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Est. Reading Time: 7 Minutes

MARK (M) Tell us a little about yourself - when did you become interested in film and filmmaking?

AISHA (A) Not sure if it’s a blessing or a curse, but I come from a family of filmmakers so being in this industry was something I always envisioned and never really questioned. My grandfather was an explorer and documentary filmmaker with my grandmother being his editor. My father is a cinematographer and my mother is an artist and costume designer. I therefore got a lot of exposure to the arts as a kid so being a doctor or lawyer wasn’t really on my radar. I studied acting as a teen through to my twenties and originally thought that was my path, however after some time (and many mortifying auditions!) I realized working with actors is really what I want to do - I absolutely love it.

On Location

M I was immediately struck by the elegance of the home - it’s a great location choice because I feel like the home’s prestige and size heightens the mystery of the main character’s isolation and loneliness. So please tell us a little about the importance of the home in accentuating and contrasting the main character’s inner world.

A I wrote the script based on the location and love that you picked up on it. As we shot during the height of the pandemic, I was trying to figure out what I could safely create with a minimal budget and crew. I had access to this house so I decided to tell a story inspired by the space - since the house is incredibly meticulous, I thought it would be interesting to reveal something emotionally messy. One of the main themes in the film was exploring interiors vs exteriors - how something could look picture-perfect on the outside, but an inner world can be falling apart. As beautiful as someone or something might seem, you just never know what’s really going on beyond the surface and I find that fascinating.

On Directing

M I love small but very telling moments in cinema so I thought it was really interesting when Kate took one bite of pizza before placing the whole slice in the sink. So I would love to know, when did you come up with this idea? Was it always part of the script, or did you discover it later during rehearsals/filming with Juno?  

A Taking the bite of pizza from the fridge was in the script, but Juno elevated the moment by placing it in the sink. I had discussed with her the idea of making choices that were subtle but a bit ‘off’ to slowly emphasize the unraveling of the character.

M And then more broadly, I was interested in how you show Kate’s inner feelings and journey through action and movement - like pouring wine, walking into the pool, dropping the glass, smoking a cigarette and she kind of curls up in a ball at the very end. I feel like each action reveals Kate’s feelings and essentially reflects the various stages of getting over a breakup. 

So I wouldn’t be surprised if all of these actions and moments were part of the script, but I’m just curious as to how much you allowed Juno to bring her own ideas and improvise on set. Please tell us about how you worked with Juno to fill space with action that reflects her character’s emotions and journey.  

A Yes! Most of these specifics were in the script, but Juno did an incredible job of bringing them to life in an interesting way. Kate curling up on the ground at the end was improvised by Juno and as soon as she did it, I knew it was the right choice.

I like to rehearse with actors and give them the freedom to move where it feels natural, so it was a blessing to work with Juno who is so open and in touch with her body. During rehearsal, we talked about what the character was feeling moment-to-moment and to let those emotions guide the overall energy and flow within the space.

I wanted to utilize multiple areas and rooms as from my personal experience, I tend to pace when I’m anxious on a phone call. For the actions like getting into the pool, tossing the cigarette and breaking the glass, I wanted to show this woman who seemingly has it all together slowing falling apart - the stuff you do when you’re in shock and don’t give a fuck. But in staying true to her character, Juno does it elegantly and with poise. There’s something powerful about playing the opposite of your feelings on screen, like not crying despite being so sad, or just dropping a glass instead of smashing it against the wall when you’re so mad. This feels real to me, and was something I wanted to explore in the film.

‘As beautiful as someone or something might seem, you just never know what’s really going on beyond the surface and I find that fascinating’

— Aisha Schliessler

On Inspiration

M What are some of the films and who are some of the filmmakers that inspire you, and why?

A This is always a tough question for me as there are so many! I was fortunate to be exposed to a lot of classic cinema as a kid, and I would say some of the first movies I gravitated towards were films with strong female leads who had amazing fashion and style. Films like Some Like It Hot (1959), All About Eve (1950), Breakfast At Tiffany’s (1961), Funny Face (1957), and Auntie Mame (1958) (the list goes on...).

A As I got older, I started to explore more European filmmakers and fell in love with Bergman’s Persona (1966) and Scenes From A Marriage (1974), Bertolucci’s The Conformist (1970) and Fassbinder’s Ali: Fear Eats The Soul (1974). In general, I don’t tend to gravitate towards big ensemble casts or overly complicated plots, but rather films that are quieter, emotionally complex and visually compelling. 

For modern inspiration, I think Tom Ford is an amazing director and I’ve loved both of his movies, especially A Single Man (2009). In the Mood for Love (2000) is another that comes to mind. And more recently, The Rider (2017) by Chloe Zhao.

On The Future

M And finally, are you currently developing or working on any new projects? If so, please let us know!

A I am! I have a couple of short films that I would love to get off the ground and I’m currently in the process of optioning a feature script. In between, I’m trying to work as much as possible on commercials. 

The past couple of years have been such a strange and challenging time for everyone, I want to end this interview acknowledging the whole team that came together to make this film - it was a true act of love and generosity, and I am so incredibly grateful. 

Moving into 2022, my big goal is to create more opportunities for all of us to collaborate, hopefully in a less scary world.

Mark’s Final Thoughts

• Really enjoyed reading about Aisha’s collaboration and process with Juno - lots of great insights. I think Aisha’s answers reflect Juno’s performance on screen as you get the feeling that her character’s actions are intentional and purposeful without ever completely losing elements of mystery, nuance and surprise.

• To further reiterate Aisha’s intentional choices throughout the film, I like the fact that pieces of art are discreetly placed inside and outside the home to complement the main character’s occupation and make the space feel as lived-in as possible.

• And I agree with Aisha in terms of approaching and revealing big emotions through relatively small actions and gestures on screen - it’s usually very effective, and is no exception in this film.

• I haven’t seen Funny Face and Auntie Mame but I love all the films that Aisha mentioned - with Chloe Zhao being quite popular at the moment, I will add that people should really seek out The Rider because I think it best encapsulates her ability to channel life and truth with distinct lyricism.

  Tags Cinematography  Drama Live-action

  
  
  
  Want to Learn More? Click here for Aisha’s thoughts about directing actors playing multiple characters in the same film as well as telling stories that are entertaining and personal.
  
  
  
  

The founder of Hommage, Mark Shaba published this interview on 10.12.2021. Mark is a grassroots filmmaker from Victoria, Australia. He respectfully acknowledges the past and present traditional owners of the land on which he creates, promotes and screens art, the Wurundjeri people of the Kulin nation who are the custodians.