Andy Biscontini:
How does one shoot 14 pages of film in a day, and in what ways does the pace of filming change the nature of a film? In this interview, Andy Biscontini discusses how shooting EVERY DOG'S DAY involved moving rapidly through the script and, therefore, relying on approximately 70% of the acting being improvised: “we basically relinquished any control of the environment we would otherwise have needed to pull off something scripted.”

Andy Biscontini has been involved in guerilla filmmaking since the third grade, when he wrangled classmates into super-8 space operas. While in high school he worked on friends’ no-budget horror movies and onstage with Philadelphia’s Arden Theatre Company. He later got a degree in Film and Video production from Penn State University, where he produced new plays weekly with the Outlaw Playwrights and won several awards for his short fiction. Since moving to New York City in 1996 after working for a concert promoter in Germany, he’s worked extensively as an Art Director on indie movies, including Hal Hartley’s ground-breaking 1998 mini-DV work “The Book Of Life.” He’s also written several un-produced screenplays, published a volume of poetry, was a founding guest-member of the legendary Asian American improv comedy troupe Mellow Yellow, developed a new approach to accordion playing as his alter-ego Sergie Kincaid, and has made, shot, or edited a dozen short videos as well as authoring the feature “Every Dog’s Day.” He is currently making ends meet as a carpenter and set-builder while writing and gearing up to make another movie.