00:26This is Tim Wasprick for Fast Trek on CERC TV.
00:29I'm here in Austin, Texas for the South by Southwest Film Festival.
00:33The aspect of environment, how it changes people, but how they see themselves and how
00:38they react to different things.
00:40And that's true of her throughout the film with Louise and in a way with Sam.
00:47Yeah, the environment.
00:50So the characters go from a very kind of chaotic artist's life in New York where Mallory
00:57feels, you know, Mallory, the main character who I also play, she's working a more corporate
01:02job.
01:02She hasn't quite found her passion.
01:05And her boyfriend, Sam, is a quite successful playwright.
01:08He's had a few successes, but he has writer's block at the moment.
01:11And so they go up to Maine where they kind of are taken out of their day-to-day life,
01:16out
01:16of their familiar environment.
01:18And Maine, it takes place on the beautiful coast of the Casco Bay in this very kind of
01:25remote, beautiful old house.
01:27And there, they're kind of allowed to step outside of their day-to-day life and see things
01:34from a different perspective.
01:36And you're right, the movie does that a few times where she is, Mallory is put in a new
01:40environment when she's able to see a different angle of the same issue.
01:44So she sees a different angle of her creative blocks.
01:48She sees a different angle of her relationship with Sam and his relationship with Louise.
01:53And yeah, I think there is something about when you leave a familiar environment, you
01:58see things from a different perspective, obviously, but you also see things, you get to peel back
02:02the layers of maybe a familiar issue.
02:05And that's something I really wanted to do in the movie is peel back the layers of jealousy.
02:09What is jealousy?
02:11Yes.
02:12Deeper, like, and under that and under that and under that until you get to the kind of
02:15the core kernel of what jealousy is ultimately.
02:19Okay.
02:46Oh, you brought up something very good because I minored in psychology.
02:49So, but also when I went to NYU and it's interesting how the idea of human behavior and how we
02:56react
02:56is all a basis of what came before, even that which we were not privy to or understand.
03:03It's all about, as you said, which I thought was really interesting.
03:05And it keyed into me the whole time I was watching the movie is perspective and perception,
03:09how we want to be perceived, but how we see the outside world, sometimes not even when we're
03:15there.
03:15That's what's a great part of it.
03:17Can you talk about perspective and perception and using that almost as a visual motif in
03:23certain ways?
03:25Yeah.
03:25Well, Mallory has the opportunity to witness things that she was not a part of.
03:32Um, and she also has the opportunity to witness herself in a, in a new, in a new way.
03:41And I, I won't say too much about that, but, um, yeah, that is a big, that is a big
03:46part
03:46of the film.
03:47And I, and I think ultimately like what I want people to walk away from, walk away with from
03:51this film is, uh, maybe hopefully a deeper sense of perspective on themselves.
03:57Where if, you know, in the days following the film, they notice that they feel, uh, you
04:03know, a pang of comparison or jealousy or insecurity that they might think, okay, what is the different,
04:10what is a different perspective I could take on this experience in a way that allows me to
04:14transcend something that might be quite familiar and limiting and how I've become accustomed
04:20to experiencing this thing.
04:22Because I think jealousy is a very universal feeling and it can be hard to kind of break
04:27out of it and see it from a different perspective.
04:30What?
04:31What's going on?
04:33Welcome.
04:35Hello.
04:35You're here.
04:37How lovely to see you, Sam.
04:38We didn't know you were here.
04:40The terrified creature over here is Mallory.
04:45Mallory, well, how about that?
04:52Now, as the actor, you know, obviously directing, acting, doing all these things, you know, it's
04:56always interesting because you have to have a duality in a way, uh, even more so in the
05:01duality of who you're playing.
05:03Could you talk about that?
05:05Because tone is usually in the eyes of the director.
05:08Sometimes the actors don't do that, but you're in charge of doing both.
05:11Um, and this helps with the music, but some of the, those, uh, old school, the, the songs
05:17that you guys picked, fantastic.
05:19The score is fantastic.
05:20That all creates a mood and a tone.
05:22Could you talk about that and the importance?
05:25Because it's obviously, uh, it does shift in certain tones from the first half to the
05:29second half.
05:30Yeah.
05:31Yeah.
05:32I think the tone.
05:33So one thing, uh, I'll say two things.
05:36One thing that I learned making this movie is the tone that you can have for a film when
05:42you're writing it is one thing.
05:44And then the tone that you actually, um, have as the result is a combination of, of so many
05:50artists' minds that are a part of it.
05:53So we were all finding the tone together because, you know, as you, as you said, it is, it's
05:58a unique tone.
05:59It's not something that we were replicating.
06:01We were inspired by old cinema, 1940 cinema, 1990s, um, indie rom-coms.
06:11Um, so somewhere in time was very much on my mind when I was watching.
06:15I'm not sure if you've seen that.
06:17I've never seen that.
06:17No, it's, uh, Christopher Reeve and Jane Seymour about a guy who falls into the past.
06:22Okay.
06:23I'll have to watch that.
06:24But it's, uh, it was beautiful because this is so timeless.
06:27It feels like even in certain spaces you span time and yet there's such a lived in feeling
06:33about it, you know, and that's hard.
06:35That's almost organic sometimes to capture on set.
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