Sunday - August 17, 2008

A Monster Island News Interview: Chase Masterson

Ken Hulsey, Monster Island News:  Playing a lounge singer in a production like this almost seems like typecasting due to your present singing career and love of the songs of the 30s, 40s and 50s. Do you feel like this is the part you were born to play so to speak?

Chase:  I knew when I read the script that if I got to do this role, it would be one of my favorite roles, ever. I had, just that week, specifically prayed to be involved in a really quality project, and I truly believe this was an answer to that prayer. This role resonates with me on so many levels, the music actually is just one of them -- the type of music it is has always been my favorite, even while I was growing up, which wasn't exactly a popular choice. But more than that, the things that Singer says to Hoyle are deeply ingrained in me, they always have been. Singer has a sense of playfulness and yet a strong truth, an honesty, an integrity and vital understandings that I feel blessed to get to play. This kind of role doesn't come along very often for any actress. It's a huge treat.

MIN:  Did you get a chance to compose any of the pieces you perform in Yesterday Was a Lie or did you at least hand pick some of the music?

CM:  The instrumental music in Yesterday Was a Lie is being composed by Emmy Award-winner Kristopher Carter. None of the vocal pieces in Yesterday Was a Lie are original, they're all classics, as it should be. I think the music will add a great deal to the film. James hand-picked the vocals, I think they're perfect. Because they truly pertain to the action of the film. You'll see.

MIN:  I found it interesting that you are listed as one of the film's producers. Is this your first time working behind the camera? Do you have aspirations to someday take the reigns as a director yourself?

CM:  While it's true that I'm the producer on Yesterday Was a Lie, I didn't go into this project intending to be. I was cast in November 2005, but our line producers dropped out, and the film was pushed. While we were trying to figure out what to do, I basically just said, "Hey, I can do this." I had produced before, although not on this thorough a level. It's not brain surgery, but it is lots of hard work; so far, it's working very well. But, as far as directing, I have way too much respect for fine directors to ever feel like I'd want to tackle that. I do love producing. Even as high as the pressure can be sometimes, it's worth it. I want to find directors, and James Kerwin is the finest example, who deserve their work to be known, and I'll help make sure it happens.