Filmmaker Interview with David Rey

by Amy Gillman

The absence of a soundtrack in the film created a unique and powerful backdrop. What inspired this decision?     

The silence and awkwardness of the situation at hand is enough of a score, we thought. There was no need to amplify it with actual music. What little piano keys do play, is just to keep with the fragmented nature of the film.

The film specifically featured an array of close ups and quick cuts to help tell the story. What was your editing process like? Do you have an idea of how you want to edit your story before you begin writing or do you let it emerge organically?

I think in cuts as I read the script, and also during the shoot. I have a shot list always, just as a guide, but when I find something that makes sense visually in terms of how to tell this particular story, it really happens after the 1st or second take. This is a story about relationships (or the end of one), with little left to say to each other. It’s all in their face. The quick cuts back and forth, is how I saw it in my head. It’s a quick fragmented look at the end of something that was once special.

In such a short amount of screen time, audiences learn a great deal about both characters and their struggle in their crumbling relationship. In your opinion, who is the protagonist of this story?

It takes two to make or break a relationship. You could pick a side, or see who learned the most at the end, to choose a protagonist, but I tried not to do that.

What do you do to keep your ideas fresh and original?

I’m not sure. I am firm on not ever doing anything topical. Pop culture and current events, will make a film dated. Unless the film is taking place in a specific period I stay away from things like that. (iPhones, wifi, Obama, Facebook…Amazon…talking about current events or movies…ETC.). I watch movies and read stories that i feel are fresh. If something that I once thought sounded good later sounds stale, I consult with my piers, and make sure It IS stale. Sometimes I’m just overthinking it.

How has your filmmaking been shaped by both the money you have had or not had? Do you create with budget limitations in mind?

I work with the equipment I already have. The budget is always a factor, but you can accomplish wonders nowadays, with very little. I like that. If we have an idea that requires something outside our grasp, we will always find a way to make it happen, without compromising much.

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