PAWS
A woman's encounter with roadkill triggers memories of her late dog.
Interview with Writer/Producer/Cinematographer Meg White and Director Rayne Harris
Congratulations! Why did you make your film?
PAWS was made as part of the 2nd year AFI visual essay program. I wanted to tell this specific story as it was inspired by my relationship with my dog and experience of being along in isolated Australian landscapes. I wanted to create empathetic parallels between the death of road kill and that of a pet, but in all create a universal narrative of loss. I am fascinated by the zoological world and think beauty exists in death and wanted to show this through the empathetic response of Sarah( main character) and how she lets go of the past by showing care for roadkill. I am also fascinated by how the impact of isolation and being alone on country can have in restoring one's self. PAWS was filmed on on the land of the Gundungurra, Tharawal and Dharug people of Australia.
Imagine I’m a member of the audience. Why should I watch this film?
To see a of both tale of loss and letting go.
How do personal and universal themes work in your film?
The personal is the loss of a best friend, in this instance a dog. For me it would be if I had lost my dog Otis, whom in all honestly is the creature whom I spend most of my time with, something which became further pronounced during the lock downs. This film is ultimately a poem about the loneliness of loss and how it can haunt you no matter how far you try to run away.
How have the script and film evolved over the course of their development?
The pandemic understandably through a few curve balls. This project was originally about two strangers who meet at an isolated road stop and was to be shot in LA. I have a thing for outback remote isolated settings, inspired by my solo travels around the Australian outback. The extended lock downs in LA and border closures in Australia meant I ended up shifting my production to Australia and adapting my story. It became a much insular film structured around memory, loss and isolation in an outback Australian landscape. The initial car setting was also born from pandemic restrictions. Both scripts always had hope and connection at the end. For me it was important PAWS had closure and release for main character Sarah as she was finally able to say goodbye/ let go of the past.
What type of feedback have you received so far?
I have received much feedback about there being a consistent emotional through line, there is an arc that builds through the piece. Sometimes there was confusion about the dog and what had happened as I tried to parallel the two past and present settings at the car.
Has the feedback surprised or challenged your point of view?
I wish I could have been a little more challenged - the feedback I received was expected but I believe it could be much more critical. I think I always want people to be as critical as I am of myself.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
To share a story that explores loss through the desolate and macro landscapes of nature, whilst also display an aesthetic and sentiment towards this tone and subject matter. I wish to be more visible within the US / OS film industry and I believe being part of We Are Moving Stories will assist in that. I also think its a great platform to share and express unique stories which otherwise may be missed. It's a privilege to be a part of it of this collection.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
Sales agents, distributors and journalists that could help sell the message of the film.
What type of impact and/or reception would you like this film to have?
I hope PAWS can be received as a film that psychically shows and emotionally conveys the loneliness of loss, and how memories can haunt us no matter how far we try to run away. But also as a film that imbues empathy for the natural world.
What’s a key question that will help spark a debate or begin a conversation about this film?
Why did even Sarah stop for the rabbit?
Interview: December 2021
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
PAWS
Length:
Writer/Cinematographer
MEG WHITE is an Australian cinematographer / filmmaker /fine art photographer who works across features, tv, commercials and documentaries. Inspired by the natural world and she seeks to create empathetic and evocative imagery. MEG is an alum of UTS and AFI and has shot Emmy and Rose d’Or award winning drama. She has won multiple ACS awards and is the inaugural recipient of Screen Australia Onbass Fellowship.
Director
GIA_RAYNE B. HARRIS is a Mississippi Native, UPenn alum, and recent AFI graduate. She has been producing, writing, and directing for film and advertisement since 2018. She has 10 produced short films under her belt and three more on the horizon. The through line of all of her work is adversity, empathy, and resilience. She seeks to keep womxn and BIPOC individuals at the center of her narratives. She loves to learn and sees each new project as an opportunity to grow as a filmmaker and person.
Producer
Joss Utting, Alex Oger, Meg White
Key cast:
Alex Stammel, Otis White
3:00
Instagram:
https://www.instagram.com/the_other_meg_white/?hl=en
Made in association with:
AFI Conservatory