Madeline: Jesse LaVercombe, who plays Dylan, we’ve worked with twice before and I’ve acted with him before, so we already had a kind of natural rapport and ease. I think that closeness that emerges from spending a lot of �me with someone, we were also living all together in the mountains, so there’s a forced kind of commune that happens that really accelerated things. It’s really great for introducing ideas for improvisa�on in a scene, so they can now call upon a workshop or an exercise they did in a rehearsal, where they both have the same memory to their character. Dusty: And then they have actual real memories. So, we’d get to know the physicality and the dynamics between them all. Madeline: We would eat dinner in character, the four of us, so we could just learn what all those li�le behaviours are like outside of the mechanics of each scene. Instead, we tried to find situa�ons that we could put the characters in, so that they could build new memories with one another and so they’re spending lots of �me in character. With this whole film, we were able to work with people who we’ve known for many years and it’s just really lovely to have those collaborators from such a long �me ago be able to contribute to our first feature.ĭusty: We had about ten days, but what we do, that I think is kinda different in rehearsal, is that we’re not spending much �me rehearsing the actual scenes. The soprano who sings the opening piece is actually a good friend of mine from High School, which was wonderful, to have her involved. We could give notes with the score in front of us and it was really fantas�c. Madeline: It was fantas�c because we were able to just listen in, we could be there and give notes and there was this great so�ware that we used where it was like we were in the space. They did a live recording at Air Edel Studios. We did a live score in England, we were very lucky that because of Covid, some of the best musicians just happened to be available. So, we work remotely, we do things like zoom calls and he’s willing to go and rewrite something a million �mes before we find the right specific melody and the right feeling. Dusty: Yeah, shock and detachment that someone might feel from their own body. Except for that one moment in the film where the act of violence and assault occurs, and even then, it’s restrained in the sense that it’s really trying to evoke a feeling of… For us, the music is emo�onallycharged but it’s not ever really under-pinning the scene, it’s used very methodically to transi�on us between the past and the present. Dusty: He’s just such a sensi�ve, though�ul person who really understood the underlying emo�ons. He came up with these beau�ful composi�ons that absolutely felt like they were enmeshed, like they were completely cohesive in a way that we couldn’t have ever imagined. The way he interpreted what we thought of…we had this idea of using baroque music and also avant garde, but we weren’t quite sure how to combine those two. I think it’s a collabora�on that will go on and on. Madeline: Yeah, he’s worked on two of our short films and the only reason he didn’t do the other is because that one didn’t have any music. He’s Italian but he lives in England and we’ve been working from afar this whole �me because we’re in Canada. Instead, we were more interested in: “what is the actual grizzly nature of revenge and what does it do to your morality and how does it impact you emo�onally and psychologically?”ĭusty: It’s funny, I met Andrea in Iceland at the Reykjavik Film Fes�val and shortly a�er, we started collabora�ng and Madeline also met him at Berlinale, just coincidentally. Instead of it being about wish fulfillment, where there is a cathar�c, emo�onal, celebratory scene of violence at the end of the film. But we no�ced that what we were really trying to say with this par�cular film was almost an�the�cal, it’s almost an an�-revenge film. For us, when it comes to the genre itself, we really love revenge films and what they offer. For us, the film is a personal explora�on of residual trauma and post-trauma�c stress that the body physically goes through. Dusty: Yeah, we met at the 2015 TIFF talent lab and we were both making our own films at the �me, then we decided to join forces to start collabora�ng together and we really connected over our histories of trauma and abuse in our past. And to show her mental, physical and emo�onal unraveling over the course of this film. We knew we wanted to tell a story about trauma from this one woman’s perspec�ve. Madeline: It was definitely the character of Miriam that we started with.
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