Phyllis Somerville (left) and Kate Simses star in Jeremy Redleaf's short film, "Door Number Two," that will be screened at the 2008 Vail Film Festival.
Jeremy Redleaf
Leading up to the 2008 Vail Film Festival, April 3-6, Plum Vail gets to know some of the filmmakers. Meet New York City-based filmmaker Jeremy Redleaf, whose 9-minute film, “Door Number Two,” tells the story of how a young woman’s life changes when she meets a neighbor after moving into her first apartment.
Plum Vail: How did you get involved in film?
Jeremy Redleaf: I involved myself! I’ve been a professional actor since I was 13 and I wanted to be more involved in all aspects of the process, so I opened up a production company. This was our first budgeted film.
PV: Give us a brief overview of your accomplishments as a filmmaker:
JR: “Door” was my narrative directorial debut. My viral videos have been featured on the front pages of NBC Sports, Comedy.com, Crackle, Atomfilms, & others. And I’ve just finished directing a 30-minute drama for PBS about three high school girls who struggle with identity issues.
PV: What are the largest challenges faced in making a short?
JR: Telling a complete story with compelling characters in a matter of minutes is kind of… really difficult! It takes a lot of planning and streamlining… there’s no room for even a single wasted moment. You don’t shoot a short to make a profit. But you want it to look as professional as possible while spending as little as possible, which takes some creative thinking, to say the least…
PV: How do you think the average film fan perceives short films versus feature-length films?
JR: There used to be a little snobbery towards short films (and perhaps there still is). But I think the “internet video sensation” has made viewers more open to enjoying short-form content.
PV: How do you go about finding actors?
JR: Kate (the young girl) is an actress I’ve worked with several times. For the elderly woman, I asked a well-known casting director (Avy Kaufman) for some recommendations. She gave me a list that included Phyllis Somerville (who had just come off raves for “Little Children”). I rented the film on a Sunday and first thing Monday morning, she sat down next to me at an audition. It was fate ... which I somehow convinced her of without freaking her out.
PV: What was your budget for "Door Number Two?"
JR: I called in every favor that I’ve amassed over the years and I had a few “financial contributors.” We ended up spending about $4,500.
PV: Explain the production process and how it was unique in making this film:
JR: What made it unique was that I really had to trust my technical collaborators. I come from the acting side, so my sense for things like color continuity, pacing of the day’s workload and shot-selection are still developing. I made a concerted effort to surround myself with people whose opinions I respect. The challenge was taking their advice without losing sight of how I wanted things to look and feel. We had one small crisis: the day before shooting, we lost one of our two locations. I mentioned it to a friend of mine who happened to have an old, empty apartment that we could shoot in! (I can’t how stress how rare that is in NYC). We faked it into two apartments and built an entire set… it ended up being a blessing in disguise.
PV: What is your impression of Vail?
JR: I’m impressed with how snowy it seems!
PV: What do you know about the Vail Film Festival?
JR: MovieMaker Magazine calls it one of the “Top 10 Destination Festivals” and that kind of excites me! I never take any vacations, so the thought of a “business vacation” sounds almost too good to be true.
PV: What is your understanding of how a film is accepted into or rejected from a film festival?
JR: The feature film selection process has become pretty political. Sales agents and publicists have relationships with festival coordinators and it’s definitely changed the game. The short film selection process seems a bit more democratic, but you’re still dealing with individual people and you just have to hope that the first person who sees your film responds to it enough to pass it along. My guess is it has a lot to do with the “feel” of the festival and/or how well the short matches up with features.
PV: What do you think defines "success" as a filmmaker (having a piece accepted into a particular festival, earning certain awards, Hollywood distribution, etc)?
JR: Taking an idea and making it living, breathing, finished-product is a huge accomplishment in itself. But I’d consider someone pretty darn successful if they could make enough money to support themself, have people see their work, and retain their vision in the process.
PV: Where do you see the film industry headed as a whole?
JR: I think studios are slowly learning that there’s a way to be both smart and commercial (“Juno,” “Little Miss Sunshine,” etc). But I also see things becoming more niche-based. Along with the burgeoning art-house divisions of the major studios, people like Tyler Perry have proven that certain sections of the marketplace aren’t being served with high-quality entertainment.
PV: How do you feel about Hollywood, (is it the ultimate benchmark or hideous monster)?
JR: We’re not exactly in a “golden age” of the art form… in the ballet and classical music worlds, those in power have a keen understanding of the artistic process, but you just don’t see that in Hollywood. I think one of my biggest assets as a director and producer is that I come from that side of the table. And I’m happy to stand up to those who don’t “get it.”
PV: What is your favorite film? (Sorry, but yes… you must pick ONE). Why do you love it?
JR: One? Come on! Really? Geesh. One? Okay… as long as you don’t mention it to my other favorites… I’m gonna go with… “American Beauty." I sense that it’s become a “cliché” or “obvious” choice for a favorite movie, but I’m still going to hold my ground! It really struck a nerve with me when I first saw it and I’d have to say that it stands up over time. I think Alan Ball is truly talented at exploring the complexities of life in a subtle and intelligent way (while still being commercial!)
Keep an eye on vail.plumtv.com for more Q & As with filmmakers featured in the 2008 Vail Film Festival.
Video
Filmmaker Jeremy Redleaf stopped by Fresh Tracks to discuss his short film, "Door Number Two," which shares a glimpse of a young woman moving into her first apartment.
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