Interview with Walter Moise, editor and producer of Counter Clockwise. 

 1.  What was your inspiration for the story of Counter-Clockwise?

 A Philip K. Dick short story where a character who’s living in a future world walks through an invisible time rift and goes back in time. Then I combined that idea with an idea of making a low budget movie where you could use locations again and again where you setup a character and a world, he went into the future 6 months, a whole crazy 2nd Act where things are dark and and dangerous and upside down and then the 3rd Act would be going back to the day it all went wrong and solving everything, or maybe not.

How is this different from other time travel shows, like Back to the Future and Doctor Who?

Compared to those works of sci-fi, ours is much more gritty and dark and weird. 

What was the most challenging element of getting Counter Clockwise made?

Of course probably getting the money together but more importantly all of us putting in the hard work over many years. Putting in consistent, diligent hard work into something for years is incredibly hard. 

Could you elaborate on the creative behind the fantastic teleportation animation sequences?

The graphics on the computer screens are all George. Brilliant work by him and he was heavily influenced by The Fly and Innerspace.

What was your most memorable day on set / and why?

For me probably the first day of principal photography, when all we had ahead was promise and a movie, having no idea how long it would take. 

How was it working with Michael Kopelow?

Mike is a great producer, he was completely instrumental in making the atmosphere on set exactly to the rhythm of the director, and at the same time juggled a very hard role as an actor. I don’t know how he did it. 

 What would your ideal compliment be from an audience member who just watched Counter Clockwise?

I guess that they loved it like I love some of my classic favorites from Blue Velvet, to Alien, to Amadeus, to A Clockwork Orange. A film that they will obsess about and want to watch again and again. 

Anything we should know about working with dogs in movies?

That sometimes they don’t do what you want them to do, at all.

If you knew then what you know now, what would you have done differently – if anything?

Have an assistant editor on set cutting while we’re shooting the movie to speed up the post-production process. 

What’s next for George and Walter Moise?

George has written a great action/noir script set in the 80s that we’re making soon as well as putting together my next film, a science fiction home invasion film like Funny Games and A Clockwork Orange.