With the Cannes International Film Festival opening this week, there is no doubt that the venerable festival is one of themost important places for a film to be seen, whether it makes it as an official selection or it is a part of the Cannes Film Market Program, like writer/director/producer Christian Filippella’s “Silver Case.”
The film, which features an impressive cast including Academy Award nominees Eric Roberts and Seymour Cassel, will screen May 15th at the Palais des Festivals. “Silver Case” is a blend of comedy, action, and intrigue, and centers around a sealed briefcase and what its disappearance means to two rivals.
The Italian born Filipella has filmmaking credits around the world, including Spain, Ireland, and the U.S. “Silver Case” is the first feature from Satyricon Pictures, the company that Filippella founded with Claire Falconer (who along with Filippella, appears in the film). The prolific Filippella also has two more projects in the works: a comedy entitled "Couch Surfing" and "Thermae," which can be described as "an epic murder mystery set at the end of the Roman Empire."
Film Slate Magazine caught up with Filippella while he was en route to Cannes, and picked his brain about the process of taking “Silver Case” to the film market at one of the most prestigious festivals in the world.
Film Slate Magazine: As a filmmaker, what are some of the challenges of going from making short films to writing and directing a feature?
Christian Filippella: Everything is multiplied by 10 or more. Directing a short film is a completely different animal. In this case I was also producing which meant a lot more responsibility.“Silver Case” in particular is a very personal, completely independent project. Luckily the two top film schools that I have attended have proved to be essential in providing me with a very solid knowledge of the entire process.
FSM: You have a great cast with this film, not only with some well-known actors like Eric Roberts and Seymour Cassel, but much of the cast is composed of working character actors as well. What was the casting process like with an indie budget? Did you have any actors in mind when writing “Silver Case?”
CF: I had already in mind some of the actors for this film, and I feel lucky that they immediately agreed to be part of it. I had already worked with some of the actors. It's easier to direct actors you have already collaborated with in the past, as they know your style, your ideas and your technique. Sometimes there's no need to say anything on set or very little. There’s a very intuitive form of communication.They know already what you want when they read the script. It's about getting the right tone and especially in a comedy crime where the comedic element is so subtle you need to make sure your ensemble cast works perfect. When I wrote the script I knew that Eric Roberts was perfect for the role of 'Senator.' I am very familiar with Eric's work and I am a big fan. He's one of the finest actors in the world. Working with Eric and Seymour has been a great pleasure. They are both Academy Awards nominees, both with lots of experience. They have worked with some of the greatest directors of all time. Still they are so different in style.
I learned that you can't direct every actor the same way. You need to adapt to their individual needs and then create that type of positive energy on set that boosts their confidence and makes them feel good about what they are doing.
Cast is key. If one piece does not fit the entire structure and the story can suffer.
In “Silver Case” we accomplished to put together an amazing cast of some of the greatest upcoming talent in Hollywood and also some very experienced ones, like Seymour, Eric, Shalim Ortiz, Kelvin Han Yee, Stanley B. Herman...
FSM: Were you able to have rehearsal time with the actors? Was there time to have individual conversations with the actors about their characters, or was it a situation where you trusted them with what was in the script?
CF: I always rehearse. I can't get on a set without rehearsing. All my main actors have to go through a period of intense preparation, where they have to show that they have understood their character and that they are confident to play. Of course there are exceptions.Sometimes actors are really busy and it's hard to fit them in your schedule.
Some of the actors in “Silver Case” didn't rehearse but they immersed themselves into the movie’s spirit and style as soon as they joined the rest of the cast and felt the vibes of the set.
FSM: Do you view making a film like “Silver Case” as one big process, seeing as how you co-wrote, directed and served as one of the producers? Or do you have to treat each part like a different segment?
CF: When you are the writer, director, producer, cinematographer and editor of a movie you need to be able to play each one those roles. If you are editing and someone walks in your editing suite expressing an opinion I take it like if it's coming from a director. So yes, it's a big puzzle and every person involved is absolutely important to the final result. From make-up to sound, from costumes to production design.
FSM: You have an international pedigree as a filmmaker. Is filmmaking—even indie filmmaking—largely the same no matter where you go, or are there distinct differences in the process depending upon what country you’re working in?
CF: Making a film in the U.S. is not the same than making it in, say, Russia. There are similarities but the ways productions are handled are different. In Italy, where I spent the first part of my career, the filmmaking process is very different. I think that the fact that I had the opportunity to learn both the Italian/European way and the American way of filmmaking has made me a better filmmaker. I picked the best of both traditions.
FSM: Any thoughts on taking “Silver Case” to the film market at Cannes? I know you’re screening there for distributors, so are there plans for an actual premiere?
CF: “Silver Case” has just been completed and we are planning to have its premiere in Venice or Toronto. A film market is more of a private event. It’s about presenting the film the right way to distributors and sales agents so that they have the right perception of what the film is about when it goes out and reaches the audience. However, when you are at such prestigious events, you need to plan things many months earlier.We feel very excited to be able to present the movie in such a wonderful and prestigious context.
FSM: What was the shooting schedule like for “Silver Case?” Were there any challenging moments while making the film?
CF: The entire process was an exciting challenge from day one to the very last shot of the film. We had so many locations, a great number of speaking roles, car sequences, actions sequences and lots of shooting in public areas. I have to say that probably the most challenging days were the driving scenes and the hand held filming where I was also operating. I would like to say here that if I did cover all these positions, it was not because I necessarily wanted to but because I had to due to the budget constraints and our extremely flexible schedule. The death of my father during production made things even more complicated. We had started with a DP who studied cinematography with me at AFI but then I had to leave the U.S. and stop production after one week of filming and that changed at least half of our crew. When I came back after interviewing some of the new available DPs and after talking with my crew and associate producers I realized that it would have been better for everyone involved if I had taken care of the lights myself. Also explaining the entire creative process behind the film to a new DP and ask him to match what we had already shot would have probably taken too much time that we didn't have.
FSM: You and your co-writer, Jason A. White, seemed to have come up with a fast moving comedy/thriller. What was the writing process like when coming up with the idea and trying to execute the story for a feature?
CF: I wrote this script in three days practically without sleeping. It was a dream that I had in a particular moment of my life. We were stranded with the pre-production of another film, “White Widow,” which now we hope to make after “Silver Case.” When I dreamt “Silver Case” I knew immediately that we could make this film in a less conventional way, with less money and without the help of large investments. So I decided to basically enter production the day after I finished the script. I knew that we had all the right elements, so I called most of the actors I wanted and I gave them dates. They all agreed.
At that point I gave the script to Jason with notes about re-writing and I took over as producer/director. Once he finished his revision I did a new revision to the script and that's how the “Silver Case” final script was born. My then-manager thought the script was not ready to be shot. I disagreed and I shot “Silver Case” three weeks after writing it. It requires some guts to do that and put all your resources in a project like this. Some of my friends supported me since day one; a few were worried about taking this route, but now everyone agrees with me. Making a film is not an easy task--you need to take risks. It's a bit like gambling. Now that the movie is ready I think I was right. However this has been very tough. It took a year of my life, night and day. Lately I find myself daydreaming of taking some time off to regenerate body and spirit. Who knows, maybe after Cannes (laughing)?
FSM: What happens to the film after Cannes, especially if you sell it or get a distribution deal?
CF: A script is never finished. Still now that I watch the final cut I think about possible changes and new ideas pop up. However if you do go through re-writing and start from a good script you can rely on a good skeleton for your film.To keep the metaphor, after the script you need to add all your organs, the blood, the brain, then wrap it up with some nice skin and you get a wonderful person,able to walk with his/her own feet. If you are not dedicated, if you are not open to change things, to re-write, to re-shoot, then most of the times you are left with a skeleton that falls down on the floor and it breaks up in pieces as soon as you try and ask him to walk.Sometimes I think “Silver Case” is a wonderful woman with short hair and strong sex appeal (smiling broadly).
