Anywhere But Hollywood – Interview with James B Cox (Again)

by Adam Charles | Posted on

Episode Context

  • This episode is a follow-up interview with James B. Cox, previously featured in episode 2.

  • When first interviewed, Cox had just completed a Kickstarter for Control-Alt-Delete, a Crichton-style sci-fi thriller about AI gone rogue.

  • Four months later (now February), the film has finished shooting and entered post-production.

  • This is an Anywhere But Hollywood case study, exploring an independent film’s full production cycle.

Production Overview

  • The shoot lasted 16 days, including some half-days for B-roll and second-unit work.

  • The film was shot primarily in a vacant office floor in Newport Beach, which doubled as a data-center environment.

  • Cox’s crew brought in roughly 9 – 11 server racks, repositioning them and using lighting to simulate a full server room.

  • Because the entire story unfolds in one location over one night, the production could be shot mostly in chronological order, allowing for organic adjustments.

Creative Process and Directing Approach

  • Cox emphasizes collaboration and preparation, holding rehearsals and read-throughs before each scene.

  • He praises his crew and ensemble cast, especially lead actor Blake Robbins, for elevating the material.

  • The movie was shot largely in sequence, which gave the team flexibility to evolve story beats as they filmed.

  • Cox credits his success to thorough understanding of the script and openness to feedback – “being an expert on my script” while staying adaptable.

Visual Design and Technical Execution

  • The filmmakers built the “Thule Corporation” world (a fictional data company akin to Google or Facebook) within that single building.

  • Most props and office furniture were donated or repurposed.

  • Cox’s background in post-production shaped his philosophy: capture as much as possible in-camera, minimize reliance on CGI, and avoid “fix it in post.”

  • Practical effects included smoke, fog, explosions, and makeup effects, handled by special-effects artist Michael Valenzuela.

Themes and Inspirations

  • Control-Alt-Delete is described as a techno-thriller with humor, gore, and social commentary about data privacy and artificial intelligence.

  • The AI antagonist, MANA (Metricized Artificial Network Administrator), behaves more like an organism or hive mind than a sentient being – reflecting Cox’s research into non-human forms of intelligence.

  • Cox cites Michael Crichton and Steven Spielberg (Jurassic Park, Raiders of the Lost Ark) as major influences, saying he wanted to make a film his 11-year-old self would have loved.

  • He intentionally avoided the cliché of a “talking AI,” focusing instead on collective intelligence and unseen menace.

On-Set Experience

  • The first day of filming involved a lighthearted dialogue scene about a zombie apocalypse, which helped ease nerves.

  • Cox describes the shoot as smooth and collaborative, with problem-solving replacing blame whenever issues arose.

  • Shooting days averaged 12 hours, honoring proper SAG rules and ensuring safety for crew commuting from Los Angeles.

  • He emphasized morale and respect for cast and crew – “we wanted to make sure everyone was taken care of.”

Writing and Improvisation

  • The screenplay ran about 92 – 94 pages, intentionally lean and fast-paced.

  • Dialogue and character nuances evolved during rehearsal, but the plot stayed consistent.

  • Actors contributed to refining scenes and adding emotional depth or humor.

  • Cox allowed controlled improvisation once the “safe take” was secured, leading to more natural performances.

Post-Production and Funding

  • Post-production had just begun at the time of the interview, with an editor and post house handling the cut.

  • The team budgeted for post but launched an Indiegogo campaign to cover additional expenses like festival submissions, marketing, and distribution.

  • A teaser trailer was released, showcasing early footage.

  • Planned festival submissions included Sundance, Slamdance, and SXSW.

  • Adam notes the teaser “looks fantastic,” comparing the visuals to a comic book come to life, shot by cinematographer Ben Moncrief.

Personal Notes

  • Cox’s son Sebby has just turned six months; Adam congratulates him.

  • The conversation ends with plans for a third follow-up episode once post-production is complete and distribution begins.

  • Adam promotes the Anywhere But Hollywood Facebook group, boasting over 1,000 members discussing independent and international filmmaking.

Summary Tone and Takeaway

The episode captures the optimistic, behind-the-scenes energy of a first-time director completing his debut feature on a modest budget. Cox’s approach blends pragmatic production craft, Spielberg-style enthusiasm, and tech-driven cautionary themes. The discussion doubles as a masterclass in indie filmmaking logistics, emphasizing collaboration, problem-solving, and storytelling rooted in curiosity rather than spectacle.

Adam Charles
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About the author

Adam Charles has written for Walt Disney Television, Amblin Entertainment, and more. Over the years he has crossed paths with so many media personalities, he’s come to think of himself as the Forrest Gump of the film industry.

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