It’s time for another Twin Cities Film Fest INSIDER SERIES event! One of the perks of being a member of TCFF is you get to see various indie films on the big screen AND also get to partake in the Q&A with the filmmakers afterwards.
This February, TCFF is showcasing a dramatic short filmed in Ely, a beautiful town in the Boundary Waters area in Northern Minnesota. Thanks to TCFF’s managing director Bill Cooper and filmmaker Molly Katagiri, who worked as script supervisor on the film, for arranging the interview with writer/director Brian Austin.
Dillon (Jared Ivers) has been moved again. A familiar life of being passed from one household to the next, but this time it’s much worse. Dillon struggles with speaking up, in order to expose his abuser. He reaches out to any adult that may hear ; but will anyone really listen?
This event will take place on Monday, Feb. 19 7:30PM* SHOWPLACE ICON THEATRES 1625 West End Blvd St. Louis Park, MN 55416
RUSH LINE tickets are still available, be sure to arrive early!
What’s the inspiration for this film? Is there something personal in the story in any way?
I went through a terrible upbringing and I wanted to relive it and put it on screen.
Tell me a bit about your creative process. Did you write the script? If so, how long did it take you to write it and how did Nobody’s Son project come together?
I am a somewhat good writer and with my other writers Charles Dutka and Gerald Dahling, I composed a very good script that I needed to make as a film. I wrote the script myself with Gerald Dahling for LA Film School for my Associates in Film in LA, California Hollywood.2 I had to take two script writing classes and my first script my teacher didn’t like and I only had a few days to finish the second one so I came up with my childhood experiences growing up because it was easy to remember those trying days and I wanted to have a interesting and compelling story to tell.
Would you tell me a bit about filming in Ely? I believe you went to school in that town?
I decided to make the film where the events happened initially… I knew it would be more expensive but money was no big deal. I went to Ely Elementary school till 2nd grade then moved to a nearby town .. my experiences in ely were mostly bad.. especially since I was raised by my cousin and her husband.. I felt like I didn’t belong anywhere.. and it was a very difficult childhood.. the only thing that helped me escape mentally was baseball. I turned out to be a great baseball player (pitcher) at a young age and that was my love.
How long was principal photography? What’s the biggest challenges for you as an indie filmmaker?
It took 9 days to shoot .. we were up by 5 and stopped around 1 or 2 in the morning.. the biggest challenge was to feel confident in my abilities as a director.. I was relying on a Assistant Director for too much of the shoot because I didn’t believe I could do some of the things necessary to make a quality movie. As I progressed through the days, I decided to fire the AD and work by myself and my DP and script writer to help come up with he shot lists for the next day. I felt very comfortable directing after I fired that AD… ha ha 🙂
Lastly, what’s next for you? Specifically in regards to Nobody’s Son, or in general about your filmmaking career?
I am making a feature finally.. It will most likely be filmed in LA and should take a few months to shoot.. it will be a very expensive film to make but sometimes you can’t skimp on quality and need to pay for what you get in the movie industry. I am still trying to pitch Nobody’s Son as a series on TV or Netflix.. We have been with my script writers.. writing several episodes of the tv series already and plan on pitching it soon as a pilot first for tv.
One of my favorite film genres is sci-fi mystery. It’s also a genre indie filmmakers have thrived at, which includes some of my favorites such as Never Let Me Go (2012), The Machine (2014), Ex Machina (2015), and one of my faves that screened at Twin Cities Film Fest in 2014, Time Lapse.
One of the most intriguing films that played at TCFF this year is a feature film debut by Canadian filmmaker Sasha Louis Vukovic. I had the pleasure of meeting Sasha as well as lead actress Teresa Marie Doran briefly during the film fest, but we didn’t get to connect for the interview until after.
Thanks to FC blogger Holly Peterson for the review and interview questions!
In the summer of 1929 -at the end of the golden age of exploration- an expedition of Ivy League University Botanists enter an uncharted forest on the North American frontier. Tasked to study the native flora, the students unearth a deadly organism and are soon in a fight with nature itself, where they must use their limited resources to understand, survive and escape the wild and terrifying forest that surrounds them.
FlixChatter review (courtesy of Holly Peterson):
A misunderstood villain is not a new idea. Excessive violence perpetrated at the hands of a gentle being goes back at least as far as Mary Shelley’s Frankenstein in the 1800s and I am sure I could come up with an earlier example if I weren’t so gosh darn tired right now.
Point is, that although audiences are used to villains being villainous, we also understand that sometimes a villain just doesn’t have the right tools to express their good will. Everyone would get along fine if they could just talk out whatever is bothering them.
But what happens when a dealer of death, a perpetrator of violence, is not just misunderstood, but completely oblivious? What if it isn’t even sentient?
That’s the story Flora chooses to explore.
A group of intrepid young scientists treks out to a secluded forest to study it, only to find that their point of contact has gone missing. As the scientists try to unravel the mystery of this disappearance, they also begin to study the forest, which they gradually realize is more dangerous than they anticipated. Flora builds a sense of creeping dread with an intense score and several one-off scenes of tempers flaring and traps being set that you can’t help but expect to snap whenever the score begins to build again.
My one quibble with the film is that it wants its audience to see that it is diverse and doesn’t trust us to notice without calling it to our attention. This is problematic because it really isn’t that diverse to begin with. Half of the characters are white males. The Asian character goes off on a weird, unnecessary tangent about his heritage. One of the female characters has a really awful emotional speech about how she’s “just a nurse” because “they” wouldn’t let her study. The other female character doesn’t even get to tell her own story – it is told by a man behind her back and is an annoying soapbox moment about how talented and unappreciated she is because other people in her field cannot see beyond her gender. There is nothing wrong with a character facing adversity because of their gender or their race, but when six people are stranded in a forest, that is probably the adversity we should focus on.
Of course, there were a couple “DON’T GO INTO THE DARK CREEPY HOUSE BY YOURSELF” variety moments, but I think that’s kind of par for the course as far as horror/suspense goes. Humans don’t always use their best judgment and for the most part I thought the “what are you thinking!?” moments felt pretty organic.
The actors’ performances are solid and it is a compelling experience to watch a group of people fight for their lives without fighting against anything. Definitely worth a watch!
Sasha Louis Vukovic is a filmmaker from Toronto, Ontario, Canada. A graduate of the New World School of the Arts in Miami, Florida, and the Chicago College of Performing Arts, in Chicago, Illinois; his 2017 debut feature, Flora, won Best Feature Film at the London International Science Fiction Film Festival, and Best Original Screenplay at the Amsterdam International Film Festival.
Q: Where did the idea for the story come from?
The idea for the story came from my personal lack of knowledge about my ecosystem. I was amazed by how little I knew or understood about the Flora that surrounded and interacted with me everyday. So many people come and go through life subsisting and relying on Flora with very little thought of the life of those organisms. I was also fascinated with creating a non-malicious antagonist. A villain with no villainy. Something beautiful and strong.
Q: What was it like shooting a period piece on a budget?
It was excellent fun. And actually a great creative box within which to imagine and create. Every element of the script was written with budget/period in mind. So I actually found it to be quite an interesting puzzle. The period was far more boon than bane.
Q: What was the most challenging part of the shoot?
The most challenging part of the shoot was by far contending with Nature. As the entire film is shot outdoors, we dealt with bugs, rain, heat, wild rivers, storms and dense forests. In many moments it felt as if we as a team were on an expedition into a dense wild forest as well. Thankfully a little less toxic than in the film.
Q: What is it like writing a script about / acting against a non sentient “villain”?
Again, a wonderful challenge. Creating action sequences in which characters are ostensibly running from a stationary pursuer was intersting.
A lot of the film focuses on the eeriness of how silent the forest is, coupled with the mystery of what befell the past humans who inhabited it. That way, suggestion and ambiguity does a great job at allowing the audience to build up a monster in their heads.
Then, the key is creating a believably toxic environment, from which there is an immediate need to escape. Think about the urgency that befalls people during an earthquake or hurricane. Flora is about non-symbiosis, about what happens if we have to run from nature.
Q: How did you find your composer?
Our composer Nathan Prillaman is incredible. He was introduced to me by one of our lead actors/executive producers Dan Lin.
Nathan and Dan went to school together as kids and right around the time that we were hunting for our Composer, they ran into one another -for the first time in years- at a dim sum restaurant. It was fantastic luck, and lead to a great creative partnership.
Thanks Sasha for talking to us about your film!
For more info about the making of the film,
check out this article from Sound & Picture magazine:
I’ve mentioned several times that my favorite parts about covering Twin Cities Film Fest is about discovering new films, filmmakers and talents. Well, one of my favorite discoveries in all three fronts comes courtesy of this coming-of-age drama, DARCY.
Gus Birney, the young starlet of TV’s “The Mist” (based on a story by Stephen King) is making her feature film debut in the independent narrative feature DARCY. DARCY marks the first narrative feature film debut for co-directors Heidi Philipsen-Meissner and Jon Russell Cring. In co-directing DARCY, both John and Heidi made it a priority to consider both gender viewpoints when interpreting the script and its characters’ behaviors, another factor not lost by the film’s cast. Most of the production’s crew was carried by women below and above the line. The film’s ensemble cast includes: Johnathan Tchaikovsky (“Keep The Change”), Paulina Singer (“The Intern”), David Thornton (“The Notebook”) and Bernadette Quigley (TV’s “Mr. Robot”). The 17-year-old newcomer is the daughter of veteran New York actors Reed Birney (Netflix’s “House of Cards”) and Constance Shulman (Netflix’s “Orange Is the New Black”).
My review of the film:
Billed as “A girl’s awakening in the sunlight of harsh reality,” DARCY is a coming-of-age tale about an innocent teenage girl living with her parents in a seedy motel on the edge town who meets a stranger that changes her world.
The film presented the contrast between the unwholesome surrounding of her family business and Darcy’s innocence and being so sexually ‘green.’ Casting is so important in any film, but especially a film like this where it hinges on the believability of the protagonist. Fortunately Gus Birney did a fine job and you’re immediately taken with her as she attempts to navigate her life without much guidance from her parents. We see the world through Darcy’s eyes, and frankly in this world there’s really no good role model for a young woman. Even her mother at times behaves inappropriately with seductive male costumers coming to her motel. One thing her mom said to her is one every teen should take to heart however… “Don’t be in such a rush to be grown up. It’s not what you think it’ll be.”
The film gets more interesting with the arrival of a stranger… a brooding young writer Luke whom Darcy takes an immediate liking to. I like the moment of their meet-up, innocently enough when she was working the front desk and he came down to borrow a pencil sharpener. The chemistry between the two leads, Birney and Johnathan Tchaikovsky, is palpable. It’s fun to watch them being drawn to each other but each hesitate to get too close. The film takes its time to reveal just what’s really going on with Luke, which adds to the mystery.
Sustaining the motel is the practice of taking in occupants who have until only recently been incarcerated, an arrangement that Darcy’s parents have arranged with the Department of Corrections for a price. Naturally there are unsavory scenes in this seedy operation, but they’re not gratuitous. I have to say I’m not fond of those scenes but they’re there to serve a purpose, to fully understand the world Darcy lives in. Kudos to co-director Heidi Philipsen-Meissner who had to wear multiple hats as a performer as well in the role of Toni. I also think the scenes between Darcy and Luke, the heart of the story, is beautifully-shot and acted.
The film takes place over one Summer. It’s an honest, realistic portrait of an innocent young woman on the brink of adulthood. Don’t expect a neat resolution tied with a big red bow, because often times, life just doesn’t turn out that way either.
Q: Congrats on your debut feature film! What’s the inspiration behind this project and how much of the story was inspired by real life?
JON: I think when you start from real life and then expand upon it you can find a really cool alchemy in writing. I lived in a motel for over a year and my wife and co-writer has brought a lot of her personal family experiences. Then you stop judging your characters and see where they take you.
Q: Looks like you changed the name from This Is Nowhere to Darcy, what’s the reasoning for the title change?
HEIDI: I think it was just part of our journey along the way. When I started making this first feature, it was with the idea of making it for a super micro budget on a weekend with friends in the biz… and, thus, the title THIS IS NOWHERE felt especially real… almost like a rallying cry… and had to do with the location of where our main character, Darcy, lived and the place that she was in the world: Nowhere. But as the journey of making this film continued, and I worked with one of my mentors Larry Jackson (Mystic Pizza) and Jeff Dowd (aka The Dude) in getting it out there to test audiences prior to completing the final edit, it became evident that the title THIS IS NOWHERE, did not fully encompass the center of the story. Darcy may have felt like she was “nowhere,” and we wanted to take the audiences on that journey through “nowhere,” but, truly, in the end, it was about DARCY… this girl on the cusp of womanhood, who would most definitely not stay “nowhere” in her life.
Q: What makes DARCY different than other coming-of-age films or those dealing with youth growing up?
JON: I grew up on great coming of age films but there always seemed to be this escapism of trying to create your own world outside of adult influence. Sort of the Charlie Brown syndrome. My experience growing up is that your life and decisions are dominated by those older than you. Everybody in this film is trying to get by, but it all comes from a self-centered place. That tends to lead to dark conclusions. Darcy isn’t a simple story, but neither is life.
HEIDI: The majority of coming-of-age that I have seen, i.e. Stand By Me, What’s Eating Gilbert Grape, Anne of Green Gables…. Have either been more about the coming of a young male’s life, or very rose-colored and about the coming-of-age about a young female as directed, editing and created by a male. Those are very different eyes and things you focus on… the male gaze versus the female gaze. And, honestly, in many ways, I often most thought about the story of “Lolita,” only we’ve completely turned Lolita on its head and made it about seeing the world through Lolita’s eyes if we could.
Further, this film does not steer clear of those unfortunate experiences that youth sometimes witnesses when the responsible adult is nowhere to be found. (If anything, it’s a wake-up call to our society that we are not connecting to our young ones and losing our sense of connection to those in our communities who don’t necessarily “fit in.”)
Many films try to do the opposite – pretend that all is perfect in the world in spite of life’s hardships. But this one looks at the resiliency of a girl who refuses to be a passive bystander in her own life, even though she has to behave like one to keep the adults in her world from getting on her case even more.
Q: How did you end up collaborating together as directors and what has the experience been like?
JON: We admired each other’s singular creative projects so collaboration made sense. It also is a story that needs multiple voices, male and female, to tell it. It has been a fabulous process.
HEIDI: In what the big film industry meccas of NYC and LA consider “nowhere” – upstate NY – Jon and I saw talent in each other and the drive and passion to want to do more. Though we are both Type A personalities in our own ways, we found that the fact that we were bringing two different genders together as directors to create the fully equal perspective in our film made the collaboration all the more exciting, fulfilling and eye-opening, while allowing both of our voices to be heard.
Q: Heidi, you also had a supporting role in the film. How does acting in the film help you tell the story as a filmmaker?
HEIDI: When you get into the skin of one of a complex character like, TONI, who is, in effect, both a prostitute, but also a mother and wife, you have to do a lot of research grounded in reality to understand her. You just get so much closer to the creative, evolutionary process of exploring the emotions, the forces driving her, as well as what is holding her back.
You can’t fake those emotions – at least, I can’t. And understanding TONI –who was, in essence, a “Darcy” without a safety net who never left “nowhere,” but fell in through hard times, sex abuse, violence, drug use, probably mental illness, desperation and, ultimately, only had one thing keeping her going: the love for her child, Peanut—was a huge part of unlocking the key to the rest of the characters for me as a director.
When I act and direct, this experience does two things for me: First, it keeps me grounded in what my fellow actors have to go through and ensures that I respect their process (because I am going through the same thing), it bonds me closer to them, and, second, it gets my head in the game as a director as to what the story is all about… grounding me in the truth of the imaginary circumstances.
And – okay, I lied – there are three reasons – lastly, it enables me to do something with all of that emotion and energy I am processing as a director. When you are a director, it is more of an analytical process than emotional… and I love being able to go through the full journey to bond with my fellow actors, while steering the “directorial ship” as well.
Q: I’m really drawn by the relationship between Darcy and Luke. Could you tell us a bit about casting Gus and Johnathan specifically?
HEIDI: First off, I have to give props to our Casting Director Caroline Sinclair – I met her while coordinating and working with her on several features prior to producing and directing my own and I never dreamed that she would say “yes.” But when I approached her with the script, she loved it from the beginning and was one of my biggest supporters as both a producer and director.
Caroline is the one who said, “I think you REALLY have a special script, here. Don’t rush this. Give it time and when you are ready, let’s cast it with some great actors.” And she did just that.
Finding “Darcy,” was no easy task. She had to be able to portray that very special age of 15… you know, we are different, much different, developmentally at 15 than we are… even a year later..
And even when my Executive Producer Kathryn McDermott was urging me, “Don’t cast a child. It’ll be brutal on our schedule, our budget and the expectations of working with child labor laws,” I couldn’t help but see something in Gus that we hadn’t seen in the 18-year-olds coming in. It was that naïve innocence, but also that “I’m becoming an adult and I will conquer the world!”
We girls do think that way – you know—until, unfortunately, as we get older and we are told that we are only special in how we help to define a man in our lives.
I also want to give props to Tracy Nicole Cring… she is the Co-Writer, Director of Photography and Muse of Darcy. I believe, deep down, that she is the original Darcy… Tracy, Jon and I had gone over and over in our creative visualization of art works and styles of the way we saw Darcy.
And so, when Gus walked in, tall, lanky, a bit like a dear-in-headlights, on the one hand, somehow evoking an old English painting, like John William Waterhouse’s The Lady of Shalott, yet fully modern with an undercurrent of tough-girl faith in her dreams, maybe it was subconscious from all the prep we had done, but something just “clicked.” That was it. She WAS Darcy.
As an aside, Kathryn McDermott, who teaches Production Management at the Motion Picture Institute of Michigan, and was my teacher and mentor in film school, tells me that she now has a “caveat” when it comes to teaching her students. The case of Gus Birney and “Darcy” is the only one, she says, where it went “right;” otherwise, she still advises against hiring children on your first feature on a low budget.
In the case of Johnathan Tchaikovsky, who plays “Luke,” that was truly magically, as well. We had done several castings by that time and were, originally, looking for a character with a southern accent, most likely from Tennessee, and the rest of the look – i.e. cowboy hat, boots, torn jeans….
And then, right at the very end, one of the last to be seen, in walks this guy from the Bronx, who reminded me of a young Robert DeNiro, yet had something very zen like Richard Gere in “A Master and a Gentleman.” I’ve never experienced it until that day – this actor literally came in and TOOK that role. He owned it. There was no one else who could do it or WANTED it as much as he did.
And I’m happy to report that both actors were so committed from day ONE. They never backed down or gave us any reason to regret casting them.
JON: Gus Birney is a star. When she came in we knew there was something truly special there. Jonathan reminds of me of a young Brando and their chemistry together was palpable. These characters are struggling with appetites and they break your heart. Their relationship is complicated and evolves and I am also struck by the depth these actors brought.
Q: The nature photography is really beautiful, it’s as if it’s a deliberate juxtaposition to the seedy motel setting. Where’s the filming location?
HEIDI: Again, that was a deliberate action. In partnering with Tracy, our Director of Photography, and all of the creative visuals that we had accumulated to emulate a certain look, we came up with this idea of making the interiors feel so uninviting, cramped, crowded, dreary, lonely, even a bit frightening… while the outdoors would be the opposite: inviting, free, full of life, hope, peace of mind. I have to give kudos to the entire team for making that happen.
We shot the film on location at the Catskill Mountain Lodge in Palenville, NY and in downtown Catskill, NY. Gorgeous – gorgeous countryside there.
JON: We shot in the Catskill region of New York. Tracy Cring as Cinematographer wanted that feeling of two worlds. Where Darcy lives is so completely different from the beauty once you exit the motel. The grass is definitely greener outside.
Q: Lastly, this film is brutally honest and doesn’t have a perfect ending tied w/ a big red bow. What is the main thing you like people to take away from the film?
HEIDI: Not sure if you read my blog in the Huffington Postthis past week, but that pretty much sums it up. For me, as a women director, I did not want a “happy bow” ending – and that’s certainly not what Jon and Tracy wrote as co-writers.
As an aside, I will admit that we DID try it after being advised from outside sources – re-edited the entire ending and made it “happy,” –but it didn’t work; our test audiences were too smart and knew that it just didn’t feel right. They rejected it.
And these days, in the wake of the Weinstein sexual harassment cases, I guess you could call it a disruptive innovation statement very true to current times: We women are not going to pretend that our world is rosy when it is not. And the men who respect and love us don’t want us to. At some point, something needs to be said about how we are forced to keep a smile on our face while enduring harassment and abuse and discrimination. But that means facing the flaws and the struggle NOW.
Darcy’s future may very well be rosy – but not just yet.
JON: I really believe it’s a message of empathy. Caring is a political act nowadays. When you live with these extremely flawed people I hope you can feel something for someone who is struggling. It’s easy to box people up and say this is all they will ever be. This film turns those conventions around. As far as the ending, I find tragedy doesn’t come obviously. We survive our own mistakes.
Even after getting off the plane, Johnathan was in a jovial mood
So much fun meeting the DARCY cast/crew!
Heidi, Johnathan & Jon took a fun selfie
It was so much fun meeting Heidi, Jon and Johnathan at their hotel. It’s palpable Heidi and John had an effortless rapport as they could practically finish each other’s sentences. As we’re about to wrap up on our interview, Johnathan arrived from the airport! What a lovely bunch, definitely one of the highlights covering TCFF for me this year.
It’s already Day 9 of the film fest! Whew, time sure flies when you’re having fun! Science, Relationship, Horror … definitely there’s something for everyone in today’s lineup!
We had the privilege of getting the insights from the people involved with two of the feature films playing today, Twin Cities and Ruin Me. So check ’em out below:
“Salvaging a marriage takes time and trust, two things that John and Emily no longer have. Emily is a writer with a career threatening case of writer’s block and deadlines approaching. The pressure to finish her novel grows when John sinks into depression and quits his job … right before their first baby is due.
As they head toward a mutual meltdown, John is given a terminal diagnosis that forces him to reassess his life and attempt to save his marriage—before it’s too late. However, inner peace proves elusive, the marriage might be too far gone, and John’s life may not be what it seems.”
At a glance, a film dealing with a troubled marriage, wife suffering from writer’s block, depressed husband haunted by his past, it sounds like a downer. But Twin Cities is actually a pretty entertaining film with plenty of humorous moments. It’s actually a lot funnier than you think, but also has a lot of poignant moments and spiritual matters that would make you ponder about your own life. Plus there’s also an interesting twist you won’t see coming.
Twin Cities is actually a sequel to David Ash‘s feature film debut 2021(which premiered at TCFF a couple of years ago). Clarence Wethern and Bethany Ford were both in 2021, and they’re both excellent in the lead roles in this one as well. They both balance the dramatic and humorous moments wonderfully, Clarence has such a natural comic timing that’s fun to watch.
The leading man of my short film Heart’s Want, Peter Christian Hansen, also have a supporting role in this film. I can’t say too much about his character without giving too much away of the plot though, but he’s a terrific addition to the cast. Hearts Want‘s director Jason P. Schumacher also produced this film and did the extras casting as well.
Q: What would you say are the main themes of the film?
Q: When you finished ‘2021’ did you already have a plan/concept to make a follow-up to that?
Q: Did you have a lot of prep work with your two lead actors despite having done a film together before?
Q: Tell me a bit about your decision to cast Peter Hansen in the role of David?
THANK YOU David Ash for chatting with me about TWIN CITIES!
There is a TCFF screening tonight at 8:45 that’s sold out, but there’s a RUSH LINE so if you get there in time you just might be able to see this film on the big screen.
Thanks Laura Schaubschlager for this interview article with actor ALEX GALICK from Ruin Me:
Horror movies can be polarizing. It seems like there are either hardcore fans of the genre, or people who are too scared to watch even the cheesiest of slasher films, with very little middle ground. However, independent film Ruin Me (written by Trysta A. Bissett and Preston DeFrancis) has the potential to appeal to both sides. Since its premiere in August, the movie has received overwhelmingly positive responses from audiences at nearly twenty film festivals (including London’s FrightFest and Los Angeles’s Screamfest-the longest running horror film festival in the U.S.), several nominations and awards, and a current IMDB rating of 7.8 (an exceptional score for a horror movie).
I had the opportunity to chat with Alex Galick, Ruin Me cast member and local actor, to discuss the film, his involvement in it, and the horror genre as a whole.
While on the surface, Ruin Me is a traditional horror film with familiar tropes, there’s more to (what Alex and others involved in the film call) this “sophisticated slasher” than meets the eye. “It definitely pays homage to the genre,” Alex explains. “But the focus is less on the jump scares and gore and more on mystery and character.” Despite the story taking place at an extreme event that is essentially a horror movie-themed camping trip, the movie itself is more of a psychological thriller. The main character, Alexandra (Marcienne Dwyer), is not just the stereotypical “final girl,” but a multifaceted character with a complex background. “[She] has a checkered past that may or may not be involved with what’s happening,” Alex hints.
As for Alex’s character (listed only as “The Skinny Kid” on IMDB), you’ll have to see the movie to find out more, as going into detail might give away some spoilers. “What is it Jeff Sessions says? ‘I plead the fifth,'” Alex laughs. “I can’t give you the skinny on The Skinny Kid.” It sounds like his portrayal of this mystery character will be quite the performance, though; while the filmmakers were originally thinking of casting someone from Muskegon, Michigan (where Ruin Me was filmed), they were so impressed with Alex’s reel that they decided to go with him instead, even though it meant having him regularly make the nearly 9-hour drive for filming.
Ruin Me isn’t Alex’s first venture into horror. His first professional film role was in the 2013 thriller Fractured (starring Vinnie Jones and Callum Blue), andmore recently, he wrapped on the upcoming horror comedy Ahockalypse, which was filmed here in Minnesota. While he isn’t necessarily a horror fan himself, he’s developed an appreciation for the genre through his work in it. “I think horror has an amazing fanbase,” he says. “The people who love to watch horror love it in a way I don’t think other genres enjoy…I have a great respect for the roller coasters these films take us on. They create visceral experiences, and that’s translatable, I think, across cultural boundaries.”
Based on initial responses, it sounds like Ruin Me will be a similar cinematic roller coaster experience. While the film may subvert some tropes, the writers were still very loyal to the horror genre, spending nearly five years researching and putting serious effort into making this something die-hard horror fans will appreciate.
Those of you in or near the Twin Cities have two chances to catch Ruin Me during TCFF at the Showplace ICON in St. Louis Park:
Thursday, October 26th at 10:15 PM and Saturday, October 28th at 11:00 PM.
There are still a slew of great films playing in the last two days of TCFF! Some are starring Oscar winners (J.K. Simmons in The Bachelors) and Oscar-worthy films such as Darkest Hour(starring Gary Oldman as Winston Churchill).
Thanks to FC blog staff Laura Schaubschlager for conducting the interview with writer/director Michael Ferrell. I figure since her name is Laura and she has a cat, it’d be fun for her to watch the film and ask the interview questions 🙂
Laura Gets A Cat is a fun, relatable movie that makes some creative choices with the ‘young person trying to find direction and purpose’ storyline.
Laura is a talented yet unsuccessful writer in her early 30’s living in New York City. She has a boyfriend who provides little excitement. Her two best friends who seem to have achieved all their hopes and dreams, if only to spite her. Good thing she lives mostly inside her head, daydreaming about all the wonderful things happening in her imaginary life. After she starts an affair with Ian, the performance artist and local barista, real life proves too complicated. She packs up a suitcase and moves to a small beach town in North Carolina. Even as she gets involved with some guy who lives on a mattress in his buddy’s garage, she hopes that Ian will bolt from his life in New York and chase her down. Through this series of troubled relationships and disconnected friendships, Laura learns that peace of mind is not necessarily found by chasing it.
Q: How much of this movie, if any, is inspired by real-life experiences?
The best way to explain it is: all of it. And none of it. It’s totally fiction. What’s most inspired by real life are the themes explored in the film. Laura and the people around her are in their 30’s mostly and dealing with the things that people in their 30’s are dealing with. There’s a thing I’ve heard often for writers; make it specific and truthful and it will be relatable. I strive for that. But still it’s all made-up make-believe.
Q: Why did you choose Wisconsin as Laura’s home state? How do you feel having a character who is a Midwestern transplant in NYC resonates with audiences?
Interesting that you picked up on that because it’s just mentioned in one line! Here’s the thought process when I’m making up something like that, my inner monologue as I remember it:
Hmmm, her childhood was probably somewhere specific. But not southern. Not California. Somewhere midwestern. But she threw off her accent a long time ago. She never quite fit in or felt at home. Somewhere she wanted to leave behind, but also somewhere that was encouraging, stimulating in some way. Maybe somewhere she took for granted. How about Wisconsin?
And there ya go, she was from Wisconsin. Also when I was younger I dated a couple girls from Wisconsin so maybe it was just that.
Q: The soundtrack for this film is excellent. What kind of work went into choosing which songs to include? What kind of music did you look for regarding creating a tone for the movie?
Thanks! The music we use in the film is entirely musicians that we know personally. We have my friend Melvyn Brown playing guitar and singing a song in the film. My friend Jeff Laughlin’s voice running throughout the film. David Mosey, who is friends with Chris Prine, our editor and co-producer. And Devin Sanchez, co-producer and actor, found the closing credits song from a friend in our neighborhood in Jersey City who heard the young woman playing on the subway platforms!
Even the background music in the various locations are all friends’ songs. So being able to collaborate with them and take their music around the country is a real honor for us.
Chris Prine is also the music supervisor. So the credit is his. He was also editor and music supervisor for our first film “Twenty Million People,” also featuring some great music. (Which you can watch online now: twentymillionpeople.com).
I think maybe the music fits the tone of the movie because it’s a lot of indie rock ballads. And if our film were a song, it would be an indie rock ballad. It’s probably just that simple.
And if it were a style of craft beer, I’d say it was a pale ale. Not too hoppy, but not super light either. I can think of these all day, this is fun.
Q: At the beginning of the film, Laura vents to her friend Heidi about how people seem to expect her to be more stable, exclaiming “I don’t even have a cat!” Why does having a cat represent stability or direction?
Well, it’s probably the first step for a lot of people, right? Being able to take care of a cat is like the bare minimum of adult responsibility. There’s also a line in the film that explicitly states that adulthood is NOT “steps on a ladder, like this, this, this, then this.” But if it were steps on a ladder, it might go:
Move in together
Of course some people just don’t like pets. Or kids. Or houses. Or marriage. So there is no normal, and that’s definitely one of the themes of the film. But just because there is no normal doesn’t mean that when the time is right, one shouldn’t embrace these, or other, aspects of adulthood. Ah, the things people in their 30’s are thinking about.
Q: In addition to writing and directing Laura Gets a Cat, you also co-star as Ian, the coffee shop manager with whom Laura has a relationship. Did you write the role specifically intending to portray it yourself, or did you consider casting someone else first?
It was the easiest role to cast! No, actually, it’s kind of hard to explain how I write for myself as an actor. But I’ll try anyway.
I always intended to play the role of “Ian” after I wrote the screenplay. But usually, if I’m writing something and think “This could be a part for me,” I’m not glued to that idea. I could keep writing and it evolves into, “Oh, actually this part would be better for my friend Josh,” or Ryan Gosling, or whomever.
Even after writing though, it doesn’t mean that the role is cast. Along with Devin and Chris, we have to make sure we’re objectively making the best decisions for the film. (Ryan Gosling is always the best decision).
But I grew up as an actor and have been acting in my own work for almost 20 years, so for me it seems natural. This will sound really pretentious but it’s how I express myself, artistically. I write and I act. A lot of my role models; Woody Allen, Ed Burns, Julie Delpy, Spike Lee, they write and they act in their movies. Not out of vanity or because they think no other actor could do it, but because that is how they tell stories, for whatever reason.
Laura Gets A Cat is playing at Twin Cities Film Fest on
Wednesday October 25th – 5:10 PM
If you haven’t got your tickets yet, get it here
One of the many intriguing documentaries playing at this year’s TCFF is Victor’s Last Class, documentary about an acting teacher getting ready to end his life, and a student who attempts to change his mind.
Our blog staff Laura Schaubschlager talked to producer/filmmaker Brendan Brandt on the journey to making his film, where along the course of the project became more than just a filmmaker asking why, but became a close friend trying to change his new friend and mentor’s mind.
1. How did you discover Victor and his blog (and, subsequently, his announcement of ending his life)?
I’m an actor in Los Angeles. I was at a cast party after having just closed a play. The host of the party was a little upset, and when I asked why, he told me that his friend Victor was getting ready to kill himself in two weeks, and he didn’t know what to do.
I was fascinated with the story and asked if Victor would be willing to meet me. I just wanted to talk to him. Before we met, I read all his blogs and got a sense of who he was. At some point right before we met I got the idea to document his story in some way. So I pitched him the documentary idea sort of on the fly.
2. Why were you compelled to make this documentary? How did you hope to challenge Victor’s decision through filming this?
“Why was I compelled” initially is tough to answer. I’m not great at psycho-analyzing myself so there may be some subconscious stuff going on that I’m unaware of. If I was forced to guess I would say I had never truly experienced a death at that point in my life (other than losing a grandpa and grandma). I hadn’t lost a close friend or parent, so I think I was perhaps a little curious about it. That was at first. Then after I met Victor, I bonded with him in a very intense way, and I was compelled to “save” him. I had a mission, to talk someone out of killing themselves. I think that’s how I saw it after awhile.I hoped to do it by asking him some super smart questions. I was on a righteous mission! It sounds incredibly naive and a little arrogant to me now, but I really thought I could get into the philosophy and logic behind the decision and perhaps find a flaw or crack. I was convinced there was a chance to unlock some previously undiscovered angle, and when we fully looked at it, we could come to a different conclusion.
3. Last year, Jojo Moyes’s book Me Before You, which deals with the issue of assisted suicide and ending one’s life due to lifelong medical struggles, was adapted into a major motion picture. Have you read the book or seen the movie, and if so, how did you feel about the depiction of this situation after going through it yourself?
Oh man, I was not aware of that book or film. I will check it out when I’m ready to have a good cry.
4. Victor stated in the documentary that he didn’t believe ending one’s life has to just be due to physical pain (he gives the example of someone losing a wife and child in an accident and not being able to go on), but didn’t feel knowledgeable enough to say it would extend to mental illness.
What do you think? How do you feel it extends (or doesn’t) to mental illness? Where do you think the limit is?
Great question. Let me preface this with I don’t have a clear, concrete answer. One of the main lessons I got from this experience was that life is less ‘black and white’ and more ‘grey’. So you have to take it on a case by case basis. We can do a better job of seeking help for mental pain, and we can do a better job of treating mental illness. I didn’t like Victor’s car accident analogy in the moment. That seemed like an injury that, while horrific, would slowly, at least partially, heal with time, and deciding to die before giving it a chance to partially heal would be unwise. Maybe after 10 years, with no improvement in mental health, still devastated and unable to cope, I would be more willing to accept that.
All that being said, mental pain is often worse than physical pain, and ultimately an individual should be in charge of their own life. So, if a mental health expert could determine that someone who is suffering extreme mental pain and wants to die is not “crazy”, I would probably accept that. The main point would be to make sure they talk about it with experts and loved ones, and that we would get a chance to really explore that decision.
5. After going through all of this with Victor, what advice do you have for anyone who has a friend or family member considering ending their lives due to chronic pain or illness? You state toward the end of the film that while you understand his reasoning more, you still don’t agree with his decision; how do you come to terms with those conflicting feelings?
My advice would be to make sure you listen to the person. I’m very grateful I got to have this experience with Victor. And he was grateful I gave him that experience because we got to really investigate every facet of that decision. It was good for both of us, and I think it’s a healthy process to go through. Tell the truth, listen, question, and seek to understand. Not to be nit-picky, but I said: “I still don’t know that I agree”. I think that’s an important distinction. It goes back to my ‘things are grey’ point. I can’t say what he did was right or wrong. I don’t want to say that. But I do want people to look at it and think about it, and maybe make up their own mind.
When I made that comment toward the end of the film, I was hurting. I thought I made a pretty strong case to continue on. It was a little selfish of me to be honest. He was making my life better, and I didn’t want that to stop. It’s taken time and a lot of reflection, and the conflicting feelings are still there, but basically, at this point, I understand and accept. Wish it wasn’t the case, but I accept. Dealing with the conflicting feelings was interesting. As I spoke with his friends after the fact and heard their takes on it, I found myself swinging back and forth, and that continued for a while until I arrived at ‘there is no right answer. It just is.’
Brendan Brandt (Director/Producer), is a Los Angeles based actor who has been working professionally for the last twelve years in theater, film, and television. He’s appeared in prime-time dramas for CBS, sitcoms for ABC, Comedy Central, and CMT, and films that have been distributed by Netflix, Amazon, and Directv. In addition, he has been in over twenty commercials as a principal actor. His book “Waiting Tables, Dodging Bullets: An Actor’s Guide to Surviving Los Angeles” was published in 2010. Although he’s worked in the industry for twelve years, this is his first time directing a film.
Arielle Amsalem is an Emmy Award winning editor of feature length documentary films. After graduating from New York University’s Tisch School of the Arts film program, where she apprenticed under the editor Sam Pollard, Arielle started her career working on Spike Lee’s award winning documentary “When the Levees Broke” (2006), a film about the aftermath of Hurricane Katrina in New Orleans. She has since been the editor of many feature- length documentaries including the Edward Norton produced HBO documentary “By the People: The Election of Barack Obama” (2009) for which she won the Primetime Emmy for Picture Editing for Nonfiction Programming. She worked as a Producer on Jennifer Fox’s 6-part documentary series “Flying: Confessions of a Free Woman”, which premiered at Sundance and aired on the Sundance channel. Additionally, she has consulted on the production and distribution of many of the documentaries which she has edited.
What’s in store for Day 4
Today we are screening lots of movies, there is something for everyone!
Victors Last Class, Instructions for Living, Ice House, Coyote, Cold November, Chasing the Dragon: The Life of an Opiate Addict, Bill Nye: The Science Guy, Beyond the Trek, Beauty Mark,and two blocks of short films (Age of Innocence – coming of age stories, and True Life Inspired– documentaries).
There are SO many things going on during Twin Cities Film Fest! It’s fun to see filmmakers and talents coming to present their films and see them do the red carpet interviews! This year I’ve a couple of bloggers helping me out not just in reviewing stuff but also in doing interviews. That’s super helpful as I can’t be in two places at the same time (can someone invent something that enables us to do that?)
In any case, thanks to FlixChatter’s blog contributor Andy Ellis, we’ve got an interview with Lea Thompson and Madelyn and Zoey Deutch, her two daughters and fellow collaborators in The Year of Spectacular Men. So the film is Lea’s directorial debut based on Madelyn’s script and the three starred in the film together.
Take a listen to Andy’s interview below:
I first met filmmaker Jack Norton when his documentary Jug Band Hokum was playing at TCFF in 2015. I’ve seen Jack & Kitty at various events and film screenings since, but it’s so cool to see them back at TCFF, this time as musicians!
Jack and Kitty are high school sweethearts that play Organic Vaudeville and Jug Band Folk for All Ages. They are an Emmy Award winning musical duo that also makes critically acclaimed films and television. Based in Minnesota, they love to perform concerts nationwide and play a variety of folk instruments including: banjo, guitar, ukulele, washboard, jug, kazoo, harmonica, whizbang, rumba box and much more. The Minneapolis Star Tribune hailed them as “one of the most entertaining groups in the midwest!”
I remember that when I talked to Jack a few years ago how much he admired filmmaker Sean Baker (who made his breakthrough with his film Tangerine, shot entirely on an iPhone). So I’m so thrilled that he ended up working with him on his new film The Florida Project, starring Willem Dafoe!
Take a listen below on how the collaboration got started… and also specifically about their music.
Check out their Facebook page for events in the area and around the country. Subscribe to their YouTube page too, while you’re at it.
Watch them share their incredibly inspiring story of how they went from homeless to having four songs in THE FLORIDA PROJECT.
Jack & Kitty are the loveliest, funnest people you’d ever be blessed to meet, so thank you guys for chatting with me!
Stay tuned for another interview post tomorrow with Victor’s Last Class’s filmmaker Brendan Brandt … thanks Laura Schaubschlager!
Welcome to another edition of FlixChatter Interview! Thanks to Allied Integrated Marketing for the opportunity to be a part of the red carpet interview on Friday night on September 8.
Because the late author of the original Mitch Rapp series, Vince Flynn, was born in St. Paul, it was nice to see the studio held the premiere in his hometown. Well it was Roseville, MN, but close enough. Mr Flynn had died back in June of 2013 after a three-year battle with prostate cancer, but his widow Lysa Flynn was there, along with Dylan O’Brien, the star of the film, as well as Kyle Mills, the author continuing Mitch Rapp book series and the film’s producer Lorenzo Di Bonventura.
It was lovely that I got a chance to chat with Lysa Flynn. I asked her if there was any special memory of her late husband as he was writing the Mitch Rapp books. She said that Vince Flynn was always very organized about his writing. He’d make little recipe cards that were color coordinated. He’d put things together carefully for weeks before he actually started writing. She’s beyond proud and happy how the film turned out and loved Dylan O’Brien in the lead role.
Wearing my film journalist hat for the night
Me in the press lineup before everyone arrived
Lysa Flynn being interviewed by the St. Thomas Academy students
Dylan O’Brien being interviewed just before my turn was up
Dylan and Kyle Mills
Me and Kyle Mills
Thanks to Sophie Van Sickle for taking this shot of me interviewing Lysa Flynn… see Dylan photobombing us 😛
Above are photos I took with my own iPhone.
Author Kyle Mills and Dylan O’Brien posed with Lysa Flynn on September 8, 2017 (Photo by Adam Bettcher/Getty Images for CBS Films)
AMERICAN ASSASSIN follows the rise of Mitch Rapp (Dylan O’Brien), a CIA black ops recruit under the instruction of Cold War veteran Stan Hurley (Michael Keaton). The pair is then enlisted by CIA Deputy Director Irene Kennedy (Sanaa Lathan) to investigate a wave of apparently random attacks on both military and civilian targets. Together the three discover a pattern in the violence leading them to a joint mission with a lethal Turkish agent (Shiva Negar) to stop a mysterious operative (Taylor Kitsch) intent on starting a World War.
DIRECTED BY: Michael Cuesta (Kill the Messenger) PRODUCED BY: Lorenzo di Bonaventura (Transformers), Nick Wechsler (Under the Skin, The Road) CAST: Michael Keaton, Dylan O’Brien, Taylor Kitsch, Sanaa Lathan, Shiva Negar
Quest review of the movie by Vitali Gueron
Thanks Vitali for keeping me company as I waiting for everyone to show up. I wasn’t able to stay for the screening itself so I asked him to review the film for me.
The pairing of Michael Keaton and Dylan O’Brien as Stan Hurley and Mitch Rapp in American Assassin makes for a near-perfect duo in this action-packed thriller. After Rapp is recruited to join an elite, but secret anti-terrorism unit headed by Hurley, he must prove his worth as an spy/assassin. When things don’t go according to plans, Rapp disobeys Hurley’s direct orders so he can track down the mission’s target on his own. Thankfully, Rapp is on his way to becoming a master spy/assassin and he goes on to gain the resect of his trainer. And to our relief, by the end of the movie, Rapp makes a choice to listen to Hurley and follow his direction, just in the nick of time when an armed nuclear bomb risks the lives of thousands of Americans.
While most of the main plot points in American Assassin have been done before in other spy thrillers, the combination of O’Brien and Keaton works because they are codependent on each other. That is, each one is primarily dependent on the other person’s dependence on them. Hurley has to depend on Rapp to carry out the mission and stay alive while Rapp has to rely on Hurley to find their targets and communicate with the CIA to coordinate their efforts in order to stop the madman Ghost (Taylor Kitsch). Neither Hurley nor Rapp could accomplish the tasks on their own.
This American Assassin action thriller is here to stay, as evident from the final few shots in the movie as well as the fact that Vince Flynn had written an entire series of novels with the character of Mitch Rapp, the American Assassin. I, for one am looking forward to the next partnership of Hurley and Rapp, as well as the next onscreen performance of both Michael Keaton and Dylan O’Brien.
After over an hour waiting for the talents to show up, my patience was rewarded as I did get to talk to ALL of them who came to the premiere. I am only posting my interviews with Dylan and Kyle below.
Q&A with Dylan O’Brien
I have to admit I didn’t expect I would actually get a chance to meet Dylan O’Brien given how many press people were waiting, most of whom were from big local news companies like KARE11, Star Tribune, WCCO, etc. Plus they seemed to be running behind and the talents had to get inside the theatre to introduce the screening. But suddenly he started making his way closer to me and his publicist said to me I’d be his last interview of the night. So yeah, it was cool to be able to chat with him for a total of two-and-a-half minutes 🙂
I have never seen Dylan in anything before, but I knew he was in The Maze Runner franchise and Teen Wolf series. I also read a couple of years ago about his massive on-set injury last year that shut down production of Maze Runner: The Death Cure. Glad to see him looking well and in good spirits. He seemed genuinely cordial, sweet and professional. No movie star pretense at all despite his success as a young actor. Even though the place was loud and so many people wanted to get his attention, he was attentive to whomever he was speaking to. I enjoyed meeting him and wish him all the success in his career!
Listen below on my Q&A with the talented young actor:
Are you a big fan of the Vince Flynn books?
How did your training for this movie have to be changed due to your recovery from your injury
What was it like working alongside Michael Keaton?
Q&A with Kyle Mills
The first person from the American Assassin‘s team I got to talk to is Kyle Mills. He’s a New York Times’ best-selling author who has written plenty of thriller novels in a similar vein as Vince Flynn’s books. He told me his father was an FBI agent for 25 years so he felt like he grew up surrounded by characters like Mitch Rapp. That made him the perfect choice to continue Mr. Flynn’s books, plus he’s also written books that were originally created by Robert Ludlum.
I made a playlist of my convo with Mr. Mills. Here are my three questions…
Q1: How hard is it taking over a book series you didn’t create?
Q2: What did you think of Dylan O’Brien’s casting?
Q2: Are you thrilled by how the film turned out?
Have you seen American Assassin? Feel free to share your thoughts about the film and/or the interviews.
It’s always fun being able to wear my film journalist hat once in a while. So whenever there’s an opportunity to chat with a filmmaker, whether locally or from other parts of the world, I always jump at the chance. This time, we’ve got something special because I get to do the interview on a different format… on video! Thanks to Minnesota-based filmmaker C.J. Renner and producer Sasha Rayl, as well as four of GUNN cast members for taking the time to chat with me last Friday afternoon.
I always love a good noir. GUNN is a gangster crime drama unlike anything I’ve ever seen. From the way the story is written to the deliberate surrealistic production style, it’s so refreshing to see a classic story done in an unconventional way.
All Elston Gunn ever needed to survive was a little luck and his Tommy gun. But when he discovers his whole world is just a staged play, he must dodge not only cops but stagehands… he must save not only his crumbling empire, but his last hold on reality.
There’s a lot to like about GUNN. The film is quite stylish with great camera angles and lighting for maximum effect. Despite the limited indie budget, Renner and his team are very creative and resourceful in constructing the minimalistic sets to support the narrative. Right from the fantastic Mondrian style opening credits, this is a cool, stylish film. I like the deliberate dreamy/surreal quality which fits the themes and storyline well, and he’s got a terrific ensemble cast to bring his story to life.
Andrew Stecker portrays the inner conflict of Elston nicely. The fact that he doesn’t look like a typical gangster works in the story’s favor, and I like the vulnerability he brings to the role. Amanda Day and Anna Stranz are two wonderful talents I’ve seen in previous films before, glad to see each have a decent character arc in the film. Richard Keats as the mob boss and Noah Gillett as Elston’s closest crony, as well as Peter Christian Hansen and Tyson Lietz as the two cops hot on the gangsters’ tail, are all terrific in their roles.
Some films that are shot mostly on set sometimes felt constricting, but that’s not the case here. Once you accept the surrealistic nature, the film flows quite nicely. The creative use of lighting and camera work create some striking imagery on screen. Because of the minimalist set, the costumes play a huge part in conveying the Prohibition era and boy, do the cast look fabulous in 1930s outfits. I love the satin dresses, fur accessories on the women… and the guys look oh-so-dapper in vests, suspenders and Fedoras.
I can’t write this review without mentioning the wonderful music by Travis Anderson, one of the biggest strengths of the film. The jazzy score and some of the songs performed in the film are not only catchy, but they add so much to the mood and atmosphere.
The pacing could be a bit more dynamic, some of the heavy-dialog scenes, as the scene between Keats and Stecker in the middle of the film felt a little too long. But really it’s a small quibble in an otherwise a smart, enjoyable debut film. Kudos to C.J. for coming up with such a cool story, but also in executing it in such a clever way.
I hope GUNN will get some kind of theatrical release or VOD distribution soon! Check out some of the clips from the film embedded in the two videos below… enjoy!
Interview video with writer/director C.J. Renner:
In my 7+ years covering Minnesota films and filmmakers as a blogger, I’m even more impressed by the local talents we’ve got in this town. C.J. is definitely a filmmaker to watch and I truly hope he continues to write and make more films in the future!
Interview video with cast members Andrew Stecker, Noah Gillett, Anna Stranz and Peter Christian Hansen:
It was so fun interviewing the cast! It was so great meeting Andrew for the first time just before the interview. Peter & Noah are both in my short film Hearts Want, so it was lovely seeing them again. I had met Anna last year at Twin Cities Film Fest and was impressed by her performance in Miles Between Us, surely she’ll have a fruitful acting career ahead of her.
I’m really grateful to everyone for taking the time out of their busy schedule to do this on a Friday afternoon. In fact, Peter had just got done filming another MN indie film shortly before the interview!
Thanks so much C.J. Renner and the GUNN crew
for the delightful interview!
When I first heard about Let Me Go about a year ago, I was immediately intrigued. Not just in terms of its story, but I’ve always been a champion of #womeninfilm and this one has a female writer/director AND a terrific female ensemble cast! I really wanted to see the film at Bentonville Film Festival last Spring, but I had just wrapped my first short film Hearts Want so I timing was an issue. But thanks to Evolutionary Films for sending me the screener link that I was able to see it last month.
The film is based on a true story, and though films about the holocaust are a dime a dozen, writer/director Polly Steele told the story from an unconventional perspective. It’s a unique and compelling approach on a real life story from the past that’s still relevant today. I love the talented female cast who effectively portrayed three generation of daughters being affected by a horrific past. It’s a thought-provoking, heartbreaking yet beautiful film that I wish I could see on the big screen. If you get a chance to see this, don’t miss it. Not only is it an absorbing tale, it’s also a visually striking film with an equally gorgeous score.
Let Me Go is a film about mothers and daughters, it is about ghosts from the past and the impact they leave on the present. Developed from Helga Schneider’s true life story, it explores the effect on Helga’s life of being abandoned by her mother, Traudi in 1941 when she was just four years old. The film is set in the year 2000 following not only Helga and Traudi’s journeys but the next two generations and how Beth, Helga’s daughter and Emily her granddaughter are confronted with the long-term effects of Traudi’s leaving.
Read my interview with Polly Steele on her journey into bringing Helga Schneider’s story to life on screen…
Q: There are so many films about the holocaust done already but your film tells a story from such a different perspective, that is from the family of the perpetrators, instead of the victims. Can you tell me what inspired you to write this story?
When I first found this story I had no idea what attracted me to it. Looking back it was probably the vulnerable face of a small child in the black and white photo on the back cover. This vulnerability echoed inside me somewhere and I read the book. I know that trauma arises from all sides in a conflict and Helga’s trauma is no less valid than anyone else’s. Helga’s story was a difficult story to tell after the war had ended, there was no space for stories like hers. Now that 75 years has past since the war, I think we can acknowledge that innocent children from all sides of a conflict suffer. We cannot move on from our own suffering unless we acknowledge the suffering of others.
Q: How did you first hear about Helga Schneider? Can you tell us the process of getting the rights to tell her story and how long it took you to write the script?
After reading the book, I flew to Milan to meet her, she only spoke Italian and a little French and I spoke English and French and so we used her agent to translate and we sussed each other out with a lot of looking into each others eyes. I think we came to an understanding that day and I felt that she entrusted me with her life story, I am very grateful to her.
After seven years of writing and re-writing the script, working with various different companies and even putting it aside for a while, somehow the right team came together, the energy changed and here we are having raised the money in a year and made the film the following year, but the whole process was 10 years in the making.
Q: How involved was Helga herself in making this film? I believe you flew to Italy to meet with her?
After meeting her the first time, we kept in touch, I would write to her asking her questions and she would write back . I would google translate and on it went. After a couple of drafts of being completely true to her story I made a leap to include the two youngest characters who are fictitious, because I was fascinated with inherited trauma. I made these creative decisions with Helga’s blessing. The two new characters are based on information given to us by Helga who wanted to protect the real identity of her close family members. She understands now that her story has continued to affect those who came after her and that is what the film focuses on. Ironically when I met her again just before we started filming she told me that the two new characters were very accurate relative to her own experience.
Q: I love the idea of a multi-generation of daughters being affected and dealing with a shared past. Would you share about the casting process for Juliet Stevenson, Lucy Boynton and Jodhi May, as well as Stanley Weber as the only prominent male character in the film?
Juliet came on board very early on. She read the script and then we met and she followed the films progress always remaining committed. She was our rock. Jodhi also met me early on in the process and committed whole heartedly, she was fascinated by the subject of inherited trauma and also stayed with us until we were green lit. Lucy I saw on a taped video that she did in L.A and immediately thought she had a special something, elegance, an innocent maturity if that is possible and a very natural look on the screen. Lucy could only confirm very close to shooting but thats because she was up for another film at the same time but luckily we got her! Karin was the last to join and the most difficult character to cast. No one wanted to be a hardcore Nazi… but then we cast our net wider and Karin was waiting in the wings in Stockholm and she is a Gem! I am very proud of all of them and Stanley Weber, and Eva Magyar, I think they all did an amazing job.
Q: This is the second narrative feature you wrote and directed. What’s the biggest challenge for you as indie filmmaker in terms of bringing your story vision to life?
These days making an independent feature is an incredibly difficult task…to get the stars to align is a rare and beautiful thing but I also believe that as a woman it has been even harder. This was not an easy story to tell, but I had an amazing team of people supporting me and the film. My producer Lizzie Pickering who has been incredible, raising money relentlessly, never giving up as well as our Executive Producers Georges Tsitos who kept us on track from the beginning and then Rupert Labrum who was our first serious investor and stayed loyally with us until the end and many more who subsequently joined. We gathered support by holding storytelling circles in peoples houses and inviting them to listen to a video of Helga and hear her story and then slowly, slowly the money came.
Q: There are some really difficult scenes to watch, especially between Helga and her mother. Can you tell me what’s been the most challenging aspect of filming this?
Filming any scene whatever the content is about making sure that the actors are 100% in the space and time and world that they are meant to be inhabiting, that way they are authentic and then we have done our job. The whole reason that the scenes between Traudi and Helga are different from anything that I have seen before on this subject is that Traudi makes us understand from her perspective what normal was for them in that extreme situation. It is untenable for us in our world knowing what happened, to accept what she says but it’s equally important that we realise what it was like in their shoes. Helga’s dearest wish is that the film may play a tiny part in preventing history from repeating itself.
Q: I love that the films are shot on location and it was stunningly shot by Michael Wood, set to a lush score by Phil Selway. Can you share about finding the locations in the UK and Austria, as well as the scoring process?
Michael Wood is an amazing D.O.P but then he also had the fabulous Alex Walker our designer to pair up with. The two of them did a beautiful job with few resources. David Broder our other producer found Minley Manor in Kent which was used for the old peoples home and then we decided that being in a few key places in Vienna was crucial, like the Judenplatz and so made the financial commitment to shoot in Vienna too. Michael understood very quickly what I wanted to do with the light in this film and the energy of the restless camera. I feel he achieved a great look and Alex also indulged my minimalist approach to spaces, allowing me to eliminate a lot of props and furniture so that we could really focus on the emotional intensity in some of the scenes. We had a great thing going between the three of us. I also want to mention Daniel Goddard who I have worked with for many years as an editor, he too completely understood what I was aiming for, he is a very sensitive and experienced editor and worked wonders.
Philip Selway has been amazing from the absolute beginning. He came on board before most other people and immediately started talking to me about the script. He was so supportive and also so positive about the story, he really understood the themes and spent a lot of time building up sound beds and themes laying the foundations for what turned out to be a stunningly beautiful score. Philip was key in keeping me true to my initial ideas.
Q: Last but not least, would you tell me some of films that’ve influenced you, particularly those dealing with WWII?
I actually grew up in many different countries but spent ten years of my childhood in France and was very influenced by French films. They have far more stories that are about the emotional journey rather than the physical one and that very much influences how I like to tell stories. I can’t say that I see this film as a WWII film and so never approached it like that. I just wanted to tell the story of a family , who had lost their men in the war and had to find their way in the world together, four women , carrying with them a secret that was so extraordinarily heavy, a secret that could have destroyed them all, but they were given a moment in time to let it go, to tell the truth and to let it go and in that way there is hope. ///