learning himself, he was still well in versed with the filming process as he had worked
with clients who used his cinematography for a plethora of reasons.
What are the films or people that had impacts on you and deeply inspired you to become a filmmaker?
filmmakers like Steven Spielberg, Justin Kurzel, David Lynch, and the Zellner brothers (David and Nathan)
have all deeply influenced me at different points in my journey. The Zellners are a more recent
discovery—I was struck not just by their offbeat storytelling, but also by seeing their early short films from the '90s on Vimeo. Watching how far they've come was incredibly motivating.
Justin Kurzel’s ability to inhabit the minds of his characters, whether historical or fictional,
is something I find mesmerizing. His films feel both grounded and imaginatively crafted.
Spielberg has always been a personal benchmark for peril and adventure—his classic approach
to storytelling like his Indiana Jones films shaped my love for cinema early on. And David Lynch’s surreal, visual language continues to resonate with me on a deeper level.
The films that truly inspired me to pursue filmmaking include the Harry Potter series, Kurzel’s Macbeth,
Eraserhead, La Strada, and Lawrence of Arabia. I primarily work in fiction. However, these films push
me to explore new genres and experiment with form and tone.
You have made your film "Star Cross" which got official selection in the
"American Golden Picture International Film Festival".
As a filmmaker, why you decided to make it?
To be honest, I never set out to direct. My initial goal was to be a screenwriter, and without access
to resources or equipment, film directing felt out of reach.
At the time, part of my mind was close to giving up—until my friend Will Naoum encouraged me to take the leap.
What began as a concept for a small two-day shoot quickly grew into something far more ambitious,
thanks in large part to Will’s belief in the project. His commitment—even tracking down lenses used
on The Lord of the Rings—really elevated the film, all while staying within a modest budget.
I wrote this story for a course at Full Sail University, driven by a desire to explore a coming-of-age narrative
centered on interfaith relationships—something I feel is rarely examined in depth. Originally conceived as
a romance, it evolved into a more platonic bond between a young man and woman, which felt refreshing and honest.
It was partly inspired by someone I knew who had been in a relationship outside her religion.
That sparked the concept: a young pastor rekindles a forbidden connection with a pagan girl, leading him to question his faith and confront his humanity. From there, the story took on a life of its own.
What were some of the challenges you faced in making this specific film?
One of the challenges I faced was the production part of the process. There were several times where
I couldn’t act as my role of the director because I had to provide food, drive back and forth to pick up
the food and props needed for the shoot. I wasn’t alone in this, but I didn’t realize how money draining it was.
Let alone how much of the energy I was drained out of. This was my least favorite aspect of the process because
I wanted to engage with the actors and the crew. It didn’t help that I felt as if I was rushing through it all.
The other challenge was working with some of the crew. Most of them were very bad with communication,
especially when it came to the postproduction. We had someone leave amid the production or failing
to give us updates. So, it made me reflect on the kind of people I need to choose carefully.
The biggest challenge was truly embracing the process. At the time, at least at the beginning,
I was worried about the result. In retrospect, having that perfectionist mindset at the time made me realize that
I was treating it like a product on a conveyor belt than a piece of art.
Let us more about your experience in this film?
We had an insane shoot during a rainy day. I remember that it was a Friday. Whether it was working
against the wind and rain that was nearly messing up our gear and props, shooting during the end of school time
with noisy students and teachers, or nearly having the police called on us by unwitting neighbors
who didn’t know what was happening, it was a very hectic but very memorable experience.
One car from our team broke down during the shoots involving Ben (the actor playing the main character Will)
driving in my car. And it was too much to comprehend as a director. But I was proud for having a team
that was able to pull us through and still come out with great results in the end.
The Crew and Cast members of your film supports the story in effective way.
What was it like to work with them?
This was amongst my favorite moments during this process. It was great to know each of these individuals
beyond their expertise. Some were genuine and made for great company. I became friends with the three
leads whom I still communicate with to this day.
Some, however, were very deceptive. It was evident during the postproduction portion.
At the time, I didn’t know any better to not see those who didn’t have any good will. I knew that most of them
were there for the compensation, but I didn’t imagine that they would be open to a project like this.
It was fun seeing each of them engage in the story, pointing out what could be done better,
what can be improvised and what could be rewritten. During a scene involving poetry reading,
the lead actor Ben Nowak actually wrote his own poem, and had it read instead of reading a pre-written poem
I wrote on the script. It was the moment where I realized that I could trust these actors.
I saw experience in them. They even had their own makeup set, which was a saving grace since
we didn’t have the time or enough money to hire one.
For you what was the biggest lesson you had to learn after making this film?
The biggest lesson I learned after making this film was to be more prepared and meditative.
My mistake was rushing through some parts of the production. And I really ended up missing the experience
when it was over. Not that I didn’t miss out on anything entirely, but this was during a time where I was working
at my day job whilst simultaneously working on this. And as I said, I initially didn’t have intentions to direct.
I had to learn as I went. I just wish I had more time to really focus on what I was supposed to do as director.
And there are things I wish I could’ve done better, especially financially. I’m not well versed in budgeting for projects like this, so that is something worth learning about; even though I typically don’t like things having to do
with money as I’m more of a creative person than a businessperson.
Thus, the lesson I learned was to be more prepared, patient, and meditative. And that is what I hope
to carry for future projects, whether they are novels or films. Or any artistic endeavor, really.
What keeps you inspired to continue filmmaking?
What keeps me inspired is not only learning, but it’s the story ideas that comes to my head.
When it comes to screenwriting, before it is even shot, I have a good time writing out what I visualize in my head
and in my drawings. The canvas in my head is an open frontier to explore and experiment with new concepts
that seem unorthodox, especially with the intention to create what I would personally want to see as a viewer myself.
I never see films about interfaith relationships and thus I was inspired to make one myself.
Whenever I think about subjects that are rarely explored, or concepts rarely discussed, or ideas that are rarely experimented with, I’m always encouraged to do what seemed impossible or ridiculous to many.
I never want to create anything that has been done before because it limits potential for something
not just entertaining but compelling, meditative, and thoughtful.
The most important part is distributing the film. What did you do for distributing your film?
My family help use social media like Facebook, TikTok or Instagram to spread awareness for the film.
It’s where I share constant updates, including the trailers and posters I made to showcase it.
We’re also sending it out for festivals like this one and would eventually have it available
on online platforms like YouTube, Vimeo and even Amazon Prime. Especially since everyone is online these days.
I have a YouTube channel called NeoFable Productions, which is where I will publish my films and something
that acts as a film portfolio in contrast to my writing portfolio.
But having it go through a festival is a great way to not only get noticed, but to network with potential audiences,
fellow filmmakers and even investors who have faith in what you do. It is something that I was taught by Will.
What are your filmmaking goals?
My filmmaking goals are to continue to grow as a director and to eventually make NeoFable a business that
produces and distributes films. But as of now, I’m trying to build myself as a director, writer, and person.
By going to networks, connecting with people, forming relationships, and working with other artists - while
working a day job at a bookstore - I’m starting out to become established.
Creating Star Cross really changed me. It’s ironically a film about spirituality and it has made me more
spiritual than I ever imagined. And the fact that this was the film that got Will to film again
(after his long hiatus) is something that touched the core of my heart.
What drives me is the hope of changing lives, inspiring others to be courageous with their ideas—especially
when they feel too weird, too different, or too risky. I’ve always believed that bold, imaginative
storytelling matters more than playing it safe. Whether it’s a blockbuster like Harry Potter or an art house film like La Strada, the stories that resonate most are the ones that dare to say something true.
There are days where I often contemplate if this endeavor is really for me. But then I remember that this is a calling.
So, whenever I get negative thoughts that tend to get in on the edge of regret, I must remember the impact that this experience made on the people whom I worked with.
I hope to be surrounded with more positive people who are passionate about filmmaking as I am,
whether they are established or not. And I hope to continue learning and growing.
Because that is true success to me, not when one stops.
What is your next project?
I’m going to continue writing and promoting my novels. Apart from Kevin Princeton, I’m also working on
a dieselpunk sci-fi adventure series called The Adventures of Jet and Alley, which chronicles the exploits
of the two titular cats set in a dieselpunk version of the 1910s to the 1930s.
But in terms of films, we are developing a 10–15-minute short concept film based on the Kevin Princeton books called The Angel Within. Afterwards, I plan to adapt a script I wrote recently for my first feature; an absurdist comedy-drama called We Are Pagliacci, which revolves around a clown family facing irrelevancy after being replaced by an improv troupe during the 2016 creepy clown sightings.
​
GOOD LUCK Kenneth,
​
Kenneth's Links:
Website:
klvivor.wixsite.com/neofables
IMdb Page:
https://m.imdb.com/name/nm15922184/?ref_=tt_ov_dr
Social Media:
https://www.instagram.com/apostlecardinal/
​​​​​​​
​
​
​
