PER MELITA is one of the producers on the indy horror thriller THE BLEEDING HOUSE, written and directed by Phil Gelatt and making its premier at the 2011 Tribeca Film Festival, as well as being distribute by Tribeca Films.

Per grew up in Italy and in the Netherlands. He was schooled in the German schooling system and went on to pursue a higher education at Dutch and American universities culminating in an MBA in Finance and Media from Fordham University’s Graduate School of Business in New York City.

After spending almost 4 years in the New York banking industry, Per went on to gain 10 years experience as a Line Producer and Production Manager in the independent film industry, having worked on the production of such films as LA CIUDAD, TRICK, GETTING TO KNOW YOU, IN THE BEDROOM, THE JIMMY SHOW AND NEVER FOREVER. During this time he also served as Co-Producer on such films as the WAR WITHIN, QUID PRO QUO, Anton Chekhov’s THE DUEL and ROGER DODGER which was awarded best narrative feature at the first edition of the Tribeca Film Festival in 2002, an award and a special recognition by the 2002 National Board of Review, an award by the 2002 New York Film Critics Circle, three awards at the 2002 Venice Film Festival and garnered three nominations for the 2003 Independent Spirit Awards.

In 2006 Per made the transition to producer on the film PADRE NUESTRO aka Sangre de mi Sangre which in 2007 was the first ever Spanish language film to be selected and win the Grand Jury Prize in the domestic dramatic competition at the Sundance Film Festival, In 2010 Per returned to the Sundance Film Festival as one of the producers of HOLY ROLLERS which was selected for the domestic dramatic competition and which went on to win the revelation prize at the 2010 Dauville American Film Festival and the breakthrough director award at the 2010 Gotham Awards.

Per is also the co-founder and currently serves as the Vice President of Cinergy Pictures, a New York based production and production services company which in its 10 years of existence has served numerous foreign and domestic clients. Some of the most notable credits include the Oscar nominated LA BESTIA NEL CUORE AKA DON’T TELL (directed by Crsitina Comencini) and the critically acclaimed GIOVANNI FALCONE: L’UOMO CHE SFIDO COSA NOSTRA (directed by Andrea and Antonio Frazzi).

FEARS: How soon after you began to work in the film industry did you know what path you wanted your career to take?

Per Melita: As much as it will sound like a cliché, films and filmmaking have been a passion of mine ever since the VCR was invented and I was introduced to the possibility of watching films over and over again. While for my formal education I went in the direction of business and finance rather than film school and initially worked in banking, the notion that I wanted to work on making films remained a persistent bug in my head. Granted, it wasn't quite specific in terms of exactly which path I wanted to pursue since I didn't have a formal film education, so when the opportunity presented itself to work in film the most logical avenues to pursue within the industry were those where I could draw on skills I already had. Hence, the path of Assistant Director, then UPM, then Line Producer and ultimately Producer, but somewhere along the way I could have taken a different direction say towards writing, directing, cinematography etc. I came to realize that, other than directing, producing is really the only path that would allow me to be involved in the entire journey or process that is making a film. I would say that by the time I had line produced my first couple of features I had discovered that becoming a producer was the path that was going to give me the most satisfaction and the most opportunities to contribute to the process.

FEARS: When you get down to the heart of the matter, what attracted you to producing?

Per Melita: If I had be more specific, what attracted me and still attracts me to producing it is not simply being involved in the entire process - from idea to a finished product – it’s the being part of a shared vision and passion with a team of collaborators AND it never being the same from one project to the next. Plus, inspire movie and entertain people by telling stories, work with talented interesting folk, travel the world and not have to wear a suit and tie ... I mean, what's not to like?

FEARS: Do you feel it is harder to be a producer then any of the other career paths?

Per Melita: No. I wouldn't presume to pass judgment on what is harder to do when making a film. To use yet another cliché, filmmaking is by its very nature an extremely collaborative process where many different skills are required at different times. Producing is just one of those skills. So I wouldn't say that being a producer is harder.

To me what is harder is being good. I think that the notion that producing is harder than other career paths in film may come from the fact that producing amongst other things requires the juggling, orchestrating and coordinating of all the other skills. In my opinion that notion is wrong. Even the best producer who is good a juggling, orchestrating, and coordinating still lives and dies by what he has to juggle, orchestrate and coordinate.

FEARS: I know you've appeared in a couple of films you've worked on. Is that a Hitchcock moment or more about jumping in when need as a producer?

Per Melita: Most definitely the latter. Appearing in some of the films I worked on has always resulted from happening to be able to help out so that the film's limited resources could be stretched as far as possible, but ultimately as a function of what was needed for the film as opposed to my making some sort of artistic statement ... and I'd be hard pressed to find any kind of Hitchcockian type of explanation behind the odd collection of my appearances. What could appearing as a cab driver, sleeping subway rider, terrorist, acting class student and blood covered corpse possibly mean ... ?

FEARS: I know you speak several languages. How many exactly? Given that the cinema is an International language, do you feel being able to communicate with so many people it gives you an edge over other producers and makes your job any easier?

Per Melita: I speak six. Admittedly in two of those I'm a bit on the rusty side though. I wouldn't say that speaking different languages gives me an advantage over other producers in terms of my ability to actually make films. I do find it helpful, personally and professionally, in terns of being able to understand and appreciate a wide and more diverse number of filmmakers better. It has also helped me specifically on the projects I worked on with Petra Hoebel, my business partner in Cinergy Pictures, where we specialize in working with foreign clients on foreign projects shot in the US. On these projects we have almost always had to run sets where at the very least two, if not more, languages were being spoken and where it was not only necessary to be able to communicate in different languages but also get crews from two or more different cultures with distinctively different ways of working to work together. Speaking a client's native language and through that language having an affinity to their culture has proved to be an invaluable asset in attracting foreign projects and in collaborating most effectively with foreign clients in finding the best solutions to the unique set of problems that come with mixing not only languages but most importantly working styles.

FEARS: I know you've worked on several films with Jesse Eisenberg, including his first feature ROGER DOGER, and recently HOLLY ROLLERS. So can I say that you helped launch his career or was that just a twist of fate?

Per Melita: I think that the one who deserves the lion's share of the credit for launching Jesse's career is Jesse himself. He is not only an exceptionally talented actor and filmmaker but one of the nicest human beings I have ever had the pleasure to work with. I am very fortunate to work with Jesse as often as I have and would do so again in a heart beat.

FEARS: What's the process for you like to become involved with a project?

Per Melita: Well, that's pretty much a function of how behind I am in paying rent ... No, but in all seriousness there are always some projects that happen quite coincidentally and much less as a result of a process. But for those that are not like that it usually starts with an idea, a story or an existing script that is looking for someone like me to help turn it into a film. The decision or not to get involved then comes as a result of having engaged the other people involved in enough of a dialogue and exchange of ideas to have a good sense of whether we see the project in the same way, have the same vision, share the same passion.

FEARS: As a producer on a film, when does your involvement actually come to an end?

Per Melita: Wait ... you mean it's supposed to end?

FEARS: How did you become involved with BLEEDING HOUSE?

Per Melita: THE BLEEDING HOUSE was a project that Will Battersby at Reno Productions and Tory Tunnell at Safehouse Pictures were producing for Phil Gelatt to direct. I had worked with Will Battersby and Tory Tunnell on THE WAR WITHIN and QUID PRO QUO that we made for Mark Cuban's HDNEt Films. More recently I had worked with Tory Tunnell again on HOLY ROLLERS. I guess I must have done something to impress either one of them because they called shortly after Tory and I had finished delivering HOLY ROLLERS for distribution and asked me if I would consider producing THE BLEEDING HOUSE with them. I met with them and with Phil and really liked Phil's vision and their ideas on how to make the film. For me it was also a great opportunity to do something I had not done before, such as a horror film.

FEARS: From a producer’s point of view, why do you feel there is this sustained boom of horror films being made?

Per Melita: Well, at the risk of sounding simplistic about it, it's because there is a sustained audience. The answer to the question why there is a sustained audience to me is simply because at its essence this genre is about audiences experiencing emotions such as fear, anxiety, and suspense. In terms of the history of film these go back to the very beginning of silent movies like the first NOSFERATU. Again, as simplistic as it may sound, to me horror is a staple and a foundation of filmmaking the same way comedy is for example. There will always be an audience for something that is funny or scary. Over time audiences have become more sophisticated and discerning which has resulted in makers of horror film needing to step up their game but at the core the fascination with experiencing shock, fear, excitement is the same as it ever was.

FEARS: If you could shoot a film anywhere in the United States, where you could strike a balance between “bang for your buck” and talent pool, where would you shoot a film?

Per Melita: That's not so easy to answer because a lot depends on the type and size of project. So "bang for your buck" can mean very different things for a micro budget indy like THE BLEEDING HOUSE as opposed to a low budget independent, a MOW, a TV pilot or a studio picture. In addition, depending on the subject matter of a film and where the story is set make the choices of where to shoot a film may limit you to begin with. All things being equal though, I am quite fond of shooting in New York. I am not saying this only because New York is where I shoot the most and where I have grown up in terms of film production but because I honestly feel that New York continues to combine an impressively large number of factors that make it attractive for a producer to choose it as the place to shoot a film. New York has an extremely long, rich and diverse history in terms of filmmaking that results in an extremely film friendly infrastructure, city and state governments that are very film savvy and an incredibly deep and diverse production and post production crew and vendor base that can cater equally well to the smallest indy as to the largest studio feature. Last but not least the Made in New York Tax Incentive is a major contributor when it comes to "bang for your buck".

FEARS: After all these years any desires to tackle some other aspect of the filmmaking process (director, cinematographer, lighting, etc.) now?

Per Melita: I am probably one of the few people who's initial desire to work on film didn't manifest itself automatically in a desire to direct. The more I worked in film the more I gained an understanding of the degree of training and time that goes into being able to do anything well within the filmmaking process. Out of this understanding I came to the realization that tackling a different aspect in filmmaking isn't (or shouldn't be) done on a whim unless you happen to have lots of spare natural talent. So for the time being I don't see myself tackling a different aspect of filmmaking as I still have my hands fairly full with becoming a good producer. That being said, one of the aspects of the filmmaking process that fascinates me the most is the storytelling aspect. So I have been known to dream up stories and occasionally even attempt to write them down. Some I have even dreamt up with by collaborating with other people. Those I may have a secret desire to someday turn into a film.

FEARS: What are the next projects that you're working on and is there any one that you're really excited about?

Per Melita: There are a couple of films on the horizon that are close to being green lit. After the summer I hope to work with Will Battersby and his partner director Peter Askin at Reno again. Will and I, along with Actor/Writer/Producer Mike O'Malley, recently produced a film called CERTAINTY that Peter directed. In the shorter term I may work on a film to be shot in Singapore, Thailand and China for the Korean Studio CJ Entertainment. One film that I am particularly excited about though is a film called JIMMY DIDDIT PART1: THE QUESADILLA WARS. It has been quite some time since I’ve come across a script like this. It is written, and to be directed, by an exceptionally talented young man called Jase MP who has conjured up a combination of comedy, drama and martial arts that is very refreshing and quite unique. There are a few pieces of the puzzle that still need to fall into place but I hope to be able to join the producer Jelayne Miles this summer as I think this film promises to be not only good but quite a lot of fun to make.

FEARS: Any actors you've worked with recently that you think might have the chops to make the leap like Jesse Eisenberg?

Per Melita: Yikes! That's a really hard question to answer and do justice to all the talent that is out there while not offending anyone.

FEARS: What do you feel the potential is for films that make it into festivals, like BLEEDING HOUSE and the Tribeca Film Festival?

Per Melita: I think the opportunity for any film to be in a festival still makes a big difference in terms of potential for any independent film. Even more, the smaller ones that by necessity put as much of their resources to ensure quality before considering putting them into publicity. In line with the increased competition and difficulty to get your work noticed as a result of the steadily increasing product volume, film festivals are tremendous opportunities to showcase a film and make it stand out in what is an ever growing crowd.

FEARS: BLEEDING HOUSE is also going to be available as Video on Demand (VOD). Is that, as well as other delivery systems, a curse or a blessing for filmmakers?

Per Melita: In my opinion it is hard to argue how the increased number of delivery systems for any type of content when all things are considered is a curse for filmmakers. While the argument is sometimes made that increased delivery systems result in a fragmentation of the audience base across this increased number of delivery systems I think that anything that offers filmmakers more avenues to reach audiences are a blessing. Even more so when the new delivery systems allow the filmmakers to access more of the revenue stream that is generated by their film. Of course increased delivery systems and lower entry barriers to the industry also mean that the sheer number of films out there has increased which makes it more difficult for a filmmaker to get their work noticed. It also introduces higher competition, shortens the life span of a film and lowers the purchase price distributors are wiling to offer for content but all of this is also a great stimulus for filmmakers to create better, more cost efficient content and that in my opinion is a good thing.