Lydia Martinelli is a woman on a mission. The Los Angeles native has traveled the world from New York to Greece from Toronto to Italy. Along the way, she studied creative writing at New York University. Before climbing behind the camera just two years ago, Lydia gained a solid understanding of the filmmaking business by working for several of the biggest talent agencies around (Creative Artists Agency, International Creative Management). She also did a stint in the development department at HBO. But what she really wanted to do was direct. In 2004, she entered UCLA's Entertainment Studies Program as a director. After just two months in the program she was working on her first short. In that same year, she launched Lane City Films www.lanecity.com - her own production company.

Ms. Martinelli is all about the work. While others talk about it, she's out there doing it. In a business where people have trouble completing even one project, she's just completed her third with the fourth on deck. What I like about Lydia is her infectious enthusiasm. She's one of those people that exude positivity. Once you've talked to her it's easy to see how she manages to get so much done.

1. You've got two projects on deck. The first is the action film, Leverage, which is screening at Raleigh Studios in Los Angeles on April 22nd, in Austin, Texas on the 30th and at the Cannes Short Film Corner May 17th through the 28th. What's that all about?
Leverage is about an Asian crime gang that steals a mind control device and a government agency's plot to get it back. I always wanted to do an action piece and found the opportunity when one of the producers came up with the idea for this film. The film was shot using two cameras.

2. Your next project, Whiskey Neat, a suspense film about a hit man with a conscience, is currently in post-production. Tell me a little bit about that.
Whiskey Neat is a short film about a professional assassin who takes his job very seriously, keenly aware of the potential risks he undertakes with each assignment. However, danger arises from another unexpected source – his own associates. Suspense is heightened when we follow “the assassin” after he discovers that he is being deceived. The film, which I shot using three cameras, will be released this summer.

3. Suspense/Action films are a traditionally male-dominated genre. How difficult, or not, has it been for you to make your way in a field full of men?
I don't view gender as an obstacle. Women are making names for themselves in many traditionally male-dominated fields, such as golf and car racing, and my goal is to do the same thing in action filmmaking. I believe in my creative skills and the ability to meet challenges. I feel I am constantly growing and gaining more knowledge with each new project. Knowing the business side of the industry - the dealmakers' tactics and the tricks-of-the-trade - is as important as the creative process. I gained a lot of insight and learned about the art of constructing a deal while working at two of the biggest agencies, Creative Artists Agency and International Creative Management.

Even though this field (action) is predominately male, I believe many studios seek out talent whether it is male or female. They want people on their projects who will deliver, who are best suited for the job, and who fit the style they need.

4. Where many filmmakers have a hard time getting even one project done, you've got a couple. This business is filled with people I like to call ‘I'mas.' As in “I'ma make a movie.” “I'ma get an agent.” “I'ma finish this script.” These are the people that talk a good game but never actually play one. What motivates you? What drives you to get the job done?
I'm gonna do it and I do it. I set a goal and deliver what I set out to accomplish. I learned from working in this industry the value and importance of follow through. I always believe in finishing what I start. I use a planner, which includes a detailed action and marketing plan for every project, whether I am directing or producing. I find the means and end up with results.

5. The most difficult part for most filmmakers is getting financing. Since you are producing films, you must be getting them financed. How challenging is this aspect for you?
So far, I have been fortunate to get financing, but with the opportunity comes the responsibility to deliver a good quality film. A still-photographer who has seen and believes in my work asked me if I needed any money. When you have an investor who has every confidence in your final product, you want to make sure they're happy with the results. Every producer wants the director to keep a film within a certain budget. So there is pressure. If I over-extend my budget too much, or don't deliver a good film, I can't expect backing.

6. I've seen a lot of short films and I know that you have to. They have run the gamut from professional and polished to amateurish and outlandish. Your work has consistently high production values. You obviously demand quality, even from a short, a genre that not everyone takes seriously. Why be so rigorous?
I see the short film arena as a platform towards making full-length motion pictures. I would never ask for $14+ million when I cannot show what I can do. A series of four short films has always been my plan before graduating to the feature length film.

On that note, a series of short films was the vehicle I used to showcase my abilities and unique style. I want to build my reputation as an outstanding, film professional. When the public hears my name or sees the banner with my film company name on it ( www.lanecity.com ), they know they just gotta see it.

7. You are a native Angeleno. Growing up in Los Angeles, was filmmaking something you always wanted to do?
Yes, I was born and raised in Los Angeles. I just moved back three years ago after living in Miami, San Francisco, New York, Toronto, Italy and Santorini, one of the Greek Islands, and loving my life as a nomad, a gypsy.

I think the exposure I had working in the industry for many years got me interested in filmmaking. I only started directing two years ago. In 2004, I enrolled in entertainment studies at UCLA. Before the end of the second quarter, I was already embarking on my own film projects.

8. You are not just a director but a writer and a producer as well. What qualities come into play for you as you switch hats?
Knowing the total creative process helps me tremendously. As a writer, I have an instinct for knowing what will work and what won't work in production. As a producer, I look for any loopholes or possible problems and try to solve them before they occur. As the director, all of my attention and focus is directed on the scene and the players. I limit distractions. Having learned editing and lighting helps me to make better artistic decisions and mature as a film director.

9. Your films cross cultural lines. How important do you think it is for minority directors to take projects that feature other cultures?
It is important for minority directors to take on projects that feature, or at least incorporate or introduce other cultures. This gives recognition to diversified cultures that have moved into cities and who go to our movies. Filmmaking is about life in motion on the screen with an audience watching and observing. Different eyes bring different insight. To limit your field is like saying no one can direct an assassin film unless he is an assassin himself.

The research can be intense, exhausting, and it takes a lot of time when entering unfamiliar storylines. I research the character, the story, mannerisms, study the culture, and surround myself within that culture. I think it adds interest to include other cultures in filmmaking. For my next and fourth short film, a drama/action piece, I want it to be as authentic as possible, so I'm learning a very difficult foreign language. I'm in the prepping stages and expect to go into production by early fall 2006. The project is a vehicle for a feature film and will complete my film series of four shorts that I completed in two years time.

10. You've already achieved success as a filmmaker. But the road to world domination is a long one. What other goals are you looking forward to accomplishing?
I have been successful in what I have achieved thus far. I set my own pace and stick to my game plan the entire way and never settle for less. Having matured as a director, I feel I am ready for the motion picture arena. One day, I hope to direct a film in the James Bond series. That is my dream—my ultimate goal. I would also attempt to change the drink of choice to scotch straight up and knock out the shaken not stirred martini. (smile)

11. Your enthusiasm and passion are infectious and your talent obvious. You clearly are a “ONE TO WATCH”. Any parting thoughts?
Stay professional, remain focused and expect the unexpected in order to be prepared for whatever comes your way. The advantage of any business is that one gets to choose their career path. If one enters the business with any resentments or prejudices, it can interfere with one's passion for the arts. Once you know the rules of this very demanding, competitive industry, you can achieve your goals.

Previous Ones to Watch
Arastao Maree - One to Watch (January 2006)
Karyn Beach - One to Watch (February 2006)
Alicia Simmons - One to Watch (March 2006)