By Sarah Brewer
How do you approach storytelling? When you begin writing a film, do you start with a concrete storyline or abstract themes?
I rarely have a fully concrete story when I begin writing. Often, I'll have a pretty clear image of something in my head, and that's what kicks everything off. From there, I'll usually develop a decent concept or theme, and an idea for the beginning or ending when I start outlining a story. Then begins the painful process of connecting everything!
How does your experience working in art influence your writing, and vice versa?
I watch A LOT of horror films and documentaries, both features and shorts, and I see many similarities in their storylines and shot choices. So, when I'm creating something, I try to remind myself to go against that, because I've literally seen it hundreds of times. On the flip side of that, if I'm going with something that has been done a lot before, I strive to do it really well.
Also, I work in the arts outside of film, so I am aware that funding can be very much feast or famine. So, I think it's important to write while keeping production in mind, because you may be forced to pivot your vision depending on what kind of budget you end up with. There are many artists in this province and we're all applying to the same funding streams, and things don't always land in your favour. However, I am appreciative that we have arts funding available to apply for!
How does being based in New Brunswick influence your writing and filmmaking?
I'm not sure how it does to be honest. I guess I haven't been that introspective on that front. I think especially right now with the world being so unstable, there's a sort of anger in the air. Maybe it's just me, but the constant weight of the atrocities happening globally, environmental destruction at our doorstep, and AI threatening our entire industry, I can see how that is influencing some of the ideas I'm interested in and the stories I want to tell.
What is it about film as a medium that inspires you?
I like that you can control basically every second of your film, and I really love the montage theory of it all. How the order of your shots can alter the way your story is received is super cool to me. I also grew up in a small town with no theatre, so going to see a movie was a whole day outing — I just remember it being so much fun. I think I've been chasing that feeling I felt as a kid!
You have worked on quite a few horror films. Why do you think you are attracted to this genre?
There's a rebellious nature to horror that I just love; there's a sort of sense of wrongness to it, which is why I think people are attracted to it. There's not a lot of rules in horror and I think that's why it's so much fun and freeing to make. Nothing is off the table! Lately, horror has become quite inclusive and supportive; I feel it's welcoming and a mostly safe space, which you don't get often nowadays.
Through your experience with horror, what is something you’ve learned to avoid in the genre?
Nothing. One of the beautiful things about horror is that you don't need to shy away from a single thing; whether it's a sensitive topic or a trope, there's a way to explore it and do it well.
If you could go back and give yourself advice after finishing your very first script, what would you say?
Simplify! Boil your story down to its most essential parts and shoot that. Don't waste your time overshooting logistical, nit-picky stuff. Your audience isn't stupid; they can fill in the gaps themselves. Be confident in the decisions you make, but go all the way, and don't waste your time with half measures.
