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Lincoln Leopard Films, founded in 1988, by then second graders, Michael J. Mouncer and Travis Senger, is a Seattle- and LA-based filmmaking company. Washington has given this creative duo both ample subject variety and an excellent platform for their pursuits. Writing and directing is the passion of Travis Senger, who believes that film is the crossroad of all art forms. Senger finds inspiration in people, places, time, and the relationship between all three.

Kadence Englehardt: What about the Pacific Northwest is important to your company?

Travis Senger: The Pacific Northwest is my home, regardless of where I’m at, or what I’m doing. I’ll always have a relationship to this place – it’s where I’m from. We named our business after the elementary school we went to as a way to stay connected to our childhood while we start to do projects in other places.  My last film was shot in New York. Currently we are developing new projects in Washington and New York.

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Photograph by Kyle Johnson

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KE: Does Seattle play an important role in your work?

TS: I feel like when I did CC 2010, it was my ‘love letter to Seattle,’ highlighting the major places of the city. The next piece I’m working on will be shot throughout Washington state, but not in Seattle.  I’m also looking to start a project that would be shot in New York.  Seattle is not something that I wouldn’t ever return to, but I’m curious about other areas right now.

KE: What made you want to live in the Bemis building?

TS: I really like the Bemis Building. The space is unique and zoned for work/live. I shot some of my stuff here and it’s a really smooth setup with the loading docks, freight elevator, and the high ceilings.  As a day-to-day workspace, it’s awesome. At this point in my career, I think it makes sense to live where I work.

KE: There seems to be a kind of cultural aspect to all your work, including your newest film, White Lines and the Fever – is this a common interest of your films?

TS: I like to do period stuff; things that relate to historical moments. The feature-length narrative film I’m currently writing takes place in 1992.  I don’t think all of the work I do will be period based or historical, but I imagine a good chunk of it will be.

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Photograph by Jonathan Maltos

KE: Do you hope to use your filmmaking to tell a larger story or make a statement of some kind?

TS: One of the things that is really important to me, as far as my overall objectives, is to create a body of work that makes statements about historical moments that aren’t being examined and have been overlooked, which, I think for most of us, is the majority of our past. I also have an interest in doing something transnational, but I think it will take more time and experience for me to do that.

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KE: Do you think nostalgia is a foundational part of your style? If not nostalgia, how would you describe your style?

TS: My style is still developing, but I have been continuously working with relationships to time; CC 2010 was the futuristic present; Count it Off, [a music video for the hip-hop group, The Saturday Knights] was shot on tube cameras to make it look like the late 70’s, early 80’s. I like things that are really stylish and visual, but I’m also interested in different formats and how they affect my art. I think I will continue to explore formats in my work, depending on what the story calls for.

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Photograph by Lucas Senger

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KE: What was your training?

TS: I studied the theatre and that was a tremendous part of my training. Then I moved into music videos and short films, and that has been a great arena to learn the techniques of filmmaking. I hope all of this has prepared me to make feature length films. I’m more well-rounded and I feel like I’m starting to really understand how to tell a story.

KE: What’s the art in directing and writing your own films?

TS: From the time I was in 7^th grade to when I was 18, I wanted to be a writer. I look at filmmaking as an extension of literature. For me there was a pretty organic transition from genre to genre in literature, but then I discovered Theatre and Film. Eventually, I wanted to do something with technology and do something that was changing. Even though literature is always changing, the tools aren’t changing drastically. The way we see and experience movies is always changing and I’m excited about that.

KE: Why filmmaking?

TS: For me, film encompasses every art form. I love watching movies and making them. I love working with a collaborative team of great artists.”

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Photographs (above/below) by Kyle Johnson

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KE: How do you cast possible actors for roles?

TS: I love actors. Although the work I’ve been doing lately hasn’t been as much about actors, I’ve always been interested in [them], working with them, and how they preparefor their roles. My base as a director was taken from studying acting. Actors really walk the line, there’s a certain type of courage that goes along with that. They carry the film, so I have a tremendous amount of respect for actors.  My casting previously, has been through my own process of asking favors and giving offers to people I know. The film I am currently writing will require a casting director, but I still want to be very involved, but not to the extent I was before.

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KE: Where do you find inspiration?

TS: Mostly, my inspiration comes from my family and friends. My brother was really into the [‘62’] World’s Fair, and my brothers and I have always loved the early hip-hop period. I remember walking around the house and listening to my little brother sing Kurtis Blow’s “Basketball” and now I just did a documentary with Kurtis. So they’ve had a big influence on me along with Michael, my producing partner, and my girlfriend.

Once I get an idea, inspiration gets filtered through a sort of state of mind. It’s like a game you’re constantly playing, like a scavenger hunt.  You compile things mentally throughout the day and then try and find them and see if they fit. 

KE: Are you doing what you want to do?

TS: I think I’m doing what I want to do. I wouldn’t want to do anything else in the world besides writing, directing, and producing film. It’s a dream to me and I hope that I can continue doing it. To me, there would be nothing better than getting to direct films I love.

Right now, my latest film is starting the festival circuit and we are just getting into a new level of filmmaking, but there are lots more steps to take.

If I had a real job, I think I would get fired. I spent most of elementary school in the hall!

White Lines & The Fever – Clip from Lincoln Leopard Films on Vimeo.

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Travis Senger is based out of the Bemis Building.  His most recent film “White Lines and the Fever: The Death of DJ Junebug“ will premiere at the South by Southwest Film Festival in March. For more information and a preview of this and other works, please visit his website or email him at info@lincolnleopard.com.

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Photographers. Derek Blagg | Kyle Johnson | Jonathan Maltos |Lucas Senger

Writer. Kadence Englehardt

Design. Sam Angell