Patrick Stark is the co-Director/Producer of the film Any Wednesday along with with Academy Award-winner, Allie Light. He talks to us on his vision for the short film…
I didn’t arrive on the scene until well after the script had been completed. I was introduced to Allie Light through a mutual friend, Mary Bisbee-Beek. She is a book publicist with whom I had worked previously. Mary and Allie were discussing the publication of a novel Allie had written. Mary felt it would be beneficial for us to get to know one another.
Allie, of course, is a prolific documentary filmmaker. She won an Oscar and an Emmy through her creative collaborations with Irving Saraf, her late husband. She had achieved everything I had only dreamed of. Being a first time documentary filmmaker – and I knew, by talking to her, I was going to learn something. Allie is based out of San Francisco and I’m in Vancouver. I was pretty excited when she agreed to a chat over the phone.
After a brief discussion about documentary filmmaking, the conversation segued to what Allie was currently working on. She had mentioned that after Irving’s passing, she turned to writing drama to deal with her grief. Her immediate goal was to produce one of the four short films she had written. Any Wednesday is an 18-page script that was ready to shoot and even had a modest budget. She was concerned that with the funds allocated to the project, it would be difficult to produce.
She sent me the script and I was immediately drawn into the story. The protagonists tragically reminiscent of two people very close to me. My grandmother who also struggled with dementia and my nephew who was schizophrenic. He was drug addicted and living on the mean streets of Vancouver’s East End.
In love with the story, I immediately suggested that Allie come up to Vancouver. There her budget could stretch a bit more and that we had the crews and talent to pull it off. She told me she’d think about it. About a week later, Allie said she would do it, and suggested that I co-direct it with her. How could I say no? I was thrilled!
Related Story : Interview-Academy Award Winner Allie Light’s on ‘Any Wednesday’
Over the next few months, while Allie prepared her shot list and notes in San Francisco. I scouted and surveyed locations, lined up a casting session. Allie and her daughter Julia Hilder (Any Wednesday’s producers) attend, assembled the crew and acquired the gear rentals.
Above and beyond that, I spent a considerable amount of time combing through the script. I made notes, created a shot-list, working with a storyboard artist. I wanted to be as prepared as I could possibly be in order to serve Allie’s vision. I wanted to be confident in offering suggestions of my own with each and every shot.
indieactivity: What’s it like collaborating with Allie Light?
Patrick Stark (PS): I have always loved the idea of collaboration. When it works, it’s a beautiful thing. But in my experience, collaboration can be extremely difficult: that was not the case with my work with Allie. Allie is an experienced director working from a script she had written. Others in the same position could easily have consistently pushed for their way. And their way only – in terms of directing performances. That simply was not the case with Allie. I found her to be extremely generous with me and any creative suggestions I had to offer.
The strategy going into it was all about balance. On the set, the intent was to ensure we realized Allie’s desired shots first. Subsequently, I was able to supplement those shots with my ideas. It was our desire, there would be a significant number of quality takes to choose from in the editing room.
Why was ‘Any Wednesday’ a perfect title for this short?
Patrick Stark (PS): When I read the title and devoured the script in a first read, I couldn’t help but think of the old fortune telling song whose lyrics describe Wednesday’s child as being “full of woe”.
“Woe” is the state both protagonists are in when we meet them at the beginning of the film and when we leave them to continue living their lives: Agnes, in her 80s, struggles with her day-to-day in the early stages of dementia and C’Mo, an Iraq War vet, lives a torturous life on the streets, his memories enveloping him like a shroud.
What was your first project?
Patrick Stark (PS): My first project was as a producer on a short film entitled “Tilt” – a modern take on Don Quixote, from Sancho Panza’s point-of-view. In 1998, I had just finished the last season of The X Files in Vancouver as the show’s trainee assistant director and decided it was time to immerse myself in hands-on filmmaking. Not only did Tilt receive assistance from many cast and crew from the hit series, but over the five years it took to complete the movie, 700 people from Vancouver’s film community contributed their time, gear and money to help see it through.
Ultimately, it screened at a festival in Boston and at the Toronto Filmmaker’s Festival. The greatest gift the experience gave me was understanding how a film is put together, from beginning to end, from script to screen. I knew that after those five years of raising funds and building a crew that if I ever wanted to make a film in the future, I could just do it and not ever have to wait for anyone’s permission to do so.
Which scene (that made the cut) was the hardest to shoot?
Patrick Stark (PS): Definitely, the hardest scene to shoot was where C’Mo has a PTSD episode, triggered by thunder and lightning.
This is the scene where actor Shane Dean had to take himself to a very difficult place in order to truly become C’Mo. The key was to allow the event to play out and let cameras roll – as long as the character required, from the initial shock of the flash and boom, to being in the throes of a flashback and return to calm. It was a lengthy process for Shane to get there and a lengthy process to come down from. We did have two cameras, but felt it was important to have one gunning through the windshield while having the other in a raking two shot. This meant we still needed coverage on the other profile – so Shane had to go twice, which was a difficult request to make knowing what he had to go through.
What worked better in this production that mightn’t worked well in the last one?
Patrick Stark (PS): This time, I had Mark Cohen, the cinematographer, at my side – and Allie’s side. He’s not only extremely skilled as both an artist and technician, he is my friend. He helped make the filmmaking process easier so we could focus on performances and not dwell on camera set ups.
As well, Allie and I had the tremendous support of Allie’s daughter, producer Julia Hilder, who was the ‘glue’ of the production, helping to ensure everything ran smoothly. In addition to that, once the film was complete, Julia’s husband (and Any Wednesday producer) David Lundstedt did a tremendous job getting the film seen in various festivals around the world. I have not ever had such support on an independent film and it was a family affair indeed.
What about the independent filmmaking business that you struggle with?
Patrick Stark (PS): I struggle with the need to wear multiple hats in order to mount a production. Always being concerned with budgetary constraints and time takes its toll and becomes a lot harder, not easier. With less money, the only way to cut costs is by doing things yourself and only delegating when you absolutely have to. When you are always dealing with micro-budgets, it makes it more and more difficult to ask for help when you know you have used those favors from previous projects. Nor do you want to keep asking. Even when you want to pay a proper wage, or cover the actual costs of various rentals, it’s just not possible with what you have. At the same time, I do believe that a film project you feel is important is worth fighting for and worth the discomfort.
Where do you think your strengths lie as a filmmaker?
Patrick Stark (PS): I spent many years as an assistant director, and in doing so, learned how to work closely with actors, schedule efficiently, and acquired a keen sense of how long things take to set up and execute. Often, while in the midst of filming a scene, not only am I watching and listening for performance, I am simultaneously thinking 3 shots ahead.
How was the film financed?
Patrick Stark (PS): I hope the story and performances resonate with those who ever have had someone in their lives with dementia or PTSD. And for everyone else, I can only hope there is a further sharing and awareness of the plight of millions who struggle each day with mental health conditions.
Describe Any Wednesday in one word?
Patrick Stark (PS): “Struggle.” Or, possibly… “Loss.”
What else have you got in the works?
Patrick Stark (PS): I am in post-production on a feature length documentary entitled One Life No Regrets, a personal memoir of pushing past an intense fear of singing in public through ‘extreme exposure’ – from a first vocal lesson and singing with street musicians to one-on-one with rock stars and my efforts to sing in a stadium with Irish super-group, U2. I call it my “coming of middle-age” story – a journey that has taken over ten years to produce. One Life No Regrets is my attempt to live a life free of anxiety and fear, and ultimately, to set an example for my children.
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