Santa Fe Film Festival - Vile
A divorced man attempts to end an abuser's wave of destruction by any means necessary.
Interview with Writer/Director Nick Cammilleri
Congratulations! Why did you make your film?
Thank you, Carmela. I’ve encountered domestic violence throughout my life and it comes in various forms. I’ve realized that the victim mentality never leaves you. Some people stay victims their whole lives until they become abusers. And since two-thirds of victims become abusers, I thought it was important to shine a light on this topic – the cycle itself, and how difficult it is to break.
Imagine I’m a member of the audience. Why should I watch this film?
I believe its direction and composition harken back to an old style where the movie was told visually. The most important moments are told without words. On the subject itself, I think it’s incredibly important we understand how close victims come to being abusers and why that path to violence never works. The only way to do that is to show both male and female victims, and place the abuser front and center between them. Only then can you see how victims act and react to trauma. Only then can we see how helpless that life can be and how fast one can spiral. And once we show it, we offer a way out – just not the way you’d expected.
How do personal and universal themes work in your film?
The film is written and shot in a way that implies these people have perpetually encountered violence in their lives – that they continuously live a cycle of violence that will not end unless they end it themselves. And since violence would only perpetuate the cycle, the only way to end it is through positive change.
I would use the three buzzing noises in the film as an example of the universal theme of violence. They act as a sonic metaphor for violence itself. The first buzzing noise awakens the violence within the divorced man. The second buzzing noise is him harnessing the violence. The last buzzing noise is him deciding he’s now going to use violence to end the conflict. A transformation, if you will, from victim to abuser.
But those noises become a false metaphor when it turns out that we, like the abuser, thought the victim would engage in violence – a language the abuser understands all too well. Except only the victim understands violence more than the abuser, and he uses that violence as a means of escape. By luring the abuser in, he can help someone escape, and escape himself. And by helping the victim escape, two victims escape, and bring the abuser – another victim – with them. Together, all three escape, bringing the theme of violence to a positive end.
How have the script and film evolved over the course of their development and production?
The script itself was actually twenty pages long. We had five recorded rehearsals in which we shortened scenes and re-wrote the dialogue to sound more naturalistic. We shot all twenty minutes, but I ended up cutting six minutes from the movie. It just didn’t work, and I realized I’d actually written three acts into a movie that really only needed two.
Once those minutes were edited out, the film split equally into two halves and found a balance, pace and rhythm that clicked immediately. At that point, we knew we had the film finished. In effect, we had “killed our babies.”
What type of feedback have you received so far?
Most of the feedback has been in reference to the six minutes cut from the film. When I cut the film shorter, I had to re-arrange scenes – and because of it, there are some logic gaps that cause disconnects with the audience. Basically, missing pieces of information. In essence, the film becomes an echo of an echo of a film. By writing tighter and shorter scripts in the future, we’ll avoid this problem in the future, and my films will be better served for it. Unfortunately, because the problem was in the script stage, nothing could be fixed within the film itself. You live and learn.
Has the feedback surprised or challenged your point of view?
The feedback certainly crystallizes the notion that your script is the backbone of your project. If your script is in perfect shape, you’ll save yourself time, money, and questions. I spent a year writing the script, and I realized it still needed to be cut down. It’s made me go back to some old scripts and see what could be cut down – a helpful exercise for refining my next script. One eye on the past, one eye on the future.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I hope people will seek out the film and realize that, regardless of sex, domestic violence is a problem that affects everyone. It’s important we make these topics public so people are not afraid to speak up about the violence in their lives. Taboo is a word we need to strike from our social vocabulary.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We hope to get the film into as many festivals as we can. Q&As are so important for a social issue like this. Interviews like this are even more important. By putting this topic in the public consciousness, it increases its social currency, people feel less ashamed to come forward, and it starts a groundswell. Being able to share our stories is the first step towards healing, awareness, and public action. As someone who’s been a victim of domestic violence, I can attest to that personally.
We’ll continue to seek out journalists, online streaming platforms and social justice advocates/blogs that can bring awareness to this film’s message. Short film streaming sites would be a gift for a film like this, but I understand the content may not be “for all ages.”
What type of impact and/or reception would you like this film to have?
In my eyes, the biggest impact would be to convince those who’ve been victimized that violence does not end violence -- it furthers the cycle. In a grander scheme, I would be overjoyed for this film to be used in a teaching environment as I feel it’s the most practical application for this type of message.
What’s a key question that will help spark a debate or begin a conversation about this film?
Why do two-thirds of domestic abuse victims become abusers themselves? How many of these “vicious cycles” exist in our lives that we’re simply unable to break?
Would you like to add anything else?
This subject is critically important to me, and I’m grateful for the opportunity to speak with you about it. It’s been a pleasure.
What are the key creatives developing or working on now?
Film Title: “The Rose Lady” – a feature length documentary.
Logline: The story of transsexual con artist Elizabeth Carmichael and the rise and fall of her Dale automobile.
Length: 110 minutes.
Director: Nick Cammilleri
Producer: Nick Cammilleri and Robert Emmons Jr.
Writer: Nick Cammilleri
About the writer, director and producer:
Nick’s worked on this film for six years. He’s recently hired Dana Gasparine (The Path, Suits) as co-editor and they’re aiming for a fall 2017 release.
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): We’re currently in post-production and will be submitting to film festivals in the fall.
Funders: This film was funded by family, friends, and investors.
Where can I see it in the next month?
The film is currently going through the festival circuit and can be viewed through a private link on my Vimeo account. Once it completes its festival run, I’ll make the film available online where it can be viewed by all. If anyone is interested in viewing it, feel free to send me a message on Vimeo and I’ll send out a link ASAP!
Interview: December 2016
_______________________________________________________________________________
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
_______________________________________________________________________________
Vile
A divorced man attempts to end an abuser's wave of destruction by any means necessary.
Length: 14:53
Director: Nick Cammilleri
Producer: Nick Troy and Nick Cammilleri
Writer: Nick Cammilleri
About the writer, director and producer:
Nick Cammilleri is a filmmaker from New Hampshire whose films attempt to deal with prejudices, injustices, or social issues that need addressing.
Nick Troy is an actor, writer, and producer who works tirelessly to give the director the best chance to execute their job to its fullest potential.
Key cast: Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists):
None at this moment.
Funders: Family, friends, and investors.
Where can I see it in the next month? We’re still awaiting word on film festivals. For anyone who’s interested, I can send a private Vimeo link to access the film. Once the film has completed its festival run, it will go online for public viewing.