In House Interview: Kevin B Ploth

1. The title “Diner of Darkness” is wonderfully evocative. Can you walk us through how this concept originated—was it the setting that came first, or Mackie’s Batman-inspired descent into madness?

Well a little of both and from frustration of another project slogging in Pre-Production hell.

I wanted the team to be busy and have fun

The concept was around but never to my liking. My love and passion for Batman and my experiences in the corporate world and the food industry were a big help.

I used memories of those late-night and next-day party conversations at work over dark liquid mud from my past to shape the dialogue.

Michael Sean McGuiness was the only one to be able to accomplish this task plus he and I have a history together from both being in OTHELLO with PART in Philadelphia back in 1991(see poster and article). He bring a straight humor and has similar look to Michael Keaton plus using my youngest son’s Batman costume was a big help.

Then Chef Luigi and his Restaurant LUIGINO’s and the history he and I have going back to 2015 with SYSCO FOODS. https://www.luiginosrestaurant.com

It all fell into place then tap my long time friend Larry Gress as DP and David Diaz, Ed Trucco to do their editing magic all came together.To tie it all in a bow this was never intended to be in any festival or seen by the public along with Shadow Docket but a festival that loved THE GIANT scripts wanted these to be entred and we collectively agreed. Now look DINER of DARKNESS has won numerous awards but rejected as well. I can not ask for more.

2. The humor works on multiple levels—absurdist workplace comedy meets superhero parody. How did you balance making Mackie’s behavior genuinely disturbing to the other characters while keeping it comedic for the audience?

I needed Mackie to be so far outfield almost to the point of a mental breakdown and Michael accommodating as ever delivered it. Even though on breaks he kept saying “This is so odd….” . While Luigi and I being real chefs and foodies have dealt with people (Mackie’s character) that have come into our establishments and behavior like this and in New York City compound it by a thousand times the characters you come across.

I also want to show a contrast of mental health and how Corprate world pushes people to extremes and being insulted form the real world.

Plus the humor comes from being truthful to what I put on paper and it helps to have a great team.

3. Chef Luigi’s exasperated “this ain’t no Fifty Shades of Grey” line is a perfect grounding moment. How important was it to have that straight-man energy to anchor the absurdity?

Well Luigi (Squigi the character) is anything but the straight guy and he is naturally funny. Luigi is not afraid to take risks plus it helps that he was in a place he is comfortable in and really relaxed.

Luigi made some great choices that Indid not think off and it worked. With doing one to two takes with limited time it all came together. The kitchen scene was fun and with me driving the energy helped him come with the appropriate energy to counter Mackie’s and Peter’s.

4. Michael Sean McGuinness commits fully to Mackie’s transformation. What direction did you give him about where to find the character’s intensity without tipping into pure parody?

Oh he dove right in as he always does even though he would quip “Heavens to Mergatraoid this is so odd!”add his confusion to “What, Why…” and I being like….”Shhhhh don’t worry it is all good!”

My only direction for him was to commit and let my words drive the direction we want to go in.We both work well together as do Luigi and I.

A great compliment to a long history we have and he has been a reoccurring guest on my Podcast “THE PLOTH THICKENS” top two listened episodes “ZULU:Rorkes Drift” and “Little Bighorn” and Chef Luigi has been a reoccurring guest twice about food along with Sexy Chef Wendy Lane.

So again the team, work ethic and how we compliment one another is a critical key.

I am proud of Michael and that it could not have been anyone else.

5. The confined diner setting creates an intimate pressure cooker. Was this a creative choice or a practical one, and how did it shape the film’s energy?

Well the actual space is quite vast and it is a gorgeous Resturant designed by Luigi that has an open inviting vibe. I like to shoot very tight and make the space around the frame feel claustrophobic, intimate and put you in it as an audience member.

A lot of the rest is a big thanks to Larry Gress with what he brings to the table in crafting the shot, lighting and using the space we are given.

He was a big part of this and then the editing styles of David Diaz (Buenos Diaz) and Ed Trucco(another name you see a lot in my work as well as David).

6. You’ve described your work through Edith Wharton’s quote about “a new vision” rather than just a new manner. How does “Diner of Darkness” reflect your particular vision of comedy and character?

I don’t want to give the audience anything.

I want them to work and be a part of the experience. I have always had a good sense of “reading the room” and understanding what the “audience” is and about. I feel today the industry does not care nor do any of the media outlets and journalists. Only what will make them money.

I made this for people who love food, conversation, Batman and the complete truth of the absurdity of life.In the end choices and consequences.

7. As a Bronx native, veteran, chef, and fine artist, you bring multiple perspectives to your work. How does your experience in the kitchen influence how you write workplace dynamics?

The kitchen is a stage just like a Proscenium, Thrust, Black Box or a Giant IMAX. Then add all the characters from front of house to the back where the real action is. It helps to understand all these individuals make a whole and it is about the customer or the audience. To me they are one and the same. Food is art and art is Life. I argued this point with many a professor of mine and the appreciation they had for my Socratic style. They disagreed but valued my point.

We as artists and buisness owner have an obligation to our community at large and the people(customers/audience) to serve and be served by them. That is why we have two things on the side of our heads “ears” and one “pie hole”(my veteran coming out) use the “ears” and listed stuff the home!

8. You’ve been incredibly productive since 2023—four books, multiple shorts, a documentary. What’s driving this creative surge, and how do you decide which ideas become films versus books?

Thank you. I have been always productive. I have now been more public about it and aggressively getting things out there.

There are those who talk or like my in-law loves to say “Bob” Robert LeBlanc “You got the talking done!” so I do and keep doing and honestly fuck everyone whether they agree or not.

Me all the way but there is “No me without the We!” I will end alone but the “We” helped me get here to this moment that includes my immediate family, children, and the team.

There are so many stories to tell that can touch any and all who want to listen and see.

9. Your filmography shows range from experimental shorts to documentary work. What draws you to the micro-short format specifically?

It sure does and shows my life experiences which is crazy to see my life’s history and how the team I gathered where a part of it.

The micro-short is like the Verticals and it captures what the human attention span is now.

People are on their phone while watching TV or a movie at home. So I need to hit them quick before they miss the punchline and I dare to endeavor and to be slightly different.

It also helps the talent to be quick like in. The military be adaptable and adaptive it will save lives and money.

10. You have a TV pilot in pre-production. Without giving too much away, does it share any DNA with the absurdist humor of “Diner of Darkness,” or are you exploring different territory?

A little of both some of the humor in “DINER of DARKNESS” is there in “THE GIANT” but I am exploring new territory for me and the team.I just wrote “NAILS” my first Vertical abouta Nail Spa where gossip cures trauma, polish fixes heartbreak, and the dryers hum louder than secrets.

Log-Line:A scandal-soaked New Jersey Nail salon becomes ground zero for, lust, lies, and lethal gossip as two feuding gay co-owners and their drama-addicted staff, clients file, buff, and claw their way through secrets, sex, and political scandal—one chipped nail at a time.

So the core team is really excited about it and the humor is there. I play one of the flamboyant owners and I do a parody scene of “Goodby Horses” from Silence of the Lambs called “Goodby NAILS”

We shall see….I got the talking done….

11. What’s the most valuable lesson you learned from making these micro shorts that you’re carrying into your larger projects?

Time and how to be productive with the time your given. Not sit and cry why this or that. Like the song says “Running up That Hill” by Kate Bush ..”No Promises..” I don’t make any promises and I never have, never will. We do or do not.

That’s it and a very direct throat punch. I love me some throat punch.

Thank you and for this time we had it helped me see things I missed.

---