INDIE SPOTLIGHT: A Conversation with ‘Technical Support’ Comic Book Writer and Screenwriter Shawn Hainsworth

SHP Comics, an exciting new comic publisher known for its innovative storytelling, is proud to announce the release of its first independent film, "Technical Support." Based on the critically acclaimed comic series "EroTech" by Darin X. Cape and Geoffrey Krawczyk, the film marks a significant milestone for SHP Comics as they venture into the world of cinematic storytelling.

Directed by the talented Kris Lefcoe, "Technical Support" brings the captivating narrative of "The SEX-6000" to life on the silver screen. With a stellar cast that includes Courtney Pauroso, Davey Johnson, and Aparna Nancherla. The film promises to captivate audiences with its unique blend of humor, wit, and thought-provoking storytelling.

Shawn Hainsworth, the creative force and founder behind Shawn Hainsworth Productions and SHP Comics, recently spoke with Script about paving his own path as a storyteller, the benefit of creating his own IP, adapting his comic book series EroTech, and the benefits of Kickstarter as an independent creative! Plus, learn more about how you can also support Technical Support at the end of this article.

This interview has been edited for content and clarity.

Sadie Dean: Let’s dive into you basically paving your own path here from this comic series, the Kickstarter campaign, and making the short film.

Shawn Hainsworth: Yeah…I've been working on scripts for a while...being a screenwriter is funny because you have so little power and control. A script is good for about six months. And you have no control over if anyone's really going to want to do anything with it. And if they do want to do something with it, you don't have any control over what they do with it, right? And so, I was at the Austin Film Festival in 2000, as a Second Rounder in the screenwriter’s contest. And I went to the writer's conference, which is great…but I was just like, 'I don't want to do this. I don't want to be running around begging people to look at something that they may or may not read, may or may not get,' and then even if they do want it, will they take it?

So, what I wanted to do is make the story. That's where I started thinking graphic novel or comic book, right? Because that was something I could do. And it was such a great revelation in a way because when I started working with the artist, it was so satisfying creatively. So, when you write a screenplay, it's not realized, it's nothing, it's an idea on paper. It was kind of like directing it, but just me and the graphic artists working out every detail. And it was really fun to write as a comic book script and try to really tell the story visually, because comic books…one, you got a great visual language out there, comic books are so sophisticated in terms of how they tell stories visually. And you have to be very tight, like dialogue has to be stripped down to the bare minimum. I don't like comic books that are just blocks of text, right? I mean, it's not prose. And so it's been really, really fun.

And with EroTech, I had that. I'm a software developer. And I've sat through so many software meetings...and I started thinking what would it actually be like if you made a sex robot - it would be ridiculous. Can you imagine the technologists having to deal with this? And how do you track bugs? And how do you test the thing and what happens when things go wrong? And that's what kind of sparked the idea.

But the first way I did it was as a short story from the customer, Milton, getting the package delivered. And then I started writing it as a novel from the perspective of the company EroTech. And so, we did the EroTech comic book first, but I really liked just the idea of the short tech support call, and I thought that would make a really good movie. So, part of the reason I did the SEX 6000 was to have a blueprint for the movie. And what's been really interesting is Geoff [Krawczyk], the artist is just great. And he wanted it to be kind of ‘70s Horrorish. That was his take on it, which was great.

And then when we did the film, it really ended up taking kind of a different turn. There's what we call the romance montage where Milton is kind of falling in love with the robot. He's dressing up in different clothes and brushing her hair and all this stuff. And it has a different feel to it. But the film, I think it's really turned out very well…I think it's fun. And unlike the comic book, there's no sex in it. And that's the one thing my wife and others were saying, ‘you got a movie about a sex robot and there's no sex in it’ because we cut from her coming out of the box to the romance montage to the tech support call, but it's just got a different vibe, but I think it's working.

Sadie: The comic reminded me a lot of the humor in something you'd see in Robert Crumb's books.

Shawn: I tried to get Crumb to do a Variant cover [laughs] his agent was like, 'No, he's not working anymore. Sorry.' But that was definitely an inspiration. I love those ‘70s alt comics.

Sadie: Was this originally a screenplay idea you had or originally a comic book that you knew you’d adapt to film?

Shawn: Believe it or not, it was a short story. Milton's story was a short story, then it became half a novel. And I was like, ‘Who's gonna read this novel about an office sex comedy with a robot?’ That was before I started doing comic books. And then I was like, ‘OK, this is a perfect comic book.’ So the idea sort of started off as prose, but then when I started doing a graphic novel, comic books, I was like, ‘This is the perfect comic book, I just have to find the right artist.’ And when I found Geoff, things just really clicked because he's perfect for it.

Sadie: In terms of adapting that into the short script, you basically had a blueprint of what it is and what it could be, so when you brought on Kris Lefcoe, what was that process like with her at the helm?

Shawn: I realized that I wasn't gonna be able to direct it. I made a bunch of documentaries in the old days, but I really needed a director who would helm it - just take it through. Kris ended up being a perfect choice in a lot of ways. And she really likes to cast stand-up comedians. So, Aparna Nancherla, she got her as a tech support person. And actually, Courtney [Pauroso], who plays the robot, she does a stage show called The Veronica 5000, she does a Sex Robot on stage. So, she was perfect.

And part of that process is also being open to a different medium, a director, and letting it go in a different direction. So, when I wrote the script, at first, it was very much an adaptation of the comic book. But then Kris and I talked about it a lot, and she was like, ‘Well, I don't like the idea of him having a wife,’ because in the comic book, the wife is texting him, and she's like, ‘We can't shoot on the subway, because it's a pain in the butt. And so, we need to rethink that.’ And so that's when I sort of came up with this love montage. There's a documentary out there called Guys and Dolls about guys and their sex dolls, and how they have these weird emotional relationships with these dolls. And so, we sort of took Milton in a different direction; we thought of him as kind of a lonely divorcee, kind of socially awkward, but we didn't want him to be a letch, and we didn't want it to be hypersexual.

When I was working with Geoff, it was one thing, and when I was working with Kris, it was another thing, and I just let it be what it was going to be and let her bring to it what she brought. It's fun to see the same story in two very different incarnations. I'm totally open to that as a writer, I don't feel like I have to control it. What I don't want to do is give it up where I have no control. But I also don't want to hyper control everything. If I'm going to bring in a director, there's no point in standing over their shoulder and trying to control everything they do. That's just stupid, to me.

Sadie: When did you start the Kickstarter campaign?

Shawn: Well, what's interesting is I didn't do a Kickstarter for the film - the Kickstarter is coming and it's going to be finishing funds in distribution. But I've now done five Kickstarters for the comic books. I really view Kickstarter, not just as fundraising, but as audience building. We did the EroTech One Kickstarter, we had like 180 backers, and then the EroTech Two Kickstarter, we had 240 backers. So, it's sort of building up that mailing list, and also just kind of building up the funds. I had enough to go into pre-production and cover those costs. And then, this will cover post-production and all the distribution and film festivals and all that kind of stuff.

The lifeblood of independent comics right now is Kickstarter. It's huge for comics. The fans are amazing. Comic book stores are dwindling, right? There's fewer and fewer neighborhood comic book stores. So, a lot of comics are going online, the economics of comic books have always been tough, but they're even tougher. And then along comes Kickstarter. And people will give you 10 bucks for a print edition on Kickstarter - you know, they can buy the latest Marvel comic for $3.99 or $4.99, but they'll give you 10 bucks, and pay shipping. It's kind of amazing. And I think people do it just because they want to find something new, they want to support people, they want to say they were there first. And it's just great. Like, thank you, because that's totally saved us and allowed us to keep going and reach for this film.

Sadie: I really like that you’ve basically created all of this original IP for yourself as a storyteller. I think it’s a great example for those who want to be multi-hyphenate storytellers and have full control, because like as you said screenwriters don’t have ownership of anything, once they hand off the script, but now you have leverage with your own IP.

Shawn: Yeah, you hit the nail on the head. That was one of my primary reasons as well is that you write the story and then if you sell it as a screenplay, not only do you ever not have any control over how it gets made, but if it's really successful, you don't own anything. I just read Stallone is really frustrated with the Creed franchise, but he sold the characters when he sold Rocky one. And, clearly, very few properties are going to become Rocky's, but if they do, if there's value in the IP, you've given it all away. So, I really think it flips the equation around if you're selling a screenplay. You're coming from the perspective of ‘I don't own anything. And I'm hoping you'll make this.’ If you've realized it as a short story, as a comic book, as a short film or whatever, then you're coming as ‘I own this, and if you want to license this from me, then that's the conversation we're having’ - a totally different conversation. And you can choose to sell the IP if you want to, but you don't have to - the expectation is when somebody licenses a short story or something, they're buying a license, not outright ownership.

That's something I'm preaching all the time to screenwriters is think outside of the box. Also, what helps you as a storyteller, like writing a screenplay, you're visualizing it in your mind, but you're really not allowed to write a lot of camera directions, and nobody wants that. The director will decide where the camera goes, the actor…you can give them an action but you can't give them much else - so I get all of that. But as a writer, I think trying to then turn it into a short story forces you to think about it differently. I think it's great not only for your own IP, but for your own creative process, to try to bring it to life yourself - even if that's just a short story.

Check out the Technical Support Kickstarter crowdfunding campaign to learn how you can support!