Beaufort International Film Festival - Under A Stone
A woman returns to her hometown for a family obligation. She reunites with her brother, but they clash in how they cope with their awful past.
Interview with Writer/Producer Maria Scavullo
Congratulations! Why did you make your film?
Thank you. My partner and I wanted to do a short film together, and he encouraged me to write something that I could act in. Acting is something I love doing, but rarely get the opportunity to do. The impetus for writing about this specific subject matter began from a conversation I had with a friend. She opened up to me about having been sexually abused as a child. She had confided in her mother, but unfortunately, her mother scolded and blamed her, instead of her abuser. She was in her 80’s and still having sleepless nights from this. I was especially sensitive to her story, because my mother had been through a very similar experience of being repeatedly violated, and then silenced as a child. I know the havoc this silencing creates, and that the ripple effects can be just as damaging. I wrote this because I wanted revenge. I also wrote with a blind will, I just wanted to make something I liked.
Imagine I’m a member of the audience. Why should I watch this film?
It’s a family drama, and there’s always some juice there.
How do personal and universal themes work in your film?
This film centers on the theme of loneliness. The reunion between the brother and sister shows that there are people in your life that you can talk to, but you have to reach out. You have to be willing to be misunderstood, embarrassed, or even hurt when you let someone in. You do risk disappointment, but you also give yourself a chance to connect with someone, and create meaningful, and sometimes transformative moments that you will remember for the rest of your life.
This film also touches on the theme of interconnectedness. Everyone in this family has in some way suffered from the actions of one abusive person. This theme is also portrayed through the flower vendor at the beginning of the film, when she gives the other female character a handmade felt flower. Whether she does this to promote her flower stand business, or she does it to be generous, either way, she actively reaches out, her energy travels, and you never really know the effect your energy will have on someone.
How have the script and film evolved over the course of their development and production?
My producing partner and I discussed every draft of the script and it took over a year before we decided it was all good to go. We found the perfect location before we got really involved in pre production, so we were prepared for what we had to pull off. After that, we pretty much adhered to the original script. The director had everything planned, and we rehearsed with the actor who played Russell several times before shooting. So we were ready.
What type of feedback have you received so far?
We got a lot of advice from other filmmakers to NOT make a short longer than 15 minutes, that longer pieces tend to be harder for festivals to fit into their program. We ignored this, and just made the film that we wanted to make. Our hope was that the extra time would allow the audience to get to get to know Cassie and Russell before they confront each other. I feel that this paid off, because what I consistently hear from people is that they feel for the characters in this film, and find the ending to be moving. This is something that makes me thankful that we were able to create and show in our film.
And after watching this film a million (or two) times, a lot of the feedback I’ve gotten is internal. From hindsight. I started to develop a personal muscle of how to communicate with more efficiency, and I started to sense my personal taste getting more defined.
Has the feedback surprised or challenged your point of view?
No. I mean, maybe it’s just that no one has pushed me hard enough, but I think the most valuable thing was going through the process of making a film, then setting new goals for myself on future projects. This was the first short film script I had done. I had written a few one-act plays, so this film feels a lot like a play. As I work on my next script I want to explore telling the story more visually, and still try to achieve a similar connection with the audience.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Your questions have helped me reflect, so I’ve already achieved some clarity, which is always a nice feeling. This is also a great opportunity to have your voice heard, and connect with other filmmakers.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
It would be great to connect with a distributor. We really haven’t pursued that opportunity enough yet. We are still in the festival phase, and already have been accepted into festivals through the Spring of next year.
What type of impact and/or reception would you like this film to have?
I would hope that this film would be especially beneficial to anyone who lives with intense feelings of shame or guilt, or has experienced rape or sexual abuse as a child.
I would love for survivors of child sexual abuse to see this in a therapy group, or for this film to be a therapeutic device to get people to talk about their experiences. The story is told with some humor, so it does help the viewer engage with the subject matter without too much pressure. This film could help to generate healing dialogue.
What’s a key question that will help spark a debate or begin a conversation about this film?
Do these characters see each other later in the day?
Would you like to add anything else?
Yes. I would like to acknowledge Nick Lashaway, who played my brother in the film. He was killed in a car accident in May of this year, and I want the people who take the time to read this interview to know what a great actor he was. We were incredibly lucky to have been introduced to him. Nick was completely free when he was acting. So beautiful. We were really touched by his sensitive and goofy soul.
What are the key creatives developing or working on now?
William Klayer, our Director, works behind the camera on TV sets in NYC. www.williamklayer.com
Maria Scavullo wrote the script, and is one of the actors. She continues to pursue both of these endeavors mariascavullo.com
Fletcher Wolfe, our Director of Photography. She does beautiful work, and is one of the greatest people you will ever meet. You can see more of her work here: fletcherwolfepack.com
Nick Lashaway - Nick has made big screen appearances in The 40- Year-Old Vrigin, and Wes Craven’s horror film, My Soul To Take. On television he has played the iconic character Mulder as a young man on The X-Files, and played opposite Lena Dunham on Girls. Tragically, Nick passed away on May 8, 2016 at the age of 28.
Teresa Yenque - Teresa is all over the TV landscape in shows ranging from Power, The Affair to Inside Amy Schumer and Broad City. Her feature films include Cedar Rapids and You Don’t Know Jack.
Interview: December 2016
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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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UNDER A STONE
A woman returns to her hometown for a family obligation. She reunites with her brother, but they clash in how they cope with their awful past.
Length: 24 min
Director: William Klayer
Producer: William Klayer & Maria Scavullo
Writer: Maria Scavullo
About the writer, director and producer:
Bill Klayer is an accomplished cinematographer. He has shot for many of the best shows on television.
Maria Scavullo was in the original short film version of Jesus Henry Christ. Her one-act plays have been staged off-Broadway in NYC.
Key cast: Maria Scavullo, Nick Lashaway, Teresa Yenque
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Distribution
Funders: Self- funded
Where will it screen in the next month?
The next screening will be in the Beaufort International Film Festival, February of 2017.