Imagine being in charge of a 2 million dollar feature film, written and produced by the same guy who wrote The Crow. Your only experience is from directing a student film at the New York Film Academy. That is exactly what director, Michael Staininger was going through when he was thrown in front of 150 crew members on set of The Tomb. Luckily, he had the hands-on training from NYFA to prepare him for the real world. “Diving into filmmaking from day one, being thrown into the cold water with very little previous experience, that is what prepares you for the real world; and the madness which will await when you step onto your first feature film set. The ability to make one hundred plus mini and big decisions per day, mostly based on instinct and preparation, is what will set you apart from the competition.”
Michael was born in Vienna, Austria to an upper middle class family who expected him to pursue a career in business. But, like most creative filmmakers, he gradually began seeking adventure, searching for the unexpected, rather than pushing for the obvious. Michael used his imagination to open horizons and create new worlds through the moving image. From there, and a few viewings of Braveheart, Michael’s fascination with the magic of film was born. Directing became his path in life.
So, how does a boy from Vienna end up directing a $2 million film in Los Angeles with producers George Furla and Randall Emmett?
George Furla was one of my first producer acquaintances in the first year I moved to LA. We understood each other right away and tried to put something into the pipeline. It took several efforts (4 projects didn’t happen) and a little more than a year until the first draft of the “Ligeia” script, which distributors later renamed The Tomb, went through the Emmett/Furla Films office. They started my career. The main reason I signed on to do the film was because I’m such a big fan of The Crow, which “Ligeia” screenwriter John Shirley also wrote. John Shirley really understands darkness and mysticism.