Sundance Film Festival 2020 – Blocks
An existential comedy about the mother of two young children who begins to spontaneously vomit plastic toy blocks.
Interview with Writer/Director Bridget Moloney
Watch Blocks on Vimeo
Congratulations! Why did you make your film?
I wanted to explore how parenthood felt--in a really visual way. I kept thinking the days I felt like all I did was tidy my house--and it was still a wreck, feed my children--and then feed them again 30 minutes later. There was this unrelenting domestic rhythm and I was surprised by how all-consuming it was. This idea, of a mom vomiting plastic toy blocks, came to me one day when I was thinking about filming something about motherhood. I thought that image perfectly encapsulated the combination of dissolving boundaries and feeling overwhelmed by the internal and external--but it was also absurd and potentially very funny. I often feel parenting is both of those things.
Imagine I’m a member of the audience. Why should I watch this film?
You don’t have to be a parent to like this movie! Or to even watch it! It can work as an educational film for people who want to know what it’s like to care for young children. But there are also very universal themes of isolation and connection. Also, there’s light body horror! That’s fun! I thought I was making a comedy and then for a few days in post I wasn’t quite sure I had--but then there it was! It is a comedy just a dark one. Don’t you want to see that?
How do personal and universal themes work in your film?
The film is a personal one. I am the mom of two young kids (who are in the movie, playing the kids) and the film is about a mom of two young kids. But as I mentioned above, the film aims to explore identity, and boundaries and isolation and anxiety and the human condition generally. You know, the basics.
How have the script and film evolved over the course of their development?
The biggest changes came in the edit. Bless Nick Weidner, my editor’s heart. The script was always pretty lean, around 11 pages and it didn’t really change much during development. When we first started cutting the movie it was around 12 minutes. There was a sequence that I really liked in the script that was half a day of filming and it turned out great but all of a sudden it felt like it was slowing down the narrative. So we cut it. I couldn’t believe it but we did. I actually received a great note from my friend, a playwright, he said: “it feels like Bridget the writer is winning over Bridget the director in that scene.” And he was right! The scene worked thematically and it looked good but...the story didn’t need it, it was the only time that our protagonist wasn’t in proverbial close up--so we cut it.
And then did some big re-orders. It’s why I love collaborating, there were scenes that worked much better when flipped but I wasn’t able to see that, I wrote the thing, I boarded it, I directed it and so it was hard to get out of my own way. It’s also why the edit is magic (hopefully) you can find your movie there--assuming you shot it in the first place.
What type of feedback have you received so far?
It’s been really exciting to hear how well the movie has worked for people. People, not just parents, identify with the lead and are both moved by it and have laughed.
Has the feedback surprised or challenged your point of view?
I’ve found it really validating! I was worried that my comedy was not playing like a comedy. I wanted to make sure the minor chords were coming through and then I started to think maybe they were coming through a little too loud and clear--but it’s been revealed that’s not true! The depth of feeling is there but it’s still funny.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
I hope to connect with future collaborators and like-minded artists.
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 love for journalists to see and respond to the film.
What type of impact and/or reception would you like this film to have?
I’d like people to feel seen. I have been so happy to hear from people (not just parents) who have really been moved by the film. You know, the whole “thank God I’m not alone” thing that happens sometimes.
What’s a key question that will help spark a debate or begin a conversation about this film?
“Her life seems pretty good, why is she getting sick?”
Would you like to add anything else?
Thanks for having me! I loved making my movie and I hope people love watching it.
What other projects are the key creatives developing or working on now?
BRIDGET MOLONEY is working on a series based on BLOCKS and is writing an astral projection romantic comedy feature she plans to direct.
Interview: January 2020
We Are Moving Stories embraces new voices in drama, documentary, animation, TV, web series, music video, women's films, LGBTQIA+, POC, First Nations, scifi, supernatural, horror, world cinema. 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
Blocks
An existential comedy about the mother of two young children who begins to spontaneously vomit plastic toy blocks.
Length: 11:04
Director: Bridget Moloney
Producer: Kate Chamuris, Kristin Slaysman, Valerie Steinberg
Writer: Bridget Moloney
About the writer, director and producer:
BRIDGET MOLONEY is a writer and director. Her independent pilot I Was a Teenage Pillow Queen premiered at the 2018 Tribeca Film TV Festival. She made Blocks as part of AFI's Directing Workshop for Women and it will be premiering at the 2020 Sundance Film Festival. She lives in her hometown of Los Angeles with her husband and two young children.
KATE CHAMURIS' producing credits include Miller and Son which was shortlisted for the 2020 Academy Awards; and the award-winning short Balloon.
KRISTIN SLAYSMAN is a producer and writer/director who's feature Dr. Brinks and Dr. Brinks is currently available on Amazon and her short, Brett Kavanaugh in Ruining my Sex Life just finished a successful festival run.
VALERIE STEINBERG produced Sundance award winner Hair Wolf as well as the celebrated Fry Day.
Key cast: Claire Coffee (Ashleigh), Mark Webber (Eric), Ruha Taslimi (Miriam)
Facebook: Blocks
Instagram: @blocksthefilm
Hashtags used: #womendirect #indepentfilm #theroadtosundance #shortfilm #bridgetmoloney #Blocks #workingmoms#BlockstheFilm #womeninfilm #womendirect #womenproduce #theroadtosundance #independentfilm #afidww2020 #sundancefilmfestival #sundance2020 #clairecoffee#womenproducers #womenproduce
Website: www.blocksthefilm.com
Other: IMDb
Funders: Seed & Spark
Where can I watch it next and in the coming month? Sundance 2020/Park City, Utah - 1/23, 1/24, 1/25, 2/1