A project captured through Super8, Paint is an experimental uproar of emotion, sexuality, and desire reflected through a series of intense visuals.

Interview with Writer/Director Kila Price

Congratulations! Why did you make your film?

Before shooting the project, I was tied up with a lot of commercial work and felt as though I couldn't fully express my creativity. There's a huge difference between shooting your own script, and shooting to help someone sell their business or product, so I felt like I needed an opportunity to just express myself, experiment visually, and shoot something for myself. That's not to say I don't like shooting commercials, but there is a differing approach to each project, and a certain amount of freedom comparably.

Imagine I’m a member of the audience. Why should I watch this film?

I think Paint is a very unique project. It was shot entirely on Super 8mm which has its own definitive look and feel that makes the film feel as raw as the visuals captured. We went through the process of working with non-actors to really add an organic, enticing atmosphere to the project. Ultimately, I think Paint is a thought-provoking art piece, that will have you wanting more, and asking more. It will make you feel an array of different emotions, that are both unsettling, yet provocative, making it hard to peel your eyes away!

How do personal and universal themes work in your film?

What's challenging about identifying the themes of the film, is that it's experimental and more over an art piece. I have my own theme to the story, but I find what's truly fascinating about the project is that everyone creates their own definition and their own narrative and themes. This makes Paint an ever-changing, controversial segment.

How have the script and film evolved over the course of their development?

The idea started off as an idea to create one striking visual, the woman drowning in paint. After being struck by the idea, it never left me. I decided to write out the visuals of just the woman, the white room, and the red paint. But there was nothing more. It felt empty, and almost not worth making. I would later come back to it, and the words, elements and themes suddenly began to pour out of me, until finally the script was finished. My DoP and I had the idea of shooting on film, which became a must for the project to obtain that organic feel. This however added complications to the budget. We also had to make changes stylistically based on the locations that were available. By production, we had to cut 1-2 scenes, and rewrite segments as we had limited shooting resources and available crew. The film itself was saved by the post-production team and truly helped it to reach greater heights.

What type of feedback have you received so far?

Overall positive! Everyone that has seen the film has had such great feedback. Everybody has a different reason to like the film; from the performances to the stylized editing. The cinematography, the production design, the color, the way it makes people feel so attached yet so distant. Everyone has had a unique viewing experience.

Has the feedback surprised or challenged your point of view?

The feedback has been fairly surprising. As an experimental film, I was expecting a lot of "I don't get it" "This is confusing garbage" etc. but it has been well-received. This has challenged my point of view on how you'd expect audiences to react, and what people look for in the art of filmmaking. What was once planned to simply be a striking visual, turned into short film, and is now being so well-reviewed. I believe it's challenged my thoughts on what truly makes a film.

What are you looking to achieve by having your film more visible on www.wearemovingstories.com?

We are overjoyed to make an appearance on We Are Moving Stories! We're mainly hoping to reach a larger audience, gain more interest in our film, network, and potentially reach other filmmakers who would like to collaborate in the future.

Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?

At this time we are looking for sales agents, buyers, distributors, and journalists to help reach a larger audience and help Paint grow. It'll be undoubtedly beneficial for our careers. We are also hoping to gain some business knowledge, growth, and mentorship for future endeavors.

What type of impact and/or reception would you like this film to have?

For me, I feel like Paint is the type of project where what we really look for is a reaction. We want to make a controversial statement, where any reception or impact of the film, positive or negative, benefits the film. The film's main agenda is to get people to talk and to feel.

What’s a key question that will help spark a debate or begin a conversation about this film?

Maybe its cliche to say, but what do you think it means?

Would you like to add anything else?

The project took just under a year to make, with the blood, sweat, and tears of the cast and crew. I just want to thank the incredible team I had the pleasure of working with to bring this vision to life. I hope everyone has an opportunity to watch the film!

We'd also like to thank We Are Moving Stories, for showing an interest in the film, and for giving us the opportunity to talk about the project.

What other projects are the key creatives developing or working on now?

Lots of writing! I'm writing and pitching spec-commercials. My Producer, Quinn, and I are working on a new drama. I'm also writing a series with our associate producer, Jakob Densky. Our cinematographer, Lukas, is occupied with commercial work, and our Production Designer, Syd, is primarily focusing on her art and education!

Interview: May 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

Paint

A project captured through Super8, Paint is an experimental uproar of emotion, sexuality, and desire reflected through a series of intense visuals.

Length: 7:29

Director: Kila Price

Producer: Quinn Eastwood

Writer: Kila Price

About the writer, director and producer:

KILA PRICE is an award-winning writer/director from Cork, Ireland, currently based in Calgary, Alberta. Kila has always been a natural-born storyteller with a vivid imagination. This plays a crucial role in making his projects unique and diverse, ranging from commercials to narrative short films. After High School, Kila would start his career in the camera department of such shows like Vikings, and Fargo, before making the transition towards a Directing career.

QUINN EASTWOOD is an independent filmmaker from Calgary, Alberta. Having a passion for film throughout his life has lead him to a pursuit in a career in film. Self-taught, and through the help of the amazing Film Community in Calgary, he has gained contemporary education of film through volunteering and working on sets.

Key cast: Haley Eyre (The Woman), Aidan Synnott (Coffee Man), Quinn Eastwood (Mirror Man), Brandon Berry (Robed Man)

Looking for: sales agents, distributors, buyers

Instagram: @kilapricecolor

Hashtags used: #Paint

Other: Vimeo

Made in association with: Calgary Society of Independent Filmmakers

Funders: Self-funded