Erik Peter Carlson

Height: 180 cm

Erik Peter Carlson's controversial filmmaking style has been illustrated by critics as one with a decidedly European flair; an Italian/German technique. EPC was born and raised in Upstate New York to a family of film enthusiasts. It was only natural for him to be intrigued by the medium at an early age. At the age of 10, he was introduced to a new technology of making movies with the Fisher Price PXL-2000 camcorder. This camera, which was marketed to and for teens, recorded five minute movies on audio cassette tapes. From this point on, EPC was rarely seen without a camcorder in his hands. During his early twenties, he was inspired to write and develop more serious projects. One of which was a full length documentary entitled 'Apartment F'. The film followed the life of a man who was just released from a mental institution. The documentary mainly explored how the townspeople reacted to the subject's release. Such themes that have resurfaced in EPC's later work. In his mid to late twenties, he spent the majority of his time writing screenplays that he never intended to make. He considered the writing of these scripts "therapy". During this time, an Los Angeles based production company immediately optioned one of his scripts for a period of two years. After two years, and no film made, Carlson decided to take back the rights to the material and develop the project himself. This film would eventually turn out to be 'The Toy Soldiers'. During the period of raising funds for his first feature 'Transatlantic Coffee', he wrote a sitcom pilot with co-writer Shane Carlson to be presented to cable and network executives. With the assistance of friend, Mark Doering Powell (10 Things I hate About You, Everyone Hates Chris and My Boys), EPC developed the project and raised the capital to shoot the pilot in January 2010. In the fall of 2010, he started production (Executive Producer/Writer/Director) on 'Transatlantic Coffee'. The film was completed in 2011, winning numerous awards and rave reviews at film festivals across the globe, including best picture, screenplay and director, actor and supporting actress. 'Transatlantic Coffee' opened in the fall of 2012. EPC's second writing/directing feature, 'The Toy Soldiers', a dramatic, epic coming-of-age picture, premiered in Hollywood at the Chinese Theaters on June 8, 2014 to a record breaking sold out audience. It was also invited for an October 2014 presentation at the prestigious Hollywood Film Festival. It released nationwide in the US on November 14th 2014 in AMC Theaters. Its original NC-17 MPAA rating brought incredible curiosity to the piece, which tackles everything from drugs and alcohol to school bullying and sexual orientation with an in-your-face directness not commonly seen in American cinema, and very rarely seen in any of the top American theater chains. This was a groundbreaking achievement not only for Carlson, but for independent cinema. 'The Toy Soldiers' was theatrically released with an MPAA rating of 'R' after one five second shot was removed. 'On one evening in a decade of sex, drugs and rock 'n' roll, the innocence of youth and family unravels.' Carlson has stated that 'The Toy Soldiers' will always be one of his most personal pieces. The screenplay was sought after by The Academy of Arts and Sciences to be a part of their permanent library for filmmakers and students worldwide. 'Wolf Mother', a crime drama about two outlaws looking to redeem themselves by solving a high-profile child abduction case, is now in production with Carlson as the producer/writer/director with an estimated 2016 release. Hide

[on Transatlantic Coffee] It doesn't necessarily show New York in a Woody Allen type of way, with th Show more [on Transatlantic Coffee] It doesn't necessarily show New York in a Woody Allen type of way, with the beautiful landscapes. It's a very moody piece. Hide

[on Transatlantic Coffee] I wanted to make it a big, deep character study on this one character. The Show more [on Transatlantic Coffee] I wanted to make it a big, deep character study on this one character. There are some traits in there that just came out. Hide

I enjoy films when you leave enjoying the characters, probably more than the story itself. It's just Show more I enjoy films when you leave enjoying the characters, probably more than the story itself. It's just something you remember. It's just my taste. Hide

It's very easy to toss in the towel - especially for us self-starters. There's only one thing from s Show more It's very easy to toss in the towel - especially for us self-starters. There's only one thing from stopping us from saying, "Screw it all. This is just too damn hard." This "thing", fortunately, or unfortunately, depending how you look at it, is our DNA. Hide

I have every reason to believe that a script of mine was stolen by a production company and made int Show more I have every reason to believe that a script of mine was stolen by a production company and made into a film behind my back. The film that I saw was too similar for me to think otherwise. Not to mention the individuals involved were all connected. Let that be a warning to young filmmakers. Copyright that shit. Hide

[on Kevin Pinassi as Alex from Transatlantic Coffee] My God, he's too similar to me it's frightening Show more [on Kevin Pinassi as Alex from Transatlantic Coffee] My God, he's too similar to me it's frightening. Hide

[on micro-budget filmmaking] It forces you to be creative. You have no other options. [on micro-budget filmmaking] It forces you to be creative. You have no other options.

[on Transatlantic Coffee] It's a romance picture, I always thought of it as a romance picture. He ha Show more [on Transatlantic Coffee] It's a romance picture, I always thought of it as a romance picture. He had a loved one who he lost, so it's really romance picture where you don't see the romance. Hide

The most joyous part of the entire process is when you can actually make the movie. When you know yo Show more The most joyous part of the entire process is when you can actually make the movie. When you know you're going to make a film, and you can start being creative; dealing with crew, being inspired by actors - that feeling is what you have to hold on to, because as a filmmaker, that's where you always want to be, in that moment. However, the reality is those moments are sometimes separated by years. Hide

I have a hard time in worrying about what others think is shocking or too long or both. It's counter Show more I have a hard time in worrying about what others think is shocking or too long or both. It's counterintuitive. A shot that is ten seconds shorter is not going to make someone like a movie more. I make films that I want to make when I was thinking about them years prior to anyone else seeing it come to life. I think people react to some of the uncomfortable scenes in Transatlantic Coffee because they're real. There are no lighting candles and getting the oils ready. When people are sexually turned-on, they don't worry about the way their hair looks. Hide

Of course the making of a production is always stressful, but it's welcomed. Of course the making of a production is always stressful, but it's welcomed.

I write because it's my therapy. I write because it's my therapy.

[on Kevin Pinassi as Alex from Transatlantic Coffee] I knew I needed someone that I had a unique con Show more [on Kevin Pinassi as Alex from Transatlantic Coffee] I knew I needed someone that I had a unique connection with. I mean you just have to, after seeing the movie, you see how you have to do certain things. Hide

People not in the circle always ask how we continue to go through what we go through just to make a Show more People not in the circle always ask how we continue to go through what we go through just to make a movie. I usually cut them off when they say, "just." Hide

[on the difference between Toy Soldiers and Transatlantic Coffee] It's a completely different projec Show more [on the difference between Toy Soldiers and Transatlantic Coffee] It's a completely different project than Transatlantic Coffee. It will be a unique and an extraordinary, yet very exciting challenge. Hide

When it comes to raising money, I've met with producers about my films who seriously couldn't hold a Show more When it comes to raising money, I've met with producers about my films who seriously couldn't hold a conversation. I don't know, it seems like so many of them I meet are so into themselves and coked-out. It's amazing they get anything accomplished. Hide

[on what's the hardest part of making a film] Raising the money. It's the closest thing to hell on e Show more [on what's the hardest part of making a film] Raising the money. It's the closest thing to hell on earth I can think of. It goes against everything, everything an artistic mind bleeds for. It's ruthless, devastating, defeating and depressing. They don't teach you how to deal with that in film school. If they did, kids would leave as fast as they arrived. You learn very quickly that if you're dumb enough to get into this field, you will not have a normal life. Much of it will be filled with worrying, crying and depression. That said, when you simply have no other choice, because you are simply meant to tell stories, what else can you do? Hide

[on Transatlantic Coffee] Everyone always said it looked like a foreign movie, and I don't know, I d Show more [on Transatlantic Coffee] Everyone always said it looked like a foreign movie, and I don't know, I don't watch all of these foreign films. I guess it's just the way I structured it. Hide

[on Transatlantic Coffee] When we finished the film, everyone who worked on the film watched it, and Show more [on Transatlantic Coffee] When we finished the film, everyone who worked on the film watched it, and thought it was very much a New York film. We wondered how it would be accepted around the world. Hide

I don't think you should know where these things come from when you write. If you do, you're probabl Show more I don't think you should know where these things come from when you write. If you do, you're probably doing something wrong. Hide

[on his melancholy storytelling] It's just the realm I like to live in, I don't know. [on his melancholy storytelling] It's just the realm I like to live in, I don't know.

Erik Peter Carlson's FILMOGRAPHY

as Director (2) as Creator (2)

A Fairy Tale After All

Wolf Mother