LBB Film Club: Faces
The idea of separate personas is an interesting one, which, probably, a tonne of people can relate to. After all, unless you’re one of the rare few who wears their heart on their sleeve and is purely themselves in every waking moment, the way in which you conduct and portray yourself is going to vary from environment to environment.
Think about it this way. Do you act the same at work as you do at home? Or do you put on a professional face and depict a certain version of yourself with the expected qualities that are associated with you at work, day in and day out? If you’ve got an online friend group built around playing video games, would you act the exact same way with them as you would when visiting your grandparents? Probably not! In short, we portray ourselves differently depending on the location, which, truthfully, can get a little exhausting – and a little confusing – after a while.
This is exactly what Canadian director David Findlay explores in his most recent film, ‘Faces’. Created in collaboration with executive producer and model Rianne Von Rompaey, as well as fashion brands Khaite and Sisley, the work explores her own sense of split between these various personas, telling the story of a woman being stretched in all directions by her oppressive mother and the upcoming marriage of her friend. It’s brilliantly edited, surreal, and a little bit absurd – all of which creates a mesmerising viewing experience for viewers who bounce through the main character’s thoughts like a pinball in a machine.
To learn more about just what it took to bring this to life, LBB’s Jordan Won Neufeldt sat down with David for a chat.
LBB> Starting from the top, where did the idea for ‘Faces’ come from? Tell us about how this came to life!
David> It came from executive producer and fashion model Rianne Von Rompaey. She had this feeling for a long time that she was embodying different personas between her professional life and her personal life and so on. A mutual friend of ours connected us, and we really bonded. From her initial themes, I just ran with it and created something a bit more surreal and absurd than she was envisioning, but which still had the core elements she was wanting to express.
LBB> The work is visually-striking, layered, and full of small, nuanced moments. So, what was the storyboarding process like? Did you have a vision for the final aesthetic from the start?
David> This was a pretty different sort of project for me. With the brand Khaite’s involvement, I knew that making something completely sincere and heartfelt, as I am used to doing, featuring beautiful people wearing the world’s most fashionable clothes wouldn’t come across so well, so I took a turn for the absurd and the surreal – something playful!
LBB> And how did this lead into the writing, both of the script, but also of the characters. What did it take to bring everything to life in tune with your initial vision?
David> It took many, many calls between Rianne and I. Ultimately, it’s a trip into the subconscious of a woman who is completely haunted by her mother and terrified with the idea of her best friend getting married – all while trying to find her footing and her professional self. Rianne and I never shied away from challenging one another’s ideas, even if it got momentarily uncomfortable; we always came out the other end with something stronger that didn’t even feel like a compromise.
LBB> On the subject of dialogue, the repetition of ‘good, terrifying, exciting, all of the above’ as well as some other lines really stands out. What inspired the use of this as a motif, and what does it represent for the film as a whole?
David> It’s quite simply a reflection of her state of mind. These are the emotions that inhabit her, and which drive her every decision in this moment. Also, the fact that she is seemingly repeating these lines as if rehearsing leads to the question, what is she rehearsing for? Where does the act begin, and where does it end?
LBB> From here, what was the casting process like? What were you looking for, and what inspired your final selections?
David> Rianne was always going to be at the centre of it. And then for her mother, who is also the journalist, stage manager, her manager and the taxi driver, my brilliant EP at Solab, Nicolas Tiry, pointed me in Astrid Whettnall’s direction. It was just love at first sight, for both Rianne and I. An incredible talent who looks like she could be Rianne’ mother – she was game to get her hands dirty and fully dive in with us.
LBB> And how was the shoot itself? Where did you film, how long did it take, and do you have any anecdotes from on set?
David> We shot for only two days at the Théâtre Mogador in Paris. It was an incredibly joyful but intense shoot. Nothing came easy – it was all incredibly challenging, actually, both performance-wise and technically. As a director I was simply blessed with an amazing crew of close collaborators to help push this through.
LBB> In terms of equipment, what gear did you use to shoot with, and why?
David> I’m not too technically savvy, but I believe we shot on an Arri Alexa 35 with some Canon lenses.
LBB> The long corridor shot, and the way in which the mother and daughter’s actions are mirrored is super mesmerising. How did this sequence come to life?
David> This may be my favourite scene. This was a wink at how from the day we are born, we mimic our parents without knowing it, and how that evolves and changes (or not) depending on the dynamic you have with them.
The space itself – the hallway – is a bit eerie and surreal, and Amy J. Gardens, our movement coach, was simply indispensable in rehearsing and bringing this scene to life.
LBB> Of course, the editing is also superb, with amazing jump cuts being a standout feature. Did you have a hand in this? What did it take to bring the final product to life?
David> Gwen Ghelid, the editor, is simply a genius. We worked together, in person, for two weeks after the shoot and then remotely. He has such a great sensibility and an incredible feel for timing. He also hates clichés and creating things that have been seen and done before, and I’m the same. So, while this was only our third collaboration, it will certainly not be our last.
LBB> Equally, the use of music really sets the tone quite well. How did you bring this aspect to life?
David> Upon my first call with Kalaisan Kalaichelvan, the composer, I knew he was the one. We just instantly spoke the same language and had the same references. And then of course, listening to his previous work made it a no-brainer.
Something I told Kalaisan early on was that I wanted to feel like I am not only in Rianne’s shoes, but inside her mind also – as if her thoughts are just bouncing all over, like a pinball in a pinball machine.
LBB> Finally, do you have a favourite shot from the film, or an aspect you’re most proud of?
David> I think the thing I am most proud of with this film, aside from the finished product itself as a whole, is the way it was made. Between my valiant producer Joaquin Cardoner, the amazing Antoine Cormier, the DP, and all involved, a true atmosphere of creativity was created and carried us through to the finish line. It was all very demanding, but just fun and joyful. That’s what I’m happiest with.
