CABIN FEVER:
AN EXCLUSIVE INTERVIEW WITH "THE CABIN MOVIE" DIRECTOR DYLAN AKIO SMITH


Dylan Akio Smith is one of Vancouver's most promising emerging directors, and "The Cabin Movie", his feature film directorial debut, confirms this. The film's unflinching honesty, raw and edgy performances, and uncompromising portrayal of sexual politics, is powerful and remarkable. I spoke with Dylan earlier this week, as he took a short break in between the film's Toronto Film Festival world premiere (where his Crazy 8s short "Man Feel Pain" won Best Short Film in 2004), and the upcoming Vancouver Film Festival screenings (7 p.m. Monday October 10, and  4 p.m. Wednesday October 12, at Granville 7 Cinemas - for more info, see www.viff.org).

KRYSHAN RANDEL: How would you summarize "The Cabin Movie"?
DYLAN AKIO SMITH: It's about 3 couples who go up to a cabin to make a porn film together and step outside themselves... a good idea? No?


KR: What was your inspiration for making the film?
DAS: Two things: 1) To make a feature in 10 days for $10,000. and attempt to get back to the Toronto Film Fest and 2) To explore themes of lust and desperation that exist in Kris Elgstrand's fantastic script and do it in a dark, comedic and humanistic fashion. Many filmic inspirations: Cassavettes, Who's Afraid of Virgina Wolff?, Husbands and Wives, Dogma, P.T. Anderson, etc.


KR: What was the budget of your film?
DAS: $10,000 to start, then Telefilm came in for $130G in post. Final Budget around $150G.


KR: What did you shoot on (camera format)?
DAS: SDX 900 (Panasonic DVCAM Pro)


KR: What was it like making a feature in 10 days, and on such a low budget?
What were a few of the most memorable moments during production?
DAS: It was extremely draining, physically and emotionally. We shot the film mostly in sequence which means that the chemistry is developing and we are all getting more tired as the film's narrative progresses... this was Kris Elgstrand's idea and I think it was a great one.

I think the real turning point of the shoot was deciding to stop shooting a really huge scene and take the weekend to get our energy back up. We were all completely fried. We shot the master of the scene (Scene #33 - my old football number, the one where Brad aka Mark gets kicked out of the cabin). The actors were flubbing lines like crazy, Brad was swearing like a sailor, and my brain was shrivelled. It was a tough decision to make, but we came back after the weekend refreshed, and nailed it. It is one of the biggest scenes in the film... and I think we may have saved the film by not shooting it at that time.


KR: How did the success of your short film "Man Feel Pain" help you make the leap to directing a followup feature film, so soon after the festival circuit?
DAS: It absolutely helped. We (myself, Kris Elgstrand and Brad Dryborough - otherwise known as The Whatever Institute) made a pact at Toronto that we were coming back with a feature. We told people. In fact, I had a bet with my friend Elan Mastai (screenwriter extrordinaire) that he could punch me as hard as he could next year if we weren't back with a feature... I guess the pressure we put on ourselves worked. Winning a big award with "Man Feel Pain" made us feel ready to tackle the next challenge... I think we will still make short films, but career-wise, I think it was the right choice. We wanted to prove that we didn't fluke out I guess...


KR: For readers that are unfamiliar with the process of making an independent film in Canada (esp. in Vancouver), describe it to me in a nutshell. What are the biggest pros and cons? What would you recommend to a first-time feature filmmaker? Also, what is your biggest lesson learned, biggest thing you would do differently, and biggest thing you're glad you "stuck to your guns" with and didn't compromise on at all?
DAS: Well, it isn't easy making feature films in Canada. You have to rely on outside funding agencies to get the opportunity, and they won't just hand you over the money. You have to be proven and they want to guide your creative process a lot of the time. i.e. Tell you who to cast, who to use for crew, etc. because it is their investment after all... it's kind of a catch 22. You have to get accepted for short film grants before you can move up the ladder to doing features. We haven't really played by these rules. We did get accepted to Crazy 8s and made "Man Feel Pain" which obviously served us well, but we have yet to make anything on film with a real budget. 4 shorts and 1 feature with a total budget of $15G (not counting the Telefilm money)... that's pretty rare. However, our style relies on writing and acting. Some films would cost lots more to make. Knowing we have no money, we work with what we do have, which is an amazing writer and a very talented cast of actors. I also know how to make something look good for no money, which obviously helps. I would say develop your own style of filmmaking using digital video and (the editing program) Final Cut Pro. I would still apply to the various programs to make shorts on film, but if you don't get in, don't wait until next year.

The same goes for features. Just go out and shoot it and see where the chips fall. You'll be surprised how many people come to your aid. You have to know how to judge whether or not your film works or not though. Don't hesitate to get people you respect to watch it and give you critiques. I would also stress the importance of a good team... find people whose work ethic and tastes you relate to, and don't have a big ego about mixing their creativity with yours (or you with theirs). In the end it is about whether or not you can create a cohesive team, because it is this cohesion that creates a good film. I've worked on sets where everybody hates the director, and you do not get the best out of your cast or crew in these situations. Finally, research the types of films you want to make and write down what you like about these films. What do you respond to? Having influences to your own style is very important... it doesn't make you a plagiarizer... even if you tried to re-make a film, it would still come out different... One of my favorite things to do is watch films for research before shooting or making a shotlist. In the end some of it comes through and some doesn't... Ultimately if you take your career into your own hands, I think you develop a better work ethic than if you depend on others. Many filmmakers start this way. If you have the will, there's a way... This being said I wouldn't choose not to participate in filmmaking labs or not to take guidance from teachers, you just have to find the balance and take control of your own situation.


KR: What's next for you career-wise?
DAS: We will make another Whatever Institute feature film - not sure what yet. We also may make some shorts or other things in the meantime. Kris is a playwright and has plays he wants to put up. Hopefully now we will be able to get funding and shoot our next project on film, but who knows? If it doesn't come through, don't be surprised if we make another no-budget film. I think we may take a little time off first though to get re-adjusted. It wasn't easy doing what we did... need some time to regenerate before jumping right back into it. I am currently looking for an agent and maybe other directing work can help pay the bills in the meantime before the team is ready for the next project. That would be the ideal.


KR: Any last words?
DAS: Just that a good script is everything. Even a good director can't save something that doesn't work on the page. It's all about the script. Especially if you want to shoot it quickly. It is the only thing you have to fall back on and if it doesn't work, shooting it fast will only make it worse. In this case our script was great and shooting it fast gave it an immediacy and a realism - we planned it to work this way. I don't suggest going out and improvising - it works for some. Not for me. I like to have a plan and then go out and execute it... think about it (alot) before you do it. It could turn out to be a mess otherwise.