Melbourne Queer Film Festival - A Doll’s Eyes
Haunted by the movie 'Jaws' since childhood, a filmmaker discovers why the movie affected him so deeply.
Interview with Writer/Director/Producer Jonathan Wysocki
Watch A Doll’s Eyes on Prime Video
Congratulations! Why did you make your film?
Thanks! “A Doll’s Eyes” began as an exploration of the fear I had after watching Spielberg’s “Jaws” as a child. It evolved into a very personal documentary that was much bigger than Bruce the shark.
Imagine I’m a member of the audience. Why should I watch this film?
Many of us have seen a film as a child that affected us in one way or another. This film unpacks the mystery of my relationship with “Jaws,” but I’ve found that audiences use “Jaws” as a springboard to analyze their own experiences with other scary films they saw as children - and what lies at the bottom of those fears. It’s a dreamy trip down the rabbit hole for everyone.
How do personal and universal themes work in your film?
Aside from the universal experiences we have around childhood memories and memories of films, the film explicitly unpacks the effects of fear and shame. While my experiences are obviously very specific and personal, they automatically provoke viewers to reflect on the role fear and shame plays in their own lives. Shame is a particularly interesting topic because it makes people uncomfortable thinking about - shame often triggers more shame - yet it’s an emotion everyone has dealt with in some way or another. The film aims to make something typically invisible visible.
How have the script and film evolved over the course of their development and production?
When I wrote and shot the film, it was very abstract and academic in tone. I employed psychoanalysis a lot to unpack my experiences as a child and as an adult. But after my editor and I finished the first cut, the feedback we heard was that something was lurking underneath the film. What did the shark actually represent? Why was I compelled to make this film? I had to go back to the drawing board and really dig down emotionally to see what was lying at the bottom.
Once I found the truth, we had to rework the film entirely to have it reflect my discoveries. The amazing part is that we did not have to reshoot anything! It was all there on screen, just hidden from view. People talk about the artistic process a lot, but I’ve never worked on a project this profound before. It was the act of making the film that transformed the story - and me.
What type of feedback have you received so far?
The response has been fantastic. People love the journey into the past as well as the self-examination the film tends to foster. Many also thrill at the “Jaws” recreations and laugh at the campy elements of the reenactments. And then some people even cry at the end. I think it comes from the power of being vulnerable: my emotional confessions empower others to tap into their own emotional truth.
Has the feedback surprised or challenged your point of view?
I had a fairly good handle on how audiences would react based on test screenings, but you still worry people will not “get it.” One unexpected surprise is how palpable the early 80s feels to those who lived through it. I had one woman tell me she could “smell” the film!
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
When I make a short film, I just want as many people as possible to see it! It takes a lot of time, resources and emotion to make a film like this, so reaching out to new viewers is important. www.wearemovingstories.com is geared towards a specific audience looking for original content, and I think that goes well with “A Doll’s Eyes.”
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
There has definitely been a word-of-mouth chain happening with festival programmers, so keeping that alive would be ideal since I’m in the middle of my festival run. The Canadian Filmmakers Distribution Centre acquired the film for further festival distribution as well. Beyond festivals, I would love the short to find a home on a great online platform, so I’m definitely on the lookout for distribution opportunities. Lastly, I thoroughly enjoy reading reviews about the film, so journalists are always welcome!
What type of impact and/or reception would you like this film to have?
I would love the film to inspire people to reflect on the movies that impacted them as a child. It would also be fantastic to connect to diehard “Jaws” fans since the short is such a love letter to the movie. But ultimately, the greatest impact would be for the film to serve as a healing tool for those struggling with similar monsters.
What’s a key question that will help spark a debate or begin a conversation about this film?
What monster stalks you?
Would you like to add anything else?
It’s been a pleasure telling you more about the film!
What are the key creatives developing or working on now?
I produced an indie feature called “Thrasher Road” that is in post production right now. I also have multiple feature projects in development…so more is definitely on the way!
Interview: January 2017
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We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series and music video. If you have just made a film - we'd love to hear from you. Or if you know a filmmaker - can you recommend us? More info: Carmela
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A Doll’s Eyes
Haunted by the movie 'Jaws' since childhood, a filmmaker discovers why the movie affected him so deeply.
Length: 12 minutes
Director: Jonathan Wysocki
Producer: Jonathan Wysocki
Writer: Jonathan Wysocki
About the writer, director and producer:
Jonathan Wysocki is a Sundance Lab Fellow, a Project Involve Fellow, and an alumnus of the Berlinale Talent Campus. His award-winning short films have played internationally.
Key cast: Jonathan Wysocki, Gabriel Bennett
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Distributors, Journalists and Film Festival Directors
Funders: Visa!
Made in association with:
Release date: June 2016
Where will it screen in the next month?
You can see it on three continents! The Oxford Film Festival and Cleveland International Film Festival in the U.S., Roze Filmdagen in Amsterdam, and the Melbourne Queer Film Festival in Australia.