Slamdance - Dim the Fluorescents
A struggling actor and an aspiring playwright pour all of their creative energy into the only paying work they can find: corporate role-playing demonstrations.
Interview with Director/Producer Daniel Warth
Congratulations! Why did you make your film?
A few years ago, I took a job filming corporate training seminars, and one in particular left an indelible impression on me. In it, two twentysomething actors were brought out to demonstrate mediation techniques by enacting a scenario in which one played the other’s father with Alzheimer’s. This heartrending, tear-filled performance unfolded at the foot of a boardroom table, around which seven office workers were diligently taking notes. I found this situation to be simultaneously so funny and so sad, but also oddly inspiring because of the actors’ dogged commitment to their craft in spite of the enormous challenges of their surroundings.
The idea that your day job gradually supplants your passion no doubt resonated with a struggling filmmaker who was finding inspiration filming corporate seminars. I very quickly decided that I wanted to make a film about this, sort of a backstage drama in the vein of Opening Night or All About My Mother, but set in this world of workplace role-playing demonstrations. I wanted to make an audience feel that same blend of humour, despair and hope that I felt during that boardroom performance.
Imagine I’m a member of the audience. Why should I watch this film?
The film is both comedic and tragic, so, if you have a non-exclusive interest in either laughter or sadness, you will likely enjoy Dim the Fluorescents. The people who have seen it tell me they can’t really think of another film like it, even those with a vested interest in finding comparative films for marketing purposes. So, if you’re someone who likes being surprised at the movies, there’s another reason to go see it. While writing the script, I was amazed how I went from chuckling at the absurdity of these characters’ objectives to desperately rooting for them to succeed, and I am excited to share that experience with an audience. I completely fell in love with these characters through the making of this film. And, like an insufferably proud parent, I can’t wait to show them off.
How do personal and universal themes work in your film?
The film is very obviously the brainchild of struggling artists. Unfortunately, its central conceit will probably resonate with a lot of people, particularly professional artists, who have to find ways to smuggle their creativity into their work on a daily basis. But I think the film captures a lot of the joy of art-making too, particularly brainstorming. If you’d never written anything and you saw this film, you’d probably think brainstorming was the most exciting thing a person could do.
All that being said, I don’t see it as being primarily about art. To me, it ends up being more about how changing your life requires you to - at least for a time - pretend that it’s already changed, whether that manifests as feigned career certainty, romantic confidence, or faith that you will overcome hardship. In order for things to work out, you kind of have to know that things will work out, or at least act as if you do. Dim the Fluorescents really foregrounds the upkeep required of that optimism, likening it to the creative process; it’s about constructing a narrative of forward momentum for yourself, and it’s somewhat dependant on performance. Some people might find this idea bleak, but I don’t see it that way. I find it inspiring to see characters try to actualize their visions for their lives through sheer force of will.
How have the script and film evolved over the course of their development and production?
Miles Barstead and I originally tried to write a short film, but it kind of organically expanded into a feature as we developed our two main characters. Our writing process was a bit like making a documentary on paper; without knowing exactly what would happen, we accrued all of these scenes of our characters’ lives leading up to this big event, and then we arranged that material into a feature. So much of what we wrote didn’t come close to making it into the finished film, but that writing process really made the world feel lived in. It really clarified the characters for me. It also avoided our writing scenes that were too plotty or that felt too much like they were obvious stepping stones for things to come. We wanted it to have a structure like Steinbeck’s Tortilla Flats or La Dolce Vita, where a series of incidents cumulatively amounts to a narrative in retrospect, but you don’t feel the groundwork being laid as it’s happening.
What type of feedback have you received so far?
The feedback has been very positive. People are very impressed with the cast, quite rightly I think. I was so happy to hear Drea Clark from Slamdance praise the authenticity of the central friendship, because that’s such an important aspect of the movie. Miles and I didn’t know each other that well when we started writing the film, but we had to write two women who’d known each other forever. Claire Armstrong and Naomi Skwarna, who play the two main characters, hadn’t met prior to making this film, but they had such immediate chemistry. I love hearing that viewers believed that relationship and were affected by it, and I think all that extra work Miles and I did of fleshing out their lives around the main story really helped us achieve the feeling of an old friendship. Claire and Naomi are also very good in the film. That helps, too.
Has the feedback surprised or challenged your point of view?
I was happy to hear women who’ve seen the film say that Miles and I did a good job writing women. Nobody’s ever told me that I write men well. I’ve also been hearing that the film seems quite singular to people. My influences are so apparent to me that it’s sometimes hard for me to step back and see what a peculiar film we’ve made, so I like being reminded.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
We really just want the opportunity to tell more people about the film. Because it’s not a genre film or a film starring celebrities, it’s sometimes hard to convince distributors - or even viewers - that these kinds of films are worthy of their interest. We worked hard to produce a film on our own terms and I think it’s quite unique, so we want to work to find all the people who are going to love it.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
We are currently in talks with sales agents and distributors, but we would be happy to talk to more of both. And, though we’ve been fortunate enough to have had a bit of press coverage already, we certainly wouldn’t turn down more of it.
What type of impact and/or reception would you like this film to have?
Ideally, people will see Dim the Fluorescents and get excited about the possibilities of independent filmmaking, even in Canada where it is especially challenging. I hope it will encourage people to try to think outside the conventions of what independent films tend to look or feel like, both as viewers and as filmmakers. I want to inspire more people to bankrupt themselves to make something beautiful.
What’s a key question that will help spark a debate or begin a conversation about this film?
Maybe a good one would be: “Why don’t people make more films with women as the main characters?”
Also: “Why isn’t Andreana Callegarini-Gradzik in everything?”
Would you like to add anything else?
Yes. Thank you so much for taking an interest in our film! It means a lot to me.
What are the key creatives developing or working on now?
The film I want to do next tells a story that spans about a century, so I’m not sure if anyone will ever let me do it. And I believe Miles is working on something set in outer space. We’ll keep you posted.
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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Dim the Fluorescents
A struggling actor and an aspiring playwright pour all of their creative energy into the only paying work they can find: corporate role-playing demonstrations.
Length:
128 mins.
Director:
Daniel Warth
Producer:
Josh Clavir & Daniel Warth
Writer:
Miles Barstead & Daniel Warth
About the writer, director and producer:
DANIEL WARTH - Writer/Director/Producer
Since graduating from Sheridan College, Daniel Warth has directed sketch comedy, music videos, commercials and the short films It Won’t Be Long and Petty Thieves.
MILES BARSTEAD - Writer/Composer
Miles Barstead is a Toronto-based writer and musician with a Bachelor's degree in music from the University of Toronto. Also he's funny. He hopes.
JOSH CLAVIR - Producer
Josh Clavir is an award-winning producer with a diverse media background. He has produced multiple films which have played in festivals across the world.
Key cast:
Claire Armstrong
Naomi Skwarna
Andreana Callegarini-Gradzik
Brendan Hobin
Clare McConnell
Todd Graham
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists):
Sales agents, buyers, distributors, journalists
Funders:
Ontario Arts Council, Indiegogo
Where can I see it in the next month?
The film screens twice as part of the 2017 Slamdance Film Festival in Park City, Utah:
Saturday January 21st at 9:30pm
@ Treasure Mountain Inn Hotel (255 Main St), Gallery Screening Room
Tuesday January 24th at 6:00pm
@ Treasure Mountain Inn Hotel (255 Main St), Ballroom Screening Room
Tickets can be purchased here: