As a film enthusiast who has just read through this insightful interview with Adam Siegel and Simon Barrett, I find it truly inspiring to see their passion for storytelling and creative collaboration. With over a decade of observing and learning from veteran director Mike Mills, Siegel’s decision to direct more projects is not just another cliché but a testament to his growth as an artist.
The V/H/S franchise, established in 2012, is preparing to release its seventh installment on Shudder. Unlike previous entries, the latest addition leans heavily into science fiction storylines. Moreover, Kate Siegel, known for her acting roles in The Haunting of Hill House and The Fall of the House of Usher, will make her directorial debut in one segment, while Alanah Pearce will take on her first significant on-screen acting role. V/H/S/Beyond is set to premiere on Shudder on October 4th.
In the segment “Stowaway” by Siegel, Pearce plays a curious young reporter who seeks to reveal the source of enigmatic lights frequently spotted in the desert. The truth she ultimately uncovers could answer all her queries, yet this revelation brings about a tremendous cost.
I had the thrill of sitting down with the dynamic duo, Siegel and Pearce, to delve into their creative journey in crafting our latest segment. We discussed their unique collaboration techniques, the inspiration behind their work, and so much more!
Kate, could you share with us the roots of this project? Was it an idea that had been brewing in your mind for some time, and you seized the chance to collaborate on V/H/S, or was it V/H/S who approached you initially, and that’s where the process began?
Kate Siegel: This unexpected call was delightful. It wasn’t something I had planned for, but it presented an offer I couldn’t resist, despite my initial inclination to decline. In essence, I thought, “Time to leap from a thrilling precipice.” My initial encounter with producer Josh Goldbloom and Studio 71 was me brainstorming daring, far-fetched concepts.
Initially, I had numerous concepts, ranging from Muppets to music, all swirling in my mind. As usual, I shared these ideas with Mike, my spouse, seeking his thoughts. We exchanged thoughts, refining them until the core concept crystallized into the idea of “Stowaway.
In relation to that, during the early stages of your creative journey, did you notice significant changes or evolution in your work compared to other filmmakers, leading you to adjust course and diverge, or did you primarily stick to your initial vision?
During the production of this film, I chose to keep a deliberate distance from the other filmmakers. I preferred to remain unaware of their activities to avoid any unnecessary competition and potential negative influence. In essence, I focused solely on my task at hand without allowing external thoughts to distract me.
Alanah, a lot of what makes this short so compelling is, not only your performance, but a lot of the seeds that are planted for your backstory that are never really explained or fully explored. With this script obviously being so much shorter than a feature-length script, I’m curious how much of Alanah you brought to this character and how much you were able to just fully create on your own and how much of a background for your character you were able to create?
Alanah Pearce clarified that she is not the character being portrayed. While they may share a background as reporters, she found it necessary to seek direction from Kate to make her character appear uncomfortable on camera, contrasting with Alanah’s own ease in front of cameras. She worked to avoid giving off an impression of frequent on-camera experience, acknowledging that in the ’90s, people were less accustomed to having a camera constantly pointed at them compared to today. This was an intriguing challenge for her.
Regarding the background details, I firmly believe that the script penned by Mike and Kate played a crucial role in delivering my performance. It was essential to focus on the key elements that contributed significantly to our narrative. Details like her favorite food were less important, but understanding the core of the story – such as her struggle to prove herself despite being doubted by others while making a movie for her daughter and raising a child at the same time – were vital. These aspects are subtly hinted in the script.
All of that is really about building towards the fact that she’s losing something and that she does care about the thing that she’s losing, but that she’s so defiantly driven towards proving the point that she’s trying to prove. I think it’s really relatable. I think that you can do something like that in your personal life every day, just not to quite the same extent, and that all of those little pieces culminate, obviously, in our ending. And that’s what makes it so dreadful and so horrific is that there is a loss. I don’t think it would punch quite as hard if you didn’t know that she had things she cared about in the real world, as well, and that she was just so obsessed. A student driven to prove herself that she basically sacrificed everything she had.
It seems like all the parts were included in the script, which allowed me to zero in on the essential aspects and the message we intended to convey. To put it simply, it made my job much more straightforward.
In this setup, you are both providing voiceover and appearing on-screen while also controlling the camera to some extent. Could you share some insights about your collaborative discussions with Kate? As she is the director, your role involves bringing her ideas to life. What were those conversations like when you two worked together?
In the beginning, when she initially shared the script with me, my first thought was, “How on earth will we bring this to life?” as the latter part of the script was difficult for me to imagine. Therefore, I requested a meeting with Kate, where I primarily asked a series of questions aimed at understanding her intentions, such as, “What message are you trying to convey?”, “What do you want viewers to take away from it?”, and “How should I approach the character development?
As a fortunate recipient of Kate’s wisdom, I found myself in uncharted waters with this new project – it’s my first time leading something of this magnitude. Though I have dabbled in acting before, comedy was the realm I previously navigated, and this dramatic venture presents a distinct landscape.
Upon arriving at the set, Michael Fimognari and I found ourselves improvising the layout due to my unexpected approach. Interestingly, I discovered later that they had meticulously planned all shot-listing prior. However, when it came down to execution, there were walkthroughs involved to ensure everything flowed smoothly, much like a dance where we often partnered. Though he is just the cameraman, he needed to capture me as if I was the one in control. This entire process was incredibly collaborative and enjoyable, an exciting creative adventure we undertook together.
Kate, when you mentioned this wasn’t originally on your agenda but proved to be an opportunity worth seizing, I’m curious if this unexpected success has sparked new ambitions within you, given the positive response you’ve received at Fantastic Fest. For instance, “I hadn’t anticipated it would strike a chord with so many viewers,” which makes you keen on exploring this further? Are you considering expanding it into a feature film, creating more shorts, or perhaps returning to your acting and producing roles instead?”
As a person, there’s a significant part of me that enjoys repeating things if it brings joy to others – like a monkey dancing. However, the film V/H/S had a profound impact on me because it helped clarify my goals for the latter part of my career. I aim to collaborate with people I admire and form new creative relationships to produce compelling stories together.
At this moment in time, I don’t see myself ever giving up directing. I also plan on continuing my acting career, but there’s a certain feeling I get from directing that just feels right for me. I’m not oblivious to the common phrase, “But what I truly want is to direct!”, and I can certainly relate to it, but if I had to put it simply, I believe my passion lies in directing.
Pearce: Is that a cliche? I know.
Siegel: Ah, actors! They always have something, don’t they? It seems like everyone says, “I truly wish to be a director,” but it needs that extra flair, the double head tilt for good measure.
Pull out the megaphone that the old-timey directors used to speak into.
Siegel stated that nobody handed him one of those items, but he did cruise through the desert in a golf cart shouting “Action!” at passersby. It was quite enjoyable, he added.
I am sure now you have more of an appreciation of, even though that is a cliche, “Oh, I see why so many actors when I really want to do is direct.”
It’s intriguing since for nearly 15 years, I had an unspoken apprenticeship with Mike. Nowadays, I don’t work alongside him on set, but I’ve spent countless hours observing Mike as he creates, directs, showruns, produces, and edits. This experience has given me a deep understanding of the sheer effort required, what it takes to excel, and I’m deeply thankful for this insight because from day one, I’ve strived to be thoroughly prepared, focusing on storyboards, shot-listing, research, camera testing, and ensuring I was well-prepared before diving in. As they say, a movie can be fixed in post-production, but it’s actually about preparing meticulously during pre-production and then managing any unexpected issues in post. That’s why I feel grateful for this knowledge.
By the way, you brought up Mike. Have you heard yet who will be portraying the character in The Dark Tower TV series, or are you still waiting to discover that information?
Siegel: Yeah, I’m going to be playing Stephen King in book seven when he gets hit by the van.
That’s quite intriguing. It seems to align with your unique style as a director. To be honest, I think Mike might have stumbled somewhat, particularly following the flop of The Life of Chuck. It’s comforting to know you’ve got someone like you around.
In our home at the moment, there’s a grand, festive atmosphere. As for who I might star in ‘The Dark Tower’, truth be told, I have no clue. We’re still quite far from that point. However, it’s wonderful – let me emphasize, this profession comes with its ups and downs, periods of abundance and scarcity. And at present, my friend Mike and I are experiencing a moment of shared joy, which makes it particularly meaningful.
V/H/S/Beyond lands on Shudder on October 4th.
The conversation you see here has been shortened and made clearer for your convenience. Feel free to reach out to Patrick Cavanaugh personally via his Twitter account.
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2024-09-30 19:40