In 2011 I was captivated by a series of vignettes the New York Times created, called “Fourteen Actors Acting.” They were interesting but also campy; nevertheless, I enjoyed the idea behind them as a jumping off point. At the same time, I was journaling in an earnest way about finding my passion, my path, and creating artistic renewal. I was feeling burned out and over-commercialized after hyping, pitching, and paying for a short film I acted in and produced, The Summer Home.
THE SUMMER HOME – Short Film from First Sight Productions on Vimeo.
I previously worked on two projects that were hugely generative and thematic – one was a stage play, Emerald and the Love Song of Dead Fishermen, and one was a short film, Teething. Working from pure inspiration and discovery is scary but also hugely satisfying. I knew the open-ended process was an experience I craved and wanted to work with again.
Out of my journal came an idea, the image of many paths that lead to the same goal. I played with expressing this idea through the interconnected lives of several women. I found a theme to guide me into the new year, 2012, when the word ‘revelation’ flowed across my page. Suddenly I had my structure, my process, and my theme. Revelation’s inception moved swiftly after that moment.
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| Wonder Russell |
I’m an actor myself, first and foremost, and I am blessed to know actors I admire deeply for their authenticity and bravery. I think acting is terribly brave. Great actors allow themselves to be open, raw, and vulnerable, even as villains. They can’t hold back – everything must be on the table. Openness doesn’t mean emoting all over set like a Vaudeville performer, it refers to a complete dedication to the life of the character, free of self-censorship. I am very lucky that I knew instantly who I wanted to work with, and that when I pitched the idea, all of the actors said, “Yes, let’s!” As far as I’m concerned, a director’s job is pretty much done at that point! Strong, reliable, fearless talent will always elevate a project.
True to the nature of generative work, we entered six weeks’ worth of rehearsals. Film rarely rehearses, and if they do, it’s usually focused on locking down performance rather than exploring relationship. The joy of rehearsing Revelation was that it was all exploration! We played with masks and characters, we played with rasa boxes. I brought in guest instructors to teach us to move differently and break down preconceived notions of how the stories “should” be physicalized. I challenged each actor to complete homework that included journaling from dreams or memories, or listening to a piece of music and responding purely from instinct. It was immensely freeing. But more importantly, it worked –stories developed and took shape. Sometimes the story an actor thought they were telling had changed drastically by the time we were ready to shoot.
My goal with rehearsals was to unlock the actor’s creativity, and to get to the heart of a revelation that resonated deeply for them. Once we found that bright kernel of truth, we worked on how to portray it on film and without dialogue by finding a physical expression or series of actions that represented the internal journey.
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| Bridget O’Neill in Revelation |
Sometimes I didn’t know how we would pull off this film, or if it would be a giant failure. I remember having lunch with a more experienced director and telling him, “People will either be moved by it, or think it’s pretentious bullshit.” He laughed and said that I was probably on the right track if I could keep things realistic while taking such a big risk with experimental film.
I trusted the process, and I allowed myself to be surprised at whatever showed up instead of trying to force anything. I really felt like I took on a role of midwifery to the actors’ process. And perhaps that’s because as an actor, I like direction that is a mutual journey of discovery.
The day we finally stepped onto our set was absolutely magical. I attribute that to the amazing crew including Ty Migota, DP, red-headed and funny as hell AC Nick Davis, Kris Boustedt, fellow Producer and constant source of help, my boyfriend at the time Paul Vitulli who was producing and keeping me happy, sane, and productive, the amazing art team known to Seattle filmmakers simply as the Gore Sisters, our MUA Kari Baumann, and game-for-anything grip Forest Coughtry. That’s it. Small set. Small crew. Intimate.
By the time we were rolling cameras and I was actually “directing,” it was a dream come true. I felt completely in my element and deeply in-tune with each actor. Actors intrinsically want to be authentic and bring the best of themselves, and I felt grateful to help guide that process. My directing style grows organically out of my acting, and it’s no coincidence that I share a short-hand with the actors I cast. Specifically, we work best within very detailed, imagined circumstances that we call “Let-it-be-trues.”
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| Jillian Boshart in Revelation |
My directing approach is to warm up with the actor, run through the vignette’s physicality at least once, and then narrow the imagined circumstances. For example, a let-it-be-true for one actor was that she had a younger sister who looked up to her, but was in a very dark place and nearly suicidal – then I asked the actor to look into the camera and let her (imaginary) sister know how perfect, and how loved, she truly was. The take was stunning.
We shot for two very long days (one location, thank goodness), and it felt like Christmas day – or maybe more appropriately my birthday – every day. Every moment felt free, inspired, and like a gift. I know that’s a rare experience, and I know how very lucky we were to have a dedicated team and minimal technical difficulties (I’m looking at you, dry ice!) Each actor’s story moved me to tears. My heart wanted to burst from love and compassion.
If this all sounds too good to be true for a first time director, I’m sure it is! I am no stranger to production horror stories, but this shoot was like breathing inspiration.
The biggest challenge I faced on set was accepting that I was in charge. As an actor I think I come from a place of asking for permission first, and the role reversal took me a bit by surprise. My initial reaction was that I didn’t want to offend anyone! I quickly realized that I did the set no favors by playing small, and needed to take charge. I had to own that part of my job and not just commune with the actors backstage, but to ask for certain shots or decide when it was time to move on.
That ownership carried me through a very long post-production process. I found the courage to be honest with my vision, so that I could give clear feedback on what was missing and what was working. Editor Lindy Boustedt and composer Catherine Grealish were game to try different approaches as well as challenge me when they felt something needed to be fought for. My acting coach calls this “going to artistic war,” and taught me to welcome it as a way to find the solution that is in the film’s very best intentions. You have to be passionate in order to make the bold decisions that banish mediocrity.
Ultimately, Revelation stands out not only as my directorial debut, but the project I am most passionate and clear about. My vision carried me from those questing moments alone with my journal, through the realization of a work of art that will make me forever proud.
Watch Revelation:
Wonder Russell is an actor gaining recognition for her work in edgy indie dramas and quirky webcomedies. Revelation is her first professional directing project.