What was it that you expected to learn from this process, and what did you end up learning?
KS: I don’t know if I expected to learn anything since it was a fun experiment, but what I did learn was that sometimes, it’s very hard to recreate tension or paranoia or shock in the actors. It’s hard to put a finger on what exactly, but the feeling that they don’t know what’s happening translates much better when it’s actually true. And so, when they are at the edge of their seats, they kind of bring the audience along with them… the audience is as uncomfortable as the actors. And I think that translates on screen almost subconsciously. So, in a way, as a director, I learnt to let go of control a little bit because up to that point I had been a very, very controlled director.
So how do you edit a movie like this?
KS: Oh! The editing was a nightmare, a terrible nightmare (laughs). We had a very tough time because we had 100 hours of footage and it took 6 months of a lot of work. And it was just me because I was the only one who really knew the story… You can’t really leave an editor and say, “There you go, make a story out of this” (laughs).
Is there anything in common with this process of shooting with, say, an August Rush kind of big-budget Hollywood production? Would you shoot like this again?
KS: No, I’ll do it again, and I’ll do it in an even more extreme manner next time, with complete non actors and people who have never, ever been on a set or in the film industry! I think I’ll do it in a way that it’s almost a drama, but also a documentary, so that you are not sure what it is, and it really blurs the line between the two. That would be very interesting!
As for what’s common, I think it’s really about wanting to get the best performance out of the actors, no matter how that works. Each film required different approach because of the story and because of the actors. So a film like August Rush was like a symphony and conducted that way because it was about people whose actions are very controlled and I did it in a very controlled way. Whereas if I’m doing a film about people who are completely lost and out of control, then the process would be lost and out of control too. What I would like to be able to do on every film is change as much as I can if it facilitates the story, you know. The story’s most important to me.
I’ve noticed that good directors generally make movies on subjects that are either nothing close to what they’ve done in their personal lives, or on subjects that are extremely close to their lives. From your first film that you made at the age of 23, Disco Pigs, to Dollhouse, your films have generally been about coming of age, in a way. So what is it about this subject that fascinates you?
KS: My teenage years were pretty tame actually (laughs), which is why I wanted to make a movie about people who aren’t tame, you know. I was 17-18 when I went to college for 3 years, then I made some shorts, then I made Disco Pigs, then I had a baby, so there wasn’t much scope for a crazy time (laughs).
But I’m generally interested in the teenage world, because I like the idea of people who sometimes can’t use words to the best extent, and have to learn to communicate in different ways, which is what Disco Pigs was about. I feel that I am like that, in some ways. I don’t trust words a lot of the times, and like visuals, so I am attracted to relationships that are based on things other than words. Also, I like films about real people who are not portrayed on screen often. It’s a changing time in Ireland, so the young today don’t really have any real control and don’t know what’s going on. So with Dollhouse, I wanted to make a movie about teenagers who don’t have any connect with each other, whose worlds are shifting, but they somehow find the one moment that connects them all.
What are you upto next?
KS: I’m trying to make a film called Mooch, which is based on a book by an author called Dan Fante, which is a kind of a cult novella set in Los Angeles, about a recovering alcoholic who lives in LA and whose life has, kind of, gone to hell and about his relationship with this woman and her child. It’s a very, very black funny. It’s my first American indie film and I’m doing it with an Irish producer called Tristan Lynch and an American producer called Michelle Weiser, and we’re in the process of casting for it next.
Finally, what did your parents have to say about your actors trashing their house?
KS: (Laughs) They were fine because “Anything for art!” you know? (Chuckles) They really liked the movie!
Nikhil Taneja is doing a series of interviews with directors whose work will feature at the 2012 Mumbai Film Festival. Coming up next a conversation with writer-director Brandon Cronenberg (son of David Cronenberg), about his debut film, Antiviral.