Q&A with Director Diane St. Laurent

Q: What attracted you to the project?

Simply put, the story. When I read this script for the first time it left me feeling vulnerable. I felt so much empathy for the characters. It left me with a feeling of emptiness that left me betrayed, hurt and angry. I never read a script that affected me like this. It is a bold and original story that will hopefully elicit much thought and dialogue from our viewers. It is thought provoking, and it hopefully, will impel discussion and debate. It centers around a politically charged issue, but the story is not about this issue. It is about the affect the issue has on the people in the story. Those who choose to see this film will be challenged to think honestly about an issue that affects all of us. I believe those who are most honest will be left with the desire to make choices and to possibly influence others.

Q: Given that the story genre is a social-political drama, what do you feel are the most controversial hot issues of today? And what hot topic does your story exploit?

I believe there are many controversial issues today which include same sex marriage, abortion (i.e. doctor getting killed - with a warning from the extreme right publicly saying more to come), discrimination (i.e. holocaust museum slaying), gun control, constitutional rights (i.e. patriot act), US torture policies, Gay rights, Freedom of speech. etc. All very current and discussed everyday on FOX, MSNBC, and CNN. With that said, my perspective on 'responsible reporting' by news stations, reporters, and/or political commentators is that today it is mostly fueled by ego and self-interest. Something has happened in the last decade, maybe even longer. In my opinion, it is shameful that American politics has turned into an exploitive mocketplace for fame seekers. And I do mean mock. It is nothing more than entertainment that lacks common courtesy and respect for individuals. Just my opinion. The hot topic, as you have asked for Our Last Days As Children, can be simply categorized as the protection of individual rights, which or course, is not different from where it all began in the early 1600s when the American tradition was first conceived.

Q: What themes do you hope to explore in the film?

Raz (writer) answered this question by listing quite a few different themes. I would add a few more - free will, individualism, choices, toleration, diversity, acceptance, humanity, liberty. For me this film is about embracing the differences in all of us and not to fear what is dissimilar. Specifically, the state of being free within society from having oppressive restrictions by society or the government. We all have choices to make. These choices lead us to our journey and our individual journey defines who we are. Each one of our characters has a journey to travel. They are all different as they should be. Having the free will, the ability to act on ones our discretion, becomes a significant theme that begins the film and ends it. We should be thankful to have these liberties today's, because no one really knows what life will bring us tomorrow. Although, something I do feel is that life without challenge and risk, and without confidence and fear, and without discussion and debate is just not really worth living.

Q: Do you feel that the economics of the project are a boon or a burden when it comes to your vision?

A little of both. The story is quite simple because it is honest. Because this story is about the people, their experiences, their intimate relationships and their feelings. Although there are no skyscraper scenes or expensive post production computer graphics, there will be intellectual debate, behind-the-scenes politics, hospital emergencies, and death. This story, although set in the future, is naturalist and looks and feels like today. So no hidden period or story setting costs. One of the most complex things about this film are the emotions of the characters and the complexities of the issues. This is where great performances are needed. So to answer the question, it will not require a big budget to make this film because it is an economical story. With that said, the burden lies in the unpredictable territory of marketing and distribution. This can get costly and needs to be managed closely.

Q: Are there any influences that will make their way into your style?

Professionally, I am strongly influenced by directors and actors that can capture the subtleness of a situation. I am a strong believer in 'less is more'. Actors like Mereyl Streep and Kate Winslet. Amy Adams a favorite of mine and Emily Blunt both next generation talents. Marcia Gay Harden and Kate Blancette who never overacted in my opinion. Just superb. Johnny Depp just wonderful. Sean Penn a favorite of mine, Ed Norton and Ralph Fiennes and the young Michael Cera are just wonderful. Great directors like Clint Eastwood, Anthony Minghella, John Cassavettes, Ang Lee, Adrian Lyne, Oliver Stone, and Jane Champion are great influencer for me. Clint for the simplicity, Anthony for the intimacy, Nick for the rawness, Ang for the subtly, Adrian for the reflection, Oliver for the controversy, and Jane for giving us The Piano.

Personally, I am influenced by what I am passionate about - family, friends, politics, economics, education and world hunger. I am motivated by goal attainment and my pride. I am fiercely loyal and expect kindness and compassion from others. I don't like to be controlled or manipulated so if I sense a breach of boundary I fight back.

Most of all I cannot bear intolerance or unfairness. These, I believe, will be my strongest influencers when making this film.

Q: What has been the biggest creative struggle for you so far?

Because I have worked so closely with the writer, my struggle is not with the character stories at all. It is with moving into the Director role implicitly. My other responsibilities namely Executive Producer often pull me away from the creative process and into the business process. It will be important for me to let go of the business issues until after we have a locked picture. Is this really possible? I am not really sure because part of me thinks I can do both. Because my desire to be successful if so strong that when problems arise, I instinctively want to solve them. However, intellectually I know that I must keep this passion funneled on the story as first priority, and as it rightfully deserves. Thankfully I have a strong production team backing me up.

Q: As the director, what do you see as your biggest struggle?

Because the story is controversial and it has many themes, keeping them united will be important. I can see this as a possible struggle. However, I must stay focused and uncompromising with my vision while at the same time remembering to listen well. I need to be mindful of my stakeholders, but stay true to the original intent of the story. With that said, this story is bold, and to appropriately tell it, boldness needs to be exploited. I believe this is possible because we are an independent production, because we have great team and wonderful support from our investors.

Q: How has your relationship with the characters grown since first reading the script?

The change has been dramatic. All of the significant characters have many dimensions to them. I know an awful lot about each one of these characters. And for some of the characters, more than what the audience will know in the end. And those things that are not known by the audience, will be intentional. Dr. Carol Virgo, the character that we like to refer to as the matriarch of the film, has a relationship with each and every other character, and not because she meets each one face to face in the film. Rather this is accomplished through parallel and/or mirror storytelling. Not all the story lines of the characters converge in their resolutions, but Dr. Carol Virgo in the end is deeply exposed by the resolutions of the other characters.

Q: With this project, do you find that the characters dictate the script, or the script dictates the characters?

Immediately the premise of the story is known and the characters are introduced. We meet the characters in their everyday life, doing what they do each day. Our characters' stories are told in parallel with the central issue moving the story forward. The story line progresses quite rapidly resulting in the characters advancing into heated debates inside and outside the courtroom. Confrontation, intellectual debates and violence ensues between characters both whom are friends and whom are enemies. The characters go through their change because of the story plot, the themes and the issues, therefore I would say the script dictated the characters.

However, from the beginning these characters tell this story. They are honest, biased, and flawed. People just like you and me. They will be familiar to the audience. So familiar that the audience will either choose to be them, to be an ally with them or to be an enemy of them. It would be a disaster if the audience were to be feel indifferent to them. This I must avoid. Our characters will be understood based on what they are saying, what they are doing, and more importantly based on what they are not saying or doing. This story is a character driven story, even though a central issue quickly drives the story forward. For some of the characters, the issue is irrelevant. With that said, the affect this issue has on the lives of these characters is powerfully relevant.

Q: How do you plan to explore the lives of these characters?

Through their prejudices, honesty, and flaws. Through their inhibitions, denials, and vulnerabilities. This is how we get to know these characters, and based on the different facets of their personalities, and their attitudes we will either embrace them or be repelled by them. Our characters have diverse backgrounds. Their educated is different, they have different professions, and life experiences. Much like our audience. I truly hope in the end the audience understands them. I hope the audience empathizes with the characters and their choices. Because if it were them making the decision, it would be just as difficult.

Q: Without giving too much a way, what in the film do you think your audience might connect with most?

I hope our audience connects with our characters above all else. To feel their raw emotions, to experience their love and loss, and to feel compassion for the story, the characters and themselves. I hope our audience connects with the honesty of our characters. Their struggles and the flaws that make them human. I hope to create empathy not apathy, and possible give the audience an opportunity to rethink their beginning position without experiencing judgement from others. Americans are made up of many different ethnic groups. The people are very diverse today. We have more than 50% of the Americans being of a minority group. Their life experiences, social learning, value systems, heritage, opinions, political predisposition are all different. With that said, if we are to accomplish our objectives for this film, which is to allow our audience to interpret the issues themselves and to debate freely, then we must acknowledge that their opinions may be different and their interpretation of the film as well. Above all, I think the audience will connect with the themes of the story, because acceptance, respect and free will is what each and every one of us want and need, and deserve.

10 Questions with Writer Raz Cunningham

Q:  Where did this story come from?

Some of it stems from the power of words and how they sometimes try to define the indefinable, some of it comes from the constrictions of law, but most of it comes the intimate nature of why people make specific choices. A majority of this country’s laws are Tax & Trade related but there are some laws that affect every aspect of someone’s life, that fundamentally shape them whether they know it or not. There are invisible walls all around us; things we can and can’t do, places we can and can’t go; rarely do we ever try to do a little remodeling, and when we make those changes, IF we make those changes, is when we grow up.  It’s like an electric fence; the dog knows he can’t cross that invisible line, so he lives his life inside of those unseen borders.

I’ve always felt that part of growing up has a lot to do with doing things on your own, having your own views and values, but most importantly, having not just the knowledge of who you are but why you are the person you are; what made you that way. Just because you’re legally an adult doesn’t mean that you’ve grown up. I also think that how we define things is a big part of who we are. We define them in relation to ourselves. If you think about it, it’s really kind of strange how we let intangible things that aren’t really there shape us.

Q:  Why and how did you come to bring it to Two Sisters' Productions, Inc.?

I met Toni Ann Baker and Diane St. Laurent in 2007 while working on another feature. They mentioned they were looking for a feature to produce, so I went through the few stories I had, chose what I thought to be the most viable one at the time and brought it to them. Toni Ann had read it first and called me late at night, woke me up, actually, after she had just read it. “I want to make this script, whatever it takes” was probably the only phrase I remember from the conversation. She handed it off to Diane and she said the same thing.  I was so excited that the one script I thought would be the worst received was received so well.

They’ve been nothing but great. They’re sisters; they act like sisters and, as odd as the implications might sound, they show their complete honesty in those moments and it makes me feel safe and comfortable. Diane’s been a great partner to collaborate on the script with and Toni Ann brings incredible insight into the things that Diane and I sometimes miss, which can occasionally be a lot. Together we’ve created a fantastic team of cast and crew, it’s really something special.

Q:  What have been the highs and lows during the development stages?

The low was searching for funding. We’ve been searching for a long, long time. The energy and time it takes is a nothing short of a testament to hope. Luckily our efforts have paid off and we’ve raised the majority of our budget, just going back to look for that final chunk. The high has been Revision, plain and simple. I’ve created real people and developed them. I feel responsible for them. It’s a good feeling.

Q: How similar is our world to the world you created.

With the exception of one scientific “fact” it’s exactly the same. In order to make the story work I had to take creative liberty and make the declaration that in this new Universe our biology works a certain way. People always want fiction to conform to their ideals rather than its own internal logic and easily confuse the two.

Q: What audience reactions are you hoping to achieve with this story?

There’s absolutely no question that this film will be seen by two completely different types of people. The most common reaction I’m expecting is for people to discuss the law itself. It’s a controversial issue so naturally there are going to be two diametrically opposed views on it; in favor of and against. That’s what the mainstream will take away from it for sure, which is perfectly fine. I want people to engage in  discussions about the nature of identity and humanity as well as civil liberties. People do it every day in very small ways, they just don’t realize it. 

I’m really hoping to see how people react to it as a piece of art, beyond the political, and how they connect with these characters. This is a film, and film is art. We’re going to show you things that you’re most likely going to miss the first time around and that’s okay, because you don’t always see art the same way twice. We don’t want to spoon feed the audience and we sure as hell want to make sure they feel that we respect their intelligence. This film is going to be a lot of different things to a lot of different people. There are going to be many, many different interpretations of a lot in this film, and that’s great because that’s kind of the point, to show that reality itself is subjective.

Q: How would you articulate the themes of this story? 

I’m happy you asked “themes” and not “theme” because this film isn’t about just one thing, there isn’t just one theme. The days of the Script Girl from “Sunset Boulevard” saying movies “should say a little something” are over. But I’ll be as blunt as possible, our themes are: Truth in Intimacy, Sacrifice, Identity, Responsibility, Growing up, Interpretation, Language, Choices & Control, and most of all, how both being Loved and Loving can affect us. We’re asking some very tough questions, and we’re not really doing it through dialogue, but rather visuals and subtext. My hope is that the audience will see that even though words themselves are carefully constructed to articulate complicated ideas, the basic and most important aspects of humanity are so much simpler and often don’t need to be spoken at all, that words really do just get in the way sometimes.

Q: What’s the connotation behind the title “Our Last Days As Children”?

It’s two-fold. It applies to our culture within the film as well as the individual characters. Children are dependent; they’re not in control of their own lives. Within the film, society now has the ability to control its own nature and the characters spend a great deal of time growing as people. They’re all different ages. The truth of our society is that sometimes younger people are wiser than their elders. Does wisdom constitute adulthood? Does experience? I don’t know, but that question is woven throughout the film. I’m hoping that audience will asks themselves the same questions.

Q: How did you develop these characters?

I wanted to take a very intimate look at people in their most vulnerable moments, juxtapose those same people in their strongest moments and explore how in the hell they get from one moment to the other. The best way to do that is make them as human as possible, as flawed as possible. Some of these characters are broken people and some of them are rebuilding themselves without even knowing it.

Just the other day I read an article about a man in Florida who choked his girlfriend during an argument about how to load a dishwasher. I understand the draw of that headline, but the more interesting thing to me is what the hell happened to this man that he made this choice at this time in his life? Clearly that argument was about more than just the dishwasher’s penetration issues, there was some deep history these two had. The other question you have to ask is “does it matter how to load a dishwasher?” I remember having an argument when I was about 6 or 7 years old with another kid about which foot which sock goes on. To me, it didn’t matter, to her, it did, so it seems like we’ll always have those childish moments no matter our age; kind of makes you wonder adulthood is really just a sliding scale.

I’ll also be the first to admit that some scenes in this film are dialogue heavy, I wrote them that way for a reason, while other scenes are not, but they coincide with which character is or is not doing the speaking. I’m hoping that people pick up on the nuances of the certain choice of words a character makes, their movements, as well as their positioning in location to others and objects around them; body language says so much more than words do. We also have to acknowledge that words themselves speak volumes about people. Certain people speak certain ways. Certain people dress certain ways. You can usually tell who went to Harvard and who didn’t, but you never really get to see WHY. I wanted to explore that, to explore why people do and don’t make choices.

Q: Did you feel any pressure writing this script?

I did feel pressure, but only in terms of production. I knew where I was in my career, the connections and resources I had, what I could and could not do logistically speaking, so I wrote the script economically in that regard. Some might see that as a restriction, but I didn’t. It also played into setting. Luckily our intimate moments usually happen in our intimate places, so the Shooting Locations weren’t uncommon. This story has no need for special effects, explosions or CGI. Outside of that, I could say whatever needed to be said however I wanted to say it. We’re making this film outside of the studio system, so we can be as bold as we wanted to and make a lot of creative choices that studios would see as risky because they’re different from their usual formula, but its those very same differences that will set this film apart. Although it would be pretty cool to have a man flying around in a big high-tech mechanical suit.

Q: Why is it important for this film to be made?

I can’t really answer that question for a number of reasons, one of which includes a non-disclosure agreement. What I can say is that with this diffusion of culture that’s explored and these characters, that NOT telling it would be… well, I just couldn’t sleep at night. Seriously, if don’t write down what’s in my head my brain won’t let me sleep until I do. 

change of schedule

we'll be posting the Q&A with Writer Raz Cunningham ahead of Director Diane St. Laurent

10 Questions with Producer Toni Ann Baker

Q: What attracted you to the project?

What initially attracted me to the Our Last Days As Children script was its original title, Ghost in the Machine! Actually, it was the way the writer (Raz Cunningham) pitched the script to me, which involved mentioning that even though the title included the word “Ghost” in it, it was far from a “ghost” of “horror” film.  That intrigued me.  I had read about 500 scripts that pa st year, or I should honestly admit to reading the first 10-20 pages of about 500 scripts. I was in search of a low budget feature that Two Sisters’ Productions, Inc., my company that I co-owned with my sister (Diane St. Laurent) could sink our teeth into since finishing a year long documentary project.  

But we were being extremely fussy.  We were looking for something that had everything.  It needed to be compelling, emotional, intellectual, heartwarming, challenging, spiritual, and a telling of the true human spirit.  Not too much to ask for, huh?  Well, the universe was ever so gracious to delivered exactly that to us, by way of Raz Cunningham.  Oh, did I mention yet that it had to also be original?  That’s right, a story not yet told on screen.  Impossible you say?  No way!  We have it.

I finished the entire script about an hour and knew on page 14 that it would be my first feature film I was to produce.  It was sent off to Diane (Director) the next day and we formed a new collaboration instantly with Raz (Writer).   

Q: What has been the biggest challenge in developing the project so far?

The biggest challenge so far has been getting the Writer and Director to lock the script! Although the characters now leap off the page into my living room dragging me into their world, and the script can’t possibly shine anymore than it does, I had to beg and threaten them to finally get my first version of the locked script!  

The second greatest challenge is raising the last 35% of the funds for our film!  Not only are we in a state that can’t seem to ever balance it’s budget who threatens and challenges the RI Film Tax Credit every chance it gets, but, we are also in one of the worst economic crunch of my time.  Fortunately, we have extremely loyal investors!  Their pledges have not wavered!  Keeping our integrity in tact, as we move forward through the development stage of seeking final investors, partners and attaching actors.  

Q: How is this film different from your previous work?

My previous work includes short narratives mostly written by Diane or myself, commissioned documentaries, many which have gone to film festivals and won small awards.  We’ve also produced some commercial projects such as television and radio spots, promotional videos, educational videos and website trailers.  A lot of our work is distributed nationally and has been broadcast on television.  But Our Last Days As Children is heading to the big screen!

The greatest difference, besides the obvious fact that this is Two Sisters’ Productions, Inc. first feature film, is  that we have acquired a third partner for this project.  Not only is Raz Cunningham a wonderful storyteller, he is a wealth of knowledge and New York experience in the world of producing indie films.  He has rounded out our team perfectly.  It is like we have our own Trinity!  Oil, Water and all the Seasonings we need to make a perfect Salad.  They are going to hate this analogy, but I’m sticking to it.  

 
Q: What made you choose to shoot in Rhode Island?

Why not make it in Rhode Island is the question!  A film friendly state with a great film tax credit, a state film office and a booming film community all biting at the bit to support, encourage and see great works come from it’s back yard.   Rhode Island takes only a little over an hour to get from corner to corner of this state. It is historical and modern.  It has forests, oceans, sand dunes, lakes, country sides, urban, city and rural neighborhoods; it is multi cultural and has every economical portrait imaginable, such as the wealthiest estates of Newport right down to the 7000 homeless people that live throughout our inner city communities. 

Rhode Island has thousands of  locations wrapped up in just one location!  What could be more perfect for a low budget indie film?  Oh, and there is the fact that we all have lived here for our entire lives. Except for young Raz, although born and raised a Rhode Islander, he was educated elsewhere and like I mentioned earlier, has been on many New York productions while living in the city for several years before moving back home.   Two Sisters’ Productions, Inc.’s mission has always been to make films in Rhode Island, adding to the economic development here at home and giving opportunity to its widely diverse artists community. 

Truly, there are so many obvious reasons for us to make Our Last Days As Children here in Rhode Island.  

Q: What aspect of the project are you looking forward to most?

I most look forward to selling the film, seeing it on the big screen and sending the message of our film into the hearts of government, social environments and into the intellect of the conservatives, liberals and those who claim to have no opinions. 

Oh, and hearing the Director’s first ACTION and then the First AD’s IT'S A WRAP!  That would be equally as exciting for me.  It’s been quite a journey thus far and I’m eager to get to the next stage. So, I’d humbly accept pre-production to finally begin!

Q: There are a lot of new and interesting films coming out in the next year, what do you think will make yours rise above the rest?

Our Last Days As Children is a story that’s been waiting to be told.  It is bold and original.  It’s been the pulse of the human spirit since the beginning.  In my opinion, we live in a world that is complex, complicated, confused and judgmental, from every direction and angle whether right or left winged.  And America has lost its simplistic understanding of basic reality and natural laws.

The Studios would not attempt such a controversial film.  This alone, makes it valuable. The world we live in today, gives us its perfect timing.

 
Q: How do you think the audience might view the film?

 
If we do make it right, each individual should have received the gift of feeling something very personal.

 Q: Without giving too much away, what in the film do you think your audience might connect with most?

We have gone to great lengths to keep this story under wraps!  Even our parents and children have signed Non-Disclosure Agreements.  So, you won’t get much in way of the storyline from me.  I will say however that there is something in Our Last Days As Children for everyone.  It is a global story. 

Q: When producing a film like this what is your biggest concern?

My greatest concern is that the Writer will unlock the script and make another slight modification at the urging of the Director before we get into pre-production.  LOL!

Seriously I don’t have many concerns in making the Our Last Days As Children, timing is everything in life. I have learned that lesson personally and know it all so well. 

Our Last Days As Children is a story that has been growing in the uterus for 18 months, waiting for it to be safe to come out.  It is ready when it comes time to push. 

Q: Once the film is completed, what do you think its biggest obstacle will be?

Well, from a business standpoint and a responsible one at that, we will be working hard and fast this summer to get Our Last Days As Children through post production, working with our incredibly talented team (all who are standing by for the starting bell) to meet our current marketing strategy in making our preferred film festivals.

Next will come another 10 Questions with Director Diane St. Laurent.

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