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Your new movie
Is
This the Bed we Lie In? - in a few words, what is it about, and
what can you tell us about your character in it?
In the new short film Is
This the Bed we Lie In? I portray character
Jennifer who is married to Robert, portrayed by Joel Blanco [Joel
Blanco interview - slick here]. The basis of
the film is an intimate conversation between the couple beyond the
physical nature of the relationship and a small glimpse of the emotional
and personal desires which over time can change within a relationship. We
get to see the actions and reactions within this small window conversation
into their relationship.
To what
extent could you identify with the dilemma of your character? I could relate to Jennifer, not exactly with what desires she is bringing
into the conversation, but every couple has intimate conversations within
the bedroom behind closed doors. These are precious moments to help
encourage growth, love, at times sympathy when needed, and empathy to the
themes of the particular conversations. As a woman, I’ve had relationships
like many other women, similarly, who have not felt connected with a
partner at the time emotionally, and I feel this theme made for a very
interesting story for a small glimpse into their life, and makes you want
more after the end credits roll. What
did you draw upon to bring your character to life, and how much Constance
Reshey can we find in Jennifer?
The role of Jennifer I drew a little from my personal life - the courage
to bring up serious moments and have conversations with a partner. Along
with having the courage to maintain an open and honest dialogue when it
comes to serious moments within the relationship, even if outside the two
of us which I may feel, similar to Jennifer.
The rest of the character I read the screenplay and discussed with Joseph
what he was searching for and how Jennifer would convey emotions and
mannerisms, along with the emotional and physical nature to Jennifer.
During rehearsals I would be able to experiment with the character, the
character’s actions, and Joseph was very open to allowing me to find my
character for Jennifer.
How did you get involved
with the project in the first place, and how did you also end up on the
production side of things?
I have been working with director Joseph McGovern
[Joseph McGovern interview - click here] since his first short film All Over
Again. I had a leading role in that film and a supporting role in
his second short film Hush. Joseph brought me back on to star in this
film Is
This the Bed we Lie In?.
Also, I have been an executive producer on all of
JAM Productions films
too. I’ve personally watched Joseph grow not only as a filmmaker and
writer but as an independent artist. He came from a turmoil driven company who was more
focused on money than actually creating work of value, and when Joseph
bought out all his work and left the company, I watched him slowly regroup
with internal strength for redemption with his projects and self-taught
the filmmaking process, especially post-production. I’m very proud to stand
by his side with any creative endeavor he wants to undertake and complete.
What were the challenges of
bringing Is
This the Bed we Lie In? to the screen from a producer's point of
view? The challenges we face as producers usually come down to time and money,
so we need to approach the situation from those directions. How are we
going to take this grand vision of Joseph’s to make a reality of it. Our
productions are currently low budget indie productions, and with the
assistance from executive producers Joseph Fuoco and Christine J. Noble,
we receive a lot of help financially with making our productions
successful. We’re fortunate to be blessed with a team who, altogether,
believe in Joseph McGovern and the stories being told, and we get to take
part not only in front of the camera but behind the camera too.
When producing we look at the screenplay first and see what locations
we're working with and how many characters are in each location and how
many pages to the script are present. Within this process we’re breaking
up schedules and time tables to plan out what is needed and how long the
production will take. I hate this saying but it’s true especially with
independent filmmaking, “time is money.” We have a script and we’re paying
for the rented equipment and time of the owners operating so we need to be
on point.
When Joseph owned his own equipment running his co-owned production
company at the time, we could take our time and hold reshoots if and when
necessary, but renting can be costly. Once we figure out how many different
locations there are and actors needed, we go to scheduling rehearsals and
we run rehearsals as frequently as we can so we’re completely ready when
on set. We want our actors hitting their mark every time and we want to
make sure we get to play around a little bit with the dialogue and
exchange of actions. Sometimes the greatest moments come from what wasn’t
planned - I’ve seen this time and time again on Joseph’s sets.
Since this production was a one-location-two actor-screenplay, the
producing end - scheduling the crew and actors - was much easier to
accomplish and complete the production in one night.
What can you tell us about Is
This the Bed we Lie In?'s diretor Joseph McGovern [Joseph
McGovern interview - click here], and what was your collaboration
like?
I have been involved with many different types of projects within various
artistic industries. In the film industry, projects can succeed or be
shelved because it didn’t come out the way the filmmaker/filmmaking team anticipated – typically
this occurs when they’re still figuring out the process and how to use the
equipment. Filmmaking is a very challenging process and as an actress
within the independent filmmaking world, you never know if the project
will be seen through to the end. As a producer, I make sure I do
everything possible to ensure the project is always seen through to
completion; even if it’s not what we anticipated at least we made it to
the finish line and next time we will improve for the better.
When working with Joseph McGovern as a filmmaker, he makes sure every
project he starts is completed. He is very careful whom he works
with, to be on set with, and behind the scenes with when in production.
He calculates all his creative processes very carefully, and I’ve
personally seen him bring projects from the ashes and fix them to be award
winning films. Honestly, it’s incredible and I’ve never seen or worked
with anyone else who has a fierce passion for creating art, which makes a
difference.
Joseph and my collaborations, within the artistic industry to date, have
been working together for twelve years. Typically for any project, out of
the collection of many screenplays he’s written, I will review the
screenplay and we will bring it together to completion either with my
thoughts of what’s needed or helping to draft and write it with him. When
it comes to the producing end, I will help bring the project from
in-production and ensure completion in post-production and delivery. My
main focus is to make sure we have the finances covered to make the
project happen and ensure the set is run smooth, and I help within my
knowledge in post-production.
Whenever Joseph has some form of update in post-production, he will have
me review and provide feedback. I’ve never met anyone else who refuses to
give up, especially when the task is near impossible Joseph along with
myself and our producing team will rise to the occasion and make sure the
project is the best it can possibly be before releasing to the public,
even if it takes years - the end result is always worth the patience.
You've worked with Joseph Mc Govern before - so
what can you tell us about your previous collaborations and how did the
two of you first meet even?
Joseph and I first met at Weist-Barron Ryan in Atlantic City while I was
studying method acting, he traveled to the studio to audition me for
All Over
Again, he cast me and our journey began. Our previous two
collaborations were All Over
Again and Hush.
At the time of being cast in All Over
Again Joseph was running a
production company, DMA Media, with two partners and a couple employees.
Similar to most young companies they were hopeful and working towards a
bright future, with opportunity and growth. A little bit of money
incoming, inflated egos, and deception would fail this company and force
Joseph to leave (DMA Media without Joseph involved would fail and be
abandoned one and a half years later) after he bought out all of his hard
work to his three films he wrote, produced, and directed - All Over
Again, Hush and
Inside Jonathan Fox -, all creative rights from all
pre-production screenplays to post-production materials, film footage, sound files, and take everything he worked so
hard to build with him and form
JAM Productions so he could continue
progressing with his work, carefully construct his messages, and be in
total creative control with his stories.
All Over
Again: production went well while filming in the café, since
majority of the film takes place there. Unfortunately, having to do
multiple reshoots because some of his employees would mess up tech-wise
with taking sound, having to push back reshoots because his partners
wouldn’t show up to set to help operate equipment, it took longer than
anticipated to complete the interior scenes. But Joseph pushed through and
ended up scheduling one weekend to shoot and take sound all by himself,
majority of the weekend holding sound while working the camera at the same
time so we could get through the scenes. This moment is when I knew he was
meant for better - and together we could push through the nonsense he was
going through, leave the company, and continue to succeed on his own
terms.
Hush production
- to be as nice as possible, it was a complete mess. This short film
Joseph squeezed in right as the end began unfolding, a year prior to
leaving the production company. To say narcissism and megalomania was
running through the set with his two partners and one of his employees
made the shoot difficult and many mistakes occurred especially with
lighting and sound. This is where Joseph had to really learn and
understand color science to know what he had to correct in post and how
much he could correct, and with the help of his sound designer, Matthew
Amadio, together the team decided axing the ambient noise sound files
completely and just placing a wonderfully written original score
overlaying the action of the film was the best route and solution.
JAM Productions
was able to successfully complete the short and receive semi-finalist
honorable mention in an Academy Award qualifying film festival:
Flickers’ Rhode Island International Film Festival along with many
other accolades and official selections.
Inside Jonathan Fox production set was a much more
relaxed environment. A one apartment one character/actor based short film
centered around the theme obsessive compulsive disorder. Joseph cast Erik
Searle from short film Hush
to star in this film, and since this film was fit in two months prior to
Joseph leaving DMA Media, he scheduled the only crew to be on
set his cousin and friend, Joel Blanco, myself, and Erik as Jonathan Fox.
During production Joseph would receive harassing phone calls and text
messages where the equipment was, since this was completely his project
and DMA Media wasn’t involved, informing paid gigs weren’t being
completed because he had the equipment in use, when in reality Joseph
always tripled checked production calendars for rentals and oncoming jobs
for the production company and knew he was being lied to. These moments
were very frustrating for him, but I reminded him constantly during the
two full weekend shoots to turn his phone off since there wasn’t mutual
respect, and concentrate – don’t let anyone ever harm your work, it’s too
important. He would turn his phone off while working to protect the
project, and we were able to bring production to close within two
weekends. First full weekend completing the film and
acting and performing, as Jonathan Fox, and we are almost completed with
the film in post-production.
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You're also credited as one
of the writers of Is
This the Bed we Lie In? - so what was your contribution to the
script, and what can you tell us about the writing process?
Joseph and I take the time to process each type of screenplay he wants to
create. Not all of the wonderful screenplays with important messages he
writes will be produced. He has already written and ready to shoot at
least thirty different short films and five feature films ranging from
comedy, mainly drama, to thriller, and one or two very loosely sci-fi.
Together, we will review the particular screenplay multiple times and
break down the message and what we’re hoping to convey. Joseph explains to
me the subtext, character arcs, how the language with dialogue moves the
story, and the climax leading to the finale. The two most important
questions we pose: does this story matter to us personally and will this
story make a difference? What’s the purpose in creating if it doesn’t, and
if the story resonates internally, you will make sure it is completed no
matter what.
After we have reviewed the screenplay, we clean up the dialogue. Joseph,
being a writer and poet, has a huge vocabulary and sometimes when reading
you can misunderstand the dialogue, which wouldn’t convey on screen well,
so we work through translating corrections to help the audience understand
what’s being spoken between the characters. For Is
This the Bed we Lie In? I had a hand in working on the screenplay with dialogue during
rehearsals with Joseph and Joel in preparation months prior to the
production shoot and providing feedback and breaking down the screenplay
to help create an overall exceptional story.
Do
talk about the shoot as such, and the on-set atmosphere!
The on-set atmosphere was great! Everyone involved knew their position and
we all came together solving any issues which might have arisen at the
moment (there are always unforeseen problems needed to be solved on a
production set). Priceless quote which applies to any film project:
“Whatever can go wrong most likely will.” Joel and I were running through
lines and practicing while Joseph, Daniel, Yves, and Joey were setting up
the set and lighting shots and preparing sound. Christina Blanco was
capturing wonderful on-set production stills. The entire overnight
production worked wonderfully, everyone worked together very well, and I
believe you can see it within the results captured when you watch the
film.
Any
future projects you'd like to share?
At the moment we’re preparing to promote on the festival circuit Is
This the Bed we Lie In? and
All Over
Again music film/video. Soon we will be
completing and hitting the festival circuit with Inside Jonathan Fox.
Next set of projects we plan to go into production for: Wild Hearts, a
new erotic thriller short film, and we will produce our fellow producer
Christine J. Noble’s concept short film for her series The Farm, and
then we plan to create and complete our first feature film.
A separate note from
JAM Productions
filmmaking, Joseph released his new poetry book, Words Left Unspoken. Joseph asked me to be involved with
producing and reading poetry from the book in a spoken word album he will
create with our sound designer, Matthew Amadio. I’m extremely excited to
participate in this project!
What got you into
acting in the first place, and did you receive any formal training on the
subject? Originally, I started out with modeling classes and eventually it
transitioned to acting classes. Joseph and I met while I was studying
method acting with Weist-Barron Ryan in Atlantic City - he cast me in All Over
Again in the lead role Victoria, and we have been working together
since. What can you tell us about your filmwork prior
to Is This
the Bed we Lie In??
I’ve participated acting in extra work for films such as Creed,
have acted in small series such as My Big Fat Greek Wedding
and small budget independent productions such as The Beacon.
The majority of my film work is under
JAM Productions with Joseph
McGovern: All Over
Again, Hush, Is
This the Bed we Lie In?,
All Over
Again music film/video, working in crew for Inside Jonathan Fox and
serving as producer for all the films
How would you describe
yourself as an actress, and some of your techniques to bring your
characters to life? I received method acting training when I first began this journey. I felt
the training built a good foundation and to acclimate into what acting is.
Training can only take you so far without on-set practical knowledge and
learning from experience. It’s good to experience production sets with
positive environments and sets with negative environments so you know the
difference. Typically, an IMDb search and review of the screenplay will
serve as a good indicator for the project. The first step is always
memorizing your lines, then you can begin creating and working on the
character. But if you don’t remember what it is they’re supposed to say or
what actions will be taking place, how can you bring life and purpose to
make the character realistic for an audience to believe your performance.
Actresses (and indeed actors) who
inspire you? I enjoy watching many actors and actresses for entertainment and learning
from their nuances, actions, and line deliveries to assist with
inspiration and growth as an actress. To name several I admire but there
are many more: Lucille Ball, Robin Williams, Meryl Streep, Judy Garland,
Elizabeth Taylor, Johnny Depp, Bette Davis, Joan Crawford, Clark Gable,
Ben Affleck, Kate Winslet, Sandra Bullock, Will Smith, and Julia Roberts.
Your favourite movies?
Several favorite films of
mine but there are many more: Titanic,
The Wizard of Oz,
Gone with the Wind, Goodwill Hunting,
Whatever Happened to Baby Jane?, Miss
Congeniality, Dead Poets Society,
Men in Black,
Cleopatra, What’s Eating Gilbert Grape,
Pretty Woman and The Bridges of Madison County. ...
and of course, films you really deplore? Other than truly exploitation films, I feel there is something positive
which can be taken from a production and be admired for. Even if it’s just
the fact the film is being watched by enough of an audience to be deplored
- I would congratulate their marketing team for a job well done and with
the development of a future cult following too.
Your website, social media, whatever else? Facebook fanpage:
https://www.facebook.com/ConnieResheyActor/
Twitter page:
https://twitter.com/ConnieReshey
Anything else you're dying
to mention that I have merely forgotten to ask?
We need artists now more than ever! Continue creating and never stop
trying, never give up. If you receive negative feedback from family,
friends, colleagues, critics, general audiences - they don’t matter. Learn
from the comments but don’t take them to heart, don’t quit, become better.
That’s the time to improve, grow, and keep moving forward - most people
can’t do what you’re trying to accomplish so they want to disband your
drive, endurance, and passion. Be the standing nail always and never be
hammered down! I believe in you and there are many others who will believe
in you too!
Much love and appreciation, Michael, for the interview! Thank you to
everyone who took a moment to read this interview! We can’t wait to show
you our next film and more work to follow!
Thanks
for the interview!
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