An anguished action star reaches his breaking point during a press junket interview when a young journalist investigates his complicity in a scandal.
Written & Directed by Russell Goldman
Starring: Robert Lewis Stephenson, Henita Telo, Tucker Reynolds, Magnus Christoffersen, Shane Bannon, David Peck, Emma Croft, Mark Nordike, Michelle Agresti, Erique Duboise, Kris Tapley, with R. Scott Hoffman as Doug and Celina Bernstein as Lyla
Last week we caught up with writer/director Russell Goldman to ask him a few questions about his short film which packs tour deforce performances…
YOUR FILM IS SO TOPICALLY RELEVANT. WAS THIS A CONCEPT YOU’D BEEN DEVELOPING PRIOR TO THE #METOO MOVEMENT OR IS YOUR FILM IN RESPONSE TO IT?:
When the #MeToo movement began, former colleagues of guilty men started speaking publicly about assailants whose behavior they’d spent decades looking away from. The stories from these enablers compelled me to stare at the mirror and made me question my own relationship to complicity—have I ever looked the other way? Have I faced an opportunity to do something and failed?
No Comment is a character study of an A-list actor who embodies an extreme form of that denial of complicity. He knows he bore witness to an assault, but chooses the wrong response, one that allows him to comfortably continue his career and friendships. What happens to that man’s state of mind? If a journalist found herself capable to expose him, would he confess? Would he point the finger in a different direction? I thought the best dramatic choice to tell this story was to put the viewer in this actor’s suppressive state of mind—to initially empathize with his point of view, but as the actor reveals himself to the journalist, have the viewer question their allegiance to him.
YOUR FILM REALLY THRIVES ON THE NUANCE OF THE PERFORMANCES. WHAT IS YOUR PROCESS WORKING WITH ACTORS?:
I rehearsed with Robert Lewis-Stephenson (Robert) and Henita Telo (Abigail) for this short as one would for a play—meeting weeks in advance to tape off where the pieces on set would be and have the time to dig into their characters. We all come from theater, and we knew none of the film would work if these characters didn’t feel authentic to the fatigued Hollywood media cycle they occupy. We also had to believe their fixation on Lyla's (Celina Bernstein) assault by Robert’s director Doug (R. Scott Hoffman)—to understand why Robert wanted to conceal it and why Abigail wanted to expose it. Mr. Lewis-Stephenson’s performance remains humane through the end of the film, well after we understand the gravity of Robert’s actions. His innate empathy as an actor was necessary toward complicating Robert’s character study. We didn’t want to see his explosive anger or nastiness coming. Even after the explosion, he made these small physical choices that revealed new layers to his shame.
Likewise, Ms. Telo brings a subtle and imposing quality to Abigail that’s intrinsic to the design of the film—she’s coming into his studio, his world, and needs to mask her intentions around that. To portray someone constantly one step ahead of their adversary— and at the same time convey in each moment why she’s here and who she’s fighting for— requires a performer who can find nuances in every moment. I felt grateful to be able to rest the film on both of their shoulders.
DID YOU HAVE ANY CREATIVE SOLUTIONS FOR CREATING QUALITY CONTENT ON A MINIMAL BUDGET?:
The conceit of our film allowed us to shoot solely in one studio, with most scenes only involving two actors. Boxing oneself in as a creative is fun—it’s easier to find every gift a certain shooting space gives you if you know you can’t afford to go anywhere else. Then there's the added level of what confinement adds to the viewing experience--for No Comment, we used the studio's small size to build up Robert's clusterphobia, and the sole exit door for characters to keep each other trapped inside. Keeping an A-list actor in this more neutral space allowed us to allude to his wealth and power without showing all of it off. If we wanted the film to take place at Robert’s home, we’d have to put another zero at the end of our budget.
WHAT'S YOUR FAVOURITE PART OF THE FILMMAKING PROCESS?:
The best part of making a movie is when someone gives you the gift of an idea that improves upon your own—that’s a better articulation of what you actually wanted. It could be a story choice early in pre-production, a performance decision that helps a shot feel alive, down to defining the tone of a room in a color grading studio. I think there’s a perception that writer/directors employ a cast and crew to carry out some already-perfected vision. The way I like to work is more an act of group discovery. I prefer to over-communicate with my team, invite every perspective that challenges the material I give them.
ANY FILM RECOMMENDATIONS THAT WE CAN WATCH TO KEEP US BUSY WHILE SOCIAL DISTANCING?:
I’d recommend the documentary On the Record (dirs. Kirby Dick and Amy Ziering, available on HBO MAX), which examines the pattern of sexual assault from Russell Simmons toward Drew Dixon, Sil Lal Abrams and Sheri Sher. It’s a devastating piece of journalism that also highlights the erasure of black women from the predominantly white #MeToo narrative. Never Rarely Sometimes Always (dir. Eliza Hittman, available to rent) is also emotionally exhausting, but told with a rousing courage and uplift that I cried a few times. I’ve also been enjoying Netflix’s series of “Homemade” short films, a collection from various filmmakers that highlights how our evolving emotional response to the pandemic is not one response—it’s completely unique to where you’re from and how you live.
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