Slamdance - August
Deep in Louisiana’s swampland, a woman wakes from a fever dream where it has been August for 16 years.
Interview with Director Caitlyn Greene
Congratulations! Why did you make your film?
Thank you! My mom’s side of the family is from rural Louisiana, and I’d grown up intrigued with a place I constantly heard stories about but had never really visited. When I read Delaney Nolan’s essay on which “August” is based, it struck a deep chord. Written while she was living in New Orleans, the story was full of the feeling that pulled me to Louisiana. Not to mention I loved the essay and Delaney’s writing apart from my interest in Louisiana. Eventually, the DP/co-producer Jon Kasbe and I both had breaks between projects and had long been wanting to collaborate. We took off on a road trip to New Orleans and spent the next couple months exploring Louisiana and putting together our crew and film.
Imagine I’m a member of the audience. Why should I watch this film?
To get a taste of a ripe, hot day in the Louisiana bayou. To see Kaelyn Charbonnet act for the first time and to hear Sanita Irvin’s syrupy voice. To see the work of everyone who contributed their craft – they’re all incredibly talented.
How has your previous work as an editor influenced your work as director?
Editing has – and is still – teaching me a lot. Both about story and structure, and about developing a grammar for storytelling in film. Those things definitely carried over when working on August, though the environment and dynamic of directing required a totally different set of skills.
How did you find your leading lady?
As strange as it sounds, we found her at her grandfather’s funeral. After weeks scouting and casting in Louisiana, Jon, the DP/co-producer, and I still hadn’t found actors. The night before we had to travel back to New York, Jon got a freelance assignment to film a jazz funeral in New Orleans the next day.
The funeral was elaborate. Mourners flooded the streets, dancing, drinking, and sweating their way through grief. Towards the peak of the procession, the granddaughter of the deceased exploded: her arms shot up, and she collapsed to the pavement, writhing as if she’d been possessed. Eventually she got to her feet again, and as she danced after her grandfather’s casket, she shot Jon’s camera a fierce, irreverent stare. Watching the footage back in New York, I knew she was our girl. I flew back to New Orleans and found her. Though she had never acted before, she excitedly agreed to be our lead. She was totally down to try it, and came at it with such an open heart and love for new experience. I left this project totally inspired by her.
Can you tell me why you assembled this particular crew?
Jon and I had been friends for years and wanting to collaborate for some time. I love his cinematography and thought our approaches would balance really well. When we both had a break between projects in the summer of 2015, we decided to take off on a road trip for New Orleans to make this project. We were lucky to find an amazing crew there for production. In post, I knew I really wanted to work with Stephen Salisbury on the edit. I met him through a documentary program we were part of in college called Students of the World. He’d gone on to do editorial work with Terrence Malick on “To The Wonder,” and “Knight of Cups,” and had cut a short film called “Squirrel” that I loved. I thought his background and sensibilities were a great match for the project.
I also knew from the beginning that I wanted West to score the film. We’d worked together on “The Jinx,” so I knew I loved his work and approach as a collaborator. He has a rich aesthetic and handmade sound that I thought would be perfect for the tone of the film. Everyone on the crew contributed amazing work – I feel incredibly grateful to have collaborated with so many talented folks.
How do personal and universal themes work in your film?
When I read Delaney’s essay, I recognized in it some of my own experiences at the time. I think they’re experiences a lot of people can identify with at some point: the feeling that fear can choke us out; that delusion and reality often look alike depending on where you’re standing; that we want to be untamed, even if we risk death. Overall, the feeling of fearing something you’re no longer sure you believe in, and deciding to face it anyway.
How have the script and film evolved over the course of their development and production?
It’d be interesting to hear Delaney’s response to this, considering she surely imagined her own world when she wrote it. From my perspective, the film evolved with each person we collaborated with – everyone gave feedback and brought something that morphed the world. The script itself changed some during production, but changed most notably in the edit––basically the final rewrite. Lots of gratitude to the editor Stephen Salisbury in that part of the process.
What type of feedback have you received so far?
We finished it recently, so feedback so far has mostly been from people who love us, and, well, they love us. Time will tell for everyone else; but it’s specific enough that I think it’s either your kind of film or it’s not.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
Eyeballs!
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
I’d gladly welcome anyone who can help give the film a home where people can see it – distributors, journalists, film festivals, online curators, etc.
What type of impact and/or reception would you like this film to have?
I’d like for people to enjoy the experience of watching it and to connect with some element of it.
What’s a key question that will help spark a debate or begin a conversation about this film?
The most interesting conversations I’ve had with people about it so far have been hearing what they interpreted and took from the film. It’s abstract enough that people have projected a lot of different things onto it. It’s really interesting to hear those perspectives and how people connect things from their own lives that were never part of our intention.
What are the key creatives developing or working on now?
Jon and I are developing a documentary at a giant pit stop near where we grew up that has become somewhat of a time capsule of Americana where you can find a colorful cross section of the country. It’s a sort of road trip movie where the road comes to you. Delaney is writing more great stories as the current Bulgaria-Greece Fulbright Joint Research Awardee. Jon is entering post on a documentary called “When Lambs Become Lions,” a story about the men on either side of the ivory trade. Stephen is wrapping up a soon-to-be released album with his Austin-based band, Sun June. West recently finished scoring M. Night Shyamalan’s “Split.”
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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August
Deep in Louisiana’s swampland, a woman wakes from a fever dream where it has been August for 16 years.
Length: 8 minutes
Director: Caitlyn Greene
Producer: Caitlyn Greene, co-produced by Jon Kasbe
Writer: Screenwriter Caitlyn Greene, Based on an essay by Delaney Nolan
About the writer, director and producer:
Caitlyn is a filmmaker based in NYC who has spent most of the past few years working as a documentary editor. In 2015 she was awarded a Primetime Emmy and an ACE Award for her editing on HBO’s “The Jinx.” “August” represents her narrative directorial debut.
Key cast: Kaelyn Charbonnet, Sanita C. Irvin, Reginald Robinson
Looking for (producers, sales agents, buyers, distributors, film festival directors, journalists): Buyers, distributors, film festivals, journalists
Where can I see it in the next month?
Slamdance. It’s screening before the feature “Kuro” directed by Joji Koyama and Tujiko Noriko on 1/22 at 2:15pm and 1/23 at 5:15pm. Stay updated on future screenings at www.augustthefilm.co.