-- Mike Wilson

HOW TO BE A SERIAL KILLER
DAMEON CLARKE : MIKE
MATTHEW GRAY GUBLER: BART
LAURA REGAN: ABIGAIL
GEORGE WYNER: DR. GOLDBERG
OFFICER CHAVEZ: GONZALO MENENDEZ
PRODUCERS: JASON DITTMER, TODD MAKURATH, LUKE RICCI
DIRECTOR OF PHOTOGRAPHY: HERNAN MICHAEL OTANO
PRODUCTION DESIGN : MEGAN HUTCHISON
COSTUME DESIGN: KERRIE KORDOWSKI
EDITOR: TODD MAKURATH
ORIGINAL MUSIC BY: NICHOLAS O’TOOLE
WRITTEN AND DIRECTED BY: LUKE RICCI
RUNTIME: 91 Minutes
MPAA Rated R
Dolby 5.1
COPYRIGHT©
MMVIII MATADOR MOTION PICTURES
-- Mike Wilson

HOW TO BE A SERIAL KILLER
“How to be a Serial Killer contains enough murder and subsequent blood flow to keep even the most hardened fan a little squeamish, but the crux of the film lies elsewhere.
HTBSK is ultimately a dark comedy about two men. HTBSK is a smart film with smart writing lead by a smart serial killer” – QuietEarth.us
“Brutal, funny and highly original, How to be a Serial Killer is one of those rare gems you never heard of but soon will. It is cold, satanic and darkly hilarious… had me laughing so hard my stomach hurt.” – VideoViews.org
“How to be a Serial Killer is imaginative and intriguing, offering many points where the laughter blurts out. Dameon Clarke and Matthew Gray Gubler give impressive performances.” – Best-Horror-Movies.com
“How to Be a Serial Killer is constructed with a mean touch of genius. This is a dark comedy (and) belongs to the small family of other black humored horror comedies about killers; Dexter being obvious, as well as the underrated Coldblooded. Good stuff if you're just a little warped. Have fun!” – Pretty-Scary.net
“3 Skulls. A lot of fun. Definitely check it out.” – Fangoria
“Undeniably witty… the characters are beautifully believable.” – Moving Pictures Magazine
“Funny and bloody and very different from pretty much everything else currently in theaters.” – San Diego City Beat
“Hilariously disturbing… slashingly funny.” – The Horror Review
“3 Stars. Offbeat, smartly written, and devilishly amusing, this little gem is one of the year’s real sleepers. Recommended.” – Video Librarian
“You have to see How To Be a Serial Killer at least once before you die. As dark comedy go this one kills. How To Be A Serial Killer is very original, well written, features excellent acting, and solid direction.” – theseriouscomedysite.com
“How To Be A Serial Killer is an unusual, entertaining, and shocking black comedy. How
To Be A Serial Killer is a successful mix of a unique and interesting premise, a solid story, and good acting within an unusual format that works. Very entertaining, it is worth the watch.” – the reviewspage.com
-- Abigail

HOW TO BE A SERIAL KILLER
http://dead-silence.org/ http://www.dreadcentral.com/news/32124/how-be-a-serialkiller-set-debut-sdcc-09

HOW TO BE A SERIAL KILLER
HOW TO BE A SERIAL KILLER is the story of Mike Wilson (Dameon Clarke), a charismatic, educated, and articulate young man who has found his life’s purpose in exterminating… people. Determined to spread his message about the joy of serial killing, Mike recruits a lost soul named Bart (Matthew Gray
Gubler) to be his pupil and leads him through his 10-step program which includes such quintessential lessons as: theories on corpse disposal, balancing work and play, practical methods of killing, and planning a getaway. Mike and Bart’s curriculum is interrupted when Mike’s girlfriend discovers what’s beneath her boyfriend’s charming exterior. Bart discovers that with determination, discipline and hard work, the great life he has always dreamed of is only a victim away.
HOW TO BE A SERIAL KILLER pokes fun at the self-help literature industry and motivational speakers in general. There are so many ways to get off track while pursuing the perfect life, and an even greater number of poppsychologists and gurus out there to lead the masses astray. Mike Wilson has found the perfect method of getting your life back on track and achieving a meaningful existence. Mike teaches his method in an exciting seminar series:
How To Be A Serial Killer. Mike tells all of his students: “You have what it takes, you just have to pull the trigger on the life you deserve.” Students rave about Mike’s depth of knowledge on the subject of serial killing and his endless enthusiasm and zest for life. One student described Mike as “a tasty smoothy made from a little bit of Charles Manson, some Tony Robbins, and a sprinkle of the messianic charisma of Jesus.”
Mike administers his first one-on-one tutorial when he recruits a lost soul named Bart to be his pupil in the art of serial killing. Mike’s 10-lesson program includes weaponry, corpse disposal, keeping things from loved ones, and many other pearls. As Mike begins to teach Bart more and more about the ways of successful serial killing, it becomes more and more difficult to hide the truth from his girlfriend Abigail. And when she does inevitably find out, Mike’s life as serial killer gets thrown for a serious loop. Now, devastated by the loss of the love of his life, and with the cops on his tail for the first time in his life, Mike and Bart retreat to Mike’s desert hideout to make preparations for their escape to Mexico. But when a local sheriff’s department interrupts their preparations, all hell breaks loose, and Mike must learn a lesson of his own: how to deal with police standoffs and full-scale gunfights.

HOW TO BE A SERIAL KILLER
Mike Wilson was born to Edward and Elaine Wilson on August 10, 1969 in La Canada,
California.
Edward and Elaine were Quakers and started La Canada Quaker College where Mike was the only enrolled student. Edward and Elaine home schooled their only son until he was 21 years old. He was the captain of the school’s Tetherball Team, the
Hopscotch Squad as well as the chess and debate teams.
Well educated but without a legitimate college or high school diploma, Mike’s first job was at the local landfill sorting toxic construction materials from the non-toxic ones.
Mike excelled at his job and after a brief two-year spell in the hospital for an upper respiratory ailment Mike left the landfill with a great letter of recommendation and a
$150,000 “bonus” from the landfill management.
Mike left his parents’ home and moved to downtown Los Angeles where he became employed as a telemarketer. Once again Mike showed an affinity for talking to people. He single-handedly convinced 16,474 people that their thighs were in need of toning and they could not continue to live without the Thigh Maestro.
When Mike was 25, his father Edward left his mother, married a stripper named
Shawntelle and moved to San Bernardino, California. Forced to support his mother,
Mike moved back to La Canada and started a landscaping company that specialized in hedge sculpting. “Bush Trimmers” as Mike’s new enterprise was called, proved to be before its time and was out of business in a year.
With no money, no diploma and a mother to support, Mike turned to a series of selfhelp books to try and find direction in his life. He enrolled in the Tony Robbins seminar “Unleash the Power Within” and the seminar seemed to do just that. On his way home from the seminar, Mike was involved in a minor car accident on the freeway. The gentleman who side-swiped Mike was irate and began to physically assault him. Mike with a light push sent the gentleman into oncoming traffic. The gentleman was hit by an 18-wheeler and was killed instantly. This one single act gave Mike a new lease on life. He saw how close each and every one of us is to death and that we must all live life to the fullest. He decided right then and there that his mission in life was to remind humanity of how fragile life is and endeavored to live his life as if it were the last day on Earth. Shortly after, he started the HOW TO BE A
SERIAL KILLER SEMINAR series and has been teaching people the art of taking life as a means to enriching their own for nearly 10 years.
Mike lives among us in Los Angeles, California.

HOW TO BE A SERIAL KILLER
Canadian native Dameon Clarke began his acting career at the age of twelve.
(His parents couldn’t afford a nanny so having a film crew keep an eye on him was the next best thing). His first role was playing opposite William
Shatner as his son. This was very exciting for the budding thespian and even more so for his Trekkie Dad. After a couple of years, Dameon took a break from acting to do things kids do – mainly sports, in particular rowing. As a young adult, he spent time behind the camera and at the tender age of thirty, Dameon returned to acting.
In the past several years Dameon has appeared opposite numerous Academy
Award winning actors and worked with internationally acclaimed directors.
His portrayal of Mike Wilson in How to be a Serial Killer garnered him Best
Actor at the Tribeca N.Y. Horror Film Festival, the films festival debut! Other projects Dameon can be seen in include the film A Scanner Darkly opposite
Keanu Reeves and Robert Downey Jr., multiple episode arcs on “24” and
“Prison Break,” and numerous Guest Starring roles on “CSI” “CSI Miami”
“Supernatural” “Raising the Bar” and “Without a Trace.” He also appeared recently in a leading role in the Lifetime movie of the week “Fab Five: Texas
Cheerleading Scandal.” Coming up you can also catch Dameon opposite Jim
Carrey in the 2009 Sundance favorite I Love You Philip Morris.
Work stuff aside, Dameon is a bit of a goofball. He loves nothing more than a good laugh, great food and spending time with his friends and family. It should also be noted that he is an animal lover and an award winning beer chugging champion.
Dameon currently lives with his girlfriend, dog, nine fish, and two cats in Los
Angeles.
Starring in the T.V. hit “Criminal Minds”, Las Vegas native Matthew Gray
Gubler is an accomplished filmmaker, model and actor. Matthew attended
NYU’s Tisch School of the Arts where he majored in film. Since graduating, he has directed the short films "The Cactus That Looked Just Like a Man,"
"Claude: A Symphony of Horror", “Life Aquatic: Intern Journal” and "Tippi's
Picnic".
Most recently, Matthew Gray Gubler stars opposite Zooey Deschanel and
Joseph Gordon-Levitt in the Fox Searchlight comedy 500 Days of Summer which will be out in theatres July 2009. He has also appeared in a wide variety of films such as R.V, Wes Anderson’s The Life Aquatic with Steve

Zissou, The Great Buck Howard and How to be a Serial Killer. Last year he voiced the role of Simon in Fox’s Alvin and the Chipmunks which grossed over $200 million in the box office. Matthew will start recording the voice of
Simon in Alvin and the Chipmunks: The Squeakuel later this year.
Currently, Matthew is a series regular on CBS’ “Criminal Minds” where he plays Dr. Spencer Reid. In his spare time on set, he directed and starred in
"Matthew Gray Gubler: The Unauthorized Documentaries" which can be seen on YouTube. He also directed, edited, and co-produced The Killer’s "Don't
Shoot Me Santa" music video, is an accomplished water color painter, and recently started his own music label entitled Cornstalk Recordings. As a model, Matthew walked the runway for such fashion designers as Marc
Jacobs, Burberry and Louis Vuitton. He was featured in Paper Magazine's 8th annual Beautiful People issue.
A native of Boston and a graduate of Syracuse University’s drama department, George Wyner made his Los Angeles theater debut in The
Trial of A. Lincoln, starring Henry Fonda, and later appeared as Dr. Bird in the Ahmanson Theater production of The Caine Mutiny Court Martial, directed by Mr. Fonda. George has worked extensively in TV and films for over thirty-five years. Early TV work includes such shows as “All in the
Family,” “Mash,” “The Odd Couple,” “Soap,” “Rhoda,” and “The Bob
Newhart Show,” as well as multiple appearances in shows such as
“Rockford Files,” “Quincy,” “Colombo,” and “Murder, She Wrote.” Notable
TV work includes the role of Roy Cohn in “Tailgunner Joe,” and six seasons as A.D.A. Irwin Bernstein in “Hill Street Blues.” Recent TV work includes such shows as “Bones,” “Desperate Housewives,” “ER,” and
“Without a Trace.” To date, George has been a regular in nine series, beginning with “Kaz” in 1977, and has guest-starred in over one hundred shows. Two dozen feature films include the role of Colonel Sandurz in
Spaceballs, To Be Or Not To Be, My Favorite Year, Fletch, Fletch Lives,
The Devil’s Advocate, Postman, American Pie II, and the soon to be released Coen Brothers film, A Serious Man.

-- Dr. Goldberg

HOW TO BE A SERIAL KILLER
In the summer of 2006, Ricci had two and a half weeks off between jobs and had the idea to write a script, find the financing for it, and shoot it, before recommencing work. For four days straight he worked without sleeping and came up with a forty-page treatment that he took to a friend to consider financing. The project was intended to be executed on a tight shooting schedule. Making it through the first draft was difficult, though it did happen before the two-week mark, but Ricci ultimately came to his senses after pitching the idea to producing partners Jason Dittmer and Todd Makurath.
Collectively, the trio realized that the idea warranted a greater investment of time and production financing. They decided to aim for a start date of May
15th, 2007 to leave enough time for script development, casting, and preproduction.
Additionally, they were in pre-production on the feature FAST GIRL, which was slated to shoot in November, 2006. Ricci kept writing drafts as Matador
Motion Pictures headed into production on FAST GIRL, which was completed in February of 2007. At that time true pre-production on HTBASK began, but rewrites continued through production. Over thirty drafts of the script were written and the story changed drastically several times. Dittmer and
Makurath gave extensive notes and contributed greatly to the shape and scope of the story and characters. Ricci says about working with Dittmer and
Makurath: “Being able to have your best friends as you producers is probably the greatest blessing a first-time writer/director could hope for. Their constant feedback and support allowed me to get to a script that I felt confident about realizing taking into the wilds of production.”
-- Mike Wilson

HOW TO BE A SERIAL KILLER
Once the script was ready to go out to talent, Dittmer, Ricci, and Makurath made the decision to cast the movie themselves using pre-existing relationships in the agency world. The script was sent out to every agency in town and posted on Breakdown express and at the end of the first day, several hundred phone calls had been placed to the Matador Motion Pictures offices. The script received an alarmingly positive response provoking thousands of submissions. The team held casting sessions at Film
Independent and casting went on for three weeks, 8 hours a day. It was a long and tedious process, but one the team felt necessary to give the film the best chances of success. The effort proved rewarding when Ricci met
Dameon Clarke who was ideal for the role of Mike. Shortly after, Matthew
Gray Gubler was cast, completing the dynamic combination of Mike and Bart.
Laura Regan and George Wyner were then added to play the roles of Abigail and Dr. Goldberg. With a solid cast in place, Matador felt confident about moving into production.
-- Mike Wilson

HOW TO BE A SERIAL KILLER
There were many challenges facing physical production and Dittmer and Makurath attacked them with their extensive knowledge of filmmaking and the ferocity of not having big-budget resources. The two called in favors all over town to secure the multitude of people and equipment necessary to make the production run smoothly.
The duo worked many long hours to ensure that Ricci would have as much time working with the actors as possible. Dittmer and Makurath had both worked with first-time directors before and knew that it required a special amount of vigilance and finesse. Principal photography commenced on May 15th, 2007, and Dittmer and
Makurath brought on UPM Dan Hooker to organize the production so that they could be freed up to be more involved in the creative process. Ricci reflects: “Jason and
Todd were as invaluable on a daily basis during production as they were in the development process. The creative bond that we formed during development allowed us to have the rapport to talk about ideas in short form and without inhibition. It was never about ego, but only about making the best movie we could make.” This tripartite collaborative effort was integral to the success of the production. Still there were, as always, challenges the trio had to stretch themselves to conquer.
In the first white version of the script there were over 125 unique locations, a number that makes any independent producer shudder. Through selective combining of key locations, the number dropped into the mid-eighties. Many of the locations were written for the script as Ricci wanted to draw on the beauty exists yet is often overlooked in Los Angeles. When Makurath and Dittmer found Lynn van Kuilenberg to location manage the shoot, the team knew they were in good hands. Kuilenberg was able to lock ninety-five percent of the locations Ricci scripted, thereby adding tremendous production value to the film. Ricci and Kuilenberg worked in tandem to get the most out of each location. One of the most challenging locations was a
Craftsman house with a swimming pool which the team knew was financially out of reach. Ricci begged and pleaded with his girlfriend ʼ s parents to let them use their house in Hollywood. They were generous enough to leave Ricci with the keys to the house, take a weekend hiatus from Los Angeles, and not ask any questions.
Stunts, gunfire, and pyrotechnics were something the team had little experience with, but the Stunt Coordination expertise of Shawn Crowder, the quick draw ingenuity of Mike Tristano, and the explosive energy of Frank Pope started the ball rolling in the right direction. Comprehensive visual plans were made to allow these integral moments to have maximum impact, and for safe execution. Ricci recalls apprehensively calling Crowder to beg him to do the project: “I remember telling
Shawn that I was really concerned because the script called for us to kill 35 people. I continued to express my hesitations and that if I had to, I would reduce the number.
But Shawn talked me off of the ledge saying: ʻ Luke, we ʼ ll do whatever it takes.
Whatever it takes to get it done. Don ʼ t worry. Me and my guys will take care of it.
Even if you need to light us on fire.” No doubt, the experience of Crowder, Tristano, and Pope gave the filmmakers the ability to execute killings in a realistic fashion.

HOW TO BE A SERIAL KILLER
From inception, the script had three visual components: a naturalistic narrative world, a stage where Mike conducts his seminars for an audience, and a first-person “killer cam,” an ice-cube camera contraption that Mike affixes to his head to record his own killings. DP Hernan Michael Otano and
Ricci began working together several weeks before the shoot and arrived at the decisions to give the film three distinctively different styles. Ricci wanted the narrative to be shot entirely handheld to allow for the fluidity of camera blocking to move around the actors, while still shooting coverage. For Mike ʼ s stage presentations a more rigid shot compositions were chosen and more traditional camera moves were employed -- the idea being the camera angles were reflective of the fixed audience ʼ s point of view. The POV killings required extra camera tests and instead of using practical ice-cube cameras which possessed stability and resolution issues, Otano suggested using Doggy-Cam rigs to give the necessary stability to the images being recorded.
A digital format was selected as it complemented the ability to have multiple visual styles and allow for seamless integration of the POV killings. The team considered using Vipers and the Panavision Genesis before deciding on Sony
Panavised F900s, and Panasonic HVX 200s for the Doggy-cam rigs. The
F900s were selected because they are lighter than Vipers and the Genesis, and don ʼ t require complicated data management systems. Otano knew he would be shooting 80 percent of the film handheld and the larger CCD HD cameras restrict the mobility necessary to accomplish the desired look.
Originally, the stage was designed to be shot on film, but the integration of
1080 HDCAM footage, 720 HDV footage and film was too harsh of a transition. Instead of format, shot design became a large part of the design of the stage as well as the color palette and wardrobe selection.
Ricci relied heavily on Production Designer Megan Hutchison and Costume
Designer Kerrie Kordowski to help create unique visual elements to differentiate the stage from the narrative and the POV killings. Hutchison worked with Kuilenberg to find the perfect location, a turn of the century theatre, and had her art department running all over town and searching on the internet for a collection of props and set dressing that separated itself from the rest of the film. Kordowski searched all over Los Angeles for the right look for Mike Wilson ʼ s stage performances, finally landing on a classic tuxedo cut.

HOW TO BE A SERIAL KILLER
Matador Motion Pictures purchased an editing system and installed it in their office conference room to minimize the interruptions to the running of the company by the postproduction process. Editor Todd Makurath put together the assembly strictly adhering to the chronology of the script, but that structure didn ʼ t last after the first revision. The assembly was two hours and five minutes long and Ricci and Makurath snipped about thirty-five minutes off in the first pass. Integrating the three visual worlds was very challenging and they worked long hours over the next three months, drastically reordering some of the scenes and being as ruthless as possible in the revisions. Test screenings helped give feedback which led Ricci and Makurath to carefully consider elements that were missing for audiences and aspects of the film which needed clarifying. Makurath reordered the story on a weekly basis before finally landing on what is the current structure of the film. With this final version, there were clearly some scenes missing, which led Ricci to script 15 new pages and a new intro for the film. The new pages were shot and cut and gave new viewers the springboard they needed to properly access the characters and the narrative. Makurath not only edited, but drove the entire postproduction process. Makurath ʼ s technical abilities continually amazed Ricci: “Todd is like a comprehensive manual for any machine and post-production process you could imagine. Since I can barely hook up a stereo, Makurath ʼ s know-how made the post process a fluid and enjoyable process.”

HOW TO BE A SERIAL KILLER
Luke Ricci (Writer/Director/Producer) grew up in the San Francisco Bay Area.
He received a BA in English from UC Berkeley and an MFA from the American
Film Institute, where he won a student Emmy Award for the short film
DUNCAN REMOVED, which he produced. After school, he founded production company Matador Motion Pictures along with producing partners Jason
Dittmer and Todd Makurath. Concurrently with the formation of Matador,
Luke produced commercials for M & C Saatchi where he worked on the
Qantas Airways, Tourism Australia, and National Geographic accounts. HOW
TO BE A SERIAL KILLER is his first film as a writer/director. Before HOW TO
BE A SERIAL KILLER, Luke produced the feature film FAST GIRL and most recently a music video for The Killers and (Product) Red. He is currently developing several feature film projects.
Jason Dittmer (Producer/2nd Unit DP) started his career as a cinematographer. Having photographed numerous documentaries and feature length films, Jason is intimately familiar with the production process.
Before starting Matador Motion Pictures, Jason also served as president of
Sierra Media LLC, a television production company in Los Angeles. Jason’s work can be seen on Discovery Networks, Travel channel, OLN, NBC, ABC,
CBS and ESPN. Climbing into Cloudbase, a documentary he produced and photographed about climbing Denali, North America’s highest mountain, won national acclaim and aired nationally on the Outdoor Life Network. Jason’s strength is managing and executing low to medium budget films with a high production value. Jason holds a BA in Spanish from St. Lawrence University and an MFA in Cinematography from the American Film Institute. He lives in
Los Angeles, California.
Todd Makurath (Producer/Editor) a Washington, DC native, is a graduate of
Trinity College Dublin with a double-major in Finance and Economics. Todd returned to his film interests by completing a Masters of Fine Arts degree in
Film Production at the prestigious American Film Institute, where he was awarded the Stan Margulies Producer’s Award and his films received the
Panavision New Filmmakers Grant, Fotokem Production Grant, Richard P.
Rogers Award for Directing and been a finalist at the Hollywood Discovery
Awards. His first feature film, Raw Footage was completed in early 2006 and was awarded the Audience Award for Best Narrative Feature at its premiere at the DC Independent Film Festival. Todd recently completed production on the feature films Fast Girl and How To Be A Serial Killer and is currently casting his next project, Liberty written by Andrea Berloff (World Trade
Center).

HOW TO BE A SERIAL KILLER
Dameon Clarke is especially adept at sculling and is also an awardwinning beer chugging champion.
Matthew Gray Gubler voiced the role of Simon in Fox’s Alvin and the
Chipmunks and was also featured in Paper Magazine's 8th annual
Beautiful People issue.
Mary Jo Catlett is the voice of Mrs. Poppy Puff on SpongeBob
SquarePants

HOW TO BE A SERIAL KILLER

HOW TO BE A SERIAL KILLER
HOW TO BE A SERIAL KILLER should be enjoyed as entertainment. It is fictional. It is a parody of a certain aspect of contemporary society. It is meant to be fun and funny. It is in no way meant to be taken literally. We believe very strongly that through media and literature people can experience violence vicariously, both as victim and perpetrator. Violence is something both primal and contemporary and we find it horrifying and fascinating in equal measure. Mike Wilson ʼ s ways are immoral and illegal and as moral beings we disagree with his behavior. There is, however, an underlying message that Mike Wilson possesses that we support: life is volatile, so appreciate it and don ʼ t forget that when you hear your alarm clock ringing each morning, that today might be the day you die.
-- Mike Wilson

HOW TO BE A SERIAL KILLER

HOW TO BE A SERIAL KILLER
-- Mike Wilson

HOW TO BE A SERIAL KILLER

HOW TO BE A SERIAL KILLER

HOW TO BE A SERIAL KILLER

monterey media inc., incorporated in 1979, is a privately owned entertainment industry company specializing in the creation, acquisition, distribution and sale of motion pictures and other programming. monterey media is actively engaged in all areas of domestic media, including theatrical distribution, film festivals, and other distinctive venues, television, and home entertainment markets, and is presently increasing its release slate with a continued measured growth strategy.
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