INTERVIEW WITH DIRECTOR Phil Donlon - Director/Producer/Actor
Interview with Phil Donlon - Director/Producer/Actor

Writer Joe Calientine, before he could slip out of his grip, snagged Phil Donlon and forced him to have a sit down.

JC: Could you talk broadly about what inspired you to make this movie and the things that were important for you to touch on?

PD: I did the film for 3 reasons. The first was for the opportunity to work with 3 storylines in a short film format. It started with a 20 page script by Larry Wilson, but we did not have the time or money for that length, so when I came aboard as director, Larry and I worked together to get it under 15 pages. It was a challenge but in the end I felt we had a very tight, and powerful 13 page script.

The second reason was to work with another author's work. My previous film I wrote, so I was looking for a project to stretch myself as a director, to take someone else's words and put my vision to it. I also wanted to pick up where I left off visually with my first film, to repeat some things, expound, and even try some new things. My primary influences we're the great filmmakers Martin Scorsese, and Spike Lee.

The last reason was the material. I am always looking to work themes that are close to what I live and struggle with. Growing up as an alter boy, being encouraged to work within the church, I guess I am inherently attracted to themes of forgiveness, reconciliation, confession...themes that are the basis of the Church. Ultimately I hope all of these things are seen up on the screen.

JC: What was your biggest challenge making this film?

PD: There were many. The first thing was the budget.   I came into this film knowing it was a shoe-string, so as a producer I knew in advance I needed to pull as many 'favors' as possible to get my vision up on the screen.   Everyone was gracious with their time, and lowered their rates so we could do the film and it was a combination of the nice script and the people already involved that helped in asking people to do that.

The other challenge, due to the budget, was the logistics of shooting the film.   We only had 4 days.   Our cast was mainly coming from LA, and they were working for free, so they could only afford to be away for so long.   We had to be prepared.   So I rehearsed the actors in LA, they arrived in Chicago the day before the shoot, and we did some light rehearsing, but I mainly wanted them to sleep and relax.   So, when they came on the set, it was lit, we had their marks down, and I just plugged them right in.   Jenn, Doug, Alex, every actor in the film, they all brought their 'A' game, and rose to the challenge.   Jenn in particular, she really impressed me, she was even meticulous about what her character wore.   Down to what was not even seen on camera.   Being an actor I know how important that is.   I appreciated her preperation.  

The other, unfortunately, was our 1st AD who was not very good.   The 1 st AD did the 'book work', but was not commanding on set.   That led to a break down with my DP, who unfortunately came to this film not totally prepared and having an AD who was not moving the set forward, the combination of these two resulted in me having to drop shots.   So, by the last day, producer Steve Ordower was running the set, I was no longer talking with my DP, and just talked with the Gaffer and the camera operator.   So, it was very distressing and depressing to have formed a team, then finding myself working around certain members.   It became another job I had to do. On a 4 day shoot it is really hard to replace someone 2 days in, half the shoot is over.

JC: Any high points?

The "challenges" were not necessarily bad things, they are what they are...challenges.   You have to overcome them.   And we did, we finished the film!   That is the ultimate high point right there, and I have become a stronger director because of it.

The crew was great.   Tom our 1st AC was amazing.   Zsofia our make-up artist was an absolute pleasure to work with.   Wes our production designer.   Our gaffer, Joey, I clicked with him by day 2, and I have now formed a new relationship with him and he's shooting my next film.   I found some strong people to take with me onto the next project, keep building the team, making it stronger.   And see, that's the one thing you can control in the uncontrollable environment of shooting a film.   A strong team can really reduce the variables of what can go wrong, and when they do, you can put those fires out faster, giving you more time to get your work done.   That is the one thing that can kill a film...time.   There never seems to be enough it.   And when you have a strong team that supports you, when those 'fires' arise, it can help you to determine if the problem at hand has anything to do with finishing the film.   Because if you can determine that, you can save yourself a lot of headaches, and it keeps you focused on the most important thing: your vision.

JC: After seeing the film, I must say it has a unique look. Can you talk more about that?

PD: We did a lot of different things.   We played with shadows.   We usually cast shadows on Adam, and Jenny in brighter lights.   We lit the heck out of the film, and so when we color-timed it, we blew out some of the colors.   Our main concern in lighting and color-timing, because we shot super 16, was giving it the 35mm look.   Mainly taking out the grain factor so associated with 16mm film.   We always gave Adam's apartment a dark look, and the café a bright look.   The Pier we just tried to give an odd look to it.   For me whenever I enter a room I immediately get a "feeling" and so in film I really like to give the audience an opportunity to feel that too.  

Camera angles were also very important.   Adam's apartment was shot high angle, tight, we moved the camera very little, giving it a 'claustrophobic' feel.   Actually, the high angle was a theme in other places as well, giving the feel that the weight of 'God' is on Adam's shoulders.   He's living in his own hell.  

Dolly shots were big.   That was my way of letting and reminding the audience know that the film was the POV of our main character.

The opening of the film I am particularly proud of.   The script mentioned that the lead character of Adam was disconnected from life.   So when you watch the opening you see him in different places, but you don't actually see him ever move.   I felt it was important to give the feeling from the gate, that here's a guy not participating in life.  

JC: I saw a lot of similarities between 'Wrestled' and 'Series.' They are both dealing with similar themes and they are both very stylish in the area of editing. Am I correct or do you think Im smoking something?

PD: Haha. No, I don't think you are smoking something. Thanks for noticing.   Yes, that is something I worked very hard on.   Stylish?   I have heard others say that same thing.   I don't know, I guess maybe they are, I don't know what "stylish" is.   Steve and I have a close knit relationship as creatives and as friends.   We feed off each other.   I guess we just don't care much about following convention, we are concerned about story first, are we telling the story?   Then it's feeling.   So thru the editing, and let me also mention the intricate sound work....

JC: Which I was just about to bring up...

PD: Right, this one more than Wrestled, Steve and I had quite a bit of sound designing to do on this one.   But, between the visual and the sound, creating the feeling.   So, if that translates to a 'style'...great!  

JC: What films inspired you on this project?

PD: '25 th Hour', especially for the score, 'Bringing Out the Dead'.   'The Conversation' for the score, and for the camera work in the apartment scenes.   'Taxi Driver'.

JC: Ok, call me crazy, but why did you decide to shoot in Chicago if everyone was in L.A.?

PD: It's cheaper.   LA is an expensive place to shoot, here's an example:   Getting on a pier in LA after all of the fees, would have cost us about fifteen hundred dollars for 8 hours.   In Chicago we got on a pier for $25 dollars.   Plus I am from Chicago, so since this project came to me so quickly, it allowed me to really get this film produced faster.

Plus, I like the feel of Chicago.  

JC: I noticed that there is a bigger actor in this movie. Doug Jones. How was it working with him? I mean, this guy has been on some big sets in front of some big time directors.

Burton. Spike Jonez. Del Torro. Yeah, a lot of them.

A pleasure.   He's an amazing talent.   I was fortunate to have him.   He did an amazing job.

JC: So did he request no one look him in the eye or they were fired and that sort of stuff? Women fanning him down?

Haha. Well of course he is a star, but he doesn't act like one.   Most of the crew commented on that, they knew of him, had seen him in a lot of other films, and were floored by the fact he was so humble and was willing to stay late, be a trooper.   Doug is a true professional.  

JC: Where will people be able to see this film and when?

PD: Film Festivals starting in 2005.   At least for right now. Possibly on the web at a later date. We'll see.

JC: You mentioned Joey is shooting your next film? What is your next film?

PD: It's my last short, same length, dealing with Racism, and being written right now by my writing partner Chris Ellis.   We'll shoot next spring.

JC: Is this one in Chicago as well?

PD: Yes.