Rick Passmore Keeps His Head On Straight Discussing Elmwood Productions

You are currently in the middle of helming Bernice, Too. It is your first feature-length title, as you are co-directing with Jon Bristol. Without spoiling anything, what has been the most significant learning curve for you going from episodes and shorts to a larger project?

Bernice, Too has not been all that different from how we approach other projects. It is a very scattered, weird experimental-type film that we’re really feeling out as we go. It’s not heavily scripted like Head was, so the pieces are just fitting into place where they can. But very much like Head, we’re fighting the clock to get it out to people thanks to the pandemic and a bunch of Murphy’s Law events that happened this summer. But like Head, we’ll get it out, and it will be an experience viewers will want to share with one another.

Though I’m much looking forward to dipping my toes back in the horror realm, and we have some coals in that fire. With that said, I definitely take things one project at a time and learn from each.

Most of Elmwood’s projects have been comedic in nature while still tapping into authentic emotions. For example, the ending of The Risley Brothers works unexpectedly well. How much thought is given to the humor versus the emotions to ensure both lands when bringing these productions to life?

As Jon’s always said, “We’re just looking to entertain ourselves.” And if we’re laughing or getting something out of it, it will land somewhere. You need to start with something that people can relate to, even if it flowers into wacky, depressing, or macabre. That’s the reason why there are so many camping-based horror titles like Head.

We’ve all been to a townie bar and met eccentrics, so the dynamic of Risley Brothers and the barflies plays off that. We’ve all had pets and watched Looney Toons, so Animal Behavior has its hook. I think when you have to explain too much or try too hard to set up your emotional core, you’re going to lose the audience.

“…if we’re laughing or getting something out of it, it will land somewhere.”

Head has garnered cult status, with the original run of DVDs entirely selling out, and the second batch is poised to as well. Clearly, your work at Elmwood, specifically Head, is resonating with fans all over. Why do you think that is, and what is your response to the fans’ reaction?

I’m very critical of myself and my work, so I always look at things through jaded glass. I have a hard time watching Head now because of all the things I wish I could go back and redo or the tools I’ve gained (physically and mentally) that can be applied to it. But at the same time, doing so would likely rob the film of its charm, wouldn’t it? So even though I’m kind of shocked by its success, I also feel that when you make art in earnest, it finds its audience. And that’s what we do.

We have a fair amount of haters and critics. Who doesn’t anymore? But, we have just as many people who love and support us, and that has way more power. So in response, I want to say “Thank you” to anyone who watched Head, or another production of ours, regardless if you loved it or hated it. You gave it a shot, and I appreciate that.

Elmwood Productions is celebrating 20 years now. That is a long and impressive journey. Looking back, what is your proudest moment and what are your hopes for the studio’s future?

The proudest moment for me most likely is making lifelong friends in the crew. I’m not originally from Connecticut, and while I have dear friends I’ve made through work, the guys and gals at Elmwood have been tremendous toward me. We really became a family.

Finally, what advice do you have for any aspiring filmmakers or puppeteers out there?

We put a quote in the end credits of Head: “Be cool and go make art.” It takes work and practice, but allow yourself to see the progress, both in life and your craft. Learn from failure and meet criticism with an open mind and humor. And if you see a tree full of heads in the woods, get the f**k out of there!