Your new movie Is
This the Bed we Lie In? - in a few words, what is it about?
Is
This the Bed we Lie In? portrays the personal and intimate
conversations which are spoken behind closed doors between two partners in
a relationship, within the bedroom - in this particular case, a married
couple.
What
were your sources of inspiration when writing Is
This the Bed we Lie In?, and is any of it based on personal
experience? This
particular conversation isn’t based off my wife and my personal
conversations; however, over the years between dating before we met each
other, we’ve had conversations with other people who have allowed us
into their personal worlds and a glimpse with issues and conflicts within
their relationship with their partners to give insight from our
perspectives and experiences. You've written Is
This the Bed we Lie In? together with Andrew Mahana and your stars
Constance Reshey [Constance
Reshey interview - click here] and Joel Blanco [Joel
Blanco interview - click here] - so what was your collaboration like,
and what can you tell us about the writing process as such? Is
This the Bed we Lie In? really took form when I was working at my
second job with my buddy Andrew Mahana who was also a co-writer for this
screenplay. I wanted to create a strong oriented dialogue between two
characters for a short. I enjoy dialogue-oriented films where you can
build tension through conversation with music composition and a little
action. It’s a very different approach to storytelling.
Andrew and I discussed different scenarios and we stumbled across the idea of a
married couple who are having no issues within the bedroom physically but
emotionally one partner is unfulfilled. When we realized it should be the
wife experiencing the issues and the reason, we were ready to go.
Constance and Joel participated writing the screenplay after I drafted the
piece and went through a solid twenty plus versions. There were still
issues though.
My language can run a little poetic due to I’m a poet, first and foremost
always, and during rehearsals between Joel and Constance running lines and
performing the actions they suggested we go back to editing the actions
which were taking place along with the subtext, and dialogue needed work.
Every rehearsal for the next several months we tried new ways of conveying
the story along with removing, adding, and spicing the dialogue up. I
brought suggestions and notes back to Andrew and ran them by him when
adjustments were needed. We would have our screenplay precisely where we
wanted it a couple weeks from the shoot.
Is
This the Bed we Lie In? entirely takes place in one room - so what
were your techniques of keeping your film visually interesting?
I
had specific reasons for shooting in one room - helped craft the story
with no interruptions between Robert and Jennifer. I wanted little camera
movement but genuine movement between the actors when they touched each
other’s hand or hugged one another and I wanted to hold the moments to
provide empathy to the conversation because it’s a difficult one.
In
reference to the producing end - I knew if the film was shot in a one room
location, the moment being captured would allow all focus to be on the
dialogue being presented. I could craft my shots around the characters
with minimal actions and anything that might come up in the moment too -
which there always is. Time is the biggest issue with filmmaking and when
renting equipment and paying for others' time. At the time, I didn’t have
much money to spend on a production, I believe all said and done it came
out to a total of $10K, out of pocket, for the entire production through
sound design and scoring.
This
is an error I found and it cost me dearly with time: I’m used to working
with RED and ARRI cameras, when I rented out Daniel, Joseph, and Yves
services and equipment along with using my lighting and grip equipment we
shot on a Sony FS5 with Shogun Inferno, so the camera shot 4K which is fine
for resolution and what I needed to achieve DCP for festival runs, but the
color depth was 10-bit with the Shogun attachment.
When
it comes to filmmaking, I extensively work in color management on DaVinci
Resolve and I craft and stylize the picture with skin tones to clothing
where necessary. An error of under exposing skin tones while on set, along
with the color depth being less than what I usually shoot between 12-bit
and 14-bit and maintain the best dynamic range I can within the situation
I was completing vfx frame by frame work on the film for five years. I
refused to let the film go in the can - I couldn’t do that to Constance
and Joel or my producers who entrusted me. I took it upon myself and
completed all the vfx rotoscoping work for the film entirely, including
the trailer you’re looking at roughly 100,000+ frames/pictures I
completed overall to bring this film to the finish line. I learned a very
valuable lesson, and internally I was determined and wouldn’t let
anything get in the way of completing this film. What
can you tell us about your overall directorial approach to your story at
hand?
In the film Is
This the Bed we Lie In? I wanted to capture the
intimate moments between a couple who’s been together for a long-term
relationship - focusing on a married couple provided a different dynamic,
too. I wanted the conversation to involve more the desires from the female
perspective, which sometimes within a relationship the male perspective
displays dominance. It was a good exploration to see the roles reversed in
that manner.
I wanted to make sure the audience knew this is Jennifer’s story; her
desires and interactions with Robert will be difficult at times for the
audience to empathize with but an important conversation to have. The
story might translate off screen to assist in intimate moments and
conversations with the audience.
The
focus of this film is the dialogue exchange: sound is very important,
basic shot composition so there is little distraction and very little
movement for the characters to remain grounded. The music composition and
sound design was subtle which translated very well to the screen. I was
able to keep the shot selection to a majority of close ups and extreme
close ups to create a point of discomfort and almost suffocation between
the dialogue and actors for the audience. There are many reactions to
Jennifer’s desires which could have been portrayed but the reaction
Robert gave is just as important as the entire conversation as a whole and
makes for a very interesting ending.
Do talk about Is
This the Bed we Lie In?'s cast, and why exactly these two? Constance
has been acting in my work for many years now, along with actively
participating in the writing, producing and crew aspects too. Joel has
always helped me on set to complete projects from a crew standpoint but
wanted to try his hand at acting in front of the camera too. When this
screenplay was drafted, I knew they would be perfect together and I could
guide their chemistry to work seamlessly with conveying the message. They
did a wonderful job together working off each other’s energy and
emotions through the dialogue and together gave a phenomenal performance. A
few words about the shoot as such, and the on-set atmosphere? The
on-set atmosphere went very well during production. Yves Armand Albaret
did a wonderful job recording sound, my sound designer Matthew Amadio
complemented this being the best sound he’s worked with from my
productions. Daniel Graham, Joseph Lorimer, and myself were working to
craft the image along with my direction working with the actors
conveying emotions for each part of the scene. Overall, everyone had a
great time shooting during production and the Is
This the Bed we Lie In? set was one of the more efficient and comfortable atmosphere
productions I’ve had the pleasure of running than past projects I’ve
been involved in.
The
$64-question of course, where can Is
This the Bed we Lie In? be seen? At
the moment, in preparation for our festival run, Is
This the Bed we Lie In? completed film is in a private Vimeo link. If you would like to
watch the short, reach out, and I will send it. My team loves constructive
criticism, reflections, and feedback! Anything you
can tell us about audience and critical reception of Is
This the Bed we Lie In? yet?
In regards to audience and critical reception, people I personally know from
different backgrounds of what they consume visually have really enjoyed
the short film, and for critical reception, all the critics so far have
enjoyed the film and have explained within their reviews they want more.
The common response from men is typically: “Man I feel bad for the
husband,” or they’re completely shocked and angry with the situation
and want to see how the story works out for the characters. I’ve had
various responses from women where they can relate: “I didn’t see that
coming,” or “You told a really good story, is there more?” When I
hear the response “I want to see more,” I know my job was completed
well.
I typically leave it at that within the discussion and explain I want to
know your thoughts as the viewer on the matter, give me your insight and
let’s personally have an interaction and discussion about the theme. I
will pose questions but never answer them. As a storyteller that defeats
the purpose to creating.
Any future projects
you'd like to share?
Future projects coming from
JAM Productions
- we just finished a music film/video
from our original film All Over
Again. We will be submitting this
project to the festival circuit including the Grammys. Inside
Jonathan Fox is in post-production working through the vfx workflow and
awaiting the last bit of work on sound design to be completed for it.
Overall, my team is very happy with how Inside Jonathan Fox is
shaping up and extremely excited to make a push for Is
This the Bed we Lie In? and All Over Again music film/video and see where we land
with these upcoming projects.
If anyone would like to view the projects even unfinished cuts, I would be
more than happy to send and receive feedback for them. Also, we plan to go
back into production to complete an erotic thriller short film titled Wild
Hearts, and for one of our producers, Christine J. Noble,
new concept short for a series she wrote titled The Farm.
On a personal note, I have a poetry collection published on April 26, 2024
titled Words Left Unspoken. I’ve been writing this 134-page
collection for the past fifteen years and was announced a finalist for The
Amity Literary Prize for the collection. Words Left Unspoken has
been submitted to The National Book Award, National Book Critics Circle
Awards, Pulitzer Prize and The Griffin Poetry Prize for consideration
along with many other top tier competitions. If interested, below is the
link to more details on Anamcara Press website and Amazon page. If you
have a chance to read Words Left Unspoken, I truly appreciate your
time, energy, love and support! If you could leave an honest rating and
review on the Amazon page, much love and appreciation from Anamcara
Press and myself for believing in our work together! Also, keep a look out
over the next couple years, my sound designer for my films, Matthew Amadio
and I will be completing a spoken word album for Words Left Unspoken – Constance Reshey will be voicing several of the poems along with
myself and possibly a couple other poets.
Anamcara
Press website link: https://anamcara-press.com/product/words-left-unspoken/
Amazon page link: https://www.amazon.com/exec/obidos/ASIN/1960462385/
Your/your movie's website, social
media, whatever else? Everything
in regards to my creative endeavors can be located within my Facebook fanpage and
Twitter page:
https://www.facebook.com/josephamcgovern/
https://twitter.com/joseph_mcgovern
Anything else you're dying to
mention and I have merely forgotten to ask?
Working
in the artistic industry for sixteen years now between acting in theater
productions, producing films, and publishing books. I’ve seen many
creative artists enter and exit the artistic world, each with different
reasons and purposes. I would like to provide insight; most importantly “…be the last person standing” per Mel Brooks.
I live by internal determination to never give up pursuing my artistic goals
and I don’t allow any of my dreams to become side-tracked, I remain
steadfast. There are many aspects to paving your way through artistic
endeavors, these few I find to be most helpful and I hope it helps the
next upcoming creator.
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Feeling lucky? Want to search any of my partnershops yourself for more, better results? (commissions earned) |
The links below will take you just there!!!
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First,
never stop learning and trying new methods, complacency is not where you
want to end up because the journey is less fruitful. Artistic endeavors
are not supposed to be easy;
it’s work just like any other job and it’s supposed to be even more
difficult which is why it’s so fulfilling at the end of the said
creation the artist is working on.
Next,
excuse the overly used expression: “Be the only cook in the kitchen.”
This is extremely important, and complete one project with another person
as a creator from start to finish and you will see why co-partnerships
(unless both parties have the exact same expectations and goals is the
only exception) rarely work out. You as the artist or creator have a
vision and you need to shape and protect this vision the best you can,
others will try to craft it how they want to see it, you will lose control
and end up being dissatisfied and possibly abandon the project. This is
not a fruitful environment. Don’t forget, no one can tell the story you
want to tell better than yourself - originally setting out in the
beginning, they’re following your vision for a reason, keep to it.
Finally, create for yourself first, always - not solely for the entertainment of
others. The question of whether the product will be entertaining to some
extent is not present, you wouldn’t be creating the project if it
wasn’t entertaining. Create for yourself first so you’re happy with
the product in the end, your name will be first seen, and last to blame if
negative criticism comes - which you should not take personal and laugh
off anyway because not everyone will understand your work and that’s ok.
Every artist experiences this at some point in their journey but with all
your heart you push through. When you create for yourself first, no matter
how it comes out in the end, no matter whether positive or negative
feedback is given, you will be happy and proud of the product, and that’s
what counts. Nothing else matters. Then you improve and grow with the next
project and continue pushing forward and never give up.
I hope these points help provide guidance and perseverance to artists who
read this interview. Thank you to anyone who took time out of their day to
read this interview, I really appreciate it!
Thank you so much Michael for taking the time to interview Constance, Joel, and
myself! We really appreciate all your love and support through the years
with our work! We can’t wait to show you the next line of projects!
Thannks for
the interview!
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