DISCONTINUED
A depressed millennial discovers that the world she knows is just a simulated version of reality that is being shut down. Suddenly, she's the only one who wants to stick around.
Interview with Trevor Peckham, Michael Villucci, Ashley Hutchinson
Congratulations! Why did you make your film?
TREVOR - In all honesty, I never wanted to be a director until a few years ago. I was working as a cinematographer and getting frustrated with the jobs I was (or wasn’t) getting. I decided to take matters into my own hands and make the kind of movie I wanted to make. From there, I came up with the basic idea and the script came together pretty quickly. When COVID hit, everything slowed down and I got to spend extra time tweaking the script…which was definitely a good thing being that it was my first feature.
MIKE - We were bored during COVID, seemed like an interesting way to keep us out of trouble.
Imagine I’m a member of the audience. Why should I watch this film?
TREVOR - I think this film is pretty dense, but also fun to watch. Hopefully it makes you laugh and think at the same time. I’m hoping that anyone will be able to relate to at least some aspect of it, but it is definitely focused on the millennial experience.
MIKE - What Trevor said!
ASHLEY - This film tackles a lot of anxieties that young people today face. It’s philosophical, but lighthearted, which is a tough line to toe….basically what Trevor said.
How do personal and universal themes work in your film?
TREVOR - As I said, the film is very thematically dense and also very personal. There are a lot of themes at play (ranging from free will to religion to life and death) but one that always stands is mental health. I think it’s safe to say that mental health is a serious problem with younger generations, especially as we face an uncertain future.
MIKE - We tried to work in themes from our experience as millennials and then imagined a world where those feelings could be turned upside down. We had a background actor on one of our bigger shoot days ask to read the script because she was bored standing around, so I sent it over. I realized near the end of the day that she was nowhere to be found and asked the group she was with where she’d gone. Her sister, who was also nice enough to come along as background, told me that she made it to the second scene in the script, where there’s a particularly heavy therapy scene, and left after bursting into tears. At first I was bummed to be down a person on a heavy background day, but then realized that if the script had managed to reach someone in such a way, that things were gonna be okay.
ASHLEY - As the person “going through it,” it was a very personal exploration of myself as an actor and as a person and as Sarah. Her anxieties sort of encapsulate many of the anxieties that young people today already face, and to be able to reflect that point of view on screen was rather cathartic for me. Everyone going through this unorthodox apocalypse scenario in the film has a choice to make—and in a lot of ways the choice between going it alone and choosing the road more traveled is a judgment call we all have to make on a daily basis. How do we stay true to ourselves while acknowledging that we do need others to support us? There’s a lot to glean here.
How have the script and film evolved over the course of their development?
TREVOR - It started with a few pretty specific ideas for themes and plot points, and then it was mainly about connecting all of it, which took a long time. We prepped the movie very heavily, so the shoot was very efficient and the edit came together quickly.
MIKE - At first we worked to develop a more cyclical overall story, Trevor had weaved some thematic throughlines dialogue-wise. I felt like audiences deserved just a hair bit more closure in the third act, even though we agreed that the ending should remain open to interpretation on their side of things. I’m happy I pushed Trev that way, because it led to him writing that great final scene between Sarah and The Guide. I think Ashley can talk more to the process of how the dialogue was workshopped.
ASHLEY - I was the first cast member to receive the script, and over the course of the rehearsal period, Trevor and I made some changes to the dialogue to better suit my voice. We also made some decisions about certain portions of the script (one example being the ending) to make the motivation behind the acting more specific. Even if we don’t ever reveal our secrets, we made sure to have the script mapped out from a character perspective.
What type of feedback have you received so far?
TREVOR - It’s just now starting to get out there, but it’s doing well. We were excited to win the Audience Award for Best Sci-Fi/Horror/Thriller at Cinequest.
MIKE - Before Cinequest, the only folks who’d seen us go through making it. It’s been really nice getting the film in front of people who can watch it with fresh eyes. Also, big shout out to Cinequest and Coney Island Film Fest for having us, they’ve been great outlets for us to meet other filmmakers!
ASHLEY - I think prior to Cinequest a few weeks ago, none of us really knew what to expect, since primarily the people who had been watching were friends and family close to the film. Once we premiered, we were blown away by the response. We sold out our second show and ended up moving to a bigger theater for our final screening. And of course selling out our NYC premiere so far in advance was really encouraging!
Has the feedback surprised or challenged your point of view?
TREVOR - I’m happy that it’s been more positive than not. I consciously decided that I wanted to make a movie that I wanted to see, even if that meant it wasn’t for everyone. Almost all of my favorite movies are pretty polarizing, so I was prepared for pretty much any reception!
MIKE - A big highlight for me personally has been getting the movie in front of other filmmakers and hearing their notes. I think after living with Discontinued for so long, hearing what fellow movie nerds see in it is always interesting.
ASHLEY - I’m definitely still reeling from winning an Audience Award at Cinequest. While I think the film is fantastic, I definitely knew that the subject matter isn’t for everyone. But to see the audience support, it’s made me realize that this film is really marketable and that people can connect to it a lot more easily than I expected.
What are you looking to achieve by having your film more visible on www.wearemovingstories.com?
TREVOR - We really made this movie to share a story that we wanted to tell, so we’re just happy if more people see it and it resonates with them.
MIKE - I really dug your website! I think Wearemovingstories.com covers a beautifully eclectic mix of films, and I’m humbled you’ve decided to include us as well.
ASHLEY - A big personal goal is to get the movie out there to get myself out there. This movie was my first leading role in a feature.
Who do you need to come on board (producers, sales agents, buyers, distributors, film festival directors, journalists) to amplify this film’s message?
TREVOR - All of the above. We’re definitely working outside of the system, which has given us the flexibility to make a film in our own way, but we definitely need help getting it out there. We’re also starting to focus on getting the next projects off the ground and growing our team.
What type of impact and/or reception would you like this film to have?
TREVOR - In all honesty, I just hope it makes people think. I’ve joked from the beginning that my dream is for people to argue about it on Reddit.
MIKE - If people think or feel anything new after watching it, I’d consider it a job well done. I feel like the purpose of art is to make an impact on people, whether it’s positive or negative, I’m hoping this piece can do just that.
ASHLEY - Obviously, I’d like people to love it, but I think more than that I want people to not be able to stop thinking about it. Whether they like it or not, the best is when it can make people think.
What’s a key question that will help spark a debate or begin a conversation about this film?
TREVOR - This film is basically an hour and a half of questions that could spark debate. What is real? What’s the meaning of it all? Does it even matter? At the end of the film I’m sure people will be asking: what did she choose, and did she choose at all?
MIKE - Always thought the biggest question folks could walk away from this film with, was asking one another whether or not reality is a simulation!
ASHLEY - If you were given this choice, what would YOU choose?
Would you like to add anything else?
TREVOR - Just to thank everyone who helped us get this thing made and everyone who has taken the time to check it out. It’s been amazing to share it with you all. We’re excited to get going on the next one!
MIKE - We couldn’t have done this without the support of family and friends, I just hope they realize that this is their movie as much as it is ours. Thanks again for coming across our little film!
What other projects are the key creatives developing or working on now?
TREVOR - We currently have two other feature scripts that are more or less ready to go, one of which we are starting the early stages of pre-production on. We like making stuff and want to get right back to it!
Interview: September 2022
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
DISCONTINUED
Length: 1:32:00
Writer/Director: Trevor Peckham
Producer: Michael Villucci, Trevor Peckham and Ashley Hutchinson
Key cast: Ashley Hutchinson, Langston Fishburne, Robert Picardo, Michael Bonini, Charlie Talbert, Risa Benson, Bill Sorice, Michelle Yazvac
Looking for: distributors and film festival directors