5 Questions for Director David Spaltro
by E. Christopher Clark | Saturday, February 28, 2009
David Spaltro wrote and directed the feature film ...Around, which we reviewed just yesterday here on GeekForceFive.com. He was kind enough to sit down and answer a few of our questions about his film, the actors he worked with, and how true to life his semi-autobiographical picture really was.
- You’ve described the film as being based on your own personal experiences. Was there any point during the creative process that this film started hitting TOO close to home? And, if so, what did you do to move beyond that?
When I started writing ...Around I never had any problem getting into it, even really personal or harsh stuff. I was more concerned that it wasn’t a good story, or who’d “give a shit” about it. When making it and rehearsing with the actors there were some surreal moments, especially with Rob and Molly, where something would hit me quickly, but not in a painful way. More of a weird deja vu kinda moment. Then editing the film, mixing it over and over, screening it; you really don’t see it. Sometimes it was a masochistic thing in reliving all these sad or strange moments over and over, like a self-imposed punishment in hell, but it never got to me like that.It wasn’t until a recent screening that, somehow, after all this time and work, it just hit me. The film hit notes in me that, you know, it “got to me”. I was able to see it. Working on it I never had those problems, mostly because I was so crazed and focused on finishing and making the film and getting it out there. I guess it was more surreal for people that knew me in my life and saw the process. A former classmate working as a grip on the film was taken aback when Rob came out in my actual coat with my actual bag and the taped up converse. The scene with Rob and Molly at the church steps, word for word and shot in the exact place it happened directly across from where I used to live. - The moments between Doyle and Allyson as their relationship is reaching its low point are awkward, painful, and quiet, rather than loud, bombastic, and painful to watch (as so many breakup scenes have become, at least for me). What was it like to work with a pair of actors so gifted at keeping things nuanced and subtle? How much direction did you have to give in those scenes to get them just right?
Rob Evans and Molly Ryman are two amazing and talented actors and people, so going into it I knew it would be easy for them to do the job as well as build trust/chemistry with themselves and myself. I think they both understood, related, and appreciated the journey of the relationship between Doyle and Allyson. The friendship, the love, the pain, the confusion, the loss, and slightly unresolved resolution because it’s just life. They got it and wanted to do it justice. There’s a lot in the final scene between Rob and Molly that they just brought to life in there own way, on the spot, in Union Square that makes it work and click. Because it’s a story you need drama of course but it doesn’t have to be manufactured. You’re not a stage, it’s cinema, so you can do things with subtley because you have close-ups and editing and music and lighting. You can get all that without shouting it or making it so big. I’m more interested in that and they know how to deliver it in spades. - Did you ever actually dance for a table of older women at a restaurant you were working at? Is that part of the film based on a real experience? What was the craziest thing you ever did for money to get by?
Those scenes are practically word for word from something I did on my first night working at the Wai Cafe in the East Village about five years ago. It was more of a takeout place than sit down and eat so the chance of me making any money other than the fifteen-twenty bucks just for showing up was slim. I was a horrible waiter and it was amplified that no one spoke English and the menu had abbreviations for placing orders that I had to master. But I figured I could charm my way into a few tips and my first night a table of eleven women all in town for a special run for breast cancer the next day decided to get sloshed on wine and food. By the end of the night I’d made over three hundred dollars and danced on many a table and gave the hostess who’d swore I’d never make more than my standard twenty a sixty-dollar training fee. She gave me the look of “who are you”?. I’ve done every crazy job one can do. I mean, juggling all these credit card bills I’m now, in this recession, well I’ve pretty much had to become an underground cage fighter. So, you know, that’ll be the sequel… Doyle gone wild. - What’s next? Do you plan to distribute the film digitally? On DVD? Where can the average joe go to check out your movie?
We’re still screening at festivals, special programs, colleges, Red Lobsters… you know, anywhere we can. We have a deal with a division of Cinetic Media called Cinetic Rights Management that is currently shopping us out to all the TV stations and digital mediums and we are working on a tie-in soundtrack and DVD distribution. The positive press, reviews and buzz the film has been getting is really starting to make people take a look at us and we’ve also been approached by several distribution companies about a small theatrical release as well. We’re the lil’ indie that could. I’m telling everyone who does come across this film to see it, if you love it, please know that now is a time of being socially loud, telling everyone you know and rejoicing. Spreading the word. If you don’t like the film? Then now is a time of quiet solitude, far removed from society until you figure out exactly what’s wrong inside of yourself. But check our website www.aroundthefilm.com and we’ll let everyone know where we’ll be and when we’ll be there. - Let’s close with a question I’m going to ask each of the artists I interview this week. Doing what you love doesn’t always pay well, if it pays at all. Why do you keep doing it? What drives you?
A great teacher/mentor/friend and amazing actress Lisa Eichhorn once told me “love is the answer” no matter what the question. I’ve used that a lot since then in my life and my work, but especially the last year when so many seemingly obstacles approached my way with this film, nearly destroying it, and self-doubting and asking myself those questions happened a lot. It still rings true, though. I do it for the people I love right now, those that stood by this project and put their hearts and souls and great work into it. I get up and fight for them and the project every day because of how much I appreciate and care about that and them, even when I can’t find the juice for myself. I think that’s the trick to succeeding at anything in life. Surround yourself with the best people, because when you’re ready to quite it becomes less about you and you’ve got a new reason to push on. I want this film to be seen, but it’s very important all their great and hard work be recognized as well.
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