If you have something to say, better make it distinctive. That gets attention. Filmmakers, Sara Werner (director) and (creator) Erik Potempa’s distinctive style is bold. Their satirical black comedy asks Is violence justifiable in a violently oppressive culture? It’s an important question, and the strikingly different series knows how to get it under your skin.
The series uses horror, comedy, and violence to explore the struggles faced by Joy, a 31-year-old broke, bi-racial, queer, female personal trainer for the elite of NYC – called Joy. Joy finally snaps as a result of a particularly offensive client’s racially charged sexual advances. This little violent BDSM moment surprisingly exhilarates her and she begins to feel as though she may have just found her “true purpose”, brutally murdering toxic rich assholes. So the series is also a comment on the current economic conditions, where 61% of Americans are living pay cheque to pay cheque, with the top 1% controlling 32% of the wealth.
Killer Workout has already won the Silver Award for Best Web Series at DC WebFest, Gold Remi for Writing at WorldFest Houston International Film Festival and Best Dark Comedy at Deep Focus Film Festival. It was also nominated for Best Comedy Webseries Episode at Austin Comedy Film Festival, was among the finalists for last year’s Sundance Episodic Lab, and was part of the official selections at Raindance, Outfest, Jelly Fest and Boston International Film Festival.
Ultimately, it’s intensely watchable. And it delivers its message to the heart.
Film curator, Niccolo Montanari, interviewed Werner and Potempa for The Stable:
Niccolo Montanari: Killer Workout is a dark satirical comedy addressing the inequality, classism and racism many Americans experience on a daily basis. Can you share with us what tipped you over the edge and drove you to create the webseries?
Sara Werner: Well, Erik created and wrote the series. It was my own daily interactions and being tired of feeling helpless that connected me to the story… and made me want to direct it. Like Joy, unfortunately we often encounter these systemic issues when we are not in the position to say anything or have the heated reaction we wish we could have, whether it is dealing with a client via our survival jobs, in a situation where “the customer is always right,” or just trying to avoid a violent reaction…creating this series is an ultimate call out. It’s also this careful balance of activism and artistry, using art as a catalyst for change.
Erik Potempa: I was fed up. I had been absorbing regular disrespectful and abusive behaviour while working as a personal trainer and free-lance cater waiter for the wealthy of NYC going on 15 years. Then, I got my partner a job as a Nanny for one of my clients. And after watching her deal with even worse behaviour, I felt like I had to write about it or I was going to lose my mind. So, that’s what got Killer Workout started.
NM: Why did you decide to opt for a web series format, as opposed to say a short film or documentary?
SW: We discussed restructuring it into a short film but it felt like Joy had a broader story to tell. The story is based in dealing with systemic issues, and there’s a lot to unpack here. Erik has always seen it as a multi season series and just from developing a small fraction of that story and in rehearsals with Nina there truly is so much more to discover and express in Joy’s journey in this “real world” that we all created together.
EP: While I always enjoy a good doc, I’m much more interested in fictional story telling in general. And for this story in particular, I felt like it would be a lot more fun and affecting for audiences to use dark comedy and horror as vehicles for a badass queer Black woman to own her power while processing her trauma. Like Picasso said, “Art is a lie that makes us realise the truth.”
NM: What are the biggest challenges in making a comedy piece? Any learnings you’d like to share with fellow filmmakers?
SW: Always the timing, especially in a dark comedy, remembering that some of the humour comes from the seriousness of these wtf situations. Definitely never trying to force something as well. Always making sure that humour comes from telling the truth in this created reality.
EP: Agreed. It’s so important not to fall into the trap of going for the comedy, and to trust that if you find the truth within the given circumstances and script…the comedy will pop.
NM: Killer Workout has been selected by a great selection of film festivals worldwide, including Raindance, Outfest, Jelly Fest and Boston International Film Festival. How important and useful has the film festival circuit been in providing visibility to the series? Anything you would change?
SW: We are incredibly grateful for the platforms and connections these Film Festivals have all granted us, and most of all the audience they bring in. They definitely have a built-in audience, and it’s been helpful to not only get fellow filmmakers’ feedback but to see the genuine audience reaction. After sitting with so many edits of the film and having the moments burned into your mind, each screening also allowed us to see the series in a new light. It’s also lovely to get to see our fellow filmmakers’ works that we get paired with. It’s magical seeing everyone’s hard work elevated and play so well together. Because this project is our baby, I imagine it’s like dropping your kid off to play in the playground, “I’m so glad it played so well with others, maybe even grew positively.”
EP: Most definitely. It’s been very helpful in regards to confirming for us that this story works, based on the overwhelmingly positive responses from audiences at those festivals. In terms of visibility within the industry and building an audience outside those festivals, it’s been tough to be honest. Our festival run took place in the heart of Covid. So, most of the festivals were cancelled or moved online, and networking opportunities were lost. Getting everyone back together to shoot more episodes during that time was also a big challenge. But, we kept going and we’re ready now!
If I could go back in time, I would have shot more episodes and outtakes from the start and reached out to press right away so we could’ve taken advantage of the influx of eyes online during the pandemic.
NM: What are you working on next?
EP: We’re in pre-production for a new web series that I wrote called Old Farts; think an uncensored Grumpy Old Men meets Broad City.
SW: I’m super grateful that I have the lovely opportunity to work with this guy again in the new year, but this time with him in front of the camera as well. I’m very excited to get to direct Erik a bit more intensely than his cameo as the doorman in Killer Workout but as the lead in a series that tackles issues of death, dying, ageism, systemic issues, and gentrification.
But first up is a featurette that I’m about to head into production this fall, it’s a coming-of-age drama about the loss of innocence…ya know I can’t get away from issues that need to be addressed with an empathetic lens.
Credits:
Director: Sara Werner
Creator: Erik Potempa
Producer: Yvonna Pearson, Rob Margolies
Associate Producer: Rand Guerrero
Director of Photography: Karli Evans, Dennis Cahlo
Editor: Emily Chao, Michelle Kim
Cast: Nina Kassa, Kelly Hubbell, Tiffan Borelli, Gayle Samuels, Erik Potempa, Joshua Packard
Assistant Director: Nick Young
AC/Gaffer: Eddie Bernard
2nd AC/DIT: Cameron Spector
Key Grip: Manny Ramos
Sound Designer: Grant Elder
Sound Recordists: Keaton Hild, Luke McClellan
Production Designer: Marina Guzman
Grip: Derek Osinski
Script Supervisor: Bry Gallagher
Key Make-up Artist: Shannon Mulligan
Stunt Coordinator: Christian Kelly-Sordelet
2nd AD: Gretel Snyder
Production Assistant: Jessica Carollo
Casting Assistant: Kelly Klein
Colourist: Kyle Kelley
