Ken Brisby, known in Richmond’s electronic and experimental music scene as Stephanie AKA Steph, has been a fixture in both the local music and Virginia’s film production communities, where they have worked on various movie sets. Their life experiences and creative ambitions inspired them to write a screenplay and meticulously craft the props for their film, Mom I’m on Drugs. With support from friends and various communities, the film went through production and post-production, all culminating in its upcoming premiere at Cobra Cabana on Friday August 30, 2024, at 7 pm. You can find more information HERE.
Over the past three years, I’ve had the chance to chat with Ken about the film’s journey. Here we dive into the screening and some behind-the-scenes work. After the August premiere, Mom I’m on Drugs will hit the film festival circuit, so be on the lookout for future screenings beyond Richmond. Additionally, elements of the movie’s score will be performed live at the event.
Todd Raviotta: How long has Mom I’m On Drugs been in the works? What is the short pitch or logline for the movie?
Ken Brisby: The screenplay was written in 2015, nine years ago, and production began in 2017. The film is a mix of a “just say no to drugs” message and the fantastical elements of Labyrinth. The plot revolves around Steph, who is struggling with suicidal thoughts; Lisa, who is looking for a new boyfriend; and Jason, who just wants to go home but finds himself on an unexpected LSD trip.
TR: Who is going to savor your film?
KB: Fans of fantasy and giallo films with practical effects and analog vintage synth scores.
TR: Where did the title and subject material come from?
KB: The title Mom, I’m on Drugs is based on a coming out queer conversation I had with my parents. Before prescription drugs were widely used by mid and low income families, after they looked disgusted on reading a “teens on drugs” article in the Washington Post, I decided to tell them how sparing use of illegal drugs had helped me through issues that made me hate myself.
TR: What were some of the very Richmond locations that made it into the film?
KB: One of the first scenes is in the smaller bathroom at GWAR BAR, our Richmond staple. Another was the Valley Road Warehouse, the home of many different musical performances and art creations.
TR: I enjoyed seeing your process photos working on props and set design in the lead up to filming. Did you have a philosophy or guiding vision to make it practical?
KB: Practical is as real as it gets. I’m not the kind of person who wants to spend any more time or money in the editing room, so practical will always be the way to go. It can also be extremely helpful to first-time actors, giving them something real to see and interact with.
TR: You wore a whole lot of hats on this project which was your favorite to wear?
KB: Creating practical effects, sets, and props allows me to unmask and be myself. Next up would easily be creating the film score.
TR: How long did post production last?
KB: About two years. One of which was working on the show Swagger with the rigging electric crew, raising money to complete the film.
TR: In the industry work you do, was there a most important lesson that carried over to this project or the other way around?
KB: In the lighting department, I learned the type of lighting that worked best for cinema cameras and how to rig them correctly and safely.
TR: What is the proudest moment on set or in the edit room?
KB: For the film in general, my proudest moment was finishing the first edit of the screenplay, especially since I’m dyslexic :). My proudest moment on set was when Sasha Savenko, who played Lisa, was staring at me right before I got to say, “That’s a wrap,” for the first time. As soon as I said it, they poured a beer over my head just as I pushed the camera—sitting on a sandbag and an apple box—away from me, just in time. We paused for a second in horror, then laughed.
TR: Who is in the cast? What did they bring to the project?
KB: The cast is made up of a mix of queer, punk rock, noise/electronic musicians and autistic friends with little to no prior acting experience.
TR: What were some of the standout contributions and who were some of the collaborators on the crew?
KB: Having Michael Derks of the band GWAR play a cop in the Punk Show scene seemed meant to be, especially since he happened to own a cop uniform, which he uses for his other band, X-COPS. Having friends who were also in the film union, like Caroline Hubert as Director of Photography and Traylor White as gaffer, was encouraging when trying to direct a feature for the first time.
TR: This coming screening, is it for the cast and crew only or is it open to the public?
KB: This is a public event. It’s the official Richmond film premiere and after party with some music from the film being played live.
TR: Any content awareness notes or a rating for the film?
KB: Other than the mild self-prescription subject matter, its focus is less on doing drugs and more on the effects they have on unmasking characters and creating friendships. Its liberal use of the F-word could lead to an R rating, though.
TR: When and where is it?
KB: It’s at Cobra Cabana in Richmond Virginia August 30th at 7pm. ed. note: You can find the information HERE.
TR: Are there upcoming projects people can get involved in what would be the best way to get onboard? Where can we follow along as the film is released into the world?
KB: Follow my instagram @ken_brisby and reach out. I have two other scripts written and friends making indie films here and in Brooklyn. Everything about the film, score, and practical effects is regularly updated on my instagram. My linktree leads to the Incitatus Film website and my youtube channel as well
